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Found 29 results

  1. (Unless you positively nail it) Skaters Misunderstood edgy characters Bleeding heart overly sad characters Retconning “It was only a dream.” Perfect fighters Everything must end in romance Dark and stormy nights Villainous parents The Chosen One Gods who cannot defeat non-God related villains Plot armor (parenthetical rants) Misunderstood fighters/heroes/musicians who instantly have a huge fan base Immediate love, platonic or otherwise Immediately good at everything characters Overly large rarely words used in a narrative (when there’s a common, smaller alternative) Blood fucking everywhere Deus ex machina Mary Sues in general Characters in horror stories lack common sense Gasoline explodes if you so much as think of fire The good guy can do no wrong The bad guy can do no good Censoring curse words Amnesia Too much TLC Characters who have suffered over the top abuse from friends, family, guardians, etc. *using asterisks to denote an action like we're role playing* Amnesia A character is dead and gone permanently as decided by the story, only to come back through some unforseen loop hole three episodes later (I'm looking at you, Dragonball) The bad guy is bad because he's bad. The good guy is good because we're supposed to root for him. Amnesia The Happy Ending Override (see 90% of sequels) Alarm clock wake-ups “Screw our orders! Those are our men out there!” Self sacrifice, doubly so when it is the thing that destroys plot armor Good guy and bad guy team up to stop a mutual threat cliché Rehashing Fourth wall breaking Opposites attract cliché Bad guy too powerful. Time for weakness ex machina. Anything shiny You make an original character for a fan fiction who is a rare breed of animal/warrior/marsupial because reasons ”So my friends and I were...” Kiss of Death cliché (characters kiss, at least one perishes shortly thereafter) If I can figure out how to quickly find my blog then I will add more to this with time. Do you have anything I can add?
  2. The most important part of a narrative story is the plot. It is the central focus of your writing and the reason you write in the first place. You are trying to fit a plot to your story to fulfill it and complete it. If you have a weak or incomplete plot, there is only so much to be done for the writing. Everything in your story exists to serve a purpose; to tell the story of the plot. This means you may come to aspects of your writing with a degree of callous. You can not let your emotions get in the way. Whatever the plot demands, you have to provide. If the plot says something good happens to a character, let that something good happen. If the plot demands a character die, you must kill it. Your job as the writer is to tell the story presented by the plot line you have chosen, and you can not do that if you compromise the story. It’s generally not a good idea to go into a story with no clue of where you will wind up. This is because you will be striving to write a story about nothing, which is not possible. It’s been attempted before and a lack of storyline leads things to fall apart at the seams. I personally like to start with a few sentences describing the story; a treatment. You then refine the treatment until you have chapters and a breakdown of pivotal points, and then outline the story. Does this mean your plot line has to be bold and strong, firm and inflexible? Absolutely not. Even if you are writing a series of unrelated events, or “episodes” of a story with no interconnecting plot, you are making a narrative to follow in these mini stories. And if you’re thinking experimental writing, well, there is a difference between narrative storytelling and essay writing. In short: Your plot line can be malleable or firm, bold or simple. Whatever you choose, a narrative story is nothing without it.
  3. For me, I have no idea why, but I miss Twilight's old library! her new castle is all glitz and glam, but it doesn't have any of the cozy-home feeling the library had. I realize this may have been intentional, but I remember being new to the show and watching her spend her first night in the library and being very charmed by the layout and design of it, haha! Is there anything you guys miss from the earlier episodes?
  4. Hi everypony! KuvishMonk here. This is my first own-made topic, so I'll discuss of what I think the plot of the MLP: FiM should be. (To cover another thing, I think this movie will have six acts) ---- Act 1: Ten scenes Act 2: Four scenes Act 3: Two scenes Act 4: Three scenes Act 5: Two scenes Act 6: Three scenes Total of scenes: 24 ---- The story should be like Emperor Triton (a basilisk voiced by Dwayne Johnson) and Star Swirl the Bearded (voiced by John Goodman) walking across the barren desert but a conflict grows involving the true potential of the elements of harmony. Thus, it forms a friendship problem. Later, Twilight and her friends prepare to solve the friendship problem with Starlight Glimmer's help. But, when Spike keeps guard of the castle, he finds a secret demon lair and sees Princess Celestia assembling her army of demons to prepare for the invasion. As things get worse, a couple of friendship moments and fights later, the friendship is most likely over, and it's all Starlight's fault. Not! When Sunset Shimmer returns for a visit, she finds Celestia, or should I say, Koroleva, that she set everything up fro the start. Then, when the friends get back together, they reunite Star Swirl the Bearded and Emperor Triton to warn everypony that Koroleva's plan has been put in action. As the final battle begins, Emperor Triton rescues her daughter Clara (Luna) and reclaims the elements of harmony. THen, he, the basilisks, and all of equestria defeat Koroleva as the portals of both worlds collide into one. THen, there's a celebration of victory. (Roll credits)
