#& there are a bunch of different paths and you have no idea which one to take

[lesbianlenas]

was looking at the dark souls 2 walkthrough i’m using (i normally never use walkthroughs but i make an exception for dark souls bc it is so hard & confusing and i’m only playing it bc i paid $20 for it or w/e) and i saw i was on chapter 6 and i was like oh nice ive gotten p far already :) scrolled down to see how many chapters were left and there is 31 total 😭 i am 1/5 of the way there 🥴

[mischievousmoony]

hello !! it is again almost 3am where i am but i cannot stop thinking at nerdy james before he gets buff from quidditch.

headcanon time; first or second year, before he knew his friends, he was like this wimpy little kid that got bullied a whole lot (especially by slytherin kids) and that's why he plays pranks on people.

but but! a request maybe of reader liking james before he got popular, but they never made it known because they're the quiet type. but as james became popular, reader stayed the same and they never really really crossed paths again. but there was a time where reader did something small for james back then which he remembered all those years and then they kiss kiss fall in love.

you can you whatever pronouns you want again for reader !!

- 🌱

took the liberty of making the reader a gryffindor hope thats ok

𝚒 𝚔𝚗𝚘𝚠 𝚢𝚘𝚞

⟢ james potter x reader ⊹ 2.8k ⟢ warnings/tags: intoxication (not reader or james), unsolicited flirting from random guy, james is taller than r, gryffindor!reader, introvert!reader, no specific pronouns for reader used

── ⋆⋅☆⋅⋆ ──

Secluded in a quiet corner is where you feel most comfortable at parties. Your fellow Gryffindors are a boisterous bunch, and that's never been your style, making it much easier to watch events like these from the sidelines.

This doesn't make you the most popular student in your house. It's not as though people don't like you, but they don't really know you. If they had to, the vocabulary they would use to describe you would be limited to quiet, nice, and… quiet.

You’ve always wondered if you would've fit in better in another house. Ravenclaw always seemed appealing. Or Hufflepuff maybe. But for reasons you don't understand, the sorting hat put you here. With the daring, self-assured, unreserved students that you couldn't be anymore like. But, you never really minded. As different as they are, at least they're nice.

For the most part.

"Hey, baby," one of your housemates drawls, emerging from the lively crowd and invading your corner. You can't say you remember his name as he cozies up next to you, unceremoniously situating himself against the wall. His shoulder crashes against it roughly as he says, "You look lonely over here."

His warm, beer-scented breath invades your senses and you scrunch your nose in discomfort, veering away from him as you reply, "I'm fine."

"Want some company?" he presses, surging forward to make up for the space you created and then some.

"No, thank you." It's almost annoying that your instinct is to be polite as this guy invades your personal space.

"Cos I could make for some real nice company," he adds, a sinister smirk working its way onto his face as you cringe away from him.

You're wracking your brain for a way out of this situation, when a familiar voice sounds from behind you, saving you the trouble.

"Hey, ready to head out?" James Potter says, and you have no idea what he's talking about, but at least it makes the other guy back away from you slightly.

"James," you blurt, rather dumbly, surprised at his sudden closeness.

Truthfully, you have been eyeing him from your corner; admiring the boy from afar as you have for years. Most of Gryffindor fancies him, and you're no exception. But who wouldn't have a thing for Gryffindor's valiant captain and ever confident head boy? Especially when that boy looks the way James does: standing over six feet tall with a chiseled, muscular physique (thank you, Quidditch). He seems to know it too, the way he carries himself with confidence.

His most captivating feature, though, is his bright, infectious smile. It's always been your favorite thing about him, even when it was still the shy, hesitant grin of a boy who wasn’t yet confident in himself.

"It's about time for us to get out of here, don't you think?" James smiles, baring all of his pearly whites, and he looks like something out of a dream. His eyes flick from you to the boy to your left. "Oh, hey Callaghan, didn't see you there."

"Potter," Callaghan nods in greeting. "You, uh, you know..." he trails off, gesturing aimlessly to you. You're not surprised that he doesn't know your name.

"Y/N? Course I do," James says, stepping closer to you.

But that. That's a surprise.

James towers over both of you, making Callaghan take another step back in intimidation. You're too busy being surprised to feel relieved over the space. James knows your name?

Callaghan gestures between the two of you, trying the gauge your relationship. "And you two are...?"

"Leaving," James says, offering you his hand, “Right?”

You stare at his hand, momentarily dumbfounded, before you take it, “Right.”

You feel kind of hazy as you let James lead you away from Callaghan, away from the lively party, and out into the corridor. The situation is so surreal that you wouldn't be surprised if you suddenly woke up to find it was all a dream. When was the last time you even spoke to James Potter?

"You alright?" James' voice cuts through the silence of Hogwarts' halls. Your eyes meet his concerned ones as he leans against the stone wall, tucking his hands into the pockets of his jeans.

"Yeah, I'm alright," you say, still a little muddled. You snap out of it with a shake of your head, remembering your manners, "Thank you, by the way."

"Psh," he waves his hand through the air, brushing it off, "You don't need to thank me. Any person with eyes could see Callaghan was being... off putting." James scrunches his nose in judgement, pausing as if to bite his tongue, like has more to say about Callaghan but better not. "Any decent person would've stepped in. No thank you necessary."

"Well I'm thankful anyway," you say quietly, the corner of your mouth tugging upward into a small smile.

James' eyes dart to your lips, your gesture conjuring a wide smile on James' own lips. You're momentarily distracted as his tongue runs across his teeth, barely hearing him as he says, "Well, I may be reluctant to accept your gratitude because I may have had some selfish reasons behind my method."

Your lips part, twitching into the shape of various words that never leave your lips. You feel very warm all of a sudden.

James does a rubbish job of hiding the amusement in his eyes, but he is kind enough to put you out of your misery with an explanation, "I need a walking buddy. Was hoping you'd like to join me?"

You're not any less dumfounded but you manage to get the words out this time. "You want me to go on a walk with you?"

"Yeah," James says, like it's not strange at all.

"Why didn't you ask one of your friends to go?"

"You are my friend," James insists, and you cock and eyebrow.

"I was surprised that you even knew my name."

"Of course I know you! We're friends," he emphasizes.

You look at him skeptically, not sure what you did to make a friend out of him. Not that you wouldn't like to be his friend, but friends usually talk to each other. The last time James spoke to you was last year to ask if you had an extra roll of parchment. And he was more so asking the entire class, you just so happened to be the one with the parchment.

"Do you not want to be my friend?" He asks in a teasing tone, having let you stare in silent skepticism for long enough.

He's not being serious, but you panic anyway. "What!? No! I mean no I don't not want to be friends!"

He chuckles as he pushes himself up from wall. "Then walk with me, would'ya?" He nods his head off in the same direction he starts walking, expecting that you'll follow.

You do, your feet moving faster than your brain can overthink your way into a no. But as you walk next to him your thoughts catch up with you.

What are you supposed to talk about? What do you know about him? Quidditch. What do you know about Quidditch? You know lots about Quidditch. Quick, say something about Quidditch before this silence gets awkward. Why do you suddenly not know anything about Quidditch?

The effects of your racing mind are written across face, your features contorted in worry and a lasting skepticism as you glance up at James every so often.

James is glancing at you too, finding every little crease and contour from your worried look endearing as silent laughter bubbles in his chest.

"Alright, what's that face?" James finally asks, his tone as gentle as possible as not to make you uncomfortable.

Your expression softens into sheepishness. James looks at you with such kindness that you find yourself voicing your concerns.

"We're friends?" you ask in a small, hesitant voice.

James is quick to defend his claim, "I've known you since we were kids!"

"We haven't spoken since we were kids," you say.

He seems to deflate at your words, faltering as he experiences a moment of speechlessness.

"Besides," you go on, a hint of smugness creeping up on you, "we've known everyone at this school since we were kids. Does that make us friends with everyone?"

James is quick to shake his head. "Not everyone was as kind as you back then."

Any trace of smugness has been quickly expunged and replaced by a fluttering in your stomach as his eyes fill with what you would call admiration if you didn't know any better.

"And you were exceptionally kind," he adds on, not helping ease the butterflies in your stomach. "Though you're right. I should've talked to you. I don't know why I didn't talk to you more."

"It's okay," you say in a small voice, prompting you to clear your throat before you continue, "We're talking now."

James smiles that radiant, charming smile that makes you swoon. Before silence can settle over you James' face lights up as an idea pops into his head.

"Have you even been on the Quidditch Pitch at night? I mean, when there's no game going on?"

You shake your head, your eyebrows creasing as you find his question rather random. Before you've fully grasped what he's implying, he's grabbing your hand and dragging you out of the castle.

A gasp escapes your lips as he tugs you along, his enthusiasm and long strides causing him to race ahead without realizing how fast he’s moving. It's only when you're outside that you find your voice again.

"James!"

He slows his pace and drops your hand. For a moment, he looks almost embarrassed, shrugging his shoulders as he lacks an excuse for his sudden burst of energy.

You shake your head with a smile. “Some things never change. Do you ever take a deep breath and just mellow out?” you ask, noticing with amusement that he’s just as hyperactive now as he was when you were kids.

James makes a big show of taking a long, deep breath as he falls into step with you at a much more leisurely pace than before.

You shake your head again, chuckling.

"Some things do change, by the way. For example, you were taller than me back then," he says, resting his elbow on the top of your head to emphasize the difference.

You jerk your head away, playfully retorting, "Everyone was taller than you."

"Shut up!" he laughs, letting his arm fall to his side. He's close enough that his arm brushes against yours as you walk. You feel the shake of his laughs against your skin and you can't help but giggle along.

It doesn't take long to walk to the quidditch pitch. The walk felt shorter than it does on game days, but maybe that's because you didn't have James to walk with.

You follow James out to the very center of the field, where he wastes no time to plop down into the grass. "Lay with me," he says, crossing his arms behind his head. "You can see all the stars from out here," he says to convince you.

"You come out here a lot?" you ask as you sink down beside him. The grass tickles your skin as you lay down.

"I've been coming out here since I was a first year," James reveals. "I used to lay in the grass, just like this, and imagine what I would look like flying above dodging bludgers and scoring winning goals."

"Yeah?"

James hums affirmatively. "I've always loved Quidditch. Wanted to play for as long as I can remember. And then I came to Hogwarts, and Merlin, I thought the Quidditch players were so cool. Wanted to be like them so bad."

"What does it feel like?"

"What do you mean?"

"I mean, you’re the one first years are looking up to now."

"No, they're not," James scoffs in complete disbelief.

"James," you deadpan, thinking he can't be serious. "You're the Gryffindor captain and rightfully so. One of the best chasers Hogwarts has probably ever seen. I mean, way you escaped that bludger last weekend?” you muse. “Not to mention the Chudley Chop Down you pulled off. You looked just like the professionals, it was incredible!"

James is caught at a loss for words again, a rare occurrence for him, but you've managed to make it happen twice now.

You clear your throat, realizing how you've just raved on about him to his face. You excuse yourself with, "I, um, I really like Quidditch."

James blinks away the awestricken glint in his eyes, responding, "Figured as much. Don't think I've ever played a game I haven't seen you in the crowd of. But enough about me," he continues. "What about you and your achievements, eh?”

“What are you talking about?”

"Don't be coy. You have to be the brightest witch at Hogwarts."

"No, that's–"

"C'mon I've seen the marks you get. And no one gets Gryffindor more house points in class than you do. All the professors love you; Slughorn always seats you to his right at Slug Club meetings. And I thought Minnie had a soft spot for me but then I saw how she talks to you."

"Maybe if you called her Professor McGonagall once in a while," you tease, trying to distract him from showering you with anymore compliments to spare your heart from racing any longer.

"Wouldn't matter. She likes you because you're smart. Driven too. She knows you’ll do great things after school. Everyone knows you'll be one of the most successful in our class."

"I hardly think anyone notices me,” you say, nervously ripping up blades of grass from the ground.

"I have," he says, looking at you with so much fondness it takes your breath away.

Your eyes widen, sparkling with warm astonishment at all his kind words. James notices the way your parted lips curve into a small, shy smile. Slowly, it grows into a grin.

He nudges you, "Now what's that look for?"

"This is just... unexpected."

"Unexpected?"

"I mean I didn't realize you remembered by name, let alone knew anything about me."

James' expression is tinted with disbelief. He removes his arms from behind his head as he angles his body slightly toward you, gearing towards something serious. "Of course I did. When I said you were kind to me back then, you were really the only one who was. How could I forget you?"

Your eyebrows shoot up in surprise as James sighs deeply.

"Merlin, I really should have talked to you more," he says, shaking his head.

"It's okay–"

"No," he insists, "I should have talked to you more. I don't know why I didn't– I mean I do know why I just..."

You swallow hard, giving yourself time to find your voice. "There's a reason?" you ask.

James turns his head, shifting back against the grass as his gaze finding the stars above him. You can see the moon reflecting in his eyes as he bathes in its light. He looks ethereal like this.

"You make me nervous," he's able to admit in the comfort of not having to see your reaction, pretending it’s just him and the moon out here.

Your jaw goes slack. You'd sooner think you're being pranked or he's under some kind of spell than to believe his words.

"What?" you finally utter. Your hand freezes with a chunk of freshly ripped up grass held hostage between your fingertips.

James chuckles, "You were so nice to me. And I always thought you were so pretty I– every time you said something kind to me I would get so red in the face."

You're silent, at a loss for words as you try to wrap your mind around his admission. If the tips of his ears hadn't turned red, you'd think he's lying.

