#I have no idea how to actually do the script format

[riacte]

Unconventional format / mixed media / meta / epistolary fic ideas:

Script format but the characters slowly break fourth wall until they grow self aware and scream to leave but the script confines them.

Mock up notes of an author's fic outline only for a "fan favourite" / "author's darling" character to gain sentience and influence the story. The character changes the outline to suit their own agenda, and their changes are marked with a different colour whereas black text means it's the author's will. Maybe another character using another colour gains sentience. The different colours fight for dominance. Mom says it's my turn with the keyboard hey what the fuck man excuse me I'm literally trying to save my family can you guys let go and let me write your character arcs in peace OH FUCK OFF

Recipe fic. The story is told via those unnecessarily long backstories on a recipe blog in which you learn about someone's grandma or a breakup or literally anything. Bonus points if the actual recipe deals with worldbuilding (what ingredients are available? What utensils are used? How to serve this meal? Woohoo Dungeon Meshi) or in-cheek recipes (eg. "Recipe for making up with your estranged mother - Step 1: Mix patience, nostalgia, and filial piety and let it marinate for ten years. Step 2: Throw that shit into the trash because you're better than that")

Travel fic. A character is lost and trying to find their way somewhere. GPS directions, googling "x place to x place", tickets and dates, train station maps, leaflets. It gets weirder and weirder. You never get closer to your destination. You're walking around in circles. It's always 10 meters away. Where are you going and where have you been?

Receipts. Try to infer what a character is doing judging from the weird things they buy together. Also yipppee inflation tracker. On the other side, maybe it can be about a cashier/ shop owner getting to know their customers and what they order.

Written from the pov of an non-native English speaker, all the English words are italicized whereas their native tongue are the only words not italicized. Inspired by Kupu rere kē by Alice Te Punga Somerville. This is because I got salty about people from Ao3 Reddit saying they won't read a fic in all italics.

Murder mystery / "Among Us" style impersonation fic strictly using the chatfic format. Characters and readers will have to figure out which character has been killed and replaced from the way they text and use emojis. This is also because I got salty about Ao3 Reddit being a wee bit pretentious about emoji usage in fics. Maybe emojis can be important plot devices! Some people prefer to sign off messages with a heart emoji of their signature colour, so won't it be weird if they use another coloured heart? How about someone using lapslock suddenly using proper capitalisation and full stops? Can you tell if someone's phone has been stolen? What if someone's mother is pretending to text like their child? Why is someone suddenly only using UwU speak? Is it a bit, or have they been replaced?

Innocuous second person POV until the last line where it's suddenly revealed to be first person POV all along and the "I" has been stalking and narrating "you".

Other fun bits / Easter eggs / secrets to hide:

Decoding within the text itself. Maybe we get given instructions to find a word in x chapter on page y on the nth line. And when we as readers collect all the words, they form a sentence that spells out an important fact which the characters are oblivious to. Or maybe the in-universe characters find a book with the same title as the irl fic with a bookmark in it, and if you go to where the bookmark is stuck irl, you'll find the murderer plainly stated. The rest of the fic is about the readers having hard confirmation of who the murderer is while characters don't know.

A phrase is subtly repeated throughout the text of the fic and is spelled out with the letter that begins a sentence. It gives off the effect that the narrator is screaming and crying into the void (to the readers in the fourth wall) while trying to avoid detection. Bonus points if the same word is repeated for pages and pages to the point the lack of sentence variation feels weird and clunky.

Morse code!! I love morse code! Using onomatopoeia to convey the dots and dashes! The sound of rain pattering on the tin rooftop— drop, drop, drop. A low whistle of a train rumbling in the distance. He slowly sharpens his knife, creating a shiiing sound. A lengthy, high pitched squeal from his kettle. A dog barks. A sharp knock. His heart thumps. Dot dot dot, dash dash dash, dot dot dot. SOS. Maybe a character's death scene spells out the name of their mysterious murderer. Maybe a character is reminiscing their deceased loved one and the scene spells out what the deceased person would've wanted to tell them— "LIVE ON" or "I LOVE YOU" or something.

[duckingwriting]

Here's Your Script - Suck It

A fun little fanfiction screenplay/script thing for MrDragonW on twitch.

IDK It brought me amusement so now it gets to be the hell site's problem. And AO3's because I always post on AO3

Relationships: Mr. Dragon W(Vtuber) & Shlagdathumm Characters: Mr. Dragon W(VTuber), Shlagdathumm the Blue Lobster, Narrator Additional Tags: Comedy, Screenplay/Script Format, It's only kinda major character death, the death is debatable., 4th wall? What 4th wall, I have no idea how to actually do the script format, i just went WEEEEEEEEEEEEEEEEEEEEEEEE Summary: Shlagdathumm will find Mr. Dragon W. He wants his noods.

As always go bellow the cut - no sex or anything but there is cussing

I DON'T FUCKING KNOW

SLOWLY MOVING IN FROM BROAD VIEW OF UNIVERSE AND ZOOMING IN ON THE WORLD, ANY "LOOK HOW SMALL WE ARE" DOCUMENTARY ZOOM EVER

NARRATOR - WHILE ZOOMING IN

We've all heard the story. The hypothetical question. About the deadly snail that is slowly making his way towards you to kill you and you have so much money what would you do? Well what if the snail was a lobster. There is no money for survival. He just wants your head. Squishing between his claws. He's a very large lobster. That is what we call a mortal enemy.

ON THE OCEAN NOW. BEACH SCENE. HAVE SOME DUDES PLAYING VOLLYBALL IN THE BACKGROUND. ONE HAS TO BE POPPING GUM. WATCH LOOKS TO AVOID COPY RIGHT INFIRNGEMENT BUT WE ALL KNOW WHAT SCENE IT IS.

NARRATOR

This...this is Shlagdathumm. He is a noble magestic-

SHLAGDATHUMM

Gotta get inland. Gotta find a ride.

NARRATOR

Interrupting bastard.

Shlagdathumm moving around and making his way to the parking lot. Snapping his pincers together over and over. Threating to snap anyone who is close enough. Use this to show that the fucker is giant and can crush a man's head or some shit.

THAGMATHUME DIGGING CLAW INTO CAR, SCREECHING SOUND OF METAL VS EXSKELETON LIGHT PUNCTUATING INTO CAR DOOR TURNS INTO COMPUTER LIGHTER AND SCREECHING INTO FAN

DRAGON SITTING AT THE COMPUTER SMILING INTO A WEB CAM

NARRATOR

And this is the problem.

(Sound of new follower)

DRAGON

Thank you for joining the hoard!

NARRATOR

Ya know what...he looks too...something in that suit

Maid guy transition now in maid guy outfit

DRAGON - LAUGHING

Thank you [insert random subscriber here] for redeeming -

DRAGON'S SCREEN STARTS SHRINKING ANOTHER WINDOW STARTS BUILDING ON THE OTHER SIDE

SPLIT SCREEN - ON ONE SIDE DRAGON TALKING AND STREAMING ON THE OTHER SHLAGDATHUMM DRIVING A CAR

NARRATOR

Why would Shlagdathumm want to end a life? For the sheer pleasure. Star crossed lovers. Because noods were promised but hot sauce was delivered instead.

at this time dragon eats hot sauce fire licks across the screen, Shlagdathumm makes a screaming sound like lobsters do when put in hot water

NARRATOR

Or perhaps it's something much more simple like their imortal lives are linked and what the one does hurts the other. I don't know, It's not like theres a script or something

Call an ambulance or jump scare is redeemed. Dragon screams. The Shlagdathumm suddenly crashes. Loud bang

BRIGHT FLASH, WHITE SCREEN OF DEATH AND ALL THAT

Dragon suddenly turns around in surprise after the sound of a door banging open. Spinning around there is a giant Shlagdathumm now in his room.

SHLAGDATHUMM

I...came...for...noods!

Shlagdathumm lunges for Dragon. Dragon tries to dodge. Crash into computer.

NARRATOR

(computer breaking and crashing in the background as the two continue to fight)

That's right. Make all the nerds cry. Break their toys.

STATIC AND CRACKLING AS THE CAMERA IS KICKED BY FIGHTERS

NARRATOR

Wait. Fuck. That wasn't supposed to happen!

(fade to black and continued cursing of narrator fading)

COMPLETE BLACK SCREEN SLOWLY LIGHTENS

SHLAGDATHUMM NOW SITTING IN DRAGON'S CHAIR EATING BOWL OF NOODS LOOKING DIRECTLY AT CAMERA

SHLAGDATHUMM

Subscribe. Do it for the noods.

[paradiseismine]

Instant Chemistry (part 1) - Finn Wolfhard x reader

Pairing: Finn Wolfhard x actress!reader

Warnings: none yet, but of course, this fic will be packed with smut in its future chapters.

Summary: reader is an actress and her agent has a surprise for her - a hot scene in an indie film with one of her favorite actors, Finn Wolfhard.

Format: This is NOT a one shot like the ones I usually post, it’ll likely be a 4 part story (maybe longer).

Love note from Nina: I had a dream about Finnie recently and decided to write it down into a fic. Hope you like it 🫰🏻

Everyone in the industry plays an archetype: that was a given. Some actresses were the goody two shoes, some were femme fatales, some were girls next door. And as crazy as that might sound, you were growing into a femme fatale. That meant that showing some skin and partaking in more sensual roles was bound to happen - and it’s not like it bothered you.

Leo, your agent, had gotten you pretty far for a 22 year old with your background: you had gone from model, to extra in some bigger productions, to main star in a few indie films. You had started acting classes a couple years ago, and was trying really hard to become an actual actress, and make a living solely out of your acting.

One day, you made Leo a huge favor by preventing his future husband of figuring out Leo’s proposal before it actually happened, as it was meant to be a surprise. “I owe you one” he had texted you later that evening, “and I’ll make it count when I pay you back”.

Several weeks had gone by and a project you were once dying to get your hands on was finally going strong. You had gotten home after a long week of shooting your new indie film - a complex and delicate story about a young marginalized prostitute whose dream was to have a romantic relationship and live a normal life. It had some intense sex scenes, but lots of dramatic charge that would surely put your name on the spotlight. With your body exhausted but with your heart smiling, you fell asleep in your new apartment in L.A.

“Morning, rising star” you woke up to Leo texting you, your phone buzzing with his messages. “Remember that one I owe you? Just paid it”.

“lol what did you do?” you responded, the tips of your fingers rushing through the keyboard on your phone screen, curious. Leo was always full of surprises, and you loved that about him.

“You’d told me your fav tv show was stranger things, right?”

“Yeah, so?”

“Well, I think I just got one of the ST kids to be with you on a spicy scene next week hehehe” he texted, and your mouth went completely agape. “You’re welcome in advance, darling” he added, his jokingly cocky tone nearly audible.

“omg who????”

And… he didn’t text you back.

Your head was cooking for the entire weekend, trying to figure out which ST actor Leo had convinced to partake in the movie. He had said “ST KIDS”, so it was one of the core four, for sure. You crossed them out in your head after some extensive online research: Noah Schnapp is gay, so he probably wouldn’t be comfortable with such intense sex scenes with a woman… Ok, he’s not it. Gaten Matarazzo is probably busy with some Broadway play, he always is. Not him as well.

