#which means a lot of what the skills are doing or thinking as characters are cut out unless i have them mention it in dialogue | Explore Tumblr Posts and Blogs

mostlysignssomeportents · 5 months

Text

What kind of bubble is AI?

My latest column for Locus Magazine is "What Kind of Bubble is AI?" All economic bubbles are hugely destructive, but some of them leave behind wreckage that can be salvaged for useful purposes, while others leave nothing behind but ashes:

https://locusmag.com/2023/12/commentary-cory-doctorow-what-kind-of-bubble-is-ai/

Think about some 21st century bubbles. The dotcom bubble was a terrible tragedy, one that drained the coffers of pension funds and other institutional investors and wiped out retail investors who were gulled by Superbowl Ads. But there was a lot left behind after the dotcoms were wiped out: cheap servers, office furniture and space, but far more importantly, a generation of young people who'd been trained as web makers, leaving nontechnical degree programs to learn HTML, perl and python. This created a whole cohort of technologists from non-technical backgrounds, a first in technological history. Many of these people became the vanguard of a more inclusive and humane tech development movement, and they were able to make interesting and useful services and products in an environment where raw materials – compute, bandwidth, space and talent – were available at firesale prices.

Contrast this with the crypto bubble. It, too, destroyed the fortunes of institutional and individual investors through fraud and Superbowl Ads. It, too, lured in nontechnical people to learn esoteric disciplines at investor expense. But apart from a smattering of Rust programmers, the main residue of crypto is bad digital art and worse Austrian economics.

Or think of Worldcom vs Enron. Both bubbles were built on pure fraud, but Enron's fraud left nothing behind but a string of suspicious deaths. By contrast, Worldcom's fraud was a Big Store con that required laying a ton of fiber that is still in the ground to this day, and is being bought and used at pennies on the dollar.

AI is definitely a bubble. As I write in the column, if you fly into SFO and rent a car and drive north to San Francisco or south to Silicon Valley, every single billboard is advertising an "AI" startup, many of which are not even using anything that can be remotely characterized as AI. That's amazing, considering what a meaningless buzzword AI already is.

So which kind of bubble is AI? When it pops, will something useful be left behind, or will it go away altogether? To be sure, there's a legion of technologists who are learning Tensorflow and Pytorch. These nominally open source tools are bound, respectively, to Google and Facebook's AI environments:

https://pluralistic.net/2023/08/18/openwashing/#you-keep-using-that-word-i-do-not-think-it-means-what-you-think-it-means

But if those environments go away, those programming skills become a lot less useful. Live, large-scale Big Tech AI projects are shockingly expensive to run. Some of their costs are fixed – collecting, labeling and processing training data – but the running costs for each query are prodigious. There's a massive primary energy bill for the servers, a nearly as large energy bill for the chillers, and a titanic wage bill for the specialized technical staff involved.

Once investor subsidies dry up, will the real-world, non-hyperbolic applications for AI be enough to cover these running costs? AI applications can be plotted on a 2X2 grid whose axes are "value" (how much customers will pay for them) and "risk tolerance" (how perfect the product needs to be).

Charging teenaged D&D players $10 month for an image generator that creates epic illustrations of their characters fighting monsters is low value and very risk tolerant (teenagers aren't overly worried about six-fingered swordspeople with three pupils in each eye). Charging scammy spamfarms $500/month for a text generator that spits out dull, search-algorithm-pleasing narratives to appear over recipes is likewise low-value and highly risk tolerant (your customer doesn't care if the text is nonsense). Charging visually impaired people $100 month for an app that plays a text-to-speech description of anything they point their cameras at is low-value and moderately risk tolerant ("that's your blue shirt" when it's green is not a big deal, while "the street is safe to cross" when it's not is a much bigger one).

Morganstanley doesn't talk about the trillions the AI industry will be worth some day because of these applications. These are just spinoffs from the main event, a collection of extremely high-value applications. Think of self-driving cars or radiology bots that analyze chest x-rays and characterize masses as cancerous or noncancerous.

These are high value – but only if they are also risk-tolerant. The pitch for self-driving cars is "fire most drivers and replace them with 'humans in the loop' who intervene at critical junctures." That's the risk-tolerant version of self-driving cars, and it's a failure. More than $100b has been incinerated chasing self-driving cars, and cars are nowhere near driving themselves:

https://pluralistic.net/2022/10/09/herbies-revenge/#100-billion-here-100-billion-there-pretty-soon-youre-talking-real-money

Quite the reverse, in fact. Cruise was just forced to quit the field after one of their cars maimed a woman – a pedestrian who had not opted into being part of a high-risk AI experiment – and dragged her body 20 feet through the streets of San Francisco. Afterwards, it emerged that Cruise had replaced the single low-waged driver who would normally be paid to operate a taxi with 1.5 high-waged skilled technicians who remotely oversaw each of its vehicles:

https://www.nytimes.com/2023/11/03/technology/cruise-general-motors-self-driving-cars.html

The self-driving pitch isn't that your car will correct your own human errors (like an alarm that sounds when you activate your turn signal while someone is in your blind-spot). Self-driving isn't about using automation to augment human skill – it's about replacing humans. There's no business case for spending hundreds of billions on better safety systems for cars (there's a human case for it, though!). The only way the price-tag justifies itself is if paid drivers can be fired and replaced with software that costs less than their wages.

What about radiologists? Radiologists certainly make mistakes from time to time, and if there's a computer vision system that makes different mistakes than the sort that humans make, they could be a cheap way of generating second opinions that trigger re-examination by a human radiologist. But no AI investor thinks their return will come from selling hospitals that reduce the number of X-rays each radiologist processes every day, as a second-opinion-generating system would. Rather, the value of AI radiologists comes from firing most of your human radiologists and replacing them with software whose judgments are cursorily double-checked by a human whose "automation blindness" will turn them into an OK-button-mashing automaton:

https://pluralistic.net/2023/08/23/automation-blindness/#humans-in-the-loop

The profit-generating pitch for high-value AI applications lies in creating "reverse centaurs": humans who serve as appendages for automation that operates at a speed and scale that is unrelated to the capacity or needs of the worker:

https://pluralistic.net/2022/04/17/revenge-of-the-chickenized-reverse-centaurs/

But unless these high-value applications are intrinsically risk-tolerant, they are poor candidates for automation. Cruise was able to nonconsensually enlist the population of San Francisco in an experimental murderbot development program thanks to the vast sums of money sloshing around the industry. Some of this money funds the inevitabilist narrative that self-driving cars are coming, it's only a matter of when, not if, and so SF had better get in the autonomous vehicle or get run over by the forces of history.

Once the bubble pops (all bubbles pop), AI applications will have to rise or fall on their actual merits, not their promise. The odds are stacked against the long-term survival of high-value, risk-intolerant AI applications.

The problem for AI is that while there are a lot of risk-tolerant applications, they're almost all low-value; while nearly all the high-value applications are risk-intolerant. Once AI has to be profitable – once investors withdraw their subsidies from money-losing ventures – the risk-tolerant applications need to be sufficient to run those tremendously expensive servers in those brutally expensive data-centers tended by exceptionally expensive technical workers.

If they aren't, then the business case for running those servers goes away, and so do the servers – and so do all those risk-tolerant, low-value applications. It doesn't matter if helping blind people make sense of their surroundings is socially beneficial. It doesn't matter if teenaged gamers love their epic character art. It doesn't even matter how horny scammers are for generating AI nonsense SEO websites:

https://twitter.com/jakezward/status/1728032634037567509

These applications are all riding on the coattails of the big AI models that are being built and operated at a loss in order to be profitable. If they remain unprofitable long enough, the private sector will no longer pay to operate them.

Now, there are smaller models, models that stand alone and run on commodity hardware. These would persist even after the AI bubble bursts, because most of their costs are setup costs that have already been borne by the well-funded companies who created them. These models are limited, of course, though the communities that have formed around them have pushed those limits in surprising ways, far beyond their original manufacturers' beliefs about their capacity. These communities will continue to push those limits for as long as they find the models useful.

These standalone, "toy" models are derived from the big models, though. When the AI bubble bursts and the private sector no longer subsidizes mass-scale model creation, it will cease to spin out more sophisticated models that run on commodity hardware (it's possible that Federated learning and other techniques for spreading out the work of making large-scale models will fill the gap).

So what kind of bubble is the AI bubble? What will we salvage from its wreckage? Perhaps the communities who've invested in becoming experts in Pytorch and Tensorflow will wrestle them away from their corporate masters and make them generally useful. Certainly, a lot of people will have gained skills in applying statistical techniques.

But there will also be a lot of unsalvageable wreckage. As big AI models get integrated into the processes of the productive economy, AI becomes a source of systemic risk. The only thing worse than having an automated process that is rendered dangerous or erratic based on AI integration is to have that process fail entirely because the AI suddenly disappeared, a collapse that is too precipitous for former AI customers to engineer a soft landing for their systems.

This is a blind spot in our policymakers debates about AI. The smart policymakers are asking questions about fairness, algorithmic bias, and fraud. The foolish policymakers are ensnared in fantasies about "AI safety," AKA "Will the chatbot become a superintelligence that turns the whole human race into paperclips?"

https://pluralistic.net/2023/11/27/10-types-of-people/#taking-up-a-lot-of-space

But no one is asking, "What will we do if" – when – "the AI bubble pops and most of this stuff disappears overnight?"