"I mean everything made me nervous back then," he continues. "Thank Merlin I grew out of that, but you..."

James finally looks at you again, his eyes darting across your face as he absorbs your reaction. Carefully, he takes hold of your wrist, placing your palm flat on his chest, over his heart.

"You still make my heart race," he says quietly, and you can feel the proof under your fingertips.

Words make their way past your lips almost instinctively, driven by a desire to reassure him. "I... I was too nervous to talk to you too."

The fondness in his eyes grows even warmer, and he begins tracing gentle lines on the back of your wrist with the pad of his thumb. "It's alright," he says. His tone is genuine and hopeful as he continues, "We're talking now," he repeats your words from earlier with newfound affection. "And I'd really like it if we could keep talking."

"Yeah," you say. A wave of courage washes over you, and you adjust your hand to intertwine your fingers with his. "Me too."

After that, you find yourself out here a lot more often, staring at the stars with James, your fingers intertwined. You're both much more comfortable around each other now, but from time to time, you still make each other's heart race.

── ⋆⋅☆⋅⋆ ──

[satowooo]

" YOU'RE THE ONE I WANT IN PAPER RINGS. . ."

I like shiny things but I'll marry you with paper rings ft. gojo satoru, geto suguru, choso kamo, nanami kento.

contents. fluff, fluff, fluff, not proofread.

౨ৎ GOJO SATORU

“Shush, don't look!”

Satoru had been focused on folding a piece of paper for the past 30 minutes now, ever since you two sat on a table and planned to make paper flowers for the students to celebrate the year end. You just asked him about what he's doing, only to be replied with a scolding and him turning his back on you to hide the piece of paper. You could hear his small grunts and complaints every single time he messed up and redid it all over again, noticing him folding it in a different way from a paper flower and it was even cut smaller. It was the first time you had seen him struggling over a matter as small as folding papers, when he wasn't even having a hard time on the paper flowers earlier though, and Satoru seems to not be fond of not getting everything his way on an easier path either.

Since when did making paper rings become so difficult anyway?

“Okay. You don't want me to help with whatever that is?”

“No. Just stay put.”

You bite your lip to stop a chuckle, noticing the way his shoulders slumped when you heard him accidentally tore the paper, so you obeyed and looked away. He turned around again, leaning on the table to get another paper, and got to work. His slender fingers carefully folding and twisting, his eyes solely focused on it, with his brows furrowed in determination and even a small pout for the thousand of times he messed up and probably on the verge of giving up, if not because he was making a paper ring because wanted to please you.

It took him another good 15 minutes to do it right, a little wrinkled on one side but the heart on the ring was perfect. He scooted over to your side, and you finally looked at him.

He took your hand, and slipped the paper ring on your ring finger, making you gasp as you finally see the blue material fit you perfectly. “I did my best, baby.”

“Satoru!”

“I know it's not much, and I mean, I can probably give you a more expensive one with diamonds and shiny crystals but I just thought this one would mean more and much more endearing and I tried to make it after watching a video that I saw using my memory and I just think–” He stopped, blinking as he realised how much he had rambled. Satoru sighed, gazing at your hand, lifting it up to press a kiss on your knuckle, right next to the ring. “Do you like it?”

“Of course, I do!”

“Then should we call a priest right now?"

౨ৎ GETO SUGURU

It was originally Mimiko and Nanako’s ideas. The two girls lay on their stomach right by the floor with their feet swaying in the air, their homeworks long forgotten on either side of them. There were tons of papers around them, in different colours and shapes when Suguru caught them slacking around in their bedroom.

“Papa! Make a paper ring for Mama!” Mimiko suggested, patting the space between them so Suguru could join in the fun.

“Are you done with your homeworks, sweethearts?” He chuckled, taking his spot, laying flat on the stomach with his feet also high in the air like some teenage girls.

“Of course!” Nanako, who was obviously lying for the way she blushed and can't look Suguru straight on the face, as she pressed something on the origami that she made which was shaped in a frog, and it jumped towards his side.

Suguru couldn't help but be amazed, but also wanting to tease his girls. “Really? Can I see?” He said as he reached for their notebooks.

Mimiko was quick to act, slapping her dad’s big hands away with her small ones so he would drop it, then thrashing a bunch of paper in front of him instead. “Mama would like paper rings!”

And that's exactly how he found himself making one. With the help of his daughters, they instructed him on what to do for a good 15 minutes. He'd get confused sometimes every time they talked at the same time, instructions unclear when they talk about different things. But he got the hang of it, and it was perfect, as expected from Suguru.

Now, he's sitting on the bed, with his back pressed on the headboard, as he got you straddling his lap as you two talked about your day, while the two girls had gone to sleep.

“The girls were very enthusiastic today.” He said, his thumb caressing small circles on your inner thigh as he gazed at you. “They taught me how to make origami, and something else…”

“Hmm? What is it?” You replied, eyes filled with curiosity as you waited for him to continue.

You watched as he pulled something out from the bedside cabinet, a red paper shaped in a small circle. You couldn't see much because his hands were covering it a bit, but when he took your hand and wore it on your finger, you realised what it was.

“I made it, but it took all our efforts.” He whispered, watching as you gaped at the paper ring. “They're not the best teachers though.”

“It's beautiful…”

Suguru didn't expect the next thing you did. As you clutched on his shirt and immediately crashed your lips together, your hands coming to the back of his neck and deepening the kiss. Your lips dancing in harmony to the rhythm of your heartbeats.

He pulled away, breathless as he cups your cheek. “I'd ask you to marry me right now, but we'll save that for some other time.” He chuckled, pulling you in for another kiss.

౨ৎ CHOSO KAMO

It was a sweet gesture. Your boyfriend prepared all the materials needed and even borrowed his brother Yuji’s ipad so you could watch tutorials on YouTube. Ever since he saw you scrolling on your Instagram reels about making paper stars, flowers, little animals, hearts, and all other cute things, he was determined to do the activity with you. And he wanted to make sure that you'll enjoy it as much as he would.

“Let's make this one!” You scrolled onto a video, showing him a tutorial on how to make a scrapbook, which he agreed to.

You two worked on it right away, both of you busy while you cut some papers and draw on it, while he folds some others into shapes that would look good on the scrapbook. Once in a while, he would try to steal kisses on your lips every time he finishes one.

After a few minutes, you got up to go upstairs and print some pictures that you'd add on the book, leaving Choso alone with folding a new set of papers. This time, he made a mini bouquet, which was unexpectedly quite easy. And then last, the paper ring.

When you got back, you placed the printed papers on the table as you two got to work again. But your eyes caught the mini bouquet resting beside the others, and your eyes glinted.

“Choso! That's so cute! How did you make that?” You scooted closer to him, taking the mini bouquet in your hands, the paper tiny in your hands. “Are you putting this on the book?”

Choso blushed, nuzzling his face on your neck. “It's actually for you.” He muttered, his breath fanning on your skin that made you shiver. “They're small and cute, I thought you'd like it.”

You smiled, cupping his cheek so he could look at you. “Really?”

“Mhm. And I have another one too.”

He showed you the pink paper ring, and your eyes widened in shock. He was about to put in on your ring finger when you turned around, snatching something from underneath the table.

“Cho! I made you one too!”

Was it fate? But nevertheless, it got Choso blushing and almost kicking his feet as butterflies filled his stomach. His palms covering his mouth to probably stop him from reacting exaggeratedly while you slipped the paper ring in his finger. It was even the same colour as the one he made, and he swears his heart was about to burst.

౨ৎ NANAMI KENTO

How many times did you and Nanami get married this year? Three. Three times in a row. The first time was in a shrine, doing the Japanese traditional way of weddings, a wedding held privately with only your families. Second was at the church, with both your families and friends this time, with you wearing a beautiful white wedding dress as your husband awaits in the altar, looking as dashing as ever. And this might be the third.

“Honey, marry me.” He muttered, his feet tapping on the floor impatiently, watching you type on your laptop for a school document.

“We're already married, Kento?” You asked, glancing back at him once before you're back to rapidly tapping on your keyboard. The noise filled the air, together with Nanami’s sighed.

“I know. But you seem married to your laptop for the past few hours, honey.”

Nanami is not one to complain about this type of thing, in fact, he's a very understanding man that he wouldn't mind if you're stuck doing paperworks all day, unless you wouldn't be sparing him a glance, giving him a kiss, or a hug during the said day, and that would make him open up his concerns a bit. How many hours had passed anyway? Four long hours of torture for him, that he had convinced himself enough that he was the clingy one in the relationship and not you.

“Are you asking for my undivided attention, Kento?” You laughed, finally tearing your gaze away from your laptop as you spun your swivel chair at him.

He pulled the chair from underneath so you're closer to him, his right knee between your thighs as he leaned down to press his lips against yours. “Indeed. And I don't think I can live another second of you not talking to me for another hour, not even a kiss since this morning.”

“I'm sorry,” you giggled, kissing him one more time to show that you were truly apologetic. “Were you lonely?”

“A bit.” He sighed, caressing your cheeks, then pulled away as he leaned back on his chair. “You do look adorable when you're focused, honey, which I'm always pleased to see. But I have to give you something.”

He slid his swivel chair backward a bit, grabbed something on a nearby table and went back to your spot right away. He took your hands, sliding a white paper ring right next to your wedding ring. “I don't think you noticed me making this while you were busy.”

“Kento, how..?” Your eyes smiled with you, a testament of your appreciation and affection towards the man you love. You knew Nanami Kento had always been perfect, but he's even more perfect now that he took his time to make this for you.

He laced your fingers together with his, his heart warming up to the sight of you appreciating his small efforts. Kento loves it when you're happy, and would do anything to keep it that way for as long as he can.

“A few videos.” He shrugged, pulling your chair closer to him again. “Now, will you marry me?”

[erika-xero]

Beware, the long post incoming. Pro tips for artists who work on commissions!

DISCLAIMER: I do not have, like, a HUGE online following and can’t be called a popular or viral artist, but I do have some experience and I’ve been working as a freelance artist for more that five years, so I could share a few tips on how to work with clients with my fellow artists. Scroll down for the short summary!

First of all, you always need to have your Terms of Service written down in a document that is accessible for your potential clients. And by terms of service I don’t mean a set of rules like “I don’t draw mecha, anthro and N/S/F/W”. There is much more into it, than you may think when you first start drawing commissions.

You’ll need to understand how copyright law/author’s rights in your country works (for example, US copyright or Russian author’s rights, be sure to check your local resources). There are a bunch of sites where you can actually read some legal documents (. I know it might be boring, but TRUST me, you WILL need this knowledge if you choose this career path.

Russia, for example, is plagued with shops selling anime merchandise. The merchandise is usually printed somewhere in the basement of the shop and the shop owners literally rip off other people’s intellectual property. If the artist ask them to remove their IP from the shop the owners usually try to fool them with lies about how the IP works. They will tell you, that you have to register copyright on every single drawing and if you don’t do it anyone can reproduce and sell your artwork. In reality, copyright law in most countries simply doesn’t work this way. Once you create an original work and fix it, take a photograph, write a song or blog entry, paint an artwork, you already are the author and the owner. Yes, there are certain procedures of copyright registration, which is only a step to enhance the protection, but you become an author the very moment you create a piece of art, and no one have a right to take your creation from you. Knowing your rights is essential.

Some of your commissioners may try to scam you too, but most of them might simply not be aware of how copyright law works. I literally had people asking me questions whether or not the character I am commissioned to draw becomes MY intellectual property. I literally had to convince the person (who was legit scared, since the commissioned piece was going to be a first image of his character ever created) otherwise. If you have an idea of the character written down or fixed in any other form such as a collage, a sketch, or a concept art -- the character is yours. Artist may have rights to the image they create, but not the character itself. Your potential commissioner must acknowledge that their characters, settings and etc. is still theirs, while your artwork is yours, if your contract doesn’t state otherwise. You can sell the property rights on your artwork to your commissioner if you want, but it is unnecessary for non-commercial commissions. And I strongly advice you to distinguish the non-commercial commissions from commercial ones and set the different pricing for them. Even if you sell ownership of your artwork to your commissioner, you can not sell the authorship. You will always remain an author of your artwork, thus you still have all the author’s rights stated in the legal documents.

Another thing that is absolutely necessary to be stated in your terms of service is information whether (and when) it is possible to get a refund from you. You absolutely have to write it down: no. refunds. for finished. artworks.

You have already invested time and effort to finish an artwork. The job is done and the money is yours. I’ve heard stories of commissioners demanding refund a few months later after the commission was finished and approved by the commissioners, because, quote “I do not want it anymore”. Commissioning an artist doesn’t work this way, artwork is not an item purchased on shein or aliexpress that can be sent back to the seller. It is not a mass production. It is a unique piece of art. Example: My friend once drew a non-commercial commission for a client who tried to use it commercially later on. She contacted him and reminded of the Terms of Service he agreed with, offering him to pay a fee for commercializing the piece instead of taking him to the court or starting a drama. He declined and suddenly demanded a full refund for that commission via Paypal services. My friend contacted the supports and showed them the entire correspondence with that client. She also stated that the invoice he paid included a link to the Terms and Service he had to agree with if he pays that invoid. The money were returned to her.

However, partial refund can be possible at the certain stage of work. For example, the sketch is done, but something goes horribly wrong. Either the client appeared to be a toxic person, or an artist does not have a required skill to finish the job. I suggest you keep the money for the sketch, but refund the rest of the sum. It might be 50/50 like I suggested to my clients before (when I still could work with Paypal), but it really depends on your choise. I suggest not doing a full refund though for many reasons: not only you make yourself vulnerable, but you also might normalize a practice harmful to other artists this way.