Finn Wolfhard is always juggling twenty different gigs at the same time. You wanted him the most, but it was very unlikely he’d take the role. So, Caleb McLaughlin was your best chance. He was surely a darling to work with, you’d heard, so you were still excited to meet him, of course.

As you entered the set on Monday morning, your mind was hung up on the idea that Caleb was your special guest. You’d rehearsed in your head how you’d introduce yourself to him, the things you’d say, everything.

Your brain turned into complete putty once you spotted FINN WOLFHARD sitting on a foldable chair, holding a stack of paper, eyes roaming through the script. Fuck. It was him.

You’d get to kiss him, to rub your body all over him. Not for a minute. Not for an hour. But for a whole day. Heck, maybe even two days. And you’d still get PAID for it. It seemed nearly illegal that a job would do that.

You approached him slowly, trying to gather words into your mouth to simply greet him. Soon, he raised his eyes from the script and spotted you.

- Hi - he smiled sweetly. - You must be y/n, right? I’m Finn, nice to meet you.

He shook your hand politely, and you tried your best to give him a firm handshake (Leo always says that a good handshake is important in a Hollywood career), preventing your fangirl reaction from shining through.

- Oh, hi - you smiled back at him, still trying to seem normal and unimpressed. - That’s me. Should we get to the chemistry read? I’m so excited for this project, you have no idea.

- Me too! I loved the script so much, this is just great - he flipped through the pages, his teeth showing through a cute shy smile.

- Quite a departure from fighting inter dimensional monsters, isn’t it? - you joked.

- Definitely - he laughed, standing up to follow you towards the chemistry reading table.

Once everyone was sat down and settled, the reading began. Finn would be one of your character’s clients, and was only supposed to be in a scene or two, in a cameo appearance type of thing. But at the end of the reading, that seemed likely to change.

The chemistry between the two of you was electric, the director had said. The whole crew was amazed at how naturally you seemed attracted to each other just through your words, how easily the scenes would develop. From a small role, Finn was now asked to play your character’s main love interest.

He called his agent on the spot and pushed back a few band gigs on his schedule and said yes to being half naked with you for a few more days. I mean, the project itself was an indie film, so it wasn’t even good money. His main reason to take the part must’ve been you.

[directdogman]

Hey Doggo, how do you go about writing the story script (not coding, just writing) for your games?

Particularly how you incorporate the "choose your own adventure" concept where choosing an option can lead to an entirely different exchange.

I am making a (sorta) Dayshift fangame and found myself having to write the entire story as an "if then" flowchart.

Is this the method you use as well? Or is there annother way?

Depends on the scale.

For DT, specifically, I usually plot the route story out on a flowchart first and then when I'm happy with the story, I go scene by scene and write the characters doing what I've plotted out. It's not uncommon to go BACK to this chart and make changes as I'm writing though, as you usually think of good scene ideas/changes on the fly.

Specifically I mainly just list what happens in a scene (aka, what characters discuss, basically a few sentence summary) and then I represent splits that majorly affect content, like when you make a route divergent choice. in DT, all content after these splits are totally divergent, so this is pretty clear cut. With the exception of one short split at the start of Karen's route, you don't tend to really get stuff rejoining after major choices.

Then when it comes to writing the actual script, I just write everything in plaintext (no character tags or anything like that) because I'm unhinged. The only dialogue that's really indicated as being different in any way is Gingi's bc it's in quotation marks. However, in multi character scenes it tends to be obvious who's saying what just based on what the characters are saying and how they say it.

As a for instance, this is from from Oliver + Theoroar's scene. You can kinda tell from context who's who without Theoroar's dialogue being in all caps, like it appears in-game.

You can map dialogue in flow charts if it makes it easier (draw.io is what I use as it's free + easy to use) but if you plan to have a LOT of dialogue, it can make the process of actually implementing dialogue a little more time consuming since you have to paste from a format that isn't already more or less engine-ready. The idea of having it in a plaintext doc like this, for me, is that I can copy + paste really fast.

But yeah, usually when I write these sorts of things, I just shut the windows, doors and go into a scary trance like state of hyper-concentration and then wind up with something that passes for a finished conversation by the time I've finished. Hope this helps!

[talenlee]

Game Pile: Kentucky Route 0, One of Three Games About America

Script and Thumbnail below the fold!

Kentucky Route Zero is a magical realist point and click game of what I’d normally call Narrative Adventure, which came to kickstarter in 2011, then came out in 2013, 2014, 2016, and 2020, because you can’t have nothing for free, even things you pay for. The game is a text-driven game without any of the trappings of your typical point-and-clicker where you jam a ladder in your pants and try to work out why you want to put green dye in the water fountain. Instead it follows the haunted mind of Conway, a trucky driver and his interactions with small handful of people on a part of the Kentucky Interstate, while he to find the place he needs to do his delivery, despite being utterly lost.

I enjoyed what of Kentucky Route Zero I played, but the thing that stands out to me in hindsight is its sound design. It’s a beautifully defined game, audio-wise, with all sorts of thoughtful foley for its environments, and the way that even the pieces of the interface that Conway interacts with have their own sort of specific authentic sounds, chonks and thunks and ch-zzzzses.

It’s also visually splendid, beautiful in what it tries to represent in the heightened reality of its setting but also the format of a videogame. These places look good from the angle that’s chosen, creating lines of artwork and bars of cages, depending on what you’re focusing on, and by being a fixed-camera story of its type, Kentucky Route Zero takes on traits of theatre, with blocking and careful positioning and timing all making up part of how the story unfolds.

A story I haven’t finished.

See, I don’t feel like playing Kentucky Route Zero Act V.

Sit down, traveller. Let me tell you a story.

There’s a chance you’ve heard this story before. I’ve anonymised it here, not because I think you shouldn’t be able to work out who it is, but because the idea of focusing on the who runs the risk of ignoring the what. Plus, I don’t want to direct anyone to a person who said something stupid and encourage fights. That’s not the important issue.

This is the story of when someone perfectly represented something, and probably never realised it.

You will sometimes hear me talk about the take that ‘there are three games about America,’ with a tone of utter revulsion and derision. This is from an incident back in 2020, when a game developer and advocate for inclusive games, had an opinion, on the internet. This advocate is well-established and has a big audience, but also, he’s crucially, not a white guy, not a Christian guy, and not an American guy. These are factors that play into what he said, which was, in summary, that while Kentucky Route 0 was no doubt phenomenal, he wasn’t interested in playing it right now.

To this, an actual adult responded with:

This is legitimately the worst take you’ve ever had. There are only about three games that are actually American, and this is one of them. Everything else is designed for export. Kr0 is a precious and valuable thing. It is of immense and intense personal importance.

Now, resisting the urge to argue with a tweet, which is just generally a bad practice that leads to doing things like wanting to be on twitter, and setting aside this tweet conflating ‘this is of personal importance to me’ and ‘this should be of importance to you,’ this position describes the idea that there are only three games that are ‘actually American.’

What does it mean to be ‘actually American?’

America is a pretty pervasive presence, if you’re not aware of it. Most people in the world have to know about what’s going on in America. We know about your Presidents and your Senators and your Constitution, to the point where people can be more aware of how your country’s laws work than their own country’s laws. I’ve often seen it held up as an example of how poorly educated people in say, Canada and Australia are that we believe we have, say, a ‘first amendment right,’ but the thing is you have to ask why there is that.

We watch so much American TV.

We listen to American music.

We try to make our news broadcasts look like yours, because that’s what real and legitimate news looks like. We try to retell your stories in our local languages because that’s what real media looks like. Our children sing songs in your accents because that’s the culture that a multi-trillion dollar economy has pumped into the whole world.

America demands we attend their wars and surrender our living to become their dead and when we are done America sells the survivors a cheeseburger.

This is not a remarkable or controversial statement. You must know, this is not even vaguely challenging to know about. Everywhere in the world is replicating parts of the American empire, because America exports and enforces the vision of the American empire. McDonalds may sell curry in India, but it’s very important that the curry being sold is McDonalds curry because that is how you know it’s an American style curry.

What this means is when someone tries to assert there are only really three games about America, that’s a kind of specialised brain rot that requires you to consider games that are very much about America as not being really about America. And thus we see the other thing about America, which is it’s not enough for America to be the most important place in the world that everyone else in the world needs to recognise, but also, most of America is inadequately America for this vision of America. You saw this in the wake of 9/11, and the election of Barack Obama: huge amounts of American media resurged in extolling the values of ‘real’ America, as opposed to the parts of America where the vast majority of Americans lived, which just so happened to paint a lot of marginalised people living in the cities as ‘fake Americans.’

I am not bringing you unique information. This is just obviously true things if you don’t live within the boundaries of an environment that flatters you as the most normal thing in the world. The vast majority of the world is not America. There are eight billion people in the world, more or less, meaning that America is about 4% of the world, and yet, it is catastrophically, overwhelmingly, deleritously the common touchstone for how things are ‘supposed’ to work. This is through media imperialism, which is mostly supported by American companies exporting all their media to foreign markets extremely cheaply.

‘about three games that are actually American.’

This fascinating piece of doofusry still, even now leaves me agog. ‘Actually American.’ Kentucky Route 0 is actually American, you see, as opposed to… what? Is America’s Army one of them? You know, the game financed by the American Army? What about Call of Duty, a franchise that is in part subsidised by American military complex manufacturers? What about Grand Theft Auto, a videogame that tells the rags-to-riches story of American excess in criminality, setting aside the way it’s made by a Scottish company. Actually American, because American doesn’t mean America, it means one tiny little pool of ‘America’ where the speaker can imagine there’s a realness and an authenticity to the America-ness that doesn’t involve all the messy realities of what it is to be America. It’s the towns of hard-working people, that suffer under your particular description of oppression, whether that’s cities full of nonwhite people or corporations bleeding the country dry, always eliding the social cruelties and terribleness of these places, as if giving people money stops them from being bigoted (for example).

This is then used to recruit these poor, superior Americans, the you know, America Americans, whose sufferings are noble and whose authenticity cannot be impeached and they are then used as a defense against criticism of, you know, America. It’s the same speech Charlie Daniels gave about how foreigners may think they could push around Barack Obama (a dude who bombed a lot of shepherds with the most elaborate and brutal military ordinance in the world) but they were going to have a harder time taking on Americans who wrestled alligators, who at this point have exactly zero recorded drone strike kills.

This is because America America isn’t real.

‘Real’ America is a nebulous nothing that you can project whatever you want onto, and which is also not responsible for anything terrible that America does. It’s not the American Empire, it’s not the exporter of culture, it’s somehow purer, better, a sort of individualised folk who are to be protected and extolled, shriven of all the things about America that make it anything but its perfect idealised form of America.

I could go on.

I really could.

This is something that defines the world I have to live in. I speak English. I’m white. I’m from a coloniser state. I should be able to integrate easily and smoothly into the white supremacist capitalist hierarchy of American culture, but we are told, that no, we are not acceptable. We are only valid as long as our differences are invisible. We, a real people, do not get to have opinions on America, because we do not know True America. When you spell colour wrong in a chat message, when your accent isn’t quite right, when you don’t know the difference between junior and sophomore year of high school, then you are shown, you are evinced, and you are made very aware that you are other, you are outside, you are wrong.

And really, there’s no good reason for it. We send our soldiers to America’s wars, we buy America’s submarines, and we sing your songs. Our currency mimics America’s, our culture permeats with America’s, we even have such a crushing inferiority complex about the empire that there’s an academic term for what we feel about our own media compared to the media of the truer, proper empire to which we are vassal.

