#I'm just using them as an example because it's easier to explain that way

[magicalmanhattanproject]

Okay, so with Quackity Studios tweeting about adding new people and the need for tolerance and patience with people who don't speak English, let's just take a second and have a chat about what that's gonna look like.

First: you will hear things or read things on the translator that hurt or offend you.

This is inevitable. Do not immediately post about it. What you need tolerance for is hearing things that hurt or offend you and what you need patience for is figuring out of malicious intent was present or if this is a hill worth dying on right now.

As an example, we're pretty sure at this point that Korean is gonna be the next language added. The second person pronoun in Korean sounds a lot like the n-word in English. The n-word in English, if you're not aware, is like the single most offensive slur we have. It's not something that you want to hear unexpectedly. But also, if we get Koreans, they're gonna be using the word for "you" and English speakers are gonna have to be able to tolerate that.

On the other side of things, Korean has a complex system of honorifics and addressing someone without an honorific would be considered very forward and intimate at least if not very rude. None of the QSMP languages have honorifics though and only French really retains formality* so no one else is going to address them with honorifics unless they specifically explain it to people and walk them through it. That will probably be weird and uncomfortable for them and they're going to have to be able to tolerate that.

*Spanish and Portuguese do technically have formal vs informal but it's disappearing quickly in both of them.

These natural cultural clashes and pain points are going to be harder to overcome since we also know that at least some of these creators won't speak English at all so they can't just switch to English to helpfully explain things to us easily in a way we understand. We're going to have to deal.

So here's the thing: just because there can be cultural miscommunications and mistranslations, that doesn't mean that people can't also be assholes. How do you distinguish between the two?

Step One: Assume good faith. Assume that everyone in a given encounter is trying to communicate respectfully and compassionately and that a failure to do so can be overcome

Step Two: Don't get involved. Especially not in Twitch Chat. Two or more people trying to communicate through a language barrier does not get easier when they're also trying to wrangle hostile viewers.

Step Three: Are you sure you heard what you thought you heard or saw what you thought you saw? Did the translator fuck up? Is it a word that just coincidentally happens to sound like another word? If this is the case, the streamers can ask for clarification or use another tool and get it cleared up. Keep watching and see if they do.

Step Four: If they did say what you thought they said, are the streamers handling it? We had a thing a while back where Bad called some friends, including Bagi and Etoiles, uncultured because they didn't get a reference he was making and Etoiles was like "bro I'm French" and Bad apologized. That should have been the end of it, but I had to see people arguing about it for weeks. The problem was solved in 10 seconds.

Step Five: If the person is doubling down, are you sure this is something you can fix by yelling about it on Twitter or Tumblr? Would it be better to let people who actually know them talk to them behind the scenes? Pierre made a few missteps in the beginning of the server, Quackity said they had a chat, Pierre hasn't misstepped since. It's just easier to sort things out in private, one on one conversation than yelling at someone in public.

In short: it's fine to take note of behavior in case patterns start to emerge in it, but yelling on social media about how so and so is the worst person possible is not constructive.

[regainingparadise]

Relistening to TMA Season 5, I am again struck by how goddam badly Martin and Jon need couples counseling.

I love them both. I ship them very much. But oh lord they have issues

Like, these are two individuals who, under the very best of circumstances, would really need therapy both individually and together. They are both people with plentiful quantities of relational trauma from childhood that neither of them have worked through even the slightest bit.

And then you throw them into the apocalypse. And you add a metric fuck ton of guilt, helplessness, and the dynamics of being "The Antichrist and +1"?

On a surface level--Jon is in a perpetual state of information overload. Martin is in a perpetual state of "can you please just explain the basics of what's' going on in a given situation and not just say "it's complicated" or launch into a gruesome monologue"

But on a deeper level, their childhood relational traumas have left them each with opposing avoidant tendencies: Jon is unwilling to broach a difficult conversation, which leads him to hide information until he's confronted. Martin, on the other hand, has a finely honed ability to ignore information that he doesn't like until he no longer can hide from it.

Biggest example of their avoidance tendencies: Martin's Domain

Way early on, when we barely understand any of how the hellscape works, Jon mentions it, Martin shuts it down hard and deflects quickly with a bid for affection from Jon

Martin is in deliberate denial, but Jon admittedly wasn't particularly clear to start with.

"We all have a domain."

Jon means it, presumably, as "Me, You, and other 'Avatars.'" Jon is used to being grouped with those empowered by the Entities. Martin isn't. (see also: MAG185: Martin" Is that how these creatures see us now? As one of them?") But that's not what Jon says. And this is MAG167--they've only been through four domains, at least that we've seen. Jon is speaking from a place of knowledge, and assuming his listener has that same knowledge.

And when this issue comes up much later in MAG183, Martin has spent 17 episodes ignoring or forgetting that he has a domain, not letting that information in so that he has never processed it. (See also: Mag170: "Sometimes I wonder if I forget things on purpose. Easier not to think about them, I guess. Easier to just let them… slip away. They can’t hurt you if you don’t think about them.").

Martin confronts Jon on his avoidance (because while Martin may be good at ignoring things he doesn't like, he's far better at bringing up challenging topics), Jon is able to manage some A+ communication on his feelings and the genuine challenging of figuring out how to share upsetting information when he has All The Information, Martin accepts that. I just desperately want a therapist to be there and make them continue this conversation and practice ongoing good communication skills!

Though they resolve this, even though Jon has an explanation that makes sense...he was really leaving this conversation to the last minute. Would he have "[brought] it up at the crossroads" as he claims to Helen? Or would he have avoided it entirely, as she accuses, or waited till they were at the threshold, as he does with The Desolation and the Hunt, leaving Martin to confront terrifying situations without forewarning or planning or explanation.

Again, Jon kind of tried to bring up some of the potential issues with Basira and Daisy before entering the Hunt domain, but kept it Vague and Ominous ("Things aren't...good"). Martin took that vagueness as an opening to avoid engaging with potential bad news. The teensiest bit of therapy for either of them about their communication issues could have let Jon add "I know you're exited but FYI here are some specifics that you should know" and/or Martin go "I'm excited to see them but given that nothing is good right now, can you be more specific?"

Instead, Jon approaches difficult conversations by being Vague and Ominous, Martin gets snarky or passive-aggressive at the vagueness, upset or aggressively avoidant at the Ominousness, Jon closes back up like a turtle into his shell, and the conversation only comes back up when the situation has drastically escalated, leaving them both more upset.

Jon wants Martin to trust him, because explaining what he knows implicitly is an ordeal for him, and because his upbringing by his grandmother has suggested that communicating is generally unwanted and burdensome (See: MAG081 A Guest for Mr. Spider).

Martin wants to know what is going on, because he's in an awful hellscape of shifting rules about what can and cannot hurt them, completely dependent on a brand-new romantic partner for his survival and purpose, and also because his upbringing and coping mechanisms as a caretaker rely on him knowing enough to help, and his time as an archival assistant has given him some not-inconsiderable trauma about being left in the dark (See: MAG118 The Masquerade) (There's also another post in my head about how MAG118 primed Martin for both the Lonely and his development as a more confrontational character in S5)

All that to say.

Martin needs therapy to deal with the way he chooses not to absorb information he doesn't like. Jon needs therapy to understand that sometimes it's ok to bring up important topics even if the other person will be upset. They both need therapy to cope with all the guilt and helplessness around the apocalypse so they stop taking it out on each other. They need therapy together to learn how to work through their conflicting coping mechanisms.

[ms-demeanor]

Hello! First, I wanted to say thank you for your post about updating software and such. I really appreciated your perspective as someone with ADHD. The way you described your experiences with software frustration was IDENTICAL to my experience, so your post made a lot of sense to me.

Second, (and I hope my question isn't bothering you lol) would you mind explaining why it's important to update/adopt the new software? Like, why isn't there an option that doesn't involve constantly adopting new things? I understand why they'd need to fix stuff like functional bugs/make it compatible with new tech, but is it really necessary to change the user side of things as well?

Sorry if those are stupid questions or they're A Lot for a tumblr rando to ask, I'd just really like to understand because I think it would make it easier to get myself to adopt new stuff if I understand why it's necessary, and the other folks I know that know about computers don't really seem to understand the experience.

Thank you so much again for sharing your wisdom!!

A huge part of it is changing technologies and changing norms; I brought up Windows 8 in that other post and Win8 is a *great* example of user experience changing to match hardware, just in a situation that was an enormous mismatch with the market.

Win8's much-beloathed tiles came about because Microsoft seemed to be anticipating a massive pivot to tablet PCs in nearly all applications. The welcome screen was designed to be friendly to people who were using handheld touchscreens who could tap through various options, and it was meant to require more scrolling and less use of a keyboard.

But most people who the operating system went out to *didn't* have touchscreen tablets or laptops, they had a desktop computer with a mouse and a keyboard.

When that was released, it was Microsoft attempting to keep up with (or anticipate) market trends - they wanted something that was like "the iPad for Microsoft" so Windows 8 was meant to go with Microsoft Surface tablets.

We spent the first month of Win8's launch making it look like Windows 7 for our customers.

You can see the same thing with the centered taskbar on Windows 11; that's very clearly supposed to mimic the dock on apple computers (only you can't pin it anywhere but the bottom of the screen, which sucks).

Some of the visual changes are just trends and various companies trying to keep up with one another.

With software like Adobe I think it's probably based on customer data. The tool layout and the menu dropdowns are likely based on what people are actually looking for, and change based on what other tools people are using. That's likely true for most programs you use - the menu bar at the top of the screen in Word is populated with the options that people use the most; if a function you used to click on all the time is now buried, there's a possibility that people use it less these days for any number of reasons. (I'm currently being driven mildly insane by Teams moving the "attach file" button under a "more" menu instead of as an icon next to the "send message" button, and what this tells me is either that more users are putting emojis in their messages than attachments, or microsoft WANTS people to put more emojis than messages in their attachments).

But focusing on the operating system, since that's the big one:

The thing about OSs is that you interact with them so frequently that any little change seems massive and you get REALLY frustrated when you have to deal with that, but version-to-version most OSs don't change all that much visually and they also don't get released all that frequently. I've been working with windows machines for twelve years and in that time the only OSs that Microsoft has released were 8, 10, and 11. That's only about one OS every four years, which just is not that many. There was a big visual change in the interface between 7 and 8 (and 8 and 8.1, which is more of a 'panicked backing away' than a full release), but otherwise, realistically, Windows 11 still looks a lot like XP.

The second one is a screenshot of my actual computer. The only change I've made to the display is to pin the taskbar to the left side instead of keeping it centered and to fuck around a bit with the colors in the display customization. I haven't added any plugins or tools to get it to look different.

This is actually a pretty good demonstration of things changing based on user behavior too - XP didn't come with a search field in the task bar or the start menu, but later versions of Windows OSs did, because users had gotten used to searching things more in their phones and browsers, so then they learned to search things on their computers.

There are definitely nefarious reasons that software manufacturers change their interfaces. Microsoft has included ads in home versions of their OS and pushed searches through the Microsoft store since Windows 10, as one example. That's shitty and I think it's worthwhile to find the time to shut that down (and to kill various assistants and background tools and stop a lot of stuff that runs at startup).

But if you didn't have any changes, you wouldn't have any changes. I think it's handy to have a search field in the taskbar. I find "settings" (which is newer than control panel) easier to navigate than "control panel." Some of the stuff that got added over time is *good* from a user perspective - you can see that there's a little stopwatch pinned at the bottom of my screen; that's a tool I use daily that wasn't included in previous versions of the OS. I'm glad it got added, even if I'm kind of bummed that my Windows OS doesn't come with Spider Solitaire anymore.

One thing that's helpful to think about when considering software is that nobody *wants* to make clunky, unusable software. People want their software to run well, with few problems, and they want users to like it so that they don't call corporate and kick up a fuss.

