#I like storytelling without dialogue

[swan2swan]

.......I have caught up with the Skibidi Toilets and I am devastated.

[gralixe]

One Piece has so much gall giving so much screen time to characters I truly do not give a fuck about

[ladycatofwinterfell]

okay so i liked a few of the changes the live action atla did (oma/shu lesbians❤️❤️❤️❤️❤️❤️❤️) and really hated others (a lot of examples there) but they absolutely massacred katara and therefore i can’t get behind it no matter how decent it was

[transdimensional-haboob]

Wistfully thinks of Spellwind, I should make a headcanons up to ep 31 list its just my equivalent of like Skyrim or lotr where theres so much going on and so dense but god damn one of my favorite episodes was when two of my favorite characters became trees and the entire experience was like...they were tripping on shrooms but also one with the shrooms? Its like episode 8

and I love the dms orc captain that hates going on land and is there for the in between transportation from sea to sea land to land ferryman (not really I feel like its mostly hard to narrate and have a character at the same time) I just love captain buttocks' (yeah I'm pretty sure thats his name) humor and how him and djett ('jet') were closer in the beginning

I love ty and varsha together but I also ship smith with them as time went on, I can't tell who I want to joke as the third smith and varsha are friends to lovers, ty and varsha are irritated assholes to lovers, smith is just a jaded old fuck that loves his morons (he respects varsha a lot and thinks ty is an entertaining idiot)

Varsha and Djett are siblings they love each other like family and share different spells and potions and knowledge of interest notes

I feel like the only person really thinking too deeply about this tabletop story and wanted to drop a few lines of appreciation, I like listening to it to go to sleep since its so slow paced and gently spoken and the music and sound efx is so sweet

[galacticlamps]

actually ascension needs its own post since that's the one with the most details to speculate over and im starved for soho talk so i will talk to myself if need be

First the cover again, because I kinda can't get over it:

my only thing is that I had been hoping we might get Lizbeth on a cover again since she's never been on one of the boxsets before, despite being the 2nd person credited on all 4 of them (even if that's just alphabetical, still, she's the only one of the four main characters who never makes the cover)

But letting that go...

I know we already kinda knew the brief for this one but damn I didn't expect it to go quite this hard. Maybe that's just because the Parasite & Ashenden covers were (comparatively) similarish to each other and I was so pleased with Unbegotten's, and then got so used to it as the placeholder for Ascension while they kept postponing it, I wasn't expecting anything this colorful or detailed or with what I can't help but register as Fun New Outfits even though these are still like, pretty damn basic as far as costumes go. Still, it's a different vibe from everyone in suits and trenchcoats on every cover, technically. (Oh the woes of being an audio fan such that two characters owning sweaters actually does qualify as new information)

On top of just being visually delightful though, I know we knew religion was gonna be a fairly big part of this one, but I didn't actually expect to get quite this much of it - though I'm glad of it for a number of reasons. The BF twitter already made the ineffable joke so I don't have to, but also yeah I did very much spend all of season 2 episode 4 of good omens half convinced Samuel Barnett & Dervla Kirwan were about to pop up around any given corner (if you will go around being gay supernatural and horrible at your messy bureaucratic jobs in midcentury soho then I'm sorry, this is where my brain's gonna go) - so, fuel to that fire. But in terms of actual important things, at least one of my Soho wishes looks to be being granted because we have a Rev Edward Folgate on the cast list, which must mean we're finally meeting Norton's father, even if his mother & brother don't appear (which they could, technically, I've definitely seen BF not list all the doublings on their cast tabs before). Religion, domesticity, and the nuclear family are all things that absolutely fascinate me when it comes to Norton's character, so getting any amount of story involving his father & his church is something I've been actively hoping for for a long time now.

