#'realistic' aspects added

[piplupod]

just had possibly the worst nightmare of my life. yippee ^-^ <- is so horrified they are numb

[cisphobie]

didn’t feel like putting this on the post i’m thinking about rn cuz it’s about cane references and the char i’m talking about has a crutch, but they kinda fucked up with one of my f/os’ mobility aids now that i think abt it

[jadevine]

Preindustrial travel, and long explanations on why different distances are like that

Update March 1, 2024: Hey there folks, here's yet another update! I reposted Part 2a (the "medieval warhorses" tangent) to my writing blog, and I went down MORE of the horse-knowledge rabbit hole! https://www.tumblr.com/jadevine/741423906984951808/my-post-got-cut-off-so-i-added-the-rest-of-it Update Jan 30, 2024: Hey folks, I've posted the updated version of this post on my blog, so I don't have to keep frantically telling everyone "hey, that's the old version of this post!" https://thebalangay.wordpress.com/2024/01/29/preindustrial-travel-times-part-1/

I should get the posts about army travel times and camp followers reformatted and posted to my blog around the end of the week, so I'll filter through my extremely tangled thread for them.

Part 2 - Preindustrial ARMY travel times: https://www.tumblr.com/jadevine/739342239113871360/now-for-a-key-aspect-that-many-people-often-ask

Part 2a - How realistic warhorses look and act, because the myth of "all knights were mounted on huge clunky draft horses" just refuses to die: https://www.tumblr.com/jadevine/732043691180605440/helpful-things-for-action-writers-to-remember

Part 3 - Additional note about camp followers being regular workers AND sex-workers: https://www.tumblr.com/jadevine/740604203134828544/reblogging-the-time-looped-version-of-my

--

I saw a post on my main blog about how hiking groups need to keep pace with their slowest member, but many hikers mistakenly think that the point of hiking is "get from Point A to Point B as fast as possible" instead of "spending time outdoors in nature with friends," and then they complain that a new/less-experienced/sick/disabled hiker is spoiling their time-frame by constantly needing breaks, or huffing and puffing to catch up.

I run into a related question of "how long does it take to travel from Point A to Point B on horseback?" a lot, as a fantasy writer who wants to be SEMI-realistic; in the Western world at least, our post-industrial minds have largely forgotten what it's like to travel, both on our own feet and in groups.

People ask the new writer, "well, who in your cast is traveling? Is getting to Point B an emergency or not? What time of year is it?", and the newbies often get confused as to why they need so much information for "travel times." Maybe new writers see lists of "preindustrial travel times" like a primitive version of Google Maps, where all you need to do is plug in Point A and Point B.

But see, Google Maps DOES account for traveling delays, like different routes, constructions, accidents, and weather; you as the person will also need to figure in whether you're driving a car versus taking a bus/train, and so you'll need to figure out parking time or waiting time for the bus/train to actually GET THERE.

The difference between us and preindustrial travelers is that 1) we can outsource the calculations now, 2) we often travel for FUN instead of necessity.

The general rule of thumb for preindustrial times is that a healthy and prime-aged adult on foot, or a rider/horse pair of fit and prime-aged adults, can usually make 20-30 miles per day, in fair weather and on good terrain.

Why is this so specific? Because not everyone in preindustrial times was fit, not everyone was healthy, not everyone was between the ages of 20-35ish, and not everyone had nice clear skies and good terrain to travel on.

If you are too far below 18 years old or too far past 40, at best you will need either a slower pace or more frequent breaks to cover the same distance, and at worst you'll cut the travel distance in half to 10 or so miles. Too much walking is VERY BAD on too-young/old knees, and teenagers or very short adults may just have short legs even if they're fine with 8-10 hours of actual walking. Young children may get sick of walking and pitch a fit because THEY'RE TIREDDDDDDDDDD, and then you might need to stay put while they cry it out, or an adult may sigh and haul them over their shoulder (and therefore be weighed down by about 50lbs of Angry Child).

Heavy forests, wetlands and rocky hills/mountains are also going to be a much shorter "distance" per day. For forests or wetlands, you have to account for a lot of villagers going "who's gonna cut down acres of trees for one road? NOT ME," or "who's gonna drain acres of swamp for one road? NOT ME." Mountainous regions have their traveling time eaten by going UP, or finding a safer path that goes AROUND, so by the time you're done slogging through drier patches of wetlands or squeezing through trees, a deceptively short 10-15 miles in rough terrain might take you a whole day to walk instead of the usual half-day.

If you are traveling in freezing winters or during a rainstorm (and this inherently means you HAVE NO CHOICE, because nobody in preindustrial times would travel in bad weather if they could help it), you run the high risk of losing your way and then dying of exposure or slipping and breaking your neck, just a few miles out of the town/village.

Traveling in TOO-HOT weather is just as bad, because pushing yourself too hard and getting dehydrated at noon in the tropics will literally kill you. It's called heat-STROKE, not "heat-PARTY."

And now for the upper range of "traveling on horseback!"

Fully mounted groups can usually make 30-40 miles per day between Point A and Point B, but I find there are two unspoken requirements: "Point B must have enough food for all those people and horses," and "the mounted party DOESN'T need to keep pace with foot soldiers, camp followers, or supply wagons."

This means your mounted party would be traveling to 1) a rendezvous point like an ally's camp or a noble's castle, or 2) a town/city with plenty of inns. Maybe they're not literally going 30-40 miles in one trip, but they're scouting the area for 15-20 miles and then returning to their main group. Perhaps they'd be going to an allied village, but even a relatively small group of 10-20 warhorses will need 10-20 pounds of grain EACH and 20-30 pounds of hay EACH. 100-400 pounds of grain and 200-600 pounds of hay for the horses alone means that you need to stash supplies at the village beforehand, or the village needs to be a very large/prosperous one to have a guaranteed large surplus of food.

A dead sprint of 50-60 miles per day is possible for a preindustrial mounted pair, IF YOU REALLY, REALLY HAVE TO. Moreover, that is for ONE day. Many articles agree that 40 miles per day is already a hard ride, so 50-60 miles is REALLY pushing the envelope on horse and rider limits.

NOTE: While modern-day endurance rides routinely go for 50-100 miles in one day, remember that a preindustrial rider will not have the medical/logistical support that a modern endurance rider and their horse does.

If you say "they went fifty miles in a day" in most preindustrial times, the horse and rider's bodies will get wrecked. Either the person, their horse, or both, risk dying of exhaustion or getting disabled from the strain.

Whether you and your horse are fit enough to handle it and "only" have several days of defenselessness from severe pain/fatigue (and thus rely on family/friends to help you out), or you die as a heroic sacrifice, or you aren't QUITE fit enough and become disabled, or you get flat-out saved by magic or another rider who volunteers to go the other half, going past 40 miles in a day is a "Gondor Calls For Aid" level of emergency.

As a writer, I feel this kind of feat should be placed VERY carefully in a story: Either at the beginning to kick the plot off, at the climax to turn the tide, or at the end.

Preindustrial people were people--some treated their horses as tools/vehicles, and didn't care if they were killed or disabled by pushing them to their limits, but others very much cared for their horses. They needed to keep them in working condition for about 15-20 years, and they would not dream of doing this without a VERY good reason.

—

UPDATE January 13: Several people have gotten curious and looked at maps, to find out how a lot of cities are indeed spread out at a nice distance of 20-30 miles apart! I love getting people interested in my hyperfixations, lol.

But remember that this is the space between CITIES AND TOWNS. There should never be a 20-mile stretch of empty wilderness between City A and Town B, unless your world explains why folks are able to build a city in the middle of nowhere, or if something has specifically gone wrong to wipe out its supporting villages!

Period pieces often portray a shining city rising from a sea of picturesque empty land, without a single grain field or cow pasture in sight, but that city would starve to death very quickly in preindustrial times.

Why? Because as Bret Devereaux mentions in his “Lonely Cities” article (https://acoup.blog/2019/07/12/collections-the-lonely-city-part-i-the-ideal-city/), preindustrial cities and towns must have nearby villages (and even smaller towns, if large and prosperous enough!) to grow their food for them.

The settlements around a city will usually be scattered a few miles apart from each other, usually clustered along the roads to the city gates. Those villages and towns at the halfway point between cities (say 10-15 miles) are going to be essential stops for older/sick folks, merchants with cargo, and large groups like noble’s retinues and army forces.

Preindustrial armies and large noble retinues usually can’t make it far past 10-12 miles per day, as denoted in my addition to this post. (https://www.tumblr.com/jadevine/739342239113871360/now-for-a-key-aspect-that-many-people-often-ask )

[pejite]

Hi! Today, I��m sharing a list of mods that I consider essential for playing historical gameplay in The Sims.

I often have friends who want to dive into the Decades Challenge but aren’t sure which mods to use or where to start. So, in this post, I’m going to share the mods I personally use and think are indispensable for creating that authentic historical experience.

Deaderpool's MC Command Center: This mod allows you to manage and modify many aspects of your game, including handling pregnancies, university careers, and enabling teen relationships so your Sims can marry earlier, among other features. You can also enable autosave and adjust the length of a Sim day.

Lumpinou's RPO: This mod enhances relationship dynamics and expands pregnancy features. It's extensive, with many modules, and once you've tried it, you won't want to play without it.

Pandasama's Realistic Childbirth: Offers multiple realistic childbirth options, including natural bed births and spontaneous labour, adding depth to your Sims' family lives.

MizoreYukii's Arranged Marriages: Allows you to arrange marriages for convenience. Parents can agree on marriages for their children, but breaking the arrangement won’t be easy.

Necrodog's Carriages and Horses: Adds functional carriages, enhancing immersion. While it doesn't work with the horses of Horse Ranch pack, it’s still incredibly useful.

Kuttoe's Enlist in War: It will allow your Sims to enlist in the war. Whether they live or die will be random, but if they survive, they'll receive the Veteran trait, a lifetime pension and some lasting traumas.

JaneSimsten's Regency Romance: Perfect for simulating the Regency era. It adds class differences, property ownership, etiquette skills, new traits and careers, events, and widowhood. Though inspired by the Regency era, it works well for later decades too.

SimKatu's Reading Animation Override: Changes the reading animations, with different ones for men and women, making your Sims’ reading time more immersive.

Zero's Deadly Dickensian Sicknesses: Introduces the risk of diseases like Tuberculosis, Typhoid Fever, and Cholera. It’s incredibly realistic with its contagion system.

Adeepindigo's Healthcare Redux: A comprehensive health mod that adds various illnesses and treatments, including tuberculosis and (early access) cancer. While Sims can buy modern medicines, many illnesses can be cured with natural remedies.

Adeepindigo's Simulated Endings: This mod will enhance everything related to your Sims' deaths, allowing them to take out life insurance and designate beneficiaries, arrange funeral preparations, and introduce stages of grief for your Sims.

MizoreYukii's Functional Broom: Adds a functional broom with its own animation, letting you keep your Sims’ homes clean without resorting to modern vacuums.

Triplis's Quit or Join School: In case you need your teens or childs to quit school.

The Kalino's Farm Animal Set: Expands your farm with more animals, including goats, sheep, ducks and more, in addition to the standard cows and chickens.

JaneSimsten's Write With Quills: Replaces your Sims' pens with quills, adding a touch of historical accuracy.

JaneSimsten's Sidesaddle Override: Allows female Sims to ride horses sidesaddle, as they would have in the past.

JaneSimsten's Parchment Computer: Replaces modern computers with parchment and quills, complete with their own animations—perfect for pre-typewriter eras.

Frankk's Language Barriers: More realism to sims being from different worlds.

Rs4ella's 1920s Grade School Homework Override: Changes the look of the kids' homework book to a 1920s style, but it works well for earlier periods too.

Xbrilliantsims's Toddler Bathtime Overrides: Replaces modern bath toys and sponges with more era-appropriate items when bathing toddlers.

Lunamoth's Historical Infant Carriers: Swaps out modern baby carriers for fabric slings, suitable for any historical era.

Lunamoth's Rope Pet Leash: Replaces the modern pet leash with a simple rope, making it look more appropriate for historical gameplay.

300yearschallenge's Historical Baby Bath Override: Changes the baby bath seat to a more suitable design, or you can opt for

Sassymissollie's Invisible Infant Bath Seat to remove it entirely.

JaneSimsten's 5 Day Work Week: Choose Your Own Work Hours: Lets you adjust your Sims' work schedules for a more realistic experience.

JaneSimsten's Marksmanship Skill: Adds a marksmanship skill, allowing your Sims to practise shooting and hunting, with the hunted animals available for cooking.

Littlbowbub's Ye Olde Cookbook: Enables your Sims to cook historical dishes, perfect for low-income Sims in older settings.

Basemental's Basemental Drugs: Although mainly known for adding drugs, it’s commonly used for its smoking features, letting your Sims smoke cigarettes and cigars like a proper Victorian gentleman.

MizoreYukii's Children/Toddlers Can Die of Anything: Allows your child Sims to die, useful if your storyline requires it.

Ayoshi's Phone to Notebook Replacement Mod: If phone elimination mods are causing issues, this mod might help. It replaces the mobile phone with a small notebook, which could pass for a mini Bible or an old-fashioned notebook.

JaneSimsten's Extra Cross-Stitch Patterns: Adds historically accurate cross-stitch patterns.

