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ladytemeraire · 10 days

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The main thought ringing in my head at the three-quarter mark of Jenny Nicholson's Star Wars Hotel video is how badly Disney missed the mark on not targeting the demographic of LARPers, cosplayers, and RenFest nerds as opposed to... whoever the hell they were actually targeting, with that combination of experience and price point.

Like. Not to further out myself as a massive goddamn dork, but there was a span of nearly ten years where I was going to the Ohio RenFest at least once a season, every season. And even there, the years where I went in some form of costume and played along with the actors as opposed to wearing jeans and a t-shirt, my experience was so much richer. There was such a different level of banter and playfulness and entertainment when I actively leaned into the immersion. I had so much fun interacting with the shopkeeps and cast members as an elf or random Fantasy Medieval Maiden, because they saw the costume and on some level went, "You! You are One Of Us!" and matched that energy, and thus gave me the chance to match it in return.

(One year, early on, when my "costume" was a frilly blouse, leggings, boots, elf ears, and a hastily sewn cloak, I had a random older gentleman run up to our group, press a gold coin into my palms, kiss the back of my hand in a very respectful and courtly manner, and disappear into the crowd. No context, no further story or plot or interaction, but almost fifteen years later I still have that gold coin on a shelf of tchotchkes.)

Watching every time Jenny tried so desperately to lean into the Galactic StarCruiser/overall Star Wars experience, to actively engage with the story and the characters, only to be lowkey ignored or actively rebuffed or scorned, legitimately broke my heart a little. (The bit in the experience finale where she was like "it felt like we were supposed to respond somehow, but I didn't because it was embarrassing, which is its own form of Force torture" was simultaneously hilarious and extremely relatable and incredibly sad.) Setting aside the issues with the app and tech, let alone the refusal to address legitimate complaints until she took to Twitter, not even getting a hint of reciprocal interaction from the actors when your choices supposedly matter in your overall experience would be so incredibly disheartening.

Ohio RenFest tickets were about $20 when I started going in high school, plus whatever food and merchandise you wanted to buy. Nowadays, even with inflation, they're still only $35 for adult tickets, which gets you access to everything, and you can absolutely get a full day's experience out of that with only the additional cost for food and beverages. I cannot fathom spending six thousand fecking dollars for two days ("two dollars per person per minute" will live rent free in my head for a while) on what is supposedly an immersive experience, marketed as living out your Star Wars story, only to get the absolute bare minimum in return. It really feels like such an indicator of how modern-day Disney is willing to cut corners as much as possible while leaning on brand recognition, and especially on nostalgia, in order to milk every last red cent out of their customers, until they run out of both money and goodwill. And that is so, so incredibly sad.

#life with ladytemeraire #Star Wars #RenFest #Ren Faire #my maunderings #Jenny Nicholson #I have no idea how to tag this #I loved this essay but it made me both sad and furious #literally every suggestion she made as a form of improvement would have been better than the actual thing #Disney

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writers-potion · 2 months

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Got anything for dialogue

Writing Dialogue 101

Dialogue is conversation, nothing more, nothing less. The catch is: diagloue is EDITED conversation. It must be more concise, purposeful and witty than the everyday sentences we speak, while sounding natural.

The Purpose of Dialogue

Diaglue is definitely a fiction elements that pops everything up and out. Thus, dialogue is going to have more impact than your normal paragraphs, in order to:

Characterizes/reveals motives

Sets the mood in the story

Intensifies the story conflict

Creates tension and suspense

Speeds up your scenes

Add bits of setting/backgronud

Communicates the theme

Matching the Dialogue to the Genre

The dialogue in a book should speak the reader's language. There is a type of voice that suits each genre/category of fiction, and we must understand what matches the reader expectations and rhythm of the plot we are writing.

Magical Dialogue

"Do not kill him even now. For he has not hurt me. And in any case I do not wish him to be slain in this evil mood. He was great once, of a nobel kind that we should not dare to raise our hands against." - The Lord of the Rings, J.R.R. Tolkein

"As much as I want you and want to be with you and part of you, I can't rear myself away from the realness of my responsiblities." - The Bridges of Madison County, Robert James Waller

This is the language of The Hobbit, Star Wars, The Lord of the Rings, The Wonderful Wizard of Oz.

When writing literary and mainstream fiction (that is targeted at the general public rather than a target audience), we need to go with what sounds real, even with a magical setting

Science fiction and fantasy can be more unreal, i.e. things like "May the Force Be With You."

In romance, magical dialogue takes on a differen form. It's magical in that it transcends the way we talk to each other in normal society. Magical in that all of it makes perfect sense and is said in such eloquent langauge that we marvel at it while at the same time knowing that if we are left to ourselves, we would say something absolutely banal.

Cryptic Dialogue

"You know, the condom is the glass slipper of our generation. You slip it on when you meet a stranger. You dance all night, then you throw it away. The condom, I mean. Not the stranger." - Fight Club, Chuck Palahniuk

This is the dialogue in literary and religious stories that dealw ith abstract ideas and vague concepts and has double meanings. Readers aren't meant to understand theses right away.

These bits of dialogue plant sublimnal messages in the reader's mind that help communicate the theme later on, ultimately making sense.

Cryptic dialogue is difficult to do well. If we're not careful, we'll end up sounding preachy, moralistic and dogmatic.

You need to be able to view the world in different perspectives.

Descriptive Dialogue

The literary, fantasy and historical story often relies on dialogue for worldbuilding (expplaining history, magic rules, etc.)

The author's goal in descriptive dialogue is to provide the reader with information. However, the character's goal cannot be sacrificed for the author's. Dialogue can still have tension and suspense and can be inserted into a scene of action so the story doesn't bog down while the readers get some info.

Shadowy Dialogue

In shadowy dialogue, the character's job is to keep the reader suspended in a state of terror/suspense. Then you periodically tighten and loosen the tension.

The key here is uncertainty. The reader cannot trust the speaker, so we're always questioning him, wondering whether he's speaking truthfully or is presenting the full picture.

Keep the tone as dark of possible, using action and background as supporting tools.

Make it cryptic, or even better, offering an omnious threat of what is to come.

Provocative Dialogue

This is the type of dialogue that conveys the theme, talking about the "universla truth" your book is trying to convey.

Readers like to be challenged in their thinking, provoked to consider other ways of thinking, and shaken up in their belief systems with a fresh perspective about the world.

Consider this example from To Kill A Mockingbird:

"...but there is one way in this country in which all men are created equal - there is one humna institution that makes a pauper the equal of a Rockfeller, the stupid man the equal of an Einstein, and the ignornant man the equal of any college president."

There is no way we can read this and not think about something that is bigger than our daily lives.

Make your readers squirm, and shock them out of their comfort zones.

Uncencored Dialogue

Uncencored dialogue in YA stories are of young people, but that doesn't mean it's filled with hip-hop words and slag.

While adults cencor themselves when they speak, teenagers haven't yet learned that skill so their dialogue is more raw, edgy and honest.

Readers of YA novels expect realism, so make it as authentic as possible. The last thing we want to is for our characters to be brash and honest, but NOT sound like they've just stepped out of Planet Way Cool.

For example:

"What if he doesn't like me back?" "You are too much of a chicken to do anything aboutit but mope."

As an adult, how often do you admit fear of rejection out loud to another, or call out your friend to her face? In YA-type of dialogue though, we can just write what comes into these characters' minds.

So that sums up the different types of dialogue. Consider the nature of your plot, what your readers and the genre of the story you are writing to choose an appropriate way for your characters to speak!

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

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howtofightwrite · 3 months

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I've got a world-building/combat question. I have these two warring nations in my setting, both medieval-ish tech levels. One of them figures out how to make magical flying craft that are basically WWI airplanes. The other country invents dragon riders in response. Since then, they've been at war for ~60 years. I'm trying to figure out how the heck an air force would alter medieval combat strategies. If you've any suggestions, I'd appreciate it

The first, and biggest world building problem is that magic is part of your overall tech level. Ironically, Diskworld is an excellent example of how magical technology can basically function as an alternate path for social and technical development, though, honestly, a lot of high-magic settings tend to have tech leakage from magic.

One of the more common examples that comes to mind are “magical radios.” Either it's an enchanted device that allows person to person communication, or it's direct telepathic communication, but whatever it is, it serves a fundamentally similar role to a handheld radio, or (depending on how it works) a phone. The thing is, it's functionally a magical replacement, and it would affect society in much the same way those technologies have.

This is a long way to say, if your magical combat technology has WWI-grade planes, there is a very real possibility that a lot of your warfare is also going to be at a similar magi-tech level, if not more advanced. Having written that, I'm reminded of The Red Star comic series; though, that has a heavy Soviet aesthetic, and is not-at-all medieval.

Again, it doesn't really matter if you have fully-automatic firearms, or if you have a bolt thrower that conjures and propels crystals at hyper-sonic speeds into your foes. If they have a similar rate of fire, and similar accuracy, the meaningful change is texture. Your characters might see tiny crystal fragments shattered on the floor, or embedded into walls, instead of bullet holes. There may be no smell, or conjuring the crystals might leave a different odor. A handheld lightning projector might leave scorch marks, and a scent of ozone, for instance.

Magic might also factor into armor and defenses. If you can use a magical ward to dispel conjured objects, that might be extremely useful for fortifying specific targets against incoming conjured attacks, but it would likely be wholly ineffective against the lightning projector, or some other kind of directed energy beam weapon.

“Inventing,” dragon riding as a response to someone else making a magical airship, does strike me as an odd cause-and-effect. If dragon riding was that easy, it would seem likely that someone would have militarized them long before that point. Inventing flying objects that could function as a hard counter to dragons feels a little more natural. Or, magical, AA installations. Though, this is something that could probably be finessed, if you're really committed to the setup. It's also worth remembering that air superiority is an extremely potent advantage, even if you're not sure what to do with it, meaning that if one side suddenly had fliers, and the other side couldn't come up with a counter in short order, they'd be picked apart, and the war wouldn't have this 60 year timescale.

