#when your characters can avoid death through their actions but choose to die for.. some inexplicable reason | Explore Tumblr Posts and Blogs

spacexseven · 1 year

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sorry for the late reply! And to answer some of your questions in the tags, it’s actually all three. A “final girl” is a basically a trope that means a character (usually protagonist) that is “pure, feminine, and the victim” during a horror film. They’re usually a victim of chance or have a distant past connection to the killer. Be it their intelligence, connection, or simply pure luck, the final girl is able to avoid death until the end where: 1) they survive to the end and defeat their killer 2) they escape or 3) they die regardless. I was thinking of killer! yan bsd, but I was also intrigued with a victim/final girl! bsd. An example of an idea that’s currently plaguing my mind is Final Girl! Nikolai. I liked the idea of a serial killer targeting magician/or whimsical (maybe ability users) people and choosing nikolai as target. cat and mouse chase, and they end getting the drop on him (how? idk). Its kinda a slow burn horror, but regardless nikolai fights back. this is a gist and example. Tuna, i’m so sorry about throwing this ramble dump at you. 🙈 this is just an idea, nothing you actually have to do. im just happy sharing this with you - 🦄

ahahahaha....there was a lot i had to say about this, but i kept it as brief as i could because i Might...might do a series/oneshot w this au. Maybe </3 thank you for sharing this gem of an idea i am very excited to dig in nomnomnom. tagged under 'sk reader au 🐟'

gn! reader, is a serial killer & implied to have an ability that can 'collect' other abilities. can be read as a yandere reader.

cw: stalking, murder, violence

ability users are fascinating little things.

especially when they try everything in their power to stay alive. it's a wonderful sight, to see those that always stood above regular people, to see those regarded as gifted, desperately attempt to survive. there was something intoxicating about holding power above the same ability users that were feared by all.

but your interest was less in the users and more in the ability itself.

there was a lot you hoped to learn about abilities, regardless of the type. there must be a reason as to why some were sentient, why some were so much more powerful than others, why some were uncontrollable, and the best way to learn, was of course, through the ability itself. you were willing to do anything to satisfy your curiousity, even if it meant the user had to die for their abilities to join your collection.

you had fond memories with all of them; flawless made for an exhilarating fight, always a step ahead until you sunk your claws into the frightened figure of a dark-eyed ability user, rashōmon was unique, the dark mass almost besting you, but, in the end, you stood victorious over a sickly body—even if you hadn't gone after it, this was an ability that wasn't meant to survive for long, and you liked to think that it was for the best that it joined you instead of disappearing with its user. and of course, discourse on decadence was unforgettable. you remembered it belonged to some goverment agent who was hot on your trail—it was the closest anyone came to stopping you—and your most recent kill.

usually, you didn't like picking favorites. each ability was fascinating and unique in its own way, but it was undeniable that one in particular stood out to you.

the overcoat was an interesting ability. at first sight, it appeared quite simple, but you had viewed it in action too many times to know just how frightening it was. how easy it was to turn it into a lethal weapon—to reach in and twist out a limb or to drain out the blood from a vein. the seemingly unlimited potential of the ability, however, was only one of the aspects that intrigued you.

generally, you've never cared for the users as much as you did their abilities. while you enjoyed the brutal torture you made them suffer, and you liked hunting them down, they always came secondary to their abilities. you didn't care to know their names or their personal stories. despite all that, a name—nikolai gogol—had made his way on your list of targets, scrawled next to his ability.

it'd only take you a minute to identify nikolai in a sea of people.

whether he had the scar over his eye showing or hidden, whether he was wearing glasses or colored contacts, no matter what wig he wore or how ordinary he tried to look, you would immediately be able to point him out. no disguise, no false identity could hide him from you—you know this because he's tried, many times now, to fool you. but you've always known it was him, from the slightest strain of his voice when disguised, the unsettling blankness in his gaze when he looked at you, the subtle upturn of his lips when he approached you. you knew it was him from the way he titled his head when asking you a question, the way he said your name, and even the syllables he stressed when he spoke.

he approached you first as a police officer, then as a detective, a local politician, and even an assassin. You had already noted down each encounter you had with him, the details of each false identity, and what you had learned from it. it was a feat in itself that nikolai had survived so many encounters with you. perhaps it was because of your growing obsession with him,

(somehow, you always knew that your last victim would be nikolai. he'd be a fitting end for your legacy, as the ability user who had been watching you from the very start. the only ability user you could see as more than a shell for his powers. the only one who escaped you once.)

initially, you believed that nikolai followed you around for self-driven justice, to punish you for your crimes. (the policeman getup convinced you of that much), but instead of lunging at you, he watched, enraptured, as you stole the perfect crime, and he followed you closely as you stalked the user of falling camellia, doing nothing to stop you either time. and every time after that, be it walking past him in the busy streets of yokohama or meeting him as your taxi driver, nikolai had yet to try and expose your crimes and exact revenge. he never held a blade up to your throat, never used the very frightening ability of his on you.

his passivity, however, did nothing to quench your bloodthirst.

it was you who attacked him first.

you're no stranger to hunting down your prey. it was something you anticipated now, the sound of footsteps making their way around corners, the sight of shaking shoulders and trembling hands as they hid behind walls, the way fear consumed them when you finally cornered them; you relished in the hunt as much as you did the result.

nikolai doesn't make it much of a hunt. he's quick, with his coat fluttering around him. his footsteps, you remember, are light and quick, his breathing staggered as he laughed wildly. he snatches up your gun with a hand through his coat, and shoots blindly. there is despair consuming his mind, no panic climbing up his spine. his heart rate accelerates not out of fear, but out of thrill, and he looks at you with unrestrained elation. this was no hunt, nikolai wasn't hiding from you—this was a chase. just as you approached a dead end, and you think you can finally, finally, shove him into a corner, nikolai turns to smile at you one last time, before disappearing into a flurry of his coat. as you stand alone, a dark glove laid on the floor ahead of you catches your attention; his glove might have caught on a jagged end and fallen, you think. after cleaning up his mess, you silently pocket it, still haunted by that uninhibited look and that devilish grin.

nikolai is everywhere after that, taunting you.

he sits across you from the train, he takes your order in a restaurant, he applauds you from a distance, after watching you drag away yet another body, congratulating you on another successful kill.

"next time," he smiles at you, all coy and enticing, "i hope it's me."

you hope so too, but you don't let him have the pleasure of knowing that. the scowl on your blood-streaked face sends him spinning away in giggles.

it wasn't the next time, but after a few more dead bodies and many more warnings about your work are played on the news, you meet nikolai again. nikolai gogol is no easy prey, but you're not one to be bested twice. this time, you don't let him run. you're finally on top of him, blood pooling out of where your knife was stuck in his thigh, his coat ripped off him and abandoned somewhere else. it would be so easy to kill him now, so easy to watch him bleed out and claim his ability as yours, but for the first time, you hesitated on delivering the killing blow.

this time, it's not the ability you're after, is it?

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authoratmidnight · 5 months

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d, e, and k

D - A pairing you wish you liked but just can’t.

Yusei/Aki

I really really wish I could like it, it seems to be fairly popular and there's some gorgeous art of it. But I just can't. And frankly it's not helped by the fact that a stupid number of the shippers seem to rag on ships/characters that I like, makes it hard.

E - Have you added anything cracky/hilarious to your fandom? If so, what?

Well, I wrote that 'everyone's avatar turns into cats' fic for Vrains. For Iruma I wrote a 'the Misfits get a substitute teacher, assume this means Kalego-sensei is dead' fic. So I think those count.

K - What character has your favorite development arc/the best development arc?

Like, ever? Oh man. Idk about 'favourite ever' but, I do be liking the development arcs in Iruma-kun. Sabnok Sabro esp.

When we're introduced to him he is, all about strength. He WILL fight people and things that are strong to prove his strength and worthiness to the next Demon King. He picked a fight with a teacher first day, he picked a fight with a giant bird monster (and I mean, Sabro was like the size of a toenail, big). B/c clearly physical strength is all that matters.

Until he learns that, it's not. Physical strength alone does not a king make. And we see it in action several arcs later when he confronts the teacher he attacked on his first day and, apologizes. Straight up, down on his hands and knees, back and wings bared, apology.

And then in the next big arc, this further put to the test when he is once again thrust into a life and death situation and has to make a choice. Stay and fight, and probably die. or retreat.

He chooses to retreat. A complete 180 from the fight with the bird monster where he was prepared (and expecting) to die.

And he IS growing! Realizing his limitations and what he needs to change about himself if he wants to achieve his goals.

And IT GETS BETTER!

We know he has a very strained relationship with his family (or his father at least) which is why he doesn't live at home (I guess he lives in school dorms? since apparently they do have those?). But after a conversation with his 'rival' (Iruma) he decides to, actually face them. And while that confrontation goes a way that can only be described as 'badly', it's not the only thing he decides to confront.

(and look you can see him thinking about that conversation with Iruma there)

It's just, so good. I love this boy so much. If Iruma doesn't become Demon King, Sabro has my vote.

Also, can we talk about the trust and faith he has in Balam-sensei to be there for him if he has to utilize his Wicked Phase? He's been avoiding this thing for, literal years (he's only had one WP and has avoided it ever since apparently), and Balam gives him special pills to help him release it (and release it in a much more wild, much more uncontrolled state), except he hasn't had a chance to be trained yet so these are literally if a 'if you literally have no other choice' option. But Balam promises him that god forbid he does have to use them when Balam isn't around, he will be there for him!

And Sabro trusts him. (and Balam does indeed come through as promised and it's wonderful, the end of that chapter lives rent free in my head).

#merryfortune #Welcome to Demon School Iruma-kun #Mairuma #Sabnok Sabro #oops i went on for a bit about him #anyways ya'll should read/watch this series

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thewriterowl · 2 years

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A lot of people think that Luke Skywalker is a cinnamon bun and is actually really a cinnamon bun, but I want to speculate a bit. I think this is not so, because he actually looks like a cinnamon bun, but if you take the wrong step towards him, or even worse, start threatening his loved ones, he will kill in cold blood without blinking an eye and won’t even remember you in a couple of minutes . Because he went through the war, he did not have time to leave his farm and after a couple of hours he blew up the whole battle station, and I'm sure if some Imperial could get through to him and ask him not to blow up the death star, he would simply answer "you the first ones started, if not now, then you will continue to kill, sorry", he gives an account of his actions, he understands that he is the son of Darth Vader and probably all the same the son is a bit like his father. It's just that his murders are not committed without any meaning and purpose, like his father, no, he is not like Vader, he will never cause even the slightest harm to an innocent person, on the contrary, he will easily give his life if necessary. But if you go against him, then it will turn out to be a fatal mistake for you, because in most cases, Luke will simply not stand on ceremony with you and you will die.

And by the way, Din thinks it's a very sexy bonus, why it's good to be married to Luke Skywalker, because in Mandalorian culture, the main thing is to protect your spouse, but Din can't help but go crazy that his short husband is so cute, just a cupcake with sugar, but when others see him, they see Luke's not-so-cute side and it's so scary that they even try to kill themselves just to avoid falling into his hands (reference to Gideon)

The thing I love about Luke is that he is both. he looks like a cinnamon roll and is a cinnamon roll...who also happens to be able to kill you.

He is a legend. A myth. A nightmare to many, even on his side. He is a literal one-man army and (especially within Legends) seems to be just shy of being an actual god. He is protective, precise, composed, and firm when he needs to be. The man is a killer and one you do not ever want to meet if you are on the wrong side. At least, you can take comfort that he will make it mercifully swift..despite having all the power to make it not so.

It's that big thing about Luke for me. He is naturally a good person, yes, like he is a ball of sunshine and a sweetheart on his own...but he makes so many conscious choices to be a good person. He could do so much damage, ruin so many lives, he could be worse than Palpatine and succeed where he failed...but doesn't. He doesn't want to. And even if he feels the temptation of the Dark side, he chooses to not embrace it and continue to be in the Light.

Do I make him sometimes too squishy? Yeah, it's fanfiction and fun and I will continue to do so. But he is a sweetheart and super kind--it is one massive reason his character failed in the sequels because they lost that essences of who Luke is and the choices he has made all his life. Luke, without a doubt (has done so many times and will continue to do so) will always choose to be kind over any power.

Just so happens, he has both and can kick ass while also being Baby(Tm)

But yeah, his dynamic of being a terrifying warrior to lead Moff Gideon going panicked mode after two seasons of being a calm, calculating ass and ready to off-himself at the mere idea of facing Luke (despite the fact Luke wasn't interested in him at all) shows a lot of what the Empire sees in him.

He is the man who destroyed their own god, after all.

So yeah, that would be hella hot to Mandalorians.

#owl inbox #luke skywalker #dinluke

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jeweled-blue-eyes · 2 years

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am hhere seeking your wise and wonderful opinions on Derrick x og! Penelope again.

A pairing that should have been starred in a psychological horror imo.

But would Derrick have loved cha siyeon of he knew she wasn't the real Penelope. Suppose cha siyeon transmigrated into the body of a random maid and og Penelope was still alive. Who would he obsess over.

And if derrick knew that og Penelope was dead would he let her go or would he try to tell everyone.

Suppose there was a way to bring back the real Penelope at the expense of cha siyeon would he do that? even if it meant potential death at the hands of Callisto.

And why is Callisto so in love with cha siyeon. She, no offense, really doesn't have that much of a personality other than being cold and heartless or whatever. Honestly, og Penelope seemed much more of a riot. she would have been an interesting character of handled well.

If only I knew what attracted Derrick to og Penelope *sights* it confuses the heck out of me. If she didn't exist I'd say yeah sure, why not, he'd be attracted to Cha Siyeon. But his supposed love for og Penelope makes me question everything. He's probably a sicko™. I prefer not to think about it. I do think he fell for Cha Siyeon simply because she is the heroine of vadd. If she weren't the protagonist he wouldn't have cared much for her. At most I can see them have a fling or a short lived relationship, have a clean breakup and then move on from it without many afterthoughts. og! Penelope > Cha Siyeon all the way. Though I must say I don't find it likely that he'd start a relationship with his employee as he would consider it unprofessional + he looks down on commoners and thinks of them as beneath him, which would kinda rule out the possibility of Cha Siyeon ever catching feelings for him.

I don't know if he would do something like trying to bring back og Penelope at the expense of Cha Siyeon. He was too comfortable to let her die in her previous lives (at least nothing in the story indicates that he tried to save her). And during the hunting arc he tried to save some random noble lady rather than Penelope. That's why I can't be sure if he would sacrifice a random woman for Penelope when we've already seen him choose a random noble lady over someone who he believes to be Penelope.

I guess it depends how his and Penelope's relationship has developed in this AU. Losing Penelope, especially through someone else and not by his choice could make him become very desperate to retrieve her. He is a hypocrite. Derrick is the type of person who'd tell Penelope to get lost and then start anxiously looking for her when she really disappears.

It depends on how you define bringing back the real Penelope at the expense of Cha Siyeon. Would he personally murder Cha Siyeon? No, I don't think so. Unless he's really far gone. But would he pay a wizard to perform a ritual that would exchange their souls again and prefer not to think where Cha Siyeon's soul went/whether it returned safely after he had Penelpe back? Yeah, probably. If there was a risk involved that Cha Siyeon wouldn't return in one piece he would choose to ommitt to tell her about this detail when they strike the deal. He would probably treat her well in the duchy to rid himself of feelings of any potential guilt and convince himself that she'd have to accept any consequences that might befall her because she intruded in his life/family and doesn't even belong in his world. Because of her Penelope is gone. He'd try to rationalize his actions.

Risking his own life for og Penelope...that's hard to answer I think I'm gonna pass this question. I heard he risked his life for Cha Siyeon in the novels though...

I don't think he'd tell everyone. It would 1. make him sound crazy 2. his pride wouldn't allow him to admit that he made a mistake and lost another sister 3. he'd prefer to avoid "retraumatizing" his father if he really cares about him. Derrick might hope he could return things to how they were originally before anyone starts catching on that Penelope has been replaced by someone else.

#anon #answered asks

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ac-liveblogs · 2 years

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What is your interpretation of the reasoning behind Dimitri leaving Edelgard behind like that in the ending of AG?

*cracks knuckles* It's all down to how different Dimtri's character arc in Azure Gleam is to his arc in Azure Moon, and how that shapes his mental state when he goes to fight Edelgard.

I could go a lot deeper into the nuance, but to put it very bluntly - Azure Gleam's Dimitri really isn't that different to the Dimitri we met in White Clouds. He's White Clouds Dimitri with a stronger support system. Which means that Azure Gleam Dimitri is the same guilt-ridden, suicidal revenge seeker as White Clouds Dimitri.

In Azure Moon, Dimitri falls on major hard times, loses Dedue, is framed for his uncle's death, lives in the slums for four years, has an atrocious life. His desire for revenge drives him in his war against the Empire, and he slams right into a brick wall when his revenge quest leads to Fleche's attempt to avenge her brother Randolph. Dimitri's revenge quest stutters to a halt when it gets Rodrigue killed, and his conversation with Byleth afterwards leads to him questioning how important revenge for the dead vs the value of those that are still alive, and what it is that he wants to live for.

In the end, he abandons his revenge and chooses to defend the Kingdom to protect the people living there. He enters negotiations with Edelgard, and though they fall through he goes to fight her in Enbarr with at least a shred of hope that there's still a chance they can work things out. Enough to offer her his hand, at the end.

In Azure Gleam, he has no such realisation. Though he is still a just and kind king, his drive for revenge carries him throughout the story. He executes everyone involved in the Tragedy of Duscar. His motivation to fight Edelgard isn't just to protect the Kingdom - it's to ascertain her role in what happened. And he invades Adrestia because the atrocities the Empire is committing are unacceptable. He goes to Enbarr well aware that he's going to kill her.

Though I don't find much value in the "secret chapter", it does establish a few things about Dimitri and Edelgard's current dynamic in their conversation.