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/12/19/bubblenomics/#pop

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

tom_bullock (modified) https://www.flickr.com/photos/tombullock/25173469495/

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/

#pluralistic #ai #economics #business #hype #bubbles #bubblenomics #residue

4K notes · View notes

narutocharacterpolls · 9 months

Text

ROUND THREE

UCHIHA SASUKE vs TENTEN

Reasons for submission under the cut

Sasuke

he is trying so hard to do what he is supposed to, even succeeding at it, only for everything to be a lie

he's authentic and driven and he doesn't care what other people think, if he believes something he will go ahead and do it, unafraid of paying the price

Sasuke was right about everything

he went through so much and never gave up, it's very inspiring and means a lot

Fortnite Sasuke

despite everything he can't help but love

his relationship with Itachi is one of the most heartbreaking and beautiful sibling relationships, genocide aside it's very relatable

he looks just like Mikoto.....

he's beautiful!

he has so much compassion for others and will do what he can for them, but still does not compromise his own beliefs and goals to do so

he's so personal to [submitter] and has been the sole reason of making it through hard times

love is stored in the Sasuke

true heroine or the Naruto series

all his outfits slay

the whole manga wouldn't even exist if it weren't for him

kind, compassionate, driven by love, fucking iconic

trans masc icon and legend

the revolutionnnn

he is an emo icon

a communist

a transgay legend

[submitters] family is generationally effected by genocide so Sasukes justice means the world to [submitter]. Sasukes love means EVERYTHING to [submitter]

he is full of love

very strong

excellent gay representation

owner of the worlds most special eyes

the most relatable Naruto character

a snarky lil bitch :)

he went thru so much & gets too much hate for someone who only wanted revenge for his murdered clan

cat boy

femme fatale

kept going despite all the trauma he went through

flawless observation skills

analytical, intelligent

never let anyone push him around or manipulate him

full of love and kindness

pacifist at heart (refuses to kill innocents)

sought to destroy Konoha

serves cunt in all his outfits

friend of animals

killed Orochimaru because he felt like it

Tenten

her main jutsu is just throw so many knives at you and I respect that

her weapons mastery/sealing jutsu had so much potential and it never got the treatment it deserved

team Gai supremacy

#bestnrtcharapoll #naruto #polls #uchiha sasuke #sasuke uchiha #tenten #id in alt text

7K notes · View notes

derinwrites · 1 month

Text

The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

2K notes · View notes

heartlilith · 6 months

Text

Difficult Placements in the Natal Chart

*Difficult: defined as "not easy; needing effort or skill to do or to understand"

I'm going to be discussing what placements I believe are more difficult to have in a natal chart. I just want to emphasize that this is my opinion (Tamra Judge voice) . Let's remember that all placements have their pros and cons, you are not defined by a few unfavorable placements. Of course, aspects and orbs matter... Chiron with 3 squares to your personal planets will be more difficult to handle than if you had Chiron trine Sun and Venus, for example.

One last thing: Difficult placements can be the ones with the most value. They teach you things, make you stronger, and they can make you an inspiration to people dealing with similar situations. Difficult placements have their positives too, which we will discuss.

🧿💙🧿💙🧿💙🧿💙🧿💙🧿💙🧿💙🧿💙🧿💙🧿

Sun conjunct Chiron: These natives go through a lot of pain, physically and emotionally. They go through many trials and have to learn how to heal again and again. I feel like the universe puts them through a lot so that one day they can help others, which is nice but damn. This aspect can easily make someone slip into addiction, depression, and bitterness if the energy isn't channeled correctly. These people are prone to psychic attacks that lead to chronic illness, specifically migraines.

Positives: Can become a healer, can help other people through their problems, can become an inspiration, selfless character.

Sun square/opposite Neptune: These natives struggle when it comes to their fragile ego. They are deeply sensitive and feel things intensely. They absorb energies meaning if they're around negative people, they themselves will become negative as well. It's so important for these people to be surrounded by positive and successful individuals. Sun square/opposite Neptune is also easily manipulated and taken advantage of since they tend to see the world through rose-colored glasses. Throughout life, this placement can make an individual feel unworthy and inferior which can lead to a victim mentality that's hard to break. Watch out for escapist behavior because these people are prone to addiction.

Positives: These people are very psychic and should work on their spiritual abilities. Becoming religious or spiritual can be very beneficial for them. They have the most impressive imagination and are super creative.

Capricorn Moon: I've noticed that people with Capricorn as their moon sign have difficulties with being vulnerable and asking for help. They are the people that hold their family and friends together - they are the strong one. Oftentimes, they become responsible too early in life, which probably cut their childhood short if they had one at all. Their sense of responsibility is their strength but its also a weakness; they don't want to be thought of as "weak" or "needy" so they hold their feelings in. Like Pisces, when their emotions come on strong they need an escape, Capricorns rely on work and their sense of duty. They are prone to becoming workaholics and will ignore painful situations by working all the time.

Positives: Likely to become successful career-wise, very driven and ambitious, people trust them, they make great friends because you can rely on these people.

Aquarius Moon: Similar to Capricorn, Aquarius Moons struggle with their emotions and how to express them. Their emotions might not even be felt in some cases. They look at things intellectually and in a detached way; they think "Should I be sad about this?" or "Am I supposed to be angry?". Growing up, they probably didn't have someone that they could emotionally confide in or even worse, they could've been punished for showing their emotions. I've noticed a lot of Aquarius Moons have a detached sense of family, they could've been adopted or they just feel "different", they could even look at themselves as the black sheep.

Positives: Can come up with creative solutions to problems, a great friend, nonjudgemental and open minded when it comes to others and their life experiences.

Moon square Pluto: This placement could've been the victim of abuse, especially from their mother. Their mothers could have struggled with mental illness and unfortunately these natives could've been the scapegoat and received the backend. Their mothers could be careless one second and the next they could become obsessive; the obsessiveness usually shows when the native leaves home and creates space between them. This leads to distrust in people, women especially. Moon square Pluto people cling onto any sense of control because they grew up in utter chaos. Unfortunately, these people can deem self destructiveness as "normal" since it was what they knew throughout their whole childhood.

Positives: If these people conquer the negative traits brought on by this aspect, they could become great psychiatrists or therapists. These people are devoted and loyal.

Moon square Saturn: This placement could've struggled with feeling unsafe in childhood; like they couldn't count on their parents. Their mothers were less affectionate than normal and they didn't receive the comfort that they needed, which leads them to being uncomfortable with affection in adulthood. They probably went through some tough changes in childhood which is why they loathe change as an adult. This placement could've felt like they had to parent their parent, specifically their mother. And their mothers could've vented to them about problems that they had no business hearing, cutting their childhood short. Their mothers could go to them for advice a lot of times. They could've felt like a burden growing up, usually an emotional burden but more likely a financial burden.

Positives: Strives to become successful, these people are independent and self sufficient.

Virgo Venus: Virgo Venus isn't too bad but can make a native struggle with self esteem issues. I put this on my list because these people attract lovers that need fixing. Venus in Virgo love to fix people and make them "better". The people they're trying to fix could be toxic and destructive; the "bad boys/girls". But having their partner in focus and ignoring their own needs makes them resentful after awhile. I've noticed this placement attracts creeps and stalkers as well because they have a vibe of innocence and purity. In love, they can grow to be very demanding and make their partners feel inadequate in the process. They also get the ick quite easily, meaning its easy to turn them off.

Positives: Is reliable in love, a lady in the streets freak in the sheets type, definitely someone you want to bring home to your family, will take care of you.

Venus in the 8th house: Venus in the 8th house natives tend to be possessive and jealous in love. It's not that they view their partners as property (they can but this placement alone doesn't indicate that imo), they are just extremely loyal and expect their partner to be as well. From my experience, Venus in the 8th house people are ready to give it all up for someone they love. They want to merge and become one with their partner. Their intensity comes from a good place but once a relationships ends, it can be very very painful for them. Love and relationships trigger transformations for these people and sometimes triggers transformations in their partners. They come out of relationships a stronger and better version of themselves but this is usually achieved through heartache. This placement also has a real fear of abandonment and will stay in toxic relationships for this reason.

Positives: Loyal and devoted in love, is a ride or die person. They are very alluring and magnetic. Not easily forgotten.

Venus in the 12th house: I believe these natives are too good for the world. I say this because, like 8th house Venus, they are ready to give it all up for love. Venus in the 12th house is self sacrificial to a fault, oftentimes neglecting themselves in relationships. Love can bring subconscious pain to the forefront, attracting lovers that make them face hidden problems they hold within themselves. Venus being in the house of the hidden, it's not uncommon for these individuals to be the "other woman/man" or be in secret relationships for whatever reason. They can be easily manipulated and taken advantage of since they're hopeless romantics. This can lead to them having to regulate how much love they have for someone; they'll hold back their feelings and needs in fear of being naive and walked on.

Positives: They love people genuinely and whole heartedly, they see the best in their partners, they form deep connections in love.

Venus square/opposite Saturn: These natives may have grown up in an environment that lacked physical affection. This creates a person that is uncomfortable in love and becomes very regulated with how they express their emotions. They may be inherently insecure when they're young which creates doubt around being loved; they're prone to thoughts like "why would anyone love me?" which then creates trust issues. These people also struggle with self-love, they have feelings of inadequacy and compare themselves to others a lot. Since they have low self esteem, they often attract partners that treat them badly and the worst part is they think they deserve it. These people aren't fans of PDA or physical touch and often express love through gift giving or acts of service.

Positives: Self sufficient, usually has a "glow up" later in life, once this placement is conquered (could be the second half of life) they are unstoppable and have so much love for themselves.

