#&&. verse | the beat of wings | main

[she-posts-nerdy-stuff]

Literally not a single soul asked for more information about my idea for a Florence + the Machine jukebox musical of Shakespeare’s Othello (because, well, why would they?) but I have a lot of time on my hands so buckle up because you’re getting more information

(If you want to be able to better picture my mad rambling, I'd recommend playing the songs so you know what parts I'm referring to)

Opening number: 100 Years (from High As Hope)

We open on an almost empty stage with Desdemona slowly stepping into the spotlight as she sings the first few lines (I believe in you and in/our hearts we know the truth/And I believe in love and the/darker it gets the more I do); if we want to get super specific she’s wearing a white dress that’s a similar shape to the one Florence wears on the album art because just yes yes yes and also angel imagery for the win and ALSO over the course of the production her dress becomes pale pink or grey and then very gradually gets darker but in fact the nightdress she wears when she dies is back to white again. She does not bleed, people, she is the only character that dies without bleeding (!!!!!!!) and I will never shut up about that. Anyway, she sings up to the repetition of “and never, and never turn to night” with orchestral accompaniment and then when the “Then it’s just too much” line hits and the beat comes in things change. More lights come on and the chorus (wearing all black) move slowly into the stage; they’re tap dancing, creating the beat/ rhythm of the song. As they’re moving in Desdemona seems to show some level of fear towards them, constantly switching focus to see them approaching her on all sides; they represent the inescapability of her being the tragic hero. Notable: Desdemona is performing ballet and maybe some lyrical but I’m kind of imagining her en pointe for a lot of this; the chorus is performing tap. At natural breaks in the music and rhythm the tap dancers freeze in place for Desdemona to dance whilst she sings the next lines. On the second rendition of “then it’s just too much” vocal accompaniment to Desdemona’s melody begins and members of the chorus grab Desdemona’s shoulders and arms to pull her backwards, as she continues to sing she tries to break away from them and they follow her/she falls into other chorus members. They close in on her and she is completely covered until the rise in the music on the next rendition of “And then it’s just too much” when she reaches upwards and is lifted above the group, set down on the same line. The chorus continue to seemingly fight her through the next two lines. Then entrance of Othello comes on “I let him sleep, and as he does”. He does not sing yet. What we’re seeing here is more about Desdemona’s thoughts than it is actual events; Othello enters and takes Desdemona’s hand to briefly dance together, including him lowering her almost to the floor and then snatching her back to her feet again on “my heart bends and breaks so many, many times”. They stand opposite each other for “And is born again with each sunrise” and Desdemona reaches to touch his cheek. Othello catches her hand in the air and holds it so she walks with him as he begins to exit (he is walking backwards) and he sings the repeat of the line, but as they approach the wing he turns and exits alone, abandoning Desdemona on stage to be taken hold of by the chorus again in the following instrumental. For the final verse the chorus join Desdemona in singing but she is still the only main character on stage

Othello and Desdemona Duet: I’m Not Calling You A Liar (I should mention I’m not listing these in any particular order and also I do not have a copy of Othello with me rn to double check that I've got order right so I won't be trying just in case I get mixed up)

Gonna be so honest I feel like if you know the song then this one is self-explanatory, but I would also really love a quiet, sad, short reprise of it in the last scene with Desdemona on the bed reaching up to cup Othello's cheek and whispering "And I love you so much/I'm gonna let you kill me" before she dies

Emilia and Iago Duet: Back In Town

Iago and Emilia are alone on stage. The song begins after the exit of Desdemona at stage left and Emilia, who followed her almost to the wings, is subsequently standing alone at down or centre stage left and does not immediately know that Iago is standing somewhere behind her upstage right. Emilia steps slowly away from where she was been watching Desdemona leave and slowly starts to approach the audience as the music begins, and sings the first two lines believing she is still alone - Never really been alive before/I always lived in my head. Iago steps forward from the shadows and sings the next two lines (And sometimes it was easier/Hungover and half dead) taking Emilia by surprise, as though he is simply stating fact to her and she is forced to nod along and accept them . At this point Iago takes over the song and from now on sings most of it as a solo. He approaches Emilia across the stage and takes hold of her - notably by the wrist, not by the hand, to pull her in as he sings “I’m back in town why don’t we go out?” and on “spin” of the next line twirls her across the stage and straight into him so she falls against his chest and he is holding her up. The choreography continues in a relatively similar fashion as the song goes on; it is a slow dance, they are constantly close together, it is not entirely believable that Emilia wants to be there. To a casual eye it may appear that they are simply dancing together, but when you actually watch them you can see that her movements are always half a beat behind his, and always in the direction that he moves her. He never lets go of her for long, and in the brief moments of freedom that she catches she tries to move away as though it is part of the dance, as though she thinks she can hide her true intent beneath fluid motions that mimic his own, but every time he notices and forces her back. This is both a metaphor for their entire relationship and foreshadowing of her death. By the time he’s sing “And if you get spat on that’s just your big city baptism, you’re the star of the show” it is plainly evident that he is trying to convince her to do something for him. On this line Emilia finds herself with her back pressed against Iago’s chest as they both face out to the audience, his hand raised as though showing her a name is glowing lights, and she follows the movement of his hand with her head and with awe, eagerness, and the slightest edge of terror in her eyes. From here, as the lines continue, Iago turns and dips her slowly towards the floor. Emilia’s leg extends and he reaches his free arm to force her raised foot into pointe/demipointe; she is not committed to this dance, but he will force her to be. On the final lines Iago lifts her back to standing and pulls her close to him, moving her hands so she is clasping them together and he is clasping hers to his chest. He lifts her chin with his fingers so she is forced to look up at him as he sings “‘cause it’s always the same”. Still holding her chin, he looks out to the audience when he sings “I came for the pleasure but I stayed,” and it is Emilia who sings the echo “Yes, I stayed,” not at first looking at the audience but directly up to where his hand is now retracting from where he moved her to. She slowly turns her face towards the audience as they harmonise together for the final words: For the pain. On the final, low beats of the music Iago paces away and Emilia stumbles as she realises that he truly was the only thing holding her up. He exits stage right and Emilia sinks to her knees, watching him - a direct reflection of her watching Desdemona leave just three or four minutes ago on the other side.

Emilia Song 1: What Kind of Man

This will immediately follow on from the one above, thus beginning with Emilia knelt on the stage alone somewhere near centrestage right, looking out into the wings. She will sing the very opening lines exactly where she is, I envision only a very brief pause between these songs, and then slowly begin to stand and brush herself off so that she is ready to start walking towards centrestage by the time she is singing “I’d already had a sip, so I reasoned I was drunk enough to deal with it”. She sings alone at first; the stage is dark but for a spotlight on her, the orchestral accompaniment is relatively low to add emphasis to quite how complete her loneliness is in this moment - she is not safe, she does not know what to do, and the one person she can usually confide in and trust (Desdemona) is not only not here but also the very subject of the terrifying questions Emilia must now grapple with. On the higher background notes surrounding the line “and with one kiss” Emilia raises her hands and thrusts them towards her chest as though there is a blade between them, as though these hands belong to someone other than herself. She is both foreshadowing her own death with this movement, in the very pattern that her husband will commit it, and also presenting the image of her very first kiss with Iago being the thing that sealed her fate rather than anything within the content of the play: Emilia was doomed from the start, perhaps arguably doomed by the narrative, because her marriage is not one that she would have ever been able to survive. On that note I would really like to emphasise the youth of these characters so I would probably change “a fire of devotion that lasted 20 years” to “the fire of devotion that’s lasted all these years” so that we don’t get confused and tangled in the numbers of it. On this line (You inspired the fire of devotion/That’s lasted all these years) Emilia looks towards the wing where Iago exited with longing in her expression, but as she turns away her face hardens and her voice gains new vigour for the disgust and outrage with which she spits “What kind of man loves like this?”. And now we get the beat dropppppp. The music swells and gets louder; the lighting change is remarkable - lines spotlights running up and down stage, overlapping each other in places, and through them we can see the chorus moving into place. The slow, balletic movements of Emilia that have been the remnants of the control Iago instilled in her during Back In Town are abandoned completely in favour Contemporary as she paces backwards and the lights settle to illuminate the entire stage. The chorus are two lines of people all in black and Emilia, dressed in either red or grey I haven’t quite decided yet (maybe she is in grey and Bianca is in red??), is at the centre of the front line. The take up various positions with arms raised at strange angles and on the low notes of the background music turn their wrists until the beat hits - when they stamp their feet and snap their wrists into position. (Pls note I am not looking a score of anything I’m just listening to spotify so I might be badly screwing up musical terminology/details but I’m hoping you can gather which parts I mean) All participate in this until the lyrics begin. The “oohs” are sung by the chorus. When the lyrics begin Emilia steps forward to sing them, maintaining the same energy, and the chorus continue the same choreography until the repetition of “What kind of man” begins. As the repetition of these lines begins Emilia paces backwards and the two lines of chorus morph into a crowd that semi-circle close around her back. They grab Emilia on each beat, releasing her in between, and pull her in different directions as she sings (+the chorus are providing vocal accompaniment).At first it doesn’t particularly appear that she’s fighting them but as we exit the chorus to approach “You’re a holy fool all coloured blue” she does; she throws herself forwards on this line and the chorus are forced to relinquish her. She spreads her arms and the chorus are thrown backwards