  5. What would be a good plot for a post-apocalyptic story?
  6. Anyways, its a commonly thought about idea with fans for plots about "One of the mane six/all of them go evil" and it seems the IDW staff is doing that now too in a comic plot. But really... that doesn't make any sense at all. The mane six, Sans twilight, are honestly completely impotent as "villains" were they to turn evil. Without the EOH, the mane six (once again, sans twilight) are utterly irrellevent as a threat, apart from small time muggings or whatnot. Rarity is a fashion designer; she has no schooling in magic, isn't a prodigy, and has absolutely no ability to threaten equestria in a significant way. Pinkie pie is... a baker. She has no special abilities of any real kind nor magic. Applejack can kick things and that's about it. Rainbow dash can fly fast, sure, but she's still equaled or outclassed by spitfire and the other wonderbolts and there's way more of them than dash and are STILL irrellevent for most situations. Fluttershy has the stare, and while that's cool and all, in most every situation where push has come to shove (Discord laughing at it for example or every hostile animal in the comics utterly ignoring it) its useless. The mane six just don't have any real power apart from lucking into linking up to the EOH, and that's gone now anyways (plus, apart from the element of magic being shown to be godmode powerful in Equestria girls, they're kind of useless in most all situations without the others there and being 100% good). This Extends past the IDW comic plot and into the upcoming Guardians of harmony plotline: Really, the idea of making a more Action focused series Ironically is going to require WEAKER threats than the normal show: If you're going to have the mane six fighting villains in *actual* fights, then you're pretty much going to have to downgrade who they fight from "God of destruction level threats" (Tirek, NMM, Discord) to "A couple changelings or a couple thugs". Since the mane six (sans twilight and that's only due to being an alicorn now) aren't really superbeings, unless you use the EOH to solve things with a large rainbow, the most they will be able to handle are mooks. Its just going to be highly strange to go from them dealing with Uber world level threats in the slice of life series to Low level threats in the "action" series if they want to have the mane six realistically defeat antagonists in them.
  7. The mane 6--minus Twilight--always seemed to be lumped together during these episodes, the focus always being on Twilight or the guest character. And while the rest of the gang act as one unit behind their leader, they don't impact the plot as much. The last season premier seemed to try to do something with Fluttershy, but while everyone was depowered. Are the mane 5 being utilized effectively in premiers and finales? How can they be used; could they be broken up or should they stay together during missions? What do you hope for when season 6 starts?
  8. Do the animators just like showing the backsides of ponies?
  9. OK, so here's a thing I've been worried about, from what I heard, Black Ops II was supposed to be another Vietnam-Era game in the series and it was supposed to focus on Reznov, but I think Activision deliberately bowdlerized it by turning it into a 2025 futuristic game, now don't get me wrong, Black Ops II was amazing, with it's Campaign which was slightly non-linear. And it did have slight continuation. But I don't like the fact that the ''Reznov is Dead or Is He'' message is essentially meaningless. Unless of course Activision followed the ''Completion Principle'' like Scott Cawthon did, but I think it's unlikely. The other thing that worries me is Soap Opera continuity errors. Coronation Street had this storyline, where after the fire, SPOILERS. Tracy was supposed to be redeeming herself, there would be a court case. But after the boss of the show, Stuart Blackburn, got axed. I think they did what Activision did. This means that Maddie's death is Meaningless and Maddie is still alive, and that Sophie and Kevin have become Underdeveloped. Also, are Activision hypocrites? They said during the court case against Jason West and Vince Zampella that they ''Tried to Hijack the IP for their own personal gain''. However, I think that Activision did something very Hypocritical, I think they bowdlerized Black Ops II. I'm not pleased that Black Ops III, SPOILERS. Contains no Reznov, and it basically has no continuity to the previous games apart from a reference in the beginning. The first one is related to Activision, because I think the ''Completion Principle'' goes perfectly well with COD: Black Ops. I believe this is essentially ITV and Activision basically screwing the entire continuity over. What do you think? I'm still looking at my theory.
  10. Don’t get me wrong. I’m quite pleased with what plot and worldbuilding and characterization FiM has given us, through the writers. I’m grateful that, originally under Lauren’s thoughts and ideas and direction, a professional team of writers were drawn together, to write and build this beautiful world of Gen 4 Equestria, that wouldn’t exist without concepts and characters incorporated from previous incarnations. But even so, even with these professional writers fleshing out the characters and world that we’ve grown to love over the past 5 years, there still exist poor/sometime sloppy writing, sometimss rushed plot, inconsistencies, contrivances, and lack of character development/portrayal. Namely, with the star of this discussion- Spike, the dragon. At times, I’m convinced that with the army of creative types in the fandom, anyone with enough adoration for the show and characters, time, knowledge of story structure, and creativity can write circles around the professionals. So, if given the chance, how would YOU write future episode sypnoses for Spike? Would he get his own spinoff series, where he coulld be given center spotlight and more, likely better portrayal and development? Would he stick to the series of FiM, making tighter bonds with other ponies beyond Twilight and Rarity, and more episodes in every season? (3 or 4) If he’s given a series of his own, it should focus on Spike being the knight that he dreams of being, in MLP. (A dragon knight going off on adventure and protecting a kingdom seems like an original idea, especially since dragons ae usually the bad guys) He could age a bit, no longer being around ponykind who supress his physical growth. Also, have a noble steed, as any knight should- maybe with a play on words name of one of FiM’s mane 6, even. The spinoff could be “Dragonfire Chronicles”, or “Dragon kight of Crystaia”, or something. As for non spinoff episodes kept within the realm of FiM…there are just so many ideas! 1: As Sunbutt’s birthday approaches, the castle staff are all busy making preparations. However, when the royal baker falls ill at the last minute, Luna calls in Spike to handle making her sister’s complex cake. To his horror, the kitchen isn’t stocked with any of the jewels needed to decorate the cake. A letter is sent to Rarity, asking her to use her gem finding spell to get the jewels on the list, and get them to Canterlot in time. Can Rarity employ the help of the diamond dogs, and her spell, while Spike fights panic and pressures to complete the cake, before the party? 