One, is that Dimitri finds no point in trying to figure out Edelgard's goals or reason with her. He has not reached the point he did in Azure Moon that he no longer wants her as his enemy. Two, is that Dimitri gets some solid evidence that Edelgard at least somewhat remembers their childhood together. Somewhat. And three - that despite the fact he's aware that they are going to fight to the death once this is over, Dimitri still cares about her enough to reach out his hand to her when they aren't actually enemies.

Which leads into two very different frames of mind for Dimitri in the finales -

Azure Moon: Dimitri, hoping to find peace with Edelgard but prepared to kill her if they can't, fights an Edelgard that has turned herself into a monster for her own ideals. Despite her transformation, he still finds it within himself to offer her compassion. In the end, despite wanting to avoid it, Dimitri has to kill her.

But that death was Edelgard's choice, and Dimitri accepts that. And Dimitri mourns her. He really hoped they could be close again. He optimistically wanted to work with her again - but Edelgard refused.

Azure Gleam: Dimitri goes to Enbarr to kill Edelgard - no other options. He doesn't want to save her. He doesn't think they can reach an understanding. He doesn't even want to talk to her - "too many have died for us to have a meaningful conversation". At this point, she has to die.

But unlike Azure Moon, where Edelgard willingly corrupts herself here, Edelgard has been forcibly made some form of "pure" - a child that doesn't understand what she's doing and has no control over her actions. She is Thales' brainwashed puppet, mentally a child, and Dimitri is made well aware of that.

When Edelgard looks up at him and calls him Dee, when Edelgard has at that point potentially already told him she does not remember him - at that point, I'm pretty sure Dimitri has put two and two together and realised that this isn't Edelgard the Emperor anymore; this is El, the girl he used to love.

And despite wanting to kill her, he finds himself unable to. But at the same time, he no longer has any compassion for her and has no interest in making amends, renewing their friendship or working with her. So honestly, I think he just kinda. Shuts down. He wasn't prepared for this. So he just walks away. I think he just wants nothing more to do with her at that point.

tl;dr:

Azure Moon: Dimitri doesn't want revenge anymore, wants to work with Edelgard, is forced to kill her instead. Wanted to work with her, can't, mourns her death.

Azure Gleam: Dimitri still wants revenge, is ready to kill Edelgard, finds himself unable to. Never thought he could work with her, can't deal with her not being the enemy he expected, ollies out.

For a lot of reasons I think Azure Moon's Dimitri is a more powerful and engaging character, in that he tries to have compassion even for his enemies. In Azure Gleam he absolutely does not, and his revenge crusade just kind of awkwardly grinds to a halt lmao

#ac plays fe 3hopes #i mean AG dimitri is apparently kinda hmmmming selling out the church which is #yeah Big Doubt i really don't think that would realistically happen #AG Dimitri is a GOOD king and AM Dimitri is a KIND king #i think is how i would put it

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mostlymovieswithmax · 3 years

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Movies I watched in July

Once again I’m doing my monthly round-up of movies I’ve watched. This was a good month for the cinema getting back on track and seeing new releases including the new M. Night movie, Old and James Gunn’s The Suicide Squad. Pretty sure Marvel put out a new movie also. I’m hoping that this list can help in guiding a decision about what to watch (or what to avoid) and introduce people to movies they may otherwise not have heard of or bothered to see. These short reviews are my own subjective opinions on each individual movie and maybe a more informal approach to movie criticism can help include others who are just passing through. Here is every film I watched from the 1st to the 31st of July.

Bridesmaids (2011) - 4/10

Off to a good start. I won’t say Bridesmaids is a terrible movie but I don’t think I’m exactly the target audience. As far as I know, this is a beloved comedy but I just can’t get on board with all the boring, juvenile humour; with Maya Rudolph shitting in the street, with Rose Byrne and Kristen Wiig trying to one-up each other at a toast that went on forever, with Melissa McCarthy shitting in a sink… the conflict is so done to death and makes the movie feel unspecial. I do understand the appeal of the film, especially for women in that before this movie the likelihood of seeing something like this, where women play up the more crass and gross side of comedy, was probably few and far between. But the story is very tired and while I did appreciate some moments, namely a couple of decent jokes and some of the more intimate scenes, for the most part it felt like they wanted to corner a more quiet type of line delivery in a way that was supposed to be understated but very funny so as to not rely on over the top body language or musical cues, and it ended up being super dull.

Spectre (2015) - 7/10

As far as I can tell, a lot of people don’t like this instalment of the James Bond franchise… but I really enjoyed it! I’ve really taken a shine to these Daniel Craig-era Bond movies and while I can’t say any of them are the most amazing thing, I have a lot of fun with them. The biggest problem I have with Spectre is the villain being utterly pointless and uninteresting in basically every way. The idea of every villain Bond has fought before being tied to this one organisation controlled by this one guy is ridiculous, and what makes it worse is that the villain is barely in it! There’s so much that doesn’t come together in this but as it goes, I still had a really good time. Daniel Craig holds the whole thing together; he is excellent as 007 and the main reason I’m up for each of these movies is because of him. Sam Mendes directs again after the previous instalment and for what it’s worth I do think he does a good job with some of the action set pieces and the locations. I’m so ready for No Time To Die.

Shazam (2019) - 7/10

Shazam is a genuinely fun superhero movie that doesn’t take itself seriously at all. I was having a great time throughout and while it could conform to some of the same tropes we’re used to with these kinds of movies, it still remained playful and used the character of Shazam to his fullest potential in a way that showed an understanding of just how silly the idea of a kid who can turn into an adult and shoot lightning out of his hands is.

High School Musical (2006) - 6/10

So as you may or may not know, I co-host a podcast: The Sunday Movie Marathon. It’s a film podcast and every week I get together with my other co-hosts and watch movies. For episode 38, we watched the High School Musical trilogy. This first movie blew me away. I was really surprised with just how much fun I had, and if you want to hear more of my thoughts on the film, please listen to episode 38 of the podcast.

High School Musical 2 (2007) - 4/10

We then jumped into the second and while it’s certainly not as good as its predecessor, there are still some brilliant songs that manage to top the last movie. Again, more of what I have to say can be heard on episode 38 of the podcast.

High School Musical 3: Senior Year (2008) - 3/10

Senior Year was pretty hard to get through. I don’t remember it being as bad as it was, but then I didn’t really remember it anyway. It did however have one redeeming quality, which you can discover on episode 38 of the podcast.

The Piano Teacher (2001) - 9/10

What the fuuuckkkk. The Piano Teacher is horrendously affecting and I was so upset when it ended, maybe not because it’s not what I wanted but because it’s just so fucking dour and unrelenting. This is the second Haneke movie I’ve seen (after the original Funny Games) and I’m so impressed with how well executed it is. Following a woman who teaches piano, we get a glimpse into the life she lives, how sheltered she is from living with her mother at an age where you’d reasonably expect a person to be living alone or with a partner or friends (even going so far as to be sleeping in the same bed as her), and how repressed she is sexually. It’s clear she’s never experienced any kind of sexual interaction or romantic love with another person, so she goes out of her way to take control and make that happen. The upsetting nature of it comes from just what she does in pursuit of it or as a result of her repression, and what is done to her. It is by no means a movie to recommend to your parents but The Piano Teacher offers so much in terms of the ideas it presents (and I’ll admit there seems to be a lot more going on than I think I picked up on a first go round) about women in modern society, and about the portrayal of sex and expectations of people when it comes to how that is represented in a person’s character depending on their gender. I really enjoyed this movie but it is not for the faint of heart.

Sharpay’s Fabulous Adventure (2011) - 1/10

My podcast co-hosts decided it’d be a right laugh to add Sharpay’s Fabulous Adventure to this episode and that might have been a fun idea for them because they got to watch it together, but I was just watching it alone. Just a 24-year-old man watching Sharpay’s Fabulous Adventure alone and having a miserable time, I might add. But for a short and sweet ramble on what we all thought, please listen to episode 38 of The Sunday Movie Marathon podcast.

Dr. No (1962) - 6/10

A lot of very iffy parts of this movie. A lot of discomfort arising from how black people are portrayed that really didn’t sit right with me. As far as a Bond movie goes, this first instalment in the series is one I’ve seen before and it’s not wholly engaging but it plants the seeds for the rest, with Sean Connery breathing life into the role and making an otherwise lacklustre plot bearable.

Black Widow (2021) - 6/10

I think probably the best part about Black Widow is the experience I had while watching it. It was great being back in the cinema with a couple of friends in a packed theatre. The energy was high and I’m sure for a lot of people, this is the first time they’d been to the cinema since Endgame. For what it’s worth, I did have a lot of fun with Black Widow and I’ve explained more of what I thought about the movie in episode 39 of the podcast.

The Climb (2020) - 10/10

The Climb was added to Now TV recently and I already knew I loved it, having seen it in an empty cinema theatre last year, which I had an absolute blast with. The Climb details the years of a rocky friendship told over scenes filmed as one-shots. Not only is the presentation something to gawk at, but the performances by the two leads playing these friends with a terrifically dysfunctional dynamic is truly captivating. They’re both trying to figure out their own lives and where one can come across as being rather selfish, the opposite is true in his counterpart, whom everyone loves. This is a truly funny and heartwarming movie with a lot to say about how we choose to live our lives and who we choose to be with. It’s a shame the distributors of The Climb didn’t do a very good job because if not for it being available on Now TV, it would be near impossible to watch without forking out more money than is necessary to purchase a film.

From Russia With Love (1963) - 5/10

The second Bond movie. I thought perhaps I’d change my mind on it with another watch, having seen it for the first time maybe a year ago. But no, it’s still largely boring and it treats women like absolute garbage. From Russia With Love is one of those movies I forget as I watch it, and I was trying very hard (in the middle of the day!) not to fall asleep.

The Good, The Bart, and The Loki (2021) - 1/10

I don't usually talk about the short films I watch but for this I'll make an exception. As we all should know, Disney owns The Simpsons now, through their acquisition of Fox, so, coupled with another of their properties, that being Marvel, they decided to make a six-minute animated film wherein Marvel’s Loki is stranded in Springfield. This felt as though it was a minute long due to the horrendously jarring pacing; it is a movie that feels adamant that it needs to exist, while trying as hard as it can to be over as soon as possible. It serves only to stare the audience directly in the face and say “look, characters from The Simpsons are dressed as Avengers”, shit out three credit scenes, then end before you’ve even processed the atrocity you just bore witness to.

Russian Ark (2002) - 8/10

For this next episode of the podcast, we watched a few Russian movies, starting with Russian Ark, a film shot completely in one take as the camera moves about a luxurious museum in a first-person perspective as this main character watches what is happening around him, seeing people moving about the place but unable to interact with them, guided only by another man who seems to be just slightly out of his own perception of reality. This is a tremendous feat in filmmaking and more can be heard about what I have to say in episode 39 of The Sunday Movie Marathon podcast.

Ivan’s Childhood (1962) - 7/10

For my own pick of Russian movies to discuss on the podcast, I chose the debut feature from one of my favourite directors, Andrei Tarkovsky. It’s amazing that while this is not his best film by far, Ivan’s Childhood is still such a stellar debut, jumping around in its timeline as it details a child’s experience in the second world war. Again, I do go into more depth in episode 39 of the podcast, so be sure to check that out.

Outlaw (2019) - 1/10

The third movie chosen for this marathon is apparently the fourth Russian LGBTQ+ movie ever made. I’m unsure of the ultimate goal of this movie but what seems to be clear is that it hates the LGBTQ+ community. This is perhaps the worst film we’ve discussed on the podcast to date, so listen to episode 39 to understand exactly why it’s such trash.

Almost Famous (2000) - 7/10

I too love heavy music and also studied journalism so it stands to reason that a movie about a teenager who makes his way onto a band tour, following them through America and interviewing them as they hang out and play shows is going to be a premise that resonates with me. This certainly did. I enjoyed Almost Famous a lot; this kid is living the dream and I was so along for the ride, seeing a lot of myself in what was being portrayed. That said, the story itself is at times a bit by the numbers and I really would’ve been more on board if the visual component was more interesting. For what it is, technically it’s fine enough but nothing in that department ever jumped out at me.

Minari (2021) - 8/10

It’s crazy that this didn’t get a theatrical run where I live in the UK. It feels as though I complain about film distribution all the time but I really don’t understand the process by which a movie gets no cinematic release and yet, months later will pop up on the front shelf of hmv, taking pride of place. But of course I got the blu-ray straight away. Minari has a lot to say about the immigrant experience, specifically in America as a family comes over from Korea and tries to start a business and make something of themselves. You get to see a lot of what you might not think twice about when you think about immigration: the hardship of coming from a place where you know everyone to somewhere rural and sparsely populated, having to make friends with locals and integrate within the community; the strain it can put on a family and on a marriage where this idea is presented about the importance of making it on your own in order to live and not just survive, while also taking into account why you’re doing it in the first place and the value you place on being part of a family that you decided to make because that was more important than money, than economy, than proving you were good enough to make it in a place that gave you very little advantage from the offset. This concept of the promised land, of the American dream is a construct. There are times when it’s not pretty, when you have no running water, or you’re in debt, or a family member is dying and it just feels like you’ve been dealt as bad a hand as you can get. But it is better to know you’re not facing all that alone.

Roma (2018) - 10/10

This was my recommendation for the podcast episode on Alfonso Cuarón movies. Roma is as beautiful as it is heart-wrenching and I would recommend listening to episode 40 of the podcast to find out more about my thoughts.

An American Werewolf In London (1981) - 8/10

In all fairness, London is enough to make anyone a little crazy at the best of times. An American Werewolf in London showcases some fantastically grotesque effects, akin to something like Carpenter’s The Thing, in showing the dead brought back to life and a horrifically gory transformation scene. Although the film is from the perspective of an American protagonist, directed also by an American, the depiction of British culture and climate is something I’ve not seen many films pull off quite so well, and I was pleasantly surprised at the more comedic tone the film has overall, which is something that works more in its favour than straight horror would.

The Party’s Just Beginning (2018) - 6/10

Karen Gillan’s directorial debut is… pretty good! There are a lot of ideas I like in this movie: a woman living life and through convenient circumstances, is confronted with death in many ways. Gillan obviously knows her homeland as well as she can, imbuing the whole thing with an intensely Scottish vibe (though maybe not in the same vein as something like Trainspotting) that makes it a bit more unique than a more run of the mill movie of this ilk, backed up in no small part by her own main performance. The plot itself is no great diversion from the kind of story I’m used to with these smaller movies and for something that’s trying to include messaging about transgender issues and suicide, it probably could have been handled better or done in a different way.

Solaris (1972) - 9/10

Another Tarkovsky joint, one I thought I’d revisit to see if there was indeed more to get out of it a second time. Well, it’s no surprise that yes, there was certainly more to get out of it. Solaris is a crazy trip of a movie and I would liken it to Kubrick’s 2001 in terms of how grand the scale of it feels. Yet this is a film that comes across as deeply personal, choosing to focus on a specific character as he goes to a space station to help those on board who are experiencing some kind of emotional crises, only to feel the effects of the planet, Solaris invading his own mind as it has the crew. To many, I can see this lengthy Russian sci-fi being a tad slow but my personal experience is one of deep engagement. Solaris pulls its viewer in a lot of different directions and it is always doing something unexpected in terms of where its narrative goes. There’s a lot to think about with the movie and thankfully it’s no chore to watch again.

Y Tu Mamá También (2001) - 9/10

Another recommendation for the podcast episode on Alfonso Cuarón movies. This is a very relaxed experience, following three young people as they go on a road trip, visit different places and have sex. Listen to episode 40 of The Sunday Movie Marathon podcast for more of my thoughts.

Children of Men (2006) - 10/10

My favourite Cuarón movie, one that never stops being tense as its characters are constantly moving towards the end goal. Set in a future where humans are infertile, the oldest living person is 18, and London is the last city in the world that’s still keeping it together, somewhat. This is masterclass filmmaking. Listen to episode 40 of the podcast for more insights.

Minority Report (2002) - 5/10

I’m really not the biggest fan of Spielberg… Minority Report is an interesting movie in terms of its concept of stopping crimes before they happen by way of prediction, but I just didn’t connect with the heart of it. The colouring is way too overexposed in a way that’s supposed to be eliciting a futuristic vibe but instead feels so early-2000’s in the worst way. My biggest problem with Minority Report is just how long it is, clocking in at two hours and twenty-five minutes which allows for a lot of meandering, all while never quite developing characters enough for you to care about.

Caché (2005) - 9/10

Oh god! Another Michael Haneke movie! Here we see a couple periodically sent video tapes featuring hours of footage of the outside of their house. The anxiety ratchets up and the mystery gets deeper with every minute. There’s always at least one moment in any of his films that have so far made me realise just how out of my depth I am. Caché is no exception, and I won’t spoil anything here because I think it’s better just to watch the movie and see for yourself. He is a director that wants the audience to know something and that something is never what is explicitly shown at face value; it is pressed into the fabric of the film - plainly evident, yet hidden. Caché is so stupidly clever in displaying its themes and messaging - making reference to the Siene Massacre of 1961 as well as a deeper study of colonialism - and there’s no way to change a single detail of it without risking the Jenga tower crumbling to the ground. It all works in tandem. It is passion and fury and haunting.

Coco (2017) - 7/10

Pixar had a string of around seven forgettable movies before this point so thankfully Coco emerged to show the company still had something good in them. Coco deals a lot with themes of death and legacy, remembering those who are gone in order to preserve them and while its plotting is quite basic and there are certainly moments that either drag or cannot escape the same Pixar formula, most of what the movie has to offer is a lot of fun, with creative, colourful animation and emotional beats that resonate the way they’re supposed to.

