is there really a character limit

darkvhenanvengeance  asked:

Am I the only one who absolutely prefers Jaal with his clothes ON? And completely skips the sex scene in favour of going the "abstinent" route? The first time I encountered it, I slapped my hands over my eyes and spammed the skip button until it went back to my character screen....Lesson learned. I still have nightmares, I know he's an alien species, but damn there are limits!

Originally posted by totheskyirise

Whatever floats your boat (or doesn’t, in this case) but I strongly disagree with you there.

Those arms… those back muscles… his butt…. >_>; 

Yeah. Yeah, I’m definitely ok with Jaal being naked.

docs.google.com
Heroacademiaimagines Masterlist
Let me know if any of these links are wrong bc sometimes things get jumbled or don’t copy properly xoxo Updated: 5/21/17 11pm Teachers/Pro Heroes - Aizawa: Sharing Is Caring (Fic) - Aizawa: Confessing & s/o not understanding why he likes them - Aizawa: W/ an s/o on the police force - Aizawa: W...

Masterlist has been updated (that thumbnail image is inaccurate) and moved to Google docs since I decided that any post with multiple characters will be linked under each character and that increases the link number substantially so I might as well move it now since I’d be really close to hitting the Tumblr link limit if I didn’t already

- Admin Ice Queen

Useless Things I Know About Scooby-Doo: The Original Series That Are Actually Canon:

1. Shaggy Rogers is a vegetarian

2: Shaggy was called “Buzz” until his 10th birthday

3: Shaggy has a collection of 653 decorator belt buckles and he wears a different buckle every episode, you just can’t see it

4: Shaggy started collecting belt buckles to combat his Scooby-Snack addiction related weight problems

5: Shaggy’s actual name is Norville

6: Shaggy found the Mystery Machine

7: Shaggy is a talented gymnast

8: Daphne wanted to be a supermodel or detective when she grew up

9: Daphne gets straight A’s in school

10: Daphne regularly loses dates because she leaves them to solve mysteries

11: Daphne’s Dad, George Blake, gave the gang a 100 dollar check to get started 

12: Velma came up with the phrase “Jinkes” on the fly

13: Velma used to say “oh my” before she said Jinkes

14: Velma’s has hundreds of awards for outstanding achievements in school

15: Fred is a bass and sings from the opera Showboat when the team gets scared

16: Fred’s nickname is “Pickles” according to his school yearbook

17: Fred traveled with a performance crew as an actor before deciding to be a detective

18: Fred wants to be a mystery writer

19: Scooby’s full name is Scoobert Doo

20: Scooby Doo has a limited number of phrases he can say and has to act out anything that can’t be explained simply

21: The gang thought Scooby’s speaking was strange at first, but decided it “really wasn’t a big deal”

22: Before they had the Mystery Machine the gang used to pay their parents gas money to drive them around

BONUS: The series was supposed to be about a band who went around solving mysteries, but that completely changed when Scooby-Doo got added to the cast and became the title character

4

Time for a big post of all the TAZ arc fanart I did in order, for fun! 

If you guys haven’t listened to The Adventure Zone, treat yourself a go listen to it! I really love the podcast, the characters, the storytelling and the humor are just so wonderful! 

me: idk free! was ok i g–
kyoani: btw more free!
me, with tears streaming down my face and a renewed vigor for life, tearing off my jacket to reveal an iwatobi sc jacket underneath, and then ripping the zipper of that jacket open to reveal a makoharu shirt underneath that: HYE FUTURE FIS hHWAKE WAKE WAKE WAKE UP

anonymous asked:

hey, can you break down the differences between the adventure zone and critical role for me? i haven't listened to either and now i'm curious

Oh gosh, okay. They’re delightful but… very different approaches to the same general idea (broadcasting a D&D game), and I think the fans of one show tend to have a sort of skewed impression of the other show, so here’s my thinking.

Just the basics, to begin with: The Adventure Zone started running in late 2014, and it’s an audio-only podcast in which the McElroy brothers and their dad start a brand-new D&D campaign from scratch. Critical Role started running in early 2015, and it’s a video podcast in which a bunch of best-friend voice actors started filming the D&D campaign they’d already been playing for years at home with the same characters. TAZ is (generally) prerecorded and lightly edited down, CR is 100% live. Both have a lot of howlingly funny and surprisingly touching moments, both get a lot more intense the more you get into them, and both are good shows that are a Good Time, especially when they make you feel things you didn’t sign up for. The main canon of TAZ is currently 56 one-hour-long episodes, with new episodes every two weeks, and CR is currently 85 four-hour-long episodes, with new episodes every week. Most of the reason for CR’s absurd length comes down to (a) three times as many players, and (b) no editing.