2:(Combining Zecora and Spike’s origin story.) Spike visits Zecora, wanting to know more about her, and while Zecora looks for her family photo album, a book with blank pages falls off her shelf, piquing his curiosity. Unexpectedly, when he accidentally sneezes on it with dragon fire, strange text begins to appear. (Book could detail his dragon clan) 3: the ponies of the Crystal Empire incorporate a national holiday celebrating Spike into their tradition. Spike is the guest of honor, but he soon discovers the ponies want him to take up permanent residence in the Empire, and he has to weigh his options and decide his future. 4: spike, Apple Jack, and Pinkie engage in a cook-off to settle a disagreement. As they fall prey to anger and sabotaging each other, can the magic of friendship bring things to a peaceful end? 5: Spike has insecurities about his purpose in relation to Twilight, now that she’s a princess and doesn’t need him as a voice of reason/ assistant as much as before. Bottling these feeling up, he walks through the castle, remminiscing on how far Twilight has come with her friends. (Maybe he’s given a song. Who is that dragon I see, staring straight back at me….) He wants to tell Twi his concerns, but she’s called away by the cutie map, at that time. After she leaves, Spike looks at the map, wondering if his destiny is mapped out, like the pony’s. Crying himself to sleep on the map, Luna arrives in his dreams, highlighting his fears and concerns as to where he really fits in with Twi and her friends anymore, what he’s needed for. Waking up, he struggles to interpret Luna’s cryptic message, and wanders into the Everfree forest, standing at the Tree of Harmony, looking at Twilight’s cutie mark on it, in envy/sadness. Poison joke imitate Dragon Sneeze plants, causing Spike to sneeze on the ToH, scorching it with his dragon fire, and discovering something odd beneath the charred bark, that gives the answer he seeks. 6: Spike is invited to a rare rock and gem exhibit by Pinkie aand Maude. Shortly after arrival, alarms go off. Museum management accuse Spike of stealing and eating one of the gems on display. In attempt to clear his name, he hunts down the real jewel theif, and comes face to face with a female dragon. There’s just so much untapped potential for episodes with Spike! Especially with him as the main focus, where his positive qualities get go shime. But there’s also a plethora of team episodes for him: spike with Flim and Flam, Spike with CMC, Spike with Fluttershy, or Little Strongheart, or Rainbow Dash, pinke, Maude, Pound and Pumpkin cake, the CMC, Sunbutt or Luna, Shining Armor, Granny Smith, Big Mac. Doughnut Joe, The possibilities are endless. Share a synopsis for a potential episode featuring Spike.
  11. If you find this useful, check out my Fimfiction Profile. A bold title, yes, but not an untrue one. You see, I’ve been working on a number of writing projects and one of them is an actual book to be published. Because of this I’ve been doing a number of things that are new to me and I came to a realization; I can research how to write all I want, and I can practice trying to be the best I can, but you learn stuff differently when, on purpose, you do something wrong. Let’s start with the story of how I came to this realization. One of the things authors need to do for their book, that was new to me, is to prepare a pitch for the story. A pitch is used to sell the book to a publisher or agent and is a lot like the paragraph on a back of the book designed to sell it but it is slightly different. Usually an author needs to prepare a short pitch, a medium length pitch, and a long pitch. The short pitch is the most important because that’s what will get you in the door and it can sell the book completely if done perfectly. I needed this so that if I run across someone who wants to hear about my book I can explain it in an interesting, concise, fashion like a knowledgeable professional. Now, I’ve never been good at selling myself or things I’m involved with. I’m even terrible at convincing people to try a movie when in a group and have had people recite, word for word, what I have said to successfully convince people of things. Thus, pitching my story really worried me because even on the rare occasion where I’ve done “everything right” it still hasn’t always worked for me. So, a few weeks ago, I started really learning about pitching a story. I’d listened to several podcasts and read a dozen or so articles on pitching. Thus, when it came to write it, I was feeling confident that I knew what needed to be done. However I could not get it right. The short pitch was too long, it had way too much info, and/or the pitches generally had everything wrong with it that you could have at one point or another. I just couldn’t condense all that I had learned into a single concise pitch that worked. I decided to do the opposite. I wrote out a really long, overly complex, and confusing pitch just to get it out there. I had this idea because I did something similar when trying to find my voice for the novel. I was originally trying to go for a medium length pitch but decided to screw it and see if doing it wrong would get it out of my system, possibly even produce a rough gem that I could improve upon. The crazy thing was, when I was done I was able to go back and actually do a much improved pitch. It was a few words long, maybe a tad to much info, but it was close to being focused and concise and, most importantly, interesting. In fact I just went back and tried again and was able to, I think, nail it. I was able to do this only because I had purposely done it wrong the first time. By doing so I was able to get all the information I wanted out there, analyze it, make some of the cuts and refocus some of the wording and really grasp what not to do. The real key, however, was that I saw the bad. It reinforced to me what not to do so that when I sat down I instinctively shied away from many of the issues I had had. Note how I even changed the focus of the pitch from the characters to the world. I did this realizing that everything in the story really revolves around a deep interesting world. While I love my characters and the plot, it’s the world that really ties everything together and makes it interesting. Continuing on I went on to do a pitch that I liked a lot better. It leaves the person who reads it wanting more and asking questions, it speaks to the intertwining effect the setting has on the characters and the problem, and it lists the selling points in my book (character and world) by framing them in the context of this particular story and the challenge faced. After realizing how doing it wrong helped me do it correctly, I thought back on some other times I’ve done this. When having trouble explaining a section of a story I sat down and wrote a thousand words in a uninteresting extra telly 3rd person fashion. But afterwards I was able to rewrite it in an interesting first person fashion that was only about 450 words. In fact, my very first fic (never published) started with 3 pages of boring tell. But when I sat down to re-write the beginning it flowed easily, ended up being smooth, and had a lot of character and charm, all condensed into a page and a half that was almost all dialogue so it effectively cut my word count by two thirds while still feeling like a lot. Now, this is different than the tool of simply sitting down to write and warm up/wait for something good to start flowing. I purposely did something that I know was bad and analyzed it to find the good/identify what I really wanted to say and I have a theory for why this works. Doing and seeing things wrong also hit home the lessons I had been learning. It was one thing to see bad examples, but it was another to make them. But, by doing it on purpose it didn’t get me down, I wasn’t frustrated, and