#[ don't have much to write on them ]

[cozylittleartblog]

Columbo and the Knight (1984)

put me in the universe where Columbo ran through the 1980s and had a crossover episode with Knight Rider. I think they deserved it, and I am not just saying that because they're my two favorite Old Shows. @telebeast wrote a little fanfic blurb about it and I HAD to visualize it into a comic (which is also the longest comic I have finished thus far at five pages...), so writing credit goes to them.

Autism W!

[frosted-woods]

autumn time to be gay and totally fine and not miserable at all

[wandixx]

Danny, the Young Justice member snippet nr 3 GIW made a lot of mistakes and the biggest one was going against Young Justice part 1

As you can see by the title (I need better ideas, you're all welcome to share yours), this is kinda part of "Danny, the Youg Justice member" but as something I have more of actual idea about. So while I encourage people adding their stuff to other snippets, please let this one be. I will be adding to it. It's even partially written :D

unrelated snippet nr 1, unrelated snippet nr 2

"Hey guys" Danny greeted clearly winded, phasing through the wall. Whole Team turned towards him, some giving him a side eye “Sorry I’m late” 

“You’re good, my dude” Wally answered, patting him on the back as soon as halfa landed, turning into his human form. They gave him a moment to catch his breath(just how fast he tried to fly there?) before grabbing their bags. Dick jumped and threw himself over the speedster's and halfa’s shoulders.

“Happy Harbour, we’re coming!” he yelled.

He fixed his grip when he caught Danny’s quick wince under the pressure as they left the headquarters. Judging by look on his face, Kaldur caught it too.

“So what’s on the agenda?”

“There is an amusement park in city, so we’re going to enjoy our free time there” M’gann explained with excited smile “I can’t wait to see it, I heard it’s fun”

Artemis nodded with a grin.

“I bet I can win more plushies than all of you. No powers,” she demanded after a moment, slamming her hand n a random tree for better dramatic effect.

“Stakes?” he asked, competitive like always. While blonde shared her idea of ‘no locker room duties for a month’, Danny explained all the questions M’gann asked about what even bet was and what stakes meant. Dick was sure she knew the answers to all of them but he didn’t say anything. He was trained well enough to catch Conner listening intently, despite his clear effort to hide it.

It turned into a whole Team competition.

It was going to be an aster.

***

M’gann was having a blast. Everyone already had two to four plushies, stomach full of unhealthy food and manageable nausea from the roller coaster. Wally and Danny were throwing popcorn to each other's mouths, Robin challenged Conner and Artemis to the next game. It really was fun just like she was told!

It was much less fun when literal blast shot a few feets away from them. Ground where it hit was burned. Halfa squealed, projecting a strong wave of distress. Without second thought he threw his hood on and changed his posture, frantically looking for a hiding spot.

Few children started crying, their families scrambling to get away before attackers started shooting again and hurt them. Workers, already used to working in less than ideal circumstances, quickly, but without panic warranted by recognised villains or outright invasion, shut down reinforced blinds and probably walked out to inform someone. At least they didn’t have to worry about potential civilian casualties. 

“Do you know who they are?” M’gann asked, quickly establishing the Mindlink.

“Don’t worry about it” he answered, putting on crazy big sunglasses that Wally won some time before.

“My dude, we just got shot at. We have every right to worry”

“Calm down, Wally. I got shot at, you’re just close by. I’ll handle it” With a ruffle of his hair and a piece of popcorn thrown in his mouth,he turned around, just moment after the next blast almost caught his arm. He plastered a smile on his face.

“Hey, I’ve seen guns like these in laser tag! But I’ve never found them cheap enough to get without selling my kidney!” he yelled enthusiastically.

When the rest of them turned around, M’gann saw ten people in sunglasses and pristine white, holding guns straight from the mad scientist’s lab. THey stood still, projecting surprise bordering on shock. She could also feel hunter's happiness underneath it, intense enough that she considered breaking the ‘don’t mess with people’s brains’ rule. As a treat.

“Don’t worry guys, they won’t harm you. Act like you  don’t believe you’re in danger. Like they're a bunch of LARPers or something” It was easier said than done, especially when Danny, who nearly always underestimated the danger, was so terrified. 

