choice kills

Touka’s death at the hands of Juuzou?

So someone in the comments of chapter 130 on Manga Stream pointed this out and I thought it was interesting enough to go into more detail and make a post about it.

So this person pointed to the poem that Ishida wrote for Suzuya’s birthday last year. You can find the translation here and the original here.

The poem talks about having to make a choice between killing a cat or a dog. It seems as though he’s forced into killing one of them since he says this.

Please die quickly, please die quickly…
(I looked away so that I wouldn’t see the face of suffering.)

Then this.

Ever since that day, that thin, huge cat (or dog)
(I held in my hands a strangely swollen stomach containing a rotting womb.)
died.

This line most likely implies that the animal he killed was pregnant (hence the reference to the animal’s stomach being “strangely swollen” and the “rotting womb” which might also reference the possibility of Touka’s womb absorbing her baby), and this could possibly foreshadow Touka’s (and her baby’s) death at the hands of Juuzou.

Also the fact that the animal is described as thin could reference the fact that there’s been a serious scarcity of food for ghouls underground, plus, with Touka trying to survive off human food, I can imagine she’s probably quite malnourished.

The “rotting womb” part of the poem also seems to link to the line in Touka’s poem where it says “her womb smelled like it was burnt”, plus, the first line of that poem seems to imply that her child may possibly die.

The children who were meant to be born, died.

If we want to make further links to Touka being the cat, in chapter 123 when Mutsuki is fighting Touka, he continuously calls her a cat over and over again.

All this seems to point to the implication that Suzuya may be forced to make a decision between killing Touka (the cat) and perhaps Kaneki (the dog). Since Suzuya has connections with Kaneki, it would make sense for him to choose to kill Touka since he doesn’t really have any sort of relationship with her.

It can also be noted that this illustration of Juuzou holding a knife with what seems to be blood spattered across his clothes was posted not too long after the illustration of Touka with blood on her belly.

Touka’s poem also includes a line which seems to reference the fact that her future has gone dark, and the path that she was advancing on, towards giving birth and having a family with Kaneki, is gone.

The path that I should’ve advanced in is gone and darkness pulled onto the horizon that lay right beneath it.

In chapter 130, Touka marked down the 28th of December as the date that I assume she is expecting the child. This date is also Ishida’s birthday. This leads me to Ishida’s own birthday illustration from last year; the one that seems to have everyone worried and puzzled.

Touka is dressed entirely in black and there appears to be some sort of cemetery in the background. Perhaps she is holding her baby, or rather, her lifeless baby, since the rest of the image seems to heavily reference death.

That’s a really depressing picture to draw for your own birthday, Ishida :/

This kind of scenario would make sense if we consider what’s been happening in recent chapters. Kichimura and Mutsuki are trying to lure Kaneki out with Yoriko’s death sentence so that they have a chance to kill him, and now that Touka found the letter informing Kaneki of Yoriko’s scheduled execution, it would make sense for her to want to do something about it. If Touka goes off to save Yoriko and Kaneki finds out, no doubt he’ll go after her, and this could lead the both of them to Furuta. If they get captured, it’s possible they could be put into a situation where one of them has to die, and perhaps Suzuya will be the one forced to kill one of them, most likely by Furuta since Suzuya has been one of the people who have shown to be obviously sceptical of Furuta.

However, it is also important to look at the ending of Juuzou’s poem.

(Would it have been better if I just killed them both?)
(Or perhaps, I…?)

Shortly after, the answer started overflowing. I choked.
Was going to die anyway.

Suzuya seems to contemplate on whether it would have been better for him to have killed them both, perhaps after the discovery that the woman he killed had been pregnant, leading to the realisation that she was obviously important to Kaneki. However, he then says that this question isn’t important for him to consider anymore because he is going to die anyway.

Suzuya’s death could come at the hands of a distressed and enraged Kaneki upon witnessing the murder of Touka and his unborn child, wanting to avenge their deaths.

anonymous asked:

so when will Chara possess Frisk and start killing everyone?