it didn’t discourage me in the least. If anything it encouraged me because I was already way above the bad pitch even though I wasn’t satisfied. Now, there is a reason I think learning this way helped. You see, words are all conceptual, there is nothing physical about them, so practicing something with words is a bit different from practicing something physical like trying a special knot. If the knot is wrong you can simply follow the rope back to see that a lope is simply missing because you forgot a step. With words it’s different because you aren’t writing a single word. You are writing a word that coalesces from one general concept, like a chair, and relating that word with many others to form a weave of interconnecting concepts to make something more substantial, a creaky chair that a woman is pulling out to sit on and rest her weary bones. Beyond that sentences are formed into paragraphs, and paragraphs are only a section of an even larger whole. Now, in relation to a whole 30,000 word long short-story missing a simple comma isn’t all that big of a deal. Missing every comma, however, would be noticeable. This is because a simple mistake will often get edited automatically in our head before the concept as a whole is messed up. Don’t believe me? I would remind you that when we speak we have a lot of hmms, huhs, and ums. We don’t like to see it written that way because it’s wrong, but it’s also undesirable in speech. In speech we just overlook a single um or huh in regards to carrying on listening to many other words and nonverbal cues. But if you say um a lot it stands out and bothers us. Writing is much the same way only for it’s own special set of circumstances. In both cases, speaking or writing, the more there is the harder it is to pull out a single mistake. So when you sit down to identify the problems with a character, it might be one little thing, or a collection of smaller things, and the problem might not even consistently be there. Thus when we try to find a problem that’s there we can often overlook it even as we know something is wrong. We are looking at the whole concept, sometimes the plot for an entire story, and one little part is off but we can’t see it. But if everything is wrong, if we are seeing issues all over the place, we can’t just fit it in and auto fix it nice and neatly. Thus, it helps identify the issue by changing the filter in our minds. The good can also really stand out which can help us change the focus. By comparison, if we go to the original knot comparison it’s easy to find the problem if you simply follow the rope to see that you zigged when you should have zagged. I have found this tool of doing things wrong on purpose incredibly helpful without even realizing I was doing it. As a result I figured it was something others might like to try so I have come up with a list of situations/reasons writing something wrong can help. I say situations because when I think about it each things that I tried to fix took a slightly different approach. 1) Voice: Sometimes the story you are trying to tell isn’t coming out right and just sounds wrong. Rather than constantly fighting it specifically try to write in a boring fashion. Then, instead of trying to figure out what’s wrong try to find what’s working. There is a good chance that if you can find something about your purposely boring words then you should focus on that because it’s coming naturally. A lot of people don’t realize what’s actually good about their work until people tell them. This is a way to do that yourself without relying on the input of others. The downside is that you might still have to try a few different things. Maybe once in 1st person and once in 3rd, or perhaps you should switch between past and present tense on tries. These are normal things to try if your voice doesn’t sound right so this practice can feel repetitive. But if trying those things didn’t work the first time you might find it helpful to try again and to do it wrong on purpose. 2) Something is wrong with a character: Your character not interesting, find their dialogue dull. Great, do in on purpose. Write a scene unrelated to your story but with the character. Now, there are two ways to do this that I feel work the best. The first is to add in some other character that you are familiar with from a different IP and have them talk. The second is to have the character you need help with make an impassioned speech about something to a version of himself that is completely boring and frustrating. The other option is to write out a bio specifically highlighting what is bad. You should be able to identify the interesting bits in any of those example which you add in on accident. The second suggestion there is a bit more specific but the contrast could help a lot of people, it’s another tool but one that could work well when combined. The third I haven’t tried but I would think it would help much like the next situation I’ll list. 3) Problems with your plot: Sometimes I’ve had problems with my plot. I wish I had thought of this a long time ago but simply listing the plot in a giant paragraph and go back and try to edit it can really help. This is the wrong way to plot a story but it can highlight a lot of issues. Maybe you’re characters have to much drama, maybe there are a few too many side plots, maybe something needs to be moved around, maybe you have too little going on, perhaps you need to add a try/fail cycle, or maybe some of your plots just aren’t that interesting. Putting you plot down in the order it happens can really help you see how chaotic a story is, and while many good stories are actually pretty crazy when you put it down like that it can help some issues jump out at you and help you identify the plots that you are most motivated to write. 4) Action/Fight scenes: Action and fight scenes can be really hard to do well for a lot of people. If this is the case for you write out the scene purposefully being bad. It’s all action, no thoughts or pauses, just straight action. My gosh it will get boring fast, hopefully boring enough that you will learn a thing or two about what really needs to go into a fight scene and what needs to stay out. Then, compare it to what you had been writing, any similarities? If so take them out or change them until it looks totally different. Make some actions quick, others take a while, add in a pause, maybe even some slight tangents. Add emotions like frustration or disgust. The trick is to always change it in a different fashion. While you generally want somethings to be the same going from all identical to all unique will help you identify where you want to be and get some good creativity flowing for how to write something properly. 5) Summaries: Whether you are writing a synopsis for a fanfic, quickly describing a story to someone, or writing a short pitch for an actual book, authors generally have to summarize their story a few times and doing so can be a challenge. If you are struggling do it poorly, line it out without being a draw on purpose. But then go back and identify any little thing that is interesting and use that as a starting off point. Well, that’s it for my list and this topic. I am sure there are other ways to use this tool but it is still new to me. I am sure there are more ways to use it, so if you're stuck try with something not listed above try to create a failed version and learn from it in some way. It might require a bit of extra work to really get the most out of it but in the end if it works, and you learn something about your strengths and weaknesses, then it’s a winner in my book.