Incredibles 2 (2018) - 5/10

Oh, they almost had it! There's a lot here that could have been explored in far more interesting ways. Setting Incredibles 2 directly after the events of the first movie was not a good idea. If it had taken place five or ten years after, the characters could have been in different places in life and it would feel as though they'd actually changed and developed. But instead of trying to be a film that actually cares about its characters and the journeys they go on, a lot of the film is wrestling with the idea that Bob isn't supportive of his wife and Jack-Jack has to fight a raccoon… They have to shoehorn in a villain that in no way compares to the genius of the original. The ending of the original introduces another antagonist that gets wrapped up within this film's first ten minutes, except they don't catch him and he's never mentioned again. It's a real shame because the animation is fantastic and the acting is superb and there are great ideas sprinkled throughout. It just doesn't come together.

Toy Story 4 (2019) - 6/10

I was rather reluctant to watch Toy Story 4 because from the get-go I’m not really here for sequels being made just for the sake of it. Everyone loves Toy Story and making another one is a sure fire way to make money. This is the first time I’ve seen Toy Story 4 and for what it’s worth, I did enjoy it. The animation is immaculate and that alone feels like a huge flex from Pixar who tend to step up the game when it comes to animation in film, despite not having the best track record for films generally at this point. While it was nice to see these characters again, I found a lot of them to be side-lined (namely Buzz) in favour of a story that focuses mainly or entirely on Woody, who I just don’t like as much as in the previous movies. Generally the movie is good and decent enough but there’s no real antagonist and the plot is quite loose… it doesn’t feel as though it needed to be made from a story point of view.

Onward (2020) - 6/10

And with that I have seen every Pixar movie. And Onward is a fine one to go out on. While I don’t think it compares to the likes of earlier Pixar it’s still pretty fun. Or maybe I’m just a sucker for a medieval setting filled with bright colours and magic! Speaking of which, the animation was super and the medieval quest element is something that hooked me with the film. Again, plot-wise it does feel very familiar and I don’t know, maybe I’m past the point now of expecting Pixar to mix it up where their formula for story-telling is concerned but the movie is quite predictable. Nonetheless, while I’m not rushing back to see Onward I would hardly turn it off or refuse if someone wanted to watch it.

Old (2021) - 3/10

Oh boy! New M. Night movie dropped and my word, was it fun! For more of my thoughts on this… masterpiece (?) of a movie, please direct your attention to episode 41 of The Sunday Movie Marathon podcast.

T2 Trainspotting (2017) - 5/10

Trainspotting is perhaps one of my favourite movies and I had never bothered with the sequel, 20 years on, because the ending of that first movie is so conclusive. T2 felt more an excuse for these guys to get together again and in that, I probably would have preferred a couple of pictures on Twitter of the main cast and director, Danny Boyle having dinner or something. This is a fine movie - very arty in its presentation but meandering and dull in its story that doesn’t offer much in the way of proof that it had to exist.

Taste of Cherry (1997) - 9/10

What makes life worth living? This is a central question and theme of Taste of Cherry, and one that leaves such interpretation not only up to its central character but to the viewer as well. This film got me thinking about times in my life when I truly have had no answer to hard questions. Because it’s hard to convince people of things they are so adamantly against and harder still to rationalise what you believe if you’re not even entirely sure why you believe it in the first place. We are all of us alive and in recognising that, does that make it precious? And if indeed living is not a happy thing, why then should we fight so hard to preserve it? I felt upset as I watched this movie because I’ve been asked these kinds of questions before and it makes me feel stupid when I’m unable to answer. But the only real answer I can give is, everything. And if you can’t see the point then you’re not looking hard enough. Taste of Cherry is beautiful in its exploration of these topics and in its overall presentation, offering some of the best visuals in any movie I’ve seen - fitting for a feature with so much to say about the beauty of life - and an ending that as much pulls the rug out from under you as it does pull you out of the dark and make you realise just how lonely you’ve felt.

Bones (2001) - 2/10

Snoop Dogg is Jimmy Bones! This film is super funny but I’m not sure it’s trying to be and I really didn’t love it overall. But I do talk more in depth about it in episode 41 of the podcast.

The Duchess (2008) - 5/10

Another recommendation for the podcast. The Duchess was pretty much exactly what I thought it was going to be and there’s a lot to like about it but generally it’s a bit sparse. For more chat on the movie, listen to episode 41 of the podcast.

The Man With One Red Shoe (1985) - 1/10

This was another one for the podcast and man, was it awful. We had to watch it at 1.5x speed towards the end because it just wasn’t getting finished otherwise. To find out more, make sure to listen to episode 41 of the podcast.

The Emperor’s New Groove (2000) - 7/10

Pull the lever, Kronk! Haha! Slays me. I do quite miss this era of Disney, where the animation was hand-drawn and the stories were actually compelling and funny. The Emperor’s New Groove is vibrant, it’s got great characters and memorable moments that will forever be ingrained in the memory of culture. All in all, it’s just a solid flick that doesn’t waste time, developing the standard fall from glory type of arc but smoothly and in an entertaining way.

The Suicide Squad (2021) - 8/10

Oh, bloody hell! They actually made a good one! The Suicide Squad is not only better than the ‘Suicide Squad’ of 2016 in every way, it’s a genuinely great film! This time, James Gunn (director of Marvel’s Guardians of the Galaxy movies) is at the helm and it seems clear that Warner Bros. basically let him do what he wanted with the movie, as it doesn’t seem to bog itself down with the restrictions of a more family-friendly rating. The result of this is a far cleaner, colourful film with a clearer vision that takes from early Vietnam movies and uses that style to craft a superhero/villain movie that differentiates itself among the copious amount of existing films of the genre. The Suicide Squad wastes very little time, introducing fun, crazy characters we’ve not seen on the big screen before and isn’t worried about killing a whole bunch of them, with standouts being Elba’s Bloodsport, Melchior’s Ratcatcher 2, Stallone’s King Shark (expertly rendered with fantastic visual effects), and Robbie’s returning interpretation of Harley Quinn. A lot of Gunn’s trademark sense of humour is laced throughout and more often than not, it hits. The audience at the cinema were truly loving this movie and I’ll admit, I was right there with them. This mix of the gritty, gory and absurd is not something that should work as well as it does but the basic premise of the film is already so silly (and boy, do they know it) that it just works! Certainly one of the best DC movies since The Dark Knight and one I’d be more than happy to watch again. This is what the modern comic book movie should be: just balls to the wall fun!

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cinnamonest · 3 years

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Makoto Naegi (DR) - Yandere Profile

Me? Producing non-genshin profiles? Releasing two profiles in one day? It’s more likely than you think!

I’ll probably do my boi Hajime eventually too. I got several dangan requests so I’m gonna start with this one and do those gradually too.

Makoto is the perfect classic, traditional yandere. He fits every trope and aspect of the archetype so well, so I just had to make him a delusional, split persona type. It's a bit ooc of course but I just see him being that type to really snap and have a whole new persona underneath. Bless him. I love soft sweet boys and turning them into nasty lil obsessive gremlins. Also I couldn't decide on a setting/version of him, so I talk mostly about a normal Makoto in normal school life, but also what he'd be like during the killing game as well as a side of Mastermind Makoto bc I'm a sucker for mastermind AUs. Note, he's 18 or older in all of these, of course.

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Tws: stalking, obsessive behaviors, manipulation, nsfw mentions, mentions of permanent mutilation, voyeurism Tws: (below cut) - voyeurism mention, noncon, Makoto being awful Additional warnings: very minor spoilers for Danganronpa 1

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What are they generally like? Lucid, aware? Obsessive? How do they behave?

Bounces between lucidity and delusion. DR1 Makoto is probably largely influenced by the stress of, you know, threat of imminent death, but even outside of such a situation, he'd be a very well hidden yandere. He's just so sweet! So gentle! You can't really seem him as threatening at all, so a lot of subtle things might go unnoticed, like how touchy he can be, how his stares linger, how people seem to avoid you when he's around. However, while the yandere side isn't obvious, the crush certainly is. He's a blushing boy, will get flustered the moment you speak to him, is constantly stumbling over his words, nervously scratching the back of his head, looking all over everywhere except at you, eyes darting away.

Obsessive. It defines his yandere side. Everything is about the obsession, the worship, it's overwhelming. The desire to kidnap you is partially protective, sure, but really? He also just wants you close, he wants you all to himself, he could just be happy looking at you forever. Stalker for sure. He's a classic style stalker, one to take lots and lots of pictures. His phone is handy for the ones that need more of a... secretive approach, but for the ones that he can take safely, from a distance, or the ones of you sleeping, they look best in polaroids.

He would definitely be one to steal things, particularly clothes. Wait until you go to do your laundry, and when you're there he'll do something like pull the fire alarm, cause something to fall over, and wait for everyone else to leave or investigate before slipping in - surely you won't notice just a few pieces of clothes missing, right? Just some gym clothes you worked out in, they smell so much like you, and some underwear you won't miss. They're just cute is all. Not for any perverted purposes, nope. He'd have a shrine, too. He'd steal creepy shit like soda cans you threw away, pens you held. He'd use his phone or one of those cameras from the mono machine to get as many photos as possible, running over them late at night, going through each one and rubbing one out to every photo he can get of your soft, innocent expression.

Deceptively intelligent. It's his number one trick. He comes off as a very... average person in pretty much every way, it's literally his character trope at first, but as we know, he's actually particularly intelligent and perceptive. Most people don't realize this, though, and it gives him an advantage. He is aware that he's perceived as a bit of an innocent, naive airhead, and will utilize that perception, which allows him to get away with quite a bit by feigning ignorance or innocence.

A split personality bouncer. Classic yandere style. Sweet, innocent, happy, but if you just keep fucking pushing the limits he'll - no, forget that, it's ok, he understands :) ....THAT kind of yandere. He spends the majority of the time on the sweet side, but, especially as time goes on, can easily snap to a much meaner, darker persona, but it's not how he is the majority of the time. It's only brought out by excess stress from all of the... complication of things involving you.

Speaking of how he has all the makings of a classic yandere, delusional regarding love as well. Highly convinced that you'll love him eventually, convinced that everyone is out to take you away from him, and convinced that he knows what's best for you. Perhaps a bit surprisingly, he falls into this delusion pretty easily and quickly. He's likely got a bit of an inferiority complex given, you know, being the "normal" person among some of the best people in their fields. He likes the idea of anything that can give him a sense of importance, of value, of being needed, and he chooses to project that into your protection.

How likely are they to kidnap their darling? How quickly will they do so?

Normal schoolboy Makoto, well, he'd have to find a way. He wants to, really, the moment he meets you, but how can he do that? He lives in a dorm. If you went missing, surely they'd investigate the dorms right? He'd ultimately probably end up running away with you, finding some way to get by while he keeps you safely locked up in some tiny apartment somewhere.

As for the how, he would take a very traditional method. Ask you to meet him at a certain place and time behind the school, and you'll never see it coming, be it chloroform or a blunt object or whatever he chooses. You wouldn't suspect someone as sweet as him to ever be planning anything of the sort. He feels bad for hurting you, but it's for a greater purpose. Within minutes he'll have you stuffed in a sports bag or instrument case or something of the like, carrying you off, and no one will no where you could have gone.

Will definitely be that one that gets interviewed by the news on TV, the best friend of the poor girl that went missing, and he's all sniffly and teary while talking about how much he misses you, how he's so worried about you. He's actually a very good actor when he really, really needs to be. It's also his way of atonement, in a sense. If he can show how much he cares about you, even if it's in a situation where he's lying, it makes him feel better.

DR1 Makoto, well, he'll be virtually immediate. Don't you understand the gravity of the situation? You could DIE! He can't let that happen. You may be insistent that it's ok, that you want to all try and work together, but in his mind, you just don't understand how serious this all is. You're just too naive. The only solution is immediate action. He'll be gentle about it, probably lacing your tea or coffee with something he found laying around in the nurse's office to make you just a little bit sleepy, so dazed you won't even realize he's guiding you back to a room that isn't yours, won't even hear yourself being tied up.

If the others ask what happened to you, well, he'll say he has no idea. They'll likely assume you're simply dead. After all, if a body isn't discovered, how would there be a trial? They search and search but no one ever finds a body. How strange.

He might simply tell them you're paranoid and holed up in your room. It's ok, though, you trust him to bring you food, so they don't need to worry about you. As for the trials, well, you can't participate in those if you're unconscious, now can you?

As for MM! Makoto, well... Who's to say this isn't his way of kidnapping you? You're separated from that awful awful outside world. That's The whole point of it all, all of this was for you. To isolate you, and the game is simply to strike some fear in you, make you understand how evil and traitorous humans are. You'll never want to leave. And of course, he intends to play until there are two students left. Unfortunately for the others, the winners have already been... predetermined.

How difficult is it to escape from them? How do they keep you restrained? How do they deal with attempted escape?

Unfortunately for you, Makoto is one of those yans that is perfectly ok with your life consisting of being tied, 24/7, in one place. He'd keep you restrained at all times, with something soft of course! He doesn't want to hurt you, but it's for your own safety.

DR1 Makoto would constantly be coming back to the room to check on you, make sure you haven't left, make sure you're ok. He'd neglect all of his free time opportunities to talk to others and opt to come be with you instead.

Normal Makoto would invest in some special security measures, namely, a very special shock collar that he bought off of some sketchy site. It's made for humans! It has a lock with a code and everything. You honestly wonder why there's even a market for such a thing. It's not just light shocks, no, it has settings. It syncs to his phone, with a built in remote app, one he can push and it'll give you a nice shock of whatever level he sets it at.

However, the collar is also synched to a field of range that it will detect your location in. It's set perfectly to the boundaries of your little home. If you were to step outside the door or the window... Well, it's not going to kill you, but you'll be out cold, and he'll get a notification telling him you tried to leave. The first time, maybe, you can calm him down and convince him it was an accident, you tripped and crashed against the door and it just ever so lightly pushed you over the boundary. He'll believe it... Once.

Unfortunately, he's also one of the ones who sees no issue in permanent bodily modifications to deter you from leaving. He's not like some of the previous yans I've discussed, though, because it's not out of sadism or a lack of care for your feelings, it's a delusion thing. He'll be so sweet about it, reassure you that it's ok, it's for your own good, you're too precious and innocent and the outside world will hurt you, but this way you're safe from yourself and your own naivete. He'll be so, so careful and take such good care of you, he'll give you something strong so that you don't feel any pain at all.

He's also perfectly fine with you living in a constant drugged state, out of your mind, drowsy and completely unaware of anything in the world except him. And things are better that way - really, you can't say you're not happy, you seem so content like this. You don't complain, you don't get angry, you just giggle and smile and loll your head back and forth. You don't fight him. You just smile.

In other words, regarding escape, you might as well give up. Your only real chance is being rescued by someone else, someone who might just notice his increasingly odd behaviors, but if they believe you're dead, which he will go to great lengths to ensure you do, it's unlikely to happen. Any attempts will just be met with a sweet smile, a little laugh at how dumb you are to think that would really work, and quickly taking you back, where his demeanor might get significantly angrier once he can really let loose.

MM! Makoto is an equally unrealistic chance, the worst of all, really. It's just not happening. He'll also likely convince you, much like as the DR1 and V3 did, that the world outside is nearly destroyed, or somehow unlivable, that you're lucky to be here, and that this is the only place where you're safe.

If you try, he'll crack down on however the hell you managed to escape because... how would you even go about that? I mean, the whole environment was designed to be inescapable, and if a whole class of students couldn't find a way out, it's unlikely you will either. Any attempts will likely be dumb and unsuccessful enough that he can't even get mad, it's just amusing.

How easy are they to trick, deceive, or manipulate?

Oh, easy. We see in Chapter one of DR1 just how easily he will bend to the will of a girl he likes and nearly end up getting himself falsely accused of murder and all, so safe to say he's pretty easily manipulatable and if you're looking to survive, you can use that to your advantage. However, really, you're better off manipulating him into being a meatshield - he'll guard you 24/7 and be more than willing to die. Poor baby.

However, if he catches onto manipulation once, and it doesn't involve your safety, he'll learn pretty quick. Deep down he's a highly intelligent young man, and you may find the tables turning pretty quickly - he can easily manipulate your paranoia and mortal fear, convincing you that if you just stay with him, you'll be safe, convincing you that everyone else is out to get you, convincing you that this or that person is plotting to kill you. He's so sweet and innocent looking, you'll believe every word.

Bonus: If he were the mastermind, he'd be so deceitful and do it so well, you'd never know. An excellent actor through and through. In a way, it's not acting at all - he loves you and wants you to be safe. This is all so that you'll just understand that you need to be kept away from the outside world - you're actually perfectly safe, he's taken measures to ensure that, but you'd have no way of knowing. Even if you feel like those cameras in the rooms at night almost seem like they're staring right at you.

How lenient are they? What privileges can you have, and what will you be denied?

Very few. He'll baby you and prevent you from doing most things for yourself. He'll be one to try and keep you entertained, though, most likely get you some kind of tablet or laptop you can use to write, let you play all of his games, let you watch anything, and get you any kind of materials for any hobbies you have, provided he's deemed it non-dangerous. So, given all of that, you don't need to do anything else, right? He'll see anything more as just you pushing your limits, because you're trying to be difficult again. Complaints go in one ear and out the other.

DR1 would be the worst Makoto to have, because he can't provide you with much, and can't lock you in from the outside... so, his primary go-to is gonna be keeping you completely restrained all the time. Don't worry, though, he assures you that once you guys get out of here, he'll take you away to a much nicer place with much more to do! But for now, you'll be getting very acquainted with his ceiling, left with nothing to do but stare up at it. He'll try to be around as much as he can though, and won't leave you for too long, only leaving when necessary. And for the trials you'll just... have a little nap, so it'll feel like no time really passed at all.

Ironically, MM! Makoto gives you the most leniency. He'll make sure anything dangerous is taken away, but then, he'll let you roam the abandoned, hollow shell of the school, whenever he has to work on something, which isn't too often. Of course, this is partially because he's got an eye on you via cameras every waking moment, so really, you feel his presence even when he isn't there.