[hayatheauthor]

Everything You Need to Know About Writing Burns 

Burn injuries are a common wound type explored throughout various aspects of literature. Unlike stab wounds burns come in various different forms. Every burn cannot be the same. The substance, intensity, and contact level all play pivotal roles in determining the nature of the burn your character must endure.

I previously did a blog about everything you need to know about stab wounds, which you can find here, and decided to continue this series with burns. So, here's my guide on everything you need to know when writing burns. 

Understanding Burn Types

Burn injuries are as diverse as the situations that create them. To depict burns realistically, it's essential to understand the different types, each with its own unique characteristics and narrative significance. 

First-Degree Burns

First-degree burns are superficial injuries, often caused by brief contact with a hot surface, a mild sunburn, or scalding steam. These burns primarily affect the outermost layer of skin, the epidermis. While painful, they typically don't result in blisters. First-degree burns can serve as plot devices, adding realistic touches to scenes involving minor accidents or unexpected contact with hot objects.

Second-Degree Burns

Second-degree burns are more complex and can be painful and blistering. These burns affect both the epidermis and the layer beneath, the dermis. They can result from scalds, flames, or chemical exposure. In literature, second-degree burns are ideal for portraying characters' struggles with painful healing and the potential for scarring.

Third-Degree Burns

Third-degree burns are the most severe and life-altering. They extend deep into the skin, damaging or destroying not only the epidermis and dermis but also the subcutaneous tissues. These burns can result from prolonged exposure to flames, chemicals, or electricity. 

Third-degree burns can be used to introduce profound challenges and transformations in characters' lives. The road to recovery is long and arduous, often with permanent physical and emotional scars, which can be used for character development.

Intricately depicting these burn types in your writing adds layers of realism and authenticity to your characters' experiences.

Chemical Burns

Chemical burns result from contact with corrosive substances, including strong acids or alkalis. They are typically more complex to portray in literature due to the need for specific knowledge about the chemicals involved. The narrative implications can vary widely, from accidents in laboratories to criminal acts of violence involving acid attacks or other harmful substances.

Electrical Burns

Electrical burns occur when the body comes into contact with electric currents, leading to tissue damage. These burns are unique in that they may not manifest external signs immediately. They can be used in stories involving electrical accidents, lightning strikes, or even superhuman abilities.

Radiation Burns

Radiation burns, often linked to exposure to ionizing radiation, are less common but offer a distinctive narrative dimension. These burns can result from nuclear events, medical treatments, or even futuristic scenarios involving radiation-based technology.

The Burn Substance And The Impact It Plays 

When it comes to depicting burns in your writing, understanding the substance involved can significantly impact the narrative. Different substances, from scalding liquids to caustic chemicals, introduce unique challenges and effects on the characters experiencing them. 

Scalding Liquids (Hot Water, Coffee, etc.): Scalds are common in everyday life, often resulting from accidental spills or moments of carelessness. These burns are typically first-degree, affecting the outer layer of skin. In your narratives, scalding liquids can add a touch of realism to scenes involving kitchen mishaps, hot beverage spills, or even cruel pranks.

Flames (Fire, Gasoline, etc.): Flames lead to more severe burns, ranging from second to third-degree injuries. Whether it's a house fire or an encounter with a fiery adversary, burns from flames introduce high-stakes situations and profound character development.

Chemical Substances (Acids, Alkalis, etc.): Chemical burns, caused by contact with corrosive acids or alkalis, offer a myriad of storytelling opportunities. These burns are often disfiguring and can result from accidents in labs, criminal acts, or acts of revenge.

Electrical Current: Electrical burns may not manifest external signs immediately, making them unique in burn descriptions. These can result from electrical accidents, lightning strikes, or even futuristic scenarios involving advanced technology.

Radiation Exposure: Radiation burns, linked to exposure to ionizing radiation, are less common but provide a distinctive narrative dimension. They can result from nuclear events, medical treatments, or futuristic scenarios involving radiation-based technology.

Understanding the substance involved allows you to accurately portray the type and severity of a burn, making your narrative more authentic and engaging.

Sensory Descriptions and Variations

When it comes to writing about burns, it's crucial to engage your readers' senses. Burns evoke a range of sensory experiences and effectively describing these sensations can immerse your audience in the narrative. Here are some factors you should take into consideration: 

Pain: Burns are notoriously painful. Depending on the degree of the burn, the pain can range from mild discomfort to excruciating agony. Describing the character's pain, its intensity, and how it evolves over time can create a deep emotional connection with your readers.

Heat: Burns often generate intense heat at the injury site. Describe the searing heat or scorching sensation as it radiates from the burn. This adds realism to your portrayal of the immediate aftermath of the injury.

Smell: Burns can produce a distinct odour. The smell of burnt flesh or singed hair can be nauseating or evoke feelings of dread. Including sensory details related to smell can enhance the reader's immersion in the scene.

Texture: The texture of a burn can vary. First-degree burns might feel raw or tender, while second and third-degree burns can result in blistering, peeling, or even charring. Explore how the character perceives the texture of the burn and its impact on their daily life.

Sound: The sound associated with burns can be subtle or pronounced. The sizzle or hiss when a burn comes into contact with hot metal, or the muffled cries of a character in pain, can amplify the emotional impact of a burn scene.

Numbness: In some cases, particularly with severe burns, the area surrounding the burn might feel numb due to nerve damage. This contrast in sensation can be a powerful narrative element in a character's journey to recovery.

By using sensory descriptions and variations, you can transport your readers into the world of your characters and make the experience of burns more vivid and memorable.

Anatomy of a Burn Wound

To depict burns convincingly in your writing, it's essential to understand the anatomical aspects of a burn wound. Burns affect different layers of skin and underlying tissues, and the depth of the burn significantly influences the healing process and long-term consequences. Here's a closer look at the anatomy of burn wounds:

Epidermis: The epidermis is the outermost layer of skin and is primarily responsible for protecting the body from the environment. First-degree burns affect the epidermis and are characterized by redness, pain, and mild swelling.

Dermis: The dermis lies beneath the epidermis and is thicker. Second-degree burns extend into the dermis and result in the formation of blisters, intense pain, and possible scarring. These burns can be particularly challenging for characters due to the pain and extended healing process.

Subcutaneous Tissues: Third-degree burns, also known as full-thickness burns, penetrate the dermis and affect the subcutaneous tissues. These burns often result in charring, loss of sensation, and long-term scarring. Characters with third-degree burns may face life-altering challenges and lengthy recoveries.

Muscle and Bone: In severe cases, burns can extend beyond the subcutaneous tissues, affecting muscles and even bones. These deep burns are catastrophic, leading to a range of complications and necessitating complex medical treatment.

Understanding the anatomical layers affected by a burn allows you to provide accurate descriptions of the injury, its consequences, and the challenges faced by characters on their journey to recovery.

How Do You Treat A Burn Wound? 

In your writing, portraying the accurate medical assessment and treatment of burn injuries can add depth and authenticity to your narrative. Characters' survival and recovery often depend on prompt and effective medical care. Here's what you need to know about medical assessment and treatment for burn injuries:

First Aid: Immediate first aid is crucial when a character sustains a burn. This includes cooling the burn with cold running water, covering it with a clean, non-stick cloth, and seeking medical attention. Accurate descriptions of the first-aid process can create a realistic sense of urgency in your story.

Medical Assessment: Medical professionals categorize burns based on their depth and extent. The "Rule of Nines" is a common method to estimate the percentage of the body affected by a burn. Accurately describing how healthcare providers assess and categorize the burn can enhance the realism of your narrative.

Wound Care: The treatment of burn wounds involves cleaning, debriding, and dressing the affected area. This can be painful, especially for deeper burns. Your characters' reactions to this aspect of treatment can add emotional depth to your story.

Surgery and Skin Grafts: Severe burns often require surgery and skin grafts to promote healing and minimize scarring. Detailed descriptions of these procedures and their impact on your characters can provide insight into the challenges they face.

Rehabilitation: Characters recovering from severe burns may require extensive rehabilitation, including physical therapy and psychological support. These aspects can significantly influence their character arcs and the overall narrative.

By accurately depicting the medical assessment and treatment of burn injuries, you can make your characters' journeys to recovery more authentic and compelling.

Common Mistakes and Misconceptions

While writing about burn injuries, it's essential to avoid common mistakes and misconceptions. Authors may inadvertently perpetuate inaccuracies in burn treatment. Here are a few common misconceptions to be aware of:

Applying Ice: Contrary to common belief, applying ice directly to a burn can damage the skin further. It's essential to emphasize the use of cold running water for cooling.

Popping Blisters: Characters might be tempted to pop blisters, but this can increase the risk of infection. Describing the correct care for blisters can improve the accuracy of your narrative.

Neglecting Long-Term Effects: Burns can have lasting physical and psychological effects. Ensure your characters' struggles and recoveries reflect the long-term consequences of burn injuries.

By addressing common mistakes and misconceptions, you can create a more accurate and engaging portrayal of burn treatment in your writing.

What About The Psychological Impact?

Burn injuries don't just affect the physical well-being of characters; they also have a profound psychological impact. Understanding the emotional and mental challenges your characters face can add depth to your storytelling. 

Post-Traumatic Stress: Characters who have survived burn injuries may experience post-traumatic stress disorder (PTSD). Vivid flashbacks, nightmares, and anxiety can be depicted to illustrate their emotional struggles.

Body Image and Self-Esteem: Severe burns can alter a character's appearance, leading to body image issues and reduced self-esteem. Describing how characters come to terms with these changes can be a central aspect of their character arcs.

Fear and Anxiety: Characters may develop a heightened fear of fire, stoves, or any situation that could cause burns. Depicting these anxieties and how they impact daily life can create a compelling narrative.

Depression and Isolation: The emotional toll of burn injuries can lead to depression and isolation. Characters may withdraw from social interactions or grapple with feelings of hopelessness.

Coping Mechanisms: Characters often develop unique coping mechanisms to deal with the psychological aftermath of burns. Some may seek therapy, while others may find solace in creative pursuits or support groups.

By exploring the psychological impact of burns, you can delve into the complex emotional journey of your characters and illustrate their resilience and growth.

Looking At The Forensic Considerations

In crime fiction and mysteries, burn injuries can play a crucial role in forensic investigations. Authors should be aware of the forensic aspects of burns to accurately depict legal and investigative processes. Here are some essential forensic considerations when writing about burns:

Fire Investigation: In cases of suspicious fires or arson, investigators must determine the cause and origin of the fire. Understanding fire investigation techniques and terminology can help create a realistic portrayal of crime scenes involving burns.

Identifying the Victim: Severe burns can complicate the identification of victims. Dental records, DNA analysis, and other forensic methods may be required. Your characters can collaborate with forensic experts to solve such cases.

Evidence Preservation: When writing about burn-related crimes, emphasize the importance of preserving evidence at the scene. The mishandling of evidence can significantly impact the investigation's outcome.

Legal Implications: Explore the legal aspects of cases involving burns. Characters may need to navigate the legal system, testify in court, or seek justice for burn-related crimes.

Historical Cases: Referencing real historical cases involving burns or fires can add authenticity to your narrative. Research well-documented cases for inspiration or incorporate them into your story's background.

Understanding the forensic considerations related to burn injuries can make your crime fiction or mystery more compelling but it also helps ensure you don’t accidentally offend any readers by inaccurately representing real issues. 

I hope this blog on Everything You Need to Know About Writing Burns will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[skywalkr-nberrie]

I’m so done with the whining and groaning about the casting in TPM, like why not we get past the first glances, and focus on the story? Padmé was CANONICALLY a 14 yo girl, while Anakin was 9! It’s not that huge of an age gap, even if you “feel uncomfortable” with the visual aspect of it all. And at the same time, certain weirdos will think it’s more normal for this same 14 yo girl to have a crush on a 25 yo man, pushing 30?? Nah baby, what DOES make more sense, is for a kid to make a deep bond with another kid. And that’s exactly what happened with TPM Anidala.

Realistically, why would Padmé even acknowledge or give OW ‘special treatment’ beyond the gratitude of their business affiliation? She was only affiliated to the Jedi because of the Chancellor (at that time) Qui Gon and OW were assigned to her, to help aid the blockade in her homeworld. To Padmé, this is all only official business. However Padmé building a genuine connection to Anakin, a boy who has nothing to do with her work, her world, her position, and only sought to help her out of the kindness of his own soul and heart is a very valid reason to become attached to someone and feel a deep connection to them, that carried out for years to come in the future.

Anakin was interested in getting to know “Padmé”, he didn’t care that she was a “handmaiden” or a “farmer’s daughter.” Even after he found out she was a whole queen, Padmé was afraid that Anakin’s view of her would change, but it never did. He told her, he still likes her, if she still liked him (as a friend). Padmé was endeared by his genuine passion and optimistic view on life. Years later, Anakin is still that same kind and genuine kid, whom helped her in her times of deep despair but now she’s beginning to see him as a man. It was due to their already established deep bond/friendship/connection all those years that help take route in their love. It’s a gradual love story.