Mars in 4th, 8th, 12th house: Mars doesn't feel very comfortable in water houses, this is especially true if the native has a lot of squares and oppositions to their Mars or water house lord. Mars ignites the emotional watery nature of the houses which can lead to sudden outbursts. Mars in the 4th house natives could have dealt with a prominent mother who dominated the household (4th house). This could indicate that a father figure was absent or estranged. Either that, or his role was weak compared to the mothers. Mars in the 4th house could also signify an aggressive mother and hostile home environment. Mars in the 8th house natives experience extreme emotions a lot of the time, this can include anger, obsession, and jealousy. Since Mars is in the 8th house of transformations, you can expect these people to go through many many painful changes in their life because Mars here speeds things up. These natives are prone to accidents involving vehicles, tools, gym equipment, etc. so watch out for transits! Mars in the 12th house could suppress their martian traits; sexuality, motivation and anger... or it could be the opposite, they could become addicted to sex and have a wicked temper, depending on the sign and aspects. Trauma related to sexuality and the inability to stick up for oneself could be prevalent here as well, or they could be downright violent towards others. These people can either lack motivation or become extremely restless. They also probably have crazy vivid dreams and aggressive hidden enemies.

Side Note: Mars in water houses can either be horrible or not so bad, it really depends on the rest of the chart. I included this because the negatives can be extreme.

Mars square/opposite Pluto: These natives usually had a childhood filled with violence and witnessed a lot of strong emotional outbursts. This makes the native think that reacting aggressively or even violently is normal. They could've been abused by their peers, siblings or parents. As they grow up, physical violence, fights, and anger issues could arise. They can get offended really easily and people just assume they're picking fights. Has a lot of physical energy that can manifest as aggression.

Positives: If they channel their energy correctly, they could become talented athletes. Has enough energy to meet their goals and then some.

Saturn in the 1st house: These people have had it hard since childhood. These natives struggle to be comfortable within themselves due to being surrounded by critical people and even being bullied growing up. The judgmental voices they grew up listening to becomes the voice within. They could struggle with body dysmorphia and have deep rooted insecurities. They are confused within themselves and their insecurity could make them miss a lot of great opportunities.

Positives: These people often have a deep sense of responsibility and can be very successful in their career, depending on the rest of the chart.

Saturn in the 7th house: Saturn, the planet of restriction and blockages, sitting on the 7th house of partnerships can make a native go through a lot of trial and error when it comes to one on one relationships. These people could be shy and fear intimacy due to their self esteem especially when they're young. Since Saturn is very karmic in nature, these people could attract toxic relationships or partners that don't fit well with them in order to learn necessary lessons. These people should be careful of going into business with people and also should be careful of divorce settlements (sign that prenup!)

Positives: After Saturn return, these natives will finally meet an adequate partner and since the universe put them through trial and error, they'll be ready for it. Has meaningful life long friendships.

Chiron opposite ASC/Chiron in the 7th house: These peoples' lessons come in the form of lovers. Betrayal, deceit, heartbreak, and infidelity can make their way into these natives lives. It doesn't have to be those themes although it can be. Depending on the sign of your 7th house, those are the themes that'll teach you the lessons and open up old wounds. For example: Leo in the 7th house (Aquarius rising) you may attract and deal with partners who, worst case scenario, are selfish, egotistical, and want everything to revolve around them. This could trigger your childhood in which your parents fought with each other and forgot about you in the process. Another example is Aries descendent (Libra rising) you may deal with partners who are aggressive, dominating, and maybe even violent. This could trigger old wounds from childhood: maybe you lived in a home where domestic violence was prevalent. You get the idea.

Positives: You're not doomed in love by the way, it's just 7th house signs and their themes that will show up throughout your life. The examples I used were pretty extreme to get the point across. The positive here is that most of the time, the themes are much more discreet. For the 7th house Chiron in Leo example I used, it could be that your partner is self centered and you recognize and treat this. Could be an easy lesson learned (well it better be because if not it's gonna keep showing up).

Chiron in the 11th house: Chiron in the 11th house is a placement I personally have using Placidus. These natives never feel like they fit in, they feel like they're looked at as the outcast, like they don't belong. This is usually the consequences of being bullied as a child and made to feel less than. These people could go through a hard time in life where they have no friends and feel like they have no one to turn to. Loneliness could be a prominent theme in their lives especially when they're young. Chiron in the 11th house would rather have one on one connections than be part of a friend group.

Positives: Could be an advocate for people sharing similar experiences, knows how to be a good friend, values friendships and knows how to be alone.

Chiron conjunct Pluto: I have this one! I've noticed that certain painful experiences; death, heartache, betrayal, rejection affect me SO much. Growing up my mom would just brush these things off and say that they're a part of life. But to me, these things would happen and I would grow to fear them immensely. For example; my grandmother who I was super close to passed away when I was 17 and ever since then I've been terrified of my parents dying. Painful experiences really change people with this aspect, for better or for worse.

Positives: These people are forced to confront their deepest fears which in turn makes them stronger. They have the power to transform themselves after traumatic events.

Lilith in the 1st house: Lilith is the exact opposite of what "women should be" which rubs people, men specifically, the wrong way. It also rubs older generations the wrong way or whoever believes in traditional gender roles. Here in the 1st house, these natives embody Lilith which, you guessed it, rubs people the wrong way. They usually have trauma related to males trying to put them down or put them in their place, even as a child. Growing up, adult women could talk about them negatively as well. Everywhere they go, there's people that look at them sideways; they're either disgusted or intrigued. They often experience people hating them for "no reason". The real reason for this reaction is because they make people feel threatened just by being. They were also sexualized from a young age and could've had older people, mostly men, commenting on their bodies.

Positives: Extremely magnetic and alluring, blessed with beauty, intense aura and presence, always gets what they want.

Lilith in the 10th house: Similar to Lilith in the 1st house, these natives have a tendency to set people off just by being themselves. This creates a lot of disturbance in the workplace; people either love them or hate them but either way their reaction to them is extreme. Male authority can either sexualize them or belittle them making the workplace uncomfortable. Lilith being Lilith here, they may use this power to their advantage and climb the ranks so to speak. Rumors about them swirl around the workplace because people are just obsessed.

Positives: Strong people, very attractive, can use their good looks to their advantage, will grow to be a boss.

18° in Personal Planets/1st house/6th house/8th house: 18° is the shadow side of Virgo. Having this degree could indicate serious illness, tragedy, and critical misfortunes playing a role in your life. This doesn't have to be the native themselves experiencing these things, but it will affect them whether that be through family, a partner, friendships, etc.

Positives: I feel like this could be true but not always so if you have this degree anywhere you're most likely safe. But then again you might not be. Good luck. :)

🧿💙🧿💙🧿💙🧿💙🧿💙🧿💙🧿💙🧿💙🧿💙🧿

I'm definitely forgetting a bajillion placements but it's all so negative so I'm going to end here. I'm not trying to be negative I'm just shining a light on certain placements because they're fucking hard to deal with!!!

To the people that say no placement is bad or negative: how does it feel to have rainbows and sunshine shooting out of your fucking ass?! Be forreal.

Life is hard, we all know that. How could we appreciate the fortunes if we didn't have misfortunes? For all the negative there will be positive too. Here's to all of us and our shitty fucking placements 🎉

1K notes · View notes

felikatze · 6 months

Text

ISAT and Ludonarrative Harmony: Combat is a Storytelling Tool

Or: How Siffrin is stuck in the endgame grind, forever

Please Note: This is primarily aimed at an audience that already played In Stars and Time, because I am bad at explaining things, and it's good to already know what the fuck I'm talking about. I tend to only bring up game elements as I want to talk about them.

Spoilers for.... all of ISAT! Especially Act 5!

(image to show how i feel posting this and as an attention grabber over my wall of text)

To pull a definition of ludonarrative harmony out of a hat, game writer Lauryn Ash defines it as follows:

Ludonarrative harmony is when gameplay and story work together to create a meaningful and immersive experience. From a design implementation perspective, it is the synchronized interactions between in-game actions (mechanics) and in-world context (story).

It is, generally speaking, how well game mechanics work hand in hand with the story. I, personally, think ISAT is an absolute masterclass of it, so I want to take a look at how ISAT specifically uses its battle system to emphasize Siffrin's character arc and create organic story moments. I want you to keep this in mind when I talk here.

So, skills, right? If you've played any turn-based RPG, you know your Fire spells, your "BACKSLASH! AIRSLASH! BACKSLASH!" and the many ways to style those.

Well, what does casting "Fire" say about your character? Not all that much, does it? Perhaps you'll have typical divisions. The smart one is the mage, the big brawny one is your tank, the petite one's the healer. And that's the barebones of ISAT's main party, but it's much more than that.

Every character's style of combat tells you something about them. Odile, the Researcher, is the most well-travelled and knowledgable of the bunch. She's the one with the expertise to keep a cool head and analyze the enemy, yet also able to use all three of the Rock-Paper-Scissors craft types.

To reflect her analytical view of things, all her skill names are just descriptive, the closest to your most bog-standard RPG. "Slow IV" or "Paper III" serve well to describe their purpose. The high number of the skills gives the impression there were three other Slow skills beforehand - fitting, considering the party starts at level 45, about to head into the final dungeon. She's also the oldest, so she's the slowest of the bunch.

Isabea, the Fighter, has all his skills in exclamation points. "YOUR TURN!!!" "SO WEAK!!!" "SMASH!!!" they're straightforward, but excited. He's a purposefully cheerfull guy, so his skills revolve around cheering on his allies. He's absolutely pumped to be here, and you see that from his skill names alone.