When you see these kinds of changes to the user experience, it often reflects something that *you* may not want, but that is desirable to a *LOT* of other people. The primary example I can think of here is trackpad scrolling direction; at some point it became common for trackpads to scroll in the opposite direction that they used to; now the default direction is the one that feels wrong to me, because I grew up scrolling with a mouse, not a screen. People who grew up scrolling on a screen seem to feel that the new direction is a lot more intuitive, so it's the default. Thankfully, that's a setting that's easy to change, so it's a change that I make every time I come across it, but the change was made for a sensible reason, even if that reason was opaque to me at the time I stumbled across it and continues to irritate me to this day.

I don't know. I don't want to defend Windows all that much here because I fucking hate Microsoft and definitely prefer using Linux when I'm not at work or using programs that I don't have on Linux. But the thing is that you'll see changes with Linux releases as well.

I wouldn't mind finding a tool that made my desktop look 100% like Windows 95, that would be fun. But we'd probably all be really frustrated if there hadn't been any interface improvements changes since MS-DOS (and people have DEFINITELY been complaining about UX changes at least since then).

Like, I talk about this in terms of backward compatibility sometimes. A lot of people are frustrated that their old computers can't run new software well, and that new computers use so many resources. But the flipside of that is that pretty much nobody wants mobile internet to work the way that it did in 2004 or computers to act the way they did in 1984.

Like. People don't think about it much these days but the "windows" of the Windows Operating system represented a massive change to how people interacted with their computers that plenty of people hated and found unintuitive.

(also take some time to think about the little changes that have happened that you've appreciated or maybe didn't even notice. I used to hate the squiggly line under misspelled words but now I see the utility. Predictive text seems like new technology to me but it's really handy for a lot of people. Right clicking is a UX innovation. Sometimes you have to take the centered task bar in exchange for the built-in timer deck; sometimes you have to lose color-coded files in exchange for a right click.)

[bonny-kookoo]

Jungkook

𝐈𝐧𝐭𝐞𝐫𝐭𝐢𝐝𝐚𝐥 [Teaser]

In which Jungkook really only went to earth to take home his new pet- but ends up leaving with a lot more than that.

Tags/Warnings: Alien!Jungkook, Human!Reader, Ocean theme, very wet planet, bioluminescence, sci-fi, Romance, strangers to lovers, God this ended up WAY softer and fluffier than I thought it would, Fluff, Kook is tall and buff but sometimes fails to realize that, a pet shark named Custard, another pet shark named Noodle, more TBA

Length: unknown yet, teaser is ~700 words

-> Masterlist

A/N: a silly idea I had because of fellow fish enthusiast @euphoricfilter

━━━━━━━━━━.~°🩵°~.━━━━━━━━━━━

“I’m pretty sure they’ll get along great.” Jungkook smiles. “Of course I’ll have to slowly familiarize the two- but Custard is very sweet, she’s just sometimes a bit moody.” He explains to you, who watches the other shark in the tank with him as he’s being fed by a caretaker.

“I heard they’re a.. popular pet.” You mention, and Jungkook nods.

“Yeah! I initially wanted a lemon shark first, but then things changed, and I got custard first.” He shrugs. “Which I think might have been a good thing, considering that lemon sharks are said to get jealous easily if not properly socialized. It’s easier to introduce them to an already established shark than have them first and get them comfortable with a new one.” The alien explains, watching his new pet swim around.

“You know a lot about them.” You say, and he chuckles a bit bashful.

“I uh- not really. I just.. wanted to know what I’d be getting myself into. A pet is a big responsibility. “ He explains to you, and you nod.

“I swam with lemon sharks before.” You mention. “they’re pretty cute, but.. a bit chaotic sometimes.” You giggle, remembering the time, and how overwhelmed you’d gotten as the sharks had began playfully fighting over attention of you and the other divers.

“So you’re a good swimmer?” He asks curiously, standing next to you in front of the gigantic tank that holds his chosen pet inside, the young shark swimming around for now, while he’s being prepared for the newer conditions soon to become his permanent home.

“..decent.” You laugh a bit uneasy. “I.. nowhere near, you know, your skills.” You say, and he laughs.

“Oh that’s- like comparing clams with mussels. It’s not the same- just looks similar. Like us!” He shrugs off. “I think you’re under-selling yourself. And even if you’re not a good swimmer- I could teach you!” He offers, making you look up from where you stand near the glass.

"I'm just.. still a bit scared." You admit. "You know, after all that happened. I don't think I could just.. forget that and just.." you sigh, and he gently bumps your shoulder.

"Hey.. no one's asking you to." He tells you. "It just might be a good chance to face your fears? And I'll always be right at your side. I have an underwater license after all!" He proudly reminds you, and you can't help but laugh.

“You really seem like you really want me to visit your planet.” You tease, though he clearly doesn’t take it as a joke- nodding with almost cute enthusiasm.

“Of course! You said you always wanted to- so why not do it while visiting a friend?” He proposes. “it’s safer than just going alone. You could get lost, or even hurt.” He tells you. “and you’d miss out on.. you know, the spots only locals know.” Jungkook says, before he looks as Noodle swims closer again to inspect something floating around.

“I mean, you’re right..” you mumble, watching the shark move around. “…but I don’t know. I don’t think I could.. really.. I’m still just human.” You tell him, and he nods.

“I’m aware.” He responds. “and my planet has already made many adjustments to accommodate humans in many areas. You seem to forget that my kind has been.. mixing with humans for a long time by now. “ He chuckles. “means we had to evolve too, and change some of our architecture and stuff to adapt to those changes.” He says.

He’s right. And, in a way, he’s a living example of that change- with his honestly surprisingly human appearance, minus the height difference, and the hardly visible stripes of his skin.

“so, if you’d like, I’d happily house you for your vacation on my planet.” He grins. “and we can see just how well you swim.” He teases, leaning down a bit towards you before you both leave the large hall containing the tank for his new pet-

And you feel like this won’t just be a vacation at all, considering that he’s made it clear that he’s found interest in you past just simply being friends.

And in a way, you don’t mind that one bit.

[kasagia]

Dancing with the devil IV

Pairing: Na-Baron Feyd-Rautha Harkonnen x fem! royal!reader Summary: Unknowingly, you fall into a trap from which it will be difficult to get out. The only solution seems to be to make a pact with the devil himself. A devil who seems all too happy to finally get his hands on you. Feyd-Rautha Harkonnen's Masterlist ~•♤♤♤•~Main Masterlist ~•♤♤♤•~ PART III ~•♤♤♤•~ PART V ~•♤♤♤•~

“It's a refreshing change. Don't you think, Y/N?” Your friend inquires as you sit on the windowsill, gazing out at the landscape of Kaitain.

You hum, nodding your head, keeping your watchful gaze on the ramp where the next ships are landing. A shiver runs through you as you recognise the familiar black Harkonnen orb. Whoever designed their ships must have worked hard to even make them look... disquieting. Y/F/N notices what you are staring at.

"Don't worry." You comfort her and hold her hand. "I won't let you marry that brute. There is no worse fate than being Harkonnen's wife."

"It's not that… just if it was someone else. Na-Baron, for example." You tense slightly at her mention of Feyd. Your eyes follow hers, and you notice her staring at him longingly as he walks out, surrounded by his soldiers. You feel bile rising in your throat.

"Na-Baron?" You ask stupidly, trying to ignore the sudden, unexpected feeling of jealousy. Which, of course, was a pure act of stupidity on your part. Because how could you be jealous of Harkonnen? And yet, you felt like gouging out your friend's eyes for staring at your Feyd for too long.

"He... isn't that bad at all. Despite what they say about him. He cared about me there - on Giedi Prime. In their crazy way... but thanks to him, the stay there wasn't so... terrible." You tense up and roll your eyes at her words.

As if there could be angels on Giedi Prime. As if HE could be something more than the cunning devil who breaks hearts, takes the souls and lives of innocent people. As if he could be something more than a bloodthirsty sadist raised by the most disgusting man who ever lived.

"Believe me, it's just a facade. The moment you let your guard down, he will show you his true colors. And this is a far cry from the image of his personality he painted in your head. He wants you to consider him your ally. This way, it will be easier for him to use you for his own benefits. Spying on his brother or something like that, I'm not sure yet. Maybe he's also looking for sexual release after his harpies are dead?"

"Y/N!"

"What? I'm just thinking out loud." You reply with a shrug. Your gaze remains focused on Na-Baron. Princess Irulan welcomes him and his brother rather reluctantly. She behaved quite similarly towards you. Except for her special coldness and malice reserved for you, to which you had become accustomed by now.

"You must know him very well to see through his intentions so quickly. I also remember that as children you were often in the company of him, Paul Atreides and Princess Irulan."

You flinch when Na-Baron's gaze suddenly turns to the palace. But you know it's impossible for him to recognise your silhouette among the palace's many windows... or at least you hoped so. Regardless, you decide not to tempt fate and walk away from the window, turning around to face your friend.

"That was a long time ago."

"But you must know him very well. Or at least the child he was."

"Trust me, he was never a child." You reply, pouring yourself a glass of wine. You don't want to tell her anything else.

You don't want to explain to her exactly when Feyd lost his childhood, when he stopped being your friend and the boy you played with, when you lost him, when the place of the charming boy from Lankiveil was taken by the bloodthirsty, psychopathic, brutal Na-Baron of Giedi Prime. Because only you knew the Prince of Lankiveil. And the memory of him will follow you to your grave.

Because you knew there was no salvation for him, that the boy you gave your heart to was dead, and his murderer was none other than the Baron. And all you have left of him is a shell. The one he gave you and the shell of who he once was were a living and painful reminder of what you lost because of the Baron and Princess Irulan. And because of your own fear.

"I'm bored." You tell Feyd as you sit next to each other in the feast hall.

Your parents, his brother, and his uncle are celebrating with the other great families the birth of the Emperor's (another) daughter, and you and the rest of the children are forced to attend the event until your maids take you away.

And this has been going on for you for ages.

"Act like a lady and don't whine." Feyd responds to you, rolling his eyes at you slightly. You punch his arm, causing him to gasp and look at you indignantly.

"Act like a child and don't talk to me like you're my mother."

"What do you want to do?" He sighs, shaking his head at you.

If he had to list his weaknesses, you would definitely be the first of them on his list. He was always waiting for the moment where he could free himself from Giedi Prime and his uncle's gaze to spend a few minutes with you. You gave him... a sense of freedom. With you, he didn't have to worry about how he acted—whether he was too soft or too lenient.

He could have just been a child for a while—a boy from Lankiveil he had almost forgotten about. A boy you seemed to like quite a lot. And he tried his hardest to show you that he was still able to find in himself nooks and crannies that weren't polluted by the Baron. Mentally and physically.

"To sleep. But I don't have my teddy bear and blanket." Feyd tries his best not to laugh, but he allows his mouth to open slightly, making sure to keep it closed.

He didn't want to scare you with his black teeth—an addition recently introduced on Baron's orders. Feyd couldn't quite get used to them yet. He remembered breaking all the mirrors in his chambers the first day he saw his new row of black teeth. Over time, however, he got used to them, like everything else on Giedi Prime.

"What?" You ask as he stares at you for a few too many seconds or minutes. Feyd clears his throat and manages to lower the corner of his mouth.

"Nothing. I may be not as soft as your precious teddy bear and blanket, but I can keep you warm. And my cloak is... possibly the coziest thing I have." He answers awkwardly, already taking off his coat. He wraps it around you without waiting for your response, remaining in his black military armor.

He knows that the next day he will have scrapes and bruises from too tight armor. He should have gotten a bigger one a long time ago, but the Baron seemed to insist that Feyd keep his old clothes for as long as he could.

"You allow me to nuzzle up to you?" You ask, surprised, as he wraps his arm around you.

Feyd didn't particularly like physical contact; sometimes he flinched when someone's skin touched his—a reaction he tried to hide. However, apart from you, there was one other person who also noticed it. And while Feyd should have hated the Atreides, he would remain forever grateful to Letto Atreides, who had invited him to spend the summer with his son, you, and Princess Irulan shortly after Rabban and he had moved to Giedi Prime. It was the best summer of his life since leaving Lankivieil. A moment of respite.