(I will say I'm a tiny bit bummed Saffron Coomber isn't on the cast list to play Mia again, but I kinda figured she wasn't going to be since Greg Austin's Armitage, who's making his first recurring appearance after originating in Unbegotten, was listed ever since the boxset was announced - presumably if she was also returning, that would've been handled in the same way. But since Unbegotten ended with Lizbeth and Mia going on a date, I still held out hope. Who knows though, maybe things did go well for them and Lizbeth just has a better work/life balance than Norton so she can date someone without them getting dragged into every scifi plot. I know that's not a very common accomplishment for any Torchwood agent, but a gal can hope)

At this point I know I'm completely in the realm of speculation & even wishful thinking, but I'm really really hoping we get some more clues as to Norton's overall timeline in this one, and I have a feeling that even if there's nothing as direct as dates given, the events of a plot like this one are going to heavily influence my personal interpretation of it.

To say that life & death are major themes for the soho crew feels wildly reductive, but even by Torchwood's standards and taking into account its origins as a piece of media with Jack Harkness & his newfound immortality at the heart of it, the living/dead status of this bunch has always been fantastically up in the air to me. Obviously Ghost Mission introduced Norton as kind of a ghost before revealing more obvious ghostly characters later on to which the title might have been referring, but his being from the past did beg the question of his survival into Torchwood's present era all the same, which Outbreak later alludes to much more directly, and his habit of showing up via hologram in multiple stories only further obfuscates any certainty we might have about where & when he definitely can be said to be alive and well. Then you've got Lizbeth and Gideon both being effectively 'brought back to life' via paradoxes that prevented them ever having died in the first place. Again, they are very very far from being the only Torcwhood characters this happens to (for a sprawling EU, it's really rather impressive how often & in how many different ways Torchwood as a whole manages to circle back to being about like. chaotic undead queers at the end of every day. though I suppose that consistency is part of why I keep falling in love with its different iterations again and again). That's without even getting into the question of Norton's dubious fate in God Among Us - and I say dubious because I know some people take that to be his ultimate death, but I personally think that reading something as vague as that as having any kind of finality rather goes against the spirit of this whole world/series, not just because I want him to live. (There are obviously other ways to make him survive/reappear, but I don't see this as a River Song scenario where we can safely assume one of his earlier-released adventures had to happen at the end of his personal timeline). But wherever God Among Us falls for him, he does very much meet God in it - or at least, a god, since the sentinel in Unbegotten is also described as a god of sorts, and even if he doesn't ultimately have the status of the god Jacqueline King is playing there, Unbegotten is still full to bursting with ghosts/undead/came back wrong/echo characters to continue underscoring that life/afterlife theme.

So all things considered, even allowing for the fact that we know Norton's twin hobbies are lying about himself and abusing time travel to suit his own ends/ever-shifting alliances, I find it difficult to believe we could get through a whole 6-part boxset about religion & death without something providing some kind of compelling evidence about where this adventure fits in among his other run-ins with apocalypses and gods and ghosts and dead-but-still-here characters/creatures, so I'm very much looking forward to any further exploration on that front.

And lastly, and least intellectually, I really want to know what the hell 20th-century Torchwood's obsession with Reginalds is. Reading through the cast list, I had to do two separate doubletakes over the character 'Sir Reginald Peebles' - firstly, because I had Reginald Rigsby on the brain, this being Soho (and the other Troughton brother being so active on BF's releases for this same month) - and secondly, because reading this in conjunction with the announcement for the July monthly adventure in which the new main Torchwood guy of the 20s is apparently called Sir Reginald Dellafield, there was a brief moment where I took that monthly release to be a tie-in with Ascension. I don't expect it to be, but damn. was it really so popular a name?

anyways, catch me thinking about those stained glass windows for the next couple months I guess (and knowing Torchwood Soho, for a long long time after it comes out as well lol)

[t-tomuras]

Seriously like the raw talent and SKILL this app holds I cannot even. I NEED people to understand reblogging so others can experience what so many talented users this site has

[legionofpotatoes]

can't believe I just spent three hours watching a movie about masculine anxiety in the nuclear family model, told through cartoon alien tribes wearing Mãori tattoos

[kuromi-hoemie]

fictional or not, dragon lore is always so interesting.