Mirabelle, the Housemaiden, is an interesting case. She's by all means the true protagonist of this tale - She's the one "Chosen by the Change God," the only one who survived the King's first attack, the only one immune to his ability to freeze time, the only dual-craft type of the game - just a lot of things. And her skill names reflect that facade she puts on herself - she can do this, she can win! She has to believe it, or else she starts doubting. This is how you get "Jolly Round Rondo" and "Mega Sparkle Heal" or "Adorable Moving Cure." She's styled every bit a sailor scout shojo heroine, and her moveset replicates the naming conventions of "In the name of the moon, I'll punish you!"

Even Bonnie, the Kid, who can't be controlled in combat, has named craft skills. And they very much reflect that Bonnie is, well, a kid. "Wolf Speed Technique" or "Thousand Blows Technique" are very much the phrasings of a child who learned one complicated word and now wants to use it in everything to seem cooler than they are, which is none, because they're twelve.

Siffrin's skills are all puns.

You have an IMMEDIATE feel for personality here. Between "Knife to Meet You!" and "Too Cleaver by Half," you know Siffrin's the type to always crack a joke no matter the situation, slinging witticisms around to put Sonic the Hedgehog to shame. It's just such a clever way to establish character using a game mechanic as old as the entire history of RPGs.

This is only the baseline of the way the combat system feeds into the story, though.

The timeloop, of course, feeds into it. Siffrin is the only character who retains experience upon looping, whereas all other characters are reset to their base level and skills. And it sucks (affectionate).

You're extremely likely to battle more often the earlier in the game you are - after all, you need the experience (for now.) Every party member contributes, and Siffrin isn't all that strong on their own, since they focus on raw scissor type damage with the addition of one speed buff. (Of course it's a speed buff. They're a speedy fucker. Just look at him).

At first, the difference in level between Siffrin and the rest of the group is rather negligible. Just a level or two. Just a bit more speed and attack. And then Siffrin grows further and further apart. Siffrin keeps learning new skills. He gets a healing skill that doubles as an attack boost, taking away from both Mirabelle's and Isabeau's usefullness. He gets Craft skills of every type that even give you two jackpot points instead of one - thus obliterating Odile's niche. Siffrin turns into a one-person army capable of clearing most encounters all on their own.

Siffrin's combat progression is an exact mirror of story progression - as their experience inside the loops grows, they also grow further and further away from their party. The party seems... weaker, slower, clumsier. Always back at their starting point, just as all of their character arcs are reset each loop. Never advancing, always stagnant. And you have Siffrin as the comparison post right next to them.

I also want to point out here a change from Act 2 to Act 3 - Siffrin's battle portrait. He stops smiling.

Battles keep getting easier. This is true both for the reason that Siffrin keeps growing stronger even when all enemies stay the same, but also for the reason that you, the player, learn more about the battle system and the various encounters, until you've learned perfect boss clear strategies just from repetition. Have you ever watched a speedrunner play Pokemon? They've played this game so many times, they could do it blindfolded and sleeping. Your own knowledge and Siffrin's new strength work in tandem to trivialize the game's entire combat system as the game progresses.

(Is it still fun? Playing it over, and over, and over again? Is it?)

You and Siffrin are in sync, your experience making everything trivial.

As time goes on, Siffrin grows to care less and less about performing right for their party and more and more about going fast. A huge moment in his character is marked by the end of Act 3; because of story events I won't delve too deeply into, Siffrin has grown afraid of trying something new. And his options of escape are closing in. They need an answer, and they need it fast. He doesn't have the time or patience to dumb himself down, so you unlock one new skill.

It doesn't occur with level up, or with a quest, or anything at all. At the start of Act 4, it simply appears in Siffrin's Craft skills.

(Just attack.)

No pun. No joke. Just attack. Once you notice, the effect is immediate - here you have it, a clear sign of how jaded Siffrin has become, right at every encounter. And it's a damn good attack, too! The only available attack in the game that deals "massive" damage against all enemies. Because it doesn't add any jackpot points (at least, it's not supposed to), you set up a combo with everybody else, but Siffrin simply tears away at the enemy with wild abandon. Seperated from the rest of the party by the virtue of no longer needing to contribute to team attacks (most of the time. It's still useful if they do, though).

Once again, an aspect of the battle system enhances the degree of separation between Siffrin and the static characters of his play. You're incentivized to separate him, even.

Additionally, there are two more skills to learn. They're the only skills that replace previous skills. You only get them at extremely high levels, the latter of which I didn't even reach on both of my playthroughs.

The first, somewhere in the level 70 range, Rose Printed Glasses, a paper type craft skill, is replaced by Tear You Apart. It's still a pun about paper, but remarkedly more vicious.

The second is even more on the nose. At level 80, In A While, Rockodile!, a rock type craft skill, is replaced by the more powerful Rock Bottom.

I didn't get to level 80. If you do, you pretty much have to do it on purpose. You have to keep going much longer than necessary, as Siffrin is just done. And the last skill he learns is literally called Rock Bottom.

What do I even need to say, really.

Your party doesn't stay static forever, though.

By doing their hangout quests, side quests throughout the loops that result in Siffrin and the character having a heart to heart, all of them unlock what I'd call an "ultimate" skill. You know the type - the character achieved self-fulfillment, hit rank 10 on their confidant, maxed out their skill tree, and received a reward for their trouble.

These skills are massively useful. My favorite is Odile's - it makes one enemy weak to all Craft types for several turns, which basically allows you to invalidate the first and third boss, as well as just clown on the King, especially once Siffrin starts racking up damage.

But the thing is. In Act 3, when you first get them, yeah, they're useful. But... do you need them? After all, they're such a hassle to get. You need to do the whole character quest again, you can't loop forward in the House or you'll lose them. If you want to take these skills to the King, you need to commit. Go the full nine-yards and be nice to your friends and not die and not skip forward or skip back. Which is annoying, right?

Well, I sure did think so during Act 4. After all, a base level party can still defeat the King, just with a few more tricky pieces involved. Siffrin can oneshot almost all basic enemies by the time of Act 4. It's this exact evalutation that you, the player, go through everytime you return to Dormont. Do I want this skill, still? Would it not be faster to go on without it? I'm repeating myself, but that's the thing! That's what Siffrin is thinking, too!

I also want to take a quick moment to note, here - all skills gained from hangouts have art associated with them, which no other skills do. This feature, the nifty art, hammers home these as "special" skills, besides just how they're unlocked.

Siffrin also has one skill with associated art.

Yeah, you guessed it, it's (Just attack.)

At first, helping the characters is tied to a hefty in-game reward, but that reward loses its value, and in return devalues helping Siffrin's friends every loop. It's too tedious for a skill that'll make a boss go by one turn faster. You, the player, grow jaded with the battle system. Grinding experience isn't worth it, everybody's highest levels are already recorded. Fighting bosses isn't worth it, it's much faster to loop forward.

Isn't this what all endgame in video games looks like? You already beat the final boss, and now... what challenge is left? Is there a point to keep playing? Most games will have some post-game content. A superboss to test your skills against, but ISAT doesn't have any of that. You're forever left chasing to the post-game. That's the whole point - to escape the game.

As most games get more difficult as time passes, ISAT only gets easier. The game becomes disinterested in expanding its own mechanics just as I ran out of new things to fight after 100%-ing Kingdom Hearts 3. Every encounter becomes a simple game of "press button to win."

The final boss just takes that one up a notch.

Spoilers for Act 5 ahead boys!

In Act 5, Siffrin utterly loses it. His last possible hope for escape failed him, told him there's nothing she can do, and Siffrin is trapped for eternity. So of course, they go insane and run up the entire House without their party.

This just proves what you already knew - you dont need the party to proceed. Siffrin alone is strong enough. And here, Siffrin has entirely shed the facade of the jokester they used to be. Every single skill now follows the (Just attack.) naming conventions. Your skills are: (Paper.) (Rock.) (Scissors.) (Breathe.)

To the point. Not a moment wasted, because Siffrin can't take a moment longer of any of this. Additionally, his level is set to 99 and his equipment becomes fixed. You can't even pick up items anymore! Not that you needed them at this point anyway, right? Honestly, I never used any items besides the Salty Broth since Act 2, so I stopped picking items up a long time ago. Now you just literally can't.

Something I've not talked about until now - one of the main equipment types in this game are Memories, gained for completing subquests or specific interactions and events. They all by and large have little effects - make Odile's tonics heal more, or have Mirabelle cast a shield at the start of combat. For the hangout events, you also gain an associated memory that boosts the characters' stats by 30. It lets them keep up with Siffrin again! A fresh wind! Finally, your party members feel on par with you again!

...For a time. And just like that, they're irrelevant again, just as helping them gave Siffrin a brief moment of hope that the power of friendship could fix everything.

In Act 5, your memory is set to "Memory of Emptiness." It allows you to loop back in the middle of combat. You literally can't die anymore. Not that Siffrin could've died by this point in the first place, unless you forgot about the King's instant-kill attack. This one memory takes away the false pretense that combat ever had any stakes. Siffrin's level being set to 99 means even the scant exp you get is completely wasted on them. All stakes and benefits from combat have been removed. It has become utterly pointless.

Frustrating, right? It's an artistic frustration, though. It traps you right here in Siffrin's shoes, because he hates that all these blinding Sadnesses are still walking around just as much. It all inspires just a tiny fraction of that deep rolling anger Siffrin experiences here in the player.

And listen, it was cathartic, that one time Siffrin snapped and stabbed the tutorial Sadness, wasn't it? Because who enjoys sitting through the tutorial that often? Siffrin doesn't. I don't, either.