The DMs both put a ton of work into the world, but they also have very different approaches. Griffin (TAZ) is DMing for the first time, while Matt (CR) has talked about how DMing D&D games for the past 20 years is what got him interested in acting in the first place. The world of TAZ is much more of a sci-fi/fantasy hybrid, while CR sticks more to traditional fantasy.

TAZ plays fast and loose with the rules, which can be both a delight and a frustration for storytelling reasons—for instance, until the latest arc both spell slots and HP were not really tracked, which means (a) Griffin has had to come up with incredibly creative ways of introducing risk and limitations to the game, and (b) those incredibly creative ways can start to get pretty damn brutal. The mechanics of the game feel like an imposition on the story, most of the time—it’s rare that you get a dice roll that makes a huge difference to the plot (but when you do, as in the most recent episode, it’s pretty darn cool). As a result, the biggest spanner in the works of Griffin’s plans tends to be in the form of out-of-the-box thinking from his players, which they excel at; I think there is a tendency to railroad the plot as a result, but it’s a good story and it’s well worth a little bit of elbowing to keep everyone on track. Magical items also play a huge role, with viewers of the show submitting awesome new trinkets for the heroes of the story to use/abuse/completely forget about.

Because CR tilts more towards the rulebook (although Matt gets more than his fair share of shit for homebrewing and letting things slide and defaulting to the Rule of Cool), chance plays a much bigger role in the story. Matt’s simultaneously battling some incredibly creative players and dice that seem determined to roll as dramatically as possible. Entire subplots have been wiped out by a strategic roll, and in order to be able to adapt to that on the fly, Matt has to be hyper-prepared and have a lot of possible branching points. It’s absurdly open-world, especially now that the characters have the ability to travel instantly through different planes of existence, and Matt keeps pace with a story that feels more character-led than DM-led; railroading is practically nonexistent, which means you get incredible plot developments and super-deep characterization… but it also sometimes leads to long circular conversations trying to figure out what to do next. Because the players are all actors, there’s also a lot more that’s just straight-up improv theater: it’s not unusual (especially lately) to go for verrrry long stretches of riveting conversation without anybody rolling dice (I can think of a moment where Matt could’ve just had everyone fail a charisma saving throw against an NPC but instead just straight-up charmed them all in real life with words).

I’ll put it this way: CR is a basketball pickup game between friends who’ve been playing together so long that they kind of have their own home rules going and stick to them. TAZ is out there playing fuckin’ Calvinball. Both are great fun, but if you go into one expecting the other you’re in for a bad time.

Both shows have a lot of great NPCs, although Critical Role’s format gives them a lot more time and depth to shine (there are episodes where an NPC will have as much or more “screen time” than some of the player characters). Both shows have LGBT representation among player characters and NPCs alike that, while not perfect, is generally improving as the show goes on. For me personally, one of the more frustrating things about going from CR to TAZ was going from three female player characters and a metric fuckton of extremely deep characterization for all the female NPCs to no female player characters and many great and memorable female NPCs who nevertheless don’t get too much screentime or development just because of the the structure of the show.

TAZ is pretty shaky throughout the first arc (Griffin’s fighting a bit of an uphill battle getting everyone to sit down and actually play the game, which is funny in and of itself), but things slowly start to come together and the real potential of the show becomes clear once they break the heck out of the 5e Starter Set. I think the “Murder on the Rockport Limited” arc is what started to pull me in, and it’s not until the latest arc that I’m starting to get the character development I really crave in that show. Critical Role also takes a little while to find its footing, and to me the Briarwood arc (starting around episode 24) is where the mood of the show starts to solidify, with episode 40 and beyond really pushing from “this is cool, I’m enjoying how these interpretations of fantasy tropes are sometimes kinda unusual and off-the-wall!” to “how is this the most honest and genuine character development I’ve ever seen in media what the heck is happening here”.