“Who are they?!”

“Wally throw me a bit of popcorn, please” Halfa asked, ignoring Artemis almost yelling in their minds. In turn, he was ignored by the speedster. Three of the men turned to check something on weird sort of scanner. Danny's false smile went from cheerful to embarrassed. 

“Dang me and my poor communication skills” he said, loud enough for men to hear but not enough to sound like he was talking to them, before asking louder “I meant to ask, where have you brought it and how much does it cost?”

This seemed to actually shake men out of their shock. They got furious.

“You won't trick us this time, ghost scum” one of the guys with a scanner snarled. Danny pursed his lips in childish gesture of displeasure.

“Rude much” he muttered as if he wasn’t shining with terror like a lighthouse. Robin perked up as if something got him curious.

“Wait, ghost? What do–”

“What are you cosplaying?” Artemis blurted out. Men got visibly angry but Danny smirked.

“Don't antagonize them,” Kaldur commended. 

“If shit goes south I'll get you out of there, half a second flat” Wally offered.

“Thanks dude. Good job Artemis, they hate to be treated like a joke they are” halfa praised but out loud asking:

“Ghostbusters? No, they had different uniforms. But who else got a thing for ghosts?”

“Quit joking around, we caught you Phantom! You ran far from Amity Park but-”

“Who is Phantom?” Robin interrupted rudely (they deserved to be rude to them).

“Where is Amity Park, Utah? Cali?”  Conner asked, adding fuel to the fire of chaos with barely contained glee. He liked messing with anyone even slightly resembling Kadmus staff and these guys marked almost all of the boxes.

“Illinois” provided chubby man who looked and felt like he didn't want to be there almost as much as they teens did. Danny relaxed slightly.

“Agent W you have no clearance to share this information“

“You were in Illinois and didn't tell me, Tommy?” M’gann finally spoke, jokingly punching his arm.

“I wasn't, I swear! I've never set a foot outside of this state in my life!”

“Quit messing around, you freak!!!” the guy, with the biggest ego and probably the leader, screamed.

“Can I please mess their heads up?”  M’gann asked, pushing hope through Mindlink as hard as she could.

“Again, rude. What did I even do to deserve that?”

“Like you–”

“Operative K, I think they really don't know anything “ Agent W, the nicest out of the batch, interrupted “Maybe it left some ectoplasm on this boy to throw us off?”

“They called you it, Danny” Conner seethed, looking like only Kaldur’s hand on his shoulder was stopping him from punching all of them straight to the sun. M’gann was already reaching for their minds.

“We need to run a scan to be sure. Come here boy”

“Now, who are you?!” Robin got defensive, sliding to shield Danny from asiliants. Conner and Artemis joined him, so clearly furious that M’gann almost retreated from Mindlink. She wasn’t any calmer, it just felt overwhelming to be backed up by five other people.

“It’s classified”

Kaldur took a photo with an obnoxiously loud sound effect. Wally appeared right behind Danny, ready to evacuate him. Artemis barely kept herself from tackling the nearest ‘agent’ to the ground.

“What are you doing, boy?” Operative K splurted, absolutely flabbergasted.

“Calling the police”

“Why?”

“Robin, throw some laws, please”

“Oh, that’s easy,” the boy jumped in gleefully “You assaulted our friend and refused to state why you would have credentials to do so or even who are you. You carry modified weaponry openly in public and I doubt you have a permit, carelessly use it  against minors, endangering innocent bystanders while we’re at it. You disturb public peace. I think that’s enough to get you arrested. Wait you know what, call ‘Supervillain emergency hotline’ instead, this is serious attack”

“Right ahead of you, already calling them”

It wasn’t that big of a problem even if someone tried to qualify this as spam. Young Justice Team was first to respond to all threats in Happy Harbour anyway.

Danny let out a low ‘uuuu’ with a smirk. Someone powered up a gun. Wally slightly raised halfa of the ground, ready to bolt.