Nitpickers really gotta stop focusing on such trivial things like the casting ages “not adding up”, because It’s such an unserious complaint. Especially since in TPM, they’re not “in love” yet. They’re only two kids, forming their first real connection or bond to their fellow kindred spirit. Even Natalie P. says, that before meeting Anakin, Padmé was nothing but a “mask”. Completely void of her own desires and personality. She confirms that it was ANAKIN who broke her out of that repetitive cycle.

(Source: Star Wars Archives - 1999-2005)

[waywardsummoner46]

‧͙⁺˚*･༓☾ Sink Into the Darkness, My Light | One | ☽༓･*˚⁺‧͙

──•~❉ ᯽ ❉~•──

"Join us, my Light."

Two centuries ago, the ruler of the Light disappeared, plunging the universe into chaos and disrupting the sacred, unspoken balance of the universe.

The eight rulers of the Darkness never stopped looking for her; their obsession never once waning since she vanished.

Recently, they've sensed something. Never around long enough to pinpoint but so euphoric that it sings within their veins. And since meeting you, well... slowly they begin to understand why.

"Sink into the darkness with us."

──•~❉ ᯽ ❉~•──

「✦」 PAIRING - yandere ot8!ateez x (?)reader

「✦」 GENRE - ancient gods!au, fantasy!au, magical powers!au

「✦」 WARNINGS - mind control, gaslighting, dom/sub, subspace (of a sort), temporary amnesia, manipulation, YANDERE AND DARK THEMES

「✦」 WORD COUNT - 4,343

「✦」 A/N - Long time no see, huh...

「✦」 TAGLIST - Let me know if you'd like to be added :)

──•~❉ ᯽ ❉~•──

• one • two • three • four • five •

──•~❉ ᯽ ❉~•──

“Oh, Ji-Ah! You really didn’t have to, you know.”

   Holding your phone up to your ear, your eyes twinkled as they beheld the gifts your friend had gotten you.

  “Of course I didn’t have to, but it’s your birthday and I… I wanted to.” 

  She quietened towards the end of her sentence, and your heart clenched at the sincerity of the gifts and her words.

  “Ji-Ah…”

  Whilst you were at work that day, she must’ve used her spare key to your apartment and placed all of these presents on your living room table. The book you had been raving over for the past few months was sitting in a brand new giant teddy bear’s lap, all decorated and styled with a bow. A now-opened card sat neatly to their side, a picture of you both from a few years ago on its cover and the sweetest message inside. 

  As much as you appreciated everything and made sure to verbalise that gratitude to her, you both knew that the book was what held your attention the most. You had spent literal months searching for it, ‘The Hidden War Within.’

  When you’d first mentioned it to Ji-Ah, she’d laughed and asked if it was some sort of mindfulness, positive psychology type book. You’d dismissed her playfully, stating that she wasn’t necessarily incorrect but ignored the actual content of the book. ‘The Hidden War Within’ is a novel by a collection of authors over the course of centuries; it’s written from the first person perspective and tells the tale of a lady, every time, who aims to nurture the goodness in people and minimise the evil that could fester. The antagonist, a male whose origins vary, actively dismisses her aims, instead wishing to incite sin and discourse within the people of the land. The  descriptions of the constant battle between the pure aims of the protagonist and the insidious intentions of the antagonist captivated you in an inexplicable way; the applications this has to the human race as a whole really piqued your interest.

  Philosophical topics was something you dabbled in on occasion but the discussion between good and evil being a force out of the individual control of a person and, instead, determined by forces beyond comprehension did cause some discussion between you and Ji-Ah. Mainly, are people born evil or is it an environmental thing?

  The fact that it had been written from numerous authors over the span of centuries was another aspect that only deepened your intrigue. How had authors, all from different parts of the globe and periods of time, collectively written something akin to a timeline of a novel? Realistically, the only thing the stories within the novel had in common was that they discussed the same topic in eerily similar detail just with different historical influences, but that only reinforced the entire philosophical debate of are people born evil.  

  Undeniably, ‘The Hidden War Within’ had wormed its way as a repetitive topic within your friendship and that enabled your obsession with the novel to grow until you were borderline desperate to possess it for yourself.  

  So, as you held it in your hands, tears of unfiltered happiness streamed down your face silently. “Thank-”   “You are very, very welcome,” she cut you off. Then, there was a pause on her line. “To repay me, if you’re feeling oh-so indebted to me, you have to come out with us for a drink tonight.” 

  You knew that the tender moment wouldn’t last long, not with Ji-Ah’s aversion to lengthy emotional situations. 

   Still, you sighed. 

  “Ji-Ah, you know I don’t drink.” You’d had a few in the past, curious to try it out but it never became anything more than just that - a new experience. Alcohol was off-putting to you, it just never tickled your fancy and after seeing what it can lead to… well, fair to say you’d rather stay away from the stuff. 

  Ji-Ah, bless her, was very accommodating to this particularity of yours and always ensured that you were as comfortable as possible at any social event. Hence why her next words weren’t a surprise, “You don’t have to drink-drink, but I am going to have lots of drink-drinks… if that’s okay with you?”

  You laughed softly, shaking your head lightly even though you knew she couldn’t see you. “I trust you, Ji-Ah. I know you’re responsible with it. It’s Jee-Won that I’m dreading, you know how she gets.” 

  Everyone knew how Jee-Won got after a few drinks, especially at a bar where there were plenty of young, ‘attractive’ men to scope out. Her fascination with picking out another guy at every social event was sad because she could quite easily find someone to truly love her and be loved by her. Alas, you might have to resign yourself to her drunken activities and pray that whoever she invited back to the table tonight would be decent and not equally as unhinged as she could be.

  On the other end of the phone call, you could basically hear her thinking of how to convince you to go and as painful as it was to admit to yourself, her persistence was slowly grating at your resilience. 

  The teddy bear sitting on your living room table was practically begging you with its plastic, unseeing eyes. Ji-Ah had bought you all of those gifts and… it was only one night, wasn’t it? And it was your birthday? Surely, it couldn’t be that bad…

  A heavy, resigned sigh escaped your lips and Ji-Ah practically squealed over the phone. 

  “See you at eight! You will not regret this, (Y/N).”

  Somehow, you already did.

──•~❉ ᯽ ❉~•──

  It was her fault really that you were in this situation, really. She couldn’t possibly have expected anything different, right? 

  Maybe she did, maybe she expected you to resist, to battle it off as much as you could but her optimism would be her downfall. 

  The urge was just too mighty, the temptation too unbearable to deny and you, too unfortunately stubborn for your own good.

  Looking down at your tote bag, swimming with an array of different chocolates and a multitude of her favourite sweets, you grinned. She’d definitely kill you for buying these for her but words of thanks just weren’t satisfactory enough. Her gifts had quite literally made you cry; you needed to show her, rather than tell her, just how much you cherished her actions.

  Deep down, you knew that she knew that. It was also just fun to see the outrage on her face when you presented her with chocolates or some flowers whenever she’d gone out of her way to spoil you. 

  Deep down, you also knew that she knew that you knew she secretly likes her efforts being appreciated so much and it always makes for a phenomenal movie night whenever you shower her with a myriad of sweet and sugary specials (not that she’d ever admit to that).

  There was something missing from your horde of tradeable valuables and that was, in fact, a palette of different coloured flowers. With a subtle mischief to your stride, you made your way to your most trusted, dear florist ‘Life Rose On’.

  The name never fails to make you chuckle.

  On Jung-Hee owned the beautiful establishment and had been a friend of sorts since you moved to the area five years ago. When moving into your then-new apartment, you decided that the first step to making the space your own was to liven up each room with different colours and types of flowers. 

  Your idea worked like a charm and really helped to keep you motivated when unpacking. Jung-Hee very kindly took the time out of her day to help you hand select each individual flower (and entertained your ceaseless indecision); from that day, you always made sure to drop by whenever you were in town to say hello and to drop off some soju. The old lady was very open about her love for the stuff, even if you had no interest in it. 

  If it was for Jung-Hee, there’s not a lot you wouldn’t do. You loved the elderly lady like your own grandmother and would also lend a helping hand should she need it. 

  She was similar to you in the way that she always repaid you through gifts for your considerate actions - typically a free bouquet of your favourite flowers. 

  After a nice stroll through town, you reached the florist. 

  Unsurprisingly, the window display was stuffed to the brim with a myriad of floral beauties that looked like Mother Nature’s mosaic. Jung-Hee seriously knew how to capture an onlooker's attention and, judging from how many people you could see in the shop beyond the glazed window, she’d succeeded immensely.

  You crossed the street, navigating the crowd of people on the pavements. 

  You got so caught up in the masses of people that you failed to notice the raised step at the entrance of ‘Life Rose On’ and, ultimately, began falling to your doom.

  Letting out an embarrassing squeak of surprise, you braced yourself for the impact with the floor that… never came.

  Peeling your eyes open in mild confusion,  you barely suppressed your gasp of shock at the kind eyes of the stranger that had caught you. You both stayed in whatever position he’d caught you in - you were too out of it to process that properly - and took the opportunity to analyse each others’ face.

  He had the warmest eyes you’d ever seen, a gorgeous galaxy of chocolatey velvet wrapped up in his irises. His lips, parted ever so slightly and downturned, were rosey red and were porcelain in their appearance, flawless and beautiful. Delicate waves of dark hair lined his forehead and it took all of your energy not to reach up and smooth a stray strand out. 

  It felt like hours had passed with you looking into his eyes and examining his face. You couldn’t get enough, there was something so captivating about him, something that made you want to know more-

  Someone cleared their throat. Both you and the stranger were shocked out of your respective reveries and a light blush dusted your cheeks. The stranger seemed completely composed, in contrast. The person who’d cleared their throat was a customer trying to leave through the doorway but found it difficult with two humanoid obstacles in the way. You were happy to see that the lady wasn’t a regular, so she probably wouldn’t bump into her on another occasion. 

  Huffing at your distracted apology, the lady moved past you and the stranger and out of the florist. Now that you and the man were both standing by yourself and pointedly not tripping over some violent, unseen step, you struggled to maintain a neutral expression when you saw how tall he was compared to you. 

  He was easily six foot tall, and using the door as a substitute measuring tape you guessed that he might be slightly taller than that as well. You cursed yourself internally. Of all the people that had to see and catch you, why did it need to be this man? 

  “I am so sorry, are you alright?” You questioned with an apology written all over your face. 

  And, oh, if you thought his face was perfect, then his voice was enough to cause you to ascend. “I’m perfectly fine, are you alright?” how were you supposed to keep composed when his voice sounded like that. 

  Smiling self-deprecatingly, you responded, “I’m perfectly fine. Thank you for that.”

  “Don’t worry about it.” And you didn’t, not really. Not when he assured you so confidently that there was absolutely nothing to trouble yourself with. “Tell me your name.”

  Instinctually, you went to tell him but something held you back. Possibly the way he’d said it - a demand rather than a question. Possibly something else. Although, It struck you as odd that that was how he’d go about that topic but figuring it was largely irrelevant and most likely you were reading too much into things you gave him your name.

  “(Y/N),” he repeated, your name sliding off his tongue so heavenly. “My, how interesting. I used to know someone with the same name.”

  Your eyebrows raised in polite surprise. “Oh, really?”

  He smiled down at you but there was a pinch of something unpleasant weaved into his expression, “Yes. A very compelling woman, was she.” His sudden emotion made you mildly uncomfortable, feeling as though you’d unintentionally uprooted some harsh forgotten memories. 

  Before you could say anything, though, the man bowed to you. “Lovely to make your acquaintance, (Y/N). My name is Yunho.”

  Yunho. 

  You finally had a name to match his angelic face. It suited him perfectly.

  Smiling, a genuine, light-hearted one this time, you mirrored his bow before you both straightened and simply stood there, on the doorway to the shop, and gazed at each other silently. There was something about this man that made you search his eyes, the very deepest, darkest parts of his pupils to find his soul. You didn’t know what it was, but something inside of you said that Yunho was very unique.

  Very unique indeed.

──•~❉ ᯽ ❉~•──

  Yunho and you had spoken for another twenty minutes before he’d had to leave.

  The entire time, you were hanging off of his every word and couldn’t quite escape the magnetism of his irises. There was something so captivating with the way he spoke; the words he chose, the tone in which they were woven but also how calming his deep voice was. And, oh, his eyes.

  You couldn’t stop thinking about them. 

  Glancing at your phone, the time read 13:26. That left you about six and a half hours before you had to be there, five hours before you had to get ready, four hours before you got some food and only two hours and a half before you went home. 

  Flowers were the last thing on your list, so once you’d picked out a personalised bouquet for Ji-Ah you’d be able to browse whatever other shops tickled your fancy and then go home, to get ready for your “night out”.

  The more you thought about it, the more you regretted your decision to go. Realistically, you’d most likely have a phenomenal time if you allowed yourself to indulge in the experience. But sitting on your living room table was the one thing you’d wanted for months; it was finally in your grasp and you couldn’t even read it until tomorrow (because you weren’t stupid, you won’t be leaving the club until two in the morning).

  Helplessly, you sighed. There was no way to escape your fate. It was inevitable. At least the flowers were pretty.

  ‘Life Rose On’ was, for lack of a better word, a labyrinth. The only reason you could get around as quick as you could was because you’d navigated its maze-like twists and turns for five years and, even then, when Jung-Hee decided that the shop was getting “too predictable”, she’d reorganise the entire shop so that any hope of save journey was futile. The woman loved to keep people on their toes, her distaste for monotony something you admired contrary to the perilous jungle that was her shop.