[novelistparty]

started up The Invincible (2023) I like it!

[whispers-whump]

Some writing advice

that I like to use when I write. None of this is meant to be taken as hard and fast rules, they’re just things I like to do/keep in mind when I’m writing and I thought maybe other people would enjoy! <3

Never say what you mean

This is an offshoot of the very common “show don’t tell” advice, which I think can be confusing in application and unhelpful for scenes where telling is actually the right move. Instead, I keep the advice to never say exactly what I mean in stories.

By using a combination of showing and telling to hint at what you really mean, you force your reader to think and figure it out on their own, which makes for a more satisfying reading experience.

You might show a character getting angry and defensive in response to genuine care and concern. You could tell the audience that the character doesn’t see/talk to their parents often. But never outright give the real meaning that the character feels unlovable because of their strained relationship with their parents and as a result they don’t know how to react to being cared for.

Your readers are smart, you don’t need to spoon feed them.

Be sparse with the important things

You know how in a lot of movies there’s that tense scene where a character is hiding from something/someone and you can only just see this person/thing chasing them through a crack in the door? You get a very small glimpse of whatever’s after the character, sometimes only shadows being visible.

Do that in your writing. Obscure the important things in scenes by overdescribing the unimportant and underdescribing the important.

You might describe the smell of a space, the type of wood the floor is made of, the sound of work boots moving slowly across the room, a flashlight in the character’s hand. And there’s a dead body, laying in a pool of blood in the far corner of the room, red soaking into the rug. Then move on, what kind of rug is it? What is the color, patterns, and type of fabric of the rug?

Don’t linger on the details of the body, give your reader’s imagination some room to work while they digest the mundane you give them.

Dialogue is there to tell your story too

There’s a lot of advice out there about how to make dialogue more realistic, which is absolutely great: read aloud to yourself, put breaks where you feel yourself take a breath, reword if you’re stuttering over your written dialogue. But sometimes, in trying to make dialogue sound more realistic, a little bit of its function is lost.

Dialogue is more than just what your characters say, dialogue should serve a purpose. It’s a part of storytelling, and it can even be a bridging part of your narration.

If you have a scene with a lot of internal conflict that is very narration-heavy, breaking it up with some spoken dialogue can be a way to give some variety to those paragraphs without moving onto a new idea yet; people talk to themselves out loud all of the time.

Dialogue is also about what your characters don’t say. This can mean the character literally doesn’t say anything, they give half-truths, give an expected answer rather than the truth (“I’m fine”), omit important information, or outright lie.

Play with syntax and sentence structure

You’ve heard this advice before probably. Short, choppy sentences and a little onomatopoeia work great for fast-paced action scenes, and longer sentences with more description help slow your pacing back down.

That’s solid advice, but what else can you play with? Syntax and sentence structure are more than just the length of a sentence.

Think about things like: repetition of words or ideas, sentence fragments, stream of consciousness writing, breaking syntax conventions, and the like. Done well, breaking some of those rules we were taught about language can be a more compelling way to deliver an emotion, theme, or idea that words just can’t convey.

Would love to hear any other tips and tricks other people like to use, so feel free to share!!!

[notherpuppet]

I LOVE READING YOUR NANNY AU!! The writing and art is amazing!!

Though how you get the dialogue so perfect!?!? I'm trying to do a comic series but I can't do the writing right.

May you please share some tips?

I want to actually be helpful with this, because I looove writing dialogue. It’s my favorite part of the storytelling process. I’ve written works with and without internal dialogue and I like both. It just depends on how much I want the reader to know. Anyway, here’s some advice?

1. Study techniques from media you like

I study scenes from favorite films/tv shows. And there are many YouTube channels that are great resources for writing, but I’m most partial to “Studio Binder”.

This is a great video on dialogue.