Damn I just reached text block maximum whoops

The chorus are thrown backwards and spiral out to create a larger curve. Two chorus members take hold of Emilia’s arms to lift her and carry her a short distance upstage as she sings, raising and lowering her within the confines of the line “You do such damage how do you manage?” At the end of which Emilia is briefly lost in the crowd before she appears trying to force her way between two chorus members who are creating a wall in front of her, reaching out towards the audience as she sings “trynna crawl in back for more”. She gives in at the end of this line and sways sidewards as though fainting, caught by chorus members and lowered to her knees as she sings the repetition of the “and with one kiss” refrain. This time she remains on her knees for the first “What kind of man loves like this?” and then bound to her feet and continues to dance for the following. The chorus sing the following lines as Emilia dances I don’t have super specific moves in mind for this but continuing the same energy and the same style, I want everything about this to both vastly contrast and deeply reflect who she was in the previous song. Emilia begins to sing again for “But I can’t beat you/Cause I’m still with you” and the following verse, for which the chorus continue to provide vocal accompaniment. The chorus join her again when the What Kind Of Man chorus begins again. The dance and choreography continue in a similar fashion until the very last line; the chorus exit in a whirlwind and leave Emilia alone on stage as the music dies down to sing much quieter “What kind of man?” She has fallen still, her hands clutched closer to her stomach as though she is already holding the wound that will kill her

Ensemble song with Othello and other solos (maybe even to close act 1??): Howl

Starts with the stage empty except for Othello. The chorus slowly move in, all wearing flowy white costumes. The dance is one of slow, consistent movements during the intro music but on the accented notes they make sharper hand or leg motions before continues the same smooth line much slower as the music relaxes. Othello is mostly still during this but he does pace slowly into centre stage. Desdemona also slowly walks in during the intro, having returned to a long white dress instead of the pink or grey or something like that that she'll have been wearing in her previous scene. She moves very much like the chorus do, whilst Othello moves just as he usually does. Othello takes Desdemona's hands and pulls her in to dance with him as he sings the opening lines "If you could only see the beast you've made of me/I held it in but now it seems you've set it running free". It is very much that Othello is controlling the dance and Desdeoma is following him, an eerie parallel to Iago and Emilia during Back In Town. He spins her beneath his arm on the lines "Screaming in the dark/I howl when we're apart" and she leans back with her weight on one demi-pointe and in the arm he has around her, the othr leg extended. Othello sings "Drag my teeth across your chest to taste your beating heart" and leans into her, his other arm wrapping around her so the audience can barely see her. Desdemona drops into him and to her knees, now facing the audience kneeling directly in front of Othello, who takes tight hold of her shoulders and leans down towards her ear as he sings "my fingers claw your skin/try to tear my way in/you are the moon that breaks at night for which I have to howl". For most of this the chorus have been in pairs mimicking a similar dance to Othello and Desdemona, but now they have turned and are watching them, moving slowly closer. When Othello repeats the last two lines his voice is more desperate, clinging to Desdemona whilst she stares blankly out at the audience, barely seeming to notice his presence. On the rising repeat of "howl" the chorus closes in around them and pull the pair in opposite directions. Othello and the entire ensemble sing the word "howl" together. The following two lines are a repeat of this word, during which the dance becomes more rhythmic and Othello and Desdemona are moved to face each other on opposite sides of the stage. Though the chorus still appear to be attempting to separate them, they sing to each other across a gap that has formed down centrestage and are fighting to reach other. They exchange lines of the next verse as follows:

Desdemona: There's no holding back

Othello: I'm making to attack

Desdemona: My blood is singing with your voice

Othello: I want to pour it out

Desdemona: The Saints can't help me now, the ropes have been unbound

Othello: I hunt for you with bloodied feet across the hallowed ground

During this exchange they break free and meet in centre stage, taking up a dramatic dance that is mostly in hold. However, Desdemona pulls away from hold on her "The Saints can't help me now" line, and Othello draws her back in on his. Desdemona steps forwards, as though telling the audience, when she sings "like some child possessed, the beast howls in my veins". Othello grabs her by the shoulders and pulls her in, leaning over her almost as though he would go to kiss her neck as he sings "I want to find you, tear out all your tenderness". Desdemona throws herself free as both of them sing the repeated "howl" lines, joined again by the chorus, but this time Desdemona's voice can distinctly be heard differently from the rest because she is not singing from any kind of power or passion but from genuine terror. By the end of this chorus Othello and Desdemon are in an almost violent dance together, half in hold and half out, big sweeping arm movements and I'm imagining that Desdemona's skirt would unpin to fan out and show a gorgeous wide black or dark red skirt that would properly like swish around whilst they were dancing and stuff (does that make sense???). They continue to dance without singing whilst the chorus, who are back in their pairs and dancing faster, more intense dances than before but none quite to the extent of the main couple, sing "Be careful of the curse that falls on young lovers/Starts so soft and sweet and/turns them to hunters". I'm imagining that the chorus' skirts could also unpin in the same way so either Desdemona's would turn black and all of theirs would turn red or vice versa, but I want to kind of see some variety in the chorus outfits maybe (??) instead of them all being identical so I might have to put a bit of thought into that. Anyway the point is that after this line we get a big rhythmic chorus dancing moment and it looks super cool, they're singing the low "hunters" "howl into your heart" repetitions and moving their swishy skirts and dancing and then they part to show Othello and Desdemona again and Desdemona is now dressed in a super dramatic dress that is entirely the colour that was hidden inside her skirt and the skirt of this new dress is insane and Othello all but carries her to the front centre stage and he is all over her as he sings "the fabric of your flesh, pure as a wedding dress/Until I wrap myself inside your arms I cannot rest/The Saints can't help me now" and everything kinda continues in a similar style with some gorgeous choreography. I'm kind of imagining there being a table on stage by the end because I want Othello to lift Desdemona onto it and her to lay down on it, don't ask me how the table got there I don't know, but this happens with the massive dramatic flowing over the sides of the table and onto the ground whilst the chorus sings "A man who's pure of heart and says his prayers by night/May still become a wolf when the autumn moon is bright" and I'm picturing that they would sing these lines like they were a Church choir gathered around Othello and Desdemona, and they continue to sing the closing lines of the song as Desdemona stands up and Othello climbs onto to the table after her. He unpins the skirt and the fabric all falls away (removed from the stage by chorus members) like a waterfall so that he and Desdemona (who will be wearing trousers/leggings/a leoptard) beneath the skirt) can dance together on the table top whilst the chorus continue to sing, moving away from the choir-imagery and back to the earlier style. This continues right up until the very last line ("I hunt for you with bloodied feet across the hallowed ground") where Othello drops to his knees and clasps his arms around Desdemona's legs on the word "ground" and the curtain falls.

I am wondering if this would work for the act 1 closer????? But I'm not 100% sure where the interval would be

Emilia Song 2: Which Witch

If this isn't Emilia questioning herself for "betraying" Desdemona and whether or not she should give Iago the handkerchief then I don't know what is. I don't have loads to say about this one but the most potent lyrics for it in my opinion are these ones:

And it's my whole heart/deemed and delivered a crime/I'm on trial

Who's a heretic now/ am I making sense?