What kind of rules do they have? What kind of punishment would they use?

For a normal Makoto, he'd be one to give you a "schedule" to help you adjust. He doesn't want you getting depressed and laying in bed all day, it's bad for your health! He wants you happy and lively and that way you can have more fun together! He'll give you a list of very simple tasks to complete throughout the day. If you don't do them, that's ok, you can do them together when he comes back, but they will get done. Other than that, of course, no running away, no attacking him, and you know, just try to be a bit grateful and nice.

If you make him mad enough, he needs time to cool down, and he presumes you do, too. He's one to pull psychological things -- locking you in a dark, dark room with no light or sound for a long enough time, all alone, ignoring your cries and whimpers until he knows you've learned. But once you have, and if he sees the results have turned out as expected, he'll be sweet and affectionate when he takes you out, and tell you he's glad you see things his way now.

How do they deal with rivals, or perceived rivals? Will they get rid of them? Will they kill them themselves, or find another way?

Normal Makoto, once again, we have a very classic yandere trope. He's delusional and in love and anyone who gets in the way will suffer. He's, again, very deceptively intelligent, and he can easily commit a murder, even a string of murders, that no one would ever be able to put together, and certainly that no one would ever suspect someone like him of committing. You could say it's like a talent of his. He has no guilt or remorse, either, and no value for the lives of people who are his enemies.

DR1 Makoto, He's limited to two people, unfortunately. If he had it his way, he would kill them all. But still, that's enough to win. He'll bide his time, setting things up so that hopefully, the more intelligent students get eliminated early. He has masterful ways of pulling strings here and there, planting ideas in people's heads, off handed comments that might just inspire a killing. Once there's only idiots left, well, once two of them go missing, in the most elaborate, confusing murders in the game thus far, they'll never figure it out.

Of course, he'll certainly find a way around the rules. He'll force the mastermind to have no choice but to let you both live. Injured students can't participate in trials if they're out cold, no? So if you have some minor bone breakage, get drugged conveniently before a trial begins, you can't participate. And if you didn't participate, it would really be upsetting to everyone watching if Monokuma killed off a student who couldn't even partake in the trial. After all, they might have been able to turn it around! So really, the mastermind has to let you both live.

Or maybe, he'll convince you to do it with him. Force the weapon into your hand, force it down on the poor poor victim, holding your hand in his. Monokuma can't prove you weren't putting some exertion into it, that it was all his force. Therefore, really, you both killed them. Therefore, the trial is against you both. Therefore... He can get rid of everyone in the way, all at once, with only one left to go - the person behind that bear. And he will find a way - you'd be foolish to underestimate his capabilities. After all, you always thought he was just a lil empty headed guy, shy and flustered, and look how wrong that was.

How easy is it to make them mad? What does their anger look like?

In the "developing stages" of obsession, not so much. He's generally a sweet, easy-going guy, even a little bit of a doormat if we're being honest.

Normally, he gets pouty-mad, not violent-mad. Almost what some might call a girl-sort-of-mad, the kind where he huffs and pouts and pretends to ignore you. It's either kinda cute or infuriating, depending on your mood or how you view it. In that state, all you have to do is give him what he wants, of summon a quick apology, and he'll bounce back to normal and loving and affectionate nearly immediately. It's part of an immature streak he has.

He has his snap moments, and will snarl and growl at you with the most furious expression for just a mere moment -- but he snaps back to sweet and soft as quickly as he changed the first time. It's a little bit of mental whiplash for you, really. You almost feel like you imagined it. In those moments, though, he may just for those few instants get a little violent.

If he's truly furious, he gets quiet. It's a little terrifying, really, you know something is coming, and it's not pleasant. He'll likely just grab you and slowly, tortuously drag you to whatever he has planned. He'll give you a very grim, cold expression, and coldly tell you this is what you deserve, and if that's locking you up, he'll tell you you can come back out when you're ready to behave.

So they see you as above them, beneath them, or equal to them?

Above. He's a worshipper. He can't even believe he gets to be in your presence, even look at you, he's unworthy and it's all so overwhelming.

It... Gets annoying pretty quickly, actually. He's not gonna sit around and degrade himself all that much unlike SOME certain lucky students cough cough, but he'll constantly grovel and remind you how perfect you are. He's not good enough for you, he doesn't deserve you... a bit ironic to hear, since that certainly didn't seem to stop him from taking you away against your will, but there's a lot of hypocrisies that don't really line up with Makoto.

How determined are they for you to love them? How hard will they try to make it happen? Or are they content just having you?

Highly so, but also deluded into thinking you do pretty easily. Even if you're screaming and yelling, he just thinks you're having a bad day, throwing a tantrum. He thinks you do love him, if you're in the later stages of things. Anything that conflicts with this delusion is explainable otherwise, usually the default being that, as usual, you're just being difficult, but that's ok -- he really loves you anyway.

Bonus: Is there anything that makes them unique, in comparison to other yanderes?

Ironically, what makes him unique compared to my other yanderes is that he's more fitting for the traditional yandere type - a very cute-faced, psycho sweetheart type. He's highly prone to the classic yandere tropes and attitudes, as well as the mental and emotional instability traditionally associated with yanderes - smiling no matter what, even as he does awful things, but also snapping to a dark, angry state over the smallest things.

Guilt tripping. It's his specialty. He's so cute, so sweet, you wouldn't want to make him cry and make him sad... Would you? You're not that cruel, are you? You wouldn't throw away everything he's done for you and leave him all alone with no one... Right? He'll easily manipulate you this way, it's his specialty.

General perverseness: how sexual of a person are they? What’s their drive like? How touchy do they get? Do they have any reservations about sexuality?

The thing about those soft sweet boys that are just so innocent? Half the time they're the nastiest, horniest little pervs there are. He's sweet, he'll help you with everything you need! You're struggling to reach that shelf so he'll just put his hands on your hips and squeeze you and lift you up! But he'll stumble a bit, and when you come down you'll kinda land on him just a bit, chest pressed up against his face, and you'll be the one embarrassed - but it's ok. He says he knows you didn't mean to. And he's so sheepish and embarrassed about it himself, clearly it must have been unintentional.

And he's so innocent and kind, you know he doesn't mean to be so touchy, doesn't mean to cling to you so much, so you can brush it off. After all, he's just so nice, you wouldn't want to offend him.

Will jerk off on every single thing he has of you. Every little polaroid, every article of clothing he's stolen, every little thing. It's gross. He's gross. By the time you're kidnapped you might even find some of your clothes that went missing, and they're hard as a rock. Ew.

Like a lot of yans, will get significantly bolder once he has you all to himself. Much more touchy, much more suggestive, boldly, openly horny and just, constantly begging you to just fuck already, whining and even rutting into you if you're still in denial.

MM! Makoto will also 100% watch you get undressed through the cameras every night. Save the video feed and just watch it over and over again, taking in every little detail. Cum all over each little video, watching it drip down the screen. He can almost pretend it's actually dripping down your face, and not just the image of it.

How forceful are they? Do they care about your willingness?

I... within the first hour of your confinement you're gonna know what this boy's dick feels like. He has no restraint. He just loves you so much! Hell, you might even wake up to him just, grinding into you, jerking off to you. You're just so pretty. You can't expect him to be too restrained, you know? He's so overcome by love for you that he can't help it.

High-level delusional. Will make up every reason in the world as to why you might be rejecting. You're nervous, it's ok, he'll help you get over it. You're insecure, and he'll help you get around that too. Ultimately, in the end, you're not getting out of it, nor putting it off at all really. It'll be the first thing you do to start off your new little lifestyle.

What sort of kinks or fetishes do they have, or would they fill?

D/S dynamic

Except... in a really weird way. It's the sub without the dom. Or not really submissive at all. It's a very bizarre dynamic you'll have going on - the way he talks to you is so submissive, so sweet, constantly asking you if you feel good, constantly whimpering and making the cutest little noises, constantly worshipping you, you'd almost forget he has you tied up and is forcing you through it. He acts submissive in his own way, and yet he's completely controlling you. In fact, you're pretty certain he wouldn't actually let you top him in any way, and any attempts to do so will be met with him denying you, telling you to just let him do what he wants take care of you. His attitude and words are submissive, yet he insists on controlling you completely. It's, again, bizarre in its own way, but what isn’t bizarre with this man.

Oral fixation

A guilty one for him, with his whole service attitude and all, because he really likes to be on the receiving end of it. Cumming down your throat is fine and all, but really he's one to pull out and cum all over your face. Bonus points if you wear lip gloss to smear all over his dick, wear glasses he can get cum on, or anything that makes it feel special.

In his rare angry, more dominant moments, he can get kind of rough with it. If he's really mad at you, hearing you choke is a rather satisfying feeling.

Paizuri/Thigh fucking/outercourse

The boy's seen too much porn. Just, pleeeeeeease let him cum on your tits. Please. He begs for it over and over, doesn't matter if you tell him yours are too big or too small, he just really wants to cum on them. He just wants to feel your smooth skin on his dick you know? Maybe he can get the tip in your mouth while you do it too!

And while you're at it... Let him fuck your thighs. Please? Just hold your legs together, not hard right? There's just something about actually seeing his dick against you that makes it so nice, and so temptingly close to your holes. But if you've agreed to it as a way of preventing actual sex, it might just... accidentally go in anyway. It was just too slippery... but now, he's already fucking you so... might as well keep doing that instead.

Cockwarming/activity-sex

Our boy likes his vidya. And you know all those jokes and references to, you know, getting sucked off under the table while he plays games....? He just... really, really would like that. It's a big fantasy for him. He's probably the type of guy to be way too into league of legends dammit and he just, would love to have to try to be quiet, try to get off down your throat while trying not to alert anyone that can hear through his mic. Or just sit on his dick, it's heavenly, he'll gradually just lost control and start losing his game, before eventually cutting it off and exiting altogether in favor of rutting up into you. He likes it, but he doesn't have a whole lot of self-control to actually do it for long before giving up and just fucking you.

How do they feel about pregnancy or babies? Do they want them?

He's one of the ones that really wants it, he thinks it would be so cute, so precious, and of course the benefit of it tying you to him. He might be one to get a bit jealous, though. He likes your attention, and can be a little bit immature about it. Unfortunately, though, he's not actually aware of his own immaturity, so this can present a problem.

What kind of (nsfw) punishments would they use?

(Insert "iiiiits punishment time!" joke here)

If he's in this mode, an angry mood, his demeanor for sex changes significantly. The weird pseudo sub attitude isn't really there, it's more of a quiet neutrality, a frustrated, but calculated anger that brings out the worst in him. It's honestly frightening for you in and of itself because it's such a dark expression and rough voice and so unfamiliar that it would freak you out just to see him like that.

The go-to is impact pain. In this rare-ish mood, he can actually change pretty significantly -- normally, he'd never dream of hurting you, would feel awful if he did, and would not enjoy it in any way, but now? He kinda... feels like you deserve it, and he'll undeniably get off to it a bit. Something about watching you cry and squirm really helps alleviate the anger. He'll be soft about it later, wipe away your tears and softly murmur nice things... but he won't apologize. You deserved it. If it's that bad, then you'll just have to not do it again.

What body parts of their darling do they like the most?

A thigh boy. Let him use your lap as a pillow, and he'll be a very happy boy indeed. He likes feeling them wrapped around his hips, or his head, likes squeezing the flesh in his hands, likes running his hands up and down.

#yandere x reader #yandere danganronpa #yandere makoto #yandere naegi #tw: noncon #tw: dark content

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pi-creates · 3 years

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If tfs had multiple endings (like something like clementine dies or even aj) what kind of endings do u think would be really cool to have? Personally dam now that I think about it an aj death ending is so dam sad but so interesting at the same time 🤧🤧

I'm with you, anon - as sad as more "bad endings" can be, it is more interesting to have those options be there and exploring the consequences fully. And this is the kinda thing I really like exploring - the alternate paths and how those things can play out if you just tweak the little things. So yeah, I hope you don't mind reading, I have a lot of thoughts on this one.

As for what kinda endings I would have liked to see, I'm a fan of having a diverging point in the last episode as you leave the cave after choosing if you trust AJ, and after James' fate is set as cooperative, pissed off with you, or dead.

You exit the cave and I want your level of friendliness with your saved companion to matter - you know how the game lets you BFF or romance the characters regardless of if you're an absolute dick to them? Yeah, well, I would prefer if at this point they only came to help you out if you were nice to them - if you were a dick, then even if you are their romantic partner they don't feel more obligated to help you over the other kids that got rescued. It’s not an act of cruelty on their part, but one of basic numbers - they have several friends to look out for right now.

In that situation you're a man down and Tenn is the one to mention the bridge - you get a scene more focussed on Tenn and AJ talking and get to hear AJ's attitude change towards Tenn based on whether you trusted him more or not. It could be AJ lecturing Tenn about survival stuff and how AJ wants to teach him, or it's them being more childish and maybe talking about Science Dog - just some fluff that makes us happy to see that AJ has a friend.

The bridge plays out mostly the same, and Clem cannot avoid her leg being damaged in the fight if it's just her and Tenn on that side of the bridge - I bring this up because I would like there to be a scenario where Clem can save her leg.

In theory, I would like it if a Clem who has earned cooperation from all of her companions and James has the ability to have another person on her side. James coming up on the bridge in the herd Minnie brings? Him having a character arc where if you pushed that sometimes the peaceful option might just lead to more death? Can you just imagine for a second that he sneaks up on Minnie as she's about to swing that axe down?

So let's say you have 4 theoretical combos happening with how many characters you have on the bridge:

Clem + AJ + Tenn = Clem is injured and Tenn's fate is determined by AJ being able to convince him to let his sister go (through mutual trust between them) or if AJ fails Tenn follows Clem's lead and also feels like AJ is too young to make decisions and therefore trusts his sister's manipulation more.

Clem + AJ + Tenn + Louis or Violet = same as canon. Clem is injured, Tenn and Louis or Violet are determinant on if AJ is trusted.

Clem + AJ + Tenn + James = Clem is not injured, but James will die in his struggle with Minnie - he saves Clem from the axe moment but without the extra backup he gets shoved through the hole in the bridge and falls to the rocks, Tenn's fate is still determined by AJ being able to convince him to let his sister go.

Clem + AJ + Tenn + James + Louis or Violet = Clem is not injured, James stops the axe moment and with the added backup of Louis or Violet he doesn't fall off the bridge, and Tenn's is saved by Louis or Violet while James keeps Minnie back. Louis or Violet also get off the bridge unscathed with James’ help to throw Tenn over. BUT James will always be the last person on that side of the bridge and his fate is determinant on trusting AJ (did you trust AJ to go with his own thoughts? And does AJ still think James wants to hurt them, or have you instilled enough thoughts that people can be redeemed into his head?) - AJ may choose to shoot James if he still views him as crazy, or irredeemable for his actions in the cave - this will still be a point of contention amongst the rest of the survivors.

So going over all that, you could theoretically end up on the other side of the bridge with these combos:

Injured Clem + AJ Injured Clem + AJ + Tenn Injured Clem + AJ + Louis Injured Clem + AJ + Violet

Clem + AJ Clem + AJ + Tenn Clem + AJ + Louis + Tenn Clem + AJ + Violet + Tenn Clem + AJ + Louis+ Tenn + James Clem + AJ + Violet + Tenn + James

And now the combo you get is important, because an injured Clem can't climb that gate, she's stuck going for the cliff climb since she has more time to climb that before the walkers surround it. But an un-injured Clem has the choice of going over that gate - and that is the no bite route.

Going over the gate is shown to be a safe way home for a single kid to manage, so this group is safe at least from walker bites. There would need to be another emotional high point to this route that's the equivalent to the bite, though... and I'm not entirely sure what that would be. Maybe this is the route where that original thing where they wanted Sullene to chase Clem down as revenge for killing Yonatan can happen and Clem and AJ end up separated. I dunno... it's not the same parallel to season 1, but if they are desperate to have a similar feeling of dread maybe they can have another fake out where Clem gets shot in the scuffle and you once again switch to AJ panicking and trying to patch her up but the scene ends with Clem passing out before we know if he did a good enough job before either the rest of the group finds them, or AJ has to leave Clem and find the school. Or perhaps AJ can get shot here and we have another divergence. And to keep things sort of level with the amputation route, let’s call the shot a really bad shoulder hit that will result in that arm no longer having proper mobility even if it heals.

So in that scenario, let's say you can get 4 endings out of it. If you have friends you ended up separated from, then they're searching for you and can help with the medical emergency - they can save the person in time before they succumb to blood loss. But if you have to get to the school because you didn't have friends left here, then maybe it's too late. So Clem can die, Clem can be injured but recovering, AJ can die, or AJ can be injured but recovering. Then you have to incorporate all those other options into the "back at school" moment. So on this route, death situation of Clem or AJ also means Tenn is always dead and Clem's Saved friend is still alive, but they didn't come to find her after the cave, so you have that added tension to explore. Maybe you can even explore if AJ or Clem even wants to stay at the school if that was the end results - I dunno, it’s just an interesting thing to ponder. But the recovering situation can theoretically mean that no one died in the last episode, which is a marvel in and of itself.

But if you have an injured Clem who need to climb the cliffs, or an uninjured Clem who simply decided the cliff was a better option... this is where things get a little more complicated.

I would like it if in this scenario you could ask your Saved friend to either climb the gate (with Tenn and James if they are still alive) or come with you for the cliff. If they climb the gate, then they’re safe, it’s the same as canon and they get back to the school fine on their own. But if you ask them to stay, then there’s another option at the base of the cliff to determine the order in which the characters climb up. If it’s just you and AJ, then AJ always goes first, and everything proceeds as it does with canon.

The problem is that an injured Clem is going to climb slower, so who goes last? If Clem is last, she gets bit, there’s no avoiding it - but if her Saved friend is climbing ahead of her, now they are there for the rest of the scenario watching a bitten Clem desperately keep AJ and them safe.