Because I write for comics most of the time—rather than prose—I find advice for tv and film to be more helpful because it incorporates the techniques in a visual storytelling medium. But I’d recommend studying technique for the storytelling medium you’re partial to as well. I have several books on comic book storytelling and have studied comics and manga the most in my life haha (cuz I’m a giant fucking nerd).

2. Workshop dialogue to fit the character and scene

Dialogue can change a lot from my first concept—where I want to convey the necessary information—into making it sound “in character”. So I study the writing of the show of course to pick up on the characters’ quirks and unique ways of speaking.

Example:

Carmilla Carmine is bilingual with Spanish/English and it seems that as a character, Spanish was her first language. So some traits she may have are:

1. To confirm her ideas ending with a “no?” Instead of saying “right?”

2. Slipping into Spanish when she’s ‘thinking out loud’.

Then I’ll read aloud a scene to see if it sounds right. Often, this is when I’ll notice if the dialogue seems repetitive or awkward.

3. Touch grass, go laugh, have fun

Also, I’m sure my very chaotic but-hilarious-family members and friends help me with writing dialogue so make sure you take the time to hang out with people lol!

It’s true what they say about drawing inspiration from real life 👥🌎

Hope that’s helpful 🥰

[drenched-in-sunlight]

i don’t think it’s talked about enough that the reason there’s a Godwyn ending where he becomes a Lord (not a God) is because symbolically, he was mirroring Godfrey in more than just name.

Godwyn’s alive body sprouting fish tail and scales isn’t just a random design choice, it’s a reference to Confucius' The Book of Rites, where it’s stated that the subjugation of the Four Divine Beasts will grant the person who tamed them different kind of control:

- Dragon -> control over animals with scales (specifically, FISH. See?)

- Qilin (Lion) -> control over beasts (think of how the Hornsent coveting the power of the Crucibles via the lion dance ritual. The “lion” in lion dance is Qilin in the native language of Asian countries that celebrate that tradition. And it’s why Godfrey’s symbol is a lion, why lion imagery plays such important role in Elden Ring world)

- Phoenix -> control over birds

- Turtle -> control over the heart of men (this might be a reach but Miquella’s connection to the Carian family and thus, the Turtle Pope could be a nice parallel to this)

in Godfrey’s cut dialogues, he said “Dearest Marika is precisely what I must take back” and “Dear Marika, do not fear. I am returned.”, and even without all that, The Talisman of Lord’s Bestowal stated that Godfrey accepted his duty without any sign of wavering, even taking Serosh upon his back so he could conduct himself as a Lord worthy of her. Bro, he loves that girl, he passed Messmer’s vibe check with flying colors.

For Godwyn to be a fruit of such a loving union, i do think Godfrey instilled in him a sense of duty to protect his Mother, and there’s his own love and devotion to her as well. Leyndell Knights all use Dragon Cult incantations and buffs - the kind of power that is only available to them because Godwyn befriended Fortissax (which is why i said that move has an ulterior motive to it).

All of that brings me to this main point I’m trying to make: does Godwyn really that devoid of agency?

I see it’s a popular interpretation in the fandom that oh Godwyn was just a symbol, he had no voice, we never knew what he wanted, etc etc… Do we really not know though?

Sorry for slapping another fandom on this, but this is really relevant to my understanding of Elden Ring as a story, even with the base written by a Western author, was developed by a Japanese team of storytellers and designers:

The concept of soul - body and body snatching etc etc exists a lot in Asian media, and there’s always a general consensus that the body remembers even as the soul perishes. What is Godwyn’s body is doing? The game specifically states that his body is alive. He only perishes in soul.

He was infesting the Erdtree’s roots, spreading Death around like free real estate. If he wanted to let go of life, of his Mother, his body should have just let go on its own. But no, he was tenaciously clinging to the Erdtree, to Marika.

Even Fortissax remembrance stated that despite its best effort, it could not fight back the Death within its friend. If Godwyn really, truly wanted to embrace a true death, would his body just let Fortissax fight alone in an uphill battle like that?