  The shop was bigger than it appeared; the bleak outside of the shop didn’t do its magnificent interior any justice. As soon as you entered the florists, an archway made entirely of Japanese Wisteria, Mandevilla and Clematis enveloped you with their sweet smells. Each climbing plant twisting so delicately around the foundations of the archway and certain pieces dangling down in a still, flowery downfall; the occasional petal falling to the ground made walking into the shop feel like you were stepping into another realm with only nature’s best caressing you lightly on their way down to join those who fell before them. 

  After the winding walkway, there was the option to take a left or a right turn. Both laid out to be the start of a rainbow - the beginning of each row included dark red roses, amaryllis to name a few and continued down the line with plants including sunflowers, bluebells and lavender. 

  On Jung-Hee loved a spectacle. She was only just getting started.

  The overall layout of the shop was circular. So, after making your choice of left or right, you would be brought to a turn that took you further towards the centre of the shop. Instead of beginning from red and going down the rainbow, Jung-Hee intricately places each and every flower on these stands to mirror the symbol of whatever season of the year it was. For example, for Valentine’s day, she had gathered the flowers and created a phenomenal display of plants made to look like a landscape of a couple sitting on a mountain, overlooking the horizon. 

  What made ‘Life Rose On’ so unique is that Jung-Hee’s life quite literally revolved around the shop and had dedicated her life to making the shop thrive. It was her family heirloom in a way. The building itself had been in her family for generations but she’s been the first to utilise it to its full potential and allow her family home to bloom to its fullest extent. 

  It was that same ideology that inspired her to make it a florist. Ever the poet, she said that every plant or flower sold was pollen and her customers were the bees, helplessly drawn to its beauty and coming to crave its offerings as sustenance. 

  “You will always be my favourite bee, my dear,” she always said. 

  “And you’ll always be my favourite flower,” you’d respond with an unrestrained smile on your face. 

  After the landscape aisles of the shop, you’d finally reach the centre where the cash register was. Dotted around it, however, were individual stands and displays of flowers that may not have been considered as suitable for the display chosen that month or were simply too big to be practical anywhere more confined. 

  And sitting at the cash register, looking effortlessly in her element would be Jung-Hee. 

  Except… she wasn’t there. A young man was sitting there instead, one you’d never heard of before, let alone seen. Jung-Hee had no children nor did she have any nephews of close relations to anyone of his description.

  You hadn’t seen his face yet, having turned right after the archway you’d reached the centre from behind the cash register so his back was turned to serve the small line of customers there, but you found it slightly odd that Jung-Hee wasn’t at the register she seemed to be glued to six days a week (it used to be seven but you managed to convince her to take Sunday off to look after herself, rather than others for once).

  Biting your lip slightly, you looked down at the collection of blue hyacinths and forget-me-nots you’d collected for Ji-Ah and contemplated coming back at a later date. There was nothing necessarily wrong with having a stranger in Jung-Hee’s place but you had brought along some small things you wanted to give her today and, evidently, you wouldn’t be able to do that. Ji-Ah would still have her flowers and chocolates and whatnot, but at a later date. 

  Thinking about it, it made more sense to kill two birds with one stone at a later date. You wouldn’t be able to give Ji-Ah the flowers until after they’d died anyway due to your schedules being unaligned after tonight and the florist you were looking for was nowhere to be seen.

  Then again…

  “Daisies would work wonderfully with those.” 

  You jolted and looked up to meet the eyes of one of the prettiest, most angelic people you’ve ever seen in your life. Internally, you were mildly shocked at how such a smooth, deep voice could match such an innocent face and yet, somehow the low baritone of his voice was as pleasurable to listen to as his eyes were to gaze into. 

  The irony of his rosy red lips wasn’t lost on you. 

  The man had a birthmark on his cheek, strands of parted black hair framed it like the most cherished picture. Because this man was a work of art, and he deserved to be framed for eternity. 

  Two men. Two heart-wrenchingly handsome men had crossed paths with you in less than twenty minutes. The first one you’d made a fool of yourself to. You’d be damned if you ruined this chance to redeem yourself, even if only to make yourself feel better,

  Meeting his eyes, you took a subtle breath to steel your nerves. “Do you think so? I was debating between purple tulips or just buying them as they are, but I see where you’re coming from.”

  Alright, a slight ramble perhaps but at least you didn’t stumble over your words (or your feet like with Yunho).

  The way his eyes twinkled with sudden interest gave you a bit of confidence. “An interesting choice, but don’t you think the contrast of the daisy’s white petals against the darker purples and blues would only add to the beauty of them all?”

  Contemplatively, you looked down at your hands and imagined the picture he’d painted in your hand. It did make sense, actually. As he said, the contrast between dark and light made a very balanced, very alluring image inside your head. “Ah, you know what? You’re right, that would look lovely.”

  He leant back (you didn’t register when he’d closed a slight distance between you), and looked proud of himself. Dare you say it, the pleased expression he wore was adorable. 

  “I’m glad I could help. My name is Yeosang.”

  Yeosang.

   Just like when you learnt Yunho’s name, something felt so instinctively right about that. Not only did the name suit him perfectly but as though something thrumming underneath your skin calmed after learning his name. 

  “(Y/N), it’s nice to meet you. Thank you for your help, Yeosang-ssi,” you bow deeply so that he avoids seeing the blush dusted across your cheeks. You don’t know what it was, but there was something going on with you today. First Yunho, now Yeosang. Two complete strangers that had affected you more in two minutes than a lot of people had in two years. 

  “You’re very welcome, (Y/N).”

  Yeosang helped you to find however many daisies you wanted (six) and walked you to the register, all while making small talk. It was only when you saw him stand behind the counter rather than in the queue did you make the connection between the mysterious new worker and this kind stranger. 

  Lips parting softly, you placed the flowers into his outstretched hand for him to place them into the bouquet wrapping. “How long have you worked here?”

  His hands worked the ribbon around the patterned wrapping so expertly that you wondered how much practice he’d had at this. “I’ve been here for about two years this month.”

  Two years? Impossible, you would’ve run into him at some point with how frequently you visit the shop. And even if by the very small chance that hadn’t occurred, Jung-Hee would’ve told you of such a development. 

 “How come Jung-Hee never mentioned you?”

  At your question, his hands slowed momentarily but picked up from his slight hesitation as though nothing had happened. “You know Jung-Hee?”

  “I’ve known her for nearly five years now. She’s always been wonderful company and an even better friend.”

  He hummed thoughtfully, “I find it odd she never mentioned me, I must admit.” Finishing wrapping the flowers up, he made eye contact with you again and the sudden tenseness and mild hostility you found in them caught you off guard. “She and I have a very complicated relationship but one that I cherish, nonetheless.”

  You waited for a few seconds for him to elaborate but once he remained silent for the same amount of time, it became clear he wasn’t going to answer further. 

  A part of you still wanted to know where Jung-Hee was today, and you were about to ask when he reached down to something on the shielded side of the counter, hidden from your view. 

  Bringing his hand up, you saw that he’d picked a singular purple rose. He twirled it in his hand for a bit, admiring its rare beauty, before making eye contact with you once again. Slowly, as though giving you the opportunity to step back should you wish, he raised the rose to your head and tucked it gently behind your ear.

   His hand lingered by your cheek for a second longer than it should’ve, especially considering the short amount of time you’d known him… but, you’d be lying if you said that closeness, even the faintest amount of it, wasn’t the best thing you’d experienced in a long, long time. 

  Appearing reluctant, he pulled back. “Goodbye, (Y/N). I hope I’ll see you again soon.” His voice was a whisper but carried the weight of a winter wind. 

  You couldn’t help the blush that spread across your cheeks. If the slight twitching of his lips was anything to go by, he was well aware of the effect he had on you. 

  You met his eyes, the look he was giving you so tender it made saying this goodbye almost unbearable. “Goodbye, Yeosang.”

  After leaving the innermost circle of the shop, you felt like a weight was settling off of your lungs. You didn’t even recognise how difficult it had become to breathe there, nor had you recognize how unexplainably painful it was to depart from Yeosang only after knowing him for fifteen minutes.

    A rush of something euphoric had spread through you after he’d given you the flower, and coupled with the barest touch to your cheek your emotions had been sent tumbling. You stepped out of the shop and, for the first time in a long time, felt like there was something more to your life again. As though you’d found your purpose.

  Oh, how little you knew.

──•~❉ ᯽ ❉~•──

[thewriteadviceforwriters]

The Writer's Guide to Mastering Dialogue

You've heard it a thousand times—show, don't tell. One of the most effective ways to do this in your writing is through dialogue. Dialogue helps bring your story and characters to life, propels the action forward, and engages readers. But crafting realistic, compelling dialogue is an art form that takes practice. Don't worry, Rin's got you covered. In this guide, you'll discover techniques for writing dialogue that sparkles. You'll learn how to make conversations sound natural, differentiate character voices, convey subtext and emotion, and use dialog for exposition. By the end, you'll be writing dialogue with confidence and watching your characters come to life on the page. So grab a cup of coffee or mocha (my favorite), settle in, and let's chat about the art of conversation.

Why Dialogue Matters in Your Novel

Dialogue is one of the most powerful tools in a writer's arsenal. It brings your story to life and creates realistic characters that readers can connect with. If you want to master the art of fiction writing, you need to know how to write compelling dialogue.

Dialogue reveals character and moves the story forward. Through dialogue, readers get a sense of your characters' personalities, backgrounds, and motivations. It's a chance to show, not tell, what your characters are like. Dialogue also propels the action and builds suspense, as characters chat about the events unfolding in the story.

There are a few keys to crafting believable and engaging dialog:

•Make it sound natural. Listen to real conversations for inspiration. Dialogue should flow and feel spontaneous, not stiff or forced. Use contractions, interruptions, and imperfect speech.

•Give each character a unique voice. The way people speak depends a lot on their background, education level, profession, and personality. Capture the subtleties of different speaking styles to bring your characters to life.

•Use dialogue tags and actions. Adding "he said/she said" and descriptions of characters' actions and expressions during conversations helps readers keep track of who's talking and provides context. Use a variety of tags like asked, exclaimed, and murmured.

•Move the conversation along. Keep dialog concise and avoid unnecessary filler words. Get to the point so readers stay interested in what's being said. Dialogue should always move the story forward.

•Show tension and conflict. Interesting conversations often involve disagreement, sarcasm, arguing, or questioning. Create tension through dialogue to keep readers engaged.

With the right techniques, you can make dialogue a pivotal part of your story. So listen, observe, and practice the art of great conversation - your readers will thank you!

Developing Distinctive Character Voices Through Dialogue

To develop distinctive voices for your characters, focus on how they speak. Dialogue is one of the best ways to bring your characters to life and propel your story forward.

Pay attention to your characters’ backgrounds, experiences, education levels, and attitudes. All of these factors influence how people talk in real life, so apply that to your characters. Maybe your wise-cracking character uses a lot of humor and sarcasm, while your shy character speaks hesitantly in short sentences.

Listen for speech patterns, accents, and catchphrases in real conversations and note them for inspiration. Capture the rhythm and flow of natural dialogue.

Give each character their own vocabulary based on their interests, jobs, and lifestyles. The tech geek’s dialogue will differ from the history professor’s.

Establish characters’ voices from their first lines of dialog. Look for a memorable way for them to express themselves. The impatient character may frequently use phrases like “spit it out already!” while the pessimist’s go-to is “what could possibly go wrong?”

Use dialog to reveal aspects of characters’ personalities and backgrounds without telling readers directly. Show, don’t tell. For example, a character who says “please” and “thank you” in every sentence likely has a polite and courteous nature.

Read dialogue aloud to make sure it sounds natural. Get friends or family members to read different characters’ lines. If anything sounds off, rework it.

With practice, crafting distinct voices for your characters through dialog will become second nature. Your characters' voices, conveyed through the words they say and the way they say them, will make your story come alive for readers. So take the time to get to know your characters by how they speak. Their voices are worth developing.

Using Dialogue to Reveal Character

Reveal Character Through Dialogue

Dialog is one of the best ways to reveal details about your characters and show their personalities. Carefully crafted conversations can expose a character's background, values, education level, and more without telling the reader outright.

As your characters talk, think about what kinds of words and phrases they would use based on who they are. An older British gentleman will speak very differently than a teenage skateboarder from California. Listen to people with similar backgrounds and life experiences to your characters for inspiration.

Also consider:

The rhythm and cadence of their speech. Do they speak quickly or slowly? Formally or casually?

Their vocabulary. Does your character use complex words and jargon or simpler language?

Grammar and pronunciation. Does your character follow the rules or have their own way of speaking?

For example, here's a short exchange that shows the contrast between two characters:

Jenny (teenage skateboarder): "Hey, you gonna drop in on the half pipe today or just pose by the ramp again?"

Mr. Edwards (older British gentleman): "I'm afraid vert skating is a young man's game, my dear. I'm quite content to watch you whippersnappers from the sidelines."

Even from this brief conversation, you get a sense of each character's age, background, and attitude without the author explicitly telling you. Mastering the art of subtext in dialog will make your stories come alive and allow readers to discover the depth in your characters for themselves.