So, since combat is an useless obstacle now meant to inspire frustration, what do you do for a boss? You can't well make it a gameplay challenge now, no. The bosses of Act 5 are an emotional challenge: a painful wait.

First, Siffrin fights the King, alone. This is already nervewracking because of one factor - in every other run, you need Mirabelle's shield skill, or else you're scripted to die. You're actually forced to fight the King multiple times in Act 3, and have to do it at least once in Act 4, though you'll likely do it more. Point is: you know how this fight works.

You know Siffrin's fight is doomed from the outset, but all you can do is keep slinging attacks. Siffrin is enough of a powerhouse to take the King's HP down, what with the healing and buff skills they have now, not to even mention you can just go all in on damage and then loop back.

(And no matter which way you play it, whether you just loop or use strategically, it reflects on Siffrin, too. Has he grown callous enough not even death will stop their mission? Or does he still avoid pain, as much as he can?)

This fight still allows you the artifice of even that much choice, not that it matters. The other shoe drops eventually - Siffrin becomes slower, and slower. Unsettling, considering this game works on an Action Gauge system. You barely get turns anymore. The screen gets darker, and darker. Until Siffrin is frozen in time, just as you knew he had to be, because you know how this encounter works, know it can't be cleared without Mirabelle.

And, then, a void.

Siffrin awakens to nothingness. The only way to tell you've hit a wall is if Siffrin has no walking animation to match your button inputs. You walk, and walk, until you're approached by.... you. The next enemy encounter of the game, and Siffrin's absolute lowest point: Mal Du Pays.

Or, "Homesickness," in english. If you know the game, you know why it's named this, but that's not the point at the moment.

Thing is, where you could damage the King and are damaged in turn, giving you at least a proper combat experience, even if its doomed to fail, Mal Du Pays has no such thing.

You can attack. You can defend. But it is immune to all attacks. And in return, it does nothing. It's common, at least, for undefeatable enemies to be a "survive" challenge, but nope. The entire fight is "press button and wait." Except, remember the previous fight against the King? The entire time, you were waiting for the big instant death attack to drop. That feeling, at least for me, carried forward. I was incredibly on edge just waiting for the other shoe to drop. And, as is a pattern, Siffrin is, too. As Siffrin's attacks fail to connect, they start talking to Mal Du Pays.

But he gets no response, as you get no attacks to strategize around. The wait for anything to happen is utterly agonizing. You and Siffrin are both waiting for something to happen. This isn't a fight. It just pretends to be. It's an utter rugpull, because Siffrin was so undefeatable for most of Act 4 and all of Act 5 so far. It's kind of terrifying!

and it does. It finally does something. Ma Du Pays speaks, in the voice of Siffrin's friends, listing out their deepest fears. I think it's honestly fantastic. You're forced to just sit here and listen to Siffrin's deepest doubts, things you know the characters could not say because it references the timeloops they're all utterly unaware of. This is all Siffrin, talking to himself. And all you, all Siffrin, can do, is keep wailing away on the enemy to no effect whatsoever.

So of course this ends with Siffrin giving up. What else can you do?

And then Siffrin's friends show up and unfreeze them and it's all very cool yay. The pure narrative scenes aren't really the main focus but I want to point out here:

A) Mirabelle is in the first party slot here, referencing how she's the de facto protagonist, and Bonnie fills in the fourth slot left empty, which shows all characters uniting to save Siffrin

B) this is the only instance of the other party members having act specific battle icons: they're all smiling brightly, further pushed by the upbeat music

C) the reflecting shield Mirabelle uses to freeze the King uses a variation of her hangout skill cut in, marking it as her true "final" skill and giving the whole fight a more climatic feeling.

It's also a short gameplay sequence with Siffrin utterly uninvolved in the battle. You can't even see them onscreen. But... it feels warm, doesn't it? Everybody coming together. Siffrin doesn't have to fight anymore.

At last, the King is defeated. Siffrin and co. make for the Head Housemaiden, to have her look at Siffrin's sudden illness. Siffrin is utterly exhausted, famished, running a fever. And this isn't unexpected - after all, their skills in Act 5 had no cooldown. For context, instead of featuring any sort of MP system, all skills work on a cooldown basis, where a character can't use it for a certain number of turns. The lowest cooldown is actually Siffrin's Knife to Meet You, which has a cooldown of 1. In universe, this is reasoned as the characters needing a break from spamming craft in order to not exhaust themselves.

Siffrin's skills in Act 5 having no cooldown/being infinitely spammable isn't a sign of their strength - it's a sign that he refuses to let himself rest in order to rush through as fast as possible.

Moving on, Siffrin panics when seeing the Head Housemaiden, because seeing her means one thing: the end. Prior to this in the game, every single time you beat the King, the loop ends when you talk to the Head Housemaiden.

Reality breaks down, the whole shebang. It's here that Siffrin realizes - they don't want the loops to end, because the end of their journey means their family will leave, and he'll be alone again. The happiest time of his life will be over.

Siffrin goes totally ballistic, to say the least.

As it turns out (and was heavily foreshadowed narratively), Siffrin has been using Wish Craft to subconciously cause the timeloop because of their abandonment issues. It's rather predictable if you paid attention to literally anything, but it's extremely notable how heavily Siffrin is paralleled to the King, the antagonist they swore to kill by themself at the start of Act 5. The King wants to freeze Vaugarde in time because it is, in his mind, "perfect," for accepting him after he lost his home - a backstory he shares with Siffrin.

Siffrin has become the exact antagonist he swore to kill, and it's shown by how the next fight utterly flips everything on its head.

Siffrin is the final boss.

In a towering form made of stars, Siffrin looks down at their friends. His face is terrified, because of his internal conflict; he can't hurt his friends, but he can't let them go, either. The combat prompt is simply changed to "END IT!"

This fight is similar to the previous, in that you just need to wait a certain number of turns until its over. However, this time, it's not dreadful suspense. It's... confusion, and hesitance.

You have two options for combat: Attack your friends, or attack yourself.

And... you don't really want to do either, I think. I certainly don't. But what else can you do? It's Siffrin's desires clashing in full force. Attack your friends, and force them to stay? Or attack yourself, and let them go safely without you?

Worth noting, here - when you attack Siffrin's friends, you can't harm them. Isabeau will shield all attacks. And when you attack yourself, Mirabelle will heal you back to full. And the friends don't... do anything, either. How could they? Occasionally, Mirabelle heals you and Isabeau shouts words of motivation, but the main thing is...

(Your friends don't know what to do.)

None of them want to harm Siffrin. Both sides simply stare at each other, resolute in their conviction but unwilling to end it with violence. It's of note that this loop, the last one, is the only loop where the King isn't killed. Just frozen. And now here is Siffrin, clamoring for the same eternity the King was. Of course everything ends in a tearfilled conversation as Siffrin sees their friends won't leave him, even after the journey ends, but I still have to appreciate this moment.

Siffrin is directly put in the position with their friends as his enemies, forced to physically reckon that keeping them in this loop is an act of violence, against both their friends, and against himself.

It's a happy ending. But... what does it mean?

Of course, ISAT is obviously about the fear of change. Siffrin is afraid of the journey ending, and of being alone. However, ISAT is also a game about games. Siffrin is playing the same game, over and over, because it's comforting. It's familiar. It's nice, to know exactly what happens next. These characters might just be predictable lines of dialogue, but... they feel like friends. Have you ever played a game, loved it, put countless hours into it, but you never finished it? Because you just couldn't bear to see it end? For the characters to leave your life, for there to be a void in your heart where the game used to be?

After all, maybe it became part of your routine! You play the game every day, slowly chipping away at it for weeks at a time. For me, I beat ISAT in four days. It utterly consumed me during this time. I had 36 hours of playtime by the end. Yeah, in that week, I did not do much more than play ISAT.

And once i beat it, i beat it, again. I restarted the game to see the few scenes I missed, most specifically the secret boss I won't talk about here. I... couldn't let go of the game yet. I wanted to see every scrap I could. I still do. I'm writing this, in part because I still do. It's scary to let go.

Ever heard the joke term of "Postgame Depression?" It's when you just beat a game, and you're suddenly sad. Maybe because the ending affected you emotionally and you need to process the feelings it invoked, or you search for something that can now fill your time with it gone.

The game ends, for real this time, the last time you talk to the Head Housemaiden. But Siffrin gets... scared. What if everything loops back again? And so, his family offers to hold his hand. They face the end, together.

For all loops, including the ending, you never see what happens after. After they leave the loop for good. Because the loop is the game itself. It's asking you to trust that life goes on for these characters, and it holds your hand as it asks you to let go. There's a reason for Siffrin's theater metaphors. He is the actor, and the director, asking everyone to do it over one more time. He's a character within the game, and its player.

There's a reason I talked about endgame content. This, the way it all repeats, there's nothing new, difficulty and stakes bleed away as you snap the game over your knee - it's my copy of White 2 with two hundred hours in it. It's me playing Fire Emblem Awakening in under 3 hours while skipping every cutscene. Are you playing for the sake of play, for the sake of indulging in your memories, because you're afraid of the hole it'll leave when you stop?

Of note: the narrative never condemns Siffrin for unwittingly causing their own suffering. He's a victim of circumstance. It's seen as endearing, even, that Siffrin loves their friends to the point of rather seeing the world destroyed than them gone. But Siffrin is also told: we'll stay with you for now, but we'll part ways eventually. And one day, you'll have to be okay with it.