The main reason why full refund when the sketch/line-art are done must not be an option is that some clients may commission other artists with lower prices to finish the job. This brings us to the next important point: you absolutely need to forbid your clients from altering, coloring or overpainting your creation or commission other artists to do so. This also protects your artwork from being cropped, changed with Instagram filters or even being edited into a N/S/F/W image. Speaking of which. If you create adult content, you absolutely need to state that to request such a commission, your commissioner must at least be 18/21 years old (depending on your country). And as for the SFW commissions you also have to state that if someone underage commissions an artwork from you it is automatically supposed that they have a parental concern.

There is also a popular way to scam artist via some payment systems, called I-did-not-receive-a-package. Most of the payment systems automatically suppose that you sell goods which have to be physically delivered via postal services. This is why it is important to state (both in the Terms of Service and the payment invoice itself) that what commissioner is about to receive is a digital good.

And the last, but not the least: don’t forget about alterations and changes the commissioner might want to make on the way. Some people do not understand how difficult it may be to make a major change in the artwork when it is almost finished. Always let your commissioners know that all the major changes are only acceptable at early stages: sketch, line-art, basic coloring. Later on, it is only possible to make the minor ones. I prefer to give my commissioner’s this info in private emails along with the WIPs I send, but you can totally state it in your Terms of Service. I do not limit the changes to five or three per commission, but I really do appreciate it when I get all the necessary feedback in time.

To sum this post up, the info essential for your Terms of Service doc is:

- The information on whether or not your commissions are commercial or non-commercial. If they are non-commercial, is there a way to commercialize them? At what cost?

- The information on author’s and commissioner’s rights;

- The information on whether (and when) refunds are possible;

- The prohibition of coloring, cropping, overpainting and other alterations;

- The information on whether or not you provide the commissioner with some physical goods or with digital goods only;

- Don’t forget about your commissioner’s age! If you work with client who is a minor, a parental consern is required. And no n/s/f/w for underage people!

- You may also want to include that you can refuse to work on the commission without explanation in case you encounter a toxic client or feel like it might be some sort of scam.

- I also strongly suggest you work with prepay, either full or 50% of total sum, it usually scares off the scammers. I take my prepay after me and my client agree on a rough doodle of an overall composition.

- I also include the black list of the themes: everyting offensive imaginable (sexism, homophobia, transfobia, racism, for N/S/F/W artists it also might be some certain fetishes and etc). Keep your reputation clean!

- Ban N/F/T and blacklist the commissioners who turn your artworks into them anywayss, don’t be shy <3

These are the things that are absolutely necessary but are so rarely seen in artists’ Terms of Service that it makes me sad. Some of these tips really helped me to avoid scams and misunderstandings. I really hope it helps you all!

[felassan]

Just some info I noted down from today's video in text form, under a cut due to what some peeps may consider spoilers, and length.

This video took place well into the game, meaning the beats in it are later in the storyline.

At least part of Davrin’s personal arc involves rescuing the griffons. In an earlier part of his arc you are introduced to his nemesis, the Gloom Howler, a creature that has been hunting and stalking Wardens for quite some time. It has kidnapped a bunch of non-Assan griffons and Davrin has been trying to track it down. In the quest shown in the video, he has found a lead and wants to go and track it down and get the griffons back from the Cauldron (a secret Grey Warden redoubt that was attacked). Davrin wonders what the Wardens were hiding inside the Cauldron, as he has no idea. When the party reaches the Cauldron, they find that something large tore down the gate. The party needs to find a way inside and help Davrin investigate.

Davrin prefers a Direct approach in dialogue. Tough dialogue choices can gain approval from him

The bond between a griffon and a Warden moving as one and having unity between them is called “turlum”. Davrin and Assan don’t yet have this

Grey Wardens: Lancit, Remi, Landon, Quincy, Miriel, Fisher, Greta, Beckett, Flynn (an apprentice physician, whose mentor is called Oskar). I think Flynn’s pronouns are they/them. We will do quests with Flynn including A Cabin in the Blight. They were treating patients and became low on medical supplies. Their mentor Oskar has some and lives in a cabin outside the village. Flynn asks Rook to tell Oskar they could use his help if Rook sees him when they are out there. Flynn is local to Lavendel and saw the Blight surge through their home.

A Grey Warden merchant / quartermaster is called Holden. The little girl seen with Davrin in the release date trailer is called Mila.

If you do content in an area it helps you discover more shortcuts, giving you more flexibility in how you navigate between different remaining missions and quests

Each exploration space has its own story to tell. The quests and sidequests there are narratively relevant and also contribute to a meta story/meta narrative about that space. In Hossberg / Lavendel the aim is to get to the center of the Blighty stuff that has been going on there

Another Warden sidequest called Lives Spared seems to involve some missing Wardens who haven’t checked in in a while

Rook inherits the Lighthouse willingly or unwillingly from Solas. It’s located in the Fade and is where Solas was able to start planning his rebellion against the elven gods millennia ago

The Lighthouse shapes itself around your personality. Companions’ rooms there shape themselves around the companions as they live there and go through their arcs. A glowing light above the entrance to a companion’s room indicates that they are ready to talk to us

Hossberg is a later game area. Hossberg Wetlands are dark swamps and the area has almost completely been consumed by the Blight, making it a lot more dangerous than before. As a zone it’s quite contiguous and has lots of branching paths and different areas to explore. The Grey Wardens set up shop in an outpost/fortress (this is only one of their bases) there called Grey Hold in the small town of Lavendel, which used to be a beautiful place full of life and flowers. The Blight has had a serious effect on Lavendel, but the residents are still there and trying to make the most of it. There are plenty of opportunities to help the residents.

The Wardens have noticed that something strange is going on; the Blight is not behaving as it should or as they would expect, or like it has done historically. A codex entry pops up called “An Improved Blight”. (basically we are getting Blight dialled up to eleven) Rook is there to work with the Wardens, help them out, and help them find the answer to their question about the Blight. In their outpost the Wardens have built up a small fighting force to hold off the darkspawn. They understand the stakes of the gods being released and want to help you but they have other priorities, so increasing their power allows them to contribute more meaningfully to your fight against the elven gods. The Blight has changed. It’s become a lot more organic, a lot more alive. Once a slow-moving wall, it now has almost-sentience and almost-thought behind it. This has something to do with the released Blighted elven gods.

Something bad happened to a place called D’Meta’s Crossing, it’s no longer standing.

It sounds like Weisshaupt has fallen.

Merchant shops can be upgraded, doing so unlocks new items.

The Crossroads is a location in the Fade that contains a number of eluvians, allowing you to travel across Thedas in a matter of minutes. At the point the video takes place, the Crossroads are under assault by the elven gods. It’s now a dangerous place.

The big eluvian in the Lighthouse is called the Vir Revas. (that could translate as Way/Path of Freedom). It’s the central focus point of the Lighthouse and it takes you to Solas’ pocket area of the Crossroads, which looks different to what we’ve seen in Trespasser. “A path has emerged from the mists of the Fade that leads to a gathering point where all eluvians meet – the Crossroads”. We will spend a lot of time travelling through the Crossroads as we go from area to area. At one point, it was also a space that served as Solas’ main base of operations and training ground for his rebellion against the elven gods. As we go through it we will find fragments of the past, things that Solas did previously that will give us insight into him as a character, and also into the elven gods and their motivations. If you go exploring in the Crossroads there are opportunities to relive some of the memories Solas had during his rebellion. We will actually get to take part in this ancient rebellion.

The Crossroads as a realm reflects the waking world. It’s a mix/ amalgamation of all the real world spaces that are tied to it, in this case for example Hossberg and other mountainous regions that exist in the game. The architecture around the eluvians here very clearly reflects where they lead. The first time you go to any of the new regions in the world you traverse the Crossroads to get there. After that you can fast travel if you want. But exploring the Crossroads is recommended because some of the deepest secrets lie within

There is a mysterious spirit in the Crossroads called The Caretaker who was there before Solas was. They started to help Solas with his rebellion and also to turn the area into a safe haven for spirits, as Solas loves spirits. In the video we see them piloting a boat through the air to transport Rook somewhere. Because the gods are assaulting the Crossroads, it’s no longer the safe haven it once was. Rook works with the Caretaker through a lot of ancillary content to rebuild it into a safe home for spirits.

There is an area in the Crossroads called Beacon Island

The darkspawns’ different looks is very intentional. Their new look is in part because Ghilan’nain, described here as "the god of monsters", has always been focused on using the Blight essentially as a crafting material, a way to alter life itself. she’s been enhancing and changing the darkspawn as part of her army. She uses Blight like a medium to sculpt and warp the darkspawn to do her bidding and suit her purposes. The idea is that the Blight and the darkspawn are an organic weapon. Instead of making swords and armor, the darkspawn use the Blight to augment themselves, effectively defeat you and give the gods the world that they desire. The darkspawn aren’t just coming out of nowhere. They emerge from Blight pools, like the Blight is spawning them. Part of Ghil’s attempts to turn this into an army for the gods is to use them for overwhelming force. Hurlock Blighters have disgusting growths on their backs that they throw, making them function like grenadiers as they rip off these pieces of themselves and throw them at you - these then explode as Blight – this kind of enemy design for the darkspawn is supposed to lean into the idea that the Blight is organic and disgusting. In places there are Blight boils throughout the area, and if Rook doesn’t destroy them during combat ghouls will continue to emerge from them.

It sounds like in terms of ‘factions of enemies’ and their designs, we have the darkspawn which use overwhelming force tactics, the Venatori which focus on magical power, and the Antaam which focus on physical strength

Zipline traversal is in

Each mage’s (Neve, Bellara, Emmrich) healing ability is thematically appropriate to them

I think Davrin’s special exploration ability, or one of them, is called Blight Hunter. (one of the ones Rook can channel through the dagger when that companion isn’t there). This summons Assan from above to destroy Blight Abscesses. He seems to have another as well that Rook can also use via the dagger called Griffon Strike. In the video Rook uses this one to destroy a mechanism that was keeping a load of wood suspended in the air from a beam.

We see Rook also using the dagger to "charge beam" and destroy what looked like a thick tendril of organic Blight across the ground, and to destroy a ‘wall’ of blight abscesses that was blocking the way. At one point in the video Rook comments that the dagger is vibrating, "like a song in a wine glass"

When companions go ahead to meet you at quests they’re invested in, they won’t complete them without you, but they do get things ready. If you start doing those quests and don’t have them in your party, they will move ahead of you and wait for you at the next point.

[thewebcomicsreview]

You know, it's always struck me as a little odd how little most webcomics actually attempt to adapt to their medium. There's basic strips, the old 2k era 4-square, the endless scroll of Webtoons, and a few weird experimental things like Homestuck, but most webcomics I run into tend to stubbornly stick to conventional portrait-oriented page layouts.

It's… readable, I guess, but that format doesn't seem to work very well for either desktop or mobile viewing. It wastes a lot of screen-space, and usually makes it impossible to actually view the full page without making the text too small to read.

Have you encountered any interesting webcomics that experiment with more landscape-oriented layouts? I'm kinda curious about how well that would work.

So, there's this dude Scott McCloud who wrote about comics in the 90s. His first book, Understanding Comics, is literally the book on comics, it's the one schools make kids read. This third book, Making Comics, is a pretty good practical advice guide I'd recommend, even if it's not his groundbreaking seminal work. In between those two books was one called Reinventing Comics

Reinventing Comics, written in 1993, was basically a book of predictions about how this newfangled Interweb was going to revolutionize the art of comics creation. Like a lot of early-90s stuff "Wow the internet!" stuff, it has a lot of inaccurate predictions, and thus isn't super well remembered (though, unlike a lot of early-90s predictions of the internet, it at least vaguely resembled reality).

Anyway, one of the big things from that book was the idea of the "infinite canvas".

Which was basically the idea that a comic didn't have to be constrained by the size of the screen because you could scroll it. And this was a big idea in early webcomics, you heard this phrase a lot. And you'd see infinite canvas techniques like "What if the characters are falling and the comic is really tall to sell that?"

(Read Narbonic)

Which is basically the one and only example that actually took off, because it turns out that scrolling horizontally sucks and no one really wants to do it except as a one-of gimmick (as Homestuck does). The much bigger impact of the internet was that a webcomic could be infinitely long and still reasonably expect it's readership to have read it all, but I think McCloud missed that one. So while there were a bunch of "landscape" webcomics where you scrolled horizontally, none of them took off, and even the ones that were well received are long gone.

Adams himself would make Zot!, which is a vertical scroll comic that had a bit of a gimmick with parallel story beats being literally parallel. I think he even did some branching paths, and experimented with comics that you could read in different directions or that looped back on themselves.

But then Homestuck just did that better because, as I mentioned, infinite depth ended up being a lot more impactful than infinite width. It turns out that making a comic really wide calls a lot of attention to itself and makes the comic annoying to read. And it doesn't mean you can't do it (Homestuck did it!), but it does mean it can't be the gimmick you hang your comic up on unless you've got a really good reason for doing it.