  12. OK, so before I got a tablet, I used to be one of those who didn't play Five Nights At Freddy's but understood it's plot, the plot is like a mini-ARG(Alternate Reality Game). Did any of you not play the game but still loved the plot? Is the plot an ARG? I would love to know thanks.
  13. Not entirely sure if this is the right place to post this, but I'll try it out anyway. To those that are unfamiliar with the Pokémon Mystery Dungeon series, the games are about the player- ie, you- taking on the form of a Pokémon that matches with your personality and waking up in a world inhabited only by Pokémon. Throughout each game, you are helped by your friend (the first Pokémon you see, who you choose from a selection of them) and gradually, your reason for appearing in the Pokémon world is explained. What I'm asking is, what would your adventure be like if this happened to you and you entered the world of ponies instead? This can be in a parallel world to the FiM one, so feel free to modify its timeline if you want (e.g. changing how Nightmare Moon is defeated or how Fluttershy met Rainbow Dash) Here's some things you could think about for this: ~who would I be? (OC or character?) ~what would my cutie mark be? (would it relate to your purpose in that world?) ~who would I want as my main partner? (OC or character?) How do you become friends? ~would you be honest about being a human? ~what would you two do? ~what would your relationship develop into? Best friends... more than friends? ~who would you encounter along the way? What kind of friends and enemies would you make? ~why were you put into this world? and, most of all, ~once you've fulfilled your purpose, would you stay in the pony world or not? -and so on. If you have any other thoughts, feel free to give them In my case, I guess I'd probably be Fluttershy (very similar personality to her) and have Twilight as my partner since she's my second favourite pony, and her library would probably have something on prophecies like dimension travellers (ie, me). I wouldn't say at first that I'm really a human, I'd want to earn her trust first and get a better idea of what's going on. As for what we'd do, Twilight would have some research to do that involves travelling into dangerous locations, and I'd follow her... reluctantly Edit: had some more to think... in regards to whether I'd leave that world after fulfilling my purpose or staying, I'd most likely stay. There just seems to be more contributions possible to make there, as opposed to this world where, at times, very little seems to go on around me at all. What are your ideas?
  14. So, I was going on to start a fan-fiction and I'm not sure if this was covered or if I'm just missing it but... What happens to Celestia during the first episode? Nightmare Moon is implied to have done... something, but there is never any clear answer and/or confirmation that NM even did anything to Celestia! So just so I can clear things up in my story, could somebody answer this for me? Was Celestia captured, if so in what manner?
  15. My uncle's friend knows Todd Howard, the president? of Bethesda, who is supposedly beginning Fallout 4 or a Fallout MMORPG. I thought it would be cool if we shared our ideas for what we think the story should be about. Remember, in Fallout games, the story IS NOT, i repeat IS NOT the entire game and cannot completely overtake the entire playthrough. My idea is that at first, you begin in the medical clinic of an opened vault community. Apparently one of the scavengers who passed through town found you in a ditch on the side of the road. As you explore through the wastes and do quests and missions and just randomly come across info and people you learn that you are a top secret Enclave experiment. You were once an Enclave soldier but due to being charged of treason, you were to be put to death. On death row, you are chosen to be part of an experiment where they would completely whipe your mind of everything and moniter your activity throug the wasteland. As you have traveled they have been deciding whether or not they are strong enough to return. At this point you cab try to reunite with the Enclave(probably evil faction), join the Brotherhood of Steel(probably good faction, simply assist the Brotherhood(neutral way to go), or simply go it alone(another neutral path). In the end, each path has a different ending, such as with the Enclave, you take back the wasteland and eliminate anything in the way of returning America to it's former state. For the joining the Brotherhood, you help locate and eliminate the Enclave and take complete control over the wasteland making it a safer and more technological place. Simply helping the Brotherhood will make it so the wasteland is basically the same, with the Brotherhood and Enclave hunting eachother down, and the chaos (and occasional beauty) of the wasteland as it always has been. Simply ignoring both factions has them burn eachother out until both sides are eliminated and you begin a conquest of the wastes, whether it be to unify it or destory it. **Important: This takes place 15 years after the events of Fallout 3, however in an entirely new wasteland that has not been unified or taken over or affected by the BoS and Enclave yet. Well that's my thought, what do you guys think?
  16. What characteristics of a movie's storyline would cause it to be given this label: "over-the-top"?
  17. A lot of times, many bronies (hopefully and thankfully not you) sometimes shove many pictures of ponies' poor flanks, or even make a lot of jokes regarding such things. Why the attraction to flanks and plot(s)?