However, with you, sometimes he could afford to feel your body a little closer to him. Most of all, he WANTED to feel your body press against his. Which, over the years spent on Giedi Prime, was a very rare, even unheard of feeling for him.

"I allow you to rest on me and take a nap. My mother... my mother did this a lot with my father when she was pregnant and had to sit in on these meetings." Feyd says he has vague memories of his mother being pregnant with her third child and how his father acted towards her—before all hell broke loose on Lankiveil, when he could still be... normal.

"But I am not pregnant. And we are not married." You point it out maliciously, but your head is already falling onto his shoulder. You wrap your hand around his waist and snuggle into him. Feyd suppresses a blush as you unconsciously nuzzle his neck and inhale his scent. You were too innocent to know what it did, and he was too tainted for his body not to react to it. Despite everything, he controls himself and holds you, making sure you don't fall out of your chair.

"But you are tired, aren't you?" He hums against your ear, fully aware that you're about to drift off into his arms. And that he would rather kill himself than let anyone take you away from him.

"I am. And I also never miss a chance to hug you, my grumpy Na-Baron." He furrows his hairless eyebrows, unconsciously tracing patterns on your arm with his finger. He relaxes, seeing that his uncle has left the party. So did the young servant who served him. A shiver runs through him, but he ignores it. His focus is on you. On your slow breathing, on your smell, on your warmth, on how perfect you feel next to him, as if you were his missing half. And Feyd allows himself to believe for a moment that this may be the case—that you are truly written in the stars for him.

"I am not grumpy." He says, rolling his eyes at your taunt and completely ignoring Princess Irulan's glare from across the room.

"You are. Like those funny green creature from Paul's book. You know, the old one with weird pictures."

If Feyd could, he would forbid you from meeting Atreides. Unfortunately, your parents seemed to insist on this special closeness to this family. And you loved reading. Same as Paul. Feyd's only consolation was that when Atreides didn't have a book in his hand, he lost any interest in you. Unlike him. He had your attention, regardless of what he was doing or what he might be giving you at that moment.

"Sleep." He mumbles and presses a kiss to your tample.

"Don't tell me what to do. I am not your wife." You mumble, half asleep, but you give in to him anyway and fall asleep on him. You press your cheek against his shoulder, and he begins to worry that his hard armour might accidentally leave a scratch on your cheek. He gently lifts your head and places his hand under your cheek to make sure you don't feel any sharp, protruding metal decorations.

"You are not... but you will be." He promises, fully convinced that you're already asleep and don't hear his little promise. He tightens his hand around you and listens to your calm breathing and heartbeat, wishing that he could listen to this beautiful music every day. Not only during boring balls that you both hate.

You sigh, wiping the sweat from your forehead. Your maid gives you a horrified look as you lunge at the mannequin in the training room. Stabbing the puppet several times with your blade, taking out your frustration and energy on him.

When you feel the air moving behind you and the added presence, you don't hesitate. You turn around, your blade colliding with Feyd's, and glare at him in response to his cocky smirk.

"I see that old habits die hard. Why don't you accept a real challenge instead of taking out your anger at this motionless pile of threads?"

"Why don't you do it instead of tormenting Atreides' drugged soldiers? At least I don't get dirty while playing with my motionless pile. Not like you." You say, stepping away from him. You let the hand with your dagger fall as you walk over to the table for a drink of water. You freeze, feeling the cool tip of his steel against your throat.

"How many times have I told you not to turn your back on your opponent? Besides..." He steps closer, his chest pressing against your back as he leans in to whisper in your ear. "Did you have the same fun with my harpies? Didn't you want to get dirty, and that's why you chose poison to kill them? And you accuse me of being a bloodthirsty, jealous beast... I guess we're more alike than you want to admit, my little, beautiful, dangerous, jealous swan."

"I… I have no idea what you're talking about." You whisper, tensing in his arms. Out of the corner of your eye, you notice that you're alone in the room. He must have gotten your maid out of there somehow. You suddenly feel very vulnerable.

"You do not have? And that's funny. So why did I find a poison in your things the day after they died and just before your departure?" You frown and push his hand with the blade away from you. You turn to look him in the eye, too surprised by his accusation to do anything but say the truth.

"I have no idea. Whatever happened to them, it wasn't me. You know very well that I wouldn't kill anyone." This clearly catches him off guard, and you feel offended that he could be so sure that you took someone's life just because they had the opportunity to fuck him. You roll your eyes at him in annoyance and raise your blade in challenge. You might as well exercise a little while he does his investigation.

"Well… after all, swans don't like getting their beautiful feathers dirty with blood… but who else could do it?" He responds, dodging and blocking all your attacks.

You work harder, jumping away from him and trying to break through his protective shield. You sigh as you manage to get the blade close to his skin, but no telltale shield appears around him. The son of a bitch didn't even put his shield on when fighting you. No one could piss you off and humiliate you at the same time more than him.

"I don't know. I don't care." You growl, pushing against him and trying to draw his black blood at all costs.

You manage to kick him in the stomach, but when he falls, he drags you with him. You land on top of him, but he quickly changes your positions and pins you to the floor beneath him, keeping your wrists in a tight grip as he presses his blade to your neck.

"Do you? Doesn't it make you jealous just thinking that someone could be madly in love with me enough to get rid of the women who give me pleasure? What if you're next on my secret, deadly admirer's little list?" He whispers in your ear, and you shiver as he bites his lobe. He throws his blade aside, his other hand lazily exploring your body, abusing your breast as he squeezes it tightly and digs his fingers into it.

"We have no connections." You moan as his lips move to your jawline. He sucks gently, leaving no trace except a trail of his black saliva as it moves to your exposed neck.

"Not in public. But in the quiet of the night, in your gardens, of my corridors, of the halls of this palace—all these places remember many of our connections."

Unfortunately, he is just as stubborn, maybe even more stubborn than you, and he will do anything to prove that he is right. You gasp, biting your lip, as his hand goes under the fabric of your pants. Your traitorous pussy welcomes his fingers like a permanent resident. You tighten around him, and he chuckles lightly, feeling you already wet. You dig your knee into his stomach, trying to fight back, but he just positions himself between your legs, casually pushing your leg away as if it were just an intrusive, insignificant obstacle to getting what he wants.

"And yet you run from one man to another… but it's my fingers that fill you while you wait for someone to put a ring on your pretty feathers, my little swan." He mumbles against your neck.

You shiver as he pushes his fingers deeper into you, his cold metal Na-Baron signet teasing your warm, wet walls, only making you clench tighter around him.

His hips grind against you madly, his hard length pressing into your thigh as you moan softly, trying miserably to keep from making any grinding sound when all you want to do is feel him deep inside you, splitting you open for him.

"And you… you're pathetic for always looking for me and coming back." You respond, feeling your pleasure building within you. You grind away from him, angling his fingers just right, deciding that since you were already in this position, you might as well show him that you were using him and not him using you. After all, you were always the one who came, not him.

"I am." Surprisingly, he nods, caressing your clit with his thumb as the rest of his fingers penetrate you mercilessly. "And you come pathetically beautiful with my name on your swollen lips. We are both humiliating each other. And we both love it." And that's exactly when he pushes you over the edge. You lift up and connect your lips in a kiss to stop yourself from screaming his name, knowing full well that the guards are outside and could… really guess what happened between you behind closed doors.

You admit to yourself that you loved his plush, soft, full lips on yours, the way he caressed yours, the way his tongue slipped in unnoticed, you loved kissing him. His kisses made you more addicted to him than the orgasms he gave you. That's why you made sure you had them very rarely. Because no one else's mouth has ever given you as much pleasure as his.

In the frenzy of the kiss, he releases your wrist and cups his hand around your cheek. You sigh, biting his lower lip. This is the only warning you give him before you plunge your dagger into his back.

He screams as your blade pierces his skin. Your fingertips are sticky with his thick, black blood, but you don't care. You look him straight in the eyes and rip the dagger from his body, giving him another wave of pain.

"How many times have I told you to never let your guard down?" You ask, using the exact same tone he used as soon as he held the knife to your neck.

You push him away from you and stand up, straightening your clothes a little. He laughs hoarsely and shakes his head in disbelief, still looking at you and ignoring the burning pain in his back. He had wounds worse than a swan's bite.

He comes to you on his knees and takes your fingers into his mouth, sucking his black blood from them and never taking his eyes off you. You dig your fingers into the skin of his pale scalp and tilt his head back, breathing quickly as you melt into the gaze of his cold, oceanic irises and dilated pupils. You can't fucking believe he got so turned on by your stabbing. And that you, too, felt hot again.

"You are sick." You whisper as he lets your fingers pull out with a loud pop. His now gray saliva had replaced his black blood.

"Just like you."

Before you can deny it, the door to the training room creaks loudly. You pull Feyd up, forcing him to stand up, and you wipe his saliva off your fingers on your shirt.

"Michael. You always know when to come. Na-Baron and I were training and unfortunately he got injured."

"Yhm... very unfortunately." Feyd mumbles sarcastically. When you go to Michael, you step on Feyd's foot. You pretend it never happened and join the man's side. He smiles at you, his two-toned eyes hypnotising you for a moment, and a huge smile appears on your lips. Out of the corner of your eye, you see Feyd frowning. There is no better feeling than rubbing salt into someone's wound.

"Always here for you, my love." He says and places a kiss on your forehead. "You should go to the healers, Na-Baron. We wouldn't want such a small wound to do a serious harm to your health. After all, soon we will be celebrating... important events." Michael says this and wraps his arms around my waist, pressing me against him.

"Of course." Feyd growls and nods. He walks away, leaving the two of us alone in the training room, and closes the door loudly behind him.

"He insisted that I train with him. Believe me, I would never…"

"When you will be my wife I won't allow you to do such things." He interrupts your attempt to explain himself and takes your dagger, which is covered in Feyd's blood, from you. He throws it into a box of various weapons and turns back to you.

"Excuse me?" You ask, both surprised and annoyed by his condescending behavior.

"No worry, sweetheart. You are still learning." You feel like he slapped you. He treats you so condescendingly, as if you meant absolutely nothing, as if your opinion was not important to him at all. This sudden change surprises you and makes you even more nervous. However, you cannot understand the reason for his sudden rude behavior. Was it jealousy?

"You know usually women after such a... blunt statment doesn't marry the man who said it."

"Oh, you think you will have a choice?" He asks mockingly and plays with your hair, fixing your hairstyle to his liking. You push his hands away from you and glare at him furiously.

"Won't I?" You ask defiantly, raising an eyebrow at him.

"After my people attack your home planet? I don't think so."

"I beg you pardon?" You ask, completely shocked. He lazily, casually reaches for your chin and lifts it to look at you closely.

Your brain races like crazy, trying to ignore the fatigue in your muscles from fighting the Na-Baron as you wonder if he's just joking with you or if he really means what he said. A shiver passes through you when his fingertip brushes against your cheek.

"I told you. I want to achieve something. To prove myself in the eyes of the emperor. As we speak, my troops are boarding the ships on my home planet. Tomorrow morning, your father will receive notice of the start of war with my country. And you, darling, you will be a beautiful spoil of war. The proof of my greatness."

"You... all those meetings with me on my home planet... you didn't want to marry me; you wanted to explore and review our fortifications and the training of our soldiers. Test the ground before sending your men on my land."

"Your father's lands. You may be smart, honey, but you're only a woman. All you have is a title and a royal pussy. Although your mind and beauty are a dangerous combination. Maybe I should make you my wife instead of a concubine?"

"You… you can't… you won't." You shake your head, trying to deny what he just said. He couldn't just take everything from you, your whole life.

You try to control your emotions and not give him the satisfaction of completely destroying your world. He makes you feel so guilty; after all, you were actually the one who let him onto your planet and showed him around all the places he wanted. How could you be so stupid and naive? How could you not sense that he was more interested in your military and the weak points of your planet than in you?