[targaryenluvs]

I absolutely love how you write!! Now I've got this under my skin: basically the President Coriolanus and maid dynamic. The servant has this behavior in which she avoids crossing paths with Coriolanus at all costs but he already has her in his sights.

coriolanus snow x fem!maid!reader

mr president

tw: mdni 18+ (m masturbation, jerked off, implied sex in, power abuse, humiliation kink, guilt trip, cheating, degradation, naive reader, implied short reader)

coriolanus had been watching you all day. you knew it. he knew it, and he didn’t care. you’d always been taught to put your head down, go unnoticed, to just work. but it seems president snow had other ideas to how you could be of service to him, preferably with your legs wide open.

but this week felt different. you were use to his stares, they always seemed to linger even once he was long gone. but lately they set your body on fire, consuming you. you could barely look at him when he asked you to fetch a glass of water, when he requested for another seat at the table to be set tonight, and so on.

he loved to embarrass you with the most ridiculous and tedious jobs. but at first they’d been mild in want, for you to feed him, for you to clean his shoes and tie them, pick any lint off of his coat. but as his desire for you increased so did the humiliating nature of them. to clean the floor in your uniform which he knew you’d ripped that morning on a sharp thorn, to pick up the utensils he’d dropped, when he’d requested fresh new sheets after he’d soiled them himself. watching intently as your hands bunched up the sheets, cradling them in your arms as your cute little face scrunched up in horror as his cum coated your hands.

he loved you.

and you had no idea as to why. you never drew attention to yourself and certainly not enough to warrant his. yet coriolanus was hellbent on having you.

when you were awoken by one of maids in the middle of the night you’d expected something different, maybe one of the girls needed help in cleaning. but when she told you of president snow asking for you specifically for help with something, you could only help but be scared. you didn’t want to go help him with whatever. you didn’t want to be within arms reach of him let alone his own quarters. his wife was away on a business trip that week, leaving him with free time to torment you.

but you went nonetheless, who were you to refuse your dear president?

the entire walk to his quarters had you reassuring yourself, he’ll want you to bring him something. ‘water perhaps, then he’ll let you go. he’ll let you go y/n.’ you approached his door, raising your hand before knocking but a voice stopped you in your tracks. was it a cry? a groan? you leaned into the door, ear pressed against the cold wood, listening for a hint of what was occurring.

‘fuck,’ he groaned out, ‘so good, fuck s’ so good.’ that must be some really good soup! you thought as you smiled, you’d made his soup today and he said he’d eat it later on that night. ‘fuck y/n.’ now you weren’t arrogant, it may have been your soup but you didn’t name it after yourself. you should correct him.

‘mr president?’ your sweet voice called out, your voice went straight to his throbbing cock. ‘c-come in.’ you smiled to yourself as you opened the door only to be with president snow on his bed, hand wrapped around the base of his cock, completely naked with a smirk on his face. definitely not eating soup, you thought. ‘close the door, now.’ you did exactly that, what would someone say if they found the president so indecent? you should protect his image.

‘sit down.’ you crept over to him before hoisting yourself up, your small frame dwarfed by the overly-large bed. meant for two. his wife! you instantly covered your eyes like a child who’d seen something they just weren’t meant to. ‘i’m so sorry president snow, i didn’t mean to look. i’ll leave.’ you rambled as you slowly wriggled away, but not before his hand landed on your thigh. ‘i didn’t call you in here for you to leave right after.’ his hand rubbed into your thigh, soft and gentle, everything he wasn’t. it drew a soft moan from your lips, snows smug expression was evident, only if you’d just open your eyes.

your hands slowly peeled away from your face as you gazed into his eyes, ‘i saw you looking before, you liked it didn’t you slut?” for some reason the word made you blush as you looked down at your lap, his hand was playing with the hem of your night dress. ‘no mr snow.’ you bashfully replied, his hand worked its way up underneath your dress, the other preoccupied with his dick.

‘no? am i not pretty?’ you eyes widened at the implication, president coriolanus snow, ugly? he was anything but, ‘no! i- i mean yes, yes you are pretty, very pretty mr president.’ he grinned at your words, ‘yeah? you wanna prove it to me? you’d do anything for your president right?’ you nodded along quickly, not before gasping as his hand now played with the waistband of your underwear.

‘i want you to suck me off.’

‘suck what?’ his eyes trailed downwards.

‘oh! oh.’

the sentence sent your head into a spin, were you really going to do this? but his sweet voice, so soft and hushed, his body illuminated by the gentle orange glow of his lamp, his hooded eyes, so sleepy. it all coaxed you in as he led your hand to where he needed.

another quiet groan escaped coriolanus’s lips as your thumb rubbed over the tip of his cock. he was already close but just your presence, along with your hand had him tipping over the edge. your slow tugs, unsure and trying, your timid voice, ‘am i helping you sir?’ sir, the clear line distinguished the two of you in place. ‘yes, yes you are y/n. call me by my name.’ and soon enough he reached his peek, sticky release all over your tiny hands.

he was sure the picture would be ingrained in his head, you’d lifted your hands as you simply stared at them, then looking up at coriolanus.

‘what do i do?’

‘swallow.’

[lxmelle]

Gojo was once described by Gege as a “man of resignation”.

It is a facet of enlightenment - in which the concept of “non-attachment” is a big part of (attachment is viewed as the root of suffering).

We can interpret “resignation” in so many ways, as it explains so much about his immense capacity for love / acceptance, but also his tendency to... simply resign himself to an outcome / fate I guess - a form of passivity that can be either considered positive or negative, perhaps depending on outcome.

Going with the flow, neither chasing nor halting anything in particular with his immense might and potential. He swayed things to gently influence an outcome. Followed a designated path trying to rebuild the sorcerer world through being a teacher... which he couldn’t fully commit too either, because he had a role as a special grade who had to keep working.

That’s not to say he didn’t achieve anything - because of course he did. But nothing revolutionary. He said so himself to Geto: he didn’t see a point in it. There were just some things he didn’t think would change - someone else would replace the higher-ups.

And thus. Despite his massive strength, he never did ever manage to go all out. Perhaps this is symbolic of an inherently gentle/accepting nature? But there was indeed a monster inside him too - the one that thrived on the thrill of killing and defeating. It was a beast he seldom let out. It was a beast with a thirst.

I’ve said it before, and I’ll paraphrase: like a sprinter limited to go at 8kmph, like a singer who is only allowed to whisper her song, a painter unable to use any paints for their desired masterpiece - how dreadfully, painfully unfulfilling.

So of course it was FUN to have this final brawl with Sukuna - to give it his very best, especially when he also didn’t feel lonely anymore with a bunch of monsters he can pass the gauntlet (his body and his will) onto in the worst case scenario.

But of course Gojo doesn’t have the ability to predict the future, so how can anyone expect that he make decisions and judgements perfectly or accurately? All he can do is consider based on his own judgement. Alone. As the only other person who help him plug those holes in his judgement, Geto, had left him.

It is up to interpretation whether Geto was left behind first, but this really isn’t a competition or about assigning blame… because where do we even start?

One cannot hold Gojo totally accountable for things that happen around him or how others interpret his actions. He was born different to everyone else. Probably treated as if he had this role to fill where people had an idea of what they wanted or needed him to be, but never gave much thought over what it would feel like for him.

Gojo, Shoko, and those left behind have had to suffer the same resignation. After all: What else are you supposed to do but resign yourself, in the face of a reality where even to things you don’t wish to happen, have to happen? All you can do is what you can... and if you can, you wield it with all your might.

Geto tried it to the best of his ability.

He wasn’t Gojo, who could do it if he wanted to.

Understanding that Gojo wasn’t, and accepting that he (Geto) shouldn’t change that about him (Gojo), as he was likely more suited to be at the school - essentially following nanami’s words and “leaving it to him” as Gojo was in his element / thrived on it, but Geto couldn’t be complicit in the system that would lead them to watch their own kind die one by one — Geto left to follow his ideals.

Gojo was referred to as the only one who can take that curse into his own hands. I used to see it as “the only one to kill Geto” after he failed and almost lost his humanity for the sake of power (killing Yuta would go against his principles) but now it also has a new meaning: the only one who can take charge and pursue the ideals to actually change the world.

The curse is the sh*t that is in the world of sorcery in jjk. Gojo seemed to (imho) now feel the need to catch up and hold the reins this time.

It is the end of Resignation Man Gojo Satoru. The emergence of The Monster Gojo Satoru (who Geto assisted in helping Gojo keep at bay through being the “model of humanity” that Gojo could follow) who was then fully ready to take the stand. Like Geto on that stage.

Bye higher ups.

Before, despite his immense strength, he didn’t force his way through. Perhaps this was the outcome of having been forced to be born and live with no choice but to be the six eyes + limitless. You do not actually have freedom.

Unless, you’re willing to become a pariah. To wield these cards that were dealt to you and completely become the extraordinary.

And now, Yuta embraces the same resigned acceptance of becoming a monster. After all... only a few will be able and willing to turn into a Monster.

Out of love. A Monstrous love indeed.

Geto had monstrous motherhood in him. I guess this extends to others now too. To cast away humanity because nobody else will. Nobody else can. So they have to wield it. Become it.

Yuta represents both the old and new world... in some way, he is like Gojo and Geto combined... power / strength + sincerity / kindness. Of course, like the yin and yang, each half has a bit of the other in it - so Gojo and Geto had a combination of power and compassion, but they symbolically represent each,

Arguably, had Geto someone else by his side, things may have been different.

All of this mess… ugh.

It didn’t have to come to this, right? Nor did it have to be the extermination of humans, but it could’ve been a collaboration of the special grades (Yuki, Gojo, Geto) all trying to solve the 3 different factors to the problem: humans as the origin of curses (research), the old-fashioned higher ups + clans, and the elimination of the curses. There may be others, but you get my gist.

But alas, this is the jjk world.

Just some thoughts, I’ll end it here before it’s more word vom.

[alice-angel12x]

Born of Unknown Stardust

(Platonic) Lucifer x (???)Child! reader Pt.1

&lt;-Prologue/ Next pt. 2 ->

------------------------------------------------------

50years Later-

"They're a cute little bell, so I don't lose you," Lucifer smiles as he looks down at the cute bell on the bow he made for the tiny creature.

Over the last 50 years, being so tiny it was pretty easy for Lucifer to lose them out of nowhere.

"Huh, I should give you a name. Something to call you by... Uummm. I'll just call you (Y/n) Yuu. What do you think?" Lucifer asked, Yuu only blinked at his words.

"Ummm, actually I've noticed something. You have not grown or changed at all over the past 50 years. You still haven't spoken, or even asked for food... You don't do much. Do... Do you eat? Are you hungry?" Lucifer asked in concern as he tickled Yuu's tiny belly. Earning cute little squeaks from them.

As Yuu giggles, leaning back to get away from the tickling. They leaned farther and farther, till they fell over the counter edge they were sitting on. Lucifer panicked as he dove to catch Yuu, only to stare in a stupor as Yuu levitated a foot above his waiting hands.

"The in the world?" Lucifer gasped as Yuu started to float upward.

Yuu continued to float higher and higher, till a gentle hand intercepted their upward path. That hand belonged to his fellow seraphim Sera.

"I didn't think flight was possible without wings," Sera commented. "How did you teach it to accomplish this?"

"I didn't, they just... Did...It," Lucifer said as he gently pulled Yuu down, and held them against his chest. "Anyways what are you doing here?"

"Well, I hear mortal life or infants tend to eat a lot. So I gathered some vegetation from the earth for this creature," Sera said as she held a glass of pureed fruits.

"I don't know, Yuu has never... Never really asked for anything. Or spoke, they kind of just roll around and be cute," Lucifer shrugs, as Sera holds the glass to Yuu's lips.

The little critter took one sip, two sips, then a gulp. Then proceeded to chug the entire glass, as Sera and Lucifer watched in shock and slight concern. It did just drank a cup that was as big as itself.

'' Are you sure?" Sera asked.

“A-any ways, speaking of earth. I actually all have a bunch of cool ideas we can do, and if you’d-“ “Lucifer. No,” Sera interrupted.

“We’ve already told you to please stay out of this project. As wonderful as these ideas are. They are too risky. I’m sorry,” Sera apologizes sadly. “For know just study this critter… Yuu? Correct? Just keep on eye on them and tell us what you find.”

And with that, Sera left to rejoin the elders to continue the further creation of earth. Yuu watched in curiosity as they felt a shift in Lucifer. His wonder filled smile was replaced by a small frown.

———————

With a string, the end of Yuu’s tail was tied to a small weight so they wouldn’t float away. As Lucifer sat at his work bench in frustration, as Yuu tried to nom through the string to get free. Which was difficult when you don’t have teeth.

But eventually Yuu was distracted from their goal as they noticed Lucifer mess and mold with dust. Shaping them into many different and strange creatures.

Yet each time it looked complete, Lucifer would quickly crumble it down, in frustration.

“I don’t get it! What is so risky about my ideas!” Lucifer shouted as he rested his head on the desk.

Yuu stared in awe at the dust before them. So crawling over, they start to gather the dust. Slowly giving it shape and volume. And by the time they were done… it was something about as big as them. It had a head an oval body and a long mouth.

Yuu stared at its dust figure till.

“Dak,” a tiny voice said. “Dak!”

Lucifer jumped a bit, startled by sudden voice. He looked down at Yuu and their crude makeshift creature.

“Umm huh?!” Lucifer said in a stuper.

“Dak,” Yuu pointed to their creation.

“Oh, umm. It’s.. it’s something. Very cute,” Lucifer said with a confused smile.

Yuu hugged the dust clump, when a golden light started to shine from Yuu. The dust clump slowly started to change. Yellow feathers grew, and an orange bill was revealed as the dust trickled off. But before the creature could come to be, it crumbled back into lifeless dust.