Driving the Plot Forward With Meaningful Dialogue

To keep your readers engaged, your dialog needs to propel the story forward. Meaningful exchanges between characters should reveal information, create conflict, and raise the stakes.

Share Relevant Details

Use dialogue as an opportunity to share important details about the characters, their relationships, backstories, and the world they inhabit. For example:

“Did you hear they’re raising tuition again next semester?” Jenny asked.

“Ugh, not again,” Mark groaned. “How are we supposed to afford another five percent?”

This exchange informs the reader that Jenny and Mark are college students struggling with the costs. Look for natural ways to slip in context through dialog without sounding forced.

Create Conflict

Interesting stories thrive on tension, disagreement, and clashing perspectives. Have your characters bicker, argue, and challenge each other. For example:

“You never listen to me!” Alice shouted. “You always have to be right.”

“I’m not trying to be right,” Brian retorted. “I’m trying to protect you, but you’re too stubborn to see that.”

The quarrel fuels the underlying conflict in their relationship and keeps readers wondering how they’ll resolve their differences.

Raise the Stakes

Use meaningful dialog at key moments to increase the urgency, suspense or importance of what’s happening in the story. For example:

“The test results came back—it’s not good news,” the doctor said grimly.

Not only does this distressing announcement raise the stakes for the character’s health issue but it also creates a cliffhanger, leaving the reader wondering about the diagnosis and anxiously awaiting more details.

Meaningful dialog is essential for crafting an engaging story. Use it to inform readers, create conflict between characters, raise the stakes, and propel the plot toward a climax. With practice, writing authentic dialog will become second nature.

Creating Tension and Conflict Through Dialogue

To keep readers engaged, effective dialog should create tension and conflict between characters. As in real life, the conversations in your story should have stakes and push characters outside their comfort zone.

Show underlying tensions

Have characters disagree and argue to reveal underlying tensions. For example:

“You never listen to me. It’s always about what you want.”

“That’s not fair and you know it. I’ve sacrificed a lot for this family.”

This type of emotionally-charged exchange shows the couple has deeper issues to work through regarding resentment and lack of appreciation.

Create awkward situations

Put characters in awkward situations through dialog to ramp up the tension. For example:

“How’s the job search going?”

“Um, still looking. The market’s tough right now.”

“Really? I heard your company is hiring. I put in a good word for you with some people I know there.”

“Oh. Thanks, I guess.”

The second character is now in the difficult position of admitting the job search isn’t going well and they don’t actually have any leads. This cringeworthy moment translates the tension to readers.

Issue challenges and ultimatums

Have characters challenge each other by issuing warnings, demands or ultimatums, for example:

“If you walk out that door, we’re through. I mean it this time.”

“Don’t threaten me. You need me more than I need you.”

Throwing down the gauntlet in this way forces characters to back up their words with actions, which heightens the tension and conflict. Readers will keep reading to see who comes out on top!

Using dialog that highlights tension, creates awkwardness, and issues challenges is a great way to craft page-turning scenes that keep readers on the edge of their seats. Mastering the art of writing gripping dialogue is key to writing a story that resonates.

Avoiding Common Dialogue Mistakes

One of the biggest mistakes new writers make is crafting unrealistic or clichéd dialog. Your characters’ conversations should flow naturally and sound believable to readers. Avoid these common dialog doners:

Repeating Characters' Names

In real life, we rarely use someone's name in every sentence when talking to them. Only use a character's name when beginning a new exchange or for emphasis. Repeating names too often makes the dialog sound unnatural.

Overusing Exposition

Don't have characters explain things solely for the reader's benefit. Only include exposition that makes sense for the characters to actually say to each other. Find other creative ways to convey important backstory or worldbuilding details.

Forgetting Emotion

Dialog without emotional cues like facial expressions and body language can seem flat. Use emotive verbs and adverbs to show how the lines are delivered. For example, "she exclaimed" or "he muttered angrily." Also describe characters' physical reactions and behaviors to further bring the scene to life for readers.

Talking in Complete Sentences

Real conversations are often choppy, filled with interruptions, tangents, and imperfect grammar. Vary your sentence structure and length. Use fragments, run-ons, and breaks when appropriate. Not all dialog needs to be in perfectly punctuated full sentences.

Clichéd Phrases

Certain overused phrases like "it's quiet...too quiet" or "we've got company!" indicate lazy or clichéd writing. Come up with original ways for your characters to express themselves that fit with their unique personalities and situation. Avoid reusing trite or familiar sayings.

With practice, writing natural-sounding dialog will become second nature. Pay close attention to how real people speak, and aim to replicate the flow and cadence in your writing. Follow these tips, and your characters' conversations will truly come alive on the page!

Formatting Dialogue Correctly

When writing dialog, formatting it correctly is key to making it clear and compelling for readers. Here are some tips for formatting your dialogue effectively:

Use quotation marks

Place all dialogue between double quotation marks (“”). This indicates the character is speaking. For example:

“Hello,” she said. “How are you today?”

Start a new paragraph for each new speaker

Having each character's dialog on its own line makes it easy to follow who's talking. For example:

“Did you finish your homework?” Mom asked.

“I'm almost done,” I replied. “Just have some math problems left.”

Describe the speech

Use speech tags like "said", "asked", "replied" to indicate how the dialog was delivered. For example:

“I don't want to go to bed yet,” the little girl whined.

Punctuate properly

Place punctuation such as periods, commas, question marks, etc. within the quotation marks. For example:

“Where are you going?” she asked.

I said, “To the store. Do you need anything?”

Use beats

"Beats" are actions or descriptions that replace the "he/she said" tags. They make dialog more engaging and help set the scene. For example:

"I'm tired." John yawned and rubbed his eyes.

"Then go to sleep." Mary folded her arms, annoyance in her tone.

Avoid over-tagging

Don't tag every single line of dialog with "said" or the character's name. Let context and formatting do some of the work for you. For example:

"Did you talk to Mom today?"

"Yeah, she called this morning."

"What did she say?"

"That she'd be home in time for dinner."

Following these guidelines will make your dialogue clear, compelling, and help bring your story to life. Readers will appreciate dialog that flows naturally and is easy to follow.

Using Dialogue Tags Effectively

To write effective dialog, you need to master the use of dialog tags. Dialog tags are the parts of speech that indicate who is speaking, such as “he said” or “she asked”. When used properly, dialog tags can enhance your story without distracting the reader.

Choose tags that match the tone

Pick dialog tags that match the emotional tone of the dialog. For example, use “he whispered” for hushed speech or “she shouted” for loud, angry speech. Avoid reusing the same generic tags like “he said/she said” repeatedly, but don't get too creative either. Stick with simple verbs that imply the manner of speech.

Use action tags

Action tags describe a character's physical actions or expressions while speaking. For example, "“I’m not going,” he shook his head.” or ““What a day!” She ran her hands through her hair and sighed.” Action tags bring dialog to life and help the reader visualize the scene. They also give you an opportunity to reveal character details.

Drop the tag when implied

Once two characters establish a back-and-forth dialog, you can often drop the dialog tags altogether. As long as it's clear who is speaking, the tags become unnecessary. For example:

“Did you finish your homework?” Mom asked.

“Most of it,” I said.

“Most of it? What didn’t you finish?”

“Just some math problems. I’ll do them after dinner.”

“You’d better. I’m checking it tonight.”

After the first two lines, the reader understands that Mom and I are the speakers, so the remaining dialog does not need tags. Dropping implied tags creates a snappier feel and prevents repetitive, unnecessary tags.

Using a mix of well-placed dialog tags, action tags, and implied dialog, you can craft seamless conversations between characters that flow naturally, without distraction. Keep practicing and listening to real-world conversations for inspiration. With time, writing compelling dialog will become second nature.

FAQs About Writing Dialogue

When writing dialogue, questions inevitably come up. Here are some of the most frequently asked questions about crafting realistic and compelling dialogue.

Do I use quotation marks or italics?

In fiction writing, use quotation marks (“”) to denote direct speech. Only use italics for thoughts or emphasis. Quotation marks allow the reader to easily distinguish between dialog and narration.

How do I avoid “he said, she said”?

To prevent repetitive “he said/she said” tags, use action tags that describe the speaker's actions or expressions. For example:

“We should get out of here,” he whispered, glancing around nervously.

She slammed her fist on the table. “Why didn’t you tell me sooner?”

You can also drop the dialog tag altogether if the speaker is clearly identified through context or action. The dialog itself and how you structure the conversation can imply the tone.

How do I make dialogue sound natural?

Pay attention to the cadence and rhythm of actual conversations. Dialog should:

Sound like natural speech, not formal writing. Contractions are okay!

Have an easy back-and-forth flow. Keep responses concise and avoid monologs.

Capture unique speech patterns based on a character's background and personality.

Include interruptions, changes in subject, and imperfect grammar. We don't speak perfectly in real life!

What are the rules for punctuating dialog?

Use a comma between the dialogue tag and the dialog: “Hello,” she said.

If the dialog tag comes before the dialog, end it with a comma: She said, “Hello.”

If the dialogue is interrupted by a dialog tag, use commas to separate it from the tag: “Hello,” she said, “how are you?”

Use a period to end a sentence of dialog: “Hello.”

Use a question mark for a question: “How are you?” she asked.

Use an exclamation point for excitement or emphasis: “Wow!” he exclaimed.

Start a new paragraph each time the speaker changes.

Following these tips will have you crafting dialog like a pro in no time. Let me know if you have any other questions!

Additional Tips For Writing Dialogue

Keep it concise

When writing dialog, less is more. Keep exchanges brief and avoid long speeches. Readers will get bored quickly if characters drone on and on. Focus on using just enough dialog to convey key information or advance the scene.

Use natural language

Write dialog like people really speak. Use casual language, contractions, slang, and imperfect grammar. Drop words like “um”, “like”, and “you know” into conversations to make them sound authentic. Read your dialog aloud to ensure it flows naturally. If it sounds stilted or awkward when spoken, it will come across that way to readers as well.

Share emotions

Dialog should reveal characters’ emotions and attitudes. Have characters express feelings like excitement, frustration, fear or affection through their word choice, tone, and body language. For example, a character who sighs, rolls their eyes or speaks in a sarcastic tone conveys a very different emotion than one who smiles, makes eye contact and speaks enthusiastically.

Keep it relevant

All dialog should serve a purpose, whether to reveal something about a character, advance the plot or set a mood. Avoid “empty” exchanges that fill space but add no value. If a conversation seems pointless or dull, cut or rewrite it.

Use action and description

Don't rely solely on dialog to carry a scene. Include action and descriptions to give readers a more complete picture. For example:

"Where were you?" Anna asked.

Mark sighed and ran his fingers through his hair. "I got stuck at work. I'm really sorry."

The description of Mark's actions and appearance helps the reader understand his emotional state and see the full context of the conversation.

Leave room for interpretation

Don't have characters over-explain or outright state their feelings and motivations. Leave some details to the reader's imagination. For example, instead of:

"I'm angry that you lied to me," Amy said angrily.

Try:

Amy folded her arms and glared at him. "You lied to me."

The emotional context is clear without having to explicitly state Amy's anger. Subtlety and nuance in dialog make for a more engaging read.

Conclusion

So there you have it, the keys to mastering dialogue/dialog in your writing. I hope my extensive research was enough information for you all. Focus on listening to the voices around you, develop unique voices for your characters, keep your exchanges tight and impactful. Remember, dialog should always move the story forward, not just fill space on the page. With practice, writing compelling dialog can become second nature. Now go eavesdrop on conversations, study your favorite books and shows, and get to work crafting those conversations. Your characters and readers will thank you for it. Keep at it and before you know it, you'll be writing dialog with the best of them!

(Keep in mind I used both dialog and dialogue just in case there's a few who get annoyed with that.)

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Copyright © 2023 by Ren T.

TheWriteAdviceForWriters 2023

[olomaya]

Oops! All Updates (and Fixes)!

I've got a bunch of fixes and updates to some of my older mods and I decided to release them all in a batch. Please read below for the details to see what has been changed and then links to the files to redownload and replace in your game.

If this is your first time downloading, obviously you'll need to download everything and you should read the original post for more information.

As always, let me know if any issues and enjoy!

Voidcritters Mod

Fixed Read Card Stats animation

Added a new interaction to allow your sims to talk about and compare their cards. Sims will build relationship, gain skill and train their critters a little as well (the cards will vibrate as the critters train up)

Giving a rare or limited edition card to another Sim will yield a higher relationship boost.

Previously there was no way to get all 22 cards in the game as you only get one of the two Limited Edition cards. I've fixed that by adding the chance to also get Limited Edition cards by reading a Voidcritters comic book. There's a 25% chance if you have less than level 8 skill and 45% if 8 or higher.

Now that Sims can collect all cards, I've added a new skill opportunity. Sims that collect all the cards will get the Critter Collector reward and going forward their cards will be worth more.

Download MAIN file here and updated card file here

Student Council Mod

The Collect Signatures interaction now has a more appropriate animation of a sim collecting signatures

Increased the chances that more inactive council members will autonomously raise funds and collect signatures

The campaign tracker will no longer show blank information after you've closed out and restarted the game

All campaign icons will now show up in the notifications

Fixed an issue where the Sim would reset when submitting signatures for the Teacher Pay school campaign

Reduced the skilling level for council roles while at the afterschool activity

Download updated MAIN here

Hang Out Mod

Children and teens can now hang out in groups. Simply click on one of the two Sims hanging out and select “Hang Out with X and his/her friends” (you need to have LTR 30 or higher)

A child or a teen hanging out can also invite another friend to join them

I think you can have up to 8 Sims given that I have 7 in the photo and there's still room.