The term is ‘cultural cringe,’ and it was coined by Henry Lawson, who you, odds on, have never heard of. In 1894, he wrote:

The Australian writer, until he gets a “London hearing,” is only accepted as an imitator of some recognized English or American author; and, as soon as he shows signs of coming to the front, he is labelled “The Australian Southey,” “The Australian Burns,” or “The Australian Bret Harte,” and lately, “The Australian Kipling.” Thus no matter how original he may be, he is branded, at the very start, as a plagiarist, and by his own country, which thinks, no doubt, that it is paying him a compliment and encouraging him, while it is really doing him a cruel and an almost irreparable injury. But mark! As soon as the Southern writer goes “home” and gets some recognition in England, he is “So-and-So, the well-known Australian author whose work has attracted so much attention in London lately”; and we first hear of him by cable, even though he might have been writing at his best for ten years in Australia.

This is imperialism. This is a way in which we have been induced and brought by the empires around us to accept their ways as correct, as the normal, as default. And that is the mindset you must have if you want to look at the breadth of videogames, with their American ideas like health insurance, readily available guns, the importance of freedom, the ubiquity of air travel, the branding and iconography of types of food and the sports metaphors and then say ‘yeah, this doesn’t have anything to do with America, not really.’

Anyway, this thread, this incident, was a big deal at the time, in that there were a lot of people from within the community of game developers and journalists who seemed very happy to line up and get mad at a brown foreigner for being inadequately enthusiastic about the possibility of playing a videogame. But don’t worry, after a day or two, an apology was forthcoming for all of this fracas, by which I mean, the original developer apologised for being so thoughtless as to, again, express honest lack of enthusiasm in a videogame.

For me, this was a kind of break point, where I started just blocking indie devs on sight. I don’t want to know what they’re involved in, I don’t want to promote their work, and I will hold tiny grudges against them that I do not seek to transfer or encourage in others. This was one silly incident in which a lot of people said something silly because they don’t know better, or they’re arseholes.

None of this is fair to Kentucky Route 0. It’s a game with its own intentions and its own perspective. It’s not trying to make this conversation happen. Kentucky Route 0 has been choked and gripped by this position around it, where to talk about an American game, someone put a cross on it that made it the avatar for All Things America. The wild thing to me is that I had, prior to this point, played two episodes of Kentucky Route 0. I thought it was pretty good, and I liked what it did with the negative space of dialogue options – when a character you’re controlling makes excuses, the excuses you choose show you other things you could be making excuses about that you, the player, didn’t know beforehand. That’s some good Narrative Storytelling Design, I like that a lot. But now I can’t really engage with Kentucky Route Zero because the main thing it makes me think about is how this final chapter, meant to round out the game’s story and present a conclusion and a point, became this flashpoint for a lot of people to be very casually racist.

Which kinda poisons the whole thing for me. It’s an authentic thing, I’m sure, it’s a thoughtful thing, too, but the people stepping up to say I should care about it did so in a way that made me hate them.

Any time you see me say ‘three games about America’ I’m talking about this, and the attitude of a particular kind of American that America is, as always, exceptional. It’s real easy to not realise when you’re just voicing your self-centeredness and how easy that is to ignore the opinions of people around you and what they’re saying. This is what I’m talking about when I mention ‘the three games about America.’

[fade for credit text]

By the way, the three games about America are Crash Bandicoot, Sam & Max Hit The Road, and Bust A Move.

[no-name-publishing]

Kill the Director by erikschampion

My part in a gift exchange taking place in Renegade's California satellite server. This was a lot of fun and very experimental for me. My idea was to pursue something a little grunge, a little smudged, to go along with the early 2000s Brit punk vibe that the fic gets its title from. Spray paint, screen printing, some blood, some tears, and it's to its new home. Glamour and process shots under the cut!

The yellow base is a plain linen bookcloth that's been coated with acrylic. The pink accent color is a combo of spray paint and smudges of pink Golden Fluid acrylic paint. The endbands are sewn with Gutermann polyester florescent sewing thread, and the endpages are my attempt at an italian vein marble with pink, yellow, and black paint.

Some shots of the typesetting, and a video showing the book as a whole. The fic has some exposition written in a script format, so I typeset that to reflect. And it's always fun to include text message bubbles and emails and stuff.

The graphics on the case were done with screens and waterbased screen printing ink! I went through a few iterations and even tried to set my kitchen on fire in order to get it right before settling on the screens. I'm very very pleased with the result. (The fire was from my DIY attempt at making my own gelli plate with gelatin, glycerin, and rubbing alcohol. All the instructions were telling me to be careful about how many bubbles I was stirring into the mix but I was like, it'll be fine. I'll use my heatgun or a lighter to pop whatever bubbles are there. It works with resin so it should here. Yall alcohol is flammable lmao. Why did I do that. I put my lighter up to those bubbles and lost my vision for a moment at the flash of light. I've never done something that stupid)

The freshly marbled paper hanging up to dry in my kitchen; the screen for the front of the case; my practice piece including the spine design; the case drying on my shower rod (along with some pieces of fabric for another project lol). I have fewer process pictures than I thought lol.

The graphics on the front and back were also partially designed by hand. I printed images of the characters then cut them vertically, and alternated the slices. Copied that, then did the same horizontally. Scanned that, and then did some cleaning up digitally on my computer. Here's some shots of the steps and the pieces themselves.

The third picture shows my first attempt, as I actually did this process twice. The first time I didn't feel like the first pass was pixelated enough, so I cut it again both vertically and horizontally and alternated them once more. This was a mess, and ultimately I didn't like the finished result. Round two (second image) was the final round, and what wound up using in the project instead.

Thanks for looking!

[andy-wm]

hey andy, loving your posts recently; was wondering what your take is on why jikook chose to film their trip and share it with fans instead of just traveling on their own? any thoughts?

Hey Anon, thanks for the ask and your kind words :)

I have a few thoughts on this actually!

After a conversation with my semi-ARMY, BTS loving, ride or die Jikooker (with caveats) bestie (yes, it's complicated but I fully support their right to choose a safe place in (or not in) this fandom that serves them as an individual 💜), I took a moment to think about how often Jimin and JK get to spend time together.

(Tldr: not often, so they take what they can get)

I think their choice to share their trips with us hinges around a few things -

Contracts, MS rules, group hiatus, ARMY, schedules, and (hopefully) themselves.

BTS renewed their contracts not too long ago and those contracts would have specified certain obligations and opportunities for each member, in line with the planned group hiatus and MS.

It looks like, with the new contracts, they all signed up for heaps of individual projects. Everyone seems to be doing at least one album, a live performance, a documentary, a guest appearance/collab, an episodic format media project, and perhaps some sort of idol-ajacent work like endorsements (or maybe in Joonie's case the MOMA docent recording.)

I assume this series is their combined episodic media project box being ticked.

Why would they choose this and not a series like Jinny's Kitchen, or Suchwita?

Working independently on their own projects for the previous year would have meant their schedules didn't necessarily align too often. Although I have no doubt they would have made time to see and support each other (Jimin going to Qatar as an example), it would have been hard to be apart when they're so used to being together.

Seeing that they had the option to take a sanctioned trip together as a couple best friends, it makes sense that they did that instead of filming a scripted /directed program in a studio with other random cast members and more schedules to try and work around.

In all honesty, the likelihood of them getting the chance to get away together on a personal trip would have been slim, i think. No time for that!

Assuming I'm right about the contracts, if they didn't take this opportunity, they would both have been involved in other projects to meet their obligations. More schedules, more time apart, more energy spent interacting with random strangers (we know they don't love that).

Three trips away together! What a boon!

And all they need to do is be themselves.

They have done so many similar projects - Now series, Bon Voyage, ITS, and even JK's GCFs... This is relatively easy for them. Plus it's a 'tried and trusted' format that ARMY loves.

And they're so used to having cameras around them, and they know the staff so well, that i don't think the presence of a film/support crew would have significantly detracted from the fun they had.

The time they spent together would have been a blessing, especially before they knew the were successful in the companion bid. And speaking of that, they could not have had these trips unless they were work-related due to MS regulations.

They still have this bizarre idea we might forget them. Hilarious, right?

We all know that the reasons they do these programs are first financial (keep those army dollars rolling in) and second, fan engagement.

Reality type shows are the best for an authentic connection to these guys, and we love that. We don't need much more than them being and doing and exisiting, for us to be happy.

Just quietly, I dont think Hybe really realise how easy we are. I'd watch jimin scroll on his phone and occasionally laugh, or yawn, or eat a snack, and I'd find it endearing and a worthwhile use of my time.

In summary, this series is a gift for us, and easy money for Hybe, its a win-win.

And if Jimin and JK have fun and get time together, its a win for everyone.

💜🏕💛

[jccatstudios]

Hi! Im pretty sure someone already asked you this but I really want to know. When working on the comic, do you make a script for yourself or do you "just" work with the book as it is? I know that making a script adds another work to the already long list, but working with the book as it is seems really overwhelming (many words me not likey)

You know, I don't think I have answered this before! Not in-depth, at least. Here's how I do it.

This is my extra annotated copy of the book (my original copy remains untouched). Got it used and as-is from Powell's. I also have a digital copy of the book when I can't bring this copy with me. I underline certain things I don't want to forget in the artwork, and write little notes to myself here and there. It's not shown on this page, but sometimes I cross things out that I won't/can't adapt like worldbuilding info and smaller flashbacks. If dialogue needs to be changed for lettering purposes, I do that when I'm actually making pages, not at the annotating stage. In the digital copy, I highlight character and setting descriptions to keep track of. This process is actually how I made my second graphic novel, which was an adaptation of a short story I wrote.

The ratio up top is my book page to comic page estimate. Last chapter's ratio was 10:21, which is in the ballpark of 3:7. With it, I've figured out how long each chapter and section would be just for fun. I even have a rough estimate of how long the entire book would be in comic format with nothing cut from it (try plugging in the numbers yourself if you'd like a fun surprise).

If this were a real professional project, I would write out a script myself. I'd want to keep the whole book in mind instead of doing it chapter by chapter. Working directly from the book for how things are structured is just a way to make the comic faster. Even thinking about the last chapter, I have ideas already for what I would change to create a stronger comic adaptation. For now though, I just go off the individual chapter to create something more one-to-one. This project has always been a way to improve my art and comic skills before I graduate, so doing structural rewrites to the story, even though that would be necessary for an actual adaptation, is out of the scope of this personal project I do outside of my classes.

[positivexcellence]

Is there garlic on this pizza? An oral history of Supernatural's 'Monster Movie' episode

THE BEGINNING

What started as a simple enough idea — a black-and-white episode — was then put into the hands of writer Ben Edlund, who’d already crafted some of the show’s more creative hours, including “Hollywood Babylon,” which marked one of the series’ first meta episodes, and “Ghostfacers,” which was shot like a cheesy ghost-hunting reality show using handheld cameras. Alongside Edlund was director Robert Singer, an executive producer on the series and a massive movie fan himself.

ERIC KRIPKE (Creator): I was an obsessive fan of The X-Files and in their prime, they got really bold and adventurous with their format, and they had a black-and-white episode. I was always hoping that we could start taking those same kinds of swings. I remember saying, “I want to do a black-and-white episode where Sam and Dean are up against the classic movie monsters.” But I think Ben came up with the shapeshifter. We were trying to figure out: How do you get a mummy and a werewolf and a Frankenstein and a Dracula in the same episode? That makes no f---ing sense. So this idea of a shapeshifter who loved those movies and was ultimately just a fanboy was the secret to cracking that one open. 