They won’t.

I do not believe Chara is just some demonic murderchild. I believe they have nuance and are shaped by the actions Frisk takes. As this Chara retains memories of a nearly canon pacifist run, they were not conditioned to believe that the purpose of their rebirth was power. They had their preconceptions challenged by Frisk’s merciful behavior and now have the knowledge that their actions led to Asriel becoming a soulless weed among other things.

Moreover, I am of the opinion that the canon genocide route is ENTIRELY the player’s/Frisk’s fault. Genocide run can only be initiated by a deliberate choice to kill, and while Chara definitely has some influence, they do not once force Frisk to stay on that path. There is always an option to abort it up until Sans’ defeat, and even after his defeat, you can reset and do a passive run.

It is also worth remembering that in their genocide speech, they specifically say “with YOUR guidance”. The blame is always placed squarely on the one who performed the route. “YOU were the one who brought this world to its destruction.”

While I do think Chara is a character with flaws, I prefer a grey interpretation.

Things that I DON’T want from The Last Jedi
  • Kylo’s sad back story
  • Kylo redemption arc
  • Kylo sad crying face
  • People treating Kylo like he’s not that bad
  • People dying for trying to “give him a chance”
  • Luke making up excuses for Kylo
    • Anyone not acknowledging he’s gone to the dark side by choice and killed hundreds and killed his own father and tortured and terrorized the main trio 
A Series of Very Unfortunate Events

Context: Our Dragonkin wizard, Werebear Fighter, and Elf bard had hitched a ride with a cloud giant in his floating tower on the way to a large city. A dragon worshipping cult arrived, to witch the Dragonkin convinced them he was the god of dragons reincarnated. The leader wanted proof and a gift of some kind.

Werebear (ooc): Oh we got apples from that guy back in town. Weren’t there seven apples? And seven cultists?

Dragonkin: Oh yeah, good idea. So I tell the cultists that I’ll bestow my power on them through these apples.

(The cultists believe the lie and eat the apples, flying off on their giant vultures except for the leader, who is standing on the edge of the clouds)

DM: You see the leader eat the apple and slump over falling off the clouds.

(All of us question this)

DM: the other cultists all slump off their vultures and fall far down the ground. You check the bag of apples to find a note at the bottom saying the apples can help you fall asleep if you need.

(Cue all of us dissolving into shocked laughter as we realize we had accidentally murdered 7 pacified cultists. The DM later explained that the whole situation had been a massive coincidence, as the apples had been a random number he picked and the 7 cultists had been rolled for at random.)

Someone: I really like you!

Me: what a Bad Choice but pls don’t stop

Source

We had just set up camp for the night. My dark elf ranger is on first watch. Everyone else goes to sleep. Suddenly giant fleas begin to attack. I roll a nat 20 and kill them all after they’ve destroyed all our supplies, but nobody wakes up. This happens the next morning.

DM: without food the party starts to go hungry.
Barbarian: Wait what happened to the food??
Wizard: Wait where is Vidarr? (my character)
Me: *shows up carrying a deer* did I ever tell you I was raised in the woods by deer?
Barbarian: Are you telling me we are about to eat Bambi? Because I’m ready.

You’re the lover of a Queen who use to rule over the kingdom with kindness. You were the kid she use to practice sword fighting with, and she was the young princess who slipped you money for your family to eat and taught you how to read. As you grew up together, you were excited for the prospect of being the Queen’s protector, lover and father to her children. The power has driven her mad though, she’s cruel and sadistic, and her only pleasure is to torture those who serve her. A servant who owes you her life informs you of the your lover’s plans for your assassination. You have a choice; kill your lover and take over the kingdom for yourself, or let her continue to rule and escape to live your life on the run.

6

Tom is your Tom problem.