“It’s okay young man,” the nice agent started, raising his hands in a placating gesture “We’re searching for a dangerous supernatural entity and may have overreacted. In our defense, Phantom is known to be tricky and we wouldn’t be surprised if it used human disguise to hide from us. Your friend gives off the same type of energy like what we use to track it so we assumed they’re the same. We’re sorry”

“Agent W you don’t have clearance to disclose that to-”

“Operative K, after the last few incidents we have to be more throughout before jumping to assumptions. Agent Gamma wouldn’t be pleased if your temper caused the next scandal,” Agent W look at them again, with a forced ‘warm’ smile “We’re really sorry for bothering you. We have reasons to believe Phantom is somewhere around but don’t worry about it, we will be on the lookout. If you see it, please contact us and we will take care of it” M’gann grabbed the ‘WANTED’ poster from man’s outstretched hand. She barely restrained herself from doing something irresponsible, like turning every man in white into a brainless vegetable.

“Later M'gann”

“But Robin…” she whined before sending a small laugh so they knew she wasn’t serious. She knew that Conner and Danny were anxious about this use of her powers.

Agent’s left and everyone relaxed. Wally put Danny back down and leaned back, jokingly rolling back his arms as if he got tired. Halfa stopped with a loud thump to sit on the ground. He was paler than usual.

Artemis shouted, alarmed.

“That was way too close” he started, aiming for a cheerful tone but missing by a mile “I’m fine, just need a moment to cool down. Sorry for that, guys. I thought I lost them over Ohio”

“That’s fine, personally I don’t care, we knew better than to expect a whole day without something going wrong, but who were they?” Wally asked, already back to eating popcorn.

Danny sighed, so deeply M’gann felt it in her bones even though she didn’t try to read him.

“I think this is the talk we should have in the Mountain”

[flying-cat]

I just thought of Izuku immediately shooting up in the hero rankings like a week after he becomes an active pro-hero again because everyone is so happy that he's back and Katsuki wants to be annoyed that Izuku ranked higher than him so quickly like he would've been, once upon a time, but he really can't be because this is what he worked eight years to see, and now he can finally compete with him again. So he sits in his apartment, TV on, watching Izuku try not to stutter his way through his first returning interview with fondness and pride, and thinks it's finally time to put some actual effort into climbing higher on the hero rankings.

(Not that being #1 is his priority anymore. He's just happy that he gets to fight alongside Izuku again, that they can compete with one another as equals, and that they can complete one another like two sides of the same coin. For the rest of their lives.)

[crimeronan]

i've seen a couple people in the notes of this very good post about fictional polyamory by @thebibliosphere say things along the lines of "oh, i've been doing it wrong :(" or "how do i know if i did this right??" or "i should probably give up and start over, i wrote this badly :(" and. no!!!!

(i AM seeing far MORE people say "oh, this clarified and helped me so much, i think i know how to fix issues i've been having with my own story" which. YES!!!!)

listen. if you're a monogamous person who's writing a polyamorous relationship, and you've been focusing mainly on The Triad and All Three Together All The Time as the endgame, that's literally fine. that's a perfectly acceptable and strong starting point for your plotting, imo. you do not need to give up on a story that you've started like this.

but the things discussed in the post Can and Should improve your execution!

you can keep the same plot beats and overall relationship arc 100%. polyamorous relationships are infinite in their formations, every one is unique. "basically a monogamous romance but with three people" Does exist, as a relationship type. you're not hashtag Misrepresenting (TM) poly people with it

BUT i do think it will help to read up on some poly people talking about how their relationships Differ from monogamous ones.

so i have outlined some basic important concepts about polyamory.

MORE IMPORTANTLY though, i've broken down some questions that you can answer throughout the writing process to strengthen your individual dyad relationships, your individual characterization, & your characters' individual feelings/experiences. this is a writing resource have fun

future kitkat butting in to say i spent over two hours writing this and it definitely needs a readmore. it is also NOT comprehensive. but everything should be pretty simple to follow! feel free to reblog if you find it helpful yourself or just want to reward me for how gotdan long this took KSLDKFJKDL.

i've grabbed quick links for a couple of the important concepts, some have SEO pitches in them but the info largely seems to be good. (if i missed anything Egregiously Gross on these sites i should be able to update the links with better ones later, since they're under the readmore.)

sidenote: this is NOT meant to be overwhelming, despite the length. if you can't read all of this, that's Okay. you do not need to give up on your writing.

here we go:

compersion!