I'm miles away/He's on mind/I'm getting tired of crawling all the way

I'm not beaten by this yet/You can't tell me to regret/Been in the dark since the day we met/Fire help me to forget

And it's my whole heart/while tried and tested, it's mine

And it's my whole heart/burned but not buried this time

We'd have all of these lines (ie most of the song) whilst she's weighing up what she ought to do and she'd feeling really strong but then there's a small musical interlude where Iago comes on stage without her expecting him to, they speak briefly and she hands the handkerchief over; he walks away as she tries to ask him what he intends to do with it, chasing after him until he physically shoves her off and keeps walking. Emilia falls to the ground and as the music sweels again she sings the closing lines "Chained and shackles, oh/I'll unravel, oh/It's a pity, oh" [she gets to her feet] "Never to return/But I never learn/It's a pity, oh" and then repeats it with particular emphasis on the transition from "Never to return" to "Say I won't return". By the time she finishes the final rendition of "it's a pity, oh" the orchestra has almost completely died out and she wanders alone offstage humming the final few notes to herself

I could keep going...

Maybe I will at some point but I'm tired now

[val-victory]

Meet the Trainer

You can call me Val, i am an Ace Trainer from Unova on my way to become Champ. i can beat some of the Elite-4 but i lack the consistency to beat all of them. (and i am scared of the Champ).

Btw my Partner is Piper @/justyouraveragepoketherapist they are the loveliest Person i know.

Here are my two Teams, featuring the cutest and friendliest little Mons you could possibly meet.

6v6 Team: Glassstorm

Every single Member is immune to Sandstorm which is my Main Strategy with them (bring your Goggles if you wanna fight)

Scizor - "Sense"

My beloved. Even though he lost a Part of his Pincer, he still packs a Bullet Punch. He is emotionally dependent on me and follows me everywhere.

"Torterra - "Cheli"

he is just a sweet little Boy who often forgets that he is no longer a small Turtwig. a real gentle Giant, unless he wants to play.

Magcargo - "Kratik"

She is slow, but she warms my Heart and my Home. Literally, she lives inside of my Cellar and gives off enough Excess Heat to keep my Home at a warm 20 degrees even in the Winter.

Tyranitar - "Dess"

The bringer of the Sandstorm. Do not get on her bad Side, otherwise you will have to sweep the Floor(from all the Sand).

Mawile - "Schkrinkel"

He is cute and knows it, he constantly demands to be pet otherwise he will nibble on you with his small Mouth. But don't worry he might bite you with his Big Maw too.(positive)

Gliscor - "Fledex"

Tried to teach him Flight. didn't work. He's well versed in Literature and Art but because he can't talk he just hangs upside down on the Ceiling. i like his Pincers :3

3v3 Team: "Lightning Polygon Team Star"

Porygon2 - "Bit"

It likes to digitize itself and lives in my Computer, i don't mind since it never corrupts anything. Also i won't evolve it, i am not giving a sweet little thing weird Data from another Dimension.

Vikavolt - "Don"

i honestly think that she is evil. But since she listens to my Commands i don't have to fear for my Life, but sometimes when i hear her flying around... those Wings are the sound of Death. She is larger than a typical Specimen of her Species, the Alolans called her a Totem.

Toxapex - "Quäli"

He is so sweet, i like him a lot and even though his poisonous Stings hurt a lot and for a long Time, i can't be mad at him, he is just trying to hug me. i think it's mostly on me when he attacks me, since i disturbed him in his Aquarium.

//HUGE BITCH ALERT. do not attempt Contact unless comfortable with being Called a Shithead.

mild rules.

if you don't want to be yelled at you have to write in an overly friendly tone, hype up Val's achievements or write something like "genuinely curious". Expect a rude answer otherwise.

Val is not an evil Villain, don't treat her like one. treat Val like a rude Person who just took your Bus Seat.

Pelipper Mail:open

Magic Anons: off(unless you think that your idea is like really good but i will probably delete anyway)

Musharna Mail: open

[openshanklygates]

Like Father, Like Son

Whumpril April 2024 April 5th, 2024 RECKLESS William Regal TW: Drew Gulak Main Verse

There was a pride in seeing his son doing so well within the company of his choice. That was, after all, why William Regal had chosen to make his return to said company. Despite the pride he took in his Combat Club, they were not his children. There was a different sort of pride when it came to ones progeny, after all. It was also, in turn, why he was so worried about the sort of company his son was keeping. Particularly, William Regal was concerned with Drew Gulak.

Most would find that laughable, he was well aware of that. Drew was extremely unassuming, just one look at his history in 205 Live proved that. The PowerPoint Presentation era of Mr. Gulak was not indicative of who Drew Gulak was as a competitor. No, this era of Mr. Gulak was the true Drew Gulak. He was strong, sharp-minded. As evident with the rest of the CatchPoint Gym, Drew knew how to get what he wanted through violence and careful planning. Regal recognized the man Drew Gulak was because he was that sort of man.

It was why he knew that his son was making the wrong choice in letting the man dictate his career.

Maybe it was reckless, showing up to the locker room the Catchpoint boys used. With some careful prodding at Ava Raine, the woman who had taken over for his old position as general manager, Regal had even been allowed inside of the room. He had taken a spot in a chair in the corner, patient as possible. The door opened and, as predictable as ever, Drew was the first of the team to arrive. If there was any surprise that Regal was waiting for him, the Philly native did not show it. He crossed to the bench, placing his bags down. "Mr. Regal. I've been expecting you."

Was that a smirk Regal detected in his voice?

"Expecting me, Mr. Gulak?" Regal raised an amused eyebrow, a chuckle in his throat, "For whatever reason would you be expecting me?"

"Yes sir," Drew removed his ring jacket from his bag, not turning to look at the other man as he spoke, "ever since I started mentoring your son. Though, I have to say, I've been a lot more respectful to yours than you've been to mine."

Now that was an interesting statement.

"Your son, Mr. Gulak?" Regal questioned, standing and crossing to the locker, "As far as I know, you were unmarried and without children."

"There's lots of ways to have kids. Adoption is one of them, sunshine."

Sunshine. The mere thought of the man brough a soft smile to Regal's face. There was only one man that Drew could be referring to. "So. Young Master Wheeler is your progeny?"

"Since I took him under my wing, I've viewed that boy as my own son," Drew finally turned to look at Regal, an anger in his eyes, "And you routinely beat him bloody. You routinely beat him into submission."

"So that is why you have the interest in my Charles, then?" Regal questioned, "I assure you, he is made of far stronger stuff than you believe."

Drew shook his head, "No, no. You misunderstand my intentions, your lordship. I don't plan on harming him like you did my Wheeler. I plan on making him greater than you ever were."

[seabxund]

munday writing detail meme!

repost, don't reblog. feel free to edit/add your own parts!

Name: Rowanberry, Rowan, Vinny Age range: under 18 | between 18 and 25 | 25 and older Pronouns: they/he and sometimes it/its Random fact about me: I was a vtu/ber for a short period, and I am currently an aspiring conte/nt cr/eator in general. I'm planning a series on yo/utube called " I played/read/watched __ so you don't have to " with two versions with one to help people with ADHD/etc to easier consume information on a media.

When it comes to planning threads: I like to wing it completely | I like to plan the start of the thread | I like to plan several key points in the thread | I like to plan every reply | It depends - in the way that i like to plan some beats depending on if we talk about it or not, but i do love to just see where we take each other a lot of the time. i am always down for very specifically planned stories though, especially ships and AUs Pre-established relationships between muses: I enjoy them | I like them occasionally but mostly prefer to play the relationship out | I don't do pre-established relationships When it comes to replies, I like to: Keep mine short (1-2 paragraphs) | Keep mine to medium length | Keep my replies long (10+ paragraphs) | It depends - I do a lot of one-liner funny things for quick activity, but that doesn't mean I'll be upset if someone decides to make it serious, or extends the length. I try my hardest to match length if I can, but I do tend to stay in the 3-6 paragraph range most of the time. I generally try to reply in: 1 day | 3 days | A week | Within a month | More than a month - this is mostly because of the nature of one, a multimuse, but also the fact that i am the most active during my work shifts.