But if you make your Saved friend climb last, then it’s them who gets bitten, they go through a similar drama to a bitten Clem and plead to at least try to get them back to the school so they can make sure that Clem and AJ get back safely before they go. Same drama as canon, but happening to a different character... the difference being that an unbitten Clem in this situation who didn’t trust AJ to make his own decisions... well.... this one is on her shoulders, AJ’s not going to intervene. Does Clem make the choice to give their leg the axe, or does she kill them so they don’t turn, or does she just leave them there and take AJ to safety? And does the amputation option even work for them? Ehhh, let’s just say it does, Clem can’t be the only example of that working.

But finally... for like an ultimate downer moment, what if Clem is injured and climbs slower, but also asks her Saved friend to climb the cliff last? Well, we’re in for a double whammy. In this situation, your Saved friend is getting bit, and so is Clem. You both struggle to the barn, poor AJ is trying really hard not to break down while keeping the both of you moving, and you end up in the barn with Clem and her Saved friend debating what to do. Do they lament that this isn’t how they wanted things to go, or do they thank you for making sure they don’t leave the world alone? Do they make the suggestion that AJ does about being left as walkers, together forever and all that? And again, I wish there was some divergence here.... like, I get the want to surprise the player with Clem still being alive - but does AJ still make that call when there’s more than one person telling him to just leave, or to kill them? I wish this was another moment where if you built up trust with AJ, then he saves you both by trusting in himself to try to save you, but if you didn’t trust him then he follows your word.

So on this route, you could have Clem die (potentially with the Saved friend as a witness), Clem could have her leg amputated (potentially with the Saved friend as a witness) , Clem could die with her Saved friend, Clem and her Saved friend could both be amputees, the Saved friend could die alone, or the Saved friend could have their leg amputated.

So in total, we’re looking at... 10+ endings if you want to count in all those minor variations on who was romanced, saved, betrayed, etc.

And looking at it all.... I know it’s a lot. But in a world with all the resources, time, and motivation, I would have loved to have that many variations on the ending. It makes a happy ending in a choice based game feel so much happier and deserved when we know a “bad” end was so nearby too. Plus I really like when games provide “middle of the road” endings where they are varying levels of positives and negatives and it’s up to you to interpret if such a thing is good enough to still be considered an overall good situation.

#twdg #twdg talk #twdg s4 #twdg clementine #twdg aj #twdg james #twdg tennessee #twdg tenn #twdg louis #twdg violet #twdg minerva #twdg minnie #long post #i may have gone overboard #but i really like exploring plot divergence stories #and how tiny changes could lead to drastically different results

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grailfinders · 3 years

Text

Fate and Phantasms #194

(Woops, day late, sorry)

Today on Fate and Phantasms, we’re finally done with servants with hidden true names! 🎉 Well, after this one, anyway. Today we’re bringing you the Caster of Midrash, whose true name doesn’t even have anything to do with Salem anyway! Check out her build breakdown with true name spoilers below the cut, or her character sheet over here!

Next up: A completely different character, I swear.

We’re building the Queen of Sheba, who is- wait a second. That’s not a name, that’s just a title! And it’s one that’s been subject to so much memetic mutation I’m pretty sure dropping “midrash” in her fake name is more of a hint to her identity than her true name is! What the hell!?

You know what? It’s not worth getting angry. Moolah is an Order Cleric to lay down the law for fair negotiations, as well as a The Genie Warlock for the sake of getting her genie assistants. And also being a genie, I guess.

Race and Background

As I just said, Moolah is part genie, and going by our previous rulings with the Pandevas, that means she’s an Air Genasi. This gives her +2 Constitution and +1 Dexterity, as well as Unending Breath so you can hold your breath forever, and Mingle with the Wind to cast Levitate once per long rest for free, using your constitution. Wind Genasi are probably the weakest subrace (which is really saying a lot), but being able to float around it just fun. For background, she’s... a queen... Noble. History, take Deception instead of persuasion to act like a maid for the singularity. Don’t worry, we’ll get persuasion back later.

Ability Scores

Your highest score should be in Charisma. Moolah’s good at talking people into deals they shouldn’t take. Just because negotiations are fair, doesn’t mean she isn’t better than you. After that is Wisdom. Half of business is all about finding the right mark- I mean customer. Also, wisdom is literally one of her skills. Third is her Intelligence, it was good enough to impress Solomon, but we need the other soft stats more. Your Dexterity is still above average, since you definitely aren’t wearing heavy armor. That means we have to avoid dumping Constitution at the last second, leaving Strength as your lowest stat. Just wind up anything you need to carry, easy.

Class Levels

Cleric 1: Starting off as a cleric gets you a couple goodies, like proficiency with Wisdom and Charisma saves, plus Religion and Insight. Since you’re an Order cleric, you also get proficiency with Heavy Armor (which we won’t use here), and Persuasion. Told you we’d get that back. Order clerics are also a Voice of Authority, which lets your allies help you while you help them. If you target a friend with a leveled spell, they can use their reaction to make one weapon attack against a target you choose. Don’t try to be a rules lawyer though- only one ally can attack per spell, so you can’t hit your whole team with Aid and get a free round of combat. Speaking of Spells, you have those! You can cast and prepare spells with your Wisdom, and you get Command and Heroism for free, so they’re always prepared without taking up space. You can also use spells like Bless to make allies a bit better at everything, Detect Magic to make sure nobody (else) has enchanted your courtroom, and Protection from Evil and Good so you can be on equal terms with even the most outlandish opponents. You also get some cantrips, with Guidance delivering wisdom to your allies once per casting, Thaumaturgy for some courtroom theatrics, and Mending to patch up your robes. Something tells me you’re a bit of a spendthrift.

Cleric 2: The second level of cleric isn’t quite as crowded, but it’s still pretty useful. You can now Channel Divinity once per short rest, either Turning Undead and forcing them to flee if they fail a wisdom save or delivering Order’s Demand. As an action, you can force a wisdom save on all creatures within 30′ of you, charming them for a round or until they take damage if they fail. You can also force them to drop whatever they’re holding. Negotiations tend to go more smoothly when you get rid of the claymores.

Warlock 1: Now that we can calm people down, we can get some other stuff going on the side. First level The Genie warlocks get a Genie’s Vessel, which lets you hide in it for a Bottled Respite, letting you hide out for up to 2x your proficiency hours, once per long rest. More frequently, you can unleash the Genie’s Wrath, adding your proficiency bonus in thunder damage to one attack made with an attack roll. You also get Pact Magic, which doesn’t blend with multiclassing like other spellcasters. You can either kind of slot for either kind of spell, but you don’t use the multiclassing table- just keep them separate, and use your class levels to determine the slots for each class. You also don’t prepare spells, so you’re stuck with what you get here. Grab Eldritch Blast for the prerequisite caster balls and Mage Hand for a helpful little genie to carry stuff for you. You also get Detect Good and Evil to sniff out elder gods, and Sanctuary to stop them from slapping you while you give them a verbal beatdown.

Warlock 2: Second level warlocks get Eldritch Invocations for customization, like Armor of Shadows for free mage armor so you don’t die, and Mask of Many Faces for your shapeshifting. You can also cast Distort Value now, because let’s be real, you’re going to do that whether magic helps or not.

Cleric 3: Third level clerics get second level spells, like your freebies Hold Person and Zone of Truth. Most people assume that means you can’t lie, but all zone of truth does is make it so you can’t tell untruths. There is a difference, and if you want to be a true Moolah you’ll have to learn to embrace that. You can also Aid your allies with extra HP or Enhance Ability, or use Augury to get some of that Solomonic wisdom. If you’re dealing with some angry customers, just use Calm Emotions to make them settle down.

Cleric 4: Use your first Ability Score Improvement to bump up your Wisdom for stronger spells and demands. You can also Spare the Dying, which will be helpful if you have to stabilize someone after, say, they get half-hanged.

Cleric 5: At fifth level, your turn undead turns into Destroy Undead, instantly killing all undead of CR 1/2 or lower when they fail a wisdom save. You also get third level spells, like Mass Healing Word and Slow! Those aren’t really what we’re here for though. You can also use Tongues to communicate with anyone, regardless of how far away they come from. If they’re from particularly far away, you can use Magic Circle to lock them in place during negotiations. You also get Clairvoyance for more solomon style wisdom.

Cleric 6: Sixth level clerics get a second Channel Divinity each short rest, and you become the Embodiment of the Law- now you can shorten the casting time of a leveled enchantment spell from 1 action to 1 bonus action. You can do this Wisdom Modifier times per long rest. This way you can throw up a zone of truth and keep multitasking at the same time.

Warlock 3: Bouncing back over to warlock at last, just in time for your Pact Boon! The Pact of the Chain gives you the Find Familiar spell, letting you pick special forms. None of those are genies, but an Imp is probably pretty close. You can cast touch-range spells through them, and attack using your own attack to do so. Oh hey, feign death is touch range. Just throw your familiar at Mata Hari & boom, one faked hanging. You can also make a Gust of Wind, creating a line of wind that extends 60′ away from you. Creatures that start their turn have to make a strength save or get pushed back 15 feet, and they spend double movement moving towards you in that area. You can change the direction of the wind as a bonus action.

Warlock 4: Use your next ASI to become Silver Tongued, rounding up your Charisma score and doubling your proficiency bonus with Deception. It’s a useful business tool, and also you managed to hide your identity while also starring in a play as your true identity. I know puritans are dumb, but that’s just cheeky. Also, you can use your attack action to make a contested deception check against a creature’s Insight. If you win, you don’t get opportunity attacks from them, and your own attacks have advantage. This lasts for a round, or until you use the ability again. If they win, they can’t be affected by this for an hour. You’re not really a fighter, so talking your way out of a sticky situation can be a lifesaver. Alternatively, talk your way into slapping them with tons of damage thanks to Eldritch Blast next turn, since this ability doesn’t specify weapon attacks. You can make this even easier for yourself by casting Friends for advantage on charisma checks, and you also learn Flock of Familiars to bring all your genies out to play. It’s Find Familiar, but three of them.

Warlock 5: Fifth level warlocks get third level spells, like Intellect Fortress, which will protect a creature from psychic damage, and give them advantage on soft stat saves. That’s all intelligence, wisdom, and charisma saving throws! Is some nerd tossing zones of truth left and right? No need to fear any more! You also get the invocation Voice of the Chain Master, letting you see, hear, and speak through your familiars. Genies can talk, and now so can your familiars, congrats.

Warlock 6: Sixth level genelocks get an Elemental Gift, giving you resistance to thunder damage, and you can fly for 10 minutes as a bonus action proficiency times per long rest. Finally, controlling wind can be fun! Speaking of controlling wind, your spell this level is Thunderstep, letting you escape from one spot in a burst of thunder damage and reappear in another.

Warlock 7: Seventh level warlocks get fourth level spells, and Charm Monster will help calm down even the strangest of adversaries. If you’re already fighting it’ll have advantage on its save, so you better hope Cthulhu has a bad wisdom score. You also learn how to pull yourself out of the toughest of scrapes with a Trickster’s Escape, letting you cast Freedom of Movement once per long rest for free.

Warlock 8: Odd numbers are bad, so use this ASI to round up your Dexterity and Intelligence for a higher AC and more gooder brain. You also learn how to cast Banishment to throw Cthulhu back into the void he came from once you’re done whupping him in a legal battle.

Warlock 9: Ninth level warlocks get fifth level spells, and Seeming gives you the ability to hide your physical appearance for up to 8 hours. You can alter the appearance of any number of creatures within 30 feet, but this is mostly for your benefit. Fluffy tails and ears tend to stick out in New England. You can also make more destructive genies by summoning Minions of Chaos. Once per long rest you can use a warlock slot to cast Conjure Elemental, creating a CR 5 or lower elemental of your choice for up to an hour. If you drop concentration, it sticks around for the rest of the hour, but now it’ll be hostile to you. Good thing you’re good with negotiations!

Warlock 10: At tenth level your vessel becomes a Sanctuary Vessel- you can pull up to 5 willing creatures into your Bottled Respite with you, and they can be forcibly ejected as a bonus action if you choose to do so. In addition, anyone who stays inside for at least 10 minutes gets the benefits of a short rest, and they get extra healing if they use hit dice. You can also cast Prestidigitation for little bits of casterliness, and you can Contact Other Planes for guidance. Summoning Elementals will probably go better if you give them a heads up, and contacting Mount Celestia is probably the only way you’ll be able to talk to your husband. Sorry about that, btw.

Warlock 11: Eleventh level warlocks get a Mystic Arcanum. Basically, it would be really busted if you could cast two sixth level spells per short rest, so you get one per long rest instead. Yours is Investiture of Wind, giving you yet another way to fly, defense against ranged weapons, and you can create cubes of swirling wind that deal bludgeoning damage and push large or smaller creatures around. We’ve been so focused on legal and business stuff we really haven’t had much focus on wind. To be fair though, it’s not like WotC did much better, but this spell should make up for that.

Warlock 12: Use this last ASI to bump up your Charisma for stronger spells and more convincing lies. You also get one last Invocation, and an Eldritch Mind will help you keep concentration on your spells. You don’t want to run out while flying, and you especially don’t when you’re keeping a living tornado in check.

Warlock 13: Your last spell for this build is the seventh level spell Forcecage. It’s not quite as elegant as a Magic Circle, but it’s way more likely that the giant monster you’re dealing with is coming from this dimension, so this will help trap anything that can’t teleport away.

Warlock 14: Your ultimate level grants you the ultimate power of the genelock- Limited Wish. As an action, you can use your genie’s vessel to cast any spell of 6th level or lower that can be cast in 1 action, without using any material components. You can only use this once every 1d4 long rests, but it’s very cost effective.

Pros and Cons:

Pros:

You are very good at ending fights nonlethally, either restraining enemies of all kinds or negotiating their anger away from the party. Depending on how your DM does experience points, this might make you very unpopular.

On a related note, you’re really good at avoiding combat in general, using spells like Forcecage or Gust of Wind to keep enemies away, Flying out of their reach, or using spells like Seeming and Disguise Self to hide in plain sight

Mixed casting classes are usually a bad thing, and to be fair not getting wish does hurt, but it’s also really useful here. Mixing warlock with another casting class gets you extra spell slots, but you can still recharge your biggest slots on short rests. It’s the best of both worlds.

Cons:

Your Wisdom isn’t amazing. It’s fine for most builds, but it means your cleric spells are going to be pretty easy to escape from.

Grabbing Embodiment of the Law means we’re one level shy of the fifteenth level of warlock, which would have given you an invocation that lets you cast Alter Self at will. Without that, your shapeshifting powers are in name only, which is a downer.

Even with Eldritch Mind, your Concentration is still pretty bad, and you’ll have to choose between defenses, charming enemies to bring them out of combat, or your more powerful offensive spells. Nobody ever said being a lawyer was simple.

#fgo #fate grand order #D&D 5e #DND #Caster of Midrash #Cleric #Warlock

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kinogane · 3 years

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On Ninian’s Paired Ending

Theoretically, because of what is established about Eliwood in The Binding Blade, it stands to reason that pairing anyone up with Eliwood in the prequel, The Blazing Blade, can be construed as knowingly setting them up for tragedy. There’s a small wrinkle, however, in that The Binding Blade was never released outside of Japan, while The Blazing Blade was (under the annoying title Fire Emblem), which means that in practice, non-Japanese players can’t reasonably be expected to know about Eliwood’s partner’s fate.

With one major exception: Ninian.

If you raise Eliwood and Ninian’s support level to A, the modified ending to the final chapter, “Light”, has Nils talk to Ninian and explicitly spell out, primarily to the audience, that neither of them will live long if they stay in Elibe. Despite this, sensing his sister’s wish to stay with Eliwood, Nils entrusts Ninian’s shorter life and happiness to Eliwood and says goodbye as he heads through the gate to live a long life, never to be seen again.

Now, granted, what exactly Nils means by “short” and “long” isn’t necessarily clear just in the context of this scene. Since it’s established that dragons live for millennia, you could reasonably interpet “short” as “short by dragon standards”, which could be still be very long by human standards. This read doesn’t hold up particularly well given further context, but just in the scope of what is presented in The Blazing Blade, it’s not patently ridiculous.

But that interpretation only deflects from the real tension at play. From Ninian’s perspective, she is trading away a long, happy life in another world with her brother for a significantly shorter, but potentially happier(?) life in Elibe with Eliwood. Whatever “short” might mean by human standards (including the player), it’s definitely short by Ninian’s standards.

From an in-universe perspective, there’s no actual tension from this decision. Nothing in the text suggests that Ninian is making this choice out of anything but her own free will. In fact, Ninian was fully ready to leave alongside Nils and was saying goodbye to Eliwood, only stopping when Nils chimes in and essentially give her and Eliwood his blessing to stay.

The tension arises when viewing all of this from a meta perspective; namely, that the writers saw fit to make this Ninian’s fate. Even as someone who likes the pairing and likes the way it plays out, because it’s effectively setting an angst time bomb, I’d be lying if I said this narrative beat felt... questionable. Like, Ninian is a character developed enough to have an identity outside of being one of Eliwood’s love interests (see also: her relationship with Nils, her other supports with Hawkeye and Florina), but making her final major act of agency be consigning herself to a brief life with Eliwood doesn’t exactly instill confidence that she actually is more than Eliwood’s love interest.

None of this, on its own, is all that noteworthy. What is noteworthy, however, is that everything I just mentioned is contingent entirely on raising Eliwood and Ninian’s support level to A. Since Ninian is only available for deployment (and, by extension, for developing supports) for seven or eight out of over thirty chapters, and Eliwood must not have more than two support conversations with other characters, this is actually quite difficult to do intentionally, let alone accidentally. If Eliwood and Ninian do not have an A-Support, then Ninian leaves with Nils as she intended to, and quite likely lives a long and happy life with her brother.