compersion is a BIG thing in a lot of polyamorous relationships. it's joy derived from seeing two (or more) of your partners happy together, or joy derived from seeing your partner happy with someone else.

compersion is really important as a concept because it highlights that every individual relationship within a polycule is different -- and that that's a GOOD thing. it's sort of the inverse of jealousy.

by the "inverse of jealousy," i mean that instead of feeling left out and upset and possessive, you feel happy/joyous/content.

i can use personal experience as an example: it's a Relief for me when my partners receive joy/support/sex/romance/etc that i can't (or prefer not to) give them. and i love seeing my partners make each other laugh and be silly together.

it's 100% okay for a poly triad not to be together 100% of the time, it doesn't mean that the third member is being left out or not treated equally when two people do things alone together.

(i have individual dates with my partners all the time! PLUS larger 3-and-4-person date nights.)

if the third member DOES feel jealous or left out, then the polycule can have a conversation to figure out what needs/wants aren't being met, and solve that. this happens semi-regularly in my polycule, as it will happen in any relationship (including monogamous ones)! it's just part of being an adult, sometimes you have to talk about feelings.

metamours!

a metamour is someone who is dating your partner, but ISN'T dating you. this may not be relevant for people writing closed three-person romantic sexual triads, but it's a super helpful term to know.

the linked article also lists different types of metamour relationships with some fun phrasing i hadn't heard before. the tl;dr is: sometimes you'll be domestic cohabitation friends, sometimes you'll be buddies with your own friendship, sometimes you might not interact much outside of parties, every relationship is different.

there's no one-size-fits-all requirement for metamour relationships. sometimes polyamorous people will end up dating their metamour after a while (has happened to me), sometimes polyamorous people will break up with one partner for normal life reasons, but remain friendly metamours.

the goal of polyamory is NOT for EVERYONE to fall in love. it is 100% okay if this happens in your story, it happens in real life too! but it is also 100% okay for characters to be metamours without ever becoming "more than friends."

(sidenote: try to kill any internalized "more than" that you have when it comes to friendship. friends are just as important and special and vital as partners.)

of course there are a million ways for messiness to occur with metamours within a complex polycule, exactly like with close-knit platonic friend groups. however this post is not about that! there's enough "here's how polyamory can go wrong" stuff out there already, so i'm focusing on the positives here :)

open versus closed polyamorous relationships!

i'm struggling to find an online article that reflects my experience without directly contradicting at least SOME stuff. so i'll give a quick rundown

google has a bunch of conflicting definitions of open relationships and whether open relationships are different from polyamory. the general consensus seems to be that an open relationship prioritizes one partnership (often a marriage), but that each partner can have extraneous flings or long-term commitments (most often sexual in nature).

this is not typically how i use the term wrt polyamory. the poly concept is pretty simple. a closed polyamorous relationship is one with boundaries like a monogamous one. there are multiple partners in the polycule, but they are not interested in having anybody new join said polycule.

an open polyamorous relationship tends to be more flexible -- it just means that IF someone in the polycule develops mutual feelings for a new person, it's fine for them to become part of said polycule if they want to! the relationship/person is open to newcomers.

some groups will need to negotiate this all together, others will just go "haha, you kids have fun." just depends on the individuals!

with open AND closed polyamorous relationships, the most important thing is making sure that there's respectful communication and that everyone is on the same page. but there's no one-size-fits-all way to do that.

i wish i could give you guys a prescriptive "You Must Do It This Way" guide, but that's.... basically the opposite of what polyamory is about, HAHA.

feelings for multiple people!

i was gonna tack this on to the previous section but decided it warranted its own lil bit.

a defining feature (....i'm told?) of monogamous relationships is that a monogamous person only has feelings for One individual at a time. they only want a relationship with one individual at a time. or, if they DO have feelings for multiple people simultaneously, they're still only comfortable dating one person at a time & being exclusive with that one person.

this is perfectly fine!

the poly experience is generally different from this. but once again..... polyamorous people all have different individual perspectives on this.

for me, i have never been able to draw hard boxes around romantic vs sexual vs platonic relationships, & i love many people at once. my personal polycule lacks many strict definitions beyond "these are my chosen people, i want to forge a life with them indefinitely, whatever shape that life takes"

some poly people feel explicit romantic or sexual attraction to multiple people at once, some poly people feel almost no romantic or sexual attraction at all. i'd say that MOST poly people feel different things for different partners, which is not a bad thing!