If it seems like I went to ranged weapons very quickly, there's a simple reason. You can't joust from a plane. Your options are to either propel objects at people, or drop things on them from above. Dragons also (usually) have the option to breathe fire on them. Now, firearms did exist in the late medieval era. So, that's not that far out of range. I'm less sure of the invention of bombs. At least, of the variety you could deliver to your enemy on the battlefield. Though, it occurs to me, you could probably use a catapult or trebuchet to deliver an explosive payload, if the explosives were stable enough to survive launch, but sensitive enough to detonate on impact. (Of course, if you have some kind of magically primed explosive, that stays stable until it is ejected from the catapult, and then explodes on impact, that would work.)

Looping back to the timescale again, this would require some pretty potent defensive capabilities. A dragon, with the ability to breathe fire, and the capacity for strategic thinking, could easily starve out an entire kingdom, simply by making a habit of torching all the cropland it could find. It doesn't, particularly matter if it gets all the food, so long as it torches a meaningful percentage of the available crops. When you have farmers going hungry, you're going to see food production dipping, exacerbating the problem. When you have soldiers going hungry, they're not going to be able to fight as effectively. When you have the peasantry going hungry, you're going to see civil unrest, and probably rebellions coming for their lord's head. You can't wage a war against a hostile nation under those circumstances. (In fact, there were multiple peasant revolts during the Hundred Years War, which basically stalled out France's ability to fight. England also suffered multiple peasant uprisings at roughly the same time. Though, those were motivated by taxation, which ends in a similar place.)

A related concept that's somewhat hinted above, is that wars are expensive, and both France and England found themselves facing uprisings because of taxation needed to support the ongoing war. (The irony being that both nations encountered this at roughly the same point in history. Roughly 40 years into the war.) A war that's been going for 60 years will likely have ravaged the economies of the involved nations. This isn't necessarily something that your characters would be aware of, unless you expand the context to show non-wartime economies.

The simplest explanation for why this happens is that any money you spend prosecuting the war are products that you never see returning value from. The money itself doesn't leave the economy, but the natural resources, and labor required, are expended non-productively (from the perspective of economic growth.) So, if you have a peacetime merchant, they're moving money around, but they're paying for their goods, and then those goods are going to consumers, who may also be contributing to economic activity with those goods (this even applies for food, you can think of that as a necessary component to any productive activity.) If you're a wartime merchant, selling weapons to the military, you are contributing to economic activity when you buy the weapons, but when they're sold to the crown, that's no longer productive. Those weapons leave the economy and never return. Worse, any soldiers who are permanently wounded, or killed, are also removed from the economy. Over time, this can destroy the most prosperous of nations. (To be clear, this is more advanced economic analysis than anyone in the middle ages would have had. So, the idea that wars are expensive was understood, but the exact reasons it slowed the economy were not.) And, this kind of thinking is another form of technological advancement. Ideas for understanding complex systems have become more intricate and detailed over time. While it's not the concept of, “invention,” that you might be used to, it is a similar form of progress.

So, how would this look in your world? There's a lot of potential consequences, most of which are not contradictory.

An impoverished lower-class is very likely. Whether that includes wounded veterans or not is a little more up in the air, though after 60 years, military pensioners, and those who suffered life-altering injuries on the battlefield are likely to be a common sight, either on the street or in the poverty line. (Especially if the crown is willing to enforce drafts and conscription.) At this point, that might be a very real possibility.

A struggling aristocracy is also likely, with former major power players who've declined into poverty. This might take the form of borderline abandoned estates that have been taken over by the crown or squatters. (Probably not both at the same time.)

Serious inflation is likely (and could be why formerly stable guild members, merchants, and even some of the aristocracy might now find themselves struggling.) I realize this point isn't something most really think of when you're trying to write a fantasy world, but it's worth considering. More likely this will be seen in food prices having increased over time. So the major symptoms you'd likely see would be decaying structures that no one has the resources to maintain, rising food prices, and generalized poverty. Even in a fairly magically advanced setting, a lot of these things would, likely, still happen. Of course, if the dragons have been used to destroy the agricultural base, things would be even worse in that nation. To be clear, food and taxation riots are not off the table there.

This is sort of a non-sequitur, but if you have a setting with classic transmutation (lead, or other base metals, into gold), you would actually see inflation with every batch of transmuted gold hitting the market. It's sort of an amusing note on the fantasy of being able to produce as much money as you want, but ultimately, it's actually harmful from a macroeconomic perspective. (Basically, the same reason counterfeiting is a problem.) Though, it is a possible hook for criminal groups in one of those nations, producing counterfeit gold via transmutation.

There's also a real world example from 2020, where a jewelry company had fabricated “fake,” gold bars as collateral to secure loans. In total, they claimed to have 83 tons of gold used to obtain loans worth over 2.8 billion dollars, from 14 different creditors. Except, when they defaulted on those loans, and were forced to hand over the gold, it was discovered that these were in fact gold plated copper bars.

I realize the question was about the flying forces specifically, but so long as that advantage is dealt with quickly, and neither side is able to monopolize air superiority, that's not going to change nearly as much as having that level of magical advancement would on its own, and of course, the general consequences of having a war that's been going on for long enough that multiple generations have died on the battlefield. That's going to a bigger effect on your world as a whole.

-Starke

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#writing reference #writing advice #writing tips #how to fight write #starke answers #Starke is not a real economist

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andypantsx3 · 11 months

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BAKUGOU KATSUKI : MASTERLIST

please be respectful! do not repost, plagiarize, translate, or otherwise share on other platforms. all my reader characters are fem + afab unless otherwise specified. please see individual fic posts for nsfw ratings and other warnings!

bakugou writing tag | universal masterlist

MULTI-CHAPTER

incendiary (30K) : complete

When you accidentally go viral in defense of quirkless people, an extremist group puts a target on your back. Pro hero Dynamight is the last person you want watching it.

you’re the one that i haunt (15K) : complete

Ghosts aren’t real. At least, that’s what you tell yourself when the spirit of pro hero Dynamight suddenly starts haunting your apartment.

statistically significant (24K) : complete

You’re the scientist who developed a neural net to model the value of assists. Now that your work is feeding into the hero rankings, pro hero Ground Zero has a bone to pick with your results.

cover shot (through the heart) (16.5K) : complete

For years, you’ve been the only assistant in the business equipped to handle foul-tempered supermodel Katsuki Bakugou. That is, until he catches on to your weak point.

war paint (28K) : complete

Desperate times force you to disguise yourself and join the kingsguard. When a suspicious string of crimes strike the palace, however, Captain Katsuki Bakugou starts paying extra close attention. (A Mulan AU)

savvy (17.5K) : complete

You’re a business course third year who’s good at being bossy, organized, and data-driven. You just want to use your business savvy to help all heroes. Well, all heroes except one. [smutty one shot follow on: defiant]

barbarian-verse au (various) : in progress

You find yourself traveling with barbarian Bakugou. Things get complicated quickly.

ONE SHOTS

fruit first (ask questions later) (3.6K) - gn!reader

When the grocery store you’re in becomes collateral in a villain attack, pro hero Dynamight comes to your rescue. When you become armed with a handful of oranges, however, someone may need to come to his rescue…

abs-olutely worth it (3.5K) - gn!reader

You’re an amateur hero photographer whose shots of Bakugou’s abs keep going viral. Everything is going great…until Bakugou catches wind of it.

defiant (4.5K)

There are a lot of benefits to managing your pro hero boyfriend, but dealing with the PR nightmares he generates is not one of them. After Katsuki gets way too mouthy with a hapless reporter, you take it upon yourself to put him in his place. Katsuki, however, has other ideas. [a smutty oneshot companion to savvy; you do not need to have read savvy first!]

DRABBLES + PROMPT FICLETS

general bakugou x princess reader (1.1K) -> part two (3.2K)

Your father is ailing and with no sons in his lineage, your country risks dissolution and open war if you do not marry. There is only one man you can stomach the thought of assuming the throne.

always (1.5K)

Best friend Bakugou helps you through a breakup.

todobakureader domestic fluff (1K)

The sound of muffled arguing in the kitchen wakes you up on Saturday morning.

destruction (1.6K)

"Are you this stupid on purpose?"

wine & dine (0.3K)

“Oh my god, I am gonna fuck whoever made this apple pie so hard they see stars for weeks.”

always first (0.7K)

“It’s not a double date, we’re just third and fourth wheeling."

just can’t weight (0.8K)

“What the fuck do you think you’re doing?" + gym bro Bakugou

personal chef (0.4K)

Living with Bakugou is like living with your own personal chef.

fan art (0.2K)

Bakugou has an embarrassing secret (ft super cute art from Merms!!)

#character: bakugou katsuki #andie's writing

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thecurioustale · 3 days

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My Thoughts on Jenny Nicholson and the Star Wars Hotel

I watched Jenny Nicholson's four-hour "The Spectacular Failure of the Star Wars Hotel" video essay that YouTube showed me recently but which till now I couldn't bring myself to construct a day around. She's in great form here, and I'm pleased to say I go back as a fan of her work all the way to her Friendship Is Witchcraft days. (Blows my mind that she voiced all Mane Six characters, and others, so well.)

Anyway, long story short, Disney built a Star Wars hotel at Disneyworld in 2022 that was themed as a voyage on a spaceship, then proceeded to charge thousands of dollars per person per night, the most expensive publicly-available Disney theme park hotel experience by miles and miles, and then closed the hotel in 2023 after having spent hundreds of millions of dollars. Jenny went into the experience as a member of the core target demographic and spent four hours talking about all the ways it was an underwhelming or outright disappointing experience.

Her video reminded me of Hasbro's own misadventures in corporate greed with Magic: The Gathering, which has suffered in recent years from price increases, disengagement from the fan community, and a huge proliferation of product spam—i.e. more products overall, more ways to buy a given product (e.g., the proliferation of different boxes, which eventually killed the original draft booster box that had powered Magic for 30 years), and more variants of individual cards within and between products.