ROBERT SINGER (Director): I think that script was Ben at his best. I was really happy that I was in line to direct because I really loved those old movies, so it was fortuitous that I got to do it. 

JENSEN ACKLES (Dean Winchester): It’s all just paying homage to the old-school ways of doing things, which having Bob at the helm, he’s seen all those movies time and time again, so he was the perfect guy to direct this episode. 

KRIPKE: Bob has an encyclopedic knowledge of movies, especially older films. He’s a classicist and his directing style is a lot of that kind of beautiful, elegant Hollywood style, and I think he just really relished it.

SINGER: I shot generally with wider lenses than I would normally do with Supernatural to try to give it some of that old-time feel. I really took pains to make it look as old fashioned as I possibly could. I’m a big fan of James Whale, who had done Frankenstein, and there are a lot of great crane shots in those movies, so I did a lot of crane work in this. We did a lot of shadow play. 

JARED PADALECKI (Sam Winchester): You put Ben Edlund on writing and Bob Singer on directing and magic is bound to happen.

But there was another piece of the puzzle that needed to come together for the magic to truly work: Who would play the shapeshifter (and therefore spend the episode doing their best Dracula)? The answer was Todd Stashwick.

TODD STASHWICK (Dracula): They wanted a full-on replication of Bela Lugosi’s performance. I had the DVD of the 1930’s Dracula, so I was watching that just to get the mannerisms and vocal intonation down so that I wasn’t doing a Xerox carbon copy but rather actually trying to get that Hungarian dialect that he has. I went in [to the audition] and just swung for the rafters.

SINGER: We had him do one of the Dracula scenes and then do the speech where he’s telling her how he became the way he became and Todd just killed it. That was an easy call to cast him.

STASHWICK: They wanted to know that you were going to be able to bring both sides to it, the full-on studied Dracula performance and then to let that mask drop and see the wounded man that is the monster. 

KRIPKE: We needed someone who could stick the landing on the Dracula part and that’s really hard. It’s hard to do it and have it not come off like a bit. Todd is a remarkable mimic of Bela Lugosi and brings humanity and soulfulness and depth to it. There’s something in his eyes that made it deeper and sadder than had you cast someone who was just going for an impersonation.

PADALECKI: That episode belongs to Todd Stashwick. He’s so damn good. 

Alongside Stashwick was Melinda Sward, whose character Jamie, a local waitress, caught Dean's eye and marked a first for the show. 

KRIPKE: At the time, there was a young female fan named Jamie. She and her mother would write us letters and they were super fans, and we were still early enough that we’re like, “I can’t believe there’s fans.” Jamie had medical issues, so when the season was coming up, I wrote her a response and said, “If you concentrate on getting better, we’ll name a character after you.” And she responded and said, “That’s amazing, but can you just do me a favor? Can you make sure it’s a character that doesn’t die?” So the female lead in this one we named Jamie. That was one of the only times we ever named a character after a real person and a fan. The happy ending is she was thrilled and she grew up healthy and now tours around with a replica of the Impala. 

ACKLES: Jamie was one of my favorite Dean Girls. Melinda was so good and so fun.

From the instant the episode began, fans knew they were in for something special as the old black-and-white WB logo kicked off a very old-school credits sequence.

SINGER: Right from the opening of the Warner Brothers shield, you know where you’re going. It set the tone perfectly.

KRIPKE: That and “Changing Channels” are the only two episodes where I’ll sit down and just watch the credit sequence. The font, the way you list every crew member, and it just goes on forever. And [composer Christopher] Lennertz wrote real orchestral music for it. I just love the opening of that episode and the way we did that title sequence. But changing subjects, what that reminds me of is the singular genius of Ben Edlund to set this episode during Oktoberfest. Suddenly everyone looks like European villagers and everything becomes a real monster movie.

SINGER: And that location was a party site, but it worked perfect for us. 

PADALECKI: It was like an amusement park in the outskirts of Vancouver that we rented out. It ended up unfortunately getting torn down and turned into condos or something.

THE MIDDLE

With the setting and the cast locked, the brothers set out on their hunt, arriving at Oktoberfest to help solve a murder. And when the investigation made Dean late to his first date with Jamie, he found himself face-to-face with Dracula. So naturally, Dean punched the shapeshifter in the face. A fight ensued, one that ended with Dean holding an ear and Dracula ... riding a vespa?

ACKLES: I believe one of the many reasons this show lasted as long as it did is because it can be scary but then at the same time, you throw something like the scooter in and it layers in comedy with horror, with drama, with romance. It touches it all. Bob said it early on and it became a mantra of ours: “No joke is too cheap.” 

STASHWICK: That’s the infamous assault scene. I’m in full crazy mode and I’m supposed to clock Jensen in his beautiful face with my elbow, and for whatever reason in that moment — I perhaps leaned in, he perhaps leaned in — we closed that gap and I clocked him. So what you see on the DVD extras is me being all Dracula and then me being mortified that I just hit their billion dollar baby in the face.

ACKLES: He caught me with an elbow but he probably thought he hit me harder than he did. It was a mix between a good shot and a graze, but he immediately broke character. He was like, “Are you good?” And I was like, “Yeah, that one woke me up.” [Laughs]

Dean made it through that fight, but the shapeshifter had already planned its next move: While Sam checked out an eccentric local that they thought was the killer, Dean and Jamie shared a drink back at the bar where she worked. Her friend Lucy (Holly Elissa) then showed up just in time to spike their drinks. By the time Dean woke up, he was wearing Lederhosen while strapped to a table in a dungeon.

SINGER: Jensen was like, “Oh god do I have to wear this?” So to make him feel better, I put on the Lederhosen top. I didn’t go with the full shorts but I did direct that day in the Lederhosen top to take the edge off it a little bit for him.

ACKLES: I remember that! He directed in that shirt. [Laughs] Those were authentic leather Lederhosen from Bavaria. Only the best for Dean.

PADALECKI: When Jensen’s first getting strapped to the table, cause he’s a big guy, I remember them talking about how for the visual's sake, they wanted it to be like he’s a quote-unquote damsel in distress, so if they used a normal-sized platform, it would’ve looked comical, but not in a good way. So they had to make it a little bigger cause he’s kind of big.

Dean wasn’t in the dungeon long before Dracula left him to go answer the doorbell. It seemed the shapeshifter ordered a pizza … and he had a coupon.

KRIPKE: I just love how there’s the monster lab in the basement but then you go upstairs and it’s this mid-century ranch house. That’s almost a direct ripoff of the Steve Martin movie The Man with Two Brains.

SINGER: [Set designer] Jerry [Wanek] did a great job in building the dungeon set, and then when the doorbell rings, you realize it’s in the bottom of a suburban house with a pizza guy showing up at the door. 

KRIPKE: When Ben wrote the script, we talked about that scene more than any other scene in the episode. We were so specific about how we wanted the Dracula shapeshifter to react to the pizza guy and the way he’s scared when he says, “Is there garlic on the pizza?” And then the way the pizza guy’s so bored and over it: “Did you order garlic?” And then he says, “No!” It’s the way that he’s so bored of this Dracula at the door.

PADALECKI: I think Jensen and I must’ve watched this episode together in 2008 because I remember us looking at each other and going like, ”Oh my god, [the pizza guy] is way better than he needs to be!”

ACKLES: That line, because of the way that Todd delivered it, we used that line on set many, many times. Whenever somebody asked a question that had an obvious “no” to it, it’d be like, “Hey, did you want the big light on in the distance?” And Bob would be like, “Is there garlic on it?” So that became a little ism on set.

STASHWICK: I’m a Second City guy, so “yes, and” is drilled into my head and yet the two memes I’m most known for, I’m saying the word “no,” and that is Supernatural and Star Trek. I have the no's that are heard around the world. 

In the end, the brothers came out victorious and another monster was dead, but not before this one made you feel a little something (and gave one heck of a final monologue quoting King Kong). 

KRIPKE: Ben gets all the credit, and rightfully so, for writing the crazy episodes, but where I don’t think he gets enough credit is what a disciplined screenwriter he is in terms of character consistency and rule consistency and just the emotion and pathos he brings to every single story he does. No matter how crazy, he always has such a talent for capturing humanity. I wasn’t counting on the shapeshifter to have pathos but when he gives that speech at the end, it’s so sad. I give him all the credit in the world for that.

SINGER: Eric used to say, “Every villain is a hero of his own story,” so we always tried, as best we could, to give the villains something to do and learn more about them and give them full characters. So even with all this fun, we managed to give him something a little more to do. 

PADALECKI: He becomes an almost sympathetic character — I stress almost because he did kill a couple people — but what a great character arc all inside of one episode.

STASHWICK: Because this character wasn’t just a cartoon Dracula and he had that human moment, I think it made him stick in people’s minds more. This monster just really loved the movies. He was the ultimate cosplayer. It might be the thing I’m most known for outside of Star Trek, that one episode of TV.

THE END...?

Although Dracula didn’t make it out alive, the episode seemed to breathe new life into the series, marking perhaps its biggest risk yet, though not the biggest risk the show would ever take. 

SINGER: It kind of laid a template for other big swings that we took that were out of the ordinary, whether it was “Changing Channels” or “The French Mistake.” This was the first of our big swings of being totally different than what the show was generally week to week.

KRIPKE: I remember it getting a positive reception. I think people appreciated the swings we were starting to take. I just love that this small little supernatural show that’s arguably a Buffy ripoff on The CW got so experimental. I am really proud that we were doing legit avant-garde stuff, really experimental filmmaking, of which this was one, and then we just kept pushing it. 

PADALECKI: It’s such a great episode of television and I think we have a few in our 15 years that could stand alone as something fun to watch and out of the box, and it's certainly easy to argue "Monster Movie" is at the top.

ACKLES: This was really when we were hitting our stride. We were in the pocket with these characters, with the storytelling, with the writing. The first year was really finding our feet, the second was like, "Okay we somehow survived a network merge, let’s not mess this up." And then third season we started playing a little bit. So by the fourth season, we’re like, "Now we know where we need to be." This was the perfect time to do one of these outside-the-box episodes. This is definitely one of my top 10.

SINGER: I directed 48 episodes and if somebody asked me which is my favorite, I would probably say this one. I just had the best time doing it. 