So yeah. TAZ isn’t total chaos with no plot or effort put into it, CR isn’t a humorless wasteland of mathematical minutiae and rigid formulaic approaches. Both shows are great fun, both are IMO in an upswing and getting better and better as they go along, and I heartily recommend them both if you know what you’re getting into. Have fun!

bizmyth  asked:

have you heard about/listened to 'the adventure zone'? it's a podcast. I think it's something you'd like, esp if you like lots of characters creating a found family and complex but awesome relationships between those characters. I'd also love to see your interpretation of the characters if you do get into it.

i actually just started listening to taz recently! i do like both of those things and i also hear it has canon girlfriends later on which im all about!! im not very far in (like.. halfway thru rockport limited? i think) and i havent really decided on designs for the boys yet, but heres number one regulator of my heart killian

yknow how you want to like female characters and not immediately hate them but at the same time they’re often written by those men that have a limited understanding of women as people and it’s really hard to like a character that is less meant to be a person and more of a wanking hand puppet intended for the male gaze

Night in the Woods!!

I just finished this beautiful video game called Night in the Woods that I am now absolutely in love with and here is why: 

  • Casual LGBT representation - the protagonist is canonically bisexual (maybe pan!) and is best friends with a gay couple that have very lifelike relationship problems (that have nothing to do with being gay), and the protagonist continually refers to God as “they.” I’m a fan of the ship Maebea, but it’s not openly canon.
  • Deep talks that are accurate to life - emotions, relationships, beliefs, abuse, mental health, it’s all there and it’s all important.
  • The CHARACTERS. They are so unbelievably loveable and iconic, and have such a range of emotions and specific reactions to the events in the game that make them all very real as well. They are also all cartoon animals (the protagonist is a cat, and her friends are alligators, bears, and foxes, and her neighborhood includes penguins and raccoons).  There’s a character that just tells you a weak poem every day and has no other real significance but to tell you this poem. 
  • The plot is simultaneously about a cult of ghosts and a dissociative disorder, but more on this later
  • Good comedy at no one’s expense 
  • Lots and lots of fantastic one-liners
  • Fantastic graphics, fantastic game mechanics (platforming!! It’s so much fun because there really are no limits. You can walk on the sidewalk or on top of cars or along a powerline, whatever you want) 
  • A+ art style - it utilizes color to set mood and determine setting (or state of consciousness, considering the playable dream sequences left up to interpretation) and even converts to sihlouettes in some places where it’s most chilling to do so. They use the eyes of the characters to show most of the emotions. The music that was chosen for this game is absolutely perfectly placed to get the most out of the storyline. 
  • A+ suspense - the writing is beautiful and compelling. The comic relief is timed perfectly, but I still teared up in multiple chapters of the game. The game starts out where our protagonist just dropped out of college to go back home, and is hanging out with her old friends, but takes a lot of sharp turns to get into a much deeper plot over the little subplots we started. Part of me wonders if the game would change very much if I chose different dialogue options so I may find some playthroughs later, but for now I’d just like to appreciate how smoothly the plot progresses despite how quickly it descends into very deep topics.
  • It is a long game with a lot of story, but that’s part of what I love. It’s just long enough to be satisfying and I’m still sad I finished it already. Despite complications in the plot as the story continues, it’s very easy to follow. Anything that doesn’t make sense is intentionally confusing to highlight the mindset of the character you’re playing as, and I think that’s the best way to do it. 
  • There is also a lot that they don’t explain, a lot to reveal through theorizing only. I could think about this forever and not come up with every theory to be pulled from this. 
  • One of the topics they keep coming back to is the assumed mental illnesses of the different characters, even the protagonist (I only say “assumed” because they never directly say that the characters have any mental health issues, but the way they talk about their fears and the way they view reality points toward very well-portrayed and lifelike mental illnesses, mainly dissociative and anxiety disorders.)
  • Nihilistic existential dread (part of what I love about it, but could trigger some dissociation in people who are more sensitive to that kind of thing. Subtly breaks the fourth wall once to talk about how video games are just shapes and will never exist) 
  • P A R A L L E L S
  • Solid “moral” to take from the story, not even eye-roll-corny
  • What a beautiful ending

The game is about $20 on steam, but if you can’t afford it or prefer to watch games rather than play them, jacksepticeye has flawless voices for all of the characters and some good theories going so that’s the one I recommend

it is wednesday my dudes

Tips On How to Write a Shape-Shifting Character (For both fanfic writers and original content writers)

(gif courtesy of http://ilyone.tumblr.com/)

HOLY SHIT MY LAST POST ABOUT WRITING  WINGED CHARACTERS (which you can find here) GOT A SHIT TON OF NOTES! SO I DECIDED TO MAKE ANOTHER ONE ON SHAPE-SHIFTERS!