Then there is the DLC revealed that Godwyn’s personal knights were in LoS to find and guard his cadaver surrogate, specifically for the Age of the Duskborn. Their helm stated that their loyalty to him is unbroken. So will they just go and do something that their Master would not want?

These Knights are literally an elite circle that was bestowed the most precious of jewels in Godfrey’s time (the +3 medallions), they aren’t merely good, they are the very best. They are Godwyn’s inner circle the same way the Fire Knights are said to be the ones who know Messmer best.

Even if you think Fia and Those Who Lived in Death were just taking advantage of Godwyn’s death… her endgame goal technically did not even succeed. She wanted to be Mother to TWLiD, but the ending very much shows that the Mending Rune was returned to Marika’s womb. It’s her who would birth Godwyn a second life, so the True Mother™ to TWLiD… would actually be Marika 💀

Like, am i the only one who saw this as some real crazy 4D chess Uno reverse move from Godwyn? Oh these ppl wanted to get rid of him then took advantage of his body? Fine, he would take that challenge and run a mile with it. If Age of Duskborn came, it meant Ranni didn’t succeed, Fia didn’t actually get to be Mother of TWLiD, Death - the very thing that Marika tried to seal, would now be something within her control, because Godwyn is its Lord now. Exactly like how the Dragons’ power became something wielded in Marika’s favor in the end. Thanks to him.

In the Duskborn ending, bro, the God would still be Marika. It’s the only possible new Age involving a demigod that doesn’t get rid of her. Even if it utilize heretical powers to get there.

And the crazier thing? This is not the first time Fromsoft did this, btw.

[deception-united]

Let's talk about writing fantasy.

Fantasy is one of my favourite genres, to read and to write. But the worldbuilding required and the existing tropes can make it difficult to craft a unique, compelling novel. There are a number of less-discussed nuances that might not always be at the forefront of writing discussions. Here are some tips to help you out:

Ground it in reality: Even though fantasy allows for boundless imagination, grounding your world in elements familiar to readers can make it more relatable and believable. Making it too otherworldly can make it difficult to understand or follow, and will likely make it much more difficult to interweave the explanation of your world and its society into the text seamlessly.

Consistency: Fantasy worlds can be complex, with their own rules, magic systems, and histories. Ensure consistency in your worldbuilding, avoiding contradictions or sudden changes without explanation. I find it helpful to keep a world bible or notes to track details and maintain coherence throughout the story.

Character-driven plots: While epic battles and magical quests are exciting, don't forget that compelling characters drive the heart of any story. Develop multi-dimensional characters with strengths, weaknesses, and personal arcs that resonate with readers (see my post on character development for more).

Avoid clichés and stereotypes: Fantasy often draws from familiar tropes and archetypes, but try not to rely on them too heavily. Subvert expectations and breathe new life into old conventions by adding unique twists or exploring lesser-known mythologies and cultures. Make it your own!

Magic has consequences: Magic adds wonder to fantasy worlds, but it should also have limitations and consequences. Consider the societal, environmental, and personal impacts of magic on your world and characters. A well-defined magic system can enhance the depth and realism of your story.

Worldbuilding through storytelling: Instead of dumping large chunks of exposition, reveal your fantasy world gradually through character interactions, dialogue, and plot progression. Show, don't tell, and let readers piece together the intricacies of your world as they journey through your story (check out my previous post on worldbuilding for more tips).

Embrace diversity: Fantasy worlds should reflect the diversity of our own world. Include characters from various backgrounds, cultures, and identities, and explore themes of inclusivity and acceptance within your narrative.

Conflict beyond good vs. evil: While the battle between good and evil is a classic fantasy trope, consider adding layers of moral ambiguity and complexity to your conflicts. Explore themes of power, redemption, and the consequences of choices made in the face of adversity.

Research is essential: Even in a world of imagination, research plays a crucial role in grounding your story in reality. Whether it's drawing inspiration from historical events, cultural practices, or scientific principles, thorough research can enrich your worldbuilding and add depth to your narrative. Even fantasy worlds and elements require some sort of basis to make them more believable.

