forever obsessed with dynamics between vampires, specifically that of a maker and fledgling, as a way to explore abuse. the creation of a vampire itself can so easily be a literalization of the lasting impacts of trauma and also much more simply the ways a perpetrator might shape their victim’s very identity. the extremes of isolation in the way that the new vampire, in most narratives, must cut all ties to their mortal life, or else go through an elaborate charade to maintain the facade of humanity, while forever still being removed from it. and the sheer dependence and vulnerability of being in an entirely new state of being, wholly uncertain of what it entails, and relying on another person to define… everything.
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Do you have any advice for trying to avoid ripping off other people's works in original stories? I've been stuck in a weird writers block where anything I do to try and string plots together end up just being plots of other stuff I've read. Is that a problem you've come across before?
Honestly? This might be a hot take, but just get it out of your system. Write the story that's just your three favorite plots in a trenchcoat. Any writing will make you better at writing. To me, this is the storytelling equivalent of doing frame redraws or art style challenges. Art done for practice doesn't need to be free of all influence, and in fact pursuing that total originality is detrimental to the learning process because it forces you to continuously reinvent the wheel.
In my experience, through the process of just writing what you want to write how you want to write it, you'll find both that it's easier to find originality in the execution than you expected, and that originality has very little correlation with what makes a story good. When you go to write the plot you recognize as the plot of something else, you'll probably find yourself making changes. A different character moment to highlight an overlooked concept that spoke to you, a slightly more cruel twist of fate for a character to wrangle. Little original concepts will find their way in, because having ideas is the driving motivator behind creating art. It's always there, even if it's being sneaky or uncooperative.
Most of the time, inspiration is less "this story is good I think I'll replicate it in every detail" and more "I love parts A, B and C of this story, which tells me valuable information about the kinds of story elements I find compelling, which helps me guide my own writing towards things that involve the parts I like most about A, B and C." You'll always be able to recognize your own influences, but from the audience's external perspective, the you-ness that defines your art is much more obvious than it'll ever be to you.
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[columbo voice] just one more thing. the whole timeline subway was so underexplored in the show, like that could have been a whole season on its own, fuck the Cleanse shit. if you want to see a subway that takes you through time fuckery done right, stream russian doll s2!!!!
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i love it when a tv show has lows that are so low you're so ashamed to ever show it to anyone ever but then highs that melt your brain a bit, like, "good fucking god, this is genuinely such an astounding piece of craftmanship... my perception of the medium, and perhaps of myself, has been challenged/changed in 40 minutes" but you cant even express that to ppl without feeling like youre fucking deranged bc my god the lows .....
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I know it's such a cliche at this point to the point of garnering eye rolls, but we really cannot lose sight of the fact that 2x97 is the Most Episode of All Time. You cannot ignore Essek in that episode, obviously, but honestly the fact that that happened only serves to highlight how buckwild everything else was. That was when Veth got her body back. That was when Caleb first directly set his sights on Ludinus. That was when Fjord tried to ask Jester on a date and instead ending up thirdwheeling Yasha and Beau, who WERE essentially on a date. That was when Jester locked Sharpe on the balcony. That was when Cad got Beau SO high and Fjord was forced to babysit. That was when Fjord and Yasha told Marius he had to kill someone to stay on the crew.
If any ONE of these things had happened on top of the Essek reveal, it would've been notable or memorable, but no, the BREADTH of unhinged happenings in that episode is actually stunning.
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since I've seen your post about complaints about mcsm characters writing I have a question what's your thoughts on Jesse character writing in game?
Oh btw I'm in love with your champion Jesse au it's everything I wanted from the game and your writing is amazing i can't wait for more
actually i’m quite ok with jesse’s! he’s determined, capable, will drop sass when deserved and is also just a silly guy!! his personality shines through no matter what option you pick and ofc outside of those options as well- i think they did good for a protagonist whose story and dialogue delivery can vary so much from player to player. like everyone has a different version of jesse they perceive but the core character traits are still very much there. is this anything
i think the only thing is that he doesn't have much opportunity to be the one that needs comforting, it's always the other way round. i mean, all that responsibility and experiences has gotta weigh heavy on him. so i just turned that to him keeping it to himself so others don't worry and can still rely on him. yay angst!
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finally rewatching utena after 8 years - i didn't finish it the 1st time and im determined to finish it now, im about 1/3 of the way in 👁 the series has a lot of themes like identity and idealism, that resonate with me more now that im older. definitely the kind of thing i can see myself drawing... also rewatching kaiba. can't wait for the waterworks!!
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