There are a lot of shape-shifting fics and stories out there. Like. A lot. Whether they be about were-creatures or about characters that just have the ability to shape-shift, a lot of the times- like with winged characters- these shape-shifters are not written very well.

They may be unoriginal, or they may be super Mary-Sues/Gary Stus when it comes to the fact that they have an infinite amount of power or whatever. So I decided to tackle the issues that come with creating a shape-shifting OC or making a canon character into a shape-shifter.

1. Decide what your character’s shape-shifting will be mainly used for

Shape-shifting can be used for a variety of reasons, and that’s why it’s critical for you to figure out what your shape-shifter will mostly be using their powers for.

Here are some reasons why shape-shifters can use their powers:

-Battle (transforming into a bigger creature to overpower enemies)

-Disguise (transforming into something that blends in with the environment around them to hide from enemies)

-Forced to shift (AKA werewolves)

-Spy work (transforming into antagonist’s lackeys to infiltrate the base or even vice versa)

2. Set Limits Right Off the Bat

Shape-shifters are incredibly powerful, and in theory, they can be practically invincible when it comes to battle and hiding from enemies.

However, that should ONLY be in theory. Your shape-shifters CANNOT be all-powerful like their abilities can call for them to be. Here’s where Mary Sue/Gary Stu elements come in, because many writers just state that their characters can shape-shift and leave it at that.

That brings up questions like:

“If he was running from the Big Bad™, then why didn’t he just shift into a wall or a chair and disguise himself?”

“If she had to fight the Big Bad™, why didn’t she just transform into a dragon and deep fry him?”

“Couldn’t they just masquerade as the Big Bad™’s minions and get inside the secret lair?”

Then, the author tries to make up for the lack of rules by giving us some half-assed explanation halfway through the third book.

As soon as the reader finds out that the main character is a shape-shifter, you have to lay down the groundwork for the limits.

Can they only transform into animals?

Can they only transform a certain amount of times at any given point?

Is there something that distinguishes them from the object/person/animal that they’ve transformed into?

Can they only transform into inanimate objects?

Can they only transform into other people?

Does transforming take a lot of energy and therefore they don’t do it often?

Is transforming painful?

Take Beast Boy from Young Justice/ Teen Titans/ various other things as an example:

He can transform into a lot of animals, yes, but they’re all obviously green and unnatural, making it difficult for him to blend in with other animals. his means that his shapeshifting would be most used for attack than for disguise.

You need to set limits, or else your character will be all-powerful and the plot won’t be all that intriguing to the readers; they know that the protagonist will win, so they won’t bother to really get invested in the story.

3. There are many forms of shape-shifters. Just because the mainstream media is all about werewolves with sixteen packs that can cut glass doesn’t mean that you have to make werewolves only

Did you know that technically, a werewolf is just a subdivision of were-creatures?

The prefix “were/wer” means “man” and is usually followed by the name of an animal, ANY animal, to imply that the man (or woman) is transforming into it.

Therefore, there could be werecats, weretigers, werelions, wereunicorns, and were[insert plural name of creature here].

You should really look up the different kinds of shifters from all different cultures and regions of the world. They’re actually quite amazing!

Here’s a list of some of my favorite shapeshifter creatures (Note that these are not all of the shapeshifters, just my personal favorites some of which I feel needed to be represented more in literature):

-Were[insert name of big cat here]

-Werewolf

-Skinwalkers

-Animaguses(Animagi?) (don’t use these they’re JK Rowling’s I just really like Animagi)

-Generic, run-of-the-mill shapeshifters

-Were creatures that are actually just the creature trying to masquerade as a human/ a creature that has a human form

-Transforming into huge gruesome monsters (it’s good shit 10/10)

4. You don’t have to describe the full transformation every single time. The first time is enough.

Readers don’t want to have to go through long, agonizing paragraphs of description every time your character changes, especially if they change during a battle. They don’t want the bloody, gory action to be disrupted by a description of a transformation that they’ve read a hundred times before.

If you truly want to describe the transformation more than once, though I highly advise against it, never describe it more than three times, and make sure to make it unique every single time. If you don’t think you can do that, just describe it once.