Revise: Like any genre, writing fantasy requires extensive revision and polishing. Be prepared to revise your manuscript multiple times, seeking feedback from beta readers or critique partners to strengthen your story, characters, and worldbuilding.

Happy writing!

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[anima-nostrae]

TROP's Galadriel is a fucking fantastically made character

And I'm tired of pretending otherwise.

I did not watch “The Rings of Power” when it first came out. I thought about watching it back then but I, like so many others, believed in the words and warnings of popular youtubers who made their careers under the presupposition that they not only know of the art of storytelling, but they understand it: so much so, that they easily distinguish what is good storytelling, and what is not.

One of the primary reasons I didn’t care for it, apart from not being a fan of *The Lord of the Rings, (*more because of never reaching for it than because of any strong feelings against it - which, I am happy to say, has since very much changed), was because of the show’s treatment of Galadriel. I did not know The Lord of the Rings, but I did know Galadriel. This fearsome, tall woman who commanded attention by the pure force of her presence, almost divine in her likeness, was someone I always cherished - without even knowing her story. Here was the evidence of a woman existing in a story that needn’t a sword to show her strength, her power. She didn’t need any stereotypically masculine strengths to be respected by other men. She was the victory of femininity distilled.

Then, earlier this year, right about when The Rings of Power’s season 2 was coming to a close, I was convinced by the sheer amount of advertisements of the show to give it a watch. “Fine,” I thought, “I will see this flaming pile of compost for myself.”

And since then this new version of Galadriel has not only won my attention, she has won my heart. I have finally watched all the movies, I have started reading the books: something that the movies by themselves would never convince me to do. I fell in love with the Middle Earth, and in the prose of Tolkien, in this unique English fairytale.

But more than that: I have gazed upon the last two years with an old longing, one with the sense of a wasted time. I could have known about Middle Earth way sooner, I could have dreamed with it and lived with it for two years.

And that sense made me look back on its cause: the youtubers whose opinions I trusted, and particularly their treatment of Galadriel.

Guess then who I found shoveling a grand bullshit pile of poor analysis towards me?

Yes, yes you guessed it.

They called her many a word, scarcely any good ones - “Mary Sue”, “unlikeable”, “a brash, violent, unsympathetic dick”.

And it was a bunch of men who could not tell “character motivation” and “character flaw” apart from each other, who could not separate their distaste for women better than them at anything from the “political motivations” of writers, men who cannot spell “complex” but who claim they yearn for it in their protagonists.

So I sat down with what I do best: I watched season one again, I wrote out all my thoughts, I analysed the dialogue and symbolism - and came to my own conclusions, undisturbed by murmurs of insecure people. It was just the creative work itself, and my thoughts on it.

And what I found was a complex, flawed female protagonist, that I for so long had a burning ache for. A character that I suppose, if outright given a chance, a lot of people would love.

(This is a very long essay. More of it, and subsequent parts here:)

This is an almost vomit - pile - essay more than stream - of - consciousness - essay, I'd say. Sorry in advance

[kari-sims]

All the sims from my girl's only occult orphanage i posted recently. I've been making them for a while now, and i'm currently going through the arduous building of the massive place where they'll live, which i was not prepared for (´｡• ◡ •｡`) thanks sm for the support on them, i'm happy you guys liked them! Also special thanks to all the cc creators, who idk what i would be without ♡

added some details about them bellow if anyone's interested (it's a wee bit long).

Characters:

Headmaster

Ruby: Despite her stern appearance, she's a lovely person who just wants to motivate the girls into following their goals, since she didn't have the same treatment growing up as an orphan herself. She'll be doing some paranormal investigation on the side, apart from working on her music to support the orphanage. I will allow small monthly donations to the orphanage as well to help her out. Traits: snob / music lover / family oriented

Teens

Anastasia (fairy): While we don't have fairies (yet!), she'll be learning a variety of skills to max level until she's allowed to learn the art of spellcasting. I'm playing the reaper event with her, so she has a few skills already. Traits: paranoid / practice makes perfect.