Hasbro and Disney are very similar in the economic space they operate in, and also utilize similar business strategies. Disney is essentially the S-tier megacorporation to Hasbro's B-tier, and we have seen many of the same corporate trends play out in both companies.

When it comes to Disney theme parks, they have massively increased ticket prices over the years, well beyond the rate of inflation, and have also implemented advance-scheduling systems for faster access to rides that has made the process of exploring a Disney theme park much less spontaneous and a lot more regimented and stressful.

Disney realized, years ago, that their limited number of theme parks—they only really have two, not counting the various sub-parks: Disneyland on the West Coast and Disneyworld on the East Coast—together with Disney's entrenched status as a cultural icon with lots of goodwill and brand recognition among the public, are vastly underserving public demand, allowing them to inflate the price of a single trip almost arbitrarily, well into the four digits—or even the five-digits if you're taking the family and spending several days.

The Star Wars hotel was Disney's "Magic 30": a product so ludicrously expensive as to incur immediate and universal condemnation by their own fans. It's clear to me what Disney was doing: They'd happily turned the conventional price knob up and up and up for years. Now they wanted to experiment with a fundamentally more expensive product class, basically five to ten times more expensive. They wanted to see if the market could support it. Because the growing disparity of wealth in America, together with America's obscene wealth as a nation relative to the rest of the world, means that it's definitely possible: There are definitely millions of people out there who could book a stay at the Star Wars hotel if they wanted to. And Disney was like "Let's see if they will."

And you know what? I think it could have succeeded. Because there really is an obscene excess of wealth in this country, even though most of us don't have any access to it. And we are a culture whose zeitgeist is ever ravenous for the next big, flashy experience.

But instead the venture failed spectacularly. Why? Because such reckless corporate greed is, itself, usually a sign of deep organizational rot and incompetency among the board and executive leadership. In other words, their hotel failed for the same reason they tried building it in the first place: Disney has grown stupid.

The way it failed, going by Jenny's video, is down to two independent reasons:

An outrageous degree of "penny-wise, pound foolish" thinking;

A fundamental failure to anticipate the comfort and pleasure of the guest.

The former is the more obvious of the two, and what really stood out to me as emblematic of it in this whole boondoggle were two simple thing: 1) The hotel rooms didn't have complimentary Disney+; and 2) the free loaner umbrellas for hotel guests visiting the Star Wars Land in Disneyworld were either so worn-out or so shoddy to begin with that, unless it was a big coincidence, both Jenny's and Jenny's sister's umbrella failed while in use. This was in the context of Disneyworld's most expensive customer experience ever, by a lot, and Disney was nickel-and-diming them. Jenny's video goes into a great depth of detail on the dozens if not hundreds of corners they cut; it was basically everything but the food. The result was an antagonistic relationship between Disney and their hotel guests where almost everything interesting cost more money (usually a lot more money) while almost everything included in the main ticket price was of cheap quality or stingy in its allotment. Every aspect of the whole process, from the scammy vibes of booking a room in the first place, to the pathetic after-care for customers who reported a problem after their stay, was likely to leave a sour taste in the customer's mouth.

When you're paying the most expensive prices in the history of a product category, you really just need to be given an up-front price that includes all or nearly all of it. You'll know what you're in for, and you can make an informed decision, and then it's really just down to the host to provide an experience and level of service that matches those high dollar outlays. But instead, as Jenny pointed out, it's like you're dealing with Spirit Airlines, where you're gonna pay a fee for literally everything beyond sitting your body quietly on the airplane.

Mind-boggling hubris. Disney needs to be broken up for the monopoly that it is, and this is just one more example of how convinced of their own inevitability and supremacy Disney has become.

The other main failure on Disney's part is the subtler one.

Jenny focused on how the Star Wars themed choose-your-own-adventure game, which was at the heart of the hotels' central conceit of "live your own personal Star Wars story," was irreparably dysfunctional. Not only was the app, through which most of the "experience" was conveyed, horribly designed; and not only were the tasks delivered through this app mostly busywork to anyone other than young children, consisting of little more than walking around and scanning inanimate objects; but the storyline's entry points and decision points were completely impenetrable through reasonable means, to the point of seeming arbitrary. Jenny proactively tried and failed to get into her preferred storyline; then tried and failed to get into any storyline; then was automatically sorted into one the next morning; and ultimately ended up having only one (dubiously) interactive story experience over the whole weekend.

She talked about how the tightly-regimented and incredibly full schedule was so mentally and physically draining that on the final night she fled her dinner table fearing she would vomit and had to stand in her hotel room staring at herself in the mirror for a while, to understand her illness (which turned out to be stress-induced exhaustion) and center herself.

She talked about how she didn't get to see a much-coveted music show during dinner on her first night because she was seated behind a giant column.

Really, these things are manifestations of the larger and more fundamental failure on Disney's part to anticipate the comfort and pleasure of the guest, as I put it.

As I was watching her video, two thoughts came to me in this vein:

First was that this whole experience really needed to be "playtested," as we might say in Magic. I mean, I'm sure there nominally was, but whatever playtesting they did was completely ineffective. Good playtesting would have brought most of these issues to light.

Second was that the Disney of today has completely lost touch with the namesake of their industry: hospitality. This would never have happened at a new luxury resort by an established world-class hotelier a century ago. Because they understood the basics. Little things, like hot towels.

I could tell just from Jenny's video that this whole hotel was decided from the top-down by soulless, disconnected corporate suits who blatantly disregarded whatever good suggestions I'm sure the Imagineers® came up with. For the failures to be as expansive and ubiquitous as Jenny's video documented, no doubt the institutional rot extends down at least as far as the project manager level, if not down to individual Imagineers® and beyond, but there have to be at least some good ones, and clearly they were overruled early and often. Whenever Disney's leadership was faced with a decision between anticipating the comfort and pleasure of the guest, and saving a couple bucks on a guest who was literally laying out several thousands of dollars to be there, leadership chose the latter.

They were so arrogant that they believed, without noticing or questioning it (unless Disney's leadership is in fact cartoon evil), that they would tell the customer what constitutes a good experience, and the customer would pay top dollar for it. And so you get a guest experience where customers who are actively trying to pick a given storyline can't get any storyline and are later seated for the dinner show behind a giant fucking column.

It's sad, and we should all be glad that their hotel failed. Not that Disney is likely to learn the right lessons from their failure, but the long-term solution here is for leisure dollars to be directed toward other companies. For the several thousand bucks that Jenny paid, she could have had a true luxury vacation in most parts of the world—and for longer than two nights.

One thing that I noticed during the four hours of her video was that Disney, or at least the people in charge of developing this hotel, didn't seem to understand what constitutes an enjoyable story experience. I am forgiving of the low level of complexity in the various puzzles, since the public is famously stupid plus a lot of these guests are going to be children. But there was so little imagination in the actual plot beats: Chewie sneaks in, gets arrested, and busts out. You get to help some Resistance fighters smuggle their luggage. Like, it's insipid. I mean, ultimately, most pop storytelling is insipid, but what I mean is that the dressings were insipid too. Dressing a story up is what makes stories great, at least at the mainstream level. There was no pomp and flourish; no clever interweaving; no electric events that put people on the edge of their seats. Just walking around on your phone for two days scanning crates and occasionally being in the same room while somebody busts Chewie out of the clink—assuming you even make it to the story events in time, since they often fired early.

The whole thing smacks of rule by committee, too many cooks, and suits suits suits all the way down.

I think it's a sign of the times that this is happening. We are once again in Robber-Baron territory in this land. The big corporations and the oligarchs who run them have become so obscenely rich and so utterly disconnected from ordinary life, and their corporate cultures have become so masturbatory and so officious, that they are increasingly creating products for idealized, phantom audiences. They increasingly don't understand real people or real life.

And we can and should bring the weight of the government down on them, more to break up monopolies and allow new and established competitors to seriously challenge them than to actively punish these companies for making money, but even more so we just need to spend our dollars elsewhere. I mean, I'm speaking hypothetically here; I am poor so none of this even applies to me in the first place.

Hence why, even after inflation, this is still just my two cents.

#Jenny Nicholson #Star Wars Hotel #Galactic Starcruiser #Justice for Amethia Tope

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luminoustarlight · 7 months

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"Slut!" | Modern!Anakin Skywalker

a miss americana and the heartbreak prince story

(modern!au / high school!au)

High school culture in this series is extremely dramatized and fictionalized. As mentioned in the series masterlist, the characters are 18 years old. Padmé is very out of character in this series as well. There are lots of nods to Taylor Swift lyrics in this, too. So it's really fun for swifties and star war babes.

Slut

noun

a woman who has many casual sexual partners.

The definition of “slut” more accurately describes Anakin rather than you. Afterall, he is the Heartbreak Prince of Lucas High School. But men never pay the price for sleeping around. They’re awarded a higher social status. Or in Anakin Skywalker’s case, you become the Senior every Freshman boy wants to be.

Anakin Skywalker used to be a player. Anakin Skywalker used to go through girls faster than the news could spread around school. He had no qualms with one night stands or taking a girl’s virginity because she asked him to. He was honored to be a girls’ first time.

He dated Padmé Amidala exclusively from January until June. When the new school year began, everyone wondered who would be the next one to get their heart broken by Anakin. Nobody could’ve guessed it would be Miss Americana.

The crowd at the Homecoming game nearly quieted when Anakin spun you around in the middle of the field. When he nuzzled his sweaty face into your neck, kissing your warm skin as if it was a greater reward than winning the football game. It took you by surprise, to say the least. You’ve only been seeing each other for about a month and had yet to interact or show affection at school. It was quite the announcement. And the message was loud and clear. Anakin had a new girl and she’s nothing like his ex.

Padmé had watched you and Anakin with a fire fueled by jealousy in her stomach. You had a stupid, naïve smile on your face as you walked off of the field with Anakin’s varsity jacket draped over your shoulders. That should be me. Maybe it’s all an act to make me jealous.