I like getting asks for memes I reblogged a long time ago: Yes | No | Depends ( depends on the meme ) I like getting random IC asks from my mutuals: Yes | No | Depends I like getting tagged in unplanned starters from my mutuals: Yes | No | Depends I like getting getting OOC asks from my mutuals to plan our threads: Yes | No | Depends ( yes, but also please don't be afraid to DM me ) I like getting getting OOC asks from my mutuals just to chat about things not related to RP: Yes | No | Depends

I enjoy writing: I like romance, familial interaction, action, hurt/comfort, introduction threads, crossovers, everyday interactions, fights, mysteries, all sorts of things!! I don't enjoy writing: I'm also going to put fights here, because it really depends on the mun and our writing synergy. I also don't think that writing out NSFT/NSFW is necessary, but I will indulge if I'm comfortable with the mun. My favorite tropes are: Mostly relationship tropes, though not romantic/qp exclusive ones. Give me people who would die for each other, give me the two touch starved people yearning for comfort, give me rivals, and oscillating relationships. I also really like family dynamics, and enemies. PLEASE give me the Antagonist and Protagonist who cant function without each other. GOD - Opinion on shipping (for a specific character or in general): Shipping doesn't just have to be romance. I really want to do more threads of interactions and relationships that may be more like how I experience my own attraction as a aroaceflux/quoiromantic person. But I am a sucker for a good ship that has good chemistry. PLEASE please please come to me with your queerplatonic and romantic ship ideas. [ grabby hands ] I get inspired to write by doing this: When it comes to Canons, it's usually through indulging in the source material ( game/manga/anime/etc ), but for OCs it tends to be the sort of " what would __ do in X situation" talks with friends or writing drabbles like I do with Rubel. One of my favorite threads/drabbles/etc: This actually goes to a drabble I wrote on my main MuMu @/lxmitlxss for my Hughes Is Alive Verse/AU for how Acedia felt dying. A writing partner (or partners!) I've enjoyed writing with: @/patetpluvia, @/flamesignite, @/pareidolah / @/fingerfiend A mutual I want to write with but haven't yet: @/seaoftheworst, @/scarlxtleaves, @/moenxs

Tagged by: taken directly from @littlememebox

Tagging: anyone who wants to do it!

[pico-digital-studios]

Into, Above and Beyond! Cast: Mr. Needlemouse

Replaces: Spider-Ham Made by: @mcgamejolter

“Am I a hedgehog or a rabbit? Who knows?! I just call myself Needle the Rabbit-Hog!”

Is he a hedgehog? Or perhaps a rabbit? I mean, who really knows? What I can say about Mr. Needlemouse here is that he inhabits a cartoon world of his own, sporting cartoonish physics even outside his land.

His usual routine is a mix of enjoying chilli dogs (the loss of one he had the burden of being his canon event) and fighting the villainous Dr. Beeman (think Robotnik's classic bee outfit, but also including bee's wings on his back), each time of which emerges victorious for the plucky hedgerabbit. Oh, yeah. He also faces foes like The Killer Six, Chomper Shark, Bomb-Bastic, Loonatic Hunter, and the Ferocious Fly.

After one of his tangles with Dr. Beeman, though, a portal appeared which dragged the rabbithog into the OMT dimension, where he met OMT!Tails and the members of the Blur Gang thus far at that point. From there, this guy's the one to serve as the comic relief for when things start to get a bit rough.

As such, he serves as the fifth major member of the Blur Gang starting from One More Hero. He does express several jerk-like qualities, and is like that just for the heck of it, but still pulls through for his true companions.

He even comes to rescue EX!Alice from harm and gives Surge a good beating, though due to the limits on his toon powers, he can absolutely humiliate his opponents, but if he wasn't limited, any attacks from him to a villain would prove fatal. Due to this, an anvil to the head just went and near-harmlessly buried half of Surge's body underground.

Before it was time for him to head back to his dimension at the end of One More Hero during the final fight, Mr. Needlemouse lent OMT!Tails his signature hammer to make use of, and due to its hyperspace properties, he could always fit it in his pocket (or equivalent of). He made a grand exit by proclaiming "That's all, folks!", leaving CR!Sonic a bit confused, citing "Wait, can he legally quote that?".

Though he doesn't actively partake in More than One Universe's events, he does return for Into the Sonic-verse and Many More Heroes (the AU's version of Across the Spider-Verse), with the Blur Gang fully formed in time for this new batch of chaos.

Even then, he remains the main guy for comedy around this AU, and nothin' can change that! Prior to Many More Heroes, he also had a good laugh making an absolute fool out of Errorverse Eggman and his SSSSS Squad, being an absolutely-hilarious prick about it and causing them trouble just for the heck of it. It's to the point that the three dumbots were mainly assigned to catch Mr. NM whilst Metal and Sage paid more attention to EV!Sonic and Nitro. NM still has a good heart under all his troublemaking, of course. Don't worry.

That's also where he's technically a foil for AOSTH!Sonic, the original cartoon iteration of the blue blur; whilst they're both cartoons, AOSTH!Sonic is firmly heroic, whilst Mr. NM is a straight-up prick to a lot of people. The two initially got along marvelously due to being toons, though AOSTH!Sonic began losing his trust in the rabbit-hog when discovering his jerk act, especially when Mr. NM shrugged off the former recalling his angst and sarcastically remarking that it's a miracle he's even got a friend to be with.

That said, though, there is one thing Mr. NM is not heartless enough to cross; the point of harming someone mentally. Attacking a cartoon for giggles is one thing, but the heart is a whole other thing. And when he discovered that EV-2019's Zane Chaos had been neglecting both his brothers in their worst states, he was not amused in the slightest.

"I've hurt a couple of folks before, but at least I hurt them in a funny way! You can attack a cartoon all you want, but the heart is a different story, man! And you've been breaking that a lotta times, it ain't even funny!"

And Mr. NM's reason for joining the Quill Society part-time?

"Am I a useless asset? Sure! Heroic qualities? None. But I'm loyal if you feed me, and I'll never leave you because... well, I need the food."

As one of the scene posts shows, in Many More Heroes, he made a small bet with Mini Sonic as to whether or not OMT!Tails would get back from his scuffle with Crimtake in one piece. Of course, he did, so the rabbit-hog owed the miniature hedgehog 100 rings.

Bet you're glad I didn't say he had a cannon event

If you have any questions about him, @mcgamejolter's the one to ask, since he did make the character.

[tollingreminiscentbells]

2, 4, 5, 17, 18 for the ask game!

Ooh, more of these! This one's fun.

2. A character POV I'm exploring Probably Lucifer? Since I've so far only written him in a few scenes in Transformed Utterly.

4. A story idea I haven't written yet One day I will write my Harrymort time travel fic, with Harry going back to the 1950s and getting tangled up with Borgin & Burkes-era Tom. Probably just a long one-shot, that one, when I do think of a plot. I also have a few more side stories in the All changed 'verse. Including one with wing preening!

5. First sentence of the fifth paragraph of an unpublished WIP A Momentary Radiance: As the requiem mass ends, Alastor collects his hat and steps out into the sunshine.

17. My writing and editing process I am a very linear writer. I throw together a loose outline (a few bullet points for the main story beats) and then I write it straight through in order. After I've written it, I go back to fill in anything that's missing and cut anything I don't need. Then I let it sit before going back through to do a clean-up pass. I do a lot of reading out loud and edit based on how the prose sounds, but most of my editing is really just deleting things.

18. Share a deleted sentence or paragraph I don't keep them. I like to live dangerously and, unless I'm very confident I have a future use for something, I just hit delete. If that ends up being a mistake? Oh well, I guess I'm doing something else.

[armafidelium]

her hands near tremble as they clutch upon themselves before her body , straining and pulling upon the skin in a fretful manner. she knows she wasn't late , for the tether of life still strung from his chest , it moved and reached out towards the aspect itself as if beckoning her to keep him retained to the mortal world. the scene around him was ignored by her , for she felt no reason to present herself in such a manner , only for the man who laid near slain amidst it all. bare feet pad her towards him , that tether curling around her outstretched hand , a cooing noise lifting from her lips as other reaches down to gently coax along his arm. there was still life , therefore she would not take one herself , yet it clung so loosely.