some poly people are even monogamous-leaning -- they have just chosen one romantic partner who is themselves part of a larger polycule. (so this monogamous-leaning person has at least one metamour!)

or alternatively, they might have one romantic partner AND a qpr, or other ways of defining relationships. (this is a factor in my own polycule!)

i made this its own point because if you're writing a straightforward triad, this is unlikely to come up in the story itself -- but it's worth thinking about how your characters develop/handle feelings outside of their partnerships.

like, is this sort of a soulmateship, 'these are the only ones for me' type deal? in which they won't fall in love with anyone else, and can be fairly certain of that?

that's pretty close to typical monogamous standards but you Can make it work. just be thoughtful with it

alternatively, can you see any of these characters falling in love Again after the happily-ever-after? and how would the triad approach it, if so? what would they all need to talk about beforehand, and what feelings would everybody have about the situation?

it's worth considering these questions even if the hypothetical will never feature in your actual canon, because knowing the answers to these questions will help you understand all of the individuals & their relationship(s) MUCH better.

i've been typing this for nearly two hours and there's a lot more i COULD say because... there's just a lot to say. i'll close out with some quick questions that you can ask yourself when developing the dyad dynamics within your triad

first, take a page and create a separate section for each individual dyad. then answer these questions for every pair:

how does each pair act when alone?

how do they act differently alone compared to when they're with their third partner?

are there any elements of this dyad (romantic, sexual, financial, domestic, etc) that these two people DON'T have with the third partner?

if so, what are they?

are there any boundaries or hard limits within this dyad that aren't shared with the third partner?

if so, what are they?

partner 3 goes out of town alone for a few weeks. what are the remaining two doing in their absence?

(doesn't have to be anything special, it's just to get a sense of how the two interact on a day-by-day basis without the third there)

what is something that each partner in the dyad admires about the other -- that they DON'T necessarily see in the third partner?

what problem do These Two Specifically need to solve in the story before their relationship will work?

how is that problem DIFFERENT from the problems being solved within the other two dyads?

doing this for ALL THREE dyads is VITAL imo. that way, you develop complex and nuanced and different relationships that all have unique dynamics.

those questions should be enough to get you started, i hope

then After you've charted the differences in relationships, you can start to jot down similarities in the overarching triad. what does one person admire in Both of their partners? what are activities that all three like to do together? what are boundaries or discussions that all three share?

but the main goal is to figure out how to Differentiate each relationship!

a polycule is only as strong as the individual relationships within it. if two people are struggling with their own relationship, adding a third person won't fix that.

(UNLESS the third person is the catalyst for those two to, like, Actually Communicate And Work Their Shit Out. i just mean that the old adage of "maybe if we just add a third-" works about as well to fix a miserable non-communicative marriage as, uh, "maybe if we have a baby-")

AND FINALLY.

if you're not sure whether your poly romance reads organically to poly people, you can hire a sensitivity reader with poly experience. if you can't afford that, you can read up on polyamorous resources like a glossary of terms & articles actually written by poly people. (and stories written by poly people!)

you can also just.... ask poly people questions, if they're open to it. i like talking about polyamory and my own relationships so you're welcome to send asks if u want, i just can't guarantee i'll answer bc my energy levels fluctuate a lot and i don't always have time.

polyamorous people are in an uphill battle for positive representation right now & so the LAST thing i want to see is authors giving up on their stories bc they're worried about getting things Wrong. well-meaning and positive stories that treat this kind of love as normal, healthy, & aspirational are So So So Needed. even if you guys end up with some funky-feeling details.

seriously, if you're monogamous then you probably don't have a full idea of Just How Nasty a lot of people can get about polyamory. i wish it DIDN'T mean so much for you guys to want to write nice stories about us, but it does mean a lot. and it means a lot that you want to do it WELL.

in conclusion. this is not a prescriptive guide, it's just a way to raise questions. and also, you all are doing FINE.