  18. In my last blog post I talked about the double standards in regard to expectations in quality of "mature shows" and "kids shows" but one argument I would like to get into is one of the most common talking points used in the "its just for kids" argument and it is that the plot must be simple in order for children to understand and appreciate it. I have heard this particular point repeated many times when I and others have brought the multiple inconsistencies and out of character moments in MLP, particularly in season 4 with responses like "they can only fit so much in a 20 minute episode" and that is indeed true but there are several several childrens shows where this has never been a serious problem. Batman The Animated Series is one of the best examples of this, many of the episodes played out like short movies with complex plots dealing with profound issues such as grief, betrayal, crime, vengeance, fear, hope, psychological illness, love,live and death and many other matters many of which fairly dark and mature were presented in ways that were appropriate for young children without patronizing them or making the characterization bland or dumbed down. I am well aware that some of those subjects are not palatable for MLP because they are still viewed as inappropriate for a "girls show" which I honestly find sexist and insulting we have clearly seen that MLP can still tackle many fairly complex subjects without resorting to any of this in the past so why were they able to do this in past season but have for the most part fallen off the wagon in season 4? I think much of it is due to twilicorn, the concept was pushed onto the writers by Hasbro with not enough time to properly flesh it out which has resulted in a season finale that I have said many times and will say again is the worst episode of the entire series. This combined with Hasbro likely pressuring the writers to get season 4 finished as soon as possible I believe is the main factor in why season 4 has the most glaring inconsistencies and out of character moments of any season aired so far. But what about more simple plots? There are many examples that prove that those too can be done in a very profound matter without leaving quality on the cutting room floor. The original Star Wars trilogy is perhaps the best example of this I can think of. George Lucas has admitted that he has borrowed the ideas for the plot from many sources from samurai movies, ancient legends, myths and stories and even spaghetti westerns and if you think about the themes you can see them. An evil intergalactic empire, the fate of the galaxy at stake, an ancient order of warriors thought to have been extinct in hiding, a magic "force" that permeates all life and you have a fairly basic plot. Yet despite the simplicity the original Star Wars trilogy are remembered as great classics because George Lucas and the staff who worked on those movies set out to make them as good as they possibly could and succeeded. And this is the very same reason why MLP has done well because Lauren Faust and the show staff have set out to make a good show and for the most part they have, but that does not mean they are infallible and as we have seen from twilicorn Hasbro can and will meddle if it feels that it is their best interest and there is no guarantee that Hasbro will not pull something like another twilicorn again and of course some of the writers actually have made mistakes that are indeed their own failures. Pinkie Pie's rank flanderization has been a serious problem throughout most of season 3 and Rarity being ignored was also a problem of that season. Pinkie Pie's characterization for the first half of season 4 seemed to improve with 2 excellent episodes but has backslided since then and is yet to recover, but to their credit the writers are making up for Rarity being ignored in season 3. Spike has also suffered from a flanderization by being turned into a 2 dimensional whipping boy who seems to be the butt of nearly every single joke which also started in season 3. Fluttershy's problems with consistency have been an issue since the beginning of the series with her learning lessons and then forgetting them which limits her full potential as a character and results in a lot of needless repetition of certain lessons.
  19. So I was thinking about the show's "plot" if there ever was one, and I found several parts that don't really make sense if you think about the canon and the overall story of the show. Thought I'd ask your opinions on the issue of plot-holes and absurdities in the show. What do you think are the worst "blunders" story-wise that the writers have made throughout the three seasons? Here are the two I find the strangest/most absurd. 1) Nightmare Night Ever since I first saw this episode, I found it odd that the ponies had this sort of holiday. Why? Because none of the ponies should know who Nightmare Moon is, if we're to believe the pilot episodes of the show. Think about it; the ponies of Equestria celebrate annually by dressing up and collecting candy so that the feared Nightmare Moon won't come and eat them up. They "sacrifice" some of the candy to Nightmare Moon by leaving it on the ground in front of a live-accurate statue copy of the mare in question. Yet, when the real Nightmare Moon appears in front of them, looking every bit like the statue, only Twilight, the pony who only a day earlier found out that such a pony even exists, recognizes her. How is it possible that they don't know her, even though they see what she looks like every single year, and possibly even more often, because I doubt that the statue stands there only on Nightmare Night? 2) Apple Family Reunion This little event caused a lot of discussion after the season three episode aired. I myself immediately grabbed onto one word in Granny Smith's explanation of the history of the Reunion. Granny Smith's exact line in the episode is: "We've been hostin' these things at Sweet Apple Acres every hundred moons since we first planted roots here in Ponyville." See that? Every hundred moons. The last time I checked, one moon means one month, which would mean that the Reunion is hosted approximately every 8,3 years. What is so weird about that then? The fact that in the first episode, there are a lot of Apple Family relatives on the farm when Twilight arrives and later in episode 4 of the first season, when Twilight asks Applejack why all those ponies don't help her during the applebuck season, AJ's answer is: "They were just here for the Apple family reunion. They actually live all over Equestria and are busy harvestin' their own orchards." This basically means that Twilight has actually been living in Ponyville for almost 8 and a half years! Where did all that time go? And why haven't the ponies, especially the CMC grown at all since the first season? You'd expect that even magical colourful ponies age a little bit during 8 years, no? I've heard a few explanations for this plot-hole, but personally I find them a little bit unconvincing. The first one I heard is that Granny Smith wasn't talking about 100 months, but instead about 100 days, one moon meaning one night. This however, I find even more absurd than the fact that it's been 8 years since the show started. All that's happened couldn't possibly happen during only about three and a half months. Besides, there are at least two winter episodes in the show, slightly apart from each other, so we can assume there was a year in between the Winter Wrap-up episode and the Hearth's Warming Eve episode. So I just can't bring myself to believe that there has only been a hundred days worth time in between season one and season three. It just doesn't make any sense. The other explanation for this was that Applejack in episode four was mistaken, that the Reunion taking place when Twilight arrived wasn't the big reunion, but instead a smaller gathering, taking place every