D&D: How to Use Character Arcs as a Dungeon Master

In my previous post on character arcs, I talked about how a player should determine how they want their character’s arc to begin and end. It was from a player’s perspective. But how does a DM write an adventure that will make that player’s arc happen?

First, get the information you need. Ask your players to each determine how their characters will begin the campaign and how they want them to change by the end of it. Then ask for copies of their character’s traits, flaws, ideals, and bonds. Note whether a player’s character is going to die tragically and if they are okay with that. With this information, you can give the players what I call a moral quandary, personalized for their own character’s arc. A moral quandary is giving the player two difficult options that the player must decide how their character would choose. The character should lean to one side of a moral quandary at the beginning of an adventure, but gradually start to lean the other way as their arc comes to completion. 

For instance, a cleric might be presented with a choice to kill an evildoer or merely capture them. If the cleric is heading down an arc where their ideal changes from “all life is precious” to “evil must be stopped at all costs” in their character arc is going to make very different choices in that situation depending on where they are on their arc.

Let’s figure out how we can use this info as a DM and where to put moral quandaries using a 9-point story structure. These are not an entire campaign, but you can use each point as a fixed point in the narrative; a story outline based on the characters’ arcs. Plenty of different stuff can happen between each point, but the points must happen to create a robust story.

Call to Action

The player is given an initial call to action. Essentially, a moral quandary disguised as a quest hook. Try to have a separate but related call to action for each player. Ideally, the players should refuse the call to action, as they haven’t been “changed” yet. If they play to their characters’ initial backgrounds and traits, they will refuse the call. You can even enforce this by loading your call with descriptions of how the character is feeling. “You are offended that someone would even offer something so morally reprehensible to you, despite the fact that you could use the money.”

A good-hearted rogue is starting a tragic fall arc and is offered a chance to make millions from some morally questionable actions involving an evil regime, but decides it is wrong. An innocent paladin starting a coming of age arc could be offered a chance to rise against an evil regime, but values their own safety. A studious apprentice wizard starting a corruption arc is offered power in exchange for service to an evil regime, but decides they can get power on their own.

Inciting Incident

Something happens to force the player to action, whether they are ready or not. Try to come up with an inciting incident that involves all of the players, not just one. The inciting incident can act as where the adventuring party finally meets.

The evil regime in the Call to Action ends up invading the players’ quiet suburb to enforce martial law. The players escape or fight back or else they and their loved ones die or are enslaved. The rogue decides to run from their debts by joining the party. The paladin has seen firsthand what the regime can do, and will now join the party to find someone else who can help them stop it. The wizard seeks out more power to stop the regime.

1st Plot Point

The players learn the first shreds of information about the overarching narrative of the campaign. After the inciting incident, some characters might not be convinced and want to turn back. This gives them a reason to continue onward together, as a team. There should be no turning back from the 1st plot point.

Players learn how this evil regime has been spreading across the kingdom. It still holds many mysteries, but its power is great and threatening. Its power is centered in a capital city, which the players now opt to travel to in order to find the things they currently desire.

1st Pinch Point

A pinch point is the first real display of power from the antagonist or opposing force. In D&D this should be actual combat, though it doesn’t have to be. As long as the players see firsthand what the antagonist can do to their characters, this part will add the tension/drama that it should. If you want to have a 1st Pinch Point for each character, then this display of force should directly target the player’s character arc and spark the desire to change through a moral quandary. It’s an awakening. Create tension by ending a session with this pinch point.

The players come across a thieves’ guild run by the evil regime. The rogue takes note of how rich, glamorous, and lawless the life of a criminal is to spark their tragic fall arc. The paladin realizes how deep the corruption of the world runs and sparks their coming of age arc as their innocence starts to fade. The wizard realizes how much resources the evil regime has, and wonders what sorts of power they had in mind for him sparking their corruption arc.

Midpoint

More info is revealed about the antagonist and the perception of the characters change. They have an epiphany and decide to continue onward through their arc. This can, and most likely will, happen at different times for each character and their varying arcs.