[shotmrmiller]

ps!ghost is very interested, to put it mildly. can't seem to stop re-watching your debut video that was released a week ago. it's always the same premise. black leather couch casting. nice little bird in a modest dress or shirt and jeans who gets undressed because the "director" has to take in measurements and the like, only to end up getting railed from the back with their pretty face pressed into the cushion.

it's a thing male viewers like. they love to watch a professional break in the new girl. he, though, not so much. he doesn't go for the new girls. doesn't like to be the one to test the limit like others do. (big cock anal on their debut? ghost finds it a bit much.) he hears one tiny gasped ouch and he's not finishing the shoot.

no, what gets him going is the enjoyment one can get during sex. it's why he ended up in this business in the first place. he likes sex. a lot.

likes to have men, women, young and old alike writhing beneath him gasping his (stage) name due to the pleasure and not because a script said to. and the benefits of working in the porn industry means that he gets paid doing what he likes, and can stay safe while doing so.

this is where you come in. the only reason he'd sat down to watch your video at all is because you'd been given a contract by the same company he is under. he's bound to come across you at a later date, might as well learn what he'll be eventually working with.

and he's hooked. whatever initial nervousness you might've had at the very beginning (because this is your very first professional shoot, of course) bleeds from your shoulders once price, the lucky bloke, gets his hands on you. you're a bloody natural.

and you enjoy it. there's no faking the way your nails bite into price's scalp when he licks at your pussy through your thin knickers. you gently wrap your hand around his fingers that's rolling your hardened nipple, giving it a gentle squeeze. he's doing it too rough. you buck your hips into his face, riding it even though you're the one on your back.

ps!ghost has to swallow the mouthful of saliva when he notices strings of creamy white sticking to price's body hair, a frothy ring around the root. the best part of all of this, is that you're giving as good as you take. you're no passive participant. you could, under price's big bulk, just get folded in half and do nothing other than feel the sweet burn of his cock stretch you, turn you inside out.

but you don't. you know exactly what you like and how you like it. you look for your orgasm, make sure it happens under your manicured fingers or price's thick ones. you don't let him be too rough on you nor too gentle.

simon loves it. you're new to this. you could've just accepted what he gave you without so much as a peep of complaint and gone home to soak in an epsom salt bath. but you didn't. you didn't let him pinch your sensitive clit, didn't let him mindlessly claim a fistful of hair.

but you did open your pretty mouth so he could spit in it (fucking lovely, it was) and let him keep your soft hips in the air as john's pace turned frantic and the best of all (in his very biased opinion) you crossed your ankles around his waist to keep him there as he fucked you full of his come.

(had simon been there, he would've begged for a taste if he had to.)

he feels a bit desperate, after. can't get you out of his head. the thought of your slick pussy hot around his cock is what gets him to finish at times. the other times, it's your video. he swears he's found his equal (sorry, soap) one that'll forget that he's supposed to be putting on a show for the viewers.

sorry price, he's about to unfuck him out of your pussy until all it'll ever remember is simon.

(what he doesn't understand is that he's about to forget more than the viewers. why is price watching yall again? it's almost intimate the way you let him fuck you on a creaky mattress. he's drunk on the smell of you, your hair, your cunt. lost all thought when his fat cock slid with relative ease into your wet heat and all he'd done was let you make yourself come on his fingers and tongue as many times as you'd pleased. you'd latched onto his neck, maybe out of habit or whatever, it doesn't matter. he'll be telling the makeup artists to leave the bites you left. he earned every single one. and where he usually pulls out because it's easier to clean up for everyone? you'll not be wasting a single drop. it appears he has a lot bit of a breeding kink.)

[edains]

Children of Rannoch: Notable Quarians aboard the Rayya

Children of Rannoch - A Quarian Overhaul (LE2)

(template)

[raiiny-bay]

Love, Dhes

Parker,

It's unfair how time with you feels so short. How the last 10 years have felt like no time at all. I like to think there are other versions of us out there, somewhere. Maybe in another timeline, another universe. I like to think we find each other no matter where we are or what we're doing. That we're together and happy and I get to love you in a dozen different lifetimes. That's what I hope, anyway. And I hope when this lifetime ends, we get to start over and do it all again. Because once just isn't enough. Not for me. Not with you.

I hope the next 10 years pass slower.