Stop draining the things you love of every ounce of enjoyment just because you're afraid of what happens next. I'm not saying to never play your favorite games again. Playing ISAT a second time, I still had a lot of fun! I saw so many new things I didn't before, and I enjoyed myself immensely, reading the same dialogue over and over. But... it makes me look at other games I love and still play, and makes me ask... is this still fun? Do I still need to play this game to enjoy it? Even writing this is an afterimage of my enjoyment, but it's a new way to interact with the game, to analyze it through this lens. Fuck, man, I write fanfiction. Look at me.

All of this, fanart, fanfic, analysis, is a way to prolong that enjoyment without making yourself suffer for it. Without just going through the motions of enjoyment without actually experiencing any. But one day, the thing you love won't be fun to talk and write and draw about. And it's okay. You'll have new things to love. I promise.

In the end.... I'm certain I'll replay ISAT one day. Between great writing, art, puzzles and unresolved mysteries, it's my shoe-in for game of the year.

But I won't replay it for quite some time. I've had enough, for now, so I let my love take other forms.

Siffrin is never condemned, because love is no evil. Be it love for another person, or for a game. And please, if you're overempathetic - it's still a game, at the end of the day. The great thing about games is that you can always boot them up again, no matter how long its been.

A circle within a circle indeed.

To summarize:

The repetitiveness of ISAT's combat, lack of new enemies, and Siffrin's ever increasing strength eventually allows you to snap the combat over your knee, rendering it irrelevant and boring. Though this may seem counterproductive at first, it perfectly mirrors how Siffrin has also grown bored with these repeated encounters and views them only as an obstacle to get past. The reflection of Siffrin's own tiredness with the player's annoyance increases the compassion the player has for Siffrin as a character.

Additionally, the endgame state of the combat system serves as commentary on the state of a favorite game played too often, much like how Siffrin has unwittingly trapped themself in the loop. Despite the game having no more challenge or content left to over, a player might return to their favorite game anyway, solely to try and recreate the early experience of actually having fun with it. This ties into ISAT's metanarrative about the fear of change and refusal to let go of comfort even when the object (here, your favorite video game) offering that comfort has become utterly bereft of any substance to actually engage with. Playing for the sake of playing, with no actual investment to keep going besides your own memories.

Later on, stripping away even the pretense of strategy for a "press button and wait" format of final bosses highlights the lack of options at Siffrin's disposal and truly forces the player into their shoes. Truly, the only way to win is to stop playing.

#feli speaks #in stars and time #isat #isat spoilers #lays down on floor. it's done. it's done #i actually narrowed down in scope to just focus on the combat by the way. and this is like. several thousand words

1K notes · View notes

kaiijo · 10 days

Note

ok. bllk and jealousy rate. how jealous can they get over their gf and what do they do to cope lmao

HOW JEALOUS IS HE? — [BLUE LOCK]

characters: isagi yoichi, bachira meguru, itoshi rin, itoshi sae, kunigami rensuke, nagi seishiro, mikage reo, oliver aiku content: gn! reader (request says gf but reader is gender neutral) notes: some of these are lowkey toxic, minor spoilers for kunigami’s character arc, nagi is taller than reader

most jealous: bachira, rin, reo

bachira meguru ✶

bachira has many, many insecurities. growing up isolated and without many friends, he is more possessive of those he’s close to, which obviously includes you. he just doesn’t want to lose you, which manifests itself in jealousy over anyone he perceives as a threat to your relationship

bachira gets really clingy when he’s jealous. he thinks that inserting himself into the situation, sometimes literally wedging himself between you and the other person. he usually chooses to drape himself over you, nuzzling into your neck and speaking low enough that only you hear, trying his best to divert your attention. third-wheeling is pretty uncomfortable for the other person, especially with the smiling sneer bachira’s shooting at them, so they make a quick irish exit

itoshi rin ✶

an egoist to his very core, rin can get very jealous. while he’s very sure of himself in nearly every other part of his life, he knows that he is not an ideal partner a lot of the time, though he’ll never admit it. he’s not the most expressive or the most patient, and he’s sure that there are better partners for you out there.

when rin’s jealous, it’s a silent but deadly thing. like when he’s locked in on the ball in a game, his focus you and his ‘competitor’ is unwavering. he stalks over to stand behind you, his chest bumping right up against your back, and he snarls, “what the hell do you want, you mediocrity?” usually the other person backs off after seeing rin’s bone-chilling glare but if they’re bold enough to answer back, rin bares his teeth and is poised to strike. it’s probably best if you diffuse the situation quickly before it gets uglier

mikage reo ✶

we already know how jealous reo was over nagi so it’s safe to say that he’s definitely very jealous. having been bored with the world and other people for so long, he’s thrilled when you two get together. it makes his very protective of you and he wants to be one of the most, if not the most, special person in your life.

reo can go a couple of ways when he feels jealous over someone else but it think his primary response is to tear down the person methodically. he tilts his head a little, looks the person up and down, and notes everything about their appearance — hair, skin, clothes (including brand and cost) and criticizes every little thing. it’s a strategic move in his opinion, using observational skills and knowledge he had given his upbringing to pick apart the other person. he also might make some underhanded comment that includes that he has a black card

less jealous: isagi, kunigami, sae

isagi yoichi ✶

he definitely gets jealous from time to time but he doesn’t feel the need to act on it a lot. he’s pretty mature and for the most part level-headed (plus his ability to piece together future events helps him keep his cool a lot). this doesn’t mean that he isn’t jealous

when isagi is jealous, he’s sulky. he won’t take immediate action and watch from afar, arms crossed and a little pouty. he tries to look as dejected and as ‘wet-cat pathetic’ as possible to make you feel bad and come over to comfort him. when you inevitably do, looping your arm through his and kissing his cheek, he can’t help but smirk at the other person like a cat who go the cream

kunigami rensuke ✶

i debated where to put kunigami since there are ‘two sides’ to him — pre- and post-wildcard. pre-wild card kunigami is definitely a lot less bothered; he trusts you 100% and is 100% confident and secure in your relationship and himself. post-wild card kunigami is less chill and more forceful. he’s not a hero anymore but even as he plays a more ‘villainous’ role in soccer, he won’t cross that line in your relationship. he’s still very secure in you and himself, but he’s more protective of your relationship. definitely a ‘i trust you/us but it’s other people i’m worried about’ kind of guy

when pre-wild card kunigami got jealous, he won’t act in the moment and will talk to you about it afterwards, in a private setting. open lines of communication were important to him and working out problems like this. post-wildcard kunigami is all stormy looks and intimidation. like rin, he also stands behind you but in less actively aggressive way and more just to be threatening. it’s 95% effective and the 5% of times it doesn’t work, kunigami is not above muscling the other person away

itoshi sae ✶

i thought about putting sae in the ‘most jealous’ section but i just think that he is someone whose jealousy simmer just beneath his apathetic surface. he sees most other people as beneath him and believes that they are not worthy of speaking to you, let alone hitting on you, but because he’s sees them as so beneath him, he can’t be bothered half the time to do anything since they’re simply not worth it. he gets the most jealous when it’s people who he can potentially view as equals, like other professional athletes

when he’s jealous, sae literally just pretends they don’t exist, only talking to you. if the other person tries to interject, he sends them a sideways glare — the only acknowledgment of their existence — and then turns away to continue whatever conversation, suggesting that you both get away from the other person as quickly as possible. if ignoring the person doesn’t work, sae doesn’t shy away from spewing vitriol at the other person

least jealous: nagi, oliver, michael

nagi seishiro ✶

simply put, being jealous is a hassle to nagi. it makes him too hot and too annoyed for him to want to feel it so he suppresses the feeling a lot. nagi’s height is already intimidating enough for most people so they don’t approach you when they see you two together but that isn’t a deterrent to everyone

when nagi gets jealous, he does one of two things: just gives a thousand-yard stare that freaks people out or he gets whiny and clingy. his stare is eerie and silent, and the lightness of his eyes doesn’t help it. he towers over you like some cryptid companion. when he gets whiny and clingy, nagi tugs at your sleeve and asks drily, “can we go yet? why are you still talking to them?”

oliver aiku ✶

sigh… oliver is undoubtedly someone who thinks and knows he’s the shit. with so many women and men alike fawning over everything about him, his ego is through the roof. he has very little worry about you leaving him for someone else. honestly, he finds it amusing most of the time when someone attempt to draw you away from him, and let’s it play out a lot for his own entertainment. of course, he’ll intervene if it’s making you uncomfortable but he also believes you can handle yourself

when oliver gets jealous, he acts as casual as possible. he’s friendly towards the other person and but it’s not hard to uncover that it’s all fake, whether it’s from the glint in his eye or the way his smile is stiff and forced. common tells when he gets jealous is that he pokes his tongue against the inside of his cheek or he clenches his teeth and inhales softly but sharply. he employs the good old tactic of calling the other person the wrong name and making all kind of underhanded comments that slowly chip at their nerves. (“haruya? haruki? oh! you’re haruto! right, right, you know, they’ve never mentioned you before! crazy, huh?”)

michael kaiser ✶

kaiser in german literally means ‘emperor,’ and it’s no secret that kaiser views himself as one. similar to sae, he see himself as so above others that he’s not even bothered by other people hitting on you. it displeases him greatly, sure, but these cockroaches will never be able to steal you from him so why should an emperor deal with the plebians? the only time that ever happens is when a peasant is particularly forceful and then, kaiser intervenes

when he gets jealous, kaiser puts on a show. if there’s one thing about him, he’s a bit of a drama queen. he will absolutely posture and puff out his chest at the offending person, looking down his nose arrogantly and smirking. he makes a big display of wrapping himself around you, gripping firmly at your hips and saying, “liebling, you’re very charitable to entertain this insect, but it’s time to end this ruse.”