Added liking VFX and speech bubbles when hanging out

Download here (all ages version here)

Washer+Dryer Combo

I created a new mesh for the washer/dryer so it slots under the counter like dishwashers and trash compactors.

Added a stacked washer/dryer tower. This still uses the same script as the single appliance so you can’t run the washer and the dryer at the same time. 

Changed out the pod and detergent box meshes

Important: If you have the old version, you need to replace with this or remove it. You can't have both the old version and this one in your game or it will CTD. Also, the script is in the Combo file so you still need to download both if you only want the stacked tower version.

Download here (stacked version here)

Private Clinic (BASE)

The clinic controller will now push Sims that have certain traits as well, such as Neurotic, Commitment Issues, Insane, Hotheaded, etc.

Once pushed to the clinic, Sims will find a chair to sit in and then wait for an hour to be seen by a doctor. After an hour, they will stop waiting with an annoyed message (you can still see them though).

Waiting patients now identified with a custom headline effect

Prenatal vitamins no longer have a weight loss effect (as I'm putting a similar feature in the breastfeeding aspect of the obgym module, it's not needed here)

Updated the Buy and Sell Pills animations

Updated the comically large horsepill mesh to make it smaller and more realistic. The animation has been updated as well

Updated the write prescription animation

Updated the apply ointment animation

Download updated MAIN here

Private Clinic - Psychiatry

Updated the therapist session animations – therapist will now take more notes to jot down how crazy you are

Updated the patient records layout to avoid text overflow

Sims can now do their coping mechanisms (breathing exercises and mindfulness) while sitting

Important: You need to download the updated Private Clinic MAIN file above as well if you download this

Download updated MAIN here

Disclaimer: My CAS cc for this world was not loaded. I am not responsible for any of these Sims' outfit choices.

[bethanydelleman]

Do we have an idea what the reason for Fanny's constitution is? Since she doesn't seem to improve (much) it must be chronic but im not a doctor. To be fair her aunts don't really take her health into consideration so it might be treatable if anyone actually bothered.

Also following the health aspect: I find it really hard to judge health and illness in older novels bc 1) words and medicine have changed over the centuries so that makes it harder to grasp what's happening from my modern understanding of medicine and 2) the people in fiction seem to be almost comically prone to die. Something shocking happens? They get a delirious fever and die. Got rained on? Instant pneumonia. Were people just more vulnerable without vaccines and antibiotics or did the authors just like the added drama? (I'm specifically thinking of Wuthering Heights and older Cathy's death here)

I do generally think that if anyone paid attention to Fanny, she might be healthier, if not entirely strong. It cannot be good for her to be sleeping and spending her downtime in an unheated room! I get a bad feeling that she doesn't always get the best food, Mrs. Norris probably glared her away from even trying long ago. It doesn't seem like she's ever seen a physician or anything either, though we don't know. No one really seems to care about her health.

To your second question, I think it's both. Some deaths are just for Romantic/Gothic effect and can be caused by very little. However, without germ theory of disease and basic imaging technology, I do think a fair amount of deaths would feel completely random. A person can die of a heart attack or stroke in minutes without much warning. That said, there were autopsies and doctors were not completely clueless, but generally disease was not well understood.

Austen mostly avoids this trope, Marianne Dashwood just wasn't out in the rain (in the book she never was, she had wet socks), but we are told she has been neglecting her health since the revelation about Willoughby. Tom Bertram was drinking heavily and fell from a horse, he might just have a wound infection. Louisa Musgrove has a very realistic head injury in Persuasion. To be fair to Emily Brontë, Catherine 1 didn't eat for three days straight and had been weakened by an earlier sickness. She died soon after giving birth, so it wasn't completely out of nowhere.

Also, when considering the poor, they had chronic food insecurity and malnutrition. When you are already vulnerable, it doesn't take as much to kill you.

ALSO, getting measles (not the vaccine) weakens your immune system overall for years. So yes, lack of vaccines would hurt you long term. Many childhood illnesses can have lasting effects.

[pomefioredove]

Noble Bell ; prologue

what if you were sent to Noble Bell College instead?

type of post: (possible) series characters: rollo (barely mentioned), original characters additional info: reader is gender neutral, this is largely my own vision, I wrote this all in one sitting and it shows LOL, word count: 3.1k author's note: after several failed drafts, I decided to just write my thoughts on noble bell as a story. do tell me what you think and if I should continue, if you have the chance!

prologue | the king of truands, 1 | the king of truands, 2 |

It appeared as if, for all its hundreds of years of life, very little of Noble Bell College had changed. 

The original face, or what is left of it at this time, is almost indistinguishable from the prints of great artists who lived when the City of Flowers was still but three parts of one whole. If it were not for her clothes, those great banners of cotton which hang from her walls and surround her like the ruffles of an unflattering dress, that which cradle the insignia of a college in wine-colored hands, that pointed fleur de lis in gold, Noble Bell College would be the very picture of her younger self. 

The halls which extend from one end of her body to the other like the grotesque wings of a pigeon were added after the University, which had once been confined to its own division on the left side of the River Soleil, had consumed the island of the City, that which had, at one time, cradled twenty-one of these magnificent buildings, and now had only one. Noble Bell became a skeletal reminder of its medieval past. 

Now, what was once a ground of solemnity and penance, and other ancient things, had given a painful birth to a different sort of self-punishment, that of academia. Noble Bell dawned its new clothes and its new name, and became a home of scholars, a place of enlightened thought. The island that had once been a sanctuary for the sacred became its final resting place. The College was built over hallowed ground. 

The body of the Gothic building had gone, in some parts, untouched, however, the later additions, done in the style Haussmann some hundreds of years after, coil around her like the chains of a falsely accused prisoner, or the noose around a beggar's neck. 

Statues on the face, neglected, crumbled into dust. The colored glass in the lecture halls were replaced with white windows for better light. Every hundred years, some haughty new headmaster would consider cutting down the building herself, and putting something new and ugly in her stead. 

Nothing would ever come of it. 

It is important to note, dear reader, that though the past of religion and superstition had been abandoned by the scholars of Noble Bell in pursuit of the enlightened future of thought, with it went only the body, not the soul. 

The students of Noble Bell began to look upon their history with pride, rather than disdain, and thus the construction on the lady ceased, and the reconstruction started up. In some aspects, it was too late; the medieval glass had already been sold and repurposed into bottles which floated at the surface of the Soleil, the stone turned to dust and carried into the wind. 

This romanticized past was tainted with a bitter guilt, one that struck even the proudest of freshmen when they met the eyes of the statues which guarded the building and her history. A sense of possession consumed the heart of the student body, and, thus, a gate was built. It was sanctuary no more. 

A romantic would tell you that it is the love of the people that kept the heart of Noble Bell alive. 

This is not true; it is guilt. 

To the wise man, the realist, the freshman who feared the eyes of the statues, the traditions that carried on were as meaningful as digging up a rotting corpse and putting it on trial. Without the superstition, it was a delusion, a pathetic attempt at absolution for the sins of the scholar and the printing press. 

Enlightenment became repulsive to him. 

What was in the hollow halls of the Haussmann was never alive, and what had survived the purge of time and man was hidden in the bell tower for few to touch. 

To the wise man, the only absolution of sin was through the fire. 

Your heart wakes you before your body.

That is to say, the feeling of dread, of knowing you are somewhere you shouldn't be, comes before the biting cold and the splinters pressing against your back.

The inky water surrounding you in three directions (the fourth being the stone mouth of the river) nearly cradles you back to sleep. Your rest was quite comfortable. You can't remember the last time you slept like that.

Your mind is the very last to wake, and it is what finally forces your body up in a sudden jolt, uneasily rocking the boat which had become your manger.

You grip both sides until it steadies, which gives you enough time to adjust to the dark.

One thing becomes quite clear: This is not where you fell asleep.

Then, another: This is not what you were wearing before.

The delicate fabric, hand-dyed in wine and blood red, is like nothing you own. Where had these come from? Surely, not your closet.

And, more worrying: how did you get in them?

Take a moment, if you will, to look beyond the black water of the river: next to you, on your right, is a stone embankment, with a short ledging that extends only to a single flight of stairs. The wall is so high you cannot see above that.

Now, look behind you: there is one fabulous bridge, also of stone, arching above the water in a mesmerizing pirouette. Warm light spills from its sides and dances on the inky waters below.

Ahead of you is only more river and stone.

And then, on your right again, is screaming.

You had heard screams before, but none like this. This is bloody murder, save me screaming, the sort that makes you jump and run to its source without thinking first.

You climb out of the trembling boat, the sound of your footsteps scuffing against stone following you across the landing and up the steps.

Yet again you are stopped.

Rising above the embankment of the river as if ascending to heaven itself, reaching through the thin evening clouds and into the stars, are two magnificent bell towers.

Your steps slow, and then stop at the peak of the stairs to admire the body of the building, illuminated by street lamps and candlelight, blanketed in a fog of distant laughter.

You have never seen such an unearthly sight.

If not for the screaming, you could have spent days there.

But you are motivated once more to follow the strange sound, and, perhaps, find out where on earth you are.

Like a princess in a tower, the building is guarded by a rather impressive gate, not done in the style of the place itself, but sightly nonetheless. If it were not already left open and vulnerable by some obvious human error, you might not have found a way in.

The sound of your footsteps follows you across the stone, and you stop at the base of a staircase that would have led you to a set of inhuman wooden doors.

And... there is a goat.

A pretty, white little thing, with a bow around its neck.

it turns to you as you stop, and it makes that same screaming noise, and then bounds off around the corner of the building and into another, attached at its side.

"Wait," you say.

Though, your feet move before your mouth, your mouth before your mind, and you suddenly find yourself following this odd twist of a white rabbit.

The delicate thing leaps through an opening in the side, and you climb in after it, chasing it down open-air hallways that remind you all too much of an old monastery.

The goat bleats. "Wait!" you say. "Where is your owner?"

It bleats again, and it almost sounds like a laugh. How strange...

You tumble down corridors and halls, turn corners, ignoring the sound of laughter and cheering that is growing ever so close, and, all at once, you stumble out into the warm light of a party, crashing into something cold and metal. The goat disappears in the crowd.

Everything is silent.

You can see nothing but feet from where you fell, and a hundred hems of wine and blood red. Your clothes.

"Who is that?" someone asks.

"They weren't at orientation,"

"How could anyone be late? That's never happened,"

"They don't look like a student of Noble Bell..."

Student? So this is a school?

"You," a voice says, much colder and sharper than the others, like a winter breeze. "Get up."

You are in no place to disobey.

You stand, uneasily, and, much to your displeasure, every head in the crowd is turned towards you. Whispers dance amongst the students, glances are exchanged, looks ranging from confusion to disdain.

There is only one face you cannot see. At one distant end of the courtyard, there is a stage, dressed in reds and oranges, and on it, four actors. They are as still as the crowd, seemingly having abandoned their play in favor of the mysterious stranger.

The person in question, then, is actually below them, whispering something quite loudly, but you cannot make it out at this distance.

"Your name?"

You turn back to the wintry voice.

This man, you notice, is dressed differently from the others. He's in all black, from his boots to the cloak around him, even his hair, which flows around his shoulders, is as inky as the cold water of the river you had woken on.

"My name?" you ask.

He scoffs. "It is a simple request,"

"Shall we return to the mystery?" a weak, artificially high-pitched voice calls from the front of the crowd. "I'd like to see the mystery continue!"

"Quiet, Gregoire," the man in black snaps. "Now, who are you to come so late?"

"Late to what?"

A few murmurs ripple through the stillness of the crowd.

He sniffles, turning his nose up at you. "You do not know where you are?"

"No,"

Someone begins to whisper. "Do you think they're from-"

"Quiet!" he demands. "This is clearly not a student of any arcane academy I know of."

"They're wearing our robes!"

You look down at yourself. You'd almost forgotten about that.

The boy narrows his eyes. "How did you get here?"

"I don't know. I woke up on a boat,"

He sighs. "What part of the city are you from?"

"...The city?"

Another moment of whispers and stares. The crowd seems to have all but forgotten the play happening at the mouth of the courtyard.

The man in black puts his hands on his hips. "Yes. Now, what division are you from? The old university? The Ville?"

"I, um... none of those,"

"The outskirts, then?"

"No. What city is this?"

His brow furrows, and he crosses his arms. At the very least, he no longer seems angry. More... thoughtful.

"What country are you from?"

You tell him, and he huffs.

"There is no such place. None that I have heard of,"

The same voice from earlier returns. "Perhaps we should wait until after the mystery has concluded-"

"Gregoire!" the man in black snaps, "We know it's you! Quiet, for once in your life!"

"...Very well,"

He grumbles, massaging his temples, and then turns back to you. His eyes are as sharp and focused as his voice. They're dark, almost black, with the faintest gleam of red. He's wearing a lot of eyeliner, you think.