“Umm,” Lucifer said slowly, when he noticed tears well in Yuu’s eyes begin to well up with tears. “Oh no no no. It’s okay. Ummm uhh."

Lucifer panics as he gently cradles Yuu when an idea comes to mind. With a snap of his fingers, Yuu was put into a new little attire.

"Aww look how cute you are. Know you the duck," Lucifer gushed as he held a small mirror in front of Yuu.

You looked at their reflection in awe as a tiny giggle escaped their lips.

__________________________________

Pt.3 ? Continue?

Masterlist Here

[justafairytailofinnocence]

Jareth x dreamy reader🔮💭🌌

Part 2

Masquerade ball scene🎭👗💃🔮

(A/n: hello, thought I'd make another part 2. I wanted to make it a bit different from the movie version. Enjoy 😉. Please comment and reblog, helps me alot 💖.)

Requests: open for labyrinth

Part 1 here

You knew where you were going. You were certain. You were the optimist. A dream mixed with sweetness. The definition of a sweet dream.

The environment was clumped with overgrown vines, trees, shrubs, and more stoned walls. Twas another obstacle, something to deter you from the path you went before.

"She'll never make it. She's not even heading in the right direction." Two short, stubby hairy creatures with protruding snouts, identicle to the next observed you sludging through the jungle. One spoke in a high high-pitched accent and the other a deep husk. It was like, similar to that of two young children watching a grown-up waiting for the moment to tell them 'I told you so'.

"She'll end up lost." The high pitch one said.

"Stuck." The low pitch responded.

"Mhm, stuck, that's what I said, stuck."

"You said lost."

"Mhm, stuck, lost, forever and ever."

You ended up reaching a tree, grabbing its vines, clinging to it carefully, not falling into the vines, or the vegetation that over grew even more. You swore they moved. Moving and increasing like snakes to block your path.

The one on the left shook his head, making a tsk sound with his tongue. "Tsk, tsk, tsk, never going to learn."

"No."

"Never going to make it."

"Never."

"Lost."

"Stuck."

"Forever."

"And ever."

Growing frustrated you tried to look for any sort of branch or loose vine that's strong enough to swing you across from the small island with the giant oaken tree to the platform covered in broken, grey, stoned paver's against the concrete slab.

You thought for a moment of jumping in; perhaps that's the only way. You would need all your strength to break through the dense vegetation, but, better than nothing.

"Oooooh, shes going to jump in."

You looked up to see a small creature sitting on a tree branch, wearing medieval scottish garb.

"Jump! Jump! Down ya go!"

"Down, down".

"Thar she goes."

"Into the unkown."

"Where will she stop."

"We won't know."

The two creatures then proceeded to laugh. Thinking there was no other way you paused to speak to them. "Excuse me, but would you please help me to get across."

"Oooh, help ya, quite bold of ya ta ask."

"Help you with such a task."

"To break the rules."

"To help with you to glory, or to your doom."

"Oh, help, help, power, power. The power we hold."

You were getting fed up. You didn't have time to waste for such nonsense. "Please, I don't have much time."

The two gazed at each other and then back at you. They then held up their hands, whispering to each other.

"Ok."

"Very well."

"We will agree to help."

"If you can solve a puzzle."

"Solve a mystery."

"Very well, what's the mystery, what's the riddle." You asked, smiling. You always had fun with these kinds of things. Surely, it's not too difficult of a task.

"Oh, brave, very brave. We will agree to help you."

"If you can figure out—"

"Which."

"Is which."

"Who is knick."

"And who is knack."

"Is he this."

"Or is he that."

They laugh once more.

You had to think for a moment. It seemed obvious for knick to have the higher voice and knack to have the lower. Though, knowing this place, tricks and turns come at every corner. You had to think hard, "well..." the creatures listened intently.

"You must be knick," you pointed to the one with the highest pitch. "And you must be knack." And the same for the lower pitch creature.

They glanced at each other, bewildered. "She—she's right."

"Correct."

"Now we have no choice."

"Help the girl."

"Save her from doom."

You smiled in brightness, you were getting the hang of this. Usually, you weren't the brightest of the bunch, often feeling half witted compared to other work colleagues or strangers that speak to you as if they had any idea of what you mean.

"Yes, now, will you please help me?" she said gently to the creatures with kindness.

"Very well." Knack hopped down from the tree as the other did the same. "Nnn, ok, let's see here, oh yes, just a twist and a snap, nnn," he muttered to himself. "Knick, where was tha spot again."

"Spot?"

"Aye, the spot, you know, tis a tap, one, two three."

Knick hopped down from the tree, looking like he hasn't slept in ages. He groaned getting up "errr let's see here, was it here, err no, no t'wasn't."

"Aha!, I found it." He stood at the edge of the small mount. "Give it ere, y'know, the ol' knock." Knick held out his hand for the long stick, that actually resembled a small staff.

"The ol'clock" he said.

"The ol'knock?" You questioned.

"Mhm, that's what I said the ol' knock."

"You said ol'clock" you mentioned.

"Mhm, that's what I said the ol' knock." Knack handed knick the staff.

Knick stuck the staff inside the hole. "mhm, there it is."

"Knew it was there."

"You were close."

"Very."

"Best stand back." You and knack took a step back expecting something rather big and tremendous.

He then started hitting the ground thrice, precisely three seconds in between. And—as you waited—

Nothing. Nothing happened.

"That was it" Knack said slightly disappointed. "Must be more to it then that."

"Give er a minute." Knick said, repeating the same movement once more.

All of a sudden, the ground began to quake. The vine's, roots, and vegetation slithered away. Creating a pathway for you to cross.

Knack posed with the stick expecting a 'thank you' of sorts.

"It's clear." You said thankful.

"Pathway m'lady." Knick proudly spoke.

"Always a boaster aren't you." Knack clicked his tongue tsk-ing at knick.

"Thank you both." You said walked along the gravel like path with mis matched grey stone pavers.

You felt confident, all you needed to do now was pass through the goblin city and get to the castle where you can find the king and return to your normal life, redeeming your wish, taking it back.

The two creatures waved at you as you looked smug, however, in that moment—something went wrong.

The floor beneath you began to crumble, creating a hole you fell through. "Woa!" You screamed.

The creatures staring unphased spoke. "Now, knick, did you remind her of the hole there."

"Don't beileve so."

"Well, she's well on her way to her doom now."

"Never to return."

"Never to come back."

"Trapped."

"Lost."

"Stuck."

"Forever."

"And ever."

"Mhm that's what I said lost, stuck, forever and ever."

They then started to laugh from the mounted island with the giant oaken tree.

-------

You slid down to what almost felt like a water slide, dirt and mud covered your clothes as you screamed. Turning, twisting and speeding down the slippery rabbit hole.

Eventually, you landed in a place that seemed rather empty, dark, and voided of any life. To your astonishment, a wooden stave dripped in tar lit on fire. So the king was playing fair—for now.

You grabbed the wooden stave, expecting it to disappear as you touched it—assuming it was another illusionary trick.

You wandered through the mysterious catacomb, believing it was an old city from another time. You took a moment to glance around at the structures; you were fascinated.

They seemed old, ancient, as if structured from inspiration from another city like Atlantis, Egypt, Greece, Rome pompeii, before the doom.

You trailed on for what seemed like hours, or rather perhaps twenty minutes. That was until you stumbled upon a structure, a structure that resembled an old standing mirror. The outer rim was decored in ornated wood and silver, and patterns of fairytails surrounded it. You couldn't help but run your hands down the side of it. Although, seemingly, some of these patterns resembled small items sparking old memories throughout your life. He wasn't kidding when he claimed he knew you better.

The glass of the mirrors reflection suddenly started to shift. Within the reflection, an illusion played out, like something that only happened in movies. You watched closely. It showed a room of white with sparkling glitter falling along with huge bubble like crystals floated around.

You were hypnotised. Entranced. Many of the women and men donned in different vibrant colours of frock coats, sack-back gowns, and masks resembling different animals.

Curious, your finger lifted to the mirror. Your finger push through the mirrors glass like liquid. Like moving water. You pulled your finger out, afraid and bewildered.

Looking closer, the men and women that danced in the costumes all waltzed; laughing, chattering and singing. Somehow, it drew you in, you always loved the ball scenes in movies.

This seems too familiar, somehow, like wasn't this from the movie. The part where she lost track of time, memory and herself.

Hesitantly, you looked behind the mirror. Nothing. And it seemed the only way through this was through the ornated wooden, silver mirror.

Shaking your head, you pushed through, taking a deep breath and holding it. It was quick. Like a flash. Your body felt a cold wetness for a second, and the next, you opened your eyes.

You wandered through, astounded beyond belief of the whole setting. You could hear singing and like in a trance, you began to loose your train of thought. As your eyes glanced down, you wore formal attire that seemed way too otherworldly or perhaps something you remembered wearing once before.

You traversed through the venetian masquerade ball. Many of the men and women, laughing your way as you passed. They seemed unphased by your presence. You turned and spun slowly trying take in your surroundings, trying not to lose touch with reality.

Oh, but how far you've already drifted from it.

You fidgeted with an item of yours that was close to you. Each moment, each time you moved closer, the more you started to forget, lose train of thought. Becoming one within the world of daydreams.

Oh y/n, you're already losing. You just don't know it yet.

Your vision became a sudden blur as suddenly you even forgot your name. You listened to the sound of the music, as many danced around you. Was, was this your purpose. Yes. This must be why you're here. To dance. To dream. To dance and dream. To be here. Forever.

Oh, you poor, callow minded creature, I've already won. You'll remain here forever. You've lost your innocence. You'll never see your dear ones again. You'll never go back. Forget about your home, the ones you hold so dear, dreams of realism, and live forever within a dream of our own.

You began to sway, having no little reason to believe this was your purpose. You moved fluently, dancing to yourself. Moving your arms and gracefully swaying your legs. Stepping in a glide to fit in with the crowd. Wasn't this what you wanted. To fit in when no one understands you. Now they can, here, where you can be safe and sound. Where no one can judge you and your free to be someone.

To be yourself. To live within your fantasises.

As you heard the sound of the gentle music sing. You spun and spun, feeling the reality drain away. Feeling happy. Free. Joy. Love.

Suddenly, you stopped in someone's tracks, and you delicately held your arms beside you. Dreamily looking up. He stood there. A man that felt familiar but you couldn't grasp the name of.

He wore a glittery, deep, blue frockcoat with an ornated cravert attached to a white poet linen blouse beneath. Without a word, you stood back, gripping the fabric of your attire. You didn't trust him. He seemed. Evil? No, not exactly the correct words but—

Evil, well that's a but far fetched don't you think.

The mysterious man held an odd venetian mask to his face attached to an ornated handle. The horns from the mask somewhat made you curious. You shouldn't approach. However, he held out his hand covered in a white glove.

Your hand hovered over his. However, you continued to dance, dismissing him. You spun and turned. Locked in a daydream.

Much to his annoyance, he tried to garner your attention. As you danced, many of the ladies and gents laughed and tried to offer their hand. Purposefully trying to block your path to guide you back to the mysterious man.

However, you simply drifted past them. Elegantly frolicking past the crowd. You felt free.

Careful y/n, look, their eyes are gazing upon you. Their judging your actions.

You continued to joyously spin and turn, kicking your leg in the air as you moved freely, ignoring the voice.

The mysterious man glanced with impatience. Surely this was supposed to happen, yet—he wanted something more...

He attempted to grasp you, following your movements. Yet, to no avail could he hold your attention. It was agitating. You were an irritating creature.

Only until did he take a step, you stopped in front of him. Stuck in a daze. He glanced directly at you. Looking into your eyes. His mouth slightly parted, showing a mixture of tantalisation and pique.

You moved to glide around the dance room. He couldn't control you. He trapped you. Yet. He couldn't grasp you. You were a dream, he couldn't touch.

Eventually you stopped at the mirror, the same one you entered. You took a look at yourself dreamily. You could see an illusion, the illusion of your yourself in the reflection of the glass but—wearing different clothes—Were those what you wore previously. Was that you? Didn't you have a purpose? You were here for something?

City? To get to the city? To meet the ki—

You gasped as someone gently touched your shoulder. Looking up, it was the same mysterious man whoms voice sounded familiar. "Oh dear, daydreaming again are you." He said in a mysterious, mystical tone.

"The—mirror—I saw?" You looked back.

"And that was." He grasped both your shoulders, prompting you to take a closer look. "I think you should look again, carefully this time. Look deeply within the mirrors reflection y/n."

You looked once more in the mirror's reflection, seeing nothing but the reflecting dream. "I-i beileve I saw—"

"A dream y/n, you saw. A. Dream." He spoke, concluded. "Dreams. Oh, what's that? " You laughed, smiling.

"Illusion." He smiled back in response. "Would you like me to show you." He guided your gaze back to the mirror. You saw yourself but, wearing different clothes. You watched as many people you thought you knew speak ill of you. Your loved ones resuming their normal lives without you and flashes of words you remembered that made your heart ache. You turned to him, tears streaking down your face. As though you were confused, not knowing why and yet feeling the pain washed over you.

"What. What is this." You say watching it. It felt so real.

"This is your reality y/n, this is what's real."

You wanted to take it all away. You wanted to imagine again. "If this is reality, I do not want it, take it away—please"

"Of course, you can, look." In the mirror you saw, yourself, in royal attire, that fitted only you. The style formed from a balance of your imagination and dreams. You saw yourself spinning forever smiling, not existing in that horrid illusion he showed.