You should, however, describe the symptoms that come with transforming. Is it painful? Is it uncomfortable? Does it feel incredible because it makes the character feel a rush of power? Gimme the deets, but not all of them.

Things that happen during transformation that you can describe:


Painful

- Fur/scales growing (stinging and itchy)

- Bones breaking and reorganizing, as well as new ones appearing and old ones transforming

- Muscles ripping and elongating/shrinking

- Fingernails/toenails turning into claws


Invigorating

- Heightened sense of sight/smell/hearing

- Adrenaline rush

- More power/strength/speed



Hope this helped!

So we already know Hunk is really strong but I’ve been told that, according to the Wiki, he’s even stronger than Shiro? So I rewatched the episode where he was mind-controlled into fighting Lance, and even hundreds of feet underwater, he has amazing reflexes and can literally throw his peer 10 feet away?

I dunno about you guys but now I wanna see what Hunk can really do to someone in hand-to-hand combat without environmental restriction 🔍👀

A little note on the 5th DVD cover

I noticed some people saying that JJ shouldn’t be on this cover, and that it should instead be Otabek.

Quick disclaimer : I’m not trying to drag Otabek down (I actually really like him) nor to play a “who’s better”game. I just want to point out some things.

I think people tend to overrate Otabek’s impact in the anime. Not only did he arrive pretty late, but his impact was really local. He helped Yuri achieve his growth toward Agape. That’s it. And even then, he’s not responsible for the full growth of Yuri. It was an accumulation of events, and his friendship with Otabek was the last piece that helped him reach it.

I’m sure he’s going to get more development and to be shown as a more fleshed-out and impactful in the next-season, but it’s not the case yet. His only impact is on Yuri. He’s not a trial for others skaters, as most are just only discovering him (the “dark horse” of the GPF).

On the contrary to JJ.

Like it or not, JJ is a key character in the series that you can’t erase so easily.

Right from his introduction, he’s shown as “the skater with the most momentum”, and right from ep 9 we see Yuri modifying his jumps in order to beat him. In the last episodes, his presence put a pressure on at least Yuuri and Yuri, who both change their programs and jumps compositions in order to beat him (we don’t see for the other skaters, but it’s not impossible his presence put extra pressure on them too).

He did play a role in Yuri’s personal growth too. Yuri is just starting out his senior debuts, and as we see in the first episodes, he’s sure he’s going to win and don’t doubt of himself for one instant. He’s a sore looser and is used to win, and that’s a part of him that’s pretty immature. In order to grow, he needs to face some defeats, and having JJ beat him several times is a needed reminder in order to grow up. It also lead him to push his limits, to connect with people in order to perfect Agape, and lead him to beat a world’s record in a really elegant way. It doesn’t matter if JJ ended up self-destructing at the end, because his impact on Yuri starts since the beginning of the GP. (More on this here)

But he also impacted Yuuri. Not only did JJ’s high scores push Yuuri to change his program and attempt a quad flip AGAIN (despite not mastering it the first time) in order to have a chance to beat JJ, but JJ’s character as a whole was important, both for Yuuri and for us as spectators. One of the main difference between Yuuri and JJ seems to be the self-confidence (not even mentioning their engagements happening in the same time and their promise of a marriage upon winning gold). But it also resides in their recognition of the love that surround them. It’s clearly said in the series: for a long time, Yuuri didn’t realize how much love and support was around him, and it’s one of the main points of the anime. Yuuri discovering and accepting that love and using it to go farther. 
JJ does realize and accept it. He’s using it to go further. His self-love comes from the love people around him give to him, and he’s using it to go further. He’s only 19 and he’s doing a lot of things, outside of skating (when Yuuri sticks to skating and self-destruct even here). Because he feels secure in the love his relatives and fans have for him. And even when he does fail, he’s still supported and cared for. 
But it’s not just JJ. Yuuri too is supported and cared for when he fails, we see it from the beginning, with Minako welcoming him cheerfully at the airport. But Yuuri doesn’t realize it.

And then we have Yuuri watching JJ fails because of the pressure, and dragging a parallel with himself. He can see JJ -an overly talented young skater that everyone was expecting to win the GPF and who already won two gold medals in a row during his qualifying events- succumb to pressure and fail. Just like him. I strongly believe it helped him step back and re-think how he’s seeing himself, even more that it happens at a time of his life where he’s already growing slowly from his anxiety and self-hatred.