The players learn about the leader of the regime. They have been pushed to the breaking point by the regime’s forces. The rogue decides join the regime and start doing crime for the regime and acting as a double agent against the party. The paladin no longer cares about finding someone else to help them stop the regime, vowing to end it themselves. The wizard gets an unholy tome and decides to learn how to make a pact with the demon the regime mentioned to overpower the regime. They are all still heading to the capital, though now with severely divergent goals.

2nd Pinch Point

The antagonist reveals their full power and threatens the completion of the characters’ arcs. The entire party should, in general, be at their lowest moment and completely without hope. This should happen at the same time for everyone. Ideally, end a session with this pinch point to create a cliffhanger and highlight the hopelessness.

The players reach the capital of the evil regime. The rogue is faced with a moral test, where they will be offered riches and allowed to live if they rat out their adventuring party. They choose to take the offer and are betrayed by the regime’s leader and sentenced to death anyway. The paladin comes face to face with the regime’s leader after being ratted out by the rogue. They fail the encounter and barely manage to escape with their life. The wizard is also defeated and their unholy tome is destroyed in the battle. The rogue is imprisoned and the paladin and rogue escape the leader and are being hunted in the capital.

2nd Plot Point

The last piece of the puzzle has come together in the second plot point. The characters finish their arc and learn how to overcome the antagonist. This can happen at different points and doesn’t have to happen quickly. For a tragic character, this is the part where they finally meet their end. Tragic characters fail to change or their change is self-destructive and they fail to overcome the antagonist of the story (tragic, isn’t it?). Think of this part as a moral quandary that characters’ finally “know the answer” to, as far as their character arc is concerned.

The rogue tries to escape, succeeds, but heads back to the thieves’ guild instead of his adventuring allies, and they ultimately betray and kill him. The paladin’s innocence is shattered and they gather rebel forces over time to take on the regime’s leader, becoming a leader themselves. They also find an unlikely ally in the wizard, who has finally succumbed to evil. The wizard still doesn’t know how to summon the demon, but they have already gotten a taste of evil’s power by performing vile rituals on captured regime members and will now use their power for vengeance against the regime’s leader.

Climax

The characters finally face off with the antagonist. The promise set out at the beginning of the campaign is fulfilled. The characters, having completed their arcs, are now changed enough to be able to defeat the antagonist. This should be the players at their most powerful and should be the most epic battle to take place in the campaign.

The paladin’s rebel army and the wizard’s evil magic face off against the evil regime’s leader. The battle is long and epic, but the characters succeed, freeing the kingdom of the evil regime.

Resolution

The game shouldn’t abruptly end after the antagonist is defeated! There needs to be closure. The players’ characters find out the results and the aftermath of defeating the antagonist, for better or for worse. In the case of an ongoing game, you should now set up the next campaign here.

The paladin and wizard regard each other as unsteady allies who no longer have a common enemy. The wizard seeks more power, even seeking to possibly usurp the void of power left from the regime’s defeat. The paladin and their rebel army gather in defiance of the wizard. The paladin tells the wizard to leave the kingdom and not threaten anyone with their evil, else the paladin will smite them down. The wizard, not having many spells left after the battle and not being ready to face an entire army, teleports away to parts unknown with a puff of green smoke. The paladin is placed in power, and the wizard now acts as a looming threat. Perhaps an NPC and villain for the next campaign?


This character arc outline is not cut-and-dry. You should use it as a guide, not a rule. Some characters might abruptly choose to change. Some will reach different parts of the outline at different times or out of order. Some characters might waffle between two sides of their arc before deciding which side they want to be on. But the more you talk to your players about it, the easier it is to come up with a generalized plan for your campaign’s story. Heck, your story might even change from what you initially intended by the end of it (a character with a bad roll can still end up dying before even finishing their arc!) But hopefully this will aid you in making the players love their characters even more and have fun as they grow and change in your campaign’s world. That’s what it’s all about, after all.