"You can remain here with me. They won't mind. you're free here y/n. Free to do whatever you oh so desire." He offered his hand out to you.

Taking it out of curiosity. He smiled. He will keep you here, until time runs out. Forever making you his. A dream within his world.

He glided you across the room, as you danced in unison. Twirling, spinning, gliding, turning, dancing—to remain here. Forever.

Dancing with this mystical stranger felt right and—wrong. As he spun you, smiling. You were trying to remember something. A flicker of a memory, something within your mind. "City?"

To feel safe.

"Wasn't there a city, somewhere."

You need to feel free.

Y/n.

"There's a city I must go to."

Stay with me.

"I'm certain."

I'm your haven.

"To."

Your my dream.

"To go beyond, the walls of the—GOBLIN CITY! THE CASTLE!"

Your eyes flickered as if you awoke from the spell. You broke away, pushing him. You grabbed the fabric of your attire trying to run. In that moment, the guests were trying to surround you, to block you once more. You pushed and shoved them, rushing toward the mirror from which you came. The mysterious figure you recalled felt familiar, turned out, to be the king himself. Of course, he was tricking you. To make you lose yourself, to steal time away in order to make you forget, so you would lose.

That's why you remembered that scene in particular, oh how foolish you felt—but—you broke the spell.

The king, in frustration, grasped a crystal ball from thin air. Throwing it toward you. Showing all your greatest fears and wounds in a mass of shadow. As your eyes widened, you grabbed a chair, breaking the surface of the mirror's protective seal. You jumped through the liquid. Almost in an instant, you felt yourself falling, floating. To a near trash heap, only you describe it as a literal dump.

You held your hand to your head. As though you had a pounding headache. Once you realise your surroundings and gather your barings. You looked down, seeing the elegant attire you wore in the dream, a torn, trashed garbage piece. Suppose it was still clothing. Much to your annoyance. You sneer in disgust. He practically just dressed you in an illusionary trick.

You were sick of this, yet, you were thrilled. You loved the excitement of that dream, waking up. Now you were more determined more then ever to take back your wish and finish this off.

You trudged off through the trash pile, to the goblin castle beyond the goblin city.

Perhaps, you might even ask if he could return your clothes too.

[callmearcturus]

Paradise Killer is 6 dollars on Steam until May 16 and I am here to hard sell you all on it because it's one of the best games I've ever played.

I'm gonna go beyond giving you a bunch of punchy keywords and telling you it's queer as hell and making meme-y jokes, and I'm going to actually tell you what this game is.

So top-level, WHAT IS PARADISE KILLER?

Mechanically, Paradise Killer is an open-world murder mystery. There is zero combat but a lot of exploration of a very unique location. The majority of your time is going to be walking about Paradise 24, looking for people to discuss the case with and for clues that are scattered around the world.

One of the most interesting concepts in Paradise Killer that is both mechanical and narrative is deciding What Is Your Truth? What Is A Truth And What Is A Fact? From the moment you start the game proper, you can turn 180 degrees and begin the trial and decide who the killer is, before talking to anyone about the case.

For example, getting into the actual crime scene takes a lot of puzzle solving to unlock the sealed room where the victims were killed. But maybe instead of examining the crime scene, you talk to everyone on the island and think you have a good idea of what happened.

Meaning: It is perfectly valid to decide you have the answer to the mystery and just go complete the trial whenever you personally are ready. YOU decide when this ends.

Which frankly I think is a cool-as-fuck concept. Also, I fully believe if three different people find EVERY CLUE and talk to EVERY SUSPECT and hear EVERY PIECE OF EVIDENCE.... they might decide on three different truths entirely. And THAT to me is ingenious mechanical design I have not seen anywhere else in a video game.

Okay let's stop burying the lede and talk about the world of Paradise Killer.

The non-batshit version:

Paradise Killer takes place on a big, beautiful island, the 24th Paradise. The architecture is a delightful mix of black obsidian obelisks, brutalist monuments, opal crystals to slumbering alien gods, garden paths, luxury yachts, and a whole lot of gold and neon.

Neo-occultist urban residential vaporwave-core. If you are like me, you will be taking a lot of screenshots. My wallpaper on my computer is Paradise Killer.

Your interactions with the cast are done in visual novel-style, though I feel I have to shout out this isn't your stock Ren'py UI experience. Every single aspect of the way the game looks compounds the vibes even further.

And the characters are infuckingcredible.

(Notice the different font? This game has A FUCKTON OF ACCESSIBILITY OPTIONS, including dyslexic font options.)

Sammy Day Break, born under the sign of Shadow Zero, is the local distillery and bartender for the Syndicate. Talk to him about what's unique about the whiskey he's made on Paradise 24, or about the good old days of the Syndicate.

Is Doctor Doom Jazz, born under the sign of Cosmic Deceit, really that carefree about what happened? Is his willingness to rekindle his fling with Lady Love Dies just a diversion to hide something? Well, he's one of the most cooperative witnesses on the Island.

Crimson Acid has been through a helluva lot since the last time she saw Love Dies. Blessed by the gods with her stunning rack (of horns! OF HORNS!), she's become quite the idol now. So why is she also an information broker? And can you figure out what her true feelings for Love Dies are?

Between all of these conversations, you can explore the island and collect RELICS and BLOOD CRYSTALS (the local currency) and CITY POP SONGS.

Okay so the Slightly Batshit Version:

Shinji: The Syndicate worships alien gods who want to drown the world in war and blood. Lady Love Dies: I don't see how that makes us the bad guys.

You are LADY LOVE DIES, born under the sign KISS ME TO THE MOON, the INVESTIGATION FREAK. She was exiled to the Idle Lands several cycles ago for falling prey to the seduction of the god Damned Harmony and endangering the entire Syndicate. Only now, with the death of the Council on the eve of Paradise 25, is Love Dies summoned back to solve the murder.

The Syndicate are a group of functionally immortal humans from all across history who are trying to create the perfect bubble of reality, their utopic Paradise where they can safely revive their dead gods. They were granted many powers and boons by their first god, Silent Goat, and hope through rescuing more gods they will grow in power.

How do you create a bubble of reality to do all this totally ethical shit? Easy! You abduct a bunch of normie humans to live on your island to use as a mass sacrifice to generate energy to fuel the creation of each Paradise. If only the outsiders would stop getting in the way!

Paradise Killer's world is delightfully out of its goddamn mind and half of the fun of the game is just picking up little nuggets of information about each member of the Syndicate, the gods, why each Paradise failed (there was an outbreak of vampirism that took out like three of the Paradises???), and just the way this universe works.

Okay this post is already too long but I'm begging you all to give Paradise Killer a chance. It's gorgeous, it's funny, it's mechanically really interesting, it's chill as hell, it has an incredible soundtrack,

and you should try it.

I'LL SEE YOU IN A PERFECT 25 . . .

[countlessofvoids]

I know I'm five years late on this and frankly this conversation is really fucking annoying at this point, but I gained analytical skills just recently, got hyperfixated on HTTYD again and have few things on my mind;

There's a ridiculous amount of bad writing decisions regarding the third movie's main antagonist and even more in the entirety of the film. However in my opinion, Grimmel's character could improve even if you kept all other aspects the same by getting rid of one plot point. And that is "drugging deathgrippers with their own venom".

One the dumbest parts of THW, only beaten by Toothless & light fury's boring romance and the movie's message. But the difference between those is those at least serve some purpose. This could go unmentioned and much wouldn't change. Sure, it shows us Grimmel uses their venom for his crossbow arrows, other than that, the "slavery" aspect is useless. All it does is make him ridiculously evil. Because the audience forgot he's not nice, apparently.

What I'm getting at is - I believe a better alternative would be the deathgrippers serving Grimmel not because they're forced to, but because they want to. Make them have genuine bond like Hiccup has with Toothless.

In universe justification: Deathgrippers are said to be intelligent dragons, so they'd probably understand that working with some creature who helps them hunt is beneficial for them. And since they're pack animals, hunting also works as a bonding activity. This would be a perfect gateway for Grimmel to make them more loyal to him. They don't necessarily need to have Hiccup & Toothless' bond (although I would personaly prefer it that way). Think of it like the speedstinger in RTTE - Despite not liking Snotlout at all, it defended him against the other speedstingers because it considered him a part of it's pack.

Writing/narrative justification: Having a group of dragons take part in killing simply for their enjoyment portrays them as intelligent creatures, which emphasizes how similiar dragons are to humans. Some are assholes just because! Also it means them dying at the end isn't a horrible way of making your audience question your protagonist's morals, since in this version they kinda deserved it.

Grimmel being friends with a bunch of dragons while hating all the others gives him depth as a character - it makes him a hypocrite.

But most importantly, Hiccup and Grimmel being parallels would be much clearer. It shows how they're the same person on different paths, that he could be like Hiccup but choose not to. Or it could lead to him being a parallel to Valka. Older person who doesn't like other people and prefers living with dragons? Sounds like Valka to me!

Now this could create a plot hole with the whole Alpha thing, since in canon they don't listen due to being drugged. However I choose to ignore that because I don't like the idea of every dragon mindlessly following Toothless no matter what personality and concept of the alpha in itself.

[sirfrogsworth]

FFFF: Froggie's Fuckin' Fancy Foray

In a previous post I was debating whether I should go to the Sam's near me, which requires a short 11 minute drive, but the path to get there is quite stressful due to traffic and construction and frustrating detours onto narrow side streets.

There was even a time when a bunch of signs got knocked over or removed and I accidentally went down an unfinished road that dead-ended into a pile of rocks. That was a fun moment. Especially when people stared at me as I did some improvised off-roading to get turned around.

Like I said... STRESSFUL.

Or I could head the other direction across the river into Illinois.

A scenic 22 minute drive with empty highways to a much nicer Sam's. The extra 20 minutes of total drive time is a lot, especially after all the walking required to collect my groceries. And I feared it would test my energy limits, since I had to go to Sam's and Schnucks to get all of the groceries I needed. Sam's is great, but sometimes I just don't need seven dozen of something.

I was having a decent energy day, so the scenic route won.

My plan was to go to Sam's for the bulk of my groceries and then drive all the way back across the river, past my house, and go to the Schnucks that stocks my favorite new fancy Fitz's soda. Which would add another 30 minutes of driving. Though I figured if I wasn't feeling up to it, I could go to Schnucks another day.

But as I stood in the Sam's parking lot holding a five dollar rotisserie chicken, an idea struck me... "Maybe there is a Schnucks near here."

I opened Maps and to my dismay, there was a Schnucks just down the street and for three entire years I never thought to check.

Literally half a mile down the street.

I think we are all familiar with the concept of chain stores varying in quality depending on the area they are located.

There is a Schnucks only 1.2 miles from my home. It is what I would call "tolerable."

Let's deem this location "TS" for Tolerable Schnucks.

TS is clean and has all of the essentials but they try to shove ten pounds of Schnucks into a five pound bag. It is cramped and poorly stocked and the lighting is somehow extra florescent.

They managed to squeeze in a decent deli, but that is where the niceties end. They usually have one register open even if the checkout line wraps around the dairy section. I have yet to find a less busy time to go. It's always filled to the brim with people—morning, noon, and night.

And, frustratingly, they rarely stock my new botique soda obsession, Fitz's.

I allow myself one occasional sugary treat to manage the cravings and I never know if they are going to have it.

However, if I travel an extra 15 minutes then I can upgrade to the Schnucks I would call "nice." So we'll go with "NS" for Nice Schnucks.

Weirdly the NS is near the "tolerable" Sam's (no acronym because that would be confusing with Tolerable Schnucks (TS)). They are only 3 minutes apart but the store quality difference is pretty drastic. If I have the energy, I will try to stop at both places in one trip since they are so near each other.

NS is a much bigger store than TS and they even have a bigger selection to go with that extra space. I have to get my fancy soda there because I guess TS figured "let's just fill the aisle with Diet Coke and nothing else." NS has a much bigger deli and full bakery and a fish person and even a quaint little floral department. They usually have multiple registers open and they stay open past 8pm so you can go when it isn't busy. The lighting is a little better, they keep things in stock, and they even have half-sized shopping carts that are easier to push if you only need a few things.

I thought that was the gold standard for Schnucks.

As nice as it gets.

But then I discovered this new Schnucks near the Nice Sam's and that assertion was about to be shattered.

Let me introduce you to the FFS.

The Fuckin' Fancy Schnucks.

The first thing you notice at the FFS is the front has well-maintained landscaping. Like, proper shrubbery.

That's fuckin' fancy.

The second you enter the store you are greeted with a fully staffed floral department.

It felt like if Valentine's Day could manifest a jungle. Brightly colored flowers everywhere surrounded by mylar balloons wishing people happy whatevers.

Then I turned the corner to see the biggest Schnucks of my life. With one entire side of the store dedicated to bespoke food items.

They got a deli. They got a bakery. They got a fish person. They got another fish person who just makes sushi all day.

They have an entire wall of prepared food items made at the store daily. Sandwiches and salads and pastas and full chickens. They even make their own frozen pizzas.

And then I noticed... the Meat Masters.

They have their own damned butcher on staff!

I found myself just going up and down all of the aisles and discovering new things the other Schnuckses never stock. The soup aisle was ridiculous. I was getting pretty tired and I was paralyzed by too many choices. So I decided to just get my normal boring soups and come back another time to explore the Fancy Soup Section.

The FSS at the FFS, if you will.