So that’s how the whispers began at the Homecoming dance. Padmé had rallied her cheerleading friends to start spreading rumors. By the time you walked through the gymnasium doors attached to Anakin’s arm, everyone had made up their mind about you. You’re nothing but a slut and a man-stealer.

It’s unnerving having so many eyes on you at once. It’s like they all have a radar when Anakin walks into a room. He’s just that magnetic of a man. And he’s used to it. But it makes you uncomfortable and Anakin can sense it.

“Are you alright?”

You swallow and plaster on an unconvincing smile. “‘M fine.”

“Hey,” Anakin says gently. He cups your elbows and rubs his thumbs over your arms. “We’re all dressed up, you look stunning and I’m having a particularly great hair day. They might as well look at us. I want you to enjoy yourself tonight. Do you think you can do that for me?”

Maroon 5’s Moves Like Jagger thrumming in your ears makes it difficult to think or to argue. Anakin is right. You didn’t spend $120 on an aquamarine dress for nothing. “Fine,” you concede. “But if I hear people talking about me, can we leave and go to Denny’s?”

“They’re going to talk about you, angel,” Anakin kisses you on the cheek. “It’s just how it is. But none of it means a thing. C’mon, let’s dance.”

You dance for about twenty minutes before needing to get something to drink. Of course it’s the same time Anakin meets up with his football friends, leaving you at the snack table with a target on your back. Serena and Molly, Padmé’s closest friends slither up next to you.

“Hey, Slut,” Serena jeers. That insult was bound to reach your ears sooner or later. It’s by no means true or accurate but they don’t care. They’re not about to bad mouth Anakin.

“So… you and Anakin, huh?” Molly begins. “He’s a bit out of your league, isn’t he?”

“Don’t worry, Mol. She’s just his rebound. He’s gonna get back with Padmé when he realizes what a loser she is. No offense,” Serena adds insincerely.

“That definitely felt like something you wanted me to take offense to,” you say. You scan the gym for Anakin, hoping he’ll see the situation you’re in and rescue you. But when you put it like that, you sound so pathetic. You can get out of this yourself. “And I’m not his rebound.”

“No?” Molly puts her hands on his hips. “That’s not what I heard…”

No, you tell yourself. Don’t indulge her. Whatever she has to say isn’t true.

Serena laughs at you. “You don’t honestly think Anakin actually likes you, do you? He’s just using you to make Padmé jealous. You’re all part of his plan to get her back.”

Even though you know Serena is lying, her words still manage to plant seeds of doubt in you. But they don’t know anything about you and Anakin. There is something special kindling between the two of you. Anakin cares about you. It’s in the way he drops off a Dirty Chai latte on your porch before going to school. It’s written in the notes he stealthily slips into your locker when he says he’s going to the bathroom in the middle of class. It’s the sweatshirts he lets you borrow and the sleepless movie nights eating buttery popcorn and stale Red Vines over the last two weekends.

“You’re wrong,” you say with a slight quiver in your lip. You hate how Serena has made you question everything with Anakin. If it’s all just for show then why does he kiss you when no one is watching? Why did he insist on keeping your new relationship private if not to nurture your budding romance without prying eyes?

He’s ashamed of you.

Then why did he ask you to the dance?

To humiliate you in front of the whole school.

This is just a game to him. Your embarrassment is the prize.

“Aw, I think we hurt Little Miss Americana’s feelings,” Molly feigns a sad face, dragging her finger down her cheek as if it’s a fallen tear. “I hate to make it worse but it looks like he and Padmé might be making up right now.”

Molly and Serena point in Anakin’s direction, where he is indeed speaking with Padmé. It’s the first time you’ve seen her all night and she looks breathtaking. Her chocolate hair is curled to perfection, bouncy locks cascading over her shoulders. A plunging neckline draws your eyes down her chest and seriously, she was allowed to wear this to a high school dance?

She’s throwing her head back dramatically, as if Anakin just told her the joke of the year. And then— dear God, you want to throw up— he’s hugging her. You count the seconds. 1…2…3… you can’t watch it anymore. You turn away from Serena and Juliette abruptly and make your way out of the gymnasium.

“So long, slut,” Serena waves.

The brisk October air assaults your skin and invades your lungs, but it’s welcomed compared to the betrayal you feel coursing through your veins. Is this the end of Miss Americana and the Heartbreak Prince? You’ve only had a month with him but you want a dozen more. You’ve barely had time to discover what your relationship could become.

Perfect pearls of salt begin falling down your cheeks. How could you have been so lovelorn? How could you have gotten it all wrong? You were too blinded by Anakin’s charm to see that it was always meant to be temporary.

“Y/N!” Anakin calls for you. He spots you sitting on the curb with your head in your hands.

A little piece of him crumbles. Someone has hurt you. Little does he know it was him who did.

He rushes over to you and lays his arm over your back as he sits down. “What’s wrong?”

“Nothing.” You let yourself relish in the feeling of having his protective arm around you. It might be the last time. “Go back inside.”

“No,” Anakin replies, tilting your face toward him with a finger beneath your chin. “You’ve been crying.”

“What an astute observation, Anakin.”

Okay, so apparently you’re going back to the days when you hated each other. Right. Great. Why?

“You’re… mad at me…?” Anakin thinks out loud.

“I’m-” you stand abruptly, making you dizzy as all of the blood rushes out of your head. You wait until you can see clearly before continuing to speak. “I’m confused, Anakin! I’m angry at myself for falling for you, I’m angry at myself for being so naïve in thinking this was as real for you as it was for me. I can’t believe I was so fucking stupid-”

Anakin stands as well. Clearly, something happened in the gymnasium. Someone said something to you. Or you saw something that wasn’t what it seemed. “What are you talking about?”

“You and Padmé.”

“Are over,” Anakin emphasizes.

“But…” you close your eyes, replaying the scene you saw before you. Padmé laughing, Anakin bringing her in for a hug… it was all so friendly.

“But you saw us hug?” Anakin asks calmly. You nod. “But you didn’t hear me?”

“No,” you reply shamefully.

“I told her that I don’t want to get back together with her. My relationship with her was the first real one I’ve had and it taught me a lot, but it is not what I want. It’s not what I need. She is not who I want or who I need.”

“Ani…”

Anakin shakes his head. “I’m not done. Look, I know we’re only 18 and I know we have our whole lives ahead of us but let’s not think about that. Think about right now,” Anakin grabs your hands. “This is real for me. You’re my favorite person to spend time with. I’m so fucking excited that everyone at this fucking school knows we’re together because now I can kiss you whenever I want. I can push you up against the lockers and make out with you until we get yelled at by Mr. Windu.”

That makes you giggle. You can totally hear Mr. Windu telling you to get off of each other before he gives you both detention.

“I don’t have to be so fucking sneaky with putting notes in your locker. You can wear my Varsity jacket at games. We can actually go out to a restaurant and go on a date. Don’t give up on us, baby. We’ve only just begun.”

It’s not a proclamation of love or anything, but it’s enough. Everyone wants Anakin Skywalker and that seems to be your crime. You stole him before anyone else had the chance.

remember to reblog and leave comments to support authors!

◂ series masterlist ▸ anakin masterlist

#anakin skywalker #anakin skywalker fan fiction #anakin skywalker x reader #anakin skywalker one shot #anakin skywalker imagine #modern!anakin skywalker #modern anakin skywalker #anakin skywalker fanfiction

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fifteenminutes-if · 1 year

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Screaming fans. Blinding stage lights. A multitude of camera flashes.

It's all you've ever wanted. It's all you've ever worked for.

So where did you go wrong?

You were always told you had the X factor.

Something indescribable. Something exceptional.

Perhaps you doubted the truth to those words when you took in your rag-tag group of bandmates in your high school music room. But, your first performance together–for a crowd–was electric.

And you've been pursuing that same feeling ever since.

Now, with a recording contract, a debut album, an EP, and a #1 Billboard hit under your belt, your band is gearing up for the biggest album release of the year. With major publicity and curiosity from fans and critics alike, you can feel the potential thrumming beneath your skin. You're on the edge of a precipice. You're going to be a star.

Until the shocking truth hits the tabloids and–eventually–major news outlets.

Your career falls apart before you in a matter of days.

Your manager resigns, the media turns against you, your fans wage war against each other as lines are drawn in the sands of stardom.

You become a pariah.

How will you rebuild your legacy, and what will you sacrifice to reach the top once again?

Fifteen Minutes follows an artist in the music industry who is on the cusp of a meteoric rise in fame until a leaked scandal lands their reputation in the grave. A story about the ugly underbelly of fame, our glaring mortality, and the way love fails to save us from ourselves. Rated 18+ for explicit language, substance use (and abuse), death, sexual content, and mild violence.

Choose the scandal that ruins your character's career!

Customize your superstar's pronouns, gender, name, stage name, appearance, celebrity persona, their engagement with their fanbase, and more.

Make choices that affect public perception, headlines and the media narrative.

Create your character's previous and future discography, including choosing the genre(s) your character commands and their musical influences.

Deal with the aftermath of a career in ruins and decide on its trajectory/how your character rebuilds their tarnished reputation (if they choose to do so at all).

Romance (or befriend) a colourful cast of characters–all with varying degrees of proximity to fame and obscurity.

[THE PUBLICITY STUNT ◦ primary RO] MADDOX, 27, M/F An internationally beloved megastar with a media target on their back. A long trail of broken hearts and sordid deeds follow them, but their talent overshadows their attitude enough for those in the industry to turn the other way. For now. Caustic, jaded, and charismatic enough to get exactly what they want. Fresh out of a public breakup, they're acting out more than ever and the bitter taste of fame in their mouth might just kill them faster than their long list of enemies. RO Routes: FWB PR relationship or PR relationship with feelings involved. (Engaging in a PR relationship with Maddox is a mandatory plot point, but does not prevent MC from engaging in romance with other characters)

[THE INDUSTRY SWEETHEART ◦ primary RO] CARMEN BAILEY, 30, F ◦ she/her The antithesis to MC—a pop star that rose to fame in her teen years and has maintained relevancy well into her late twenties. Carmen Bailey is the golden girl. Gracious, kind, and praised for being family-friendly yet edgy enough to capture both old and young demographics alike, Carmen holds tightly to her image at the cost of everything else in her life. Sometimes, it's difficult to tell whether Carmen herself knows the difference between her image and herself.