As such, knowledge of this ending imposes a special dilemma on players who do like Eliwood and Ninian together. Do you manifest their pairing in your game, etching their union into the personal canon of your save while also ostensibly dooming Ninian to a simultaneously canonical early death? Or do you instead leave them unpaired, saving Ninian in the personal canon of your save while avoiding leaving any canonical trace that the two could even be happy together and settling for other, external ways to express your preference?

I’d wager some people don’t actually see this as a dilemma, since it’s contingent on placing what they would see as undue focus on canon, and all that matters is what is expressed to the outside world, to others, which most commonly takes the form of fanwork. Whether or not the ending is actually achieved, the shackles of canon can only weigh down those that respect it, and it’s trivially easily to pick and choose as needed. What’s the issue?

And while I am ultimately of that mindset, I also think it is useful to at least sometimes take canon as it is and properly think through the implications, however inconvenient or unpleasant they might be. Canon, after all, is only what is assumed to be the common ground for all participants, so it’s at least worth thinking about how things would have to play out canonically, if discussing works of fiction with other people is something to be valued.

I bring this up as someone who’s been sitting on an Eliwood/Ninian fic that tries to explore how Ninian (and to a lesser extent, Eliwood) would go about living in the time between The Blazing Blade and The Binding Blade, with the knowledge that she’s not long for the world perpetually lingering over the two. It’s something I’ve been thinking about ever since I learned about the way the pairing plays out in The Blazing Blade for the reasons highlighted above. Doomed relationships are nothing new in video games, but this specific kind of doomed relationship, where actualizing it necessarily brings about an otherwise avoidable death, is considerably rarer.

It’s not all that surprising that I personally would take to it, since it’s an obvious wellspring of angst, but it’s one that requires some legwork to really hit. It’s one thing to die, mourning for a potential that was never realized; it’s another (and in my opinion, more gutwrenching) thing to actually realize that potential then fade away, believing wholeheartedly that it was all worth it in the end.

Canonically speaking, if Eliwood and Ninian were to be together, it could only ever be for a few years. And through her actions, we, as an audience, are to believe that spending a few years with her beloved Eliwood would make Ninian happier than spending many years amongst her kind in another land would.

And as someone who on some level wants the two to be together, I feel at least some obligation to try to imagine a life where that holds true, in my own small way, even if such a life is bound to end in tears.

#ninian #eliwood #fe7 #blazing blade #the blazing blade #fire emblem the blazing blade #elinini #angst #fanfiction #fanfic #canon

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inky-duchess · 4 years

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Things Writers can learn from Scream

The Scream Franchise though it does have its flaws is actually one of my favourite film sagas. Wes Craven's features have taught teenagers around the world how to avoid slaughter from a masked fiend but as writers what can we learn from the master of horror himself?

Being Meta

Meta is the termed coined for when a particular work takes an opportunity to comment on its genre. Scream is a whole film that spends its entire run poking fun at the horror genre itself. The characters lampshade clichés (Randy has this role over the main trilogy), insult their foils in similar works (Sidney roasting all other final girls as big breasted bimbos for example) and the whole work is unafraid to really poke fun at itself. The comments on the genre, characters and story itself are refreshing but meta references are like salt, too much spoils any dish. Though the concept of Scream is a meta commentary on the horror genre as a whole, the films know when to quit. There is no point beating the audience over the head with commentary. If your story is a journey, any meta reference is a treat of some McDonald's. If you as a writer, chooses to comment on the genre you're currently writing or want to make comment on real world issues, there is nobody stopping you but coose your battles.

Genre Rules

So Scream runs on a very simple formula. Each film follow a series of rules, lampshading that very horror film/ trilogy + reboot does indeed follow formulas. For example- Rules to succesfully survive a horror movie: Never have sex (virgins usually survive these situations). Never drink or do drugs. You will nearly always die if you say "I'll be right back", "Hello?" or "Who's there?". Sequels- The body count (or volume of action) is always bigger. The death scenes (plot points) are always much more elaborate. Never assume the Killer/villain is defeated. The final chapter of a trilogy- The Killer (antagonist) will be more difficult to defeat. Anyone can die (the stakes will go up). The past will bite you in the ass (the past will catch up with a character or prove to be the undoing of the antagonist). Remakes- Don't fuck with the original. As writers, we have to face the truth- all genres have rules and expectations. Don't clock yourself for being unoriginal if your WIP falls into a category. But that doesn't mean we are constrain. You have rules in the genre but that doesn't mean you can't bend them. Sidney has sex in the first film, Randy drinks at the party, Gale says "I'll be back", even Joel the camera guy lampshading that diverse characters don't often make it through to the climax. The audience expects them to die and they are spared, which is a refreshing turn of events.

Red Herring

Scream is also a whodunit at heart. Ghostface is a persona taken on by many antagonists over the four films. Most of the films keep up the suspense by teasing characters as the possible killer. Red herrings is a literary trick devised to mislead the audience and sometimes characters from deducing the truth too easily. In the first film, we are given more than our fair share of red herrings. The most masterful red herring is Billy Loomis. The film makes a hard go of planting the idea that he is the killer: a phone falls out of his pocket after Ghostface has chased Sidney around the house, a tendency appear when Ghostface has suddenly vanished from a crime scene, and acts so creepy, that the audience assumes he isn't actually the killer and the writers are trying to distract us. It all comes to a head when Ghostface stabs him during the final bloodbath right after Sidney plants one last seed of doubt in our heads. While Sidney runs around trying not to die, the audience and no doubt Sidney, feels bad for doubting Billy. But in a twist, he has faked his death and is one of two killers. Multiple characters over the franchise are used as red herrings: the overzealous blade happy Principal Himbry, Dewey who is nearly always absent when Ghostface calls, Derek who is a red Herring by default because we naturally suspect the boyfriend after Billy, Kincaid's knowledge of horror and his popping up odd times, Deputy Judy for her creepy behavior and knowledge of the prior crimes, Billy-Loomis-expy Trevor in Scream 4. Make the audience look left while you hit them from the right.

Pov trick Shots

So I've spoken about how much I love multiple POVs and all the tricks you can play with them. And Scream 2 provides the best example. All throughout the film, reporters gather about our characters trying to get interviews. Gale and Cotton are both approached by Debbie Salt, a seemingly nondescript background character who is likely there to get killed for entertainment value. Then comes the climax and she strides into view carrying a gun. The audience and Fake don't understand at first but Sidney sure does and she would, as Debbie Salt is Mrs. Loomis. Sid could recognise Mrs Loomis despite her lost weight (Gale only clicks after the fact) but Sidney never meets Mrs Loomis until the end of the film. Had she met her before or stumbled across her, the film would be over in seconds most likely.

Foreshadowing

Foreshadowing is when the events of a story are lampshades before they happen. Scream is one of the top works that does this well. On the topic of Mrs Loomis, she is foreshadowed so heavily that it almost is laughable when you rewatch it: Randy says that the killer could be somebody other than a white male citing Mrs Vorhees as his prime example (Mrs Loomis is the first Ghostface's mom), Randy is then rather savagely slain in a frenzied attack in broad daylight after badmouthing Billy and then she even foreshadows her own identity by claiming before other reporters that the new Ghostface could be from Woodsboro. In Scream 3, Randy's sister - who we didn't know existed- suddenly shows up with all the answers foreshadowing the reveal that Roman is Sidney's half brother and holds the answers to why all the killings happened. In Scream, Randy jokingly tells Stu that he'll see him in the kitchen with a knife after flaunting the 'I'll be right back' rule - and Stu ends up there, wielding a knife.

Characters

The thing with franchises like this, is that they often bring in new characters to surround the main character as they go through their travails. In the first Scream, Sidney has Tatum, Stu, Billy and Randy as friends. We see them interact with Sidney and other characters, they have personalities and their deaths actually impact us. Each of these characters shine on their own though Tatum is perhaps the flattest of the first group of friends but her rapport with Sidney and Dewey saves her and makes her death impactful. The background characters of Scream 2, we're introduced to Hallie, Derek and Mikey. Mikey did not have enough screen time for the audience to attach themselves to, he's merely as Randy puts it "the creepy film student". Hallie can only be seen around Sidney and does little except support Sidney. Derek does venture out of his supporting role, with having a goal (winning Sidney's trust), having a personality (his humour with his song) and being seen without Sidney (when the frat kidnap him). In Scream 4, almost every supporting character is ridiculously clichéd. You have the douchey guy (Trevor), the nerd (Robbie/Charlie), the edgy cool girl (Kirby), the pretty one (Olivia). The only one who makes any sort of impact is Kirby for showing us some personality and her death is actually hurtful. If you're going to introduce new characters to a story, they cannot be statuesque. They are people too. They need drive, personalities, lives outside the MC's life, goals of their own and should be seen acting as independent entities if they are to be taken seriously as characters.

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fireflysdndcorner · 4 years

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Homebrew “Race”: Ghost-Possessed Human

“I’ve seen people possessed before, but this was odd. He let it take control. The ghost in his body flipped through a book, and cast dispel magic on the darkness before them. After it was done, it let him return into himself. He was tired, yes, but it allowed him back into control. What kind of ghost does that? What kind of person lets a ghost do that?” - Rivanna Eclum, townsfolk

Welcome to spooky month! I’ve been working on a ghost-possessed human character... (so that I can effectively play two characters at once) I thought I should share what I’ve been working on since we’ve figured out our mostly finalized version. It just needs some play testing. Without further ado, the ‘race’ details are under the cut!

“Race” Details

Second Life

You will have two character sheets of equal level. Roll two Full stats, assign as if two characters. The Race for your Human is a Variant Human without the Ability Score Increase (plus the additional features you gain from this race), the Race for your Ghost is set as the following. You only have access to one set of class features determined by who is in charge of the body at the time.

The Ghost’s hit points are Fixed according to their Class Hit Point Average + Constitution Modifier + level. Once you assign the sets, you will use the Human’s Constitution, Strength and Dexterity for the Ghost’s sheet.

Physical and Elemental damage goes to Human half’s hit points. Necrotic, Radiant and Psychic goes to Ghost half’s hit points.

Failing a saving throw on Destroy Undead automatically detracts your Ghostly Hit Points. During low levels (1-6), the Ghost is unconscious and hit points auto goes to 0. If your ghost half is reduced to 0 hit points, the ghost must make (un)death saving throws. Mid-level (7-14), your ghostly half takes 10d10 in damage. During high levels (15-20) 14d10 damage.

Healing spells still work on your ghostly half. When receiving healing you can put the healed hit points to whichever half you choose.

Your human half has vulnerability to spells and effects that affect Undead, and your creature type appears as Undead to spells. Your ghost half appears visible to True Sight and Ethereal Vision.

Ghostly Manifestations

Sensations of profound sadness, loneliness, and unfulfilled yearning emanate in areas you linger in. Strange sounds or unnatural silences create an unsettling atmosphere. Cold spots settle in rooms that have roaring fires. A choking stench might seep into the area, inanimate Objects might move of their own accord, and corpses might rise from the grave. The ghost has no control over these manifestations; they simply occur. Any of these effects can occur around you to DM Discretion. Suggested play-style: If you linger in a place or around a certain set of people for a prolonged period, roll a d100. You have a 25% chance of one of these effects occurring

Death’s Reminder

Attacks with similarity to what caused your ghostly half’s death have advantage unless your ghostly half is unconscious or expelled. (DM discretion. Discuss the cause of your ghostly half’s death before hand, and what attacks would cause this effect.)

Your human half gets tired much quicker than normal due to the stress of constant possession, and is more susceptible to Exhaustion than average humans. Suggested play-style: You have Disadvantage on checks related to exhaustion, or the Difficulty Class is higher for you.

Unconsciousness

If one of them goes unconscious, the other is pushed to the front. If unconscious due to damage, the one unconscious must still make death saves. If the Ghost fails their death saves, the human is no longer possessed, and your character acts as a normal Variant Human. If the Human half dies, the ghost is expelled and you will need to get to making a new character!

Traits

Ghostly Possession

As a random once per short or long rest feature, your ghost takes control of your Human half’s body. Your Human half is Incapacitated but aware, and your Alignment and Personality, Intelligence, Charisma and Wisdom switch to the ghost’s, and you can only use the Ghost’s class features and proficiency, unable to use your Human’s class features. (aka, switch to your Ghost Sheet) Both halves of your pair can telepathically communicate with each other, no matter which one is in control

(Alternate style: As a Long Rest feature, your ghost can choose to take control of your human half’s body, non-randomly.)

The ghost can end possession as a bonus action, (which lets your human half have control and they can’t restart it as per feature requirement) with a Contested Wisdom check, no matter if the other character wants to be in control or not. When you are in Combat, instead of a Contested Wisdom check, you can end the possession as a bonus action at will but gain +1 level of exhaustion.

This feature automatically ends if your ghost hits 0 hit points, are affected by Destroy Undead or Dispel Evil and Good and other similar spells.

Ability Score Switch

Instead of a race Ability Score Increase, your Ghostly Possession allows you to change your Charisma, Intelligence, and Wisdom.

Withering Touch

When the Ghost is in possession of the body, you know the Chill Touch Cantrip, as a melee touch attack. You can cast it at will twice a day.

Age

Your human half ages slightly faster. Your ghost half is Undead, and can not age.

Alignment

Humans and Ghosts tend toward no particular alignment. You choose one Alignment for both halves.

Size

Your size is Medium.

Speed

Your base walking speed is 30 feet.

Darkvision

When the Ghost is in possession of the body, you have superior vision in dark and dim conditions. You can see in dim light within 60 feet of you as if it were bright light, and in darkness as if it were dim light. You can’t discern color in darkness, only shades of gray.

Ghostly Resistance

Both the Human and Ghost have Necrotic resistance.

Languages

You can speak, read, and write Common, one other language, and one language that your Ghost knew in life.

Alternate Version

Instead of having two sheets, you act as a multi-classed character. Your human half is your level one class. You roll two stat sets, switching your Alignment, Charisma, Wisdom and Intelligence when you activate your Ghostly Possession. You have one additional proficiency from your Ghost half. You roll the Hit Points, splitting the die between your Human and Ghost halves according to their multi-classed levels. You can use both class features.

Additional alternate features and effects (scrapped from my version due to avoiding getting too OP):

A) Your Ghostly half have advantage on saving throws against being charmed and frightened. You must make separate saving throws for your Human half.

B) Used to working in tandem, if your ghostly half is separated from your human half while both are conscious, you must use your action or bonus action to request your ghostly half to perform an action or bonus action. Otherwise, they will take the Dodge or Help action. You otherwise do not have access to their class features. (Using this option means the ghost can be pushed out of the body from Turn Undead, Dispel Evil and Good, and other spells)

#ghost #dnd ghost #dnd human #dnd #dnd homebrew #homebrew race #dnd homebrew race #kinda #possession #death mention #undead #firefly plays games #ghost and aven #thats my character lol #If anybody else wants to play a character like this pls!#and tell me how it works out when you try to play it!#I tried to make sure it was balanced but like... you're basically multi-classed at lvl one #It could turn out kinda..... too much. >w<#dnd:ghosty

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recurring-polynya · 3 years

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Hi Polynya! I’m curious and in the spirit of Ginrei’s birthday, what do you think are his opinions of Rukia and Renji separately and together?

Ha ha, this is such a simple and straightforward question and my answer is going to be so long and so complicated and have almost nothing to do with Rukia and Renji because Ginrei's feelings toward Rukia and Renji have almost nothing to do with Rukia and Renji.

So, I want to start out by saying that Ginrei is a lot like Hisana in the sense that he's a canon character, we get the idea of him and what he's there for, but there's no actual characterization of him, which gives fanfic writers a tremendous amount of leeway to do whatever they want with him. I'm not going to try to justify anything I say here, it's just my ideas and how it goes in my fanfiction. I love it whenever a writer tries to take on the Kuchiki clan and I'm always interested to see what other people's takes are, even when they vary wildly from my own.

I love the fact that "Kuchiki" means "dead tree." We meet Rukia first, and it's sort of a delightfully spoopy name, very appropriate for this salty, overdramatic, grim reaper girl, but it takes on additional meaning when we meet Byakuya, the noble and powerful scion of a dying house.

The thing that makes Ginrei interesting as a character to me is that he is the one who ruled over his house as it fell. I tend to regard filler episodes as semi-canon, so I like the idea of Kouga, even if I don't want to acknowledge the rest of the Zanpakutou Rebellion shenanigans. I think that the main line of the Kuchiki was already running a little thin, Soujun's health was a big concern, and so they marry in this guy who is a scholar and a powerful shinigami. They never say what Kouga's previous social status was, but given that they emphasize what an accomplished dude he is, I think he was chosen for his skills, not his lineage, to strengthen the Kuchiki bloodline, except it backfires. Then Soujun dies, too, a few years later.

Ginrei strikes me as the type of leader who thinks he can control everything. He manages his clan with an iron fist. He is pragmatic, not sentimental. He’s not bad or mean, but he can see that he does not have a lot of room for missteps, and he takes his role very, very seriously. Despite this, he’s lost the generation under him, and all that he has left is Byakuya. There are cousins and branch families, but to the pride of the Kuchiki is its main line, descended from great generals and heroes and the very founders of Soul Society. Byakuya, in a lot of ways, hearkens back to the great Kuchiki of old, and Ginrei sees that he has the potential to reclaim the power and glory of his house. He’s hard on Byakuya and has high expectations for him. Ginrei loved his son and he loves his grandson, but after Soujun’s death, he often wonders if he was too soft on him because of his health, if Soujun would have lived if Ginrei had just expected more of him. Byakuya is the last hope of the Kuchiki and Ginrei knows he can achieve great things, and Ginrei is determined to do everything in his power to make sure Byakuya achieves his full potential.