"Oh, honey... don't insult your own intelligence now. You know very well that I can. You have nothing. No allies, no strong friend. I am your only serious admirer since Atreides. You're lucky I'm a gentleman. I will not touch you until your land, crown, and title are officially mine. And I will give you a good future. You could always end up in a brothel. Don't be a brat and appreciate it, my beautiful war booty."

His touch burns you in an unpleasant way. You want to bite off his hand, but you need to get more information from him to prepare some kind of action plan. You need to lower his guard just as he lowered yours.

"Why are you doing this? If you had married me, you would have had it anyway. Without any war."

"I told you. I want to prove my worth. To achieve something. In small steps. First, I will conquer one planet, then another. You have the honour of being my first conquest. And who knows? Maybe you'll even become empress by my side. Now smile nicely, darling. Your depressed face is ruining my mood."

So you smile. You put on a good face for a bad game and try to control your anger and despair. Because what can you do with them now? Nothing at all. You needed a different approach. Better. Smarter. You couldn't just give up your future without a fight; let him take over your country and do what he wanted to you. If you were going to be someone's property, wife, trophy, or whatever, you wanted to decide who it would be.

Michael was wrong. You had one secret ally who was much stronger than him. But you know very well that asking him for help will cost you a lot. Unfortunately, you were not in a good situation. You were in a hopeless position. So it required you to take desperate, risky, and embarrassing measures. This required making a pact with the devil himself.

" I need to talk with you." You say this as soon as the door opens for you, before you change your mind and run away. You tug at the sleeve of your silk robe and stare pleadingly into the ocean irises before you.

"At this time? What do I owe this pleasure to?" He mocks you, crossing his arms over his bare chest. You swallow, looking away from his muscles and back into his eyes.

"Feyd. Please." You say this seriously, looking around to make sure no one sees you at his door. He tenses a little, hearing the desperation in your voice. Wordlessly, he moves to the side, allowing you to step inside.

He closes the door behind you, and you shudder as you realise there's no going back. You close your eyes, taking a few deep breaths and trying to calm down. Feyd furrows his hairless eyebrows at your condition. He walks over to you and tentatively places a hand on your shoulder, not used to comforting... anyone. Not since the two of you were kids.

"Y/N. What happened?"

"I need your help." You reply and move away from him. Feyd sees you trying your hardest to control your emotions. The same way that even though he's happy about your late-night visit and the sight of you in that skimpy robe, you look terrified and disgusted that you have to be here.

"Y/N..."

"Michael wants to attack my home planet and dethrone my father. In the process, make me his whore or wife. He's not sure yet." You interrupt him and blurt it out before he says anything else.

This stuns Feyd for a moment as he takes in this new information. He would have smiled at the mockery and anger in your voice if his blood hadn't boiled at the thought that you could belong to anyone other than him. That anyone else would have the right to touch you like he did and has long dreamed of doing even more.

"Your duke that you've been parading around with and admiring for the last few months? The same one you hug and cling to at every recent party?"

"Yes."

"The one you gave the right to hold you and kiss you?"

"Yes."

"The one..."

"YES! This one!" You interrupt him, annoyed and embarrassed. You sigh, rubbing your eyes, and realise that screaming at him and venting your anger isn't the best idea right now if you want to ask for his favour. "Please, help me."

"And what I can do? You chose your fiancé. Or a lover. Whatever. What do you want me to do? Fight with him for your hand? And then get rejected by you? Thrown away when you don't need me anymore?" He mocks you, turning his back on you. He pours himself a glass of wine and sips it leisurely, making no move to turn towards you.

"Feyd. Please. I beg you. I... my people can't die just because of the whim of some man." You say, your voice cracking. Your throat burns from the dryness, and tears suddenly appear in your eyes. This is a very strange phenomenon considering that you have been crying for the last three hours in your chambers.

Your sniffling makes Feyd involuntarily turn back to you. This is a bad move. His heart clenches uncomfortably at the sight of your watery eyes and red nose. He wants to take you in his arms, run his hand through your hair tenderly, and sink into your touch.

"You know very well, little swan, that this is how most wars start. By the whim of one man." Feyd says, crossing his arms over his chest to somehow keep from touching you, from taking you in his arms and burying his face in your hair, whispering comforting words in your ear. He had to play this... unique opportunity well. If he won't have you willingly, he might as well have you by trick.

"I will do everything." He does everything not to smile, not to immediately make his demands. He has been waiting so long to have you that a few minutes more won't do a big difference to him.

"So get ready for the husband of your own choosing." He says icily, acting unfazed, as if the mere thought of someone else having you didn't make him want to murder every man who ever had the chance to touch you.

As if he didn't dream at night of having you by his side, of arguing with you every day, of having you with him forever on Giedi Prime, sitting on the throne next to him and being as terrifying as he is.

"Feyd..." You mumble and walk over to him. Feyd tenses, controlling all his muscles, stopping them from making the slightest movement towards you.

He watches your every move carefully as you approach him. The air between you is thick and full of tension. He swallows when you come within his reach and tries his best not to even touch you with his fingertip. However, all his control is put to the test when you stand directly in front of him and lean towards him.

Feyd clenches his fists tightly, so tightly that he feels the blood slowly seeping from where his nails dig into his abalaster skin. The familiar scent of you and your favourite perfume reaches his nostrils, and Feyd does the stupidest thing he can do at that moment. He closes his eyes and inhales deeply into your sweet, seductive scent.

"You can have me. Right now. Wherever you want. However you want. Wouldn't you like to? All you have to do is order some troops to my home planet and scare off Michael's army." You whisper into his ear, brushing your lips against his lobe. Feyd holds his breath as your lips trace his jawline and up to his neck, where you begin to kiss and suck his skin.

Feyd stands frozen, unable to move, allowing you to do whatever you want with him. He sighs as your two long, delicate hands slip under his black robe and caress his chest. His heart is racing as you play with his nipples, pinching them and twisting them in your fingers as you work tirelessly to leave as many marks on his neck as possible. He grunts, trying to stifle a groan as he feels his manhood respond to your caresses and begin to harden painfully.

He reaches for your hips and pulls you closer to him, and Feyd would probably give in to his desires if he didn't feel you tense up under his touch. He sighs and musters all his willpower to grab your arms and pull you away from him.

"You can't just... kiss me, come into my chambers dressed like that at this hour, and demand such things from me when all you show me is hatred and loathing. Don't act like a whore. I won't fall for it. I… not when I know you don't mean anything that you are doing right now." He says this without meeting your eyes, somehow unable to see your reaction. He lets go of you, as if touching you hurts him, and walks to the other side of his chamber, escaping to the balcony.

A cold breeze hits his skin. He sighs, gripping the railings tightly and holding on to them with all his might, as if crushing the marble in his hands would bring his full self-control back.

It doesn't take a minute for your scent to hit his nostrils again.

"And how I should act?! What do you think I can do?!" You shout after him, walking towards him. Feyd tenses, sensing your presence behind him, but makes no move to turn towards you. You sigh in defeat, and Feyd thinks you've given up when suddenly he hears your shaky voice and your pure panic as you try to convince him to help you one last time. "My people will die tomorrow morning, I… I'm begging you. Please, I will do anything, Feyd. Whatever you want."

"Then marry me." He replies, his back still turned to you as he stares into the distance at the Kaitain hills in front of him.

Even though he can't see your face, he can clearly hear the gasp of shock you let out. He imagines your beautiful, full lips falling open, your eyes widening, and you holding your breath as you process his words. He knew that this was the only way for now to ensure his right to you—to make a claim. He had too little time to try to change your opinion of him.

When you're finally "safely his", then Feyd can try to fight for your affections and prove that he is not the monster you think he is. For now, your anger will have to be enough for him. But he would eventually melt it. You loved him once; when you were kids, he might try to make you feel this way about him again.

"What?" You ask, shocked. Feyd slowly turns towards you, and this time he takes a step closer to you, making you both breathe the same air again.

"You have two options. You can agree to... your Michael's terms, marry him and be his property for the rest of your life... or you will marry me and I will protect you, your parents and your people from anyone's invasion." He replies calmly and unfazed, keeping his hands behind his back.

"And be yours property for the rest of my life?" You ask mockingly, almost furiously, with that gleam of mischief in your eyes that Feyd loved so much. This was his little swan. Finally.

It might have been nice to have your mouth and hands on him, but in your case, he didn't want forced submission. He wanted just that blazing fire that captivated him, where he could burn himself if he made one wrong move. He wanted it all... even if he had to gently steer you down the right path—down the altar to him and only him.

"Don't pretend to be so disgusted. We both know how you love some... aspects of being my property. A moment ago you were begging me, saying you would do whatever I wanted. Marry me then. What would you say?"

"I... you know I have no other optiom... neither time to assure I will have any other option. But we also know that I don't trust you and never will." He nods, knowing full well that trust will be the last thing he gets from you. But if Feyd valued anything in life, it was his honor.

"You have my word. I will protect your people as mine. Even better. My uncle or brother or I will never order to attack your home planet. You would became one of our closest ally and thus ensure your country the safety against anyone's invasion. It's a win win situation."

"And how you will win?"

"I will get you." He replies with a shrug, as if it were an obvious reward.

He sees the gears in your head turning as you silently consider all the consequences and benefits of marrying him. He knew clearly that this wasn't what you wanted, that your search for a husband was supposed to be completely different, that he was probably the last man you wanted as a husband, from whom you wanted a nice ring, whose planet you wanted to move to, but Feyd had been waiting for you for so long; he did so much to have you that the circumstances of your marriage didn't really matter to him anymore.

"You will get bored of me. You can't love or trust, not trully or neither can be loved or trusted by anyone else. You know that what's going on between us won't be sexy anymore when it will be no longer forbidden." Your words somehow hurt him more than the worst wound he received. He grunts, clenching his fists behind him, waiting for the unexpected, unpleasant lump in his throat to subside so he can somehow respond to your blasphemous words.

"That's how you see your future husband?" He finally asks, glad that he managed to keep his voice from shaking.

"I didn't say yes to anything yet."

"But we both know you will. You have tied hands. And we both know that you can't dance with them for a long, before you fall." His comment makes you even more furious. Feyd does his best not to smirk at your flushed cheeks and pursed lips. Oh, how he wanted to kiss those lips so much…

"Yes... but you can put chains on them instead of ropes and I will be even worse tied." You respond calmly, carefully analysing his words, looking for a trap—a hidden intention behind his actions beyond his obvious desire to marry you.

"I guess you have to take a risk." He replies calmly, shrugging his shoulders.

"Hmm. Such a convinient situation for you." You mutter, crossing your arms. His eyes automatically fall on the valley of your breasts, but he quickly tries to return his attention to your eyes. If everything goes his way, he'll soon be able to caress every inch of your body he wants.

"Very much. I got to call you my wife and all I have to do is to scare away some lord's family who shouldn't even touch you in the first place."

"I decide who touch me." You say, angry that he hasn't even put a ring on your finger yet, and he's already forbidding you from doing something.

"Not for long I guess."

He sees you biting your lip in anger. You take a step towards him, and Feyd thinks you're going to slap him, but you do something completely different. You cup his cheek in your hand and lean in to whisper in his ear:

"I hate you so much. With whole my heart. If you think this will somehow change my opinion of you, you are wrong. I feel exactly the same about you, and maybe even worse things than what I told you on Giedi Prime. You are the baron's spoiled nephew who only has to snap his fingers to get something. I hate you and I will hate you forever, no matter what you do, no matter how well you fuck me, how good or bad of a husband you are, my feelings towards you will remain the same as they are now." And with that, you press your lips to his, sealing your promise with a sudden, unexpected kiss.

Feyd moans into your mouth, feeling himself start to get hard again, which should be absurd in this situation, but he remembers times when he was aroused by… worse things.

"Is that a yes?" He asks, swallowing thickly as your lips leave his—too quickly for Feyd to enjoy the taste and softness of them.

"What the fuck do you think I can do in this situation?" You growl at him angrily, at which he smiles, unable to stop himself, showing you his row of black teeth. Surprisingly, you don't tremble in fear or disgust.