"Come with me. If you are telling the truth, then you will have nothing to fear,"

"There is no such place,"

"That's what I said!" the boy exclaims, swiping the atlas off the desk.

The headmaster of this school is old, much older than you are imagining now, thought perhaps it is not the fault of age, but of weariness.

"Control yourself, Monsieur de Neige," he says, looking longingly at the book whose pages are now scattered across the floor.

The boy grumbles, giving you a nasty side-eye.

"What will we do with them?"

"What else? They will stay here until we can find an answer. I will reach out to my colleagues at the other arcane academies and see if they have any council,"

"Stay here?" he snaps, standing from his chair with such force that it goes flying backward, narrowly missing you from where you're standing against the wall.

"They are not a student of Noble Bell. They are a stranger! Who knows what they might-"

"Now," the headmaster sighs. "I know we are a... private institution. But a long time ago, this building was a sanctuary for outcasts."

He grits his teeth. "I am not willing to risk the safety of the building or its students for an act of pity. You should know that I take my duties as vice president of the student council quite seriously-,"

The corner you'd been backed into was starting to feel tighter and tighter. If not for the conversation, you'd-

Out of the corner of your eye, you catch the heavy wooden door of the office opening, but a sliver, and something white just outside.

Your eyes widen. You glance between M. de Neige and the headmaster, and, in the throes of their heated argument, you slip out into the dark hall.

"You," you say, putting your hands on your hips.

The little goat bleats. It doesn't seem very guilty.

"You led me there on purpose, didn't you? To create a diversion? What did you want?'

It stomps and scuffs its hooves against the stone floor, and with another little bleat, it turns around itself to show you something.

Your eyes soften.

There are two apples on the floor beneath it, both bruised and wrinkled, but good nonetheless.

"For me?"

You stoop forward and take one of the browning fruits off the cold, dirty ground, and slip it into one of the wide pockets of the robe. The goat chuffs, clearly pleased, and not even you can help but smile.

"Let's go, then, shall we? I want to get out of this place,"

The hallway is pitch black, the moonlight subdued by clouds and softened by the thick windows, but you can still make your way around quite easily.

You start heading in the direction you came, your new (and only) friend in tow, when the sound of footsteps scuffing against stone follows you.

You turn, eyes wide, expecting M. de Neige, or worse, but there's only a flash of gold and then quiet.

"Who's there? Come out, now, or... my goat will gouge you!"

The little animal stares at you, mouth hanging open in bewilderment, but it seems to work, anyway.

A boy, taller and thinner than M. de Neige, comes out from around the corner with his hands held up. Even in the dull silver light of the hall, you can make out the color of his eyes. Green. His hair is blond and reaches his chin, and is rather unkempt, curling and sticking out at odd places. His straight bangs are clearly cut by his own hand.

"My-my apologies. I did not mean to frighten you. I was only curious,"

You sigh. It's the voice from the orientation festival, the one M. de Neige called Gregoire.

"Well, don't be. We're leaving," you say. "Now... which way is out?"

"There are more than one, if you know where to look,"

You narrow your eyes at him and he goes pale.

"I-I only mean that there are many ways out into the streets, but you wouldn't want to be alone in the city after curfew,"

"I think I can handle it,"

"It's unsafe,"

"Is it?"

"Veritably,"

He doesn't seem to be lying, at least. You let your arms fall to your sides with a sigh.

"But I can't stay here. This feels like a prison,"

"It may," he nods. "It is stone walls all the same. But you don't have to stay here. The dorms are but a short walk away."

The goat bleats, and you agree. You're not sure whether you can trust this man or not, yet.

"What's your name?"

He seems to stand a little straighter, almost eager to talk about himself.

"I am the author Pierrot Gregoire, whose mystery was presented in the courtyard this evening,"

You seem to recall his voice again, his back turned to you in the crowd, as if he were infinitely more interested in his play than the commotion.

"I remember you," you say, sticking your hands in your pockets. You feel around the apple you'd put in there earlier. "Sorry I ruined it."

"The people were losing interest either way," he sighs and hangs his head. "My poor mystery..."

You glance at the little goat, and it chuffs back, nodding its head towards the end of the hall as if telling you to make a break for it while he's distracted.

You can't bring yourself to.

"Here," you say, handing him the shriveled apple. "We're even, then."

Pierrot's entire disposition changes; his face lights up with a childlike joy that makes it seem as if he'd completely forgotten about his woes, and he cups the apple in his palm with reverence.

"Oh... thank you," he says, finally. "I will take you to the dorms."

The evening had grown cold and windy since your spectacle in the courtyard.

The robes, at least, are warm enough to keep you comfortable, although you feel a pang of sympathy for the poor goat, who has only its fur, and, in a way, for Pierrot, whose robes look worn and beaten and strangely burnt.

"You can stay with me in the spare house," he says.

"You don't stay in a dorm?"

"My housewarden threw me to the streets months ago,"

He says it merrily, with that same smile, but there's an underlying sense of bitterness. You don't ask about it again.

Pierrot brings you to a small, dark building at the very edge of the island. Once again, you are surrounded by inky black water.

"Here," he hums, lighting a single candle as you walk in. "It's not much, but better than the sewers."

"You've slept in the sewers?"

He shudders. "I don't want to talk about it,"

Once an adequate amount of candles are lit, he pulls up a chest for you to sit on, and takes a seat on the floor across from you.

You sigh, letting out the stress and tension you'd been carrying in your chest in a single breath.

It felt much later than it truly was.

"That is a pretty creature of yours," he says, nodding at your goat. "Does it have a name?"

"Hugo," it says.

Both you and Pierrot go silent.

Then, finally, you shout.

"You can talk?!"

[vintagetimetarot]

What will your December be like? ❄️☃️ (Christmas themed) + love messages ♡︎

Hello everyone! Before I take my hiatus, I wanted to give y’all a reading to make up for not answering asks, or them being put on hold. Today I decided to make a monthly reading, and I added some love messages as well if you are interested, and to again make up for the lack of asks answered. Let’s get to it! (Also, I know this is Christmas themed, but you don’t have to be a certain religion for this reading at all, I’m not even Christian myself.) take what resonates and simply disregard what doesn’t. Pick a vintage Christmas album below!

Pile 1: I feel like the overall theme for your month is that you need to let go of the negatives currently going on in your life and what is making you dissatisfied. I see you guys might also have seasonal depression? But anyways. You’re gonna have to work very hard to make this a good month. I feel like you are struggling to stay positive or be happy right now, and if you don’t fix this it’ll just carry on into the next month. The cards suggest you can have a great month by putting yourself out there more in all aspects of your life. Go for that job you want! Kiss that guy/girl you like! Follow your dreams! But also be realistic with yourself and revaluate what you want first for this month, before you plan to pursue. You still have a couple weeks! I see this being a balanced month for you when you work hard. I think you’ll be improving in your job/school studies this month, regardless of what happens. I also think your personal relationships will be growing more this month, I think new people are going to enter your life. But I’m getting that you guys are guarded, but let these people in! They aren’t here to sabotage you. This will be a month of personal growth and divine timing and retribution for you, take it how it resonates. In terms of love this month, I see you exploring your romantic feelings, but this mainly will be about staying optimistic about your love life and working on self love this month. Love can’t fully come into your life if you can’t love yourself first for right now! Sorry if this was quite short, but this is all I got, I hope this resonated.

Pile 2: I think December is going to a very happy and successful mont for you. You may find yourself spending time and improving relationships with your family and friends. I also see your manifestations coming to fruition, whatever they are, this is your message that it’s coming this month! Things are being worked on behind the scenes. But these could be delayed if you keep up a lack of faith, which I see most of you guys have right now. Just because your manifestations don’t come ASAP doesn’t mean they aren’t coming. I see you making new friends this month, your social circle is going to expand greatly. I think you’ve been not your best lately, and that cycle is going to come to an end this month. I think this is mainly because you are learning to accept help from others. Things overall are just going to go smoothly this month, especially the holidays will be a healing time for you. In terms of love, I see that you make be deceived on what you have convinced yourself is happening right now, very specific message, but if you have an ex, they may be trying to win you back this month, but don’t fall for it. You two broke up for a reason. For those who are single, I think someone in your life currently is going to want to take things to a serious level with you. This is the time to express your love and not hold back, so things work out. I honestly feel like this is more casual and more familial like love, I’m not getting the vibe of a HUGE romantic month honestly. But it’s still gonna be great. That’s all I got, I hope this resonated!

Pile 3: This month is going to be go fast, and major change is going to happen. This is change you’ve been waiting for, but it won’t happen out of nowhere, YOU are gonna make the changes yourself believe it or not this month. Whatever you’ve been waiting for this what this is. You may find people being kinder to you and more generous this month. I think you are going to be extremely productive in terms of work/school. I think you are also going to make a significant connection while you’re at it in this area of life while you increase in productivity. I see you turning your back on things that don’t serve you anymore and finally taking the lead. This could be unhealthy relationships, stepping up your game in work/school, leaving a home environment or area that caused you turmoil, and more. You’ll be faced to make big choices this month as well, which will have large effects. In regards to love, I think you still need to wait or put a pause on that. Good things are coming, but not this month in love. You’ll be very focused on material things for now. The universe is just taking its time to make sure it all works out, and give you the best romantic situation possible. In terms of romance, you could be thinking about past relationships and exes, which is why you aren’t ready for something new yet. I think you are still inexperienced when it comes to love. Your reading is quite short, this month won’t be too eventful, but things will still change. That’s all I got, hope it resonates.

Pile 4: I think you guys are suffering right now. A lot. The past year or months might have been really rough on you. But this month, things will change, I promise. I think you may take a trip this month and that is going to be very healing for you. Or your travel life (small or big) will help you a lot this month. Your relationships will be crucial this month, all around. I think your messages will improve this month drastically, especially if they were previously causing you turmoil. I think many problems are going to get resolved this month, but with time more than anything. I see your mental state improving and getting out of this self deprecating mindset. I think with your relationships, you’ll become better at resolving conflict this you. In terms of romance, it’s safe for you to love. I think you’ll actually have people admiring you and pursuing you romantically more this month. For example, you may notice people flirting with you more. I don’t see this as straight up relationships left and right, but you’ll be discovering and exploring more of your romantic feelings this month. You’ll decide what you really want or will be, and that’s why you probably won’t be pursuing a relationship. I didn’t get much for this pile, so I advise you to go to another pile you were drawn to for more information on this month. That’s all I got, I hope this resonates.

[generouskittentidalwave]

Watching the She-ra reboot after 5-6 years

Hey remember that show in 2018 that came out on Netflix during Tumblr's Twitter era and stirred up enough toxicity to turn you into Dave the Skeleton in the highschool science classroom?

Well BUCKLE IN for a RIDE cause I recently watched that show for the first time after avoiding it for YEARS, after seeing the fans and the haters be so devoted to either the fans praising it like a godsent deity or haters devoting their whole life to finding something wrong with every aspect of the show that it makes you wonder if they realized that they've become the Catra that they sought to destroy, I decided to avoid even touching the show and went about my life in other fandoms.

Well years have passed and like a Hallmark movie time abruptly went on and the drama soon faded, the tides have settled, the war has ended, and neither side remains the same. The fans have grown up, matured and enjoy the show as it is and the haters have lost all that sweet sustenance back in 2019 and have went the ways of the DoDo. With everything finally settled, I joined in on the rush of new fans recently that started rewatching the series and wanted to display my thoughts as well as a first time watcher ^^

I went in well aware of all the criticisms in mind, and having seen the original She-ra, and I just gotta say that my worrisome thoughts on watching it was completely washed away from the start of the show. I was worried of Adora being that one marysue character that is from the bad guys side but is actually a good a guy with the personality of white bread and with flaws of just being "a little bit QuiRkY" but she completely shooed away those fears. She is a well balanced character with a unique and well done backstory, her character breaking away from the steriotypical chosen ones and her having flaws that don't take away her being a good person but instead have their own charm and relatability that makes her very fun and down to earth. She is so golden retriever coded and I love it. What I like most though is that she wasn't "random main character comes in to lead everyone to victory out of nowhere" , instead of making her the unsaid leader, they made her the main character who is the muscle of the group and part of the heart and has to learn overtime and understand their ways instead of making her the leader. It makes way for her to pave and earn her way as being the main character instead of it being given by default by making her the leader and I love that break away. And that break away also helps to counter the fears I heard about the white savior trope by making Adora the way she was and making Glimmer and Glimmer's mom the queen the actual leaders of the rebellion that they helped start.

Love the best friends squad, I love Glimmer's growth and her bond with Adora, I like how she went downhill and built herself back up again as a person as it was very realistic with her being so young and having to replace her mom as queen. Bow is my spirit animal, period, but I really want to know more about his huge family. I imagine that because they are all historians they must go to the academy or similar academies that Bow was meant to go to and I can see why they wouldn't question him not being there as 12 siblings is A LOT to keep track of. Swiftwind is great but he shall always be known as Horsie and the queen's sacrifice hurts everytime I see it, I love how she owned up to her own flaws. Shadowweaver messed up being a mother figure 3 times, she needs parenting classes fr, 'nough said. I love all the princesses but Mermista is my personal favorite. Also why is aunt cast named Castaspella, I can't even say it without dying of laughter 💀🖐️

Now I know some of you are sitting at your computer with 5 monsters in hand and sweat anxiously dripping from your forehead as you dramatically hover over the keys just WAITING to write a five page essay response if I even dare to utter the name Catra and her relationship with Adora. So, I'ma give you my opinion.

