the issue with writing for yourself is that you will get sucked into rereading your own fic over and over and pretend itās āediting,ā but really youāre just reading because itās exactly what you want to read. because you wrote it. for you.
DA:V is giving me two companion slots, and Liara and Javik to fill them. Iām interested in this gameās companions but I gotta be honest, Harding and Davrin will be the team like, 98% of the time
I am going to enter DA:V roleplaying Rook not knowing shit about Solas. Iām gonna do my damndest to not let Inquisition stuff Rook doesnāt know about affect his opinion.
But I will say, because Iām like 97% sure itās gonna happen, if Solas tries to fucking blame me for releasing the evanuris just because I stopped his end times ritual, my Rook will have zero mercy for him
I think mod organizers should have a āquarantineā folder.
Like, whenever I download a new mod, itās sorted automatically into a ānewā folder, until I click a button that tells the organizer to go ahead and put it into āarmorā or āutilitiesā or whatever organization normally applies
It would just make it so much easier to troubleshoot when getting new mods, especially for the ones that donāt have descriptive names. Hate looking for the mods I just got and trying to remember them all if itās multiple. I want to just get all my new mods, get in game to make sure they work, and then I can go through a few at a time if it doesnāt, OR just hit āsortā and put the new ones into the standard organization of things
Another worldbuilding application of the "two layer rule": To create a culture while avoiding The Planet Of Hats (the thing where a people only have one thing going for them, like "everyone wears a silly hat"): You only need two hats.
Try picking two random flat culture ideas and combine them, see how they interact. Let's say taking the Proud Warrior Race - people who are all about glory in battle and feats of strength, whose songs and ballads are about heroes in battle and whose education consists of combat and military tactics. Throw in another element: Living in diaspora. Suddenly you've got a whole more interesting dynamic going on - how did a people like this end up cast out of their old native land? How do they feel about it? How do they make a living now - as guards, mercenaries? How do their non-combatants live? Were they always warrior people, or did they become fighters out of necessity to fend for themselves in the lands of strangers? How do the peoples of these lands regard them?
Like I'm not shitting, it's literally that easy. You can avoid writing an one-dimensional culture just by adding another equally flat element, and the third dimension appears on its own just like that. And while one of the features can be location/climate, you can also combine two of those with each other.
Let's take a pretty standard Fantasy Race Biome: The forest people. Their job is the forest. They live there, hunt there, forage there, they have an obnoxious amount of sayings that somehow refer to trees, woods, or forests. Very high chance of being elves. And then a second common stock Fantasy Biome People: The Grim Cold North. Everything is bleak and grim up there. People are hardy and harsh, "frostbite because the climate hates you" and "stabbed because your neighbour hates you" are the most common causes of death. People are either completely humourless or have a horrifyingly dark, morbid sense of humour. They might find it funny that you genuinely can't tell which one.
Now combine them: Grim Cold Bleak Forest People. The summer lasts about 15 minutes and these people know every single type of berry, mushroom and herb that's edible in any fathomable way. You're not sure if they're joking about occasionally resorting to eating tree bark to survive the long dark winter. Not a warrior people, but very skilled in disappearing into the forest and picking off would-be invaders one by one. Once they fuck off into the woods you won't find them unless they want to be found.
I love Matilda because it's a story about a child who sees injustice around her and gets mad about it and questions why things aren't fair, and instead of the ending being that she learns how the world works and that life isn't fair, she catapults one of the adults who abused her out of a building with her mind
Listen, Iāve been told that I put my characters through hell with their backstories, but I still think one of the saddest tropes is a lone wolf who is actually one of the most social, teamwork oriented people on the planet, but circumstances keep snatching that away from them. Thereās no āI must keep my distance, Iāve become jadedā, itās āmaybe this time I can close the gap, please God.ā
Jane Austen: so, you go to Mr Collins' house and Elizabeth is there alone. She welcomes you politely, but she looks---troubled.
Colonel Fitzwilliam: and of course she does, after everything I said to her-
Fitzwilliam Darcy: do I sense if she is mad at me specifically or it is just her headache?
Jane Austen: roll an Investigation Check.
Fitzwilliam Darcy: *grimacing* it's a three.
Jane Austen: just her headache.
Caroline Bingley: *derisively* she only looks like she wants to stab you, Darcy.
Fitzwilliam Darcy: *shrugs* I guess I am too nervous to really give her a proper look.
Jane Austen: what do you do next?
Fitzwilliam Darcy: well, I-I tell her, "In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you."
Jane Austen: Elizabeth blushes. She is absolutely stunned.
Georgiana Darcy: that is good, right? Right?
Fitzwilliam Darcy: I tell her that even if her family is--not ideal-
Charles Bingley: *making a face*
Caroline Bingley: *playfully disgusted frown* and I made my character romance you?
Fitzwilliam Darcy: -and I might be acting impulsively, I just have to let her know that I love her. That's it.
**Silence**
Jane Austen: *smacks her lips* okay-
Charles Bingley: *histerical laughter* I don't like the way you said it-
Colonel Fitzwilliam: it's an immediate natural one, yes? Please tell me it's immediate.
Georgiana Darcy: shhhh!
Jane Austen: give me a Persuasion Check-let me tell you, you have to roll very high.
Fitzwilliam Darcy: figures-very well-
Fitzwilliam Darcy: *beat*
Fitzwilliam Darcy: *flatly* natural one.
Colonel Fitzwilliam: JUSTICE!
Jane Austen: *claps her hands* you make your grand love confession, but Elizabeth stops you and immediately rejects you.
Fitzwilliam Darcy: ouch.
Jane Austen: she tells you that she could never marry the person that hurt her sister and destroyed Wickham's future-
Fitzwilliam Darcy: *dawning horror* I had forgotten they had talked, fuck-
Jane Austen: and, finally-
Charles Bingley: there is more? He is already dead-
Jane Austen: Elizabeth looks at you dead in the eye and says: "From the very beginningāfrom the first moment, I may almost sayāof my acquaintance with you, your manners, impressing me with the fullest belief of your arrogance, your conceit, and your selfish disdain of the feelings of others, were such as to form the groundwork of disapprobation on which succeeding events have built so immovable a dislike; and I had not known you a month before I felt that you were the last man in the world whom I could ever be prevailed on to marry."
Fitzwilliam Darcy: damn.
Caroline Bingley: *dying of laughter under the table*
Charles Bingley: I do not know if I can resurrect you after that.
Georgiana Darcy: I knew it, I should have given you Bardic Inspiration-
An interesting demonstration of how the human brain works.
But also something of a lesson regarding perception, and the unreliability of subjective perspective versus objective reality.
You can be extremely certain about how you perceive the world, your "lived experience," that which you "feel it in my heart." But that doesn't mean it's actually true. And it doesn't mean we have to endorse it, or ignore or outright deny objective reality.
yousharknotpass
dailybridgerton
amandla
baratheonpilled