❛ awaken , warrior. ❜ her voice , though danced with a tremble of worry , held the baseline of the power that resided within. ❛ today is not your day. ❜ brilliant shades of blues and purples upon her wings curl in slight around her and the other , a near healing aspect it was to bring that tether back into the warrior. slowly it retreated within ones chest , and she merely sat upon the ground near his form in wait , violet shades filled with the concern that beat like fire through her chest. it was a warming sensation within her circle as life is breathed back into ones body , or at least , bringing forth a push to keep a hold upon it by ones self.

(aspect!morgana to main verse!)

NOT now. it was not his time. many relied on him as did his sister. he had been prepared to offer his life if need be but when faced with the possibility of death nearing the horizon it filled him with a bone-chilling fear. he was scared for the first time in a long, long time. the numbness he'd become accustomed to couldn't weaken the fear he felt. perhaps it was the strength of the fear or perhaps it was a sign of how close to the end he was. not even his sister's voice echoed in his mind. the only thing he could hear was his own breath and a faint ringing in his ears.

the silence was the most terrifying aspect. even with his inability to speak he had become accustomed to some presence of sound be it his sister's voice or the sound of the world around him. what he would give to hear alune's voice or even hold her this very instant. he didn't want that battle to be the last moments she had with him. he couldn't bear the thought of her in her solitude worried over him. beyond his own present condition he felt the greatest pain at the mere idea of her being forced to live with what had happened. it stung painfully like a hundred daggers pierced deep into the tender flesh of his heart and each wound deeper than the last.

but then . . . something warm was felt. there was suddenly a soothing sensation that seemed to fill his person. he felt at ease much in contrast to the overwhelmed fear he'd been filled with. there was something the pulled him to open his eyes, to seek out what this sensation came from.

vision initially blurred from tears he'd shed. one blink. two. in three the world was slowly coming into focus once more. his breathing shaken as he slowly tried to mentally regain his footing. he didn't dare stand quite yet, he was still aware of what he'd endured. rather, at a snail's pace, he glanced around as his gaze fixated on one he hadn't seen prior. her form felt not of this earth and one he couldn't help but glance at for a moment more.

hesitating momentarily he'd opened his mouth to speak but held back, uncertain if it would be garbled noise or cause more pain. rather his outstretched a hand, hesitating to touch this being yet wishing to ascertain if she was real.

@withinchains

[marinecorvid]

Going through victory road in bw2 rn (both delightful in its winding length and a slog all at once) and so the game’s not technically over plot wise, we’ve gotten past the main plasma part so the real story’s just about done and I’m trying to find ways to merge my hcs with it to make it more compelling…. Nate (who goes by his middle name of ailbhe) in my ‘verse (which is mostly based on my adoring following of a semi-nuzlocke comic someone was doing on deviantart and never finished… TT-TT) comes across as a very mild mannered young man, very friendly; very battle competent, very thorough. takes his losses with grace. (tbh isn't this a common characterization tho........ whatever)

I started out my playthrough w the vague notion that while Nate is, on paper, going on his pokemon journey because he’s good at battling and enjoys it, he has the primary objective of figuring out What The Hell Happened To Gwyn (Hilda), the cousin he very much looked up to; he's using the excuse of adventuring to retrace her footsteps, and the goal of becoming champion-class to be able to access otherwise restricted routes and resources. (I’m almost glad in a way bw2’s plot was so bare, gives me opportunity to Go Ham (Chiquita Dave) in the sandbox of canon). I’m… not sure if I still want to go by that angle tho. I think his mom and aunt (gwyn’s mom) were very shaken by gwyn going missing, understandably, and I’d think it’s the kind of thing that would make his mom very worried about him on his journey, to the point where she’s both very excited for him to get out there but terrified something like that would happen to him, so he’d promise to stay out of trouble and focus on battling, which should’ve been easy bc team plasma’s been officially disbanded for years…. but it’s a promise he can’t keep. tying into the trend of people projecting both truth and ideals onto him as a kyurem mirror, he also struggles in that gray area for a bit; to search for gwyn or not, and whether he wants to find her, or find out what happened to her (colress poses this particular dilemma when Nate talks about the two goals interchangeably).

Another reason I think why he does what he does and gets so involved in the plasma plot despite his own promises and the danger (Hugh’s subplot notwithstanding) is that he has an encounter with zekrom before gwyn goes missing, and while I don’t mean to write every object or creature of power as some vaguely eldritch subject, zekrom and reshiram existing as someone’s literal embodiments of the desire for ideals/truth makes their presence at least a little intense, especially if you haven’t had any exposure to that level of power before. anyways what happens is gwyn goes home after beating N and ghetsis and hangs there for a while after the craziness of bw, and at some point Nate and his mom come over to visit! and Nate is told hushedly and sternly not to go near the paddock behind the barn or whatever. and he says yes of course auntie But it’s entirely possible he forgets (or his curiosity gets the better of him) and he’s wandering around the farm property at nightfall and he wanders back to that paddock and it takes him a little bit to start to understand what he’s seeing. at first it looks like just a pile of black, which isn’t normal for the the paddocks, but then it starts moving, in shapes he doesn’t understand; but then they become wings, and a tail, and then a neck and a head and eyes like red embers are looking at him, seeing him, and as the blood is rushing in his ears and at some point every hair stood up on his body and he can taste the static on his tongue he understands who he’s looking at and why he wasn’t supposed to be back here. and then zekrom looks away and curls back up to resume its nap, bc Nate is so small compared to it both physically and in purpose, and even if he was enough to be regarded with anything beyond disdainful apathy he has sort of gwyn smell like her den mother, so that means they’re kin its human’s kin are extended the grace of neutrality, and as it resumes its sleep the electricity in the air fades but Nate’s still breathing like he run a mile and it’s still hard to hear the sound of the trees rustling, but then gwyn is there and her hand is on his shoulder and she’s guiding him back around the barn, and reality snaps back in to place at some point but he’s forever a changed man bc one does not simply have an encounter with one of the legendary dragons and feel unshaken by it (unless you’re like N, in which being able to understand pokemon makes the initial weirdness easier to handle; or not, in which case N is just that weird) (or like ghetsis, who’s got enough layers of delusion going on that it doesn’t bother him too too much)

But Yeah. It’s the kind of thing one stays up late thinking about, staring at the wall at 3 in the morning, feeling slightly disconnected from everything else. Kind of guy who seems normal on the surface but inside has something deeply wrong with him except not something wrong with him he's just had an encounter with a living god-spirit-thing that has changed him in some small but irrevocably important way that he can ignore 99% of the time but when that 1% hits.

anwyays still figuring stuff out just wanted to ramble for a bit. aces

[firelegsandfriendsreborn]

Some quick rules:

No minors. This is a nsfw blog obviously.

No godmodding this goes without saying

Along these NSFW themes light gore and violence will occur especially in the mha and GTA verse. With the smut.

I run on North American central time in the United States (-5 UTC during the summer until November, -6 UTC the rest of the year.)

Let me know what muse. It's basically the same muses I had on my old blog but adding a few.

I have ship biases but I am open to certain other ships if we discussed.

No hate/bigotry of any kind welcome here anon ask is turned off for a reason.

Send me an im or if you want my Skype and discord ask for plotting or RP offline as I have a life.

Please trim your posts for threads it's for ease for me reading them. I'll try to trim them myself as well.

I will use content warning for certain weapons, especially the GTA verse where firearms are common.

Speaking of muses here's my list:

Sanji from one piece: cook of the straw hats and a little bit perverted and lover of ladies. Does not fight with his hands, except that one time vs Wanze.

Markus my oc: protective lad but also really funny and silly and good lover. Usually GTA verse is main but open to others where he's a crime boss and beat up to the current dlc updates of GTAO. No fc currently. Hes pretty ruthless to enemies. Has a lot of of money and has a fleet of aircraft and vehicles. Very mature themes and firearms and weapon mentions. Mom was a prostitute. Dad was a John who was absent but had good male role models. He's quite blessed between his legs. MHA verse his powers are similar to Marco's from one piece. Most common verse is modern in which he's actually a solid dude. He's the most active and his default age is adult unless we've discussed prior to rp. He's usually around Los Santos (GTA verse's LA and GTA 5 & Online's setting) and Vice City (Miami, GTA VI's setting, yes, I watched the official trailer.) He's got brown hair or blond hair depending on the verse. (FC: m!saber from Fate)

Hawks from my hero academia: flirty himbo bird and lover of nuggies and good hero. Brought in to safety commission as a child to become a hero. Quirk is fierce wings. Main shop is fuyumi todoroki or Mirko. He trolls endeavor quite a bit.