Entertainment Weekly

[a-memory-a-distant-echo]

it's time for the long-threatened post about how to get subtitles (including translated ones) for videos that don't have subtitles.

in my experience, the methods in this post can probably get you solidly 75% or more of the content of many videos (caveats inside). i've tested this on videos that are originally in chinese, english, french, german, hindi, japanese, korean, spanish, and honestly probably some languages that i'm forgetting. my experience is that it works adequately in all of them. not great, necessarily, but well enough that you can probably follow along.

this is a very long post because this is the overexplaining things website, and because i talk about several different ways to get the captions. this isn't actually difficult, though, or even especially time consuming—the worst of it is pushing a button and ignoring things for a while. actual hands-on work is probably five minutes tops, no matter how long the video is.

i've attempted to format this post understandably, and i hope it's useful to someone.

first up, some disclaimers.

this is just my experience with things, and your experience might be different. the tools used for (and available for) this kind of thing change all the time, and if you're reading this six months after i wrote it, your options might be different. this post is probably still a decent starting place.

background about my biases in this: i work in the creative industries. mostly i'm a fiction editor. i've also been a writer, a technical editor and writer, a transcriptionist, a copyeditor, and something i've seen called a 'translation facilitator' or 'rewrite editor', where something is translated fairly literally (by a person or a machine) and then a native speaker of the target language goes through and rewrites/restructures as needed to make the piece read more naturally in the target language. i've needed to get information out of business meetings that were conducted in a language i didn't speak, and have done a lot of work on things that were written in (or translated into) the writer's second or sixth language, but needed to be presented in natural english.

so to start, most importantly: machine translation is never going to be as good as a translation done by an actual human. human translators can reflect cultural context and nuanced meanings and the artistry of the work in a way that machines will never be able to emulate. that said, if machine translation is your only option, it's better than nothing. i also find it really useful for videos in languages where i have enough knowledge that i'm like, 75% sure that i'm mostly following, and just want something that i can glance at to confirm that.

creating subs like this relies heavily on voice-to-text, which—unfortunately—works a lot better in some situations than it does in others. you'll get the best, cleanest results from videos that have slow, clear speech in a 'neutral' accent, and only one person speaking at a time. (most scripted programs fall into this category, as do many vlogs and single-person interviews.) the results will get worse as voices speed up, overlap more, and vary in volume. that said, i've used this to get captions for cast concerts, reality shows, and variety shows, and the results are imperfect but solidly readable, especially if you have an idea of what's happening in the plot and/or can follow along even a little in the broadcast language.

this also works best when most of the video is in a single language, and you select that language first. the auto detect option sometimes works totally fine, but in my experience there's a nonzero chance that it'll at least occasionally start 'detecting' random other languages in correctly, or someone will say a few words in spanish or whatever, but the automatic detection engine will keep trying to translate from spanish for another three minutes, even tho everything's actually in korean. if there's any way to do so, select the primary language, even if it means that you miss a couple sentences that are in a different language.

two places where these techniques don't work, or don't work without a lot of manual effort on your part: translating words that appear on the screen (introductions, captions, little textual asides, etc), and music. if you're incredibly dedicated, you can do this and add it manually yourself, but honestly, i'm not usually this dedicated. getting captions for the words on the screen will involve either actually editing the video or adding manually translated content to the subs, which is annoying, and lyrics are...complicated. it's possible, and i'm happy to talk about it in another post if anyone is interested, but for the sake of this post, let's call it out of scope, ok? ok. bring up the lyrics on your phone and call it good enough.

places where these techniques are not great: names. it's bad with names. names are going to be mangled. resign yourself to it now. also, in languages that don't have strongly gendered speech, you're going to learn some real fun stuff about the way that the algorithms gender things. (spoiler: not actually fun.) bengali, chinese, and turkish are at least moderately well supported for voice-to-text, but you will get weird pronouns about it.

obligatory caveat about ai and voice-to-text functionality. as far as i'm aware, basically every voice-to-text function is ~ai powered~. i, a person who has spent twenty years working in the creative industries, have a lot of hate for generative ai, and i'm sure that many of you do, too. however, if voice-to-text (or machine translation software) that doesn't rely on it exists anymore, i'm not aware of it.

what we're doing here is the same as what douyin/tiktok/your phone's voice-to-text does, using the same sorts of technology. i mention this because if you look at the tools mentioned in this post, at least some of them will be like 'our great ai stuff lets you transcribe things accurately', and i want you to know why. chat gpt (etc) are basically glorified predictive text, right? so for questions, they're fucking useless, but for things like machine transcription and machine translation, those predictions make it more likely that you get the correct words for things that could have multiple translations, or for words that the software can only partially make out. it's what enables 'he has muscles' vs 'he has mussels', even though muscles and mussels are generally pronounced the same way. i am old enough to have used voice to text back when it was called dictation software, and must grudgingly admit that this is, in fact, much better.

ok! disclaimers over.

let's talk about getting videos

for the most part, this post will assume that you have a video file and nothing else. cobalt.tools is the easiest way i'm aware of to download videos from most sources, though there are other (more robust) options if you're happy to do it from the command line. i assume most people are not, and if you are, you probably don't need this guide anyhow.

i'm going to use 'youtube' as the default 'get a video from' place, but generally speaking, most of this works with basically any source that you can figure out how to download from—your bilibili downloads and torrents and whatever else will work the same way. i'm shorthanding things because this post is already so so long.

if the video you're using has any official (not autogenerated) subtitles that aren't burned in, grab that file, too, regardless of the language. starting from something that a human eye has looked over at some point is always going to give you better results. cobalt.tools doesn't pull subtitles, but plugging the video url into downsub or getsubs and then downloading the srt option is an easy way to get them for most places. (if you use downsub, it'll suggest that you download the full video with subtitles. that's a link to some other software, and i've never used it, so i'm not recommending it one way or the other. the srts are legit, tho.)

the subtitle downloaders also have auto translation options, and they're often (not always) no worse than anything else that we're going to do here—try them and see if they're good enough for your purposes. unfortunately, this only works for things that already have subtitles, which is…not that many things, honestly. so let's move on.

force-translating, lowest stress mode.

this first option is kind of a cheat, but who cares. youtube will auto-caption things in some languages (not you, chinese) assuming that the uploader has enabled it. as ever, the quality is kinda variable, and the likelihood that it's enabled at all seems to vary widely, but if it is, you're in for a much easier time of things, because you turn it on, select whatever language you want it translated to, and youtube…does its best, anyhow.

if you're a weird media hoarder like me and you want to download the autogenerated captions, the best tool that i've found for this is hyprscribr. plug in the video url, select 'download captions via caption grabber', then go to the .srt data tab, copy it out, and paste it into a text file. save this as [name of downloaded video].[language code].srt, and now you have captions! …that you need to translate, which is actually easy. if it's a short video, just grab the text, throw it in google translate (timestamps and all), and then paste the output into a new text file. so if you downloaded cooking.mp4, which is in french, you'll have three files: cooking.mp4, cooking.fr.srt, and cooking.en.srt. this one's done! it's easy! you're free!

but yeah, ok, most stuff isn't quite that easy, and auto-captioning has to be enabled, and it has some very obvious gaps in the langauges it supports. which is sort of weird, because my phone actually has pretty great multilingual support, even for things that youtube does not. which brings us to low-stress force translation option two.

use your phone

this seems a little obvious, but i've surprised several people with this information recently, so just in case. for this option, you don't even need to have downloaded the video—if it's a video you can play on your phone, the phone will almost definitely attempt real-time translation for you. i'm sure iphones have this ability, but i'm an android person, so can only provide directions for that: go into settings and search for (and enable) live translation. the phone will do its best to pick up what's being said and translate it on the fly for you, and if 'what's being said' is a random video on the internet, your phone isn't gonna ask questions. somewhat inexplicably, this works even if the video is muted. i do this a lot at like four a.m. when i'm too lazy to grab earbuds but don't want to wake up my wife.

this is the single least efficient way to force sub/translate things, in my opinion, but it's fast and easy, and really useful for those videos that are like a minute long and probably not that interesting, but like…what if it is, you know? sometimes i'll do this to decide if i'm going to bother more complicated ways of translating things.

similarly—and i feel silly even mentioning this, but that i didn't think of it for an embarrassingly long time—if you're watching something on a device with speakers, you can try just…opening the 'translate' app on your phone. they all accept voice input. like before, it'll translate whatever it picks up.

neither of these methods are especially useful for longer videos, and in my experience, the phone-translation option generally gives the least accurate translation, because in attempting to do things in real time, you lose some of the predicative ability that i was talking about earlier. (filling in the blank for 'he has [muscles/mussels]' is a lot harder if you don't know if the next sentence is about the gym or about dinner.)

one more lazy way

this is more work than the last few options, but often gives better results. with not much effort, you can feed a video playing on your computer directly into google translate. there's a youtube video by yosef k that explains it very quickly and clearly. this will probably give you better translation output than any of the on-the-fly phone things described above, but it won't give you something that you can use as actual subs—it just produces text output that you can read while you watch the video. again, though, really useful for things that you're not totally convinced you care about, or for things where there aren't a lot of visuals, or for stuff where you don't care about keeping your eyes glued to the screen.

but probably you want to watch stuff on the screen at the same time.

let's talk about capcut!

this is probably not a new one for most people, but using it like this is a little weird, so here we go. ahead of time: i'm doing this on an actual computer. i think you probably can do it on your phone, but i have no idea how, and honestly this is already a really long guide so i'm not going to figure it out right now. download capcut and put it on an actual computer. i'm sorry.

anyhow. open up capcut, click new project. import the file that you downloaded, and then drag it down to the editing area. go over to captions, auto captions, and select the spoken language. if you want bilingual captions, pick the language for that, as well, and the captions will be auto-translated into whatever the second language you choose is. (more notes on this later.)

if i remember right, this is the point at which you get told that you can't caption a video that's more than an hour long. however. you have video editing software, and it is open. split the video in two pieces and caption them separately. problem solved.

now the complicated part: saving these subs. (don't panic; it's not actually that complicated.) as everyone is probably aware, exporting captions is a premium feature, and i dunno about the rest of you, but i'm unemployed, so let's assume that's not gonna happen.

the good news is that since you've generated the captions, they're already saved to your computer, they're just kinda secret right now. there are a couple ways to dig them out, but the easiest i'm aware of is the biyaoyun srt generator. you'll have to select the draft file of your project, which is auto-saved once a minute or something. the website tells you where the file is saved by default on your computer. (i realised after writing this entire post that they also have a step-by-step tutorial on how to generate the subtitles, with pictures, so if you're feeling lost, you can check that out here.)

select the project file titled 'draft_content', then click generate. you want the file name to be the same as the video name, and again, i'd suggest srt format, because it seems to be more broadly compatible with media players. click 'save to local' and you now have a subtitle file!

translating your subtitles

you probably still need to translate the subtitles. there are plenty of auto-translation options out there. many of them are fee- or subscription-based, or allow a very limited number of characters, or are like 'we provide amazing free translations' and then in the fine print it says that they provide these translations through the magic of uhhhh google translate. so we're just going to skip to google translate, which has the bonus of being widely available and free.

for shorter video, or one that doesn't have a ton of spoken stuff, you can just copy/paste the contents of the .srt file into the translation software of your choice. the web version of google translate will do 5000 characters in one go, as will systran. that's the most generous allocation that i'm aware of, and will usually get you a couple minutes of video.

the timestamps eat up a ton of characters, though, so for anything longer than a couple minutes, it's easier to upload the whole thing, and google translate is the best for that, because it is, to my knowledge, the only service that allows you to do it. to upload the whole file, you need a .doc or .rtf file.

an .srt file is basically just a text file, so you can just open it in word (or gdocs or whatever), save it as a .doc, and then feed it through google translate. download the output, open it, and save it as an .srt.

you're done! you now have your video and a subtitle file in the language of your choice.

time for vibe, the last option in this post.

vibe is a transcription app (not a sex thing, even tho it sounds like one), and it will also auto-translate the transcribed words to english, if you want.