And the lighting was just so much more pleasant. It didn't feel like a 90s office building.

And look at that flooring. Did they hire an interior designer?

TS & NS just have generic square tiles.

I mean, I guess making some of them blue is something. But even the ceiling is drab comparatively.

And look at the TS Zapp's display compared to the displays at FFS.

I will say, TS takes much better care of their robot friend. FFS stuck their robot in a very undignified location.

This Roomba with a giant erection spends all day counting stuff and they stick him next to the men's room? Let him hang out with the Meat Masters or the fish people.

This is how a robot uprising starts.

The soda aisle was at the end of the store so I arrived there last. I was nervous they might not have my beloved bottled soda pop. Not only did they have it, but they also had 4 other flavors I didn't even know existed.

I guess you could say the FFS had an FFFS! (Fuckin' Fancy Fitz's Section)

I got that same feeling when you unlock bonus items in a video game. I don't know what the difference is between cream soda and "cardinal" cream soda... but I'm gonna find out!

Update from Future Froggie: It's fuckin' tasty!

So...

Future Froggie approves of Fuckin' Tasty Fitz's Soda from the Fuckin' Fancy Fitz's Section at the Fuckin' Fancy Schnucks and is sad Nice Schnucks and Tolerable Schnucks Failed Future Froggie with their Lacking Fancy Fitz's Soda Section.

Or...

FF approves of FTFS from the FFFS at the FFS and is sad NS & TS FFF with their LFFSS.

Got all that?

I loaded up the FTFS and my frozen pizzas and my non-fancy soups and headed over to the registers. They had 3 lanes open despite hardly anyone shopping at the time. I didn't have to wait in the dairy section for 25 minutes. So I justified that extra drive time and then some. Because standing in line is harder than sitting and driving.

So I guess I answered my question about which path to choose. If only I had known about the FFS earlier I would have forgone NS and Tolerable Sam's and just drove the extra 20 minutes across the Mississippi River to and from MO & IL.

On the one hand, it is kind of depressing that just like public schools, property taxes dictate the quality of vital stores in our communities. I mean, these are stores run by the same company. I know the physical property can necessitate some variation due to size and configuration differences. But it's clear they are pumping a lot more resources into the FFS. Not just more cashiers with a bagger on every lane, but actual experts in flowers and fish and baking and deli.

And who knows how much a MoM costs. (Master of Meat)

On the other hand...

We live in a society and can't fix capitalism overnight and all that.

I need my FTFS and FSS at the FFS, okay?

[edelgarfield]

I am genuinely so sick of seeing the take that "man's hubris caused the calamity" and that being used as "take that!" against the people of Aeor, who largely were not even alive during the start of the Calamity, & who, regardless of the reason, have had to live in a world ravaged by the gods' conflict.

Avalir and Aeor were far from perfect & the ruling class certainly was full of hubris & elitism, but blaming mortals as a whole for the Calamity is so incredibly fucked up. Avalir as a whole did not collectively decide to invite the Betrayer Gods into the Material Plane. The largest instigators of the Calamity were:

1. Vespin Chloras, who was following in the footsteps laid by the Raven Queen, and

2. Zerxus, who was manipulated by Asmodeus, and

3. Asmodeus, who despises mortals because he blames them for the rift driven between the Prime Deities & Betrayer Gods.

Like I can't speak to Vespin Chloras but I genuinely cannot find it in myself to blame Zerxus, a mortal man, for being manipulated by the God of Manipulation, or for believing in redemption and forgiveness. You can think he was foolish to fall for it, but being gullible or having faith isn't a sin. There's a bunch of arguments that "it's arrogant for a mortal to believe himself deserving of forgiving a god" and I won't argue that Zerxus had some arrogance & self-righteousness. But I just. I do not and will never believe that divine beings are morally superior to mortals.

there's this idea that the pursuit of godhood/power is inherently corrupt, and to an extent I'm inclined to agree (I started a whole rant here abt this, but that's a different post). but hand in hand, there seems to be this idea that the gods themselves are shielded from that same corruption, which I simply don't think is true. whether mortals are capable of wielding the power of a god without being destroyed is a separate issue to its morality. something being inherently risky/unsafe does not automatically mean it's wrong. but I don't understand how people can say it's irresponsible/evil for mortals to pursue godlike power, or that they can't be trusted to wield that power, without applying the same logic to the gods themselves. It doesn't make sense to me that the pursuit of power is wrong, but the ones who actually wield that power, sometimes violently & unfairly, only ever wield it responsibly.

in fact, I think that without any sort of power to resist the violence & will of the gods, the gods are left completely unchecked to use Exandria in whatever capacity they choose to. that's an extremely dangerous thing for anyone living on it, and asking mortals to simply trust that the gods will never act against the people of Exandria is an extremely cruel thing. If people choose to have faith in the gods & their will, that's wonderful. But faith being a requirement just to live peacefully, & deeming anyone without faith sinful & arrogant is unfair.

it's not morally bankrupt to desire freedom from the will of the gods. it's not corrupt to want mortals to carve their own path. it's not evil to question what you've been told about the world.

The idea that "man's/Avalir's hubris caused the Calamity" feels like a fantasy version of "humanity is causing climate change" or "humans are inherently evil," which are extremely unpopular opinions on Tumblr. It's attributing actions taken by one or a small group of people to humanity as a whole. It's blaming humanity for being manipulated by a higher power. It's holding mortals responsible for their own murders.

[batsplat]

Chad reed on always the entourages creating the drama. I cannot believe that is what caused rosquez downfall but also given the level of Vale's celebrity and the way he carried himself, I can totally believe that it was the entourage (iPad stand I'm looking at you) that brought the end

(about reed's 2020 quotes in this) yeahhh I mean the downfall was caused by a whole bunch of factors, not just any one thing... like all great tragic narratives, it feels inevitable from a global perspective and yet thoroughly preventable in its specifics, with loads of points where you think, 'oh, if things had just gone a little bit differently'... there's this tension in how, in the end, maybe it would've always gone wrong, but a lot had to come together for it to go wrong in quite such a spectacular fashion

reed's definitely correctly identified one of the factors - the entourages, and valentino's entourage specifically. though fwiw, I did cut off the article before reed predicted the marc/fabio rivalry was headed a similar way (this was from 2020, obviously before the arm injury):

for better or for worse, fabio has skipped the villain arc to head straight to the depressed frenchie arc

regardless of whether this rift would have happened or not, the idea that marc would have gotten a new appreciation for the situation valentino found himself in is at least an interesting one. though if anything, the rivalry with fabio would have more closely paralleled valentino's with the other aliens (new talent coming through, but with the previously dominant rider still a regular winner). now is the time marc's learning what it feels like to come back from a prolonged absence from being competitive at the highest level - and of course with a new superstar simultaneously making his debut

so yeah, anyway, tragedy, you can point to all sorts of strains and pressures and tension inherent to professional sport that were exacerbated by the personalities involved and the influence of the media and the passage of time etc etc. but never mind all that, let's get back to entourages! I know you mention everybody's favourite b-list shakespeare villain, but I'm going to basically mostly ignore him because it's well-trodden ground. yeah, it does help to have one guy who's whispering poison into your ear for a prolonged stretch of time before showing up at your motorhome doorstep with a bunch of telemetry and a dream. and yeah, there were people in valentino's entourage definitely encouraging this path to doom. but what I'm also interested in is the flip side - why nobody stopped him

I would like to submit into evidence this passage detailing the thoughts of vale's mechanic alex briggs. now briggs in this excerpt blames two groups for how things went down in 2015:

the yamaha side (specifically the press group) for not talking him down from the ledge before the presser

the crew chief and other assorted italians on the team for being too "yessy" and not standing up to him

let's briefly (for a given value of the word) focus on the first one. if you're a random yamaha pr person and you see the valentino rossi run to a press conference (given he was late) with a bunch of papers in his hands (well, he's not actually holding the papers in those gifs, but presumably somebody's got them), it's probably a tough ask to expect you to hold up the valentino rossi and ask him what exactly he's intending to do with those papers. also, is he really going to back off because you, random yamaha pr person, have asked him to please not accuse the competition of sabotage? added context is that some at yamaha were aware of what valentino thought about the race at phillip island (which we'll get to in a sec), but god knows if the pr people did. unless he confided in anyone on the yamaha side what the plan was, a lot of them would have been blindsided too - which does come back to the problem of how big a deal valentino is and how maybe you're a little more cautious about questioning what he's about to do with those papers than you would be with somebody else. it does feel like perhaps a bit too much to expect for them to have launched some last-minute intervention, or to even know what kind of intervention they could have gone for beyond low-level comedy hijinks to stop him from even getting to that room. why did nobody from yamaha place a banana skin in his path

but we do know that at least some in yamaha were aware of valentino's great big phillip island sabotage theory, because lin jarvis has very helpfully told us as much (from the post-sepang media scrum):

Q: Do you think it was a mistake for Valentino to [provoke?] Marc so much on Thursday with a very personal and hard attack? Jarvis: There are always many different ways of addressing different problems - Valentino chose to do it in that way. Perhaps that is what provoked Marc into being quite aggressive on the track. I really don't know, you need to ask Marc not me about that. Every action has a consequence. That's life. Q: And did you know before that Valentino was going to be so aggressive with Marc in the press conference? Did you know before? Did you discuss with Valentino about this decision or you didn't know until it happened? Jarvis: Personally, I was not aware of that. I was aware of Valentino's opinion of the race in Australia, but I was not aware... but I was not aware that he would - Q: Don't you think because Valentino at the end of the day is an employee of Yamaha he should discuss before with you about such an important decision, to attack a rider of another factory in such a heavy way [...]? Jarvis: You can't control every incident, everything that happens and you know, generally we have a very good [...] relation, connection with our riders, we talk to them before about things before, but anyway I think this is something Valentino felt strongly about and it was his decision and that's it.

note the use of the word "personally", which does leave the door open to others within yamaha (outside of valentino's inner circle) knowing what was going to happen. jarvis, unsurprisingly, comes down pretty firmly on the side of 'well what were we supposed to do'. given that jarvis admits he knew valentino's theory and is hardly a stranger to valentino's modus operandi - after all, he was already team boss at the time of another tense press conference in sepang eleven years prior that took place in the wake of valentino accusing a competitor of messing with him - you do have to wonder whether yamaha could not have tried a little harder to stop valentino. but again, accounting for the power of valentino's status and the power of his character, I'm personally unconvinced yamaha could've done much to convince valentino to change his mind

so then: the italians. a little bit of context - briggs started working with crew chief jerry burgess in 1994 and both of them were on mick doohan's team for all of his five 500cc titles. when doohan's injuries forced his retirement, valentino inherited his championship-winning team upon moving up to 500cc. jb was vale's very first crew chief in the premier class, and him as well as briggs have been working with vale since december 1999. understandably, this is a very tightly-knit group. it is one that made the jump to yamaha with valentino - here's just a quick excerpt (also from oxley's valentino rossi: all his races) about briggs' thoughts on that move:

When Valentino decided to defect to Yamaha, he was determined to have his crew go with him. Only one stayed at HRC. "We first got to know about the Yamaha deal in Portugal, I think [September 2003]," Briggs continues. "I wanted to stay with JB, because I hadn't finished learning what I wanted to learn. "I remember a clandestine meeting in the car park at Phillip Island, about salaries and how everything was going to work. It was really exciting. When I very first started working with Honda the whole group was very much a team. Towards the end we felt like it started to become a bit us and them: the engineers and management, then the mechanics and the riders. They'd sort of got too big for their boots - they'd designed this wonderful bike, so it was like it had nothing to do with us. That made it easier to leave.

and also about the move to yamaha, from the 2020 barker biography of valentino:

But with his trusted crew chief Jerry Burgess and most of his other team members from the Honda garage agreeing to defect with him, Rossi had the crew he needed, not only to win but also to enjoy his racing. It was a heartening display of loyalty and something of a risk for all involved. ‘When I announced to the mechanics that I was going with Valentino they said, “I’m coming too,”’ Burgess later explained. ‘Some of those guys were leaving very secure jobs and taking a big gamble.’

the group also survived the move to ducati (obviously a deeply frustrating two years not just for the guy riding the bike) and the move back to yamaha. but then, valencia 2013, valentino announced his decision to fire jb in a press conference organised for the pair of them. his 2013 season had been deeply frustrating - yes, he had gotten a podium in his first race beating both marc and dani, but after that generally speaking he couldn't come close to matching the other aliens when healthy. he was comfortably the fourth best rider that year, scrapping and clawing his way through midfield battles and having to rely on misfortunes befalling the three title contenders to achieve his podiums and his sole victory at assen. he was considering retiring at the end of the 2014 season once his current contract expired, but wanted to try everything he could to see whether he could be competitive again against the world's very best. and so, he made the decision to roll the dice and get himself a new crew chief, the italian silvano galbusera

now I have to say, personally I have a lot of time for this decision (even if it was maybe not... uh, enacted in the most graceful of manners, given how sudden it was). I come from a sports background where a certain ruthlessness in personnel decisions is encouraged and generally praised - if something isn't working, you should have the courage to make a change, even if it's deeply uncomfortable (including on an interpersonal level). also, while it was a sudden departure, it's not like burgess was that keen on sticking around much longer (again from the same oxley book):