Honestly, their romance was the end goal since the beginning and the story made that clear and honestly I like Catra's growth as a character from her knowing she has anger issues and actively working on it to better herself, helping to save others and helping to save Adora in the end. Her realizing that pushing others away to protect herself only harms her and everyone around her in the end and her realistically taking it slow and steady to better herself as a person for herself and for Adora is something a really like. Yes their relationship was hella toxic, especially in the middle (but I do like how Adora recognized that and punched Catra when they were in the portal). The build up was great, the middle ground of her doubling down was great, and I think her growth at the end was great and that the two are happy and not in a toxic relationship with eachother anymore at the end. I think what truly makes it odd is although the redemption was great the time constraints made it so they couldn't flesh it out to help answer and address the past actions that were caused by her, they did so great with her slowly becoming better and better, and so it wouldn't have come off as bad as it did if they had just a bit more time to address everything with that instead of being forced to dive right into it which definitely left a- well- less than good impression to it's audience. But they tried their best with what they could do and honestly for a show as surprisingly dark as this I'm just glad they aren't in a toxic relationship anymore and are happy in the end and that Catra got redeemed. It definitely wasn't trying to romanize abuse, however it came off as such due to constraints and them rushing the ending which gave plenty of ammo to people who already hated the show to have a reason to hate it more. In my opinion if you don't like it that's valid, if you do like it that's valid, me personally I'm not a romance person so I couldn't care enough either way.

Now to address some things I know some people are waiting for, but in speed run fashion. Mara's She-ra design was the fault of the designers not agreeing on what they wanted her to look like, I was expecting her to have brown flowing hair not blonde, I get the stripping of individuality message they tried to go with, it just needed better designers and better execution but that's as deep as it goes. It's not that they are racist, they are more along the lines of "you need a more organized team cause her design changes every five seconds like wtf" kind of situation. I'm glad they didn't automatically forgive Hordak or accept him but I'm glad he was changed enough to not be a killer that's mass murdering people anymore and as long no one is dying by his hands anymore and people don't automatically forgive him then that's fine by me, whatever keeps others from dying a horrible unnecessary death.

Overall, in conclusion, love the show, great depth, great characters, love the humor and amazing magical girl transformations, awesome rep, stronk princess punching things, would most definitely recommend, especially now with all the wave of chaos it's initial release sucked in now evaporated. (Seriously there are full tags and blogs deticated to hating a show about glowing princesses fighting aliens, it's okay to not like a show but come on people there is more to life than that 💀) Enjoy it, have fun, and I hope you have a great day/night! ^^

[robboyblunder]

Re-using my previous commission pages because they're still good/accurate, but reposting to get more eyes on them! I recently finally graduated college meaning I can have my commissions open more often (with exceptions for breaks, life events, etc.);

because I was really focused on graduating I missed out on a lot of work earlier this year I would usually take on, so I'd appreciate sharing so I can try to make up for it!

Link to my full TOS will be in replies, with ID in ALT text; I've also included a transcript for the pages under the cut!

title card:

Robboyblunder commissions.

To inquire: Email me at comission.robboy@yahoo.com or DM me on tumblr via robboyblunder.tumblr.com.

page 1: price page for sketches, line art, and flat color drawings.

Sketch prices: Bust $15 ($5 per additional character), waist up $20 ($10 per additional character), full body $25 ($15 per additional character).

Line art prices: bust $20 ($15 per additional character), waist up $30 ($20 per additional character), full body $40 ($30 per additional character).

Flat color prices: bust $25 ($15 per additional character), waist up $35 ($25 per additional character), full body $45 ($35 per additional character).

page 2: price page for simple shading and full rendering/shading.

simple shading prices: bust $35 ($25 per additional character), waist up $40 ($30 per additional character), full body $75 ($60 per additional character).

full render and shading: bust $45 ($30 per additional character), waist up $65 ($50 per additional character), full body $95 ($80 per additional character).

page 3: Price page for backgrounds.

Simple and transparent price: free.

medium detail price: $15 to $45 depending on detail.

rendered and detailed price: $50 to $75 and more depending on detail.

page 4: character design prices page. the text on top reads “get a custom design from scratch. starts with base price that includes front and back full body with flat color. extra can be added at higher cost (such as busts, extra details, etc.).”

a note reads: “Note: incomplete character references for non-design commission will still result in a design charge (relative to how much needs to be designed). This does not include changing minor aspects of a design i.e. clothing, hair color, etc.

full character design prices: $180 to $200 and up depending on detail.

mini or toon design prices: $45 to $80 and up depending on detail.

page 5: price page for minis and toons as well as rules.

Mini and toon simple price: $20. mini and toon complex price: $35.

RULES:

you must read/accept my TOS and pay via invoice only!

payment is upfront before work begins (unless discussed otherwise for comms over $100). no refunds for completed art!

Full references are required for characters, otherwise a design fee will be incurred. (read details in linkes TOS).

respect me, have patiences, don’t haggle prices; it breaks my TOS.

more detail = higher cost.

major/medium revisions past sketch stage will incur extra fees (read my TOS for more info).

will draw: humans/humanoid, robots/cyborgs, armor, monsters/creatures, animals, furry/anthro, mild injury/blood/gore (if you have questions, please ask!).

Won’t draw: anything offensive/bigoted (racism, homophobia, sexism, etc.), NSFW, realistic/heavy gore, certain fandoms (can change at my discretion.

I have a right to refuse any commission for any reason!

[batbabydamian]

🦇🐥 Batman and Robin (2023) #6 rambling and screaming crying throwing up about a single page

so right off the bat, i'm adding these panels to the Ms. Hall is Shush conspiracy board - the first suspect in mind for who could train Zach would be Principal Stone, but Ms. Hall is conveniently placed in the "teacher's pet" panel HMM

Damian's history with Zsasz is mentioned again! any further reference to Streets of Gotham ends here once Damian and Zsasz face off, but i'm not complaining when Damian gets to kick his ass again LOL

AAH SUCH A COOL PANEL!! i rambled enough about Cizmesija's impact shots last time, but this is just. SO COOL... DAMIAN'S POSE, the light streak from the eyes, the jittery effect at the point of impact from Zsasz's front to his back - LIKE DAMN, YOU KNOW THIS KID HIT HIM HARD

ok i was gonna shut up about the impact shots but to accompany the Robin panel, THIS SICK BATMAN PANEL!! THE SPEED LINES ALONG HIS WHOLE ARM, the hilarious waves of that hit going through Zsasz's face asdfg, the cowl and cape silhouette in the back - and the KRAK SFX!! it's got a bit of that gritty splatter effect Cizmesija uses so either another smooth choice by letterer Steve Wands or extra kudos to Cizmesija!!

i thought the action would be my favorite aspect of this issue, but it was THE EXPRESSIONS. from Damian's frustration here (his glare and his seriously gritted teeth) to the page that brought me to my knees lol

a breakdown of my breakdown for this page:

DAMIAN'S WIDE EYED EXPRESSION AT BRUCE'S COMPLIMENT, THE SHINE IN HIS EYES!! what gets me about Bruce’s praise is how specific it is, especially pointing out Damian’s storytelling 😭 Bruce already knows Damian’s technical art skills are amazing!! storytelling through comics is a whole different skill and Bruce recognized that!! 😭 no wonder Damian is so touched, Bruce is paying attention 😭

HE LOOKS SO OVERWHELMED BY THE VALIDATION FROM HIS FATHER - THE TENTATIVE SMILE!! BEFORE HE BREAKS OUT INTO A FULL GRIN!! 😭

HOW HE BURSTS ABOUT HIS PROCESS AND THEN THE LIL ASIDE OF “I love those…” HE'S SO CAUGHT UP IN HIS JOY PLEASE I’M COUGHING UP BLOOD THAT'S SO CUTE 😭 happy Damian is my weakness i mean LOOK AT HIM OH MY GOD the wide smile his lil fist and the pointing, he cannot contain himself!! 😭

his art is so fun, i'm glad we get to see more of this!! the shadow of Bruce and Damian over the pages is a neat touch too! Damian expanding from realistic renders to this manga style on top of these amazing comic layouts…Bruce is right his growth is crazy 😭

to add on to Damian's progress from Bruce's eyes - Detective Comics (2016) #1003 was the last time Bruce acknowledged Damian's art!

the return of Flatline!! for this last bit, i'll be referencing Lazarus Planet: The Next Evolution (2023) since that's Nika's last notable appearance!

Nika calling Damian out on not contacting her asdfg she mentions something similar before, and i could only imagine it's been months since then considering that issue came out a whole year ago 😭

besides Nika meeting Bruce, the most important thing that needs to be addressed is if Damian's aware that she resurrected Ra's and finally, what they could have discussed??

ending note, upgrade from earbuds in Batman and Robin (2011) to headphones haha wired earphones only!!

[randomgirlyoudontknow]

No one will probably read this, but as a long-time fan of ATLA (as in, I literally watched the show as it aired in 2005-2008), I wanted to share my thoughts on the live action. Let it be known that I am far from an ATLA purist––the original certainly had its own flaws and aspects that didn't age well, in retrospect. Despite the generally negative reviews I've seen from the fandom, I was actually very satisfied with this adaptation! But I’ve seen people saying that the characters were butchered, that it’s a soulless and superficial reproduction, and those who liked the live action aren’t capable of thinking/watching critically, which I wanted to push back against (I mean, I’m working on a doctorate in literature…I am quite literally incapable of watching anything uncritically).

The shift in tone to a darker, more mature one was a positive change, imo. It is definitely a much angrier show than the original, even if some of the characters were not as fiery as they should have been (*cough* Katara *cough*). Overall, while there were certainly decisions made that I didn't agree with (mainly related to pacing and narrative), I thought the cast and crew really captured the spirit of the original, and even added depth and nuance to parts I felt were initially lacking.

In general, I really appreciated the added emphasis on the cost and suffering of war and imperialism, as well as the depiction of the physical effects of bending. Now, I realize this is largely a matter of personal preference––for example, I'm very interested in depictions of war in fiction (I mean, my dissertation partially covers the impact of WWI on avant-garde art & literature, so...). But I've seen several claims that the live action glorifies war and violence in a way that is meant to traumatize the viewer, and I simply don't think that's true? While the original handled war, genocide, trauma, etc. in a phenomenal way for a kid's show in the early 2000s, it was also still sanitized when it comes to death and injury, to an extent that I feel like we, the viewers, almost lose sight of the fact that bending KILLS. Sure, we were exposed to its after effects, like the death of Katara and Sokka's mother or Zuko's scar, but there's something to be said actually seeing and acknowledging the very palpable danger that something like firebending presents.

I've even seen someone say that the show's depiction of "gratuitous violence" constitutes a "profound misunderstanding" of the source text, which I think is frankly a bad faith take. The death and violence, though more realistic, is still not a major focus of the show, nor is it glorified in any way. A glorification of violence would look like indiscriminate killing and maiming for the sake of edginess (looking at you GOT). We would see graphic depictions of death and injuries, which simply does not happen in this show (they even joke about the fact that we never see anyone die in Ember Island Players). War and fighting are still treated with the same depth and gravity as the original, only this time, the severity of its consequences isn't obscured from the viewer.

I also thought the show's handling of trauma (especially Katara's) was excellent. The choice to have Katara's mom's death revealed in flashbacks (specifically when around firebending) was something that really stood out to me. And the new characterization of Bumi, which I realize was quite unpopular, was another change I quite appreciated. His bitterness and cynicism seemed more in-line with someone who had endured 100 years of war and the suffering of his people at the hands of a brutal imperial force. Lastly, I was pleased to see the narrative attempt to address the role Iroh played in the Siege of Ba Sing Se (something that was absolutely missing from the original). The Earth Kingdom soldier confronting him and calling him a butcher was a powerful moment, for me. I truly hope the show continues to dive into this aspect of his character in future seasons.

Speaking of characters, I loved that we got extra background and insight into several of the characters. Zhao, for example, was unexpectedly quite funny, and his actor really did a phenomenal job of fleshing him out and making him feel like a real person (as slimy and smarmy as he was) rather than a stock, cartoon villain. And I have to give kudos to the actors who played Sokka and Zuko––they both did an incredible job of embodying their respective characters, in a way that felt highly reminiscent of the original. In particular, I thought the handling of Zuko's backstory was truly outstanding––perhaps even better than the original.

All in all, I felt the live action did a really nice job of balancing the darker sides with the light. While I've seen fans complaining that the show doesn't have the same goofiness and lightheartedness, I actually thought the humor worked really well––it was one of the few times I felt the overly ironic, Joss Whedonesque one-liners actually fit. Sure, the humor was a lot drier and more toned down than the original, but I nonetheless thought it carried the show's spirit well (loved that they let Sokka say “ass” not once, but twice). There were moments when I genuinely laughed out loud! I also appreciated how, despite the more mature tone, hope, friendship, and harmony still remained the most important aspect at the end of each episode.

There's a lot of room for improvement, but I was overall very satisfied with the live action, and I'm very glad that the series has been renewed. I'm very excited to see what the cast and crew does with the rest of the show!