"I want to hear it."

"And I want a decent proposal." You reply in return, forever trying to argue with him.

You're surprised when he walks past you and goes back to his room. You stand alone on the balcony for a moment, taking a shaky breath and staring at the stars in the sky, wondering how the hell you ended up in this situation. Just a week ago, the idea of marrying Feyd would have seemed completely absurd to you.

You freeze in shock when he comes back with a small black box and actually kneels down in front of you.

"Y/N Y/L/N. The darkness of my life, the bane of my existence, the ghostly apparition that haunts my dreams, the heartless witch, the murderous siren, the deceptive nymph leading me to my death, will you do me an honour of beeing my wife and let me fuck our heirs into you?"

You would have smiled at this if his icy blue eyes weren't piercing through yours and carefully analysing your every little reaction. You don't even look at the ring he's offering you—a ring he clearly must be wearing somewhere close to himself. Your heart is racing, despite the fact that this isn't exactly the proposal you wanted. Despite everything, it is... in a strange and twisted way, a nice feeling.

"You could try better." You finally reply in a hoarse voice, suddenly aware of how dry your throat is.

"I am waiting for an answer." He growls, really waiting for your response.

If it weren't for the nature of the whole situation, you'd actually think it was cute. The way the most dangerous man in the world kneels before you, asking for your hand. You sigh, mentally preparing yourself before signing a pact with the devil.

"With great disgust and reluctance: yes."

"Yes what?"

"Haven't you already had your fun?" You ask, frowning furiously. He bites his tongue to keep from giggling, absolutely loving to tease you.

"I didn't even start, my little swan." You roll your eyes at him and look at him expectantly, sticking out your hand. But he makes no move to put the ring on it. You decide not to fight him on this one matter.

"Yes. I will marry you, Feyd-Rautha."

You can see from his face that he is remembering these words and that he is taking a mental picture of this moment. He takes the ring out of the box and, with unusual gentleness for him, takes your hand in his and slides the metal onto your finger.

The ring is nice. Made of white gold, its eyelet is a black onyx stone, which is held by engraved flowers on a metal ring. It was… astonishingly beautiful and thoughtful. And not as big as you assumed it would be. Y/F/N got a ring with a gemstone on half of her finger. You're surprised Feyd didn't give you something similar.

"There. Was that so hard?"

It's a tricky question. Because, as much as that ring weighed on your finger, you couldn't admit that you hated the whole idea of marrying him with all your heart. After all, you could do worse than him... right?

Taglist for Feyd: @avidreader73

Taglist for DWTD: @iloved1lfs0 @heartarianagran @hueanhdang @barnes70stark @forgedfromthestars

[what-even-is-thiss]

Hey I saw you talk about comprehensible input for Spanish, and you said it was easy and it seems effective. I'm learning German, and I wanna ask what comprehensible input is and how I could do some of that

Comprehensible input means watching or listening to stuff in the language where you understand 90% or more of what’s going on. If you’re reading it’s more like 98%. Early on this usually means either watching stuff for babies or watching stuff made for adult learners if that exists. Watching stuff for adult learners is generally better because it works better if you’re interested in what’s going on. Once easier stuff is too boring for you then you move on to slightly harder stuff etc etc. it’s supposed to take about a thousand hours of good quality input for you to be able to understand native speakers with no issues give or take depending on your native language and the language you’re studying. Right now I’m at like 50-ish hours in Spanish which means I’m watching slightly harder videos that still have a lot of visual cues but it’s not piss easy either. I can also understand most quick things I overhear people say on the street to each other but I don’t really know how to talk yet. My brain hasn’t pieced that part together.

For German specifically resources for this are YouTube channels like Comprehensible German and Natürlich German. And Deutsch Welle’s learn German section of their website has a couple series like Nico’s Weg that follow a similar idea.

The key is to not translate in your head or assign meaning to specific words or try to figure out the grammar when you watch videos or read but just try to understand what’s going on.

Some people supplement this with flash cards strictly doing vocabulary and no grammar. Especially if good comprehensible input resources aren’t available for the language you’re studying. Doing vocabulary drills and watching tv with subtitles in the language you’re learning can also be effective.

Another way to do this if you can’t afford a special class or there’s no good videos available but you do have native speakers on hand who are willing to be a “language parent” for you is for them to sit down with you and only teach you the words for yes and no and then they pick up something like a kids picture book and start pointing at things and slowly explaining it to you and asking you questions like you’re a baby for an hour or two every day. Most people do not have a native speaker on hand willing to do this though. But if you do then this video where a guy documents learning Arabic with this method should give both you and the native speaker an idea of how this works.

If you want resources googling “comprehensible input (language)” should get you started. There’s also a lot of different communities for language learners of different languages or language learning generally on Reddit like r/French, r/Portuguese, r/swahili or r/languagelearning for example. Most of those places have a dedicated page for compiling resources from the community and you can also ask questions to the community and in my experience they’re usually pretty helpful people.

Right now I’m mostly using Dreaming Spanish for Spanish but also other channels like Easy Spanish and Español con Juan. I’m also dabbling a bit in the channels Comprehendible Japanese and Nihongo-Learning for Japanese but Spanish is my main priority right now.

[cherryfennec]

Okay I love your most recent art work of Mario and Mr. L!!! I’m just curious how on earth did you draw their hats so well?? Especially the brim of their hats?! Hats are the one thing I struggle with when drawing them! I can’t make it look believable!

Hi! First of all thank you for the kind words, I'm glad you like the art! Now as for hats (more specifically Mario and Luigis type) there can be different ways you might go about drawing them.

(I should probably mention at the beginning that I am not an expert and sometimes struggle myself as well. Despite this I'll try my best to explain how I usually approach it.)

Let's start with brims because they seem the most problematic (as I see it.)

What I'm going to talk about might already be intuitive for a lot of people, including myself, however I thought it'd be a good idea to break down the mindset so everyone is on the same page and those who have trouble seeing it can hopefully understand stuff better.

First it's obviously the idea. No real details, just the general idea. With it we'll be able to establish the basic rules for what you're drawing, most importantly the angle and perspective.

Now this is going to be pretty self explanatory but: if I'm drawing a character looking up I know that the bottom of the brim will be visible, if the characters looking down it won't and etc. An easy way to check which parts of the brim will be visible from a specific view point is to imagine it as a slab.

Now this isn't anything mind blowing, I know, but saying this out loud can be handy and save you some overthinking.

Alright, let's talk about the hat itself now!

In most of the pictures I could find of the bros hats they're divided into two parts: the front, which is taller and slightly spiked up, and the back, which is noticeably shorter. Now this kinda goes back to the idea of simplifying shapes:

At some point it unfortunately becomes rather difficult to explain why some stuff is drawn the way it is because it's kinda justified by: "that's how the real life counterparts act". Above everything I highly recommend references, both irl and ingame ones. It's not embarrassing to use them, trust me, no one will criticise you and they'll help!

Now that we got the brim and the hat, let's put the two together!

There isn't really a strict order of how you should draw things, everyone has different preferences and processes which should be taken into consideration. For example, I personally like to draw the entire head before I touch on the cap:

(I added the hair and colours for the sole purpose of this post, this process is usually done during rough sketching.)

This way I have a point of reference where the brim ends (right before the ear for me) and where I should place the middle line on the cap (it's a bit of a stylistic choice than anything but it also lets me know where the fold will be). You can find your own way and make your own rules and with time the process will get much easier! I hope this somewhat helps.

Just practice, have patience, experiment and most importantly: have fun!

[thelunarsystemwrites]

Why I recommend age regression as a way to cope.

If you're stressed the F out, feel like you missed out or lost your childhood, or have terrible coping mechanisms? Then this is the post for you. (Maybe.)

Also before we jump in—Just wanna say that I'm not a psychologist, I'm just sharing tips and advice from my own positive and negative experiences. And that age regression may not work for you after you've tried it, but I say give it a shot! Especially if your current ways of dealing with life aren't.... great.

With all that our of the way—Post beneath cut!

So here's some resources for a TLDR version! But I'll be explaining age-regression, it's benefits to me, and why I encourage others to try!

Remember it is ALWAYS sfw! (Which means agere isn't a kink, never has been and never will be!)

So age-regression, or it's shortened name Agere (Takes Age, and the Re from Regression and combines them!) Is a form of dissociation in which someone mentally reverts back to a younger age! This can be anywhere from a few years younger, such as a 17 year old regressing to a 15 year old. Or it can be many years younger—Example being a 17 year old regressing to a 4 year old!

During this state: they are mentally younger, either fully or partially depending on the person. And do think like said age. And often their behaviors correspond with their regressed age, assuming they aren't masking it!

Sometimes you are aware you're regressed, and other times you're not—Both are completely fine!

It's a wonderful way to relive your childhood in a safe environment, feel young and cared for again like a child, or express your inner child!

Okay, but why would I use that to cope?

Don't worry, I hear your questions!

The reason it's a good coping mechanism, for me atleast, is regressing allows you to process your emotions at your own pace. Though they might still be overwhelming, I find it much easier to let my big emotions calm down when I feel small, because it's like they slowly burn off rather than going boom!

If you're stressed a lot, it's a good way to temporarily remove yourself from your burdens! Like you don't have any worries other than 'should I use the pink or blue crayon?' Vibes! Pressure slowly bleeding off rather than having an outburst.

And, for fun! It can be fun to connect with your inner child, do the things you liked as a kid and reunited with that mindset! You don't need to have missed out on your childhood to regress, it can be completely for fun!

Now now, age regression isn't always all fun and games. Because you do think like whatever age you've regressed to, you might have temper tantrums or get cranky or confused if something triggers it.

That's okay.

Yeah, it can feel icky—But me personally, i much prefer these occasionally than letting my emotions boil over and having a breakdown when I'm not regressed!

I've lost and wasted a lot of my childhood. This is my way of healing and re-experiencing childhood joy. Please, don't ever forget that type of wonder, it's so magical and so nice and cozy.

It's a way to cope because it can be an outlet, a comfort, a way to regulate emotions, a way to escape, a way to just relax. And, while not everyone turns out liking it, that's okay! But it works for me, and so so many others. I've had atleast 6 or so friends start regressing and they're still doing it to this day!

And the best part is it's temporary, so if there's more mature things you enjoy? You don't have to give those up, okay? You can find time to regress and relax, and come back to your normal routine later!

It's benefits can be:

Destressing.

Processing lots of emotions at once.

Enjoyment.

Getting to do things you were denied as a child.

Able to let out emotions via tantrums or fits in a much less destructive headspace.

Reliving a simpler mindset.

Helping with sleeping. (I find it much easier to nap/go to bed if I'm regressed!)

Getting a fresh feeling after you're done regressing.

Stimulating if understimulated.

Can help if you're also overstimulated.

Healing inner child.

Coping with trauma/stress in a healthy way.

Help with doing chores. (It's way easier to make chores fun if you're regressed in my experience, but some hate doing chores while regressed and that's cool too!)

And it can be different for each person!

It is absolutely okay to have a different experience, struggle regressing at first or even always, or not do it often!

I recommend if you want to start regressing—Find something that makes your inner child happy, indulge in the best things you liked or would've liked as the age you wanna regress to, find ways to incorporate your current interests into it!

Also things that you like, or positive things can help too!

It's honestly my best coping mechanism, it isn't 'weird' or 'wrong' especially if it helps you. And I can guarantee it's far better than plenty of unhealthy coping mechanisms!

Sooo... yeah! If you want, I recommend looking more into it! There's a whole community for you here on Tumblr, and other sites!

And this post mainly only covers the positives, but it's what I wanted to focus on!

Byee!! (Pssstt BTW agere doesn't have to be all pastels and cute and stuff!! Do what makes you happy! Use whatever colours and vibes you want!)

[miguxadraws]

Hello, I hope you don't mind me asking, but I love your art style so much, and the way you draw Ragatha!!!