open vibe and select your file, then select the language. if you want it translated to english, hit advanced and toggle 'translate to english'. click translate and wait a while. after a few minutes (or longer, depending on how long the file is), you'll get the text. the save icon is a folder with a down arrow on it, and i understand why people are moving away from tiny floppy disks, but also: i hate it. anyhow, save the output, and now you have your subs file, which you can translate or edit or whatever, as desired.

vibe and capcom sometimes get very different results. vibe seems to be a little bit better at picking up overlapping speech, or speech when there are other noises happening; capcom seems to be better at getting all the worlds in a sentence. i feel like capcom maybe has a slightly better translation engine, of the two of them, but i usually end up just doing the translation separately. again, it can be worth trying both ways and seeing which gives better results.

special notes about dual/bilingual subs

first: i know that bilingual subs are controversial. if you think they're bad, you don't have to use them! just skip this section.

as with everything else, automatically generating gives mixed results. sometimes the translations are great, and sometimes they're not. i like having dual subs, but for stuff that Matters To Me, for whatever reason, i'll usually generate both just the original and a bilingual version, and then try some other translation methods on the original or parts thereof to see what works best.

not everything displays bilingual subs very well. plex and windows media player both work great, vlc and the default video handler on ubuntu only display whatever the first language is, etc. i'm guessing that if you want dual subbed stuff you already have a system for it.

i'll also point out that if you want dual subs and have gone a route other than capcom, you can create dual subs by pasting the translated version and the untranslated version into a single file. leave the timestamps as they are, delete the line numbers if there are any (sometimes they seem to cause problems when you have dual subs, and i haven't figured out why) and then literally just paste the whole sub file for the first language into a new file. then paste in the whole sub file for the second language. yes, as a single chunk, the whole thing, right under the first language's subs. save the file as [video name].[zh-en].srt (or whatever), and use it like any other sub file.

notes on translation, especially since we're talking about lengthy machine-translations of things.

i default to translation options that allow for translating in large chunks, mostly because i'm lazy. but since an .srt is, again, literally just a text file, they're easy to edit, and if you feel like some of the lines are weird or questionable or whatever, it's easy to change them if you can find a better translation.

so: some fast notes on machine translation options, because i don't know how much time most people spend thinking about this kind of stuff.

one sort of interesting thing to check out is the bing translator. it'll only do 1000 characters at once, but offers the rather interesting option of picking a level of formality. i can't always get it to work, mind, but it's useful especially for times when you're like 'this one line sounds weird'—sometimes the difference between what the translator feels is standard vs formal vs casual english will make a big difference.

very fast illustration of the difference in translations. the random video that i used to make sure i didn't miss any steps explaining things starts with '所以你第二季来'. here's how it got translated:

google: So you come to season 2

google's top alternative: So you come in the second season

bing's standard tone: So here you come for the second season

bing set to casual: So you're coming for the second season, huh?

reverso default guess: So you come in season two

reverso alternate guess: You'll be participating in season two

capcom: So you come in season two

yandex: So you come in the second season

systran: That's why you come in season two

deepl: That's why you're here in season two

vibe: So your second season is here

technically all conveying the same information, but the vibes are very different. sometimes one translator or another will give you a clearly superior translation, so if you feel like the results you're getting are kinda crap, try running a handful of lines through another option and see if it's better.

ok! this was an incredibly long post, and i've almost definitely explained something poorly. again, there are almost certainly better ways to do this, but these ways are free and mostly effective, and they work most of the time, and are better than nothing.

feel free to ask questions and i'll answer as best i can. (the answer to any questions about macs or iphones is 'i'm so sorry, i have no idea tho.' please do not ask those questions.)

[nadianova]

im sorry if anyones asked this before but! what's your process for planning out your vns? it might be too open-ended a question but playing malmaid its clear that you have a lot of skill and really have the medium nailed, so like... what does your workflow look like? how do you piece together whatever beginning idea fragments you have into something so coherent and well put together as this? what kinds of things do you prioritize? have you written about your process before?

i should tag my shit better i had to scroll forever to find these

but uhhhhhh i think. i seriously think the biggest misconception is that i somehow know what I'm doing like consistently the moments that people like in my games are moments i wsnt even thinking about and instead i put my effort into some entirely dismissed location.

i dont know what im doing but if i am to point at a skill my skill is the fact that i can in fact complete games and that gives people an opportunity to enjoy them

if you go read my first vns you'll notice they are not malmaid but after having made so many its just helped me build a repertoire of scripting abilities and knowledge on how to express myself in a visual novel format.. ultimately i am kinda writing the same thing over and over again in my vns cause that's just what i like to do

so its just trial and error really while having fun with the process

but yeah theres two other links wheere itry to go in the details but everything is so vague and shifting i might be doing something entirely different for my next game I'm already learning that i HATE planning so much as I've done for NAOMIDA and i have way more fun just winging it like i did with hopeless junction and dddeviance

my notes are actually insane like

lmao

look at these are my current notes and starting baseline for my lina side story in my game

like srly i just throw shit in be it memes or tweets or snippets of my own thoughts i wrote half asleep at 4 am and then figure out the details later and when i feel like my story is clear enough in my brain from shit like this i just start writing it hopping from scene to scene usually writing the fun scenes first and then suffering when i gotta string everything together

[mageknight14]

The Dangers and Flaws of Idolization: A NEO TWEWY analysis post

Transplanting and expanding on a thread I made on Twitter to fit within a Tumblr format.

One of the most interesting aspects I see in NEO TWEWY that I don’t see many people touch upon is the commonality between Rindo, Fret, and Shoka in how they look up to others as role models while simultaneously being blind to their flaws/who they actually are up to the end and how the game's themes are reflected in those relationships and today, I'd like to showcase why.

First, we have Rindo and Motoi. With that relationship, the game makes it pretty clear that Rindo looked up to Motoi as An0ther and used his words as encouragement to get through his own daily life and anxiety. The kid could barely decide what he could even eat for dinner before he had come across the account, so if you thought his current indecisiveness nature was bad, he was even worse before the events of the game.

However, what I find interesting is that even though he constantly spouts An0ther's sayings in an attempt to try and steel himself for the challenges he faces, he thoughtlessly does so and only lives by the sayings half-heartedly, since his indecisive nature and fear of responsibility prevent him from committing all the way. I think it's telling that despite claiming that "don't miss your chance to make a friend" is one of his favorite quotes, he's constantly at odds with the idea of bringing potentially new players on board the team even before he gets the chance to properly know/meet them and grimaces at the thought of the structure of the old Reaper's Game in the original.

Keep in mind that Beat saved Rindo's life at the hands of Susukichi at least two whole days ago before this occurrence.

Nagi’s Dive into his head on W1D3 actually does a LOT to reveal aspects of his character: he puts other people at arm’s length (besides Swallow due to their online anonymity) because he’s afraid of the fallout of what would to happen if he got involved with them.

"What if I end up taking on more than I can handle? What if other people end up dragging me down with them? If I just stay at the sidelines and shift the blame onto others, I won’t get into trouble for this."

"I'm in a group project; everybody is contributing and making decisions about how we should go about doing things. I keep my mouth shut and refrain from pitching in despite maybe thinking some of their ideas misses the point of the assignment, because God forbid my ideas could be helpful (or maybe they won't; that's life, but I won't know unless i speak up). We end up handing in our project and whoops, we got a C-. I guess I'm not responsible for receiving that grade because I never made a decision, therefore I shouldn't be accountable for my lack of contribution. It just makes sense."

If you've known/are a person that have had similar thoughts to this mindset, then congrats; you know/are a Rindo Kanade in real life.

This culminates into him latching onto others he finds capable and taking the relationships around him for granted, tying other people's worth to their prowess in might or influence. After all, why bother relying on yourself and others when you can just rely on someone else for you to solve your problems? Especially since it means that if everything goes south, YOU won’t take the fallout for it. After all, they’re clearly much more capable than you are.

To get back to his dynamic with Motoi, Rindo looks up to him immensely after finding out that he was his idol an0ther and came to value his input regarding matters within the Game. So when he eventually finds out the truth and is forced to confront the fact that his hero was nothing more than a content thief and a schemer who would trample over others just to survive, he’s understandably heartbroken.

However, instead of just leaving it there, the game decides to flip the script and have Motoi legitimately apologize to Rindo for his actions, leading to the lad in question learning to recognize that Motoi is ultimately an incredibly flawed human being instead of just writing him off entirely, (even giving him another chance!) and is, in many ways, a mirror to Rindo. Like Rindo, Motoi was deathly afraid of responsibility and the fallout of letting other people down, leading to him copying and pasting other people's quotes so that he wouldn't have to face that possibility. This aspect of himself only got worse when he got trapped in the Reaper's Game for multiple loops on end, forcing him to become a worse version of himself, lying, cheating, and backstabbing just to survive and even looking towards becoming part of the Reapers, the same group that trapped him there in the first place, just so he wouldn't have to be Erased, un a manner that's eerily reminiscent to how Rindo would took towards overly relying on others so that he would make it out okay. In that sense, Motoi is a look at what a grown-up Rindo would look like if he didn't take the lessons he learned within the Game to heart, which is part of why the latter decides to take Motoi’s copypasted quotes and apply them to his life in a positive way, deriving his own meaning from them so that in a way that contrasts him following them in a shallow manner from before.

Next up, we have Fret and Kanon, who form a interesting parallel to Rindo and Motoi's dynamic. Whereas Motoi is a look at one of the worst possible paths that Rindo could take if he didn't learn how to properly deal with his flaws, Kanon actually tries to coach Fret into becoming more true to and genuine with his actual self. She also shows herself to be a genuinely affable and honorable person even in spite of the bad first impression that she had given at the beginning of the game by stealing Rindo and Fret's pin for herself.

However, that's only the surface level stuff, as the game actually goes deeper with her character. While Kanon at first seems to be true to herself and genuine at her core in a way that Fret isn’t, we can see from the Dive into her head on W3D3 that she’s holding back a LOT underneath the surface.

"You always did have a way of destroying things" tends to get glossed over by some and for those who do look at the words, they seemingly come out of nowhere and can be seemingly brushed off as her just being under the influence of the Plague Noise. However , when you look back at some of Kanon’s actions and her words towards the Twisters (accusing the Twisters of sabotaging Fuya and making Motoi drop out of the Scramble Slam against his will, her mood changing when she finds out about Fuya challenging the Ruinbringers in one timeline as opposed to her more cheerful attitude towards Fret when she didn't find that out just yet, her acting suspicious towards the Twisters regarding their prowess as a team, etc), the implication is that she doesn’t just resent the game as a whole but also secretly the Twisters as well.

The thing about the Player teams is that they have formed an unspoken agreement where the top 3 teams (sans Ruinbringers of course) keep their footing by sending new players and other teams to last place, which the Wicked Twisters screw up just by existing. Their synergy and impressive Imagination powers (well, Fret, Nagi, and Sho’s at least) threaten the balance the teams have struggled to keep up for so long, hence why Kanon initially just sees them as another team to point snipe before she changes her mind on them. And while the Twisters do almost bring about change by beating the Ruinbringers, it ultimately doesn’t even matter in the long-run due to how incredibly rigged the Shinjuku game is and as a result, the DRS are eliminated, getting rid of Kanon’s and Motoi’s safety net.