year or so. One that only the ponies living closer by would attend. This however I don't think is true, because Applejack clearly states that the event taking place when Twilight arrived was "THE Apple Family Reunion" not just A Reunion. She also says that "They actually live all over Equestria", not just close by, but all around. This is not the only absurdity concidering the episode. If we assume that the event taking place when Twilight arrived in Ponyville indeed was The Reunion, and that it in fact has been more than 8 years since, some of Granny Smith's statements in the episode make absolutely no sense. She says "Whooeee! Looks like the family's grown tenfold since the last reunion! I'm gonna be busier than a worm in a rotten tomater tryin' to get everything ready!" Eight years seems an awfully short amount of time for one's family to grow tenfold, no? Even with some generous rounding-up, it seems like quite a feat. A few moments later when the others offer their help, she says "Oh, I sure would appreciate that. Granny's a little rustier in the giddy-up since the last time the Apples all got together." That would imply that Granny Smith was quite a bit younger during the last reunion. Is eight years so much in the end? I don't think so. Oh, and don't even get me started on the fact that the scenes we see when Granny is telling her story are apparently supposed to be from the last reunion... There are a lot of things I don't know, but I'm fairly certain that Applejack is NOT 8 years old... So, what do you think? What are the most glaring mistakes the writers have made, concidering the canon? Share your thoughts. EDIT: (Totally forgot to add this part. I was supposed to, though.) Yes, I understand that it is a kids' show, and that we shouldn't over analyze too much, but that's just how I am. Maybe these parts mean nothing, and maybe I'm just stupid for thinking this way, but hey, what can you do? Analyzers analyze
  20. Ahhh, Power Ponies. The hype was strong for this one. Was it worth it? Personally, I don't think so. In fact, in my opinion, this episode was, well, not good. But it seems like everypony else liked it. Why not me? Well, there's a few reasons. For starters, we will discuss the humour, because that was pretty much the purpose of this episode. It was a fun romp, just like Castle Mane-ia. Or at least it was supposed to be. This episode was not very funny in my opinion. The laughs I emitted were mostly from the usual Pinkie antics, so I don't give much props for that. Because who can't laugh at Pinkie Pie? But other than that, and the silliness of Flutterhulk, there wasn't much going for humour here. There were some cheesy puns, probably to maintain the trope of the ridiculously un-punny catch phrases from comics, but like their inspiration, they failed to illicit more than a slight snicker at the cheesiness. The episode resolutely lacked good hearty belly-laughs. Humour failed here, meaning in its own right, the episode failed to serve its purpose. But humour is not the only area which falls short. The whole plot of the episode was predictable. It went beyond the predictability of Castle Mane-ia, where you figured it was Pinkie later on, because she wasn't in the group as they were walking together. No. I was able to call pretty much the whole episode from the beginning. Oh look, Spike is the useless one. Spike thinks he's useless. Something happens to put the ponies out of commission, and Spike saves the day, before being told for the millionth time that he does have value. I was so annoyed as each event unfolded, I forgot to pay attention to what happened specifically, because it was just too much that I knew the whole plot from the beginning. Even the moral was easy to guess, because we've seen it before. I don't know how many times we've seen Spike depicted as underappreciated. Honestly, unless you are going to go a little deeper and examine why he feels the way he does, repetition does neither the moral nor Spike's development any good. In fact, it is pretty much getting to the point of "Where is Spike's development?" Honestly, two episodes about greed and two about feeling underappreciated, all of which seem to have never happened once we see the next Spike episode? When can we see his development solidified? I am not saying they are bad episodes, just freaking repetitive. I want to see that Spike actually learned something, and if the same thing is taught multiple times, every successive depiction is just irritating. Spike's character isn't the only one that irritated me in this episode. For the most part, the other ponies were pretty much true to their character. Fluttershy was cutesy and quiet, with a bit of a tough streak if you mess with innocent animals (FLUTTERHULK SMASH!), Twilight was a good leader (I love how her character is peaked to allow others to grow), Dash was reckless (LEEEEEROY JENNNKKINS!), Pinkie was Pinkie (always a hoot), Rarity was fabulous but awesome (I loved how nonchalant Rarity was), and AJ was- I don't know. I saw no characterisation on AJ's part really. I thought we were trying to stop her from being a background pony? Their depictions in terms of personality were pretty good (ASIDE FROM AJ, GOD DANGIT). They weren't as deep as I would like, but they weren't the focus, so it's understandable that such was the case. But something that did displease me about the characterisation was in the abilities. Their powers suited them. (Wait, what?) But how would that displease me you may ask? Because their powers suited them, it doesn't make sense that they would not be able to use them right away (aside from Fluttershy). And yet, Dash fails to control her storm, Twi can't use her magic properly, and AJ the rodeo star doesn't know how to lasso. Given their natural abilities, they should have had no trouble. I have seen the argument that "It's a different universe, so there." But I would respond that such an argument is only a justification for the contrivance which was the Mane Six failing to use their powers, solely so that Spike could be useful. It shouldn't be necessary to argue on grounds of different physics. A character who completely bombed was the Mane-iac. Seriously? She wants to give everypony bad hair? Ridiculous. I understand that the intent was to go over-the-top to get some laughs, but she went too far, and overshot funny into the territory of just plain dumb. Geez BalanceBrony! Is their any saving this episode for you? There were actually a couple of saving graces, though they are precious- two. I loved the little dialogue between Spike and Twilight at the beginning. The "two minutes" thing is exactly the kind of banter I would expect between a mother and a child. I feel this brief seen really gives credence to the notion that Twilight and Spike have a deep familial relationship, and that Spike is not her slave or pet. So, now all I have to say is this: STAHP SPILIGHT PEOPLES! It's just wrong. The other thing which interested me in this episode was the return of the ruined castle. Why does it keep coming up? Will it have some kind of significance later? Potential continuity folks! *squee* So what is my final diagnosis of this episode? The plot was predictable, the humour was nothing special, the moral was redundant, the characterisation was lackluster, the villain was ridiculous, and the lack of development was infuriating. The only good things were the depiction of Twilight and Spike's relationship, the potential continuity, and some aspects of portrayal. But overall this episode failed pretty hardcore to entertain me. It didn't disgust me, but it was just boring and un-entertaining. My impression is meh, but my rating leans towards bad, at 3.5/10 stars. Impression is what I feel, rating is my point-by-point analysis. Let me know what you guys think. Do you want more reviews in the future? What did you think of Power Ponies? I hope to hear from you all!