Fumikage Tokoyami: I aged him up so he's a third year or a pro hero. He has the sentian bird demon shadow dark shadow who is incredibly strong the darker it is. Lover of poetry and a certain frog hero or a ghost girl in 1-B/3-B

Ejiro kirishima: a firm boi. A bit of a himbo but really smart in certain battle scenarios. He is a fiercely loyal friend to most of 1-A (by then 3-a) main ship is Mina Ashido.

[sorcerystudios-writing]

Finding the Beat: Time Chart!

by Nakira Taisho

Date Posted: (2024-09-29)

Chapters: 10/?

Fandom: Trolls (DreamWorks Movies)

Rating: Teen And Up Audiences

Warnings: Creator Chose Not To Use Archive Warnings

Relationships: Branch & Bruce & Clay & Floyd & John Dory (Trolls), Branch/Poppy (Trolls), Clay/Viva (Trolls), John Dory (Trolls)/Original Character(s), Brandy/Bruce (Trolls), Branch & Kismet (Trolls), Poppy & Viva (Trolls), Ablaze/Hype (Trolls)

Characters: Branch (Trolls), Poppy (Trolls), Clay (Trolls), Viva (Trolls), Floyd (Trolls), John Dory (Trolls), Original Troll Character(s) (Trolls DreamWorks Movies)

Additional Tags: Alternate Universe - Canon Divergence, world building, rock trolls have wings (Trolls DreamWorks Movies), brozone are part rock

Series: Part 1 of Trolls Tales

Summary: The main verse timeline.

[tinkerbcll]

verses under the cut

main verse ( the present ) ✦ resides in neverland with peter. she frequently adventures out of neverland to other places helping peter gather more lost boys.

pixie hollow/fairy haven ( past ) ✦ while the tinkerbell movies are cute, i don’t see them as canon and i use the fairy books as more of a guide for this verse. ( note: there is no limited pixie dust supply, the fairies simply have unlimited dust within themselves. ) this verse is set before tink meets peter and she lives among the other fairies. tink was living in pixie hollow when it was a large kingdom. there was a huge wildfire that burned throughout the entirety of neverland, killing a large population of the fairies. it was mother dove who restored neverland’s magic and pixie hollow, although it was no longer a kingdom and was only now a small place in the forest, it was a place for fairies to reside and be safe. but it had taken a toll on tink, losing her friends and now being confined to a small area with a job she hated ( tinkering ), she was moodier than usual and reckless. she started breaking the rules more often and leaving pixie hollow frequently, being gone for days at a time. then she ends up meeting peter and tink is gone for a very, very long time and doesn’t tell any of her friends. however, she ends up coming back when peter returns to his family in london, but tink is heartbroken, depressed, and furious with peter and feels abandoned. after some time she begins to visit the mainland to check on peter, not having it in her to forget him completely. it started as check ins, sneaking into his house to make sure he was safe. tink didn't like his family and how they wanted peter to be someone he's not. she didn't understand why he wanted to leave neverland and her for them when he could be his truest self in neverland. her check ins turned into visits out of selfishness, she didn't want him to forget about her or neverland. the visits started as multiple days a week, but the weeks dragged on, then months, and years. tink was losing hope of him returning, so her visits became seldom. then on one visit she heard his parents talking about marriage and kids for peter, as well as potential matches. so tink did what any loyal fairy would do..she hunted down those suitors and murdered them, truly believing she wasn't doing anything wrong and was only helping peter out. then one blissful night she heard him call out to her, with her tiny heart beating wildly she flew to the mainland, finally bringing peter back home to neverland. tinkerbell had left pixie hollow behind for good, staying with peter permanently. ( note: tink has feelings for terence while in pixie hollow in this verse )

merlin academy ✦ based on descendants ( rise of red ), tink attends merlin academy.

auradon university ✦ tink and peter’s twins ( leia and link ) attend the university when auradon is opened up to all other lands besides isle of the lost. leia is as restless as her mother and as adventurous as her father, she jumped at the chance to go to a new land. she doesn’t care about grades or attending classes, she’s mostly there to have fun and venture out of neverland without her parents. ( link can be found at pcterpan. i write leia in this verse. fc: somi )

acotar ✦ tinkerbell is a seraphim and used to be part of prince drakon’s people. she fought in the war over 500 years ago and during the war is when she met peter and the two discovered they were mates. when drakon found a place where he and his people could live peacefully and away from everyone else tink refused to go with them and moved to the dawn court to be with peter. centuries later when the war with hybern came about, she fought then too and during the final battle her wings had been broken. there were countless healers she’s been to and none of them have been able to repair them.

[brokendreamscreation]

@hellcharm liked for a Lil Lucid Verse starter!)

There is a sudden burst of golden glittery magic beneath one of the lobby sofa’s, accompanied by the rapid beat of downy feathered wings. Splayed on his belly, a small cherub-like creature lies still for a moment, bright sky blue hues blinking in shock. One moment the baby angel had been reaching for the dangling corner of a table cloth, tantalizingly out of reach, and the next he is here. Well, wherever “here” is. Nothing in the immediate seems familiar. So much red adorns the floors, the walls, the furniture. It is a stark contrast to the pastels of Heaven.

But one creature stands out against the red, a petite feline with a feather duster like tail and one large eye. The single eye makes contact with the glowing blue ones beneath the sofa. Lil Lucid vocalizes a babyish giggle, immediately crawling forward to go investigate the animal. She promptly bristles and darts away, leaving the perplexed little angel out in the open of the main lobby.

[gabbynyssa]

I would go for Duke as the main character and adapt a very different take on We Are Robin but narratively learn from Spider-Verse for the older Robins showing up to help and such.

Janky broke hobo Robin? Jason.

Badass loner girl? Steph even has a hood over a mask with big eyes already. (Plz don't crowbar in an ill fitting romance here tho it's like... The one thing that Spider-Verse loses me on tbh, like... there can be awkward teen attempt because that's relatable, but *sighs*)

The next set are trickier tho, as like... Babs in the clocktower is an obvious choice for Aunt May setting and vibes-wise, but the exact parallels start to break down.

Dark and windswept retro guy with a corny vibe? Nightwing

Overqualified adorable gremlin that could be a bit too much irl?(Peni) Damian?

Which leaves comedy relief for the Reddest of Robins (actually they'll all do comedy relief but so do all the spiders I just wanted to be silly about Tim being where I don't have a good fit)

.

But obviously you don't go beat for beat and have them show up in those orders and do the same arcs, they're just a model to learn from, and it's important that Duke has at least three of the comics We Are Robin gang(they can also be functionally the "family" aspect of the story for Duke, so it wouldn't be more cast) with him so it's not about just Duke learning to be an individual hero but about how he got into making a team unprepared because someone needed to for Gotham while Batman was out of the picture and the ex-robins were handling international missions. Kinda like... while he's capable of making it work and these people inspired and helped where they could, they have to actually be prepared for all that Gotham can throw at them.

.

I'd probably also skip the temptation to have a Robin death at the beginning and instead have Bruce Wayne die to the villain. Batman could be covering for one of Duke's friends while all Duke can do is watch. Bruce gives his trademark Bat-smirk to Duke when he sees that Duke helped his friend stay hidden and says something like "it's okay, kid, Gotham's always got people like you looking out for it, why do you think I always have a Robin under my wing?"

And in the narrative place of Prowler death scene I'd probably have the same friend get an injury that benches them, as that's gonna be a reflection of Duke not knowing what to do as a leader and feel like it's his fault for bringing them into harms way but like... Gotham already is harms way, what he did was give the team hope, which is what Robins do, they just didn't have the training, gear or strategy.