798 notes · View notes

xamag-draws · 1 month

Text

BBR thoughts 2024

Since I mentioned that I finally dusted off an old project of mine and was ruminating on how I'd remake it, I thought I'd elaborate a little, now that I've solidified some concepts. For funsies

This is gonna be a bit of a long and unfocused one, but I don't share my personal thoughts here often, especially the stuff about my projects I always marinate in. And for once it's something that people have existing context for, so hey why not

So for anyone who hasn't been following me for a gajillion years, The Black Brick Road of OZ was a webcomic that I posted around 2013-2015, back when I was in highschool going on college (which is kinda crazy to think about). It was sort of a darker twist on The Wonderful Wizard of Oz, although I definitely leaned a lot more into dark humor more than anything in those first few chapters

I don't think it's available to read anywhere anymore, and I know people have been asking me about it. So here's the full proper archive of BBR, as full as it can be with deceased Flash

I totally used it as an excuse to shamelessly and self-indulgently experiment. It had interactive pages and GIFs and was wayyy too overproduced for what I could handle or what was necessary, but I did have great fun making it while it lasted

Unfortunately, that excess and the fact that I've changed too much as a person by the time I was in college is what ultimately killed it. The direction I wanted to go in was practically unrecognizable from the original idea started back in 2011, so there were many old hold-ups that I felt ruined it

At the time I kinda wished I could start/rewrite it all over, but considering that I pretty much had the entire script done at that point, it felt like a pointless sisyphean task. So I just put it on a shelf and didn't look back for about 8 years, because I didn't know what else to do

Now to be fair, the nature of my art has always been iterative and cyclical; when I feel like my creative juices have run dry I prefer to leave a project to marinate and move on to something else; cycle through other old things and bring in new skills and perspectives into the mix when I'm ready again. Not very productive, but it is what makes me happy to work on my OCs; I'm doomed to hit a wall with them eventually and I need some time to be able to find a new direction

So that said, I'm glad that BBR was left to marinate for that long. I don't think I was prepared, emotionally or intellectually, to tackle it again until now. The Wizard of Oz book (and the entire series of them, really) has always been near and dear to my heart, but there's a lot of context around it that I'm only unpacking now that I'm older

I think I always inherently feel negatively about the stuff I've made in the past, like its faults always jump out to me more than the positives, especially the more time passes. I've never liked that, and I do really appreciate the kind things people have to say about BBR to this day. The fact that it still can be recognized and remembered is very sweet

When I left it, I already found it "kinda cringe", and that feeling only deepened with years. When I took my first look back at it, asking the question "how would I rewrite it now?", at first I took a very cynical approach, as in "everything would have to be torn down"

But the more I sat on it, the more I found that I still see some merit and charm in the ideas I was putting out; I just didn't know how to execute them at the time (not to pretend that I know what I'm doing now, but I certainly know more at least). Turns out a lot of my old concepts could be changed substantially with just a few small tweaks. So I'd say that's a nicer way to think about my previous work

If you haven't seen yet, I posted a first draft of my new designs for some of the characters (the main group, the Goods and the Wickeds). Definitely subject to change, but more or less how I see them now

I'm just playing with these concepts; by no means would I attempt to remake BBR right this moment. Call it a pipe dream among my other ones. But just for fun, this is the direction I'd like to take:

Nowadays I'd probably make it a visual novel, with more emphasis on the visual part than the novel because I'm no English prose writer by any means. It'd still let me play a little with the interactivity while helping cut some corners on the drawing part (only some, I imagine I'd go hog wild anyway)

I've always intended for some events inspired by the sequel books to take place in BBR's past. Stuff like Jinjur's revolt or Ozma's rule preceeds the main events here. So I think it would be fun to follow the past of a few key characters alongside the main story. One chapter focusing on the present quest to see the Wizard, then one focusing on the past events (that are maybe reflective thematically); rinse and repeat

I'm also sticking a little closer to the original text in some regards. Not everything that I enjoy from the books would be translated here, it's still just a very loose fantasy on the material; but I'd like to be closer in spirit at least

I like mature, wise and powerful Glinda, I like kind and vulnerable Tin Man, I like the Wizard being a pathetic yet loveable liar, so I'm sprinkling in more of that for example

I'd like to keep some whimsy, but make it more grounded and a bit more serious to be coherent in tone. I think the original TWWOOZ book was a more realistic fantasy in some ways, even for the standards of the time; I like its simple but vivid tactile descriptions and details like bringing attention that Dorothy needed to eat and sleep

I find it funny that Baum specifically was averse to making his books scary or unpleasant, finding that unnecessary for telling a compelling kids story, but they still can get pretty dark and disturbing, at least for our modern sensibilities. Let's just say that I intend to use the Evoldo and Chopfyt storylines for my purposes. In that way, I feel like a "darker" Wizard of Oz retelling can still mostly be tonally in line with the original and balance it with enough heart and occasional humor

I slowly grew to appreciate the quaint old-timey quality of the original series, as well. The first book is both timeless and very much a product of the 1900s. Originally I tried to give it a little modern or at least anachronistic spin, but it was moreso because it's what I knew best, so these days I'd rather intentionally lean into the time period. Still not fully historically accurate by any means, but at least directly acknowledging the influence

The events of the story span across 40 years of these characters' lives, so I'm drawing inspiration from the entire so-called La Belle Epoque: the time period around 1880s-1920s. Basically I'm cooking, and my soup is old Victorian fashion morphing into Edwardian fashion and slowly inching towards flappers

Some new Dolly outfits

Lots of crazy things, political changes and innovations were happening at the turn of the century, which I think is noted and reflected by Baum in the books as well; the character of Tik-Tok might not blow any minds now, but he was one of the first robot characters in literature at that point; and don't even get me started on Jinjur, etc. Plenty of really interesting stuff one could lightly ponder in an Oz adaptation these days

Aesthetically, art nouveau has always been a big artistic influence for me, and it'd definitely be its time to shine here. John R. Neill's illustrations of the Oz books often keep me company as well. Nouveau architecture in particular fits that fairytale whimsy extremely well imo

I'd allow myself a little bit of art deco here and there, but ultimately its intimidating geometrical splendor is an antithetical to the flowery nature of nouveau and I associate it with a completely different era. Definitely fitting some characters like my Wicked Witch of the West, but shouldn't be overused

One of my main problems with the original BBR was that eventually I lost track of what it was even about; and the original ending felt too mean and unfulfilling to be worth it. Now I'd like to stick to the theme of home and family as my main theme, but in a different, more bittersweet way than in the book

An interesting connection I made is that a lot of my aforementioned older key characters (the Witches, Jinjur, the Nome King, etc) all came from the same reformatory as kids, that's how they know each other. In my recent research I learned that in those reformatories it was usually frowned upon to release the children back to the families, which were seen as the original corrupting influence regardless of the circumstance. The reformatory did everything in its power to cut that connection and make itself the only family those wayward kids were supposed to know and love. That's an unexpected tie into the theme of home that I'd like to explore as well

So yeah that's the current state of it. I have a bunch of outfit concepts I'm slowly cooking, although I'm now sure whether I'd post them... But I do miss these funny guys, and I'm glad some people still do as well :)

#my art #xam rambles #the black brick road of oz #long post #ohsees tag

493 notes · View notes

chrollohearttags · 23 days

Text

nsfw alphabet • ace: anal training

anal play, sex toys, oral sex, spit play, choking, backshots, creampie, squirting

word count: 2.4K

📝: reposting bc why not? as you can see, this is a lil mini series I’m doing with all my fav eaters characters. if this flops, it never happened and I’m never posting again lmao

ﾟ☆: *.☽ .* : ﾟ☆: *.☽ .* : ﾟ☆: *.☽ .* : ﾟ☆: *.☽ .* : ﾟ☆: *.☽ .* :

“What the fuck is this?”

Blurting out almost instantaneously as you stumbled into a laugh. Brandishing the tiny red box in your hand, you’d remove the contents and spin it around between your fingertips. “It’s a gift for you..do you like it?” Your fiancé couldn’t have been more unserious at the moment but something told you by that dumb ass grin and smug look plastered across his face, he was very much so! “It’s certainly..a gift. Are you trying to tell me something?..” “I mean, you’d look so pretty in it…and maybe I wanna try a little something new. What do you think?”

Manspread on the couch, subtly rubbing his own thigh as to quell his obvious hard on, Ace would flash you that smile once more, in hopes of softening you and getting his lady on board with this idea. The ‘new thing’ in question was none other than some exploration of the other end, in other words, anal sex..which, to be fair, wasn’t exactly level five, uncharted territory you’d never cross. It was just more so something the two of you had never done before and needless to say, he was excited to give it a go. “You mean to tell me you’ve never thought about it?” The thought of claiming that part of your body excited Ace..the prospect of exploring every hole all at once had him ready to pounce right now but he’d bide his time. “Because I have…a lot.” You two had been in candid talks of different things you’d wanted to try in the bedroom. Not so much from a lack of excitement but just seeing what you guys enjoyed and didn’t. You’d been testing out different kinks here and there and it had done wonders for your already exciting sex life. “Well it’s not like it’s at the forefront of my brain but..I heard it feels really good.” From being tied up to using food and ice on each other. There was no limit as to what you’d do. Twisting around on your fingertips was the red jeweled butt plug he’d purchased for you to wear. In the same bag, there were anal beads, lube and a dildo. All of which he planned to use. “I mean, it is cute….” Eventually, that gap of space closed between the two of you and your hand was resting on that very thigh, trailing its way up to his growing erect as you leaned in to subtly kiss him. Your faces eventually met for a few light pecks and he’d gloss over your cheek with his thumb. “Then I take that as a yes.” He’d all but tried to tug you into his lap and caress those beautiful legs..he had a feeling that the two of you were going to have tons of fun with this! “You’re a freak, you know that?” “I know..exactly why you’re marrying me. Am I right?”