And some ways, Byakuya is the perfect Kuchiki. He’s strong and he’s hard-working. He’s principled. He’s working on his self-control, and he’s very good at when it comes, to say, sword practice, he’s just not so good at in when it comes to interpersonal relations, but he’s coming along. Then he meets Hisana.

Hisana is absolutely unacceptable to Ginrei. Byakuya needs a marriage with a woman with strong spiritual pressure and a noble lineage so that he can gain some alliances from the marriage and then she can pop out some strapping young heirs while also managing his social life for him, just like Ginrei’s wife did for him. Hisana obviously isn’t going to check any of these boxes.

I headcanon Byakuya as demisexual, in the sense that he doesn’t experience sexual attraction very often, and if he does, it’s only to someone he’s already got strong feelings for. He was sort of okay with the vague idea of marrying someone for the purposes of procreating until he met Hisana and realized how much that would pale in comparison to actually being married to the love of his life.

Up until this point, Byakuya has had some minor rebellions against Ginrei, but they’ve never really gone at it, but this is one time that Byakuya stands firm. Ginrei is super-pissed. He lets Byakuya marry her because he figures she’s going to die soon anyway, but he’s mad about it. He never comes around to Hisana and he’s mean to her and this is really the nadir of Byakuya and Ginrei’s relationship.

Finally, we are getting around to what you asked. Hisana dies and Ginrei softens a little toward Byakuya in his grief. He retires and turns the clan and Squad 6 over to B, hoping it will be a distraction and that Byakuya will finally turn his focus over to what matters. This seems to be going well for about one year and then BAM! Byakuya acquires an orphan.

I am guessing that Ginrei didn’t know about Byakuya’s promise to Hisana to take care of Rukia, but even so, I think if you asked him, he would have regarded Byakuya’s duty to his clan and promise to his parents as more important. It’s not that Ginrei isn’t an honorable man, it’s that his concept of honor doesn’t necessarily extend to a dead peasant in comparison the Noble and Ancient House of Kuchiki. So Byakuya adopts Rukia and Ginrei’s immediate reaction is panic. What is Byakuya doing? Is he going to marry this girl? Is he going to name her his Heir? Has he cracked? And it turns out to be none of those things, he’s just going to keep her around as this sad ghost that haunts his house, but Ginrei’s initial reaction toward Rukia is that of interloper. He thought this Hisana nonsense was overwith, but no, we’re still doing this.

When Ginrei first meets Rukia, she is in her overwhelmed, lonely stage of first becoming a Kuchiki. Ginrei also criticizes her for being small and meek and basically useless. She’s a mediocre shinigami. She’s not beautiful or talented, so Byakuya can’t even marry her off for political gain. The real issue, though is that Rukia is just emblematic of the fact that Byakuya doesn’t intend to move past his grief and remarry. He works his ass off as Captain and Clan Head, but other than that, he’s just gonna be a sad widower and sit in his big house and write letters to his dead wife and the Kuchiki are going to die off. There is really nothing Rukia could do, no way she could be different that Ginrei would approve of, because it was never really about her in the first place.

Fast forward a few years, and now we come to Renji. I also headcanon that in his retirement, Ginrei has moved out to a scenic portion of Rukongai, so he doesn’t interact with Byakuya much on a day-to-day basis, but he hears stuff through other family members that come out to visit him. He’s never actually met Renji, all he knows is that Shirogane retired, and Byakuya hired some tattooed goon from Squad 11 instead of one of the dozens of Kuchiki cousins that are lying around. In my fanfic Call Me Back When the War is Over, Byakuya explains to one of his aunts that the reason he did this was because he didn’t have a relative who was capable of passing the Lieutenant’s Exam. She replies that he just should have pulled some strings so that someone (preferably her own son) could pass, assuming it’s a mere formality. Now this is exactly what Ginrei would have done. This is a problem, though: it involves choosing sides. I’ve got the top seats of Squad 6 set up as follows:

- 3rd Seat Ohno is the Heir to the most powerful Kuchiki branch family. His father is arguably the next in line for Clan Head, based on power terms - 4th Seat Kuchiki Choei is an actual Kuchiki, but he’s a younger son and he’s a clown, meaning that he got bored standing in line for Clan Head and wandered around the corner to vape - 5th Seat Kuchiki Takehiko is the actual closest of Byakuya’s relatives to him, and is arguably the next in line for Clan Head, strictly on family line terms

Pulling strings to help any of these three become the next lieutenant would be a very political move on B’s part, tantamount to anointing his successor. Ginrei assumes that B picked an outsider for the purposes of recusing, of saying “I shall simply refuse to die and remain Clan Head myself, forever’, with the addition fuck you of picking the Actual Worst Person Byakuya Could Find for the job, instead.

This really isn’t the case at all, it is literally that Byakuya feels that you shouldn’t be a lieutenant if you can’t pass the exam. He’s basically a rule-follower, and also it’s a good rule, and also his dad died as a lieutenant and I think he thinks a lot about how that could have been avoided through actions, whereas Ginrei tends to think of it more of a thing that could have been avoided if Soujun was better.

So, that gets us up to the beginning of canon. I am (in theory) working on a fanfic that takes place in the 17-mo timeskip where Ginrei comes to visit and actually gets to know Rukia and Renji and (spoiler alert, but is anyone really surprised) he ends up liking both of them a lot. Part of it is just Ginrei has chilled out somewhat in his retirement and realized that it’s okay to have parts of your life that are not completely devoted to the Good of the Clan. Part of it is that Ginrei loves Competence and Rukia and Renji are so, so competent. Part of it is that Byakuya is obviously doing a lot better than he was, and it’s just really obvious why. Like I said, Ginrei does and always has loved Byakuya, he just wants what’s best for him. It’s just that if there is one thing Kuchiki are terrible at, it’s expressing their love for one another in a positive and healthy way.

As to Ginrei’s feelings about Renruki as a ship, he’s for it, actually. Conniving family members have been trying to marry Rukia for years in hopes of getting an in with Byakuya, and I’m sure they’re setting their sights on Renji, now, too. Ginrei likes them well enough, but he can imagine what a shitshow this could turn out to be, and he finds it very convenient if they were to just marry each other.

I’m rather fond of the idea of Byakuya appointing them as a branch family to the Kuchiki, because I’m not super keen on them going full-Kuchiki if Renji married in, but I think Byakuya would be upset if Rukia married out and he wasn’t able to provide her with the lavish lifestyle he thinks she needs (she does not). It’s a nice compromise that lets them be a part of the family, but out of the limelight. In any case, I think that was Ginrei’s idea, thanks Granddad!

#ginrei kuchiki #renruki #i feel like i have written so much fanfic on this topic #except that i've never posted most of it #¯\_(ツ)_/¯

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itsclydebitches · 3 years

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ngl voyager gets a whole lot of very disproportional hate from the fandom and i'd hazard a guess that a lot of that is just garden-variety misogyny (and probably racism mixed in, considering how many of the most prominent characters are women, poc, or both). like, is voyager perfect? absolutely not. and no spoilers but there was a lot of executive meddling that wound up leading to the finale/conclusion being lacking and there's a lot of reasonable dissatisfaction with that--but again that was largely thanks to the execs fucking the show over and i recommend looking into that if you can once you've finished the show. but overall? voyager is trek right to its very core--it has heart, it's about family, and it never loses sight of that imo, even if some episodes are weaker or just duds (but, like, would it be a trek series without some episodes that just kinda suck but are still fun to watch???)

anyway, i absolutely love that you're getting into voyager, it is my all-time favorite trek series to this day for a lot of reasons, and i hope that ppl like that anon dont put you off bc i'd love to continue to see your thoughts as you watch the series!

Oh, it would take a whole lot more than some anons being salty that others enjoy things to turn me off :D

Thus far (I lost internet last night so I’m still only on Episode 7 of Season 2), Voyager is the Trekiest Trek I’ve watched. Which is a weird sentence, but I mean it in the way you said it’s “trek right to its very core.” What is Star Trek, if we strip the intent of the story down to its basics? It’s about exploration, discovery, that “wagon train to the stars,” wrapped up in the argument that life is fundamentally good. We have problems, but we can work past them. We have differences, but they strengthen us. Diversity is the lifeblood of the universe and the future will continue to improve so long as we embrace that.

Voyager is (again, from what I’ve seen so far!) basically a love song to that premise. I didn’t do too deep a dive because I’m trying to avoid spoilers, but I did look at a couple threads discussing why Voyager is so hated. Again and again I saw the same reason pop up: wasted potential. Now, a lot of fans left it at that (as if the answer to what potential Voyager apparently missed out on is self-evident. It’s not), but those who did expand on the idea consistently claimed that the show needed to be darker than it was, even if they rarely said it like that. Why aren’t the Federation and the Marquis at each other’s throats? Why isn’t the crew going crazy under these circumstances? Why aren’t characters getting killed off left and right in hostile space? “Anything could have happened out there and they played it safe!” but the “anything” here is always... awful. There’s this very pervasive idea that the world is inherently cruel, people are inherently divisive, that when pushed to the brink everything will fall apart... and that (while making for one kind of great story) is very much not Star Trek.

See, Voyager created an unimaginable scenario--lost in space, 75 years from home, forced to live indefinitely with strangers--and their answer to the question of “What happens?” is “People make it work.” They learn to respect one another, they uphold their ideals, they maintain a love of life and discovery, and they create a family. And that’s fucking fantastic. That’s Star Trek! I’m not going to pretend there aren’t problems with the show, with plenty more to come, I’m sure, but I don’t think this is one of them. Why do so many viewers think that hatred, horror, death, and growing jaded is the only potential here? Why would they expect that in a Star Trek show whose premise is the very antithesis of those things?

“But they don’t do enough with those things, even if they have happy outcomes.” They do plenty, they just do it in an episodic rather than serialized nature. I can point to multiple episodes where the replicator rations or Maquis differences are driving the characters’ actions. “But without that horror there’s no conflict.” There’s plenty of conflict. Hostile aliens aside, I just watched an episode where Tuvok and Chakotay are pissed as hell at one another because they fundamentally disagree over how to handle problems, but--because they’re adults with a well-tested respect for one another--they apologize and work through it. “But the characters don’t develop at all.” You mean they don’t grow harder. That’s not the same thing as no development. Tuvok is figuring out how to be more flexible, Chakotay is becoming more willing to accept cultures he doesn’t agree with, Harry is growing more confident now that he’s far from home, the Doctor is learning to see himself as a person, Paris is grabbing his second chance with both hands by making strong ties, and Janeway is learning to command and care for her crew simultaneously. I honestly believe that a lot of people think of “character development” as the character becoming a fundamentally different person, unrecognizable from where they started out. But characters can also grow into the people they wanted to be in the first place. “We’re far from home, in hostile territory, tempted to do horrific things to survive... but no. Right now at least, we’re holding onto who we are. We’re scientists, so we’re going to explore and learn. We’re peaceful, so we’re going to make friends with as many species as we can. We’re members of a society that teaches acceptance, so we’re going to form a family on this spaceship.” That’s incredible!! Did fans miss why Seska was an antagonist in the episode she was unmasked? Because she was trying to convince them to give up everything they believe in in the name of survival, an ends justify the means argument. And the crew said no, we will not give up what we believe in just to make it through. I legit saw a ton of fans saying some version of, “I can’t believe they were that far from home and actually followed Starfleet’s rulebook.” It’s because those rules don’t exist for the hell of it. Overlooking their practical function, they’re a philosophy that the characters believe in, and they’re figuring out how important that part of their identity is to them under these circumstances. Am I willing to steal a specie’s technology if it gets us home? Am I willing to die to help another uphold their own philosophy? (Chakotay in “Imitations”). What regulations should we bend or change to accommodate our new situation? The first two things Janeway does are a) giving the guy who just came out of a penal colony a rank and b) deciding that she needs to be more familiar with her crew than is normally encouraged for a captain because she’s essentially their mom now. Developing doesn’t have to mean characters do a 180 on their initial personality, or characters getting killed off when stuff gets “boring” so that others can do edgy things in response.

Voyager upholds Trek’s premise and runs it to its logical conclusion:

Voyager has the most literal trek--a trek back home.

Voyager has the most diverse crew--a woman Captain, Native American First officer, black Vulcan, Asian-American communications officer, and a White Dude pilot that realizes he wants to be soft and kind towards those who took a chance on him because Toxic Masculinity who?

Voyager has the most literal family--not just a 5+ year mission, but a crew who expects to raise the next generation. They have no choice but to work together, so they indeed come together rather than pulling apart

Except they do, of course, have a choice. In “The 37′s” the crew is allowed to stay on the Earth-like planet with a city of other humans and Janeway is convinced that a sizable number will choose that. After all, they may never get home and this is a safer, kinder future for them. In fact, the real question is whether so many will stay that they can no longer run the ship... but Janeway would never dictate her crew’s choices in that manner. So she swallows her worry down, opens the door...

... and finds that not a single person decided to stay behind. And the show has ensured we understand that this is not just because they all have some unshakable belief that they’ll get home (many don’t), but because this is their family now. This is home.

And fans want to toss that out for a generic, gritty, sci-fi adventure where hope is scarce, the universe is cruel, and people need to be pushed to the limit just to admit that they maybe, sort of, like each other?? Obviously like what you like, but that’s a hard pass for me. I’ll take the bridge crew comforting each other in “Twisted,” thanks. Besides, we already have shows like that. And we already have DS9 which grapples with many of those dark, pessimistic themes. Voyager feels like a breath of fresh air, even within the breath of fresh air that is Star Trek as a franchise. It’s a show that says, “Yes, when everything goes wrong people will come together. They will love each other. They will make it through.”

What’s more Star Trek than that?

#star trek #ST #mymetas #Anonymous

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rainofaugustsith · 3 years

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SWTOR and Companion Death

So. Some thoughts about companion deaths in SWTOR in general.

I'm not a fan.

SPOILERS FOR KOTFE ONWARD.

I do know the name of the franchise is Star WARS, and people die in wars. It would probably be extremely unrealistic if we had a scenario where our characters spent literally 17 years of their lives (and counting...well, 12 if we don't count carbonite) fighting and nobody around them died.

However, in SWTOR I think that most of the deaths could been avoided. I don't think they benefit the story. I think that all they really do, in the end, is deprive the audience of a lot of interesting characters.

I do think there are occasions when a player's character may wish to reject or kill a companion, but I also feel that there are ways to write so that it is an exception, and not commonplace.

And we have not even gotten to the NPC deaths. It has been a bloodbath for years with SWTOR and the writers show no signs of stopping it. Nathema - the body count from Nathema has taken almost twenty NPCs out of the main story. Onslaught? Yeah. Many more. It's become more unusual for an NPC to actually survive for the duration than to have a kill option.

I feel there are better ways to write than to take a Game of Thrones approach and kill everyone. When you eliminate everyone's beloved characters, and you leave the player with nothing more than a rotating cast of strangers, it's quite difficult to get into the story after a while.

Going through the companion deaths from KOTFE to Iokath:

Tanno Vik: The voiceover artist who played Tanno Vik died several years ago, and apparently the devs decided not to make the character recruitable in KOTFE because of that. I can understand this one. It seems that Tanno may die regardless of your choices, too. If you spare him during your meeting, he may not have survived the attack on Asylum, especially if the PC chose to use Valkorion's power.

HK-55: Yes, we get it, you wanted to show everyone that Arcann is a big old monster. The "thrown into carbonite," "slaughtering the Scions" “subjugating both the Republic and Empire” and "ruling as a harsh dictator" plot points didn't get it across quite enough. Dramatic. Yes. And they do bring HK-55 back

My objection to this death is not that they did it - because it actually does fit, even if it's a little extreme - is that they didn't make HK-55's return available to all in the actual main story of the game. I can understand making Shroud of Memory a bonus, because it's cute and funny but doesn't tie super directly into the main plot. But Arma Rasa? I think that should have been for everyone. Yes, I know you can buy it now - and I did - but I still think it should have been main story. If it were, we could have enjoyed HK-55's commentary in the rest of KOTFE and KOTET.

Kaliyo Djannis, Aric Jorgan: Fan service. But it makes no fucking sense. What exactly are you killing them for? They didn't listen, after they tried to compensate and salvage a mission that had gone south? They were left in the lurch because your PC was mission critical and went on a hallucinogenic hiking trip and didn't show up? There's literally nothing you can do to make the mission go right. It always fails, no matter who is in charge or what you tell them to do.

In Kaliyo's case, I really question why the devs thought that she, of all people, would be the character that most players would just love to spend an entire chapter with in one-on-one quality time in KOTFE. I think her kill option was a response to that - "yes, we forced you to play a chapter with this character but look, you can let her go now." Or perhaps it was a response to the frustration some players had with not being able to kill or reject her in the class story.

I think the class story could have sustained a branch where Kaliyo was asked to leave after the Wheezer incident. I think it's reasonable that a player's Agent may not have wanted to continue associating with her at that point. There were four other characters who could have taken her dialogue in the class story missions. But to do it years later? Eh.

In Aric's case, I have no idea what they were thinking. I've never had the feeling he's a character that is widely disliked. They needed to give an option to kill someone along with Kaliyo. I don't know. But it's weird and doesn't make sense IMHO.

Senya: So she's saved her boy. We get it. But considering that Senya also spent several chapters insisting that her children needed to be brought to justice, and was fully willing to engage Vaylin in combat if not kill her - the change of heart was confusing. I think Senya's fate was attached to Arcann's simply to give Arcann greater odds of survival. It seems that people like Senya even if they don't like Arcann. If the two had been separated, I really think less people would have saved Arcann.

Koth: Fan service. Nothing but fucking fan service. I'm sure it had nothing to do with Koth being a LGBTQ+ Black man who actually protested the player's actions and didn't let them off the hook. No, nothing to worry about here with that. That;s sarcasm in case I need to clarify. If things get to the point where Koth has left, your character literally works with him to save the ship and then can kill him while Lana stands there and watches and not a single person protests. After Koth has hijacked the ship and planted a bomb on it. The ship he adores. I can’t even. They could have done so much with this character and they just...did this instead. And then chose to completely ignore him even if he remained in the player's story. I still am salty, years later, that he didn't even get a cameo in the Nathema story. It's not as though the Gravestone's fate would have bothered him at all, amirite?