[THE RECLUSIVE SOCIALITE ◦ primary RO] MATEO EL AMRANI, 25, M ◦ he/him Born to a wealthy, legendary family within the heart of Hollywood, Mateo shuns the limelight that comes with his heritage at any given opportunity. Unfortunately, the mystery surrounding him keeps the cameras and the public intrigued and hungry. Only close with his oldest brother, Elias, and has a strained relationship with the rest of his family. Often seen as quiet and emotionless by the media, Mateo in reality feels very deeply and desperately wants to know and be known by those he loves. RO Routes: Ex-friends, ex-lovers, or just acquaintances.

[THE JOURNALIST ◦ primary RO] ROBIN FRASER, 32, M/F A shrewd investigative journalist with the ability to destroy a career or launch someone into stardom. Has a history of major exposés and reliable pop culture predictions under their belt. Needless to say, their words hold a whole lot of power. They value truth above all else, no matter how ugly it may be and while they're privy to the manipulations and machinations of the upper echelons, they're not willing to play the game.

[THE EX BAND MEMBER ◦ primary RO] VAL PARK, 24, M/F A whirlwind of a person that has taken Hollywood by storm since their abrupt departure from your life. Ambitious with a cutting tongue, Val is persistent in their chase for fame. Tends to be reckless, hot-headed, and easily provoked with a deep need for independence and creative freedom. While they're not everyone's cup of tea, they've charmed the right people to gain entry into opportunities that you've only dreamed of. RO Routes: Ex-rivals or ex-friends (can opt to have had a crush on Val in the past). Val was in love with MC in both routes.

DEMO TBA

#fifteen minutes if #if intro #interactive fiction #romance #fame #drama

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charleslee-valentine · 7 days

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The Lost Boys name etymology:

As the leader of the group, we’ll start with David. The name David means ‘lover.’ His approach to vampirism is somewhat romantic. The ritual and the wine mixed with blood, takes on an erotic edge for example. Their lips touching the same bottle and the exchanging of fluids, and the haze that follows. His role as the leader could be violent given his power, or indifferent like Max’s way of running things- but he chooses to genuinely savor each member of his little pack. The tears he sheds for Marko are shed with love. The words he whispers to Michael, conscious or not, are endearing and soothing. Whether these bonds are more than platonic to him, or even approached in an acceptable way, he still has loving and sharing that love deeply in his nature, amplified by his powers.

Following him is Dwayne. Dwayne can mean ‘dark.’ Not just referring to his hair among the group obviously, his name could give a tiny glimpse into his character. Being less than a main character his screen time and thus his analytical depth is limited, but something about Dwayne is he can go from smiling with the group, to taking on a very stoic or cold expression fast. The ‘darkness’ inside Dwayne could be festering more than the other boys and making the whole -slightly irritating but mostly harmless teenager facade- a lot harder to keep up for him. Notable especially around Max is that stoniness. Part of his depth, it seems, is distrust for anyone outside of his boys, even his own sire. Dwayne’s edge (and weakness, actually) is his quickness to hold those dark and bitter feelings.

Marko involves some mythology to understand his meaning. The name itself stands for ‘dedicated to Mars,’ and Mars is the God of a few things, prominently war and feral nature. What this means for Marko is possibly strength and power. Of course, he is the smallest and that’s why he’s picked off first, but had the fight been between an awake Marko instead, his name hints at him possibly being the most brutal of the pack. It would make sense, that smaller stature equates to speed, in addition to the heightened vampire powers. Marko probably strikes like a feral animal. His tendency to drift to David and, in the words of Alex Winter himself, serve as something of a lap dog to him, is also possibly because of this nature. The idea being that he sacrificed some of his humanity to the brutality of vampirism and turns to David like a handler of sorts.

Finally is Paul. Maybe unexpectedly, the name means ‘humble.’ Where this personality trait can most prominently be seen is in Paul’s treatment of Star, Michael, and Laddie. He seems to be the only one to empathize with how unsettling vampirism can be and offers gentleness to each, at least in the novelization. There are also still distinctly human traits to him like his substance use, his more enthusiastic expressions, and turning on the radio, which he initiated out of the group. Even refraining from harassing (though affectionately, as we know from the deleted scene) Maria the video store worker. It seems that Paul uses being a vampire to intimidate humans and half vampires much less than the others. This makes him a branch towards humanity. Where he loses his humbleness is when he dies. He takes the time to brag about the stupidity of the Frogs and it costs him time. In his grief he gave up a trait that was so woven into him, and thus became reckless enough that he gets killed.

That’s the case with all of the boys really. Their rage and grief over Marko’s death meant letting those qualities either amplify or disappear to the point of losing themselves, and then losing the fight. In Dwayne’s case, he embraced the violence in himself and targeted Sam even when he knew it wasn’t safe because of Michael’s proximity. The ‘dark’ quality of him took over the common sense. As for David, he trusted in Michael so blindly that he was still trying to coerce him to their side. Even after Marko was gone and now the boys were dropping like flies, it was too hard for him to just stop loving someone. It only becomes clear too late, and then Michael has the upper hand and David’s the one dying.

#tlb 1987 #the lost boys #david tlb #dwayne tlb #marko tlb #paul tlb #analysis

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not-so-mundane-after-all · 2 months

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Listen

I'll tell you how it's possibly going to end (because I've seen enough catastrophising and worst case scenario thoughts on here to last me a lifetime)

Dee Bradley Baker teased that the ending is "bittersweet", didn't he? And that the way the epilogue plays out is "affecting and beautiful". That "the emotions that are in play are real, human emotions, not just one of being a family member or a friend, but also of being a father, a father to a daughter."

Bittersweet means not everything is good but not everything is bad either. Which means that the finale doesn't have to end in only tragedy. Yes, there will be hurt, we might lose someone. But the end might actually be full of hope.

And isn't Star Wars all about hope?

They're going to bring it full circle. In episode 2 of season 1 - the very beginning of the show - the Batch visits Cut and Suu and the whole episode is essentially about them teaching Hunter how to be a parent and forcing him to look at his new responsibility from a different angle. They recognize his paternal instincts immediately, they see how he is with Omega and give him a lot of advice, saying things that stay with Hunter for the entirety of the show moving forward and affect his choices and reasoning. Cut is the one who makes Hunter realize that he has to do what's best for the kid. Cut is the one who gives him the idea of leaving the soldier life behind and finding, and I quote, "a remote piece of land on a distant planet." Like Pabu! Suu warns him that kids have a tendency to find trouble. They tell him he has no idea what he's in for but they also show him how to do it right.

Hunter's only priority since then has been keeping Omega safe and away from the war, away from the Empire, settling down and giving her the normal life she deserves. A thought instilled in him by Cut, who did the exact same thing - left the war behind, settled down and put his family first. It became Hunter's sole purpose, his main character arc, becoming a father and embracing the role is pretty much all he is about.

The finale will remind us of that.

Now, we won't avoid tragedy. That's granted at this point. There will be death, there will heartbreak. Nothing will ever be the same again. But every end is a new beginning.

Maybe we'll lose Crosshair, Maybe we'll lose Wrecker. Maybe both, hopefully neither. But no matter the final outcome, the very end is going to be about Hunter and Omega. The hunt for her will be over, the target on her back might be gone but they can't go back to Pabu, they won't risk it. So Rex and Echo track down Cut. Find him on a remote piece of land on distant planet, just like he said. And they arrange everything.

I can see them landing. Hunter stepping out in civil clothes, with a bag over his shoulder. He shakes hands with Cut, Omega runs to hug the kids. The atmosphere is sad and melancholic but everyone knows it's for the best.

Maybe they move to a house next door, maybe they live nearby. Hunter puts Omega to bed, lets Batcher lay down at her feet. He sits by her side until she's asleep and then steps out onto the porch where Cut is already waiting. They share a drink and a conversation, calling back to everything they've been talking about in 1x02 and how Hunter's view of things has changed since then. Now he understands his role in Omega's life. Understands the sacrifices he had to make and knows with full certainty he would make them again.

We haven't seen or heard about Cut since his episode, so a whole show ago. To bring him back in the finale and tie it all together? End it like that, in a full circle moment? It would be perfect.

And it fits to what Dee was saying, because this kind of ending is affecting, is beautiful, and most of all, it is bittersweet. Because at last Hunter gets his wish. He gets to raise Omega away from the war, give her a normal life and a happy childhood - but at the cost of losing everything else.

This might just be wishful thinking but I really hope this is where we're headed.

#the bad batch #star wars #star wars the bad batch #bad batch #the bad batch season 3 #tbb #tbb season 3 #hunter and omega #tbb hunter #tbb omega #tbb crosshair #tbb wrecker #tbb echo

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wisted-twunderland · 11 months

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TWST boys go to Disneyland!

Heartslabyul

Ace: Is an absolute fiend on the teacups and knows which one spins the fastest (the orange diamond) and how to really get it spinning.

Deuce: Gets spun too fast on the teacups by Ace and throws up. When he feels better he enjoys being the Pilot on Smuggler's Run.

Cater: Documents the whole thing on Magicam in real time. He gets all of the classic shots, like the selfie in front of the castle, holding up the Dole Whip in front of the Tiki Room, etc.

Trey: Spends a lot of time on Main Street sampling all the different confectionaries. Also sits with Deuce after he throws up.

Riddle: Will ride the Alice in Wonderland ride and talk about all the historical inaccuracies to anyone who will listen.

