okay but
Kinn telling Porsche in ep 6 to leave and start a new life doing the things he loves because he likes to see him happy and porsche walking away and coming back to kiss him
has the same energy as Pat telling Pran in ep 9 that he'll post a status saying that they broke up and that he's willing to do that for him
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If you like Mysterious Lotus Casebook, why not try The Blood of Youth? We have...
Jaded protagonist who has lost all his martial arts and claims to just be a humble member of the jianghu, lying constantly about his prestigious background and the fact he's extremely famous:
(Here he is again but dressed like a woman this time for Plot Reasons):
His new sidekick: a puppy in the form of a teenager with floofy hair. Enjoyer of food, kicker of ass:
The leader of the demon sect who gets constantly nerfed by the narrative because if he was at full power all the time there wouldn't really be much of a plot:
The three of them eating together! Bonding! Bickering!:
Other key characters include:
Woman with chronic illness:
Women getting cool action shots:
This distinctive wig worn by the Purple Guy:
A man, I swear:
One actor who's in one of the tumblr famous cdramas that will make you go 'hey, isn't that that guy from the more tumblr famous cdrama!'
This actor playing a guy in love with an older woman:
These two actors playing Bros:
... hang on this is like half the supporting cast?? well anyway if you enjoying looking at actors and going 'hmmmm i swear i've seen them before' then This is the show for you:
This boat! I'm like 75% its the same boat but its difficult to tell with the lighting:
ANYWAY the acting is great the costumes are great the wigs are great I cried for two days straight please watch the blood of youth
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Camille: I run away from home to escape arranged marriage and now I can happily live my sapphic romance with the woman of my dreams for all eternity ✨🥰
Julia: I have to commit murder in a year otherwise I'll die. Everything I have learnt in my life is a lie. I'm committing crimes and I don't know who I can trust. I've seen people die. I want to get out of here. The manager of the circus is a monster that lives in the attic
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I think the thing that really makes it so frustrating that people insist that you can write good horror without liking or reading or watching horror is that it comes from a refusal to acknowledge that horror as a genre requires skill specific to it. It's this assumption that because they've felt fear they understand it, and can therefore inflict it on their audience using whatever skills they already have. There's just one issue: not a single person on this planet has never been afraid, so it's a really easy emotion to get wrong in fiction. It's extremely easy for a portrayal of fear to come off as, for example, cheesy, or unintentionally funny, or disingenuous, or for it to just be too personal to be scary to other people. Studying how fear is written and portrayed, both effectively and ineffectively, makes you better at doing those things yourself. In order to write better horror, you have to treat horror as a genre worthy of attention and study. And I, personally, would argue that means that you have to interact with it.
One of the biggest and most important pieces of advice that I got as a writer was to read. It's hard to be a good author who doesn't read, and it's even harder to be a good genre author who doesn't interact at all with the genre that you're writing in, because you have massive gaps in your knowledge that you're not even aware of. You might not even be able to properly critique your work! You have nothing to draw from, nothing to be inspired from except things that were not made for the purpose of inciting fear-- you're fitting a square peg in a round hole and hoping it works.
The people who say no, you can write horror without having read horror, are the same people who would never say the same thing about whatever genre they like the most. On some level they're aware of how much it sucks to have someone with no experience in a genre come in with 100% conviction that they are actually the genre's savior, before coming up with something stale, bland, and full of half-baked inspirations from whatever bits and pieces of genre media they picked up through cultural osmosis, all of which they're convinced are so original because they have no idea they're drawing on any sort of larger tradition. But, because it's horror, this for some reason does not cross their minds.
The argument seems to be that you don't have to read horror to write horror. You don't have to like horror to write horror. You don't have to care about horror to write horror. It's a genre that requires zero effort, zero knowledge, zero skill you can't get elsewhere. It has no value-- but you, the person who doesn't know anything about it, you can give it value.
They don't seem to realize just how insulting that is to hear.
(Final note: queer horror and horror by POC both have rich histories, as does horror that isn't USAmerican or Western European in origin. It's a genre that is popular almost worldwide and has a lot of really excellent offerings from everywhere. Also, in addition to horror movies and novels I really recommend checking out horror short stories/anthologies, which can really show where the genre shines. Don't shy away from older horror, as well! Some of my favorite horror stories are from the 19th century.
If you love the idea of horror but have never really found anything that clicked, I guarantee that there is something out there that you will probably like, and if you want to write horror seeing the sheer breadth of what's out there will help you write better horror-- if at least to show you what you would like to see more of, or what might be missing.)
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So I heard that recently, the creator of The Backyardigans, Janice Burgess, passed away.
I loved that show and it's characters ever since I was little, still do to this day, it was creative and fun, I still love watching my favorite episodes and listening to my favorite songs.
I made a couple of doodles of the characters at least last year, so I'll try to find them (I don't remember where they are ): )
I hope she knew how her show impacted so many of us, even beyond the USA, and I hope she's resting easy.
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releasing this from the hj discord dungeon because the public populace was in agreement also i'm chronically offline on tumblr and need to fix that for my chronically online ahh
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what genres are the ex bandmates or is it too early to ask?