SCORPIO: One of the few kill options that actually might be justifiable, but the larger question is why she was trusted so much to begin with. And why the game feels it's light side to let her merge with a planet that keeps a necropolis of billions of organics it has slaughtered as research subjects.

Arcann: I feel Arcann should be handled and considered separately because he was not established first as a companion. He was framed and written as an adversary for all of KOTFE. But here we are forced to choose between "let Arcann live and become your new BFF who takes over Lana and Theron's place of trust with no punishment for his crimes" or "kill him on live television! I'm sure I'll be an Instagram Influencer now! Follow me at AllianceCommanderOdesssen uwu!"

Vette; Torian: Completely unnecessary. You have an Alliance that is so large that fighters are literally on the cliffs and in the trees helping you as you progress through the chapter. The Gravestone's taken to the skies. And yet nobody is available to swing by Torian or Vette's position to help them. You and Lana/Theron or Senya/Arcann are literally THE ONLY PEOPLE EVER who can do that. Oh, and the super-smart Hutt scientist in charge of your Research and Development team has given Vette an assault cannon for this huge battle against strong, skilled forces, despite the fact she's only operated an assault cannon...once? For a few minutes? *thumbs up, Oggurobb!*

I feel this was simply done to try to evoke emotion and to erase any sympathy the player may have had for Vaylin, since it immediately follows the Nathema sanitarium visit.

If they really felt the need to go with this, I feel they could have tied it to player actions earlier in the game. Did you do a lot of Alliance Alerts? Did you raise the Specialists' influence above 10? Did you do some of those veteran Star Fortresses and pick up a few extra companions? Then maybe you have enough extra personnel to save both. Quinn: More fan service, served up for those who would have liked to kill or reject Quinn all those years ago in the class story.

Just like Kaliyo - and Skadge, and Tanno Vik - I think the class story could have gone on without him if the Sith Warrior had been allowed to reject him after the Quinncident. I would have rejected him at that point. The writing in the class story could have sustained it. They could have given the healer role to one of the others. And then you'd get a branch where if Quinn was present, he'd show up on Iokath. If not, it would be someone else from the Sith class story, like one of the many Moffs the Warrior meets. Maybe the dude from Ilum, since he doesn't die. Or Hesker.

Theron: Now, here's the issue. The story sets up a scenario where asking Theron to leave because you no longer trust him is understandable. But I plead the case that it never should have gotten to that point. The entire betrayal story was completely unnecessary. Theron NEEDED to go undercover like that? He had a secret language he and Lana developed and just never used it to tip everyone off? He thought frying the Commander on Iokath or throwing her out the train window would be fun? After working so hard for peace, he literally sparked the next galactic war by tipping off everyone about Iokath and manipulating them all into going there so they could learn lots of fun new ways to kill each other?

Come. On. It doesn't make sense. Even in a spy game, I don't think Theron would have really thought that prodding the Empire and Republic to war with each other and the Alliance would have been worth it.

I feel like they could have done so many other things with the Order of Zildrog, and even had the same flashpoints, without making Theron appear to betray the Alliance.

DS Jaesa: *sigh* So she saw the Commander on the Holonet, never thought of coming to Odessen and instead went to Iokath to slaughter Alliance troops. Oh, and threaten to kill Lana, who may be the player’s partner. Again, it sets up a scenario where it makes sense that a player might kill her, but why was that even necessary? The scenario itself doesn't make sense. If you have Master Ranos, she says that Jaesa was spotted hunting for artifacts, I think? Maybe just maybe they could have worked with that?

Xalek: You're killing Xalek for...um...terrorizing miners...and...yeah. Okay. Dude was in the class story for about five minutes so I don't think anyone knows what is going on here.

Broonmark: Yes, he's basically a cold-blooded killer. But he's going after this Wookiee senator because he's allying with the Republic? Or getting some Talz to be allies? The Talz already seem to be aligned Republic. He's a bit late to that party. Why is it that I don't think Broonmark would be into politics or watching the news and would not care about this?

Rusk: Um, yeah, Bey'wan, about that guy you wanted me to recruit, he's, um, dead. Because I decided to sell him out to a Black Sun gang leader. Don't be mad?

Skadge: One of the few kill options I think most could agree is...not that bad. Your mission with Rusk is to kill him. He was an adversary in the game. My headcanon for my bounty hunters is that he never gets on the ship after Belsavis. There’s no way they would have ever brought him along. Another case of correcting something from the class story?

#swtor #swtor critical #rain plays swtor

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rosicae · 3 years

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Writing tip or something - planning scenes

Writing difficult scenes is always a struggle. Here are some tips to make the process a little easier, and more importantly, actually get something done instead of staring at a blank page for two months (guilty).

First, let's start where you left off. Maybe they're exploring the dark woods trying to find their lost cat and they come across a beast. Great! Battle scene time.

The first thing you need to ask yourself is what you'll get out of this battle. The main points, or plot-twists, if there are any. For example: Maybe the cat turned into the beast and they only realise as it lies dying; maybe one of the main characters die; maybe they find a key in the beast's skull; maybe they spare the beast and it becomes their friend; maybe the beast just dies and that's it. I'm not judging, there's a plethora of reasons you'd do anything in stories. Most scenes should have some sort of lead, whether it be key or death or kiss or whatever, depending on what sort of story you're cooking, but it's up to you.

So, figure out your main point. For simplicity's sake, I'll go with: “They kill the beast, they find a key”. Finding the key will be a clear lead to their next move. But for now, let's focus on the current scene.

You're going to want to order the events. Writing scenes like this off the bat can be pretty hard, so let's just go with what we know first.

I'm not joking when I say a lot of my scenes start out sort of like this.

Now, to build upon this beauty, we have to dig into each segment. Let's start with part A!

PART A - “Rosi encounters a beast.”

What sort of beast is it? A slimy tentacle monster? A catfish-pirate? A deformed bear? Dracula?? Your decision will affect the entire scene, so really think about what you choose. Monsters are super fun, so be creative if your story allows it! I'll pick a duck-faced bear spider hybrid. What does that do? It might help to draw your monster if it's a struggle to think it through. Here's mine!

As you think about their appearance, see how you can use it to their advantage or flaw. You might even already have ideas for certain moves during their fight, or what could be the fatal blow. We'll talk more on that later though.

Next on Part A, how did she encounter it? Was she up in the trees trying to check the sun's direction when suddenly it barreled into her and threw her down the tree? Did she trip over a log only to realise it wasn't a log but an angry treant? Is the forest cursed and monsters just keep chasing after her for no reason??? Maybe she's holding a tracker and the evil villain is sending the monsters after her.... it's good to think about, in the long run. For now though, let's just stick with: "she bumped into the beast"

But try to make it fancy. What was her reaction to bumping into it? Why would she bump into it? Maybe she wasn't looking while she was running and kept bumping into trees, but then one tree was actually the monster. The monster is clearly very fluffy (would probably make a good blanket), so let's make that a clear point.

So now we've got:

“Rosi was running along the forest without properly watching where she was going, when she bumped into a tree - but it was fluffy and warm and beating, not a tree. It was a bear duck spider beast. OOOO! SLAP SLAP!”

Slap slap being “the beast slapped her in her confused daze”, because who wouldn't be surprised if a tree was actually a duck-bear hybrid? This happens to be a perfect initiation to begin battling! On to part B!

PART B - “She fights the beast and kills it.”

This is absolutely the hardest part. It'll take careful consideration and pacing and- oh whatever let's just slap in every action thing we can think of. Even if you think it isn't good, even if it's just little phrases or actions or fancy words or teeny tiny segments you aren't sure about, it's good. Just do it.

-beast slaps her in her confusion/daze and she hits her back against a tree, much pain

-beast snaps its flappy duck beak and honks a bunch, muddling her brain

-rosi throws rocks at it

-rosi somehow breaks off its spider legs, unbalancing it

-beast uses its spider legs to crawl everywhere and be very agile and hard to fend off

-beast stabs her with its stabby legs

-maybe an injury from being slapped around

-rosi tries to run but it's always there

-rosi smacks its beak, very annoyed

-beast forces her to the dirt and pummels her with its stabby paws

-rosi evades its stabbies because the green drippy stuff looks like venom

-venom touches nature stuff and makes it wither

-beast lets out a bellow that shakes the earth and topples trees

-rosi avoids the trees to not die

-rosi scrambles to get up

-the most important thing is to somehow open its skull: plunge a verrryyy strong stick through its eye that tears out the key; or somehow trick it to stab itself with its venom spider legs and it withers and turns to bone/ashes and yay key (I like the second one so I'll go with that, but it's always good to list out your options!)

So I basically just took parts of the forest and parts of the beast's body and natural instincts of someone who is facing death and, adding some creativity, threw together a bunch of possibilites. It might take some practice, but once you're in the flow and have some experience listing this stuff, you'll get the hang of it in no time. Thoughts tend to be short and snappy in quick-paced scenes, so be careful not to go into a whole monologue about their past experiences, but absolutely show some reasoning to the complex things they do if necessary. And leave the monologing for when they're not being killed.

Now let's order them into something that sort of makes sense. It varies depending on what you want, so see if you can make your own unique battle scene out of this list!

-beast slaps her in her confusion/daze and she hits her back against a tree, much pain

-rosi scrambles to get up

-maybe an injury from being slapped around (tree + back + sudden slap = pain, this might be a good time to mention if they already have a flaw like having weak bones or an old injury, but if it isn't your intention to incapacitate them and you want to be realistic, have a reason for them not to insta-die without being op. Maybe she was just slapped into bushes and got little scrapes or a twisted ankle. Maybe she had a plushy backpack that took most of the impact. Remember where your character gets injured too, since pain usually hurts for a while and it's good to add that in wherever needed now and later. It can even drive the story along at times, like a life-threatening blow.)

-beast lets out a bellow that shakes the earth and topples trees

-rosi avoids the trees to not die

-rosi tries to run but it's always there

-beast uses its spider legs to crawl everywhere and be very agile and hard to fend off

-venom touches nature stuff and makes it wither (she notices here and thinks oh no, that is bad, can't let that touch me)

-rosi throws rocks at it (misses because it's agile)

-beast forces her to the dirt and pummels her with its stabby paws

-beast snaps its flappy duck beak and honks a bunch, muddling her brain

-rosi smacks its beak, very annoyed

-beast stabs her with its stabby legs (or tries, let's not kill her just yet if we're deciding on venom QwQ Maybe she uses a plank of wood to save herself last second)

-rosi evades its stabbies because the green drippy stuff looks like venom

X-rosi somehow breaks off its spider legs, unbalancing it (delete because the lower idea is better, but maybe earlier one of the rocks she threw can unbalance it a bit and it jumps on her to attack closer because it feels threatened)

-rosi somehow tricks it to stab itself with its venom spider legs and it withers and turns to bone/ashes and yay key (she tricks it by deflecting it with something strong, like a boulder behind her, she got out of the way just as it does a slash at her, and it bounces perfectly into itself

And just like that, ordering and expanding on every part, you've got yourself an entire fight! Obviously it isn't as easy as counting to ten and opening a pot to a finished piece, but if you just take ten minutes or, better yet, an hour, you'll get somewhere. All you need is the base.

PART C - “She finds a key in its skull.”

Keys are shiny, and if it's daytime, maybe some light can twinkle off it as it falls, or she could just notice it because who wouldn't notice a key trapped in bones? Either way, she picks it up, as you do (unless you want an eagle to swoop in and take it, in which case rosi will have to chase after it and climb a tree and try to take it back from its nest and blahdy blah but rosi doesn't feel like moving anymore after the fight, so let's go with the easier option for now). She might have to wrench it out of bones, but it's fine, she's already dirty from the battle.

So what's the key look like, hmm? Is it rusty and old, or fleshy but firm and warm as suited for being trapped in brains for so long? Or oozing in the same venom, and she has to wipe it off with special fabric only trolls deeper in the forest are capable of making, or throw it in a lake to purify it? Maybe it's short, or missing half that you have to find somewhere along the journey. What does it unlock? Rosi won't know now, obviously, but you'd better have an idea or there'd be no point to it in the first place. Maybe this entire journey is in her mind and she's finding parts of a key to unlock her memory which will be a door to her childhood house. Maybe it's a master key to the villain's castle. Maybe it was accidentally baked in a cookie the beast ordered from a special fish-headed-cat-run bakery, and the little workers will be scrambling around to find the key and be so grateful that rosi brings it back that they hail her as king of fish-headed cats. You never know :D...except you kinda have to, so please have some sort of idea even if it's small.

That's practically all you can do in this part, so next we're on-

PART D - “She questions the key, then goes off to seek reason for it.”

Assuming she collects the key, what are her thoughts? It's all down to personality. Let's say rosi loves keys, and she has a whole collection at home, and she loves shiny things. She'll probably squee at the sight of it and act very excited - "she snatched up the key and chirruped her glee (oh hey, that rhymes!), and after a quick inspection with gleaming eyes, she tucked it safely in her pocket alongside trinkets from the seaside."

Because, you know, obviously she was at the seaside before all this. Or whatever else she was doing. It's your call. It's their personality. It's an optional connection, but a valid one nevertheless. Careful though - if she carries too much, she might get weighed down and drown.

In her case, she doesn't really think too hard on the key. Maybe she's already fought plenty of monsters and gotten a nice treasure trove of stuff. Maybe she's an air-head. Cough. Either way, the obstacle is gone so now she can go off and do what she was doing before - albeit a little more cautious, provided she learns from experience. If there's a clear indicator of what the key is for, or if the character was actively seeking it out, that'll obviously give a different outcome - maybe they'll turn back the way they came (car keys), or head for the town of blue oak (blue key) if that is already in their knowledge database, or ask the next person they see and get guided or tricked.

Finally, let's put this baby together! Let's start simple for now and just slap together this monstrosity with whatever little stuff we think of in the moment and some proper tense. We can build it up later (not here lol I've spent too much on this but you can if you want).

~~Rosi's Magical Adventure~~

Rosi ran along the forest without properly watching where she was going, when she bumped into a tree – but it was fluffy and warm and beating, not a tree. It was a bear duck spider beast.

Fish. That definitely shouldn't exit.

The beast slapped her in her daze and her back slammed against a tree. Despite being in pain, she scrambled to get up. She staggered, feeling the pierce in her ribs, the ache in her feet, the scream in her head that told her to run. It was drowned out under the beast's bellow. The earth shook and trees toppled one after another. Rosi spun on her heel and ran, avoiding the trees that twisted her path.

Even when she thought she outran it, it was always a step behind, a step above, a step ahead. Its spindly legs granted it an agility she couldn't imagine matching. Not only that – wherever the ends of those legs touched, an iridescent liquid spurted out, withering blooming manes and wilting once-proud trunks in an instant.

She shivered. She couldn't let it touch her. Realising that her (flee, running, escaping – whenever you can't think of the right words in the moment, just think of whatever is the closest and use that until you find the right word, or you might waste an hour racking your brains when you could just keep writing) was futile, she pounced into a rolling stop by a mound of rocks. It disoriented the beast for but a moment as she scooped a handful of rocks and hurled them at it. Most missed, or melted into its ragged coat, but a few landed directly against its uppermost legs. It gave an unnerved honk and flung itself at her, forcing her to the dirt, pummeling her with monstrous paws and claws that snapped her skin as she raised her hands to defend her face.

It honked. She grimaced. Her vision blurred and brain muddled with every honk. On impulse, one hand shot out to smack its flapping beak. Its pupils contorted, enraged by her sacrilege, and its spindle-legs shot towards her.

Just in time, she rolled free and pulled herself up, evading the blows that scattered poison over melting green. One hit went into a boulder. The boulder didn't budge. It was ineffective. It sparked an idea in Rosi, but she wasn't sure, so she waited until it happened again, and again it hit a boulder and bounced without damaging the boulder. She danced her way around the clearing, then stopped directly in front of boulder, facing the beast with her lips twisted into a wry smile.

The stabby leg slashed her way, but she ducked out of the way at the last second. Unable to redirect its blow, the leg bounced off the boulder and went directly into the beast's skull. The venom was quick to engulf the beast. Its skin vanished like the trees. It was only (bones, skeletal structure remained) and it fell before her. (If you still aren't sure how to write a part, break it down even further, even if it looks stupid. Keep breaking down everything as much as you need, until everything is plain to see and there are no misunderstandings. Then add on, and keep adding on, until you eventually understand.)

Streams of sunlight (because a lot of the trees died, so now there's some light in the forest) glinted off a surface lodged in the bones. Realising the rusty old metal to be a key, she snatched it up and chirruped her glee, and after a quick inspection with gleaming eyes, she tucked it safely in her pocket alongside trinkets from the seaside. Then she turned and limped her way back home, wondering why she came in the first place as blood trailed after her.

~~The End~~

It isn't perfect – far from it – but it doesn't matter. It's a start. You can work with it. You can keep going. Finish the chapter by repeating this process over and over, then go back and polish it when you've let the experience sink in a bit. Who knows where you'll go??? (ﾟヮﾟ)/

I spent almost three hours on this instead of writing my own book, and I'm tired, so I don't know if this makes sense, but I hope it's helpful a little??? I tried not to make it complex as much as possible so people of many levels can understand and hopefully get something out of it;;;

It's the method I've been using for a long time, especially when I'm in a difficult part or just can't get myself to write anything. Start simple, get something done, and keep going.

….....which I realise is the complete opposite of what I'm doing. Oh gosh what have I done OAAAAAO

….also this is really long and I'm scared so I'm not even going to hard read it over or edit now that I'm done writing.

ROSI OUT

#writing #writing tips #novel #novel making #writer's block #help

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