Savannaclaw

Leona: He's been dragged here too many times with his nephew and made to ride all the kiddie rides, so he'd rather skip the whole thing and nap in the hotel room. But when he is inevitably dragged to the park, he enjoys the atmosphere of Adventureland and eats an unreal amount of meat skewers from Bengal Barbeque.

Ruggie: Doesn't go because it's too expensive. Nah I'm just kidding, he goes, but he definitely packs all his own food. Goes through the bakery tour and the Ghirardelli factory tour for the free bread and chocolate until he's told he can't have any more free samples.

Jack Howl: He likes Frontierland best, because it's the least crowded (and the cactus landscaping is exceptional).

Octavinelle

Azul: He's not big on rides, but he really enjoys scouring the historical showcases at the front of the park. As the owner of his own up and coming mega-conglomerate, he is eager to glean any information he can about the park and its rise to fame (and fortune).

Jade: He's very eager to get a selfie in from the yellow mushroom in Fantasyland, claiming its because of its historical significance. (Did you know it used to be a ticket booth?)

Floyd: Rides any and all of the roller coasters as many times as possible. Is not above pushing past little kids to run to the next ride.

Scarabia

Kalim: Is as excited as any kid there. Wants to see and do everything, and cries at the fireworks at the end of the day.

Jamil: Spends most of his time trying to keep up with Kalim and make sure he drinks some water once in a while. Enjoys the music and the parade more than he lets on.

Pomfiore

Vil: Enjoys the park from under a sun parasol, UV shades, and a high SPF sunscreen. He HATES that Snow White's Scary Adventure has been turned into *~*Snow White's Enchanted Wish*~*. The kids of today are WEAK.

Rook: He is hunting aiming to meet as many characters as possible and get them to sigh in his hit signature book.

Epel: Makes it his goal to sample every kind of candy apple in each of its differently decorated forms (Poor bear apple, Mickey ears apple, marshmallow apple, baby yoda apple, etc). Also a roller coaster fanatic.

Ignihyde

idia: Rides Buzz Lightyear's Astro Blaster's over and over trying to beat the all time high score (it's his). Knows where all the best targets are and can turn the cart with one hand while shooting with the other. ("This is the OG of interactive rides, even though Toy Story Mania may be more modern, this ride paved the way. At the time getting your picture taken and sending it to friends via email was unheard of but this ride blah blah blah blah...)

Ortho: Enjoys Pirates of the Carribean for its theming and "primitive robotics". Likes Great Moments with Mr. Lincoln for the same reason.

Diasomnia

Malleus: Will purchase and consume a Mickey shaped ice cream bar at every opportunity (He knows where all the ice cream carts are by the end of trip). He finds Fantasia amusing and says that the dragon is a "passable likeness".

Lillia: He's amazed at how much the park has changed since he was last here ("Star Wars Land? That area used to be a petting zoo.") Enjoys Haunted Mansion and startling Sebek in the queue.

Sebek: "We need to make sure we use our Lightning Lane at precisely 3:30, and then we must get to Goofy's Kitchen immediately after for our character dining experience, after which we must reserve our spot for the fireworks..." He's extremely concerned with getting the most out of the trip and ensuring that Malleus has a good time (Malleus doesn't care).

Silver: Enjoys the Sleeping Beauty walkthrough, as it is dark, full of vintage charm, and uncrowded. Falls asleep before the fireworks ever start.

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eldritch-thrumming · 5 months

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the duffers were heavily inspired by the cia’s secret operations called mkultra which targeted women, people of color, and poor people most heavily and completely destroyed their lives to experiment with torture tactics and “mind control” during the cold war, focusing heavily on experimental drug use and electroshock therapy. el’s mother in the show is a victim of mkultra and el is the product.

what the show fails to acknowledge and what would have been so fucking interesting for them to explore in a show abt GOVERNMENT CONSPIRACY is that mkultra was built on the intense and extensive manipulation of the american capitalist propaganda machine that instilled fear in americans of becoming victims of these very same brainwashing tactics the american government was experimenting with but at the hands of the “big bad scary communists.”

now, in the 21st century with the benefit of hindsight, we know that the american people were being manipulated and lied to by their own government abt the “dangers” of communism in an effort to manufacture consent for wars in vietnam, south america, afghanistan, etc. that allowed the us and us-backed military regimes to torture and execute millions of people associated with trade unions and leftist organizations. we killed che guevara, salvador allende, attempted assassinations on fidel castro, and facilitated the murders of millions of regular people to maintain the lie that communism is evil and a direct threat to the american people.

instead of exploring these themes they laid the groundwork for in season 1, the duffers succumbed to the pressure of the hollywood propaganda machine and the promise of continued funding and guaranteed marketing and viewership by creating characters like dr. sam owens in season 2 that allowed their audience to begin sympathizing with the us government and framing brenner as simply a “bad apple” within a system where people were just trying their best. brenner is evil and he’s a villain, but he’s no longer a representative of the us government but rather an extremist leading a covert cell of other extremists within the bureaucracy.

in doing this, the show allowed for the introduction in season three of the big bad communist boogey man in the form of the russian government/military and thus allowed stranger things to enter into a series of media products that, though seemingly unrelated & from different studios, nonetheless all work together to manufacture consent in the present-day for us wars abroad that claim to be protecting us from the perceived threat of “brainwashing,” “indoctrination,” and, in some instances, communism/threats to the capitalist machine (think specifically marvel and star wars). “the evil communists are doing this evil thing so we had no choice but to also do this evil thing” becomes the thesis of the show—the ends will eventually justify the means.

except that now it doesn’t. because to remain a part of the hollywood propaganda industry, the duffers have to sacrifice the themes they first established at the beginning of their show. they have to abandon any characters that offer a deviation from these new themes they’ve introduced. and it’s becoming apparent that the duffers lack the talent and the ability to execute complex storylines that go beyond what was introduced in the first season—perhaps they have the ability to conceive, but they lack the ability to follow through and it’s the very nature of the capitalist structure of the white male artistic genius that has now trapped them in this position—their inability to let go and let others take over the creative execution of their product will be their downfall as their series comes to a close.

#i’m not sure if this really makes a lot of sense or if what i’m trying to say is clear at all #but this is something i’ve been thinking abt since season 3 #i originally stopped watching the show halfway through season 3 because it was so clearly propaganda #and i couldn’t handle it lol #i didnt watch season 3 all the way through until i watched season 4 vol 2 for the first time #and then i did a rewatch and was hyperfixated on steve harrington so i was able to make it through that time #anyways #stranger things #stranger things meta

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howtofightwrite · 10 months

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Speaking of martial competence, do you have any examples of characters that are actually written with this in mind?

Loads. Some actually even make good on that.

So, there's different kinds of martial competence. There are characters who are proficient in combat directly, there are well written strategists, there are characters who excel at military leadership, and when they're written well, you can actuallylearn some things from them.

I'm going to give some examples, and at least one cautionary example.

For, just, raw combat prowess, I still go back to Robert E. Howard's Conan short stories. It's easy to meme on the character, especially 90 years after the fact, with the cultural persona that's grown around him, but Howard's original writing is excellent. The character would not have survived Howard's early (and, frankly, tragic) death if it was just the one note gag you might expect, if your only exposure to the character was through cultural osmosis and the films.

Howard's fight scenes were shockingly well written. To the point that it is still absolutely worth reading if you want to write a fantasy fighter.

For strategists, three characters come to mind, but only two are literary, and all are Science Fiction.

Grand Admiral Thrawn is probably one of the best villains Star Wars has ever produced, it's part of why he's one of the few characters that's migrated from the original EU to the Disney era. My personal take is, as a character, he's lost a lot over the years, but the original incarnation from the early 90s novels is a very solid model for a strategist. Particularly in how he takes time to understand his opponents while looking for potential weak points to exploit.

His practice of studying a culture's art to understand their psychology might sound a bit goofy, but the concept does have a real basis. (At least, until it metastasized into a superpower, in later adaptations of the character.) Being able to psychologically assess your foe is an incredibly valuable element of strategy, and one that you probably want to consider when you're writing a character who is supposed to be a “strategic genius.”

When writing fiction, you want to consider all of your characters as if they were people, rather than as hollow, plastic toys. And, yes, the obnoxious villain who knows exactly what your heroes will do because of authorial fiat is going to be a more compelling character than the ambulatory goldfish villain who exists as a prelude for your heroes showing off how badass you think they are.

Granted, even in Heir to the EmpireThrawn was already drawing strategic insights that strained credibility, but understanding your foe is an element of strategic thinking that is often forgotten in literature. So, even as a villain in a tie-in novel (we're not done with tie-in fiction yet), he is worth looking at. At least when written by Timothy Zhan, Thrawn was a well written character, and even if he bordered on a Mary Sue at times, he escaped a lot of that stigma by justifying his competence.

It's also probably worth mentioning in passing that he's one of the few Imperial leaders in Star Wars who isn't also criminally incompetent.

The non-literary example of a strategist would be John Sheridan from Babylon 5. Unlike Thrawn, Sheridan's main strategic focus is on situational exploitation. A little of that comes from his knowledge of enemy procedures and psychology, but at lot of it comes from a rather ruthless approach to technical limitations. An alien race is using technology that blocks human targeting systems? Set up a nuclear mine and then send out a fake distress single to lure them in. Need to deal with a significantly larger, more dangerous ship? Lure them into a gas giant and and let the planet's gravity well drag them past crush depth. Bruce Boxleitner's performance helped sell the character, but Sheridan is a really solid science fiction strategist, who really exemplifies how technical limitations can have enormous strategic considerations.

I'm not citing Sheridan as an excellent example of a leader per se,it's certainly there, but it is harder to unpack from Boxleitner's performance. It does have some good payoffs much later in the series when he starts making some orders that cause his subordinates to sit up and stop what they're doing. And that is a consistent theme even back to his introduction, but, it's a tangible consequence to an intangible cause.