It’s not a coincidence if this shot :

is taking place just at the end of JJ’s FP where he managed to pull himself back up. We see Yuuri quickly tying up his skates and looking determined. Sure, he’s thinking of retiring. But remembers he planned on retiring after winning gold at the finale. Meaning that here, he’s confident about winning a gold medal. 
Something he couldn’t really consider last year when he blew up his performance. What we see happening with JJ in one program is what happened with Yuuri all along the anime, and they put this shot at this exact moment to underline how they are at the same point at this moment.

JJ wasn’t mean to be an antagonist, as I see it said a lot. He was here to participate to some character’s growth, and to show how everyone will recover at their own pace, and how support and love drastically help in the process (as well as accepting that love) and in loving yourself. This event helps Yuuri finalize the process we saw through the series that lead him to now be confident in his ability to win the gold medal and accept his relatives’ love.

tl;dn : JJ IS an important character, whether you like it or not. Otabek, even if full of potential, only had a minor impact in the series.

6

She deserved better. And I would’ve done anything to give it to her.

Stereotyped vs Nuanced Characters and Audience Perception

Writing with color receives many questions regarding the stereotypes Characters of Color and their story lines may possess.

There’s a difference between having a three-dimensional character with trait variance and flaws, versus one who walks the footsteps of a role people of their race/ethnicity are constantly put into. Let’s discuss this, as well as how sometimes, while there’s not much issue with the character, a biased audience will not allow the character to be dimensional.

But first: it’s crucial to consider the thinking behind your literary decisions.

Trace your Logic 

When it comes to the roles and traits you assign your characters, it’s important to ask yourself why you made them the way they are. This is especially true for your marginalized characters.

So you need an intimidating, scary character. What does intimidating look like on first brainstorm? Is it a Black man, large in size or presence? (aka a Scary Black Man) A Latino with trouble with the law? If so, why?

Really dig, even as it gets uncomfortable. You’ll likely find you’re conditioned to think of certain people in certain roles on the spot.

It’s a vicious cycle; we see a group of people represented a certain way in media, and in our own works depict them in the way we know. Whether you consciously believe it’s the truest depiction of them all or not, we’re conditioned to select them for these roles again and again. Actors of Color report on being told in auditions they’re not performing stereotypical enough and have been encouraged to act more “ethnic.” 

This ugly merry-go-round scarcely applies to (cis, straight) white people as they are allowed a multitude of roles in media. Well, then again, I do notice a funny trend of using white characters when stories need a leader, a hero, royalty, a love interest…

Today’s the day to break free from this preconditioned role-assigning.

Keep reading

3

Recently I’ve been planning on buying a basic drawing tablet, doing this with a mouse is not really that helpful and I’m mostly limited to do small pixel art because of it, some good artists and friends told me that I should open commissions to get it, the goal is to get $80 so any help is really appreciated! ^_^

CONTACT AND PAYMENT
- You can contact me by sending a message or by email at starmanjr1950@gmail.com
- Payments are only done via PayPal to the same email address.

RULES
- I will begin to do the sprite after it has been paid.
- Mini sprites are limited to a standing front view.
- I’ll need clear references of the character you want me to do a sprite.
- If you want a specific pose you can send a pose reference for a regular sprite.
- There might be other restrictions.

I really appreciate it you spread the blog with a reblog, that would help me greatly!
Big size sprites commissions might be coming soon!

THANKS A LOT!

Reasons We Hate Mon-El

-He was this big cliff hanger that we were all excited to find out about and we were expecting something really cool (Ex. I thought it may be Krypto) and it wasn’t. It was a bland boring character who was a huge let down.
-He actually fucking said he wanted to go back to his home planet where he could objectify women
-His introduction to the show minimized the role of James, who played a huge part in Kara’s character development and was her love interest for an entire season. The show also wrecked that relationship with little explanation and left Karolsen shippers upset and confused.
-He owned slaves
-Literally all of last season Kara was learning that she was just as important as Kara as she was as Supergirl and the other night her telling Mon-El that having him and being Supergirl was enough. That is an entire lesson going to waste
-He never listens to Kara and goes against what she’s saying and then acts like she should be happy with how he’s acting anyway
-He fucking owned slaves
-He literally has no purpose except Kara’s love interest which not only makes her look bad but it’s a waste of a character who had the potential to be awesome (Ex. Mon-El could have become Superboy and gotten together with M'gann/Miss Martian. But that would have been an interracial couple and as we have learned by now. There’s a limit to how diverse a show can be) but instead he’s a useless and wasted character
-Ahem… he was a slave owner
-wow he’s only been lying to kara from the very start of their relationship about who he really is. straight people have this weird thing with “side hoes” and cheating tho so maybe being a fucking liar is just you guys’ thing idk
-Mon-El is a white man. Not to say that we all hate white men. But look at this little set of math equations I put together to explain:
•Kara+James=Interracial representation
•Kara+Lena=LGBT representation
•Kara+Mon-El=more straight white people with no on screen chemistry???
-HE OWNED SLAVES DUDE