Would it be okay if I asked you for advice on how to draw Ragatha's hair?

Thank you!

It's perfectly fine to ask me for advice, but just so you know, I'm not the best at explaining my art processes tbh. I've never done an art tutorial or anything similar to that.

However, I tried making a small guide here on how to draw Ragatha's hair - well, how I draw it at least. It's sort of a rough sketch, but hopefully it'll be useful for you!

First off, I'd like to point out that when I began drawing her character, I used one of her official 2D artworks as reference to draw her hair, not her 3D model!

To be more specific, I used this one:

Another important thing to take into consideration is THE VOLUME her hair has.

If you have curly hair and it's long enough, you might know that to make it have that sweet sweet volume, you gotta style it in LAYERS! The same applies to Ragatha here, which you can actually see in the image above! If you wanna make her hair look voluminous, you need to draw it in layers (Assuming you'll be drawing it similarly to how it looks in canon - like dreadlocks)

Anyways, now onto the process!

1st step - Bangs

When drawing her hair, I will always start by drawing her bangs first. It helps me sort out where the other locks will be going for the most part.

I will always start by drawing the 4 locks that go on top of her forehead. The two in the middle will always be shorter than the ones on the sides, but that's just my preference.

Once that's done, I do the longer locks that go down along the sides of her face.

2nd step - Locks on top + bow

Bow is not mandatory, but I must admit it does make my life easier when i'm drawing her, because then i'll always know where to put the two locks she's got on top of her head - that being right where the bow begins - behind it.

3rd step - Superficial layer!

Once you get the two higher locks and the bangs done, this step becomes way easier. You just gotta fill the gap between them.

I'll normally draw 3 on each side, but of course that will depend on the thickness of the dreadlocks you're drawing. It's overall pretty simple.

I like making these 3 locks more droopy than the other 2 coming from behind the bow, but that's also just my own preference.

4th step - Secondary layer

As you can see in the two examples in the center, the shorter locks on top will sort of flow in the same way as the 2 smaller bangs in her front. They go up, then down.

The longer ones that go behind her neck will just go straight down since they're longer and therefore heavier, just like the two long locks on each side of her face.

Clean up + fixing asymmetry

In the top left example, some of the bangs were asymmetrical, so I fixed that after cleaning up the sketch. Mistakes like these tend to be very noticeable once you clean things up, so try keeping each side as symmetrical as you can to one another, especially if you're drawing her front view.

Anyway, that's pretty much it for my process! I feel like I could've elaborated a bit more and made this more organized, but at the same time I kind of have no idea what to do lol sorry

Still, I hope this helps you out somehow!

[crystaljellie]

I honestly think that there are so many interesting songs that fit the life series characters so well, so I’m going to talk about them here and explain why I associate them with these songs!

Bdubs - Never love an anchor by the crane wives

"With this heart of mine that's guilty, not remorseful" | It's guilty because Bdubs feels bad, he feels bad he couldn't achieve what he should. He feels bad that he killed Impulse in third life, betrayed him, and even then it got him nothing. He's guilty because he knows the harm he's caused

"There is love that doesn't have a place to rest, but it would burry you if it had settled on your shoulders" | I notice that Bdubs has a lot of trust and faith in his companies, something about this brings back the 'He loves me' scene from last life back. Bdubs loves a lot more than people seem to think he does, so he must hold it back in case of that love being used against him

"I am selfish, I am broken, I am cruel" | Maybe things that Bdubs wants to be, for the sake of letting go and letting himself detach from these people so losing them doesn't hurt as much. Letting other people label him as such

BigB - Know How by the Crane wives

"I am not brave; I keep my focus on what is safe," | I think this is fitting to BigB even if it's not necessarily true; I think from his perspective how he feels, ignoring how he is actually very brave. But at the same time he does keep his focus on what is safe, there's a reason why he always makes it to the final or session before the final.

"Just because I know what I'm supposed to do now, doesn't mean I know how" (Edited line to be shorter) | I'm not sure how to explain this but I do think it really fits him, he knows all the things he's meant to do, to survive, for example killing with the boogeymancurse, but he dragged it out till the very very end before he killed Cleo in last life, because he didn't know how he was supposed to do it.

Etho - I don’t know anyone I am by Salvia Palth

"I don't know anyone, I am in relation to anyone I guess" | Etho has always been seen as a loner throughout all seasons, he doesn't very much get the time to make meaningful bonds or understand his teammates. It makes sense he would struggle to see himself as more than just a survivor as well, he hasn't given himself the time to focus on anything else.

Scar - Icicles by The Scary Jokes

"Their shallow observations will only stall the transformation" | This is very secret life scar to me, maybe something something the watchers talking to him, everyone forcing the title of villain onto him, yet the watchers see him as a gift to them, as a victor and they're trying to make sure Scar keeps doing what he has been and not back out because they're calling him 'villain'

"But I admit it would be easier, To be relieved of all this shame and not have to wear it on my sleeve." | This fits Scar's feelings on the matter, not wanting to go forward, not wanting to be shamed and outcast by the rest of the lifers.

"I can only be forgiven if I'm giving myself up to you" | Secret life in general but also back in 3rd life, Scar believing he can only make up for killing Grian at the end by having Grian kill him, something something 'slay me and take the enchanter'

"My world has turned so cold, but I won't cry, 'cause icicles don't soften when they die so why should I" | Despite Scar being constantly alone, he stayed strong he never 'softened' or cried he also became cold which is why he won.

Grian - Bird Song by Florence + The Machine

"And he sang about what I'd become" | How Grian had slowly lost his mind in third life as well as all the other games, how Grian had became someone obsessed with getting kills, going out of his way to trick and trap people and find loopholes to kill

"I picked up the bird and above the den I said 'That's the last song you'll ever sing" | Grian doesn't want to think that he might be a bad person, or he might be going crazy, so he has to silence anyone saying otherwise, anyone that might prove a danger to him. Maybe because he can't let the watchers get word that he's exactly who they say he his. Maybe even so this is relating to the theory that he might have been the one to curse Jimmy.

Impulse - A Mask of My Own Face by Nature Tapes

Okay now hear me out on this one, Impulse is constantly in and out of alliances especially in third life, lying to everyone to gain vantage.

"And none of them would know that I am secretly myself" | Because they trust that Impulse is putting on a facade all the time, but maybe what they are missing is that the facade is what he considers to be him. Or at the very least keeps him safer

"I'd blame it on the person that nobody knows I am" | Something about him always being like 'Oh I did this so they'd trust me more I'm still on your side I promise' Or 'I did this for the task!' When he could have absolutely targeted anyone else.

Martyn - Metaphors by The Crane wives

"I've gotten good at living on someone elses page" | It's the way Martyn is always deceiving and always planning to betray, living on someone else's page, being content and loyal until he has the chance not to be.

"You can't trust a single thing I say" | Idk something about him talking about how he was planning to betray Ren in third life.

"Don't look too hard cause you won't like the scars he left in me" | THIS BEING SO TREEBARK LISTEN TO ME. HE GAVE UP SO MUCH TO REN THERE ARE SO MANY SCARS CAUSED BY FOLLOWING THE ORDERS TO KILL SOMEONE YOU LOVE

Lizzie - The Crooked the Cradle by The crane wives

"There's blood in the water" | Thinking about Lizzie showing up in limited life to play Pearl and the first thing she was tasked with is killing. Like she showed up and instantly was given the title of boogeyman, a gimmick that was only there in the one other season she was in, a sense of familiarity and a sense of dread.

"The quiet are restless the silent are still" | When there is peace on the server and it is quiet there are people waiting to kill. When it is silent it is because all is dead. And Lizzie knows that well being quick to die each time, she is the silent, especially when she fell into the void, she died alone and in scilence.

"If Mercy's abound I'll be safe I'll be sound, and the devil won't know of the love I just couldn't let go" | Something about Joel being the cause of her death In Secret life... loved him so much she went down for him, she couldn't let it go and it got her killed.

"Can anyone hear me?" | Her in the void not being able to be heard....

Mumbo - Saint Bernard by Lincoln

"To remind me that I am a fool" | I am very strongly of the headcanon that Mumbo is also a watcher, something something he needs to remind himself that he is fooling himself into thinking he could fit in with the world of the watchers or the world of the players

"When I am dead I won't join their ranks because they are both holy and free" | And Mumbo's not, Mumbo doesn't get to go where they go, he still has more to do, more to make up for. Still instructions left to follow

"There's really just one thing that we have in common, neither of us will be missed" This is so Mumbo talking to Grian coded for me

Pearl - Here I am by the Crane wives

"How long have I been here all alone" Double life Pearl in her tower....

"Settled in, had a plan but I never factored in, Everyone else saying goodbye" | Basically also double life Pearl she had a plan with Martyn go to the nether get stuff come back find her soulbound, and then they all left her.

"This ghost town is making a ghost of me" | Everyone dying around her, and being alone like this without chance of redemption slowly killing her.

"I promised myself I'd learn to be the one who leaves" | Throughout the next games, like secret life, she'd be the one who leaves instead of gets left behind, but she didn't seeing how she was always last one alive out of her teammates

Skizz - Wrecking ball by mother mother

"I made a fist and not a plan" | Skizz is usually quite reckless and goes action first plan second.

"You gotta see the artistry In tearing the place apart with me, baby" | This but more in the ironic sense, because Skizz while he wants to reign chaos he is also fiercely loyal and kind to his allies, so tearing the place apart with me, is important. He doesn't just want to cause chaos he wants connections

Scott - Icarus

"Climb ye higher and higher and higher 'Til you're far away and breathing cleaner air" | Scott winning last life, climbing higher and higher through the ranks until he breaks through the clouds into what he had hoped was cleaner air spoiler alert it’s not.

"Who have you become in the wake of all that's happened here?" | What’s happened to you, what happened in last life that changed you, what made you so cold and bitter and so quick to assume the worst when double life came

"Spreading out the ashes of a love That only gave and gave" | Either this as flower husbands, being the ashes of a love that only gave to others, or specifically Scott’s love, that only gave and gave to the one whom he loved

"There's no room for all the hearts who will not stay" | For the people who will not stay with him, the watchers pressuring him to do better and leave the, behind. He won’t though.

Joel - The Wolf by the crane wives

"I will join the wolf at my door Breathing out storms when she comes around" | Well yes we know Joel is a dog boy clearly, but also how he is oh so aggressive to everyone he meets, ferocious and knocking things down.

"I am always burning, burning, burning" | Burning with rage? Burning things down? So many emotions they're lighting up his world so much that it blinds him from seeing anything else

Jimmy - Hollow Moon By the crane wives

"In the darkness, Slowly crawling over my skin, Whispers at the door, "let us in, let us in" | Whispers of the watchers, or maybe his curse, something knocking to let death in.

"I won't be sleeping, There's too many monsters in the backyard" | Okay yes funny because of Minecraft mechanics. But also, idk something about Jimmy not being able to see the watchers but still feeling their presence.

(I'm giving Jimmy an extra song because he's special)

Strawberry blond by Mitski

"I love everybody because I love you When you stood up, walked away barefoot And the grass where you lay left a bed in your shape I looked over it and I ached" | YES I AM BACK ON MY FLOWER HUSBANDS BULLSHIT! Trust me so much they're so insanely in love, they love the world because they love each other, their relationship is so sweet and soft.

"All I need, darlin', is a life in your shape I picture it, soft, and I ache" | because all they ever needed was each other, not the death not the violence, just to be in love

Tango - Monster by Dodie

"I'm guessing that I've grown horns I guess I'm human no more I can tell I've rotted in your brain" | Tango's anger and wondering if those reactions made others see less in him. Make him a monster

"You think I'm a crazy bitch I craft my words to fit your head 'Cause no one listens to the dead" | Idk... something about this and Tango, he always dies relatively early too, maybe it's only death that'll comfort him

Cleo - The Garden by The Crane Wives

"My stone, My shield, my steady hand, Hold your light To the darkness in my head" | Something about this being about how Scott has been her friend and ally throughout all seasons

"Give me something pretty to wear beneath my blood-stained clothes" | I CAN'T EXPLAIN IT BUT THIS IS LIMITED LIFE CLETHO, DOES ANYONE HEAR ME PLEASE TRUST

"My darling, the devil knows my name" | Cleo makes a name known for herself by fighting, making a point with their sword

"Get on your knees and, Dig up the garden, Won't you throw down that spade and, Dig up the garden, darling?" | Something something a wife talking to her husband

Ren - Arms Tonite by Mother Mother

"I died in your arms tonight" | Martyn killing Ren in 3rd life....