ﾟ☆: *.☽ .* : ﾟ☆: *.☽ .* : ﾟ☆: *.☽ .* : ﾟ☆: *.☽ .* : ﾟ☆: *.☽ .* :

“Oh fuuuck…just like that, baby. Suck me up.” It wasn’t even a full two hours later before his obscene wish was granted. Sprawled out across the king size bed, limbs splayed to every side..he’d lie there in utter pleasure and awe as (y/n)’s mouth engulfed him whole. You’d circulate your tongue and swirl it around on his cock, going from the tip to the base as your hands remained planted on either side of him. Your eyes sharply focused on his reactions and loving each one. That thick, plump ass was arched in the air, subtly bouncing in rhythm with your sloppy throat fucking. In between those round cheeks? Resided that plug that was getting you acclimated to what was headed your way. That tight little hole sucking on the metal and conforming to its shape. For now, you were making sure he was well aroused and lubricated, thanks to your incredible skills. Fountains of spit drooling down the sides of your mouth and onto your exposed chest as well. Alternating between his balls and shaft; stroking him as you suckled on one and vice versa. What seemed to really drive him crazy, was when you decided to take him down your throat entirely and didn’t even gag once. Even as your forehead collided with his shapely abs. “You nasty bitch…I love you..” making you both break into a giggle because he was truly enamored with how slutty you’d get for him. He didn’t even mean to curse you in such a way, it was just how you made him react. All of the filthy thoughts that plagued his mind, you were willing to enact each one with him. Tugging you away, Ace would lean up and cup your face once you were done. “No, fuck that. I gotta have you right now..oh shit. Need to play in all those pretty holes, baby..” Shoving his tongue into your mouth to reward you for an incredible job. As much as he enjoyed your oral service, it was his turn now. In a moment of haste, he’d usher you onto your knees; ass poking up in the air and face planted into the mattress. That’s when he’d saddle behind you. Hands gripping the fat of that round bottom and squeezing before planting hard, sharp smacks across the cheeks. He was so erect, it was taking all of his restraint not to bottom you out right now. But first, he had to get a taste of his own..

“Look at that..you took it so well, sweetheart..” Growling as he spreads you open yet again. This time, he’d allow a trail of saliva to seep down to that puckering entrance. You’d whimper at the sensation and nuzzle your face deeper into that pillow whilst he worked you over with that plug; pulling and tugging at it just to see your reactions. That’s when he’d clutch your throat, forcing your head back as he thrusted the little metal bud in and out, getting you used to the feeling of being penetrated there..

“Eyes up here...I can’t wait to see that pretty face when I fuck this tight little asshole..gonna make you feel so good, baby. I swear..” sucking his teeth as he forced you to maintain your arch, as well as that gaze. Your expression had gone all but dumb and blank..drool seeping down your chin and a smile on your lips. “Can I do that? Hmm? Can I make my babygirl feel good?” Cooing to you in that tone that always wore you down, even in your most defiant and bratty state. He’d stroke your cheek lovingly before popping a thumb between your lips in between soft kisses to your temple. “Yes, daddy..fuck my ass, please..” giving him the one response that always made him go weak. Hearing you utter the name made him melt instantaneously.

“..shit…that’s a good girl.” Removing that thumb, he’d pat your cheek and tell you to return to your original position. That’s when he’d take his place behind you, mounted with your cheeks in his grasp. Keeping you exposed, he’d remove that plug entirely and lower his head until he replaced it with that of his tongue. Prodding around and poking it in and out of that tight entrance. He loved the way you tasted..wanting to lap and lick on every inch of your perfect body. Meanwhile, that sopping cunt was dripping underneath you and furthering your bliss, he’d trace tiny circles around that clit; even shoving a digit inside of your pussy whilst he spat down onto your asshole, still devouring it as if it were nothing. Fingering you simultaneously. “Mmmmph! Fuck…that feels so good.” “I can tell..look how wet you are, babe. Creaming all over my fingers..” exclaiming as he pushed them in and out..still licking around the perimeter of your exposed entrance. He wasn’t shy about it either. He was practically tongue fucking your hole and enjoying every moment of it. Hearing you cry out and curse, watching you writhe…every reaction turned him on more than the next. Not to mention how much you were gushing.

“Just like that..thrust that ass back on my face. Let me know how much you love it.” Chuckling before feeding you more of those heavy handed slaps. He was relentless. You’d subtly twerk as he wrangled his head around, slurping and lapping at that tight hole. “Ace, please….” He could tell by your whimpers and needy expressions what had to be done. Reluctantly parting ways with your tender spot, he’d mark it with one last flick and leave a kiss on your supple cheek..reaching down to stroke his shaft as he prepared to take the next step. He was going to give you the very thing you had been craving..

“Alright, baby..I guess you’ve earned it. Spread that ass open. Let’s see how good you take me..

planting another hard slap against your ass, he’d instruct you yet again to hold yourself open. That fluttering hole was aching for him and begging to be filled. That tip of his was glowing red and leaking precum as he mounted behind you. “Yeah, keep that arch for me, princess. Just like that.” Licking his palm, Ace rubbed it in his hand slowly and massaged his cock head before poking it at your entrance. He knew you were needy but he’d never seen you so desperate before. So desperate to be full of him. Asking you once more, he’d ease himself in and try to maintain his composure..

“Fuuuck..”

the expletive leaving his lips almost immediately. That initial sensation was almost too much for him to bare but he’d persist, as this was all of his own volition. After all, he had been begging to claim this part of you and now that he had it, he better had known what to do with it. From the moment he slid in, you began to drool and your eyes began to dilate. Rolling to the back of your head immediately.. “..so fucking tight..oh my god..you feel amazing..” his voice almost drunken with lust for you. Tossing his head back; rolling them onto his shoulders, Ace shifted his hips to establish a position and pace once and for all.. “..damn, I gotta start moving, baby. Are you okay?” “Y-yes..please.” And with that, he’d start thrusting, going a bit faster and a little deeper..just so you both could become acclimated with the feeling. It was a lot admittedly, but the feeling was almost euphoric. Nothing like either you had ever experienced. “Oh my god, that feels so good..” your little entrance constantly sucking him in. By this time, he was buried halfway into you..the tip prodding at your sensitive core and causing your legs to tremble. You could no longer hold that stance but you were slowly beginning to meet his strokes with the subtle bounce of your ass. It was so round and thick, it nearly swallowed him whole. And doused in that oil, he could barely take it. Between both, he was having a hard time staying on rhythm. With a hand placed into the small of your back, Ace watched as both holes spread and gripped with each movement he made. “Yesss, baby..fuck this ass..you’re so fucking deep in me..” whimpering and crying out as he kept going. He’d begin to speed up and feed you deeper thrusts, egged on by your sweet moans. But this subtly wasn’t going to suffice any longer. You were both in need of a little more..you needed him to truly stretch you out!

Yeah? Then take this dick..keep throwing it back on me—“ but alas, you’d do him one better and begin looking back at him as you rode him. Flattening yourself against the mattress to garner leverage. “Oh shit..and that pretty face too? You’re gonna get all this cum, baby. I swear..” you had obviously worn him down and it was apparent by the tremble in his voice that your fiancé was not going to last much longer at this rate. You certainly didn’t help matters any when you began calling him daddy again and begging to fill you up. “That’s what you want? For me to come in you..fill this hole up?” Nodding, you answer his question but it wasn’t a proper response in his opinion. So to up the ante, he’d grasp your throat and tug your head back as those thrusts became a little sharper. He had begun to pound you as that hole became good and accustomed to his cock being in it. You’d never been so stimulated before in your life and before long, you’d reach your orgasm too. Barreling out in the form of rapid spurts of juices from your pussy. “Oh fuck! Yes…I’m coming!” although he too was reaching his peak, he couldn’t help but to tease you. “Such a cute little slut..coming from getting fucked in your ass. I love you..” having to chuckle as the prospect up getting to defile you like this for eternity crossed his mind. It was inevitable at this point. You’d already reached your breaking point and was only being held up by that clutching hand around your throat and his tender kisses. He could no longer sate his ravenous desire for you nor could he hold his climax. Those fat, swollen balls smacked up against your clit with much veracity and with those tears gliding down your face, Ace would capture you in another sloppy peck to quell those cries.

“I know, sweetheart. I know…I’m so fucking close. Give me one more and I’ll give you what you want. Same time.” Coaxing you on for another orgasm and like clockwork, you didn’t hold back. You’d find yourself twitching and writhing on his cock as it remained nestled inside of you. As promised, you’d feel the sharp thrusts reach their plateau and then…

“Oh..haaa—fuuuuuck! Fuck..me..”

those loud grunts filled the air as his seed filled your hole, leaving you stuffed to the brim. It were almost as if you had broken him after that. He’d beg to stay in it for just a few more moments but when he finally found the strength to pull out, the sight before him was beautiful. You’d reach back one last time and part yourself open for him. He was proud to have claimed you in such a way..panting and heaving, Ave would chuckle at his handiwork and reward you with one last kiss.

“Damn…we definitely have to do that more often.”

ﾟ☆: *.☽ .* : ﾟ☆: *.☽ .* : ﾟ☆: *.☽ .* :

@greenieweeniesworld @spaceforher @wintrrxxo @rnvsxo

447 notes · View notes