I'm not gonna lie I've been pondering for the last 30 minutes or so on what a good animated Robin movie would look like and Im kinda coming up blank I'm even getting stumped on which Robin the movie would focus on and outside of that what story should be the main focus

[abellinthecupboard]

The Skeleton in Armor

“Speak! speak! thou fearful guest! Who, with thy hollow breast Still in rude armor drest,      Comest to daunt me! Wrapt not in Eastern balms, But with thy fleshless palms Stretched, as if asking alms,      Why dost thou haunt me?” Then, from those cavernous eyes Pale flashes seemed to rise, As when the Northern skies      Gleam in December; And, like the water’s flow Under December’s snow, Came a dull voice of woe      From the heart’s chamber. “I was a Viking old! My deeds, though manifold, No Skald in song has told,      No Saga taught thee! Take heed, that in thy verse Thou dost the tale rehearse, Else dread a dead man’s curse;      For this I sought thee. “Far in the Northern Land, By the wild Baltic’s strand, I, with my childish hand,      Tamed the gerfalcon; And, with my skates fast-bound, Skimmed the half-frozen Sound, That the poor whimpering hound      Trembled to walk on. “Oft to his frozen lair Tracked I the grisly bear, While from my path the hare      Fled like a shadow; Oft through the forest dark Followed the were-wolf’s bark, Until the soaring lark      Sang from the meadow. “But when I older grew, Joining a corsair’s crew, O’er the dark sea I flew      With the marauders. Wild was the life we led; Many the souls that sped, Many the hearts that bled,      By our stern orders. “Many a wassail-bout Wore the long Winter out; Often our midnight shout      Set the cocks crowing, As we the Berserk’s tale Measured in cups of ale, Draining the oaken pail,      Filled to o’erflowing. “Once as I told in glee Tales of the stormy sea, Soft eyes did gaze on me,      Burning yet tender; And as the white stars shine On the dark Norway pine, On that dark heart of mine      Fell their soft splendor. “I wooed the blue-eyed maid, Yielding, yet half afraid, And in the forest’s shade      Our vows were plighted. Under its loosened vest Fluttered her little breast, Like birds within their nest      By the hawk frighted. “Bright in her father’s hall Shields gleamed upon the wall, Loud sang the minstrels all,      Chanting his glory; When of old Hildebrand I asked his daughter’s hand, Mute did the minstrels stand      To hear my story. “While the brown ale he quaffed, Loud then the champion laughed, And as the wind-gusts waft      The sea-foam brightly, So the loud laugh of scorn, Out of those lips unshorn, From the deep drinking-horn      Blew the foam lightly. “She was a Prince’s child, I but a Viking wild, And though she blushed and smiled,      I was discarded! Should not the dove so white Follow the sea-mew’s flight, Why did they leave that night      Her nest unguarded? “Scarce had I put to sea, Bearing the maid with me, Fairest of all was she      Among the Norsemen! When on the white sea-strand, Waving his armed hand, Saw we old Hildebrand,      With twenty horsemen. “Then launched they to the blast, Bent like a reed each mast, Yet we were gaining fast,      When the wind failed us; And with a sudden flaw Came round the gusty Skaw, So that our foe we saw      Laugh as he hailed us. “And as to catch the gale Round veered the flapping sail, ‘Death!’ was the helmsman’s hail,      ‘Death without quarter!’ Mid-ships with iron keel Struck we her ribs of steel; Down her black hulk did reel      Through the black water! “As with his wings aslant, Sails the fierce cormorant, Seeking some rocky haunt,      With his prey laden, — So toward the open main, Beating to sea again, Through the wild hurricane,      Bore I the maiden. “Three weeks we westward bore, And when the storm was o’er, Cloud-like we saw the shore      Stretching to leeward; There for my lady’s bower Built I the lofty tower, Which, to this very hour,   Stands looking seaward. “There lived we many years; Time dried the maiden’s tears; She had forgot her fears,      She was a mother; Death closed her mild blue eyes, Under that tower she lies; Ne’er shall the sun arise      On such another! “Still grew my bosom then, Still as a stagnant fen! Hateful to me were men,      The sunlight hateful! In the vast forest here, Clad in my warlike gear, Fell I upon my spear,      Oh, death was grateful! “Thus, seamed with many scars, Bursting these prison bars, Up to its native stars      My soul ascended! There from the flowing bowl Deep drinks the warrior’s soul, Skoal! to the Northland! skoal!”      Thus the tale ended.

— Henry Wadsworth Longfellow, Ballads and Other Poems (1842)

[holloweddaughter]

main verse (any fantasy verse - ie: skyrim, dragon age, critical role)

growing up on the outskirts of the city, [redacted] and her family found themselves on a farm. filled with animals, trees, and crops, goods were fairly easy to come by. in the city, the alcantars sold their merchandise in the local merchant square. even in times of little, they often gave away money or food those less fortunate.

although, because of a large famine, crops became scarce and little of their livestock lived to make it to the market. with long overdue money owed, those who came to collect were far from affable. when the father, an ex-con, tallon, pleaded for more time, he was stricken by the butt of a sword. [redacted] older brother, arkady, attacked the aggressor before he was pried off and beaten for his transgressions.

in payment, the collectors took the livestock and demanded their remittance plus interest. each week, more and more will be taken until the entire farm is burned to the ground if they don’t get their money.

with the famine and working tooth and nail, it was only a matter of weeks until their mother, suri, grew ill and died from pneumonia. now, with their mother and wife gone—their home taken and burned, tallon is forced to work in the city, doing manual labor. in the beating sun, sweat dripping down his forehead and soaking his hair, tallon found himself building walls and fortresses for the aristocrats. losing hope with two starving children under his wing, tallon reconnected with an old friend from his past, both “charlatans”, jack of many trades, who spent their livelihood swindling folk of young and old.

throughout the years, the alcantars mastered the artistry of cons, tallon and his two “apprentices” in tow, each with a set of skills. tallon (selling things for much greater value/snake oil into immortality potion/tinkering master); raik (card tricks, disappearing acts, gambling (three-card monte); [redacted] (a master in forgery; finds herself in taverns, targeting drunkards out of their money, belongings and secrets). careful for wandering eyes, they were smart with their money and still gave charitably to those in need.

however, staying in one place for so long became a risk when the guards grew more suspicious of the family’s “trade”. when a forgery job was rushed, a guard went undercover as a client and discovered that the papers he had bought were forgeries. tallon was immediately charged and sent to prison. [redacted] blamed herself. she began to plan a rescue mission with elaborate schemes, however, arkady, being more level-headed, suggested they lay low.

without their “face”/salesman, business became limited. thankfully, tallon had planned for this and kept money on the side for them to escape. when arkady suggested they find a new town and start over, she denied and said she wouldn’t leave without their father. acknowledging the inherited stubbornness, the pair began to plan. schemes became more elaborate, searching for secrets and loopholes rather than gold. while snooping somewhere they weren’t supposed to, they witnessed an assassination of nobleman in an alleyway. the siblings tried to run, but others were waiting on the other side.

the assassin approached them, saying they recognized them from the marketplace. in exchange for their silence, their lives were given to the corvii. trained to be silent, quick and unseen, the pair learned fast what it took to be considered valuable. however, the corvii’s depths ran deeper with hundreds spread out across plains with no identification of the one in charge (besides the letter A).

facing many trials, the two were given new names, shayne and raik and were trained to be shadowed assassins. however, when a mission almost went awry, the guild decided to separate the pair in order to eliminate the weakness. when shayne woke up the next morning, her brother was gone.

years pass, shayne continued her training under the guild and perfected the art of death. After one of their own was arrested and awaited trial to be hung, the league had to act fast. shayne used this as an opportunity to find her father and suggested they free all of the prisoners as a distraction. everything was executed perfectly, but, when shayne reached the prison, her father was nowhere to be found. with the warden already dead, and guards on their tail, shayne had no other choice but to run. in a fury, she tracked down the man who had him arrested in the first place.

with a dagger to his throat, shayne demanded information about her father’s whereabouts. the man cowardly spilled everything in fear of his life, and revealed that count alistair lockwood approached him about her father’s whereabouts and seemed to take a personal interest in him. he offered the tax collector a generous amount for this information and that was all he knew. she didn’t suspect any dishonesty and no longer needed his assistance. knowing that he now knew she was searching for her father, he was left in the alley like the nobleman they witnessed before.

now, with a burning mission in mind, shayne returned to the guild and continues her journey to find her father in secret whilst still maintaining her vow to the corvii.

aliases: vhi, kindra tallon, the shrike

[dragonwysper]

So I think I am gonna torture myself by creating an AMV for this song. I have been up for the past five and a half hours (as of 9 am) working on a rough conceptual outline for this.

I'm also gonna post this in its WIP state, because I'm eepy and I also want y'all's input. I'm a little unsure on where to go from what I have so far and how to structure my very loose ideas for the rest.