"I lost sight in your arms tonight, it was nice" | Lost sight of the goal so obsessed with his kingdom and the Red army

"I cry hard because I have died, and you're alive" | Martyn out living him (Not by very long) In third life

Gem - The Well by the Crane Wives

"All the words I couldn't say to you Fill up the spaces in my chest" | This being Shiny Duo and Gem and pearl being on different sides unsure of how to stay together

"Send me anywhere, take me out I'm the well they're gonna drag you down" | Gem knowing she's only going to be used as a catalyst to hurt others despite her wants

"That old house, those rotting memories Burned easier than I'd have thought" | Those short memories of limited life being replaced by the nicer memories of at least the first half of secret life

And I am done yapping, mayhaps I will do more someday

[bethanythebogwitch]

Wet Beast Wednesday: bluegill

This series goes all over the world; from the tropics to the poles to the deep sea. After all that, it can be nice to go home. For this Wet Beast Wednesday I'm going back to my spawnpoint of Illinois and discussing the state fish: the bluegill.

(Image: a bluegill underwater. It is a round fish flattened on the sides. It is green on the top ans fades to yellow on the sides. The underside of the chin is bright blue and behind the head is a bright orange patch. End ID)

Lepomis macrochirus is the most popular and famous of genus Lepomis, known as the sunfish or true sunfish (not to be confused with ocean sunfish). These fish are native to freshwater lakes, streams, wetlands, and rivers of North America and all share a fleshy ear flap extending from the operculum and are usually quite colorful. Bluegills are large for sunfish, which isn't saying much. Adults can reach and average of between 10 and 30 cm (4-12 in) and the largest bluegill on record reached a whopping 41 cm (16 cm) and was weighed in at 4 lbs 12 ox (2.2 kg). Bluegills and flattened and deep bodies with fused dorsal fins and spines in both the dorsal and anal fins that help prevent predation. The fish are brightly colored, but coloration varies widely based on size, diet, time of year, location, and many other factors. Because of this, two bluegill can look like completely different fish. Their bodies can range from dark green to orange, darkest on the top, and they usually have green faces with blue markings on the chin and bottom of the face that give them their common name. The "breast" region just below and behind the head ranges from yellow to orange and is usually a bright orange in mature males. A key feature is that the ear flap is black. Bluegills usually grow more brightly colored during mating season and less colorful other times of the year. There is a series of vertical stripes going down the side of the body that can quickly be darkened as a threat display.

(Image: a bluegill in a net with its stripes in full display. End ID)

Bluegill are skilled swimmers thanks to the shape and flexibility of their fins and the amount of fine control they have over them. This lets the fish maneuver gracefully through obstacles and confined spaces that other fish would struggle in and turn while not having to move forward. Bluegills are also one of a relatively few fish that are skilled at swimming backwards. This requires very different fin motion than swimming forwards. When swimming forwards, bluegills use their tail fin to provide thrust with the other fins helping with steering as is typical for fish. While swimming backwards, the dorsal and anal fins provide thrust while the pectoral fins are moved in a rowing motion to provide steering. Bluegills are also fast swimmers, their slender bodies allowing them to cut through the water at high speeds. Bluegills are also often used as an example when explaining the c-start escape response. This is a behavior found in tons of fish used to escape from danger. When the fish senses danger, a group of specialized neurons called Mauthner cells activate and control the escape response. The fish bends its body into a C shape. This shape allows for maximum thrust when it rapidly straightens its body out again for a speedy getaway. The c-start escape response is heavily customizable, allowing the fish to shoot off at nearly any angle it needs.

(Image: a young bluegill swimming amongst lilypads. It is not as round as the larger fish and its colors are more muted. End ID)

Bluegills are found in freshwater systems east of the Rocky Mountains (so most of North America) but they have been introduced west of the Rockies and to other parts of the world. They are very adaptable fish that can live in a wide variety of environments. It is probably easier to list bodies of water in North America that don't have bluegill than the other way around. They prefer to live in areas with cover, live brush, aquatic plants, and shady spots. Bluegill are diurnal predators that subsist on aquatic invertebrates like insect and crayfish larvae and worms, along with the occasional smaller fish. In times of famine, they will eat aquatic plants and algae or turn to cannibalism. Like many fish, bluegill feed through suction and they need to get within under 2 centimeters of they prey for the suction to be effective. Bluegills are also prey to larger predatory fish, turtles, birds, raccoons, and otters. Bluegill are mostly active in the morning and evening and will often move between feeding grounds and shelter during the day. They are reported to be aggressive to each other and other fish. Sighs of aggression include darkening their stripes, flaring their ear flaps, and biting.

(Image: someone holding a very fat bluegill. End ID)

Bluegills mate in the summer between May and August. Males will build nests in rocky or sandy bottoms by clearing away sediment to expose hard surfaces. The nests are circular and 15 to 30 cm (6-12 in) in diameter and built in shallow water. Males will swim around their nest to try to attract females through displays and grunting noises. Females carefully analyze the male's displays and appear to prefer males with larger ear flaps. Once a female chooses a male, they will circle each other as the male acts aggressive. Once they meet in the middle of the nest the two will touch their underbellies together, with the male on top, and the female will lay her eggs as the male fertilizes them. The eggs sink into the nest and stick to hard surfaces. After mating, the male takes the kids in the divorce chases the female away and will guard the nest until the eggs hatch and the larvae swim away. During this period, the male will aggressively defend the nest against anything that comes near. They have been known to approach and bite snorkelers who get too close. Females can produce between 1,000 and 100,000 eggs depending on their size. Bluegill will mate multiple times each season. Larvae live in the shallows and feed on plankton. They grow rapidly for their first three years and then slow down. Bluegill can live up to 11 years, but usually live between 5 and 8 years.

(Image: bluegill nests seen from above. The nests are circular depressions filled with pebbles. Each nest has a male hovering over it. End ID)

Bluegill can hybridize with other sunfish, though this is rare in the wild. It usually happens when two sunfish species live in an area with limited nesting ground. The most common hybrid is with the green sunfish (Lepomis cyanellus) to produce an offspring called a greengill. Greengills are highly varied in appearance and typically between their parents in size. Most greengills seem to be the result of a male bluegill attracting and mating with a female green. Greengills were long thought to be stile as are most hybrids, but a least some second generation hybrids have been discovered. Greengills do have reduced fertility compared to their parent species. Another hybrid that is less commonly seen and not as well studied is the pumpkingill, a hybrid of bluegill and pumpkinseed (Lepomis gibbosus).

(Image: a greengill being held in someone's hand. It is more elongated than a bluegill and reatins the orange breast, blue chin, and black ear flap while being otherwise darker than most bluegills. End ID)

Bluegills are classified as least concern by the IUCN, meaning they are not in danger of extinction. Bluegills have been introduced to waters well outside of the native range by anglers and they have become an invasive species in multiple countries. They are banned from being imported in Germany and Japan because of how invasive they became. Bluegills are highly popular among anglers. They are small and easy enough to catch to be a good target for beginners and large bluegill are a good example of panfish, fish small enough to be cooked in a frying pan. Large males are particularly easy to catch due to their aggressive defense of their nest. Many places have very low populations of large males. Lakes and ponds are frequently stocked with captive-bred bluegill to attract anglers. Population management is important because bluegill can damage the local ecosystem if their numbers grow too large. They can also be introduced to ponds to try to help control aquatic insect populations. Bluegills have little fear of humans, especially in places where people feed them. I personally have been SCUBA diving in a quarry where people feed the fish and the bluegills swam right up to me. Bluegills that are very familiar with people are know to allow themselves to be pet. Bluegills can be kept in captivity, though they need large tanks and tend to be aggressive to other fish.

(Image: a larval bluegill. It is a long, white fish with small fins and a very large eye. A scale identified part of the tail as being 2000 micrometers long. End ID)

[seirindono]

two questions.

one, HOW DOES ONE COMIC/STORY BOARD??

IM OBSESSED WITH HOW YOU DO IT ITS SO BEAUTIFUL

two, HOW DO YOU SO IT SO FAST( that’s question is more just me being super impressed oh my goodness)

you’re very good😳

Aw, sweet, a board question *puts on serious glasses*

Ok, bring it on anon.

So, the first thing to ask yourself when starting a comic, as I see it, is what type of board are you dealing with. Webtoon? A4 pages? 4 panels? There are many ways to go about it, and each involves different processes. For example, pages will allow for more superfluous scenes, whereas the webtoon format has to be super succinct because of the reading direction. I personally think that's the main reason I do pages, among other advantages: •narrative density •variety •Tumblr-friendly format

There are quite a few disadvantages too but you have to go through the process of trials and errors to really find out what suits you best!

Then there's the ambition of the sequence you're boarding for. And it goes from 1. how used I am to boarding this kind of sequence/drawing these characters/setting and backgrounds, to 2. is it an emotional sequence? Dialogue-heavy? Or more contemplative?

It changes the way you work and how you should approach your board! For example, in TMS, the very wordy chapters (4 and 5 for ex) generally called for simple and narrow framing. Of course, you don't want to bore the reader so you can spice things up to match the characters mood and reactions once in a while, but you have to bear in mind that the sequence aims to provide dialogue and information = the text bubbles are key and WILL take a lot of place. So let them.

( then again, it's all about pacing and balance. A page full of dialogue and one with too much happening are equally hard to read and boring to do)

Only dialogue, simple squares, no compostion, the focus is on Mel's reaction

On the other hand, parts 7 and 8 are all about action and atmosphere! This makes for wider and more varied shots!

They're fighting, things are going fast so why not use a single line to show many actions! They're still basically squares and rectangles but the pacing is totally different!

Or why not give the action a full page to really show its sheer impact

You can also split things, with a zoom or small time gap, depending on if it's a gag or if you want to put the focus on a reaction. Here, the asymmetry helps reinforce the unstable, jerky aspect of the scene. The situation is getting out of hand, and visually, the pages are affected too.

Now, these are case-by-case examples. And I never work on my pages separately.

For context, this-

-is the "first" board I did for part 8.

The drawings are very small and frankly difficult to make out, but the intention is what matters at this point lol I have the script (very important) next to my canvas, and I scribble the pages one after the ither. This allows me to see if the actions flow well, if the compositions are varied and also whether certain passages are too long or too short in regard to their importance. Which scenes can be merged? Removed? Toned down or if they deserve more bite?

This is a really fun and creative part but, I'll say it again, made a lot easier with a solid scipt. And I'm talking about a text document with clearly defined dialogues (or at least outlines) and actions.

I can't really explain how to write a script, it really depends on your work flow and how confortable you are with writing, but it's too important to just rush through it. No matter how much it changes before, during or after your finish boarding (cuz you gotta break your own rules sometimes and you'll often realize some things don't work as well once you put them on paper/sometimes art block can be resolved by writing the scene and just taking the time to imagine) but it's still your one guideline.

Aaaand, that's about it.

Other than that, I can only highly recommend reading lots of comics, Webtoon, books, watching movies, paintings, illustrations, animatics or listening to music, to inspire you and expand your own "personal library of references". Professional or not, anything your find inspiring and well executed. Boarding is at its core, telling stories. No art skill involved, just pure subjectivity. At the end of the day, it's all about squares, rectangles and bubbles so you gotta work on your creativity. The rest is gut feeling!

Constantly ask yourself how to tell this story, and how you want to tell it. How this sequence should be perceived? What do you need to show to make pages and pages of words appealing and interesting.