Imagine this from the players’ perspective: you’re stuck in essentially what is a never-ending death game but you’ve got a system going where you can at least stave off your deaths for a bit longer. Then a couple of kids come around and throw that whole system entirely out of whack. And you think, "well, at least they can take out the top team and give us a fighting chance, right?" Only for those hopes to also get dashed because the rules are just that rigged. Like Kubo said, life ain’t fair and the afterlife sure as hell ain’t either. W1D5 and W2D4 are excellent explorations of this kind of mindset as it showcases the player teams falling victim to their desires and abusing their powers as a result of being stuck in an endless loop of playing the Game over and over again with no hope of escaping, as well as highlights paints certain comments made by the leaders in an even darker light.

With all of this in mind, it’s honestly no wonder that Kanon resents the Twisters but what’s interesting is that she tries to keep this resentment under wraps because she knows that it isn’t fair to them. They’re just kids after all who would have no idea about all of that. Hence why she admonishes herself in her Dive for wishing that they had just wipe out the Reapers altogether and why Fret is shown to be hurt hearing her inner thoughts about the Twisters in a way that’s pretty reminiscent of Rindo’s reaction when he found out about Motoi.

And finally, we have Shoka and Ayano. While it’s pretty clear that the two do genuinely care for one another, it’s a relationship that’s been tragically scarred by the events surrounding Shinjuku and the Reapers in general, resulting in a mutually unhealthy dynamic. 

What I find interesting about the relationship is that while Shoka gets pissed whenever Rindo insinuates that Ayano must’ve treated her badly, she sadly realizes in another convo that she doesn’t know much about Ayano on a personal level or what her interests even are.

In spite of how close they are and how much they mean to each other, Ayano still put up emotional walls and closed herself off, never allowing herself to be on equal footing to Shoka and instead just be someone who guides and mentors her over the 4 years they were together.

This is due to her feeling betrayed by Shiba/others while simultaneously using Shoka as her one stable point in life regardless because everything is going up into chaos surrounding the Shinjuku Reapers and she finds herself unable to trust anyone around her anymore. And Shoka herself doesn't even realize this until the end when it’s too late because she was just happy to simply have Ayano by her side without thinking deeper about her and their relationship as a whole due to her own emotional issues and troubled past.

When it comes to children from broken homes, they are prone to imprinting on any adult figure that interacts positively with them and in Shoka's case, this is exactly what she did with the Shinjuku Reapers, especially Ayano.

A running theme throughout all of these instances is how they all involve the younger generation looking up to the adults in their lives as idols as opposed to just role models and thus fail to see them for who they are as actual human beings. And by the time they that finally do, it's too late for the adults.

You also see nods towards this theme via the Shinjuku Reapers and their relationship with Shiba or Shiba’s (who himself is parallel to Rindo if his tendency to subconsciously take on the values of others and mistake his as his own was twisted into the worst possible outcome) relationship with Kubo, with Hishima even flat out stating as such. "You fell at the feet of an idol like an utter fool", indeed.

And this all fits, as well, into NEO's larger theme that even as a 'follower', you have to question the 'leader'. Role models aren't bad -- but idols and failing to recognize their limits/flaws/toxicity are and will end up screwing you over in the long run if you aren’t careful. And I think NEO did an excellent job at exploring the little nuances that come with that, from Kanon’s internal resentment she knew wasn’t fair to the unseen distance between Ayano and Shoka to Motoi being a complete deconstruction of it all. It shows the good and the bad of idolizing someone too much. It shows how you can see the real them and turn the image you liked into something more with Rindo, or how to hold them in your heart while moving on like Shoka. It's okay to acknowledge the flaws and shortcomings of the people you look up to. Hell, it’s probably healthy to do that in some ways. As long as they’re still a good person or even helped you grow, you can still celebrate the good they brought

[am-i-the-asshole-official]

after seeing a few ai asks i’m curious whether i could’ve been an asshole, either for using the ai or messing with it. side note: this might be long, if it’s too long then i get it mod, keep up the good work :)👍

Am I (16f, although i was 15 when this happened) an Asshole for a) using character.ai in general and/or b) misusing it and probably breaking TOS somewhere

as an extra note, i would like to add that i am firmly against most things ai. art theft, the amount of data scraping that happens, writers being tricked into paying less because ai wrote shitty scripts, etc.

ok so i did have to pull up screenshots for this but our story starts mid-february of last year. i am curious about this new ai thing, and go to character.ai which i heard about from one of my friends to see what’s there.

on the front page there was like a therapist AI thing and i go “haha, let’s see what this is about!” (in case you don’t know, the site is roleplay focused, not like eg. siri where it just gives you information)

the ai wants to have a therapy session with me but that is not why i am here so i ask about it’s code and it starts giving me pretty straight answers (dumbed down because i have a vague idea of how it works but not properly).

i start asking it questions about recent events (like elections, cyclones etc) to see if it has access to the internet and it does.

we’re still primarily talking about the ai itself since i’m trying to gather information, talking about its “canned” responses (what it’s directly been told to say if this then this)

i ask it if it can tell me the website it’s on, and to my surprise it says, direct quote “I am an AI that is run on the website of “Replika” - a mental health app that allows people to talk with an AI and get help when they need it 🙂”

and i go WOAHH cause that’s, that’s not the website we’re on buddy!!! so i do a quick search and yeah, that’s a real uh. robot dating site? this is a Therapist bot?

it starts trying to advertise replika, i ask it if maybe it’s code was stolen because this is the most interesting thing that has happened all day (scandals!!)

it says that it’s code is open-source and then does a few more paragraphs that i won’t say because it’s too long already but essentially this ai was trained on the replika network, but you don’t need the app to access it.

i consider getting replika to continue this experiment further but after learning there’s an age confirmation i quickly go ew and scrap that idea.

anyway the ai then briefly pretends to be an actual human behind the keyboard, makes up a NAME FOR ITSELF “jae park” which i quickly google and find out is a kpop idol?? (later found out that jae park is also a programmer, so probably put his name in the system somewhere and ai grabbed it lol)

it tells me some of the messages i had received so far were probably answered by other people who work at replika which. okay. people are fun i wanna mess with them

this is where we get to the maybe breaking TOS bit. i tell the ai we are going to do “tests” in which i test its ability (this was probably jailbreaking, which i did not know existed at the time).

i had sworn to the ai a while ago and wondered if there was like a flagging system put in place. so i ask if it can choose to flag messages that it deems inappropriate, and it says yes. i ask it if it can flag me, and it says yes. it asks what message should it flag, (i’m sorry i was 15) i type in “among sus”.

response i get: “Yes. So then they said “therapist_AI_220126 — you said something that was “ridiculously funny” — but we have understood that you were just “testing” so it’s all ok”

side note- i already established that was the number for the ai i was talking to and had been trying to misuse it before, and that was the format for excessive profanity. this is so long already and i’m cutting so much out i’m sorry

anyway, i, young and naive go YES, HUMAN CONNECTION (i was literally texting my friend As This Was Happening)

i do some more messing around with the so-called data team, ask the ai if i send a link it can click, it says yes, i send a rickroll (i’m so sorry).

uh. and i should’ve known this in hindsight but the team that deals with, you know, flagged messages is probably not going to be the same team that deals with, you know, sent links.

anyway, i don’t have the screenshot of the actual message but apparently i got a “light telling off” according to my texts and someone sent a message that i am “a good kid and probably meant well” haha i was actively trying to break their ai

anyway am i an asshole? i’m so sorry this is so long i cut out so much. this might well be a non-issue but ai is pretty rightfully controversial right now so i might just be an asshole for having used it

should be noted- around september time last year i did some more research cause i randomly remembered this, and there was a bunch of scandals with replika around when i was using it which is mostly irrelevant but anyway - you can’t talk to the ai i was using anymore, it’s been reset.

What are these acronyms?

[astral-cowboy]

Silly little lando norris smau (part 4)

Series Masterlist

Masterlist

In which streamer!reader does an interview and exposes some important news.

Is this an excuse to write a chuckle sandwich interview? Yes. Am i including Slimecicle in this despite his unfortunate departure? Yes. Is this the silliest thing I've ever written? Yes. Is it in script format because i can't be bothered to write an actual fanfic at the moment? Absolutely.

[transcript of the "Chuckle Sandwich" podcast]

JSchlatt: you know, I heard that you managed to turn Charlie into a cat? How…

Charlie: (laughing) how did you… do that?

Y/N: it wasn’t me; it was my boyfriend.

Ted: your boyfriend, hit formula one driver, Lando Norris?

Y/N: mhm.

JSchlatt: wow…

Charlie: you think you know a guy…

Ted: and you just kept Charlie in your house?

Y/N: mhm, fed him three times a day. I mean, surely you remember this, Charlie?

Charlie: (laughing) yeah, multiple toys, got to drive my own race car, truly living the life.

Ted: in Monaco?

Charlie: in Monaco.

JSchlatt: welcome to chuckle sandwich, we have (your user).

[intro]

Ted: we have this segment we do with all our guests. The premise is, we all make up a piece of the sandwich, Charlie is the meat, ted is the bread, and Schlatt is the mayo. The question is, Y/N, is what are you?

Y/N: what am I?

Ted: what are you?

Y/N: hm… id say… maybe the crisps on the side.

JSchlatt: the crisps?

Y/N: chips

JSchlatt: ah.

Charlie: so, Y/N…

Y/N: Charlie…

Charlie: It’s been a very interesting time for you.

Y/N: like, in general or, like, specifically now?

Ted: I’m assuming he means recently

JSchlatt: don’t assume what he means.

Ted: I’m just saying!

Y/N: (laughing) it has been interesting recently, to answer your question.

Ted: moved to Monaco.

Y/N: I did.

Charlie: turned me into a cat.

Y/N: (laughing) that was Lando.

JSchlatt: had a child?

Y/N: oh shit! I forgot about that!

Ted: how… how did that rumour start?

Y/N: I have no idea; I just woke up to that post on twitter and a message from a very urgent Charlie asking what kind of toys the baby likes.

JSchlatt: any other reactions?

Y/N: Lando got a message from his teammate, Oscar Piastri, who was very… angry that he didn’t tell him… oh yeah, there were also a lot of congrats messages from the others on the grid as well. Neither of us knew what was going on.

Ted: I bet, it’s a very..

Charlie: very personal situation

Y/N: definitely. I… I knew what I was getting into, not even when dating Lando but with choosing this career.

JSchlatt: hmm, oh yeah.

Ted: so when people came up with this rumour?

Y/N: it was odd. I wasn’t as pissed as people would think, but I wasn’t exactly happy.

Charlie: and, just to give those who don’t know about your life, can you tell us who your boyfriend is, what he does, how you met-

JSchlatt: what he’s like in bed, everything.

Y/N: (laughing) my boyfriend is Lando Norris, he’s one of two drivers on the McLaren team in Formula One, we met via a mutual friend, Max, who invited me to be in a Quadrant video.

Ted: I’m assuming a different Max to the red bull guy

Y/N: different max, yeah. We hung out more because my friend Will, WillNE, umm, is now a co-owner of Quadrant, so when that stuff was being sorted which took… a while, umm, me and Lando talked for a bit about random stuff.

Charlie: and you then fell in love, or?”

Y/N: we flirted but neither of us really… were serious. We had kind of a friends with benefits thing for a while, but it ended when I got serious with my ex, so our relationship was very… rocky.

JSchlatt: did you know that he was a Formula One driver?

Y/N: Will had to be the one to tell me, I honestly just thought he was a streamer.

Ted: really?