The last example is a negative example, both for strategy and leadership. And, as much as it pains me to say this, at least Orson Scott Card understood that Ender was a bad leader. At least in the original novel. To be blunt, Ender is a mediocre strategist at best. His highlights in the book involve, “inventing armor,” and creative movement in micrograv. That's setting the bar exceptionally low, and while it is reasonably within the range of what you could expect from a pre-teen, that's not much of a justification.

Again, I'm not a fan of Card, and I'm reallynot recommending Ender's Gameto anyone. However, if I didn't mention it, you know there'd be a reblog going for twelve hundred words about how Andrew Wiggin is the best strategist in literature, which, yeah, no.

Do you want a goofy, tie-in fiction, literary suggestion for the best leader in sci-fi? Too bad, because I'm pretty sure Ciaphas Cain is not that person. The Ciaphas Cain novels by Sandy Mitchell are unusual as leadership recommendations, because of how much Cain internally processes the social manipulation involved in military leadership. He's not a great leader, but he is exceptionallygood at explaining to the reader how he's creating that illusion to motivate the soldiers around him. In fairness, some of that is an intrinsic character flaw, he is incredibly insecure, and desperately trying to hide that fact. And the difference between being a great leader, and effectively creating a comprehensive illusion of a great leader is: There is no difference. As a serious complement, it is one of the few times I've seen an author treat leadership as an actual skill, and not simply an extension of a character's charisma. Which is why I'm singling this one out. It might sound like a joke inclusion initially, and the books are quite funny in a Warhammer 40k kind of way, but there is quite a bit of value to be had.

-Starke

#writing advice #writing reference #writing tips #how to fight write #starke answers #Babylon 5 #Grand Admiral Thrawn #Ciaphas Cain

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wakeupthemembersofbylernation · 1 year

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It is not even that Mlvns are homophobic. I mean, many of the toxic ones are. We’ve all seen them and interacted with them and received hate anons from them. When Noah’s article officially confirming Will’s sexuality dropped during the summer, people were literally tweeting slurs and fantasizing about him being hate-crimed or dying from AIDS. (It’s probably unfair to group Mlvns in with these people, as lots of them weren’t even Mlvns, just bigoted GA members and trolls). But still. It was bleak. There’s a deep darkness within the ST fandom undeniably.

But I’m sure many Mlvns/Byler-antis are the types of people who genuinely have no problem with queer people in real life. When we call them out on their bigotry and homophobia, they get confused and say, “But I have gay friends! How am I homophobic for not liking Byler?” And they mean it 100%. They really do have gay friends. They probably consider themselves allies and yada yada.

The issue is that A) they are deeply heteronormative without realizing it, and B) they simply aren’t the target audience for the show, and as such, they don’t really understand or connect to the themes of the show. The thing is, lots of people, many Milkvans included, are simply normies. Now I love Steve as a character, so this is literally no hate to Steve, but lots of people are Steves. And people who are like Steve: popular, straight, attractive, used to dating the types of people they want, into ‘normal’ interests like sports (not that Steve is hyper into sports, but you know what I mean), likely to go down ‘normal’ paths and live fairly conventional lives like their parents, etc. are simply not the target audience for the show.

Obviously, the show centers on outcasts, nerds, queer characters, characters with disabilities, black characters, etc. Most people recognize this on some level, but they recognize it in more of a general sense like, “Of course the protagonists are nerds/outcasts, just like all the classic 80s teen protagonists. I just love how nostalgic ST is!” And they leave it at that. Because they are normies, they don’t really connect to the themes of the show other than a surface-level, power of friendship sense. They don’t see how Byler is more aligned with the show’s message than Milkvan at this point. They don’t see that the outcast status of most of the characters is more than just a throwaway personality trait… its deeply integral to the point of the show itself and closely connected to the supernatural storyline.

This is because nerd culture is somewhat mainstream now, and lots of “normies” like it too. Star Wars, Marvel, LOTR, Harry Potter, etc. These are all major parts of society and billion dollar franchises, even more so than they were in the 80s. Because of this, people don’t realize that in the context of the world of the show, they wouldn’t have been friends with the Party most likely. It is far more statistically likely that they would’ve rolled with Angela’s friend group or joined Jason’s human hunting squad. Or even if they weren’t outright bullies, it’s far more likely that they would’ve been one of the nameless background characters in Hawkins High, just kind of floating by in a conventionally comfortable existence, entirely oblivious to government lab conspiracies and alternate dimensions. The characters in ST are outcasts in a deeper, existential sense. Society is against them.

And so many people can’t relate, especially to the queer themes. They can’t even see the queer themes. Because the show is not for them. That’s why you see so many baffling takes on the show:

“Will is so whiny all the time, and I don’t like him!”

“Mike was right in the rain fight! S3 is about growing up, and Will was acting like a baby.”

“Tbh I don’t care that much about the Party dynamics. My favorite part of the show is Steve and Dustin being funny together. And my second favorite part is Hopper being a cool action hero.”

“B*lly is overhated! I mean, he’s so hot and misunderstood! He could’ve redeemed himself.”

“I don’t get Byler. It barely seems like Mike and Will are even friends.”

To be clear, it doesn’t mean they don’t enjoy the genre of the show. Being horror/sci-fi, its core fans are a smaller pool of people than, say, fans of The Office or Friends or other popular sitcoms. So the Mlvns who watched it since the beginning probably do have some avant-garde tastes in terms of genre-preferences, since lots of people wouldn’t touch horror with a ten-foot pole. But it does mean they don’t pick up on the themes of the show and the arc of the characters.

(Of course, many newer fans now are just watching it cause it’s popular, regardless of which genres they typically prefer. This opens the show up to lots of people who don’t connect to anything about the show, not just its themes but also its darker content. A lot of newer fans sound like this: “Like, I just love that Mike was in love with El from the day he found her in the woods, and it’s so cute that El is Mike’s superhero, and Eddie is so cool and badass; I wish he could’ve told Chrissy how he felt, and I’m anxiously awaiting S5 to see who Nancy chooses but I hope she chooses Steve… Stancy 4ever!” This is because Stancy is like every other conventionally attractive couple in media).

I’m rambling, but a lot of people are into Milkvan because of their expectations that “pretty boy and pretty girl go together,” and that’s all there is to it. Finn is attractive and Millie is attractive, and they play the protagonists, so of course Mike and El are endgame. Why wouldn’t they be? This is true for the girls who project themselves onto Millie and see Finn/Mike as a dream boyfriend, and it’s true for the guys who project themselves onto Finn and who would want nothing more than to have a cool, superpowered girlfriend.

This is the way of nature. In a normie worldview, there’s no deviation from this path. A lot of fans basically take The Kissing Booth/To All the Boys I Loved Before and slap a sci-fi/horror filter on it, and they think that’s what Stranger Things is. It’s a cool show where kids fight monsters, and there are normal, heterosexual romances like Mlvn to root for, and there’s a badass superhero main character at the center.

Oh, there’s a gay character too? Well, that’s weird. I mean, y’all already have Robin, but whatever. I’m not homophobic! I’m cool with Will being gay… as long as he stays over there. Oh, he’s in love with Mike? Well, that’s even weirder. Why would the writers do that? I suppose that’s fine, as long as it’s just a little crush, and as long as it doesn’t get in the way of “the main storyline” and my OTP. I’m not homophobic, I swear! I have gay friends!

And they do. And they might not actively be against LGBTQ+ people in real life. They may really be telling the truth. But because they are Steves, this is where heteronormativity comes into play and blinds them. Main couples in shows are always straight, so the cool sci-fi, monster show they love must also be. They’re fine with Kevin Kellers, but queer Mike doesn’t fit the box that they allot to gay characters. So Mike must be the straightest character of all time to fight back against “weird delusional Byler theories” that would “come out of nowhere.” It’s not that they’re actively anti-gay; it’s that they are profoundly closed-minded and have a very myopic view of sexuality/storytelling/their favorite characters/their favorite shows. This is very similar to the XO, Kitty situation and people who were upset that Kitty was ‘suddenly’ bi and had a crush on Yuri.

WHAT?! Where did this come from? I thought I was watching a normal rom-com! I was fine with the gay characters on it who were clearly televised from the beginning! But Kitty? No! Kitty’s my self-insert. How can she like girls too? It must be a phase and be “less real” than her male love interests. This isn’t Heartstopper. The same weird energy is present in the ST fandom.

Byler being semi-canon isn’t seen as confirmation of a love triangle; it’s seen as a disruption to the norm and the foregone conclusion that Mike and El will be together forever and get married and have telekinetic children because the show owes that to them for all they’ve been through. “But why is Will inserted into their scenes?” we ask them, begging them to see reason. “Idk, but he should know his place and stop being a homewrecker and go find a new boy to like. Just leave the soulmates alone. Mike has already made clear he’s straight and that Will is nothing more than a friend. He said it in the roller rink!” This is how heteronormativity works.

That’s why Byler endgame will be so important because it will shatter preconceived notions and open people’s eyes to the beautiful tapestry of humanity. And they will see that this powerful, queer, coming-of-age, love story was right there, under their noses, in their “fun sci-fi monster show” this whole time. *Mind Blown*

#byler #mike wheeler #will byers #mike wheeler i know what you are #byler endgame #stranger things 5 #anti milkvan #ST fandom analysis

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ohdeersthings · 1 year

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Out There

Neteyam x Reader, Ao'nung x Reader,

Summary: How do you tell your child the reason you fear the world now, that's where Ao'nung helps fill in the pieces.

Warning: Mentions of character death, Neteyam and Readers daughter is basically Moana from Disney, Ao'nung is stepfather, angst, depression mentions, Post Partum Depression is mentioned,

Note: Was requested from @lazyfnafvideogamesparty I hope you like it!

When you had first met Neteyam as children, you felt the universe pull you two together. Your eight year old self could remember the silly crush you had on him, merely from watching him practice and train with his father and brother.