Be patient, be bold. Start with easy stuff to get some confidence if you need to. Accept that "boring" pages are smt necessary and that it's up to you to build up tension for a scene to really pop. Try new ideas and be ready to scrap many of them, the result will be worth all the work!

Now, concerning the "fast" part, I'm flattered but I personally think I'm super slow xD You prbly get that impression bc I finish the whole chapter before posting it, but behind the scene, I'm just working at a very regular pace.

Thank youuu anon ♡( ◡‿◡ )

[prokopetz]

Brief summary of my thoughts so far now that I've done character creation and played half a session (we broke in the middle but may come back to it):

1) 7 players and a GM is too many. I know you know this already but I want to reaffirm it because that was what we had and it was really hard to understand what was going on.

2) I made my character 100% random and then backsolved an identity from there, and it worked better than it had any right to. The Traits are very evocative and I immediately had ideas of what I wanted my God Eater to look like.

3) I'm not sure the Calamity Clock is explained as clearly as I'd like it to be; to be honest, Tests in general are explained in a pretty convoluted way. It felt like some of the less-experienced TTRPG players at the table struggled with them, especially coming from a 5e-only background.

Sorry if this isn't the most helpful feedback; I'm just getting my thoughts down before any more time passes and I forget how the session went. I'll do a more full writeup if/when we finish the session.

(With reference to this post here.)

I definitely agree that the process of making tests could use a cheat sheet, and that's something that will be present in future revisions. However, it's worth noting that it's probably impossible to boil it down to something that a player with a 5E-only background would find intuitive because of some pretty basic differences in what kind of games they are.

In brief, 5E (and Dungeons & Dragons in general) keeps its conflict resolution mechanics almost entirely GM-facing in order to make it easier to onboard new players. Those mechanics are structured in such a way that it's completely feasible for the GM to figure out the target numbers, the applicable modifiers, the range of plausible outcomes, and the interpretation of the results with no player input whatsoever, with the player's sole responsibility being to roll a die with the correct number of sides (and if push comes to shove, the GM can do that part, too).

Eat God, conversely, is designed from the ground up to readily support GMless play (the specific rules for that will be in a forthcoming revision), which means that its conflict resolution mechanics can't be purely GM-facing. It puts a lot more responsibility on the player in terms of figuring out what the hell is going on, both narratively and mechanically, because its design goals mean it has to.

That said, it might help to frame it for a 5E player like this:

Making a test in Eat God is like playing blackjack: rather than rolling as high as possible, you want to roll as high as possible without going bust; "going bust" means all of your dice came up higher than your relevant Facet.

Everybody gets one die to start. If you can use any of your Traits to help with whatever you're trying to do, you get advantage on the test and roll an extra die. Unlike 5E, advantage stacks, to a maximum of five dice.

Instead of having a separate "damage roll", Eat God gets "did I hit or miss?" and "how much damage did I do?" from a single roll. A test's "damage" is the face value of the highest die that didn't go bust; the rules refer to this "damage" as a capital-R "Result".

You can get bonuses or penalties to a test's "damage" based on how effective the GM thinks your approach is. The GM will generally tell you about these modifiers before rolling. A penalty can't turn a success into a failure, no matter your Result; just like in 5E, a successful hit always inflicts at least one "damage".

Instead of critical hits, Eat God has critical fuckups. These have a range of dice roll values that trigger them, just like conventional crits; for example, you might score a critical fuckup on a roll of 11+, just like a champion archetype fighter in 5E gets a critical hit on a roll of 19+. This range can vary depending on how goofy the GM thinks your approach is.

Critical fuckups are assessed on a per die basis, so if you're rolling multiple dice, it's possible to generate multiple critical fuckups on the same roll. Yes, this also means that rolling multiple dice makes you more likely to succeed and more likely to fuck up, and creates the possibility of doing both on the same test. This is intentional.

When you roll a critical fuckup, the GM doesn't have to make something bad happen to you right away. They can do that, or they can take the fuckup and bank it toward a countdown to a really big fuckup that affects the whole adventure. You can see this countdown, but the GM is not obligated to tell you what will happen when it hits zero.

[cafecourage]

That lack of requests is criminal. Don't mind me while I churn out a couple more. (this is actually helping with my brain-deadness so I'm gonna alternate between studying and dropping stuff in your inbox lol)

Hyrule with an s/o who is also good at magic (but can't heal worth a damn) and is able to give themselves fairy wings while maintaining full height. Like they can just become a hylian-sized fairy.

And maybe he finds out because he fell off a cliff and they saved him?

- Glitter ✨

Is is gonna be similar to another ask I got. But first some random Hc’s that I don’t think go together with the story I wrote but still is fun to think about.

- Hylians could gain the abilities to have magic through other means. Hyrule, himself, being an example of that. While I am all up for half fae Hyrule, but Changeling Hyrule, and Battle Mage Hyrule is also up there. Either way how ever you look at it, Reader and Hyrule are 100% covering each other’s backs.

- If Reader is bad with healing, I am going to assume they can do more specialized magic like defense up, shielding, etc. Not actually healing but it’s still something. I imagine that Reader and Hyrule are like a sword and shield combo, though who is who is ether or as you can shield the both of you and he can heal.

- Imagine if Hyrule was the one that taught you the fairy spell? You are just more adventurous with messing with it to change your height so it can stay the same. You guys just teach each other since you’re the only two that know how to even do magic in the first place. These are just some idea’s though. If Reader was half-fae they would probably already be able to do it and can teach him too.

When your mother, Great Fairy Mija, offered your help to the Champion on his latest adventure. You didn’t expect much to come from it, nor for Link to say yes in the first place but that was beside the point. Honestly it didn’t phase you to much that there was more Link’s in the group. If anything you had heard it before from other Great Fairies that a bunch of heroes have gotten together before. And you can assume it wont be the last time this was going to happen.

What you didn’t expect was how fast they clicked and adopted each other. Though living in a Fairy Fountain you were kinda used to quick adoptions, so it wasn’t a big deal just surprising.

You were a lot slower to integrate into the group as you weren’t a hero for courage so less predictable compared to all the Link’s. Which was fine as you knew the champion, now known as Wild, had the same issue with trusting people too.

So having eight more insane semi impulsive guys to befriend wasn’t too difficult. Especially when you did openly used magic to help them in battle though you made sure to get consent before hand. You heard the stories you heard what happened to some of them it is only fair. The Hero of Twilight and Legends you were especially careful around. Rather be safe than yelled at.

You quickly noticed that the traveler who was given the title of Hero of Hyrule, was similar to Wild. It felt easier to befriend him than anyone else. Which was fun. You, him and Wild typically tended to stay together as giving your home Era’s wandering was commonplace. Hyrule did tell you about his magic when healing was needed, “You’re half fae though.” The Vet pointed out as Hyrule took over bandaging the Captain. “Wouldn’t that be natural?”

The answer was actually longer than it needed to be but that wasn’t a story for now, “well. Yes, but no.” It was also convoluted to explain and honestly with the fight everyone just went through, again it was a story for another day. “The short of the answer is that I don’t have the ability to do it safely to others… or myself.” That only earned them a quizzical look but before the conversation could be continued it was side tracked. Which was good for you.

You would of explained once everyone was better and relatively settled as it was a weird and long explanation of Magic not really being something Hylians could do in the first place with out items. Of course there were acceptions, Princesses, Gifts from the Goddess, etc. You at least wanted to tell Hyrule what you knew as he seemed to get his magical abilities in an unnatural manner. There wasn’t a doubt in your mind that it was on purpose for him to find these things but, the guy literally held on to the triforce for years before secretly giving back to the princesses to hide it away.

Monsters are still after him for his blood after all.

The horror you felt when you heard him whisper that can be still felt to this day. “Why?” You asked.

“Because, thats where it was.” He whispers softly as you two walked through the path around the canyon heading into hebra mountain. The idea was to find Zelda who was near the stables waiting. Honestly there was a voice in the back of your mind that was telling you to go see your Aunt who was by Rito Village but that was probably a week trek out on foot.

“Still that magic isn’t really information that would typically be spread.” You commented offhandedly as thats not how blood magic worked. You think. It’s not like you tried. Forbidden magic is forbidden for a reason. “But Monsters are Monsters I guess.” You shrugged looking to the side into the snow. The path to hebra wasn’t the safest as it was the hardest reason.

“Well it just did…” You looked back at Hyrule there is slight movement in the snow. Unfortunately you couldn't get out the words "Lizalfos!" Before everything was in disarray.

It was quick to lose yourself in battle, but you tried to keep your calm as you fight back. Making sure that those who need it get their buff. Typically stronger people get defensive buffs, those who work better with speed gets a tad boost for that. You look to your left where Hyrule was.

Only to see him get pushed back loosing his footing. That alone made you dash forward as you feared the worse. The worse being what happened.

Hyrule fell into the Tanagar Canyon.

Just to spite that monster you sent a lighting spell his way before diving off the Canyon after the Hero. You reached out to grab him as you focused on your own magic again. Transforming your form slightly to a more natural state for you. Wing's sprouting behind you as you slowly pull him in your arms. You didn't know if you were strong enough to fly the both of you up. However you aimed for a better landing as you turn up and a slow descent.

It wasn't a soft landing but nether of you were hurt. "Are you ok?" you asked setting Hyrule down as you had to hold him a bit strangely.

"Yeah... Just surprised." He said calming his heart, he looks up at you "thank you." His gaze shifts up to the Canyon wall. "How do you think we can get up?"

"Uhhh..... Magic?" You suggest as you look at him. "You have that fae spell right?"

Hyrule made a face like he really didnt want the other to know about it "yeah... I guess."

"I can carry you in that form! Don't worry."

"That's... some how worse."

[thebramblewood]

Apologies if you've answered this before, but I was looking through your asks and couldn't find anything.

Do you have any advice on how you take such good screenshots of your game? You have such a knack for lighting, having variety of shots, and making them immersive.

This is so sweet. Thank you! 🥰

If I'm being honest, it's 90% vibes and gut feelings for me. I don’t have any formal background in filmmaking or photography, and everything I know is by sheer osmosis. There’s a lot of fancy terminology to describe why certain image compositions look better than others. I admire and respect anyone who purposefully keeps that in mind. But I am definitely not that person. I think I’ve watched enough film and TV, though, to subconsciously be doing the "right thing" - or at least what looks right to me.

That being said, I think the best way to improve is practice. If you spend enough time doing something you'll obviously get better at it, even if you don't realize it at first. So the most important thing is to give yourself the patience to grow and the freedom to experiment! At any rate, here are some things I've learned that will maybe be helpful to others.

Camera Tricks: We all know the camera in TS4 can be a little wonky at times. I use Buckley's camera mod. It hasn't been updated in eons but still works as far as I can tell. It gives you more freedom with movement, and I've found it especially helpful for getting shots that are lower to the ground.

Now that I've realized how sneakily useful first person camera can be, I also take advantage of that all the time. There's the trick of making your Sim look in a specific direction. (This works with poses and gameplay actions, by the way! For example, I used it to turn Caleb's head toward Lilith while he was trimming the bonsai tree.) There's the Dutch angle trick explained in this video. This is great for moments of disorientation and unease. I also just straight-up used first person camera to convey Helena's confusion upon waking after being turned.

Also, saved camera positions are your best friends. You can save up to five positions using CTRL+5-9. Then you just click the corresponding number to return to that position. I've used these for so many reasons. By taking two shots in the same position and Photoshopping them together, I've been able to edit Sims in (like Vlad below), fix accessory clashes (the book was in the hat category, so Lilith couldn't actually wear it at the same time as the towel on her head), and to pose Sims in open doorways (Helena had to walk through the door to open it for the Vatores, so I shot both halves separately).

Zoom: I love smashing that zoom button, whether it's zooming way in or way out. Zoomed out shots are perfect for establishing setting or as interstitial shots during a long conversation when you don't want to always focus on Sims' faces. They're also great for the draaama. Extreme close-ups are great for emphasizing emotion