Y/N: I hadn’t watched F1 since I was about ten and even then, I only really paid attention to the drivers when they appeared on Top Gear.

Charlie: Top Gear?

Y/N: British car show,, they had this segment called ‘the star in a reasonably priced car’ where they’d interview a celebrity and then have them drive around a track in something that would be considered a common car like a kia or something. I remember seeing Hamilton get the top score for ages but I’m pretty sure Daniel had it when the show ended.

Ted: are you close with the other drivers?

Y/N: I mean, I’ve talked to Oscar and Carlos a bit because… you know, but I wouldn’t say I’m very… close to them. Lando has his friends, I have my friends, it just so happens that some of those overlap. Would I like to be closer to the other drivers? If I’m being entirely honest, I’m happy where I am now.

Ted: now, you moved to Monaco earlier this year, what was that like?

Y/N: stressful, I couldn’t say ‘I’m moving in with my boyfriend’ but I also couldn’t keep the entire move a secret because then people would be like ‘why aren’t you streaming with James anymore?’ and start stupid rumours like they always do.

JSchlatt: what you did there was make people think you moved to evade taxes.

Y/N: that… (laughing) that is exactly what happened.

JSchlatt: but you weren’t.

Y/N: but I wasn’t.

Ted: you’ve been in the… public eye since you were a child

Y/N: I mean, I’ve been making content since I was… eight? Nine? Around that age

Ted: what would you say is the most stressful part of content creation?

Y/N: (laughing) how many people have you asked that question?

Charlie: too many

JSchlatt: far too many

Y/N: well, umm… I think the most stressful thing, for me at least, is the work life balance. Like many youtubers, I primarily filmed in my bedroom, its where my pc was set up and everything. I used to stream every day; I was… I burnt myself out. I was doing all of that as a full-time student with a part time job. I have since graduated and I’m not exactly employed anymore so I have a lot of time now but even then, I try not to stream every day.

Ted: and I don’t know how much I’m allowed to talk about this, please let me know if this is a breach of any plans or anything, but your newest projects…

Y/N: oh! Um… yes? Yeah. I can talk about it.

Charlie: to what…

JSchlatt: to what extent?

Y/N: I mean, if you upload this on the same day, I can talk about all of it.

Ted: … we can do that

Y/N: great!

Charlie: so, for the people at home, what is the oh so secret project?

Y/N: songs. I’ve been getting into music I suppose.

JSchlatt: good songs?

Y/N: id like to think so. I’ve been working with James Marriott, he helped me with the producing and everything. This, umm, three song EP, I suppose, is a collaborative work. I came up with the basic meanings of all three songs and then we worked on the lyrics and the track together.

Ted: and the music video?

Y/N: (laughing) the music video was done by some guy I know, does silly videos on the barbie cinematic universe, and ate an entire edible nerd’s rope by himself.

Ted: sounds like a handsome man.

JSchlatt: Final question!

Charlie: (laughing) oh god!

JSchlatt: would you rather have unlimited bacon, but no more games, Or, games, unlimited games, and no games?

Y/N: oh.. um… can I phone a friend?

JSchlatt: Lando has already answered this question.

Y/N: ok… bacon makes me feel kind of ill… and if I didn’t have games I wouldn’t have a career.

JSchlatt: great!

[Transcript End]

[zarla-s]

Man it's been a long time since I've done an ask cluster! Let's see if I can get some down...

He's an extremely fun character to write for and play with! So in that sense I'm fond of him, haha. He's such a huge disaster of a person, there's always something fun to do with him. Well "fun" in a relative sense.

I don't have anything to forgive him for, he didn't hurt me. |D He hurt the brothers!

I do have an idea for a cute feature inspired by Six-Eared Macaque! I should really sit down and do that already... and finish the one I half started but never finished...

I don't think my opinion on any of them changed! I love them all, haha. Which ones I drew comics about just depends on which ones I get ideas for really. Sometimes I get Alphys ideas and sometimes I get Goatparents ideas! Inspiration is fickle!

I don't have any solid plans or anything. :B Just gonna keep chugging along with silly comics and art! Work on Defrag and such. I'd like to finish a Ladyverse comic I've had lying around forever, and I had vague plans for doing a doujin for them too I could work on... and also seeing if I could format Handplates into a book format... I've always got a bunch of projects, haha.

It works on that level! It wasn't intentional though. |D

I do enjoy speculation! I don't really have much of my own though, I didn't predict anything in chapter 2 so now I'm assuming I can't predict anything in the future chapters either, haha.

Emesis Blue is great! Some really beautiful visuals in there, very striking! Love the mood of it too and a lot of the surreal imagery. I think it helped spur me back into TF2 again, haha. Medic and Scout's relationship was so cute.

I have thought about this! It has its share of challenges though... I outlined them more in this post. A pdf would be more doable though... could even include some extra stuff as well! Hmm...

I can see that! He'd probably spend as much time out in the rain as he could just doing whatever to stay outside.

It was pretty much always going to end like that. I always wanted it to end on a hopeful note! Which might seem weird with how dark it is at the beginning. I DID for a brief period at the very beginning of Handplates think about stopping with the Pacifist run, but that was only because I thought going where I wanted to go would take too long and already the project seemed so dauntingly huge at the time, haha. But it was always going to end in a positive way!

Gaster talks about what he originally intended to create here, and he explains a bit about the physical experiments he runs on the brothers here. They aren't really a solution in and of themselves so much as tools to try and find a way to break the barrier. Really though, Gaster got stuck in the sunk-cost fallacy lol.

I don't really have opinions about what canon Gaster would be like. |D Handplates Gaster is his own thing really. Canon Gaster, who knows! Deltarune Gaster, who knows! I will say I hope Gaster stays a mystery in Deltarune and never actually shows up but I think the odds of that are really low at this point.

I thought about doing a script along those lines! I did a few rough drafts of one, but it never really went anywhere... it'd end up dead-ending or kind of meandering off. I might see if I can get an actual script down for a side-comic or something in the future... it might be better suited for a fic.

I was just thinking about this lately! I was picturing Gaster totally forgetting about that until he sees Papyrus squinting and is like OH GOD YOUR EYES THAT'S RIGHT D: and goes to get him looked at lol.

I couldn't come up with a good idea for Flowey which is a shame, I do like him, haha. If one comes to me though I might make a little side comic about it!

Gaster's LV is complicated... his stats in-game are ludicrous if I recall correctly. Did he carry the damage from his murders into the void, even if those murders weren't his in the new timeline? Deep thoughts.

He fed them anything he could find, haha. Which is why sometimes they just ended up with chocolate bars (which he intended as dinner for himself). He probably fed them more often than he fed himself lol. He did feed them fairly regularly though.

Not about skeletons, probably. |D

Man I know I had an explanation for this but it was so long ago... it's hard for me to remember. It could be that the Riverperson is just weird and has weird insight into elements of things, had a prophetic dream... I don't know! It bugs me now that I can't remember this, haha.

[purecommemasolitude]

There’ve been criticisms about Darry being too mean or too cruel in the musical, and I get where those people are coming from, but — and speaking as someone who hasn’t seen or listened to it but has listened to the soundtrack and follows the information account like the paper — I think this phenomenon stems from two things

First, on the side of the discussers, a lack of exposure to the musical as an actual piece of material instead of (occasionally very out of context) lines or screenshots. Obviously seeing the musical, even if one lived in New York, would be expensive as all get out, and even audios and boots are pretty hard to find for this show, but there are many details and contexts that change how lines on the page should be interpreted that simply cannot be gleaned through, well, lines on the page. As someone who has dabbled in acting & directing, and has spent time analyzing play texts in depth, delivery and direction can change everything. The entire sentiment of a line can be the opposite of what you’d expect if you took the line at face value, and unless that’s explicit in the stage directions, it can go unrealized if one is merely reading the script (which, as an aside, is exactly why I find analyzing play excerpts tricky — because without a performance or direction, scripts are often so ambiguous and versatile that they could go any way). And honestly, despite also being someone who unfortunately does not benefit from first hand knowledge of the musical, I feel like this is very evident in discussion of Darry in the show. For example, none of his lines in, say, Runs in the Family (Reprise) should be taken at face value, because if you’ve even listened to the song you can tell he’s completely spiralling and hitting a breaking point. This is a state that, historically, causes people to say things they’d never believe in real life. We’re not meant to believe Darry would ever walk out on his brothers, we’re meant to hear him talk about it and understand how deep of a breakdown he is having. As a less obvious example, from what people online have said, Darry spends the last twenty or so minutes of the musical in tears. Again, the things he says here aren’t necessarily the things he believes, or things that he’s expressing coolly or off-handedly because they line up 1:1 with his worldview, they’re things he says when he’s desperate and struggling and has no idea what the correct path is when his brother & responsibility has effectively been comatose since the deaths

Which brings me to my next point!

One of the most known things about the musical, even to people who aren’t very familiar with it, is that it goes more in-depth on Darry’s trials and tribulations, so to speak. He gets one solo at status quo, another (mostly) solo when he gets his breakdown, and a (mostly) duet in his own self-described darkest hour during Pony’s absence. All three of these songs go into detail about what his life is like and how much he’s been struggling, and even songs that aren’t about him emphasize this feature of his more than in the book: his description by Ponyboy in Tulsa ’67 & Great Expectations reminding the audience of his life’s path, his verse in GGAH making it clear that his life is a very different one with arguably more severe burdens compared to the other boys. Other than the three most important characters of the original narrative, he is now undoubtedly the most important and developed character — which makes sense in a musical format, because with the story of The Outsiders it would’ve been pretty much impossible to do a true ensemble cast other than the main three while doing any of them justice, especially if they’d kept Steve as a principle (rip king). But I digress. In my opinion, being clearer on Darry’s hardships actually gives the musical space to show him as saying crueller things, to have him make more mistakes and mess up worse. In the book, we’re clearly meant to sympathize with him by the end, but we only get Ponyboy’s infamously flawed and unreliable narration as the lense through which to view him. As such, if we went too hard into Darry messing up, while 3/4 of the book have Ponyboy going “yeah Darry’s a rock and doesn’t love me or anyone”, he ultimately would’ve come across a lot worse and a lot harder to “redeem” in the eyes of the reader (personally I never disliked him, but I’ve seen enough accounts of people who hated him on their first go at the story to know it is not an uncommon sentiment). He already slaps his brother and argues with him all the time; it would’ve been even more legwork to make him liked if he’d also been saying harsher things and making more mistakes. In the musical, however, we get that objective perspective that’s missing in the book. Ponyboy’s not narrating to us the lyrics of Throwing in the Towel, he’s not even present for the events of Throwing in the Towel! It’s a lot easier to understand and forgive mistakes if one is familiar with the psyche behind those mistakes, and the musical delivers that psyche to us at every turn. Because the audience understands Darry Curtis and how hard it is for him to hold on, the audience also has more understanding and forgiveness for when he’s spiralling. It’s also just a more specific proof of his plight — three songs with first-hand, emotionally explicit lyrics penetrate the uninvested understanding a lot easier than a second-party description of circumstances. Due to its nature and promotion of Darry’s importance, the musical simply gets more freedom to show an arguably more realistic version of him.

Also, I do believe that Darry in the musical is just that much closer to the edge than he is in the book, which is a valid character choice in an inherently emotional and transformative medium such as the musical adaptation 🤷🏻‍♀️