if I missed anything someone would like to add, please do
(ps mon-el owned slaves)

hedgehogwithatank  asked:

What new vegas features do you miss the most in f4?

honestly? the writing. New Vegas had excellent writing, from the plot to the characters to just the dialogue options available to the courier. Having a voice is nice but with the limited dialogue you just can’t roleplay the same way you could in NV. Sole can only either be a bit of a dick, a totally nice guy or a smartass, while the courier can be anything from a complete moron, to an insufferable know-it-all, a smooth talker, a bit of a slut, a violent brute, a sarcastic douche, a by-the-book hero, a quiet badass and anything in between. 

And while we’re on dialogue, I really miss the Skill Check dialogue system from NV. You either had the skill needed to get certain things (or just finish quests on an alternate path) or you didn’t, and it was always clear because you got a display that told you how high  of a skill you needed (like “Speech [25/30]). Most importantly, if you didn’t have the needed skill, the actual dialogue would change, giving a good reason why the NPC you were talking to would react differently than if you had said the right thing. Plus some of the failed dialogue checks were some of the funniest parts of the game.

In FO4, if you pass a speech check or not is determined entirely by chance. You can have a CHA stat of 10 and still fail. Then you reload, your character says the exact same thing in the exact same context to the same character at the same time AND NOW IT WORKS FOR SOME REASON. That’s annoying busywork and kind of breaks my immersion. They had the same thing in FO3 where your chance of  success in speech checks was given in percentages and I didn’t like it there either.

I also like that the courier’s backstory was kept relatively vague, so you could make up  your own story for your character. FO4 gives you a pre-baked background that is pretty lukewarm for my tastes and doesn’t leave much room to make up your own character interpretation (unless you do some hard retconning/headcanon action to get around that, but even then it’s not amazing).

But other than that, New Vegas generally just didn’t take itself as seriously as FO4. FO4 has all this big focus on how miserable everyone is and how shitty life in the wasteland is. There is so much drama with families being torn apart, everyone being afraid of the Institute, the Brotherhood stomping about the place, children dying of incurable diseases…it is all so dark and serious and miserable it gets exhausting after a while.

New Vegas has dark stuff too, with drug use, slavery, prostitution, bureaucratic fuckery costing lives, war crimes, lack of medical aid, lack of food and fresh water and power, economic inequality…i could go on. So it absolutely has serious and dark issues. I mean one of the companion characters mercy killed his pregnant wife to spare her the horrors of slavery for fuck’s sake.

But you know what it also has? Ghouls flying to the moon. A gang of grannies in pink dresses beating people to death with rolling pins. Cyberdogs. A big blue grandma who looks like hulk and wears a cute flower hat. A gang of elvis impersonators. at least two (2) robots who think they’re cowboys. People cosplaying ancient romans. A dude wearing a dog for a hat. A giant plastic dinosaur with a store inside that sells tiny plastic dinosaur souvenirs. A sexbot called “FISTO” that you can hire for yourself if you wish.

What I’m trying to say is, New Vegas had a lot of serious themes (I’d argue them being even portrayed better than in FO4 but that’s a matter of opinion). But at the same time it didn’t lose it’s sense of humor. This is a world where science can make people live 200 years, create super mutants by dipping people in green goo, and radiation is basically magic. It’s not super serious all the time or tragic. Might as well have some fun with it. Fallout has a long history of dark comedy after all.

FO4 kinda lost the humor aspect and maybe it’s personal preference, but I never liked media where everything is just sad and miserable all the time because you get kinda tired of it and desensitized after a while. I don’t hate it or anything, but it can never reach the same place in my heart fnv did ;-;

god sorry for the novel i could just talk about fnv all day

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