Page break because this is really fucking long.

So the song is divided into ten main parts: the intro¹, a dialogue line², verse 1 (4 lines)³, chorus 1 (4 repeated lines, 4 different alternating repeated lines)⁴, verse 2 (5 lines)⁵, chorus 2 (4 lines, 8 lines)⁶, a bridge (3 distinct segments)⁷, verse 3 (4 lines)⁸, chorus 3 (4 lines, 8 lines)⁹, and the outro¹⁰.

I'm gonna write out my notes here, but, warning, they will be very simple, very brief, and highly specific to the lore of one of my character projects. I have a few bonus details at the bottom that might provide some context, but I don't know how understandable any of them are. I still wanna share this though, so y'all get to see it. I'll draw up a rough storyboard soon.

1: INTRO

Title card stuff (song credits, programs used, maybe my socials, etc). Exterior (only during beginning of credits) and interior shots of the base, probably with shots of the main gang playing a board game. Gravel gets up to find an Uno deck. If I go this route, I must show it holding the deck of cards while walking out into the hallway. Cut here.

2: DIALOGUE LINE

" Liberty this is Freedom. Do you read me?"

Fed speaking into a radio (lipsync).

Note: I can't make out what's said here. None of the lyric transcriptions I found had it. I am. A little upset.

Note #2: A FRIEND FIGURED IT OUT !!!

2.5

Feds surrounding the base (a little far off, behind and a little above. Mostly shapes in the shadows).

3: VERSE 1

"Circling overhead as the shadow hits the ground."

Upwards shot of the building and some surveillance drones hovering above.

"Renegade insurgents surround the compound."

Feds closing in (shot right up at one's face. Pointing right). Cut and slight slow zoom to door.

"Murderous intentions, a mission of ill reprieve."

Fed steps through the doorway. Cut to staircase. Cut back to a close up of his face (expression hardens).

"Complex situation, undone by evil deeds."

Cut to fed stepping onto the bottom few steps. Looks up and sees Gravel.

3.5

Fed quickly raises his gun. Others behind him also ready themselves.

4: CHORUS 1

"Don't take him alive."

Lipsync of lyrics (by main fed to his lackeys) (3/4 side, facing right).

"Don't take him alive."

Gravel tenses up (3/4 front from slightly below, facing left).

"Don't take him alive."

Gun raised. Fed begins advancing (face/gun close-up, directly to the side, facing right). Cuts to Gravel slowly backing up (bottom of shot is just below torso, directly to the side, facing left).

"Don't take him alive."

Gravel hits the wall (pan as if cameraman was standing still from their point previously. Now shot is a more frontal view of Gravel. Tip of the fed's gun comes into view on the left side). Gravel looks down/to its left side anxiously, sees button. It sneers.

Cut to close up of Gravel's hand (left side). It forms a fist and slams the button hard.

"Paralyzed."

Gravel transforms into its VP form and spreads its wings.

"Kill zone red, shoot the eye."

Cut to the rest of the gang in a room. Vincenc is to the side tinkering with some small machinery; Seo-Joon is in a chair researching; Asilia, Xiomara, and Zashil are on the floor playing a board game. All shoot up as they feel their VP powers kick on.

"Paralyzed."

Xiomara and Asilia usher Zashil to a small room in the back. Meanwhile, Seo-Joon heads for a computer screen to the side to check the cameras. Xiomara and Asilia crowd around to look. Cuts to camera view. Gravel is beating the shit out of the feds, but is losing. It runs.

"Kill zone red, shoot the eye."

Vincenc enters a dim storage room (shot from just outside the doorway, Vincenc facing right). He picks up some protective gear from the right side and a bomb from just next to the view (shot is stationary, from a shelf facing just right of the doorway and up enough to see Vincenc's face).

4.5

Sneaking, scheming, etc. View of Asilia and Xiomara staring at the cameras with concern. Cut to Seo-Joon with a determined expression.

Asilia and Xiomara travel together, peeking around corners. Cut to shot from next to the abandoned Uno deck (pointing up and at the two). Cut to Vincenc placing and rigging bombs of various kinds around the base (far off shot, maybe a pan through a wall from previous shot. Slows briefly to show Vincenc and then continues. Blacks out at next wall).

Pan up onto Zashil (facing left) sitting behind some furniture. He's anxious and knows he should stay put, but really wants to help. He stands. Cut to him exiting the doorway. Pan to another hallway (right at a corner). Gravel turns the corner, shaken, somewhat frantic, speedwalking through (frontal shot, zoom slightly into face).

5: VERSE 2 ¹

"A killing ground for tyrants. Get down on your knees."

Cut to same shot but of the main fed, storming through the halls. He's bruised, disheveled, and pissed.

"A gun in your mouth will fill all your needs."

"Brainwashed solutions, torture and disease."

"Final retribution for everyone to see."

6: CHORUS 2 ²

"Don't take him alive."

"Don't take him alive."

"Don't take him alive."

"Don't take him alive."

"Paralyzed."

"Kill zone red, shoot the eye."

"Paralyzed."

"Kill zone red, shoot the eye."

"Paralyzed."

"Kill zone red, shoot the eye."

"Paralyzed."

"Kill zone red, shoot the eye."

7: BRIDGE ³

8: VERSE 3 ⁴

"Captivate, captivate."

"Captivate, captivate."

"Obliterate, obliterate."

"Incinerate, incinerate."

9: CHORUS 3 ⁵

"Don't take him alive."

"Don't take him alive."

"Don't take him alive."

"Don't take him alive."

"Paralyzed."

"Kill zone red, shoot the eye."

"Paralyzed."

"Kill zone red, shoot the eye."

"Paralyzed."

"Kill zone red, shoot the eye."

"Paralyzed."

"Kill zone red, shoot the eye."

10: OUTRO ⁶

Extra scattered notes for potential scenes:

¹ thinking somewhere around here, Zashil runs out in front of the feds, and they try to shoot him. Asilia sees this, runs over, flashbangs the feds, grabs Zashil, and books it.

² the feds in all their chaos step on a bomb of some kind (smoke or explosive, not sure yet). Xiomara should absolutely create a massive fireball and just beat the shit out of them. Seo-Joon probably helps fan the flames.

³ action shit and transitional scenes. Feds probably beat the shit out of the gang, and they have to fall back to the portal room (the thing they're trying to defend). Shenanigans ensue.

⁴ thinking this should be like the climax of the fight. Everybody's pissed and desperate and fighting with everything they've got. Lots and lots of action here. Anyway, the VP gang turns the tides around the last verse, and they know it.

⁵ this one I think would be cool if it was like a similar scene to Chorus 1. Gravel says, "Don't take him alive," and they advance on the last dude, who should probably be the OG main fed. They threaten him, probably try to kill him, he runs and escapes into the night.

⁶ probably the gang just kinda looking out into the streets.

Bonus context:

This is a super dystopian, cyberpunk type thing. There's like this group of people who have certain powers, which are 'activated' via a specific sound frequency that kinda wakes up the part of their brain that deals with that power. This is easiest to do in the Virtual Plane (name is still in the works), which is sort of an alternate reality, but in an empty world that kindof automatically emits this frequency. The people who found this place built a bunch of stuff for folks to exist and chill. It takes a fuckton of energy to run though, so it's not open too often. The government doesn't really know anything, but they've heard rumors of people developing powers and have like seen some shit to suggest that's true, so they're looking into it. They do not like it, because it gives power to anarchists (who make up most of the folks in this superpowered in-group, since it's all a very well-kept secret). It's a whole thing. The concept in this AMV is that the feds tracked down one of the portals and are doing a raid to figure out what's going on, and also probably destroy anything that enables folks' superpowers.

As for the gang itself, I've posted drawings of them before. They're very strongly based on my friends, especially my internet found family. They are also in some ways based on different aspects of myself, especially at different times in my life. They're all still in progress, but I love them a lot. Anyway, their powers and such are as follows:

Gravel (18, it/its) has physical enhancements, and essentially has an alternate form. Vincenc (19, he/him) has electricity powers. Asilia (22, she/her) has light powers. Seo-Joon (26, he/him) has wind/air powers. Xiomara (20, she/they) has fire powers. And Zashil (13, he/him) levitates.

I am going to test something. Hold on.