Like "biologically" Les and Flea are both half funk and half rock, Hed is fully rock but he was brought up in Vibe City, and Liv is half rock and half techno.
But their actual genres, as in their tastes in music, are hard to categorize. I plan to put them on their character sheets (yes the ones I have been talking about making for more than a month now) but the band as a whole is pretty much nu metal; Think late 90s/early 2000s Linkin Park, P.O.D., Korn, Static-X, Limp Bizkit, Guano Apes, bands like that :)
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Sort of a distant tangent off my post about Ashton, but I'm growing more and more suspicious of the fandom claim that there's no time for small RP moments in Campaign 3. I do think that it's been challenging to get deeper party bonding or serious conversations that aren't about the big philosophical questions they're facing, since those do take much more time; but then I think about Calamity, or Candela Obscura. I can genuinely give you at least a couple paragraphs about pretty much every relationship in the two Circles, or in the Ring of Brass. I can also point to no shortage of small moments between characters in the Mighty Nein Aeor or Vox Machina Vecna endgame episodes, which were all extremely plot-heavy and fast-paced, and D20 consistently nails character relationships in a fraction of the time.
I think it really does come down to, as Brennan Lee Mulligan always says, the character creation phase. Laying down a solid groundwork in which everyone has a detailed, rich backstory and sense of personality and relationship history (in the case of characters who knew each other prior to the start of the series) is absolutely crucial, and even in the case of characters who don't know each other before going in, a good amount of time spent in character creation ensures that it's easier for them to develop those interpersonal relationships on the fly. I know in actual play there's some degree of finding the character as you play, but there are games for which there is a very short runway, and I don't think it ever hurts to do more extensive character prep than the bare minimum. And if there are gaps, I think it also helps to go back and fill those in mid-way, away from the table - Travis clarifying Chetney's backstory being a great example that allowed the history of Chetney and Deanna to feel realized and full, despite only a few episodes.
I'll also be blunt: most of the time when people complain that there aren't moments because the plot keeps moving...they're mad about shipping. Which has always rung hollow to me. It was a common complaint in C2, that no time was taken for character relationships, despite them taking an entire half of an episode for the Beauyasha date and despite no shortage of moments for all three of the other couples (and plenty of platonic moments between friends). The issue was never a lack of time; it was that the characters they wanted to talk to each other didn't actually have the relationship in canon that the fans had dreamed up, and so, when the chips were down, they went to other people.
It takes two seconds to say something like "I hold their hand", even in the middle of plot-heavy adventuring. If someone doesn't say it, it's rarely the GM rushing them; it's the player either choosing not to do so, or not remembering to do so, and either of those is quite revealing regarding how the player feels about that relationship and where it stands in their priorities.
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the thing about romcoms is just- it's never meant to be 'is it believable?' but instead 'do you believe it?' do you believe these two characters are actually falling in love with each other??? do you believe their chemistry??? do you believe whatever obstacle is thrown in their way is legitimately something that might keep them apart for a time and not something that could be solved with one conversation?? do you believe that they believe they need to fake date for this very specific reason??? do you believe the reason why they're 'enemies' at the start, no matter how silly a misunderstanding it may be??? do you believe the grand romantic gesture fits the characters and is actually how one character would show their love to the other?? like!!!! it's about empathy and authenticity and feeling what the characters feel so strongly that even if it's a trope or a cliché it doesn't matter because you believe it
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This is a genuine question: I know you enjoy lady whump as you have some characters that are female and are whumpees. I enjoy it too, sorta. Truth is that I feel guilty.
I know it’s kinda problematic to see lady whump as taboo and immoral but I can’t help but feel like it’s wrong, I come from a country that HATES women (shocker all countries hate women but I mean mine has a huge femicide problem) and I know how stupid I sound “I can’t feel but it’s wrong” like duh it’s whump! But I honestly don’t know how to get over those feelings, it hits too close home.
My question here is did you ever got those feelings of guilt and if you did, how did you get over those?
It's understandable to feel guilty at times, especially when creating or enjoying dark content (and especially if it's something that hits close to home)
Initially, I had some reservations about lady whump, since in mainstream media, violence against women tends to be a sensationalized thing that exists for shock value or to motivate the male lead in some way
(it's worth noting that the media has a history of doing this to trans, gay, and otherwise queer characters and non-white characters as well)
Initially I was squicked out by the idea of lady whump because I was so used to seeing it through that lens (not to mention, as you've said, the real-life examples)
However, I've seen again and again that whump as a genre tends to handle that material well (with all genders, not just females). Instead of the shock value, whump focuses a lot on the emotions, how the harm affects the character being harmed, and more often than not gives that character a fulfilling recovery arc
Personally, that's what shifted my opinion on it
Even then, if it's something you're uncomfortable with, you're not at fault for avoiding or disliking it. It all comes down to personal preference, and whether you'd like to explore it more or just stay away, it's your choice, and you shouldn't need to explain yourself (/gen)
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"we're not here on some political quest" he says, in the political quest game
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just noticed almost all the "ships" I like are actually just queerplatonic relationships in a trench coat
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"I can see will appreciating all types of music genres" well I cannot. peace and love<3
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