You found the way he drew his bow back to be an art form, the way his body stood still like a statue waiting for the perfect moment before letting a breath release and the arrow go flying to hit its target dead center. You yourself were training to be a warrior, making the perfect excuse to talk to him and ask for 'tips' when really you would waste the day away laughing and goofing off other.

Neteyam never thought he had to be perfect around you, just himself. The way you would grin while flying your Ikrans together, the breeze blowing your hair back to show him the beautiful face you possessed made him go crazy. The nights you two would sneak under the stars and in the forest, whispering anything and everything to eachother.

Eywa had shown a blessing on you two when under the starry night at seventeen years old, two seedlings had drifted in front of you both. Both seeming to do a dance as they twirled around you and Neteyam, bringing eachother closer, eyes meeting in love and infatuation with one another.

That night you both had mated in front of Eywa, his family and yours happy for the both of you, knowing you two were the best Warriors the clan had to offer, you completed eachother.

However, when the war started back only a year later and forced you to flee to the ocean islands, did everything change for the worst. You and the siblings had to learn the way of water to survive, Neteyam making it bearable as you would work hard during the day but at night you would sneak off together to have a moment of peace and forget everything.

Neteyam and you had impressed some of the warriors in the water clan, showing your strength and bow skills, you were a power couple. Ao'nung would even praise you, even if he tried to play it off as, 'Average for Forest Dwelers,'.

The friendship you three had was something many longed for in their lifetime, Ao'nung and Neteyam had become like brothers during the hard times, leaning on each other in times of doubt and sorrow. You were always there to lift your mates spirits, Ao'nung feeling happy to know you and Neteyam fit eachother perfectly.

Only if it could last forever.

When you had found out you were pregnant, you couldn't wait to tell Neteyam, the grin on your face had you practically glowing. When you began to search for Neteyam, a horn had sounded, calling warriors to action as the Sky People had began another assault.

Pregnant or not, you were going to fight. Sky People weren't going to scare you away, not now, not ever.

Flying into battle, you let out a war cry as you pulled your bow back, firing arrows and taking out Sky People machines left and right. Smoke rising from the part left crashed into the sea and rocks by your hand.

Glancing to your left, you spotted your beloved firing arrows the same as you, causing a cheerful yell escape which caught his attention. You both raised a hand to signal excitement to one another, only for the world to freeze as a bullet shot through Neteyam.

A Sky Person had taken a shot at him with their last breath, your smile quickly morphing into a shock filled gape. The air couldn't escape your lungs, and you couldn't see clearly past the tears that fell rapidly down your face.

Landing your Ikran, you sprinted towards Neteyam who laid on the ground surrounded by other Na'vi. "Neteyam! MaNete!" You cried, falling to your knees beside him on the rock as he gasped for breath.

"Ma(Y/n), I'm sorry," he coughed out, body going ridged from pain and slowly losing oxygen. "No! Not like this! We have so much to do, I love you Neteyam!" You felt your voice waver as you brought his hand to your face, cradling to your cheek as your eyes strained on Neteyams beautiful yellow.

Neteyam could only stutter out one last saying, "I love you," before he suddenly lost eye focus, body going slack and his hand that was in yours going limp.

"NO!" You screamed, ears pinned back and tail whiping wild as you felt your soul break. "Neteyam!" You wailed, "Please Great Mother, not him! Not Neteyam!" You begged, Ao'nung appearing to freeze at the sight.

His best friend was gone, you now grief stricken. He could only lay a hand on your back in comfort as your screams and wails echoed up to Eywa.

Neteyam will never know his child, never know he even had one. All because of the damn Sky People and their greed.

~.~

Sixteen years had passed since that horrible day, your own vibrant life had been ripped away from you. You felt hollow inside, the only warmth you held was for your child and Ao'nung, who stepped in to help raise her.

When your daughter was born, you could only cry as she looked just like her father. Many commented that she would be a great warrior like him, but you would die before she ever saw war. You vowed to protect her, to never let her see a Sky Person or the death and turmoil that was associated with them.

"Unipey! Where are you going?" You asked, watching your daughter try and sneak off. "Mama, I'm just going for a ride, I will be back before Eclipse!" "Not today, there were some sights of Sky People, you will remain here where I can keep an eye on you!" You ordered, watching the frustration build up on her face.

"So what? I have trained, I know how to handle myself," Unipey was so tired of being treated like a child, she was one trial away from adulthood and yet you made it seem like she would break with one wrong step.

"I do not care, you will not leave this Island, go help the weavers make baskets or the healers with their herbs," Unipey pinned her ears back, frustration brimming under her side eye glare but she nodded, stomping back to the way you both had just come from.

When she disappeared from view, you let out a sign, "You're being too tough on her, you can't protect her forever," Ao'nung came up behind you, his hands coming to rest on your shoulders. You felt yourself lean back into him, looking for support.

When Unipey was born, you had fallen into a depression, Ao'nung was there everyday to help. It felt like betraying Neteyam, but Eywa had sent a sign that you both could rely on eachother. It wasn't until Unipey was almost a toddler that you allowed yourself into Ao'nungs arms every night.

"She will be fine, I need her to understand why I need her close by," you gazed up at him, feeling a rush of emotions, "she is all I have left of him. I can't lose her too," you whispered, head nuzzling into his chest as he allowed you to silently cry.

"Would you like for me to talk to her? I don't want to stress you out," his hand placed on your stomach, where you were beginning to show from another life inside. One you and Ao'nung had created.

"Please, before Great Mother doesn't stop me from snapping her teeth that she keeps barring at me," you hiccuped, feeling lost and confused with what to say to your daughter. Unipey really was like Neteyam, always head strong and knew what to do. Fearless too.

~.~

"Mama doesn't know what she's talking about, I know how to handle myself! Boys and other girls younger than me can go out on hunting parties and recon trips, but I'm stuck at home like...like a toddler!" Unipey ranted, pacing back and forth in front of the beach. Her toes just barely touching the water and foam.

"Unipey, come sit," Ao'nung appeared, taking a seat on a nearby rock and patting a spot beside him, beckoning her over. Unipey groaned, trudging through the sand and ploping herself down next to him.

"You know what your Mother does, she does-" "with love, yes Papa, you've told me, like, a hundred times," her yellow eyes couldn't roll any further back, Ao'nung silently chuckling as the face she made reminded him so much of Neteyam.

"Unipey, your Mother was once like you, always wanting to venture out and see what there was to see," Ao'nung paused for a moment, "Even your father would go-" "Why do you have to bring him into this? I don't even know him, I know of him, but i..don't know him," Unipey looked down, ears twitching in sadness.

Unipey has heard her whole life what an amazing person her father was, yet she would never get to experience that. She's heard many a tale about how both of her parents were the best warriors around, but her mother only acted like a scared guppy.

"Because he is the reason your mother protects you how she does," Ao'nung firmly stated, Unipey looking up at him with slight doubt.

"Your Mother used to fly into battle with the world on her shoulders, so free and wild. Many would yell in excitement knowing that she would be there to protect them and help guide the way to victory. Your Father was always beside her, both a view of fearlessness and ferositicy," Ao'nung couldn't help but think back to those good days, the days when you three would tear havoc in battles side by side.

"But your mother, she couldn't save your father," Ao'nung felt his tail twitch with anxiety, his eyes feeling the pressure of unshed tears. Unipey felt every muscle tense up, she had never heard that before.

"Sky People had come, your Mother had just found out about you. (Y/n) was so excited, she tried to rush to tell him but was called to fight, they saw eachother on the battle field, but the Sky People bad taken your father from before her eyes," Ao'nungs voice cracked, a small tear rolling down his face as he remembered the wails that had escaped your mouth that day.

"So you see, she can't lose you too. I think you both are wrong in your ways of going about this whole thing, but your Mother just doesn't want to go through that pain again," Ao'nung looked to Unipey who's eyes held tears, a crushed look on her face.

"Mama, is scared not of war, but to lose me?" Unipey felt her world crashing down, she had held so much anger and resentment toward her Mother, but now all she felt was regret and guilt. Regret for the days she cursed her mother to the air around her, wishing for nothing more than her mother to go away. Guilt for being selfish and not asking why.

"You both long for the thrill of battle and war, but she had experienced the rough side that you haven't yet, so not hate her for trying to keep you safe," Ao'nung brought Unipey in for a quick hug before shooing her off to you.

~.~

Unipey rubbed her hands together, peering around the corner to see her Mother packing away the fishing nets that were used for the day. "Mama?" Unipey called out, you turning to see your daughter standing with an almost scared yet shy stance. "Yes my love?" Unipey found herself drawing a blank, not knowing what to say next.

You stood, walking towards your child with a quick step, "What's wrong? If it's about earlier than-" Unipey threw her arms around you, her head tucked into your chest as she began to cry softly.

"I'm sorry Mama, I didn't know before," you brought your hands to caress her head, confusion closing your mind.

"What are you talking about? Are you hurt?" You pulled back, eyes scanning your daughters face for injuries but all you saw was a broken child needing comfort. "I didn't know about Father, about what you went through with him, I'm sorry for not listening," Unipey thought you would be upset with her, but she saw tears line your own eyes, as you brought her back in and hugging her to your body.

"No, no, it was not your fault. I never should've been so hard, I'm just terrified to lose you, war can be dangerous and it doesn't pick sides," you ran a hand through her hair, a specific bead braided in that was Neteyams. The one from when you both became mates, giving it to your child help remind you who she came from and who you two created.

"I just wanna be like Father, I've heard all these stories and I'm always compared to him, " Unipey sniffles, looking up to you from your embrace, "Please Mama, let me show that I'm my Father's Daughter,"

Ao'nung appeared behind your daughter, giving you a quirked eyebrow causing you to smile softly and nod.

"Alright, come. We will prepare for the next raid together," you took Unipeys hand, leading her to the pod your family resided in.

"What do you think Father would say if he was here?" Unipey wondered, looking to you, catching a small shift in your eyes as you thought back to your first love.

"That he's proud of you," you whispered, pressing a kiss to your daughters head.

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