Ophelia (vampire): She'll be following the good vampire aspiration because she randomized with the vegetarian trait, so it was only fitting. She doesn't want to waste her immortal years being a meanie who's hated by everybody. Traits: vegetarian / cheerful

Luana (werewolf): Will be following the werewolf aspiration so i can explore that pack better, still unsure what her path will be, but i guess it's fun not knowing. Traits: loyal / lazy

Pre-teens

Bug (zombie): Didn't know what i was going to do with her, until my brother told me to do the strangerville mystery, and i thought it was sooo perfect! Traits: goofball / erratic

Hannah (spellcaster): Making her made me a little bit scared, so of course she'll be an untamed witch following the spellcaster aspiration to be a master of evil someday. Traits: hot-headed / evil

Sky (ghost): Died by lightening while saving a snake during a storm one night, and now they're bound forever. I'm still unsure what she'll do, but she'll work on finding a way to either enjoy her death or come back to life. If i get the new EP someday then i might explore it with her, but for now i'm okay having her roaming around. Traits: animal enthusiast / gloomy

Children:

Aloe (plant sim): I'll be checking out the new expanded plantsims mod with her, which is something i've been wanting to check for a while, it looks so fun! Trait: loves outdoors

Vera (elf): Don't know what i'll be doing with her, but, while i figure that out, she'll be doing all the base game aspirations since i haven't done that before, and being a companion in her plant sim friend's journey. Trait: genius

They'll each be doing their own thing while i explore the packs/mods, and i'll try to focus on only one of them for each sim day until they complete their goals and get adopted/moved out. Oh, and aging will be off, cause i don't want to stress myself. I really want to post some gameplay pics of them with no dialogue probably. I'm not a storyteller, so don't expect much 😅 it'll be just for memory keeping. Thanks if you read all this! This was more of a way for me to keep track of things too if i'm being honest.

[jasppurring]

Losing my mind over the musical symbolism in Shadow and Bone (especially for the crows). Each character has a theme. When we first see Kaz, we hear his theme over a slow shot panning up from the tip of his cane to his face. His theme is a slow, ominous violin theme. This establishes even before he starts talking that this man is dangerous. He is not to be fucked with. But it also establishes that he's calm, he's cold, he has it together. He's a cold, calculating type of dangerous, not a fiery, angry kind of dangerous. Just a few bars of music gives the viewer a really good grasp of what kind of character they're about to be introduced to without a single line of dialogue being spoken.

The first time we see wylan he's sitting on the street, playing his flute for change, and the song he's playing is actually his own theme (i'm obsessed with this fact. its so fucking cool.) His theme is mostly flute and piano (he is later shown playing the piano. The piano song he plays was actually composed by Jack Wolfe, the actor playing wylan, which is the coolest thing ever) So his theme being made of flute and piano makes a lot of sense. He's a musician, and those are his instruments. This establishes him as an artist, as a musician, as a generally very creative person, and so it pairs very well with the visual of him playing his flute. BUT. But. There's a third instrument in his theme. The violin. And it feels very out of place. His flute/piano theme is very soft, very flowy, very whimsical, but the violin feels more like a march. it's more forceful, more ominous. its actually very similar to Kaz's theme. It's weird. This flowy, whimsical song with this subtle yet jarring bit of very kazzy violin in there.

I LOVE this little detail. it subtly nods to the similarities between kaz and wylan, but also how they seem so different on the surface. Kaz's song sounds very different to wylan's, but under the surface, there's a very similar song playing for both, just like how they seem so different, yet underneath it all, they're very much the same. This is phenomenal audital storytelling, all in a few seconds of music people barely even pay attention to. But it connects the two characters before we even see them interact for the first time which is just!!!! the coolest!!!!!