Love, Dhes

[obsidianbit]

I love this gay ass show with its literally life ending injuries that heal immediately, but only when convenient to the plot, and its ridiculous use of modern phrases, and its laughing in the face of historical accuracy, and its kissing the face of the fans instead of trying to outwit them, and the way everyone involved in the show seem to go 'I KNOW RIGHT! I'M EXCITED TOO!' instead of mocking the fans

[baejax-the-great]

If I were a writer at a big game company working on a sequel to a beloved series and the higher ups kept telling me to make the game shittier and kept sending my work back to me to be dumbed down even further somehow, and then once most of the writing was done they laid me and my coworkers off illegally without severance, I'd probably gleefully watch as people trashed the shitty game that shipped.

[14dayswithyou]

Hi, Howdy! Hey! I really love your novel!! I got a little confused by the 4 day, may maybe you help me please? who is it? why we got the bad end staying the night in Ren’s apartment and he disappear of the home screen? I can’t understand “unset memory” game, sorry if I wrote smth wrong or smth sounds rude, I swear that I didn’t mean it if happened, I’m really a fan of the novel, I’ve been playing the game since day 1 or 2 I guess, probably day 1, english isn’t my first language, but I tried lol

⌞♥⌝ I hope you don't mind me answering these as bullet points!! ^^

"It" will be revealed later in the game! So I won't reveal too much right now.

You can only get the Dead End in Day 4 by staying at Ren's apartment — the rest of your choices before that don't matter. I'd also pay closer attention to the black smoke and Ren's reaction towards it!

Ren disappears from the home screen because he promised to help the player out (and stop them from getting the Dead End again). Try replaying the game again from the beginning for a surprise!

"Unsent Memories" was another visual novel (initially being written by @10chimes / @unsentmemory, though the project has since been dropped and handed back to me /pos) and is set in the same universe as 14 Days With You. Its storyline and characters are completely separate from 14DWY, so you don't have to worry about them while playing 14DWY.

[erinwantstowrite]

so people have been reposting my art :/ it's only happened a couple of times (once on Instagram and now once on Pinterest) that I know of. but this is me making a formal post: if you see my art posted on anywhere that isn't: on tiktok or Tumblr, or under MY account, know that this was reposted and that I did not give my permission. this goes for my writing as well. i do not post anywhere but ao3. if you see it, please report it or send it to me. that doesn't mean to harrass anyone, but just take it down please

[icewindandboringhorror]

I made a few new wax seal stamps out of clay (like the ones I did for my worldbuilding stuff forever ago), this time just of random symbols that I thought might look good done in the style of painting over the raised part of the wax or etc. :0c Some of them aren't carved deep enough to really show up that well, but overall they worked okay for being clay lol

[ghooostea]

chilchuck and laios are my babies, I love them they're neat (˃̣̣̥ᯅ˂̣̣̥)

[sassypantsjaxon]

Listen. I know most of the earlier one piece movies aren't really canon, but I am obsessed with the implications of Saga in the Cursed Holy Sword, because he really adds a layer to Zoro's relationships with his rivals.

Okay. First, there's Kuina. His first rival. The one he can never beat. The promise to become the greatest. Untouchable, indestructible, until she isn't. Wado Ichimonji.

Then there's Saga. His next rival. They're more equally balanced. They're both orphans. There's an understanding there. A more even footing that he didn't have with Kuina. A gifted short sword instead of an inherited katana.

And Sanji. The proof of Zoro's rule of three. Twice over, in fact, third rival, third son. Never gives Zoro an inch in a fight, but doesn't hesitate to give him food afterwards. He doesn't fight with a sword, so there's no blade shared between them. Instead there's a much heavier promise.

Kuina dies. Saga dies. Both so close to Zoro, and he couldn't even do anything. Of course Zoro's worried when Sanji boards the sea train by himself. Of course he pushes Sanji out of the way at Thriller Bark. Of course he's angry with Sanji when he runs off to Whole Cake.

Zoro's already mourned his first two best friends rivals. Does he really have to go through that again?

Maybe Kuina wouldn't have fallen if Zoro had never asked her to fight him. Maybe if Zoro had been a little better he could have saved Saga. Maybe Zoro will have to kill Sanji himself.

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.