  21. Took about an hour Ok, I am being honest. This was a base, but my program I was using was being mean to me, so, I had to draw it. The only thing I didn't draw was the eyes, and ears, and maybe another part. Just telling the MODS, and everyone else Not trying to steal. Its my Artwork, basically. Anyways, back to the picture Its my OC Shining Snow, the one being the plot, and Tangerine Mare, the one falling What do you think? Critique, please
  22. This is my observation of Princess Celestia and Head Cannon theorys on her Actions in the series. I did a quick search and did not find a related thread, if there is one it may be merged. Spoilers Ahead, Maybe Watching over a few episodes I was wondering. Did Celestia have all of whats happening planned out? The lessons Twilight is learning, where they all or most all planned out by her? We see a bit of this in "Friendship is Magic" Ep1and 2 where she sends Twilight to Ponyville to meet her soon to be friends. Friends that so happen to be the weilders of EoH. Also indicating she knew of her sisters return and probly has been planning what to do about it for a thousand years. How manny tests did she place infront of Twilight and her friends? From the obvious Galla Ticket and introducing Fluttershy to her pet pheonix and then suddenly leaving, to maybe more subtle things. Did she send a parasprite to fluttershy? Did she ask the Mayor to omit Twilight from the roster in Winterwrap up , even tho Twilight has been living there for a while now? She even admited that she invited Twilight and her Friends to the Galla because she knew exactly what would happen. Did she sugest to her sister to go visit her subjects on Nightmares eve? Probly the worst time of the year for her to show up. Even during the Canterlot wedding I find it hard to belive that Chrsyalis had her fooled the entire time. I find it more likly that when she showed up she thought "Ohh this will be fun." Even after Chrsyalis reveals her self what is taking her so long to stop her, she rambles on for like a minite and a half. (1min 35 sec, and another 15 sec to transform) Was she just standing there looking at her watch, tapping her hoof? I also find har dto belive that she was easly defeated. Did she let Chysalis knock her down? She recovered pretty fast she the Queen was defeated. Lastly we see her sending a possibly dangerous spell to Twilight. Was it all leading up to Alicorn Twilight? Is this another step in her ultimate Goal? What is her Goal? Is there a threat looming that only she knows about? Well that's about it for my observations. Is there anything ells you noticed that seems like an odd coincedence that maybe Celestia set in to motion? Or is it all just life and that's how life goes in Equestria?
  23. I was re-watching Luna Eclipse, and I noticed that Twilight said that he created over 200 spells. Yet it seems as though he was always a unicorn. Yet Twilight finishes one spell that he couldn't, and she acends to alicornhood. Is it just me, or does that not quiet add up? Let me know if I am missing something vital here.
  24. Ok so I'm hoping someponies here will be willing to throw ideas at me or bounce some things off with me to help me get this story working. I still have yet to come up with a title for it yet as well so any ideas for that would help me out greatly. Plot Help: I'm still new to the whole FiMfiction but am willing to try it out some more anyway. I'm currently stuck on another story so I figured I'd write a new story to get my brain working again. The general idea that I've got is that it's going to be about Twilight (in her alicorn state. Yes I'm doing it I want to follow the show) and my Alicorn OC who's one of Luna's personal knights. I'm wanting it to be about their life after they've fallen in love and gotten married and start it just before Twilight finds out she's pregnant with their first foal. Now comes my problem I'm wanting to incorporate some suspense and sadness in it but still have everything turn out alright in the end. I was thinking along the lines of Twilight getting sick while pregnant, or Ignis (my OC) believed to have been killed while protecting Luna causing Twilight to much stress landing her in the hospital. Something along those lines of work I don't really want to kill off any characters because that's never really been my style when it comes to writing. Any ideas that anypony has for it would be greatly appreciated all advise is more than welcome and needed. Side Note: Yes I know I'm stepping into a dangerous realm of Alicorn overpowerment and stuff but I think it fits well with Twilight in her alicorn state. I'm also going to try my best to not make the mistake of making Ignis a Mary Sue. If you wish to see what he looks like go here: Ignis Sica