Valentino ended his collaboration very suddenly at the end of 2013. Burgess was shocked but not too much, because he already knew that he was coming to the end of his own career. "When it ended for me I'd already been doing it 30-odd years and I'd told Valentino a few weeks earlier that I wasn't going to sign any more multi-year contracts. I was 60 by then, so I'd go year by year. I'd already signed a contract for 2014, but I would've thought if we hadn't had any more success by then that there wasn't much point in continuing. I felt we would win more races but I was more doubtful about championships. "I'd read enough sporting biographies to know that sportsmen change their coaches towards the end of their careers. It can give them a spike in results but it doesn't change the overall story. Looking back, Valentino's career went on longer than I expected. He enjoyed some success but no more championships and that's what you race for. Of course he was in the unique position of being able to get a factory bike until he retired. He was very special and deserved everything he got."

which, look. again, personal bias, but to me it's reasonable to part ways with somebody who doesn't think any more titles are plausible, because at that point it's just somebody who has a very different view on your career than you do and may well not stick around for much longer anyway. also, at the end of the day, jb was wrong! valentino came extremely close to winning another title, and just because he didn't, doesn't change the fact he could have. if it had rained on the 8th of november 2015 in valencia, we might be having a very different conversation. (or if they hadn't changed the bloody qualifying format post-2012.) honestly, if the 2016 and to a lesser extent the 2017 season had gone just a little differently - a working bike in mugello here and an unbroken leg there - he could have been a genuine title threat in two more seasons. in any case, what it does show is that valentino even at the end of 2013 was still as determined as ever, was ready to engage in what was a huge gamble (given how almost all his success had come with the highly decorated jb) on the off chance he might find what it took to win again. this will not have been an easy decision for valentino. here's a write-up of the presser at valencia, that stresses how uncomfortable the occasion was, how surprising a decision it was to jb, but how publicly at least there was a lack of recriminations (which, to be fair, wouldn't be much fun to do in a shared presser):

(you'll note that the phrasing in the presser about athletes attempting to extend their carrers by changing things up is echoed in what he says in that book interview where he adds that it doesn't change the overall story, again suggesting he didn't really believe valentino would be competitive. he also uses the same phrasing in ANOTHER interview that confirms as much, but I think you get the point.) valentino said at the time, "it was a very difficult decision for me because I have a great history with jeremy. he is not just my chief mechanic. he is like part of my family. my father in racing". this is somebody he'd been working with since age 21, somebody who is not only revered within the paddock for his work with several of the sport's greats but is also a man who valentino obviously has a close personal connection to. meeting for the first time when vale snuck into the honda pit to check out the bike he might ride next season, hitting it off immediately, countless rowdy dinners together, parties, jb and another older colleague sitting back when food fights started, watching valentino grow up, working with him throughout all his big manufacturer switches, all his successes and all his failures... as much as anything else, it's evidence of how strong vale's desire to win was, how determined he continued to be, to make this choice at this stage of his career. and jb was open to the idea (at least publicly) that it might end up being a smart call:

the 'dirtiest' part of the whole affair is how it was actually carried out - it's not great form to tell your crew chief the day before you end up doing a press conference together to announce your choice. for whatever it's worth, this is how valentino justified the timeline:

and lastly, which I think is the most key part, is valentino's belief. because at the end of the day, the only reason why he's doing any of this, and the only reason why what was to come was possible at all, is that he himself still thought that he could challenge for another title - as much as that belief had come under strain:

now what this piece also goes on to say is that nobody believes this will work. nobody believes that firing jb will lead to better results. people expect that this is going to lead to his retirement, quite possibly at the end of 2014. it's worth just remembering sometimes how extraordinary valentino's return to the top of the game post-2013 really was, how it went against how we expect a rider's competitive lifecycle to work, went far beyond the longevity exhibited by any top rider before or since - all while going up against riders who are widely believed to be some of the best to ever do it. valentino beat jorge in both 2014 and 2016, and remains one of two people to outscore prime marc marquez over the course of a season. not to engage in too much rossi prop here, but sepang 2015 can't really be understood without all the frustration that led up to it, to this one golden chance, this miracle that everybody had believed to be impossible (sometimes even valentino). this wasn't supposed to be happening. it was happening. and then, so so close to the finish line, valentino could feel it slipping, slipping, slipping away

but of course, we still don't know whether changing crew chiefs is the key factor that made him competitive again. maybe he just needed a bit longer to get back into the swing of things post-ducati disaster. maybe the bikes just started to suit him better. hey, maybe it was that nifty exercise regime he'd engaged in a wee spot of espionage for so that he could pinch it off his teammate. what we can say, however, is that valentino's choice both tells us a lot about his mindset, as well as (to finally bring us back to the actual point of this post) representing a massive shift in his 'entourage'. this is what briggs is referring to in his quote - the italians. the new crew chief. the people who couldn't stand up to valentino. now obviously, as mentioned above briggs had worked with jb for the better part of twenty years and can hardly be considered a neutral party. here were briggs' feelings on the matter (yeah it's from the same oxley book again, I got it new for eighteen quid which is a very generous price, would recommend):

When JB was out at the end of 2013 it was like losing my mechanic dad. I remember being in the garage when we found out about it. Then they arranged a kind of farewell, a kind of hodgepodge farewell. It was terrible, I didn't like any of it. I was just hiding behind one of the bikes in the garage, crying, going, what's going on here? It didn't seem right to me. I think maybe Valentino thought he would get faster again sooner, but I think it took at least a year to get the taste of the Ducati out of his mouth. I think if he'd stayed with JB we would've won the championship in 2015.

which. look. we don't have time to unpack all that. but. the point is that obviously briggs wasn't exactly a massive fan of the change within valentino's team, and his comments about the 2015 season do have to be read with that in mind. as to whether vale really would have done better in 2015 with jb at his side, your guess is as good as mine. all that being said, a part of me wonders how much losing that grounding presence enabled valentino's late-2015 spiral. maybe not in terms of talking valentino out of the great big fluctuating lap times treachery theory - to state the obvious, valentino got himself involved in plenty of drama during jb's time as a crew chief. jb himself occasionally helped add fuel to the fire in those feuds, like his infamous comment about how he would be able to fix the ducati's issues in 80 seconds that casey still brings up every three business days (the comments were poorly phrased but also somewhat taken out of context, in that jb was talking about a specific set-up problem). he's generally been pretty happy to be forthright about valentino's rivals, for instance this about casey:

My feeling at the time was that Casey probably only had one game plan, and having watched Casey over the years, he doesn't have a plan B. If it doesn't go his way from the outset, it's probably one of the weaknesses that he had through the youth that he had, through the lack of experience that he had. That's not a criticism of him per se, he was still only 22 at the time.

(this is about laguna seca 2008 and how he helped valentino win that race, including in plotting out vale's rather ruthless tactics - which casey was of course not exactly a fan of.) or these. uh. harsh comments about dani from spring 2010:

Q: Is that atmosphere or track knowledge? Is it like the Spanish finding something extra at the racetracks in Spain? JB: Well, therein we show the weakness, don't we? If you can get up on that weekend, on the technical racetracks of Spain, why can't you get up on the technical racetracks like Australia, where the Italians do? Lorenzo is a guy who will and does. Stoner has been able to get up on tracks all over the world. Unfortunately, Dani Pedrosa's into his 6th year in MotoGP, and he's won 8 races, Jorge Lorenzo's two months into his 3rd and he's won 6. It's night and day between those two, is the way I see it. Dani's an extremely fast rider, but a shockingly poor racer. Q: Were you surprised at Jerez [2010] when Pedrosa fought back when Lorenzo passed him? JB: When did Dani fight back? With two laps to go, and he didn't even get close enough to try to come back. Dani has never been a fighter in races, he's a lovely kid, don't get me wrong, but you can see that Lorenzo, having Pedrosa in front of him, it was never going to be the way he was going to finish that race. He was going to finish on the ground or he was going to finish in front of Pedrosa. That's the sort of race that we want, we had that with Biaggi and Valentino, and from history with Schwantz and Rainey. All the good riders have always had somebody they have had to put the target on the back of. It was Doohan and Gardner, and Doohan won that battle hands down, and I think Jorge Lorenzo's going to win this battle [with Pedrosa] hands down.

kind of a dick! so his attitude to valentino being valentino has generally been a) well having enemies is good, actually, with an added slice of b) good luck to his enemies :) - see also this quote (from the barker biography) in the context of the gibernau rivalry:

And that made Rossi even more dangerous, as Jerry Burgess pointed out: ‘Valentino is the sort of rider I wouldn’t want to get angry. He can take you apart on the track.’

so yes, jb is also perfectly brutal in his own right, as you presumably have to be to work alongside valentino so closely for so long. he is, however, also somebody valentino has a massive amount of respect for, somebody who helped turn him into a legend and is responsible for a lot of vale's success - not least, of course, in the pivotal move to yamaha. he was replaced by a man of a far far lesser stature in the sport, one who presumably would have been grateful to valentino for the biggest job he was ever going to get. if briggs is right and there was a shift in valentino in 2015, surrounded as he was by italians (derogatory) who could not stand up to him, who allowed valentino to insist on war and peace on the pit boards, to focus more and more on things that had nothing to do with riding... it would be going a little too far to say that valentino was missing an adult in the room given he was, in fact, in his thirties and should have been capable of being that adult. and who knows what jb would have said or thought or done about the great big childhood hero deception theory. but sepang 2015 was the culmination of a lot of things, including a pressure cooker of a season that grew more and more tense and put more and more stress on everyone involved - perhaps for none more so than valentino. maybe, just maybe, if he'd had somebody around him with fifteen years of experience in handling him, who could have just occasionally told him to knock it off, to concentrate on the racing, to keep things simple (always jb's defining philosophy), to maybe not get so wrapped up in the great big spanish collusion theory...

or maybe it wouldn't have mattered! maybe we're getting cause and effect all wrong here; maybe valentino was deliberately fashioning his entourage into one that was only going to give him positive feedback. maybe he would have just stopped listening to jb, maybe the very decision to fire jb makes it clear he was no longer interested in what jb had to say. it's a tragedy, after all! maybe it was always going to go like this. maybe it was always going to end like this

speaking of entourages, marc's manager played a bit of a cameo role in fanning the flames just a little further (article from marca, 26/10/2015):

alzamora obviously will be somebody valentino is familiar with, having raced him in 125cc and also having just coexisted in the paddock over the years. valentino could of course be lying, but idk, why would he? he's already made his case by this point, and what if alzamora were to contradict him? if it's true and this conversation did happen, you do have to say it's a spectacularly unhelpful intervention from alzamora. even if marc was mad at valentino, why the hell are you telling valentino this AFTER sepang 2015? what's the plan here buddy

^ 1999 world champions: alzamora in 125cc, vale in 250cc and alex criville in 500cc. people think motogp lore is complicated but if you know like, five guys, you're set for about twenty years of drama

which does get to the heart of the matter - a lot of these people have big egos and their own agendas and they love to run their mouths. they like talking a big game and getting involved in things they really shouldn't be getting involved in. is reed right that these people in the riders' entourages 'created the drama'? well, no, I think the two men at the centre of this particular tragedy were plenty capable of doing that themselves. nevertheless, you can point to how professional sports (and motogp in particular) forces you to rely heavily on a small group of people to keep you sane at the centre of the storm, and the risks that can emerge when that small group collectively unmoors itself from reality. you can point to the perils of fame, both in making your reliance on your inner circle so unnegotiable as well as in providing you with the status and power and ego to ignore anyone who might wish to change your mind. you can point to specific figures in this story who managed to incite the conflict between the two of them, as well as how the pressure cooker competitive environment they were operating within helped set up the ultimate catastrophe. you can point to how valentino lacked anyone with the power to stop him - both in the direct sense of forcing him to reconsider and the indirect sense of commanding his respect enough to make him see sense. maybe, just like in 2004, valentino had simply been "looking for an excuse" and he was always headed down this path. or maybe if somebody had just held him back a little that year, kept him focused on his riding, maybe if the right person had intervened at the right time...

maybe, maybe, maybe. that's why it's a tragedy

[levshany]

I just remembered these drawings and decided to post them along with some thoughts (under the cut) about Belos that I have accumulated over the week

Spoilers for TOH (just in case)

I want to draw more good Belos, but I want to draw him in a way that looks "natural". And in the case of Mr. Kill-All-The-Witches, it is very, very difficult to do this, because this character is built so neatly and clearly that you take away just one detail in him - and the whole mechanism will crumble.

I have seen people draw the good Belos, while retaining all of his "attributes", such as the imperial cloak and the curse of the palismans. But the joke is that GOOD Belos simply could not get all these things: he would not start eating palisman souls, and he would not seize power, intimidating people with wild magic. He would be a completely different character.

OK OK. It can be assumed that in our time Belos realized his sins and embarked on the path of goodness, I'm sure such AUs already exist. But again, this is bullshit. Even if we and give Belos a redemption arch, it would be so huge and painful that Belya (it's the nickname I gave him) simply could not cope with it and would die of shame and grief. So rehab is not an option either.

And after much thought, I came to what I think is the simplest and most efficient option: to create a swap AU in which I will change the roles of the following characters:

Ida <–> Belos/Philip King <–> Kikimora Hooty <–> Collector Lilith <–> Caleb

Or: King <–> Collector Hooty <–> Kikimora

Everything else in the AU will remain the same.

Trite? Yes. Lazy? Maybe. But seriously. I need this AU only in order to draw more nice 'n chill grandpa Belos, who just hangs out with a bunch of kids somewhere on the outskirts of the world. Isn't that cool tho?

I have no idea when my hands will reach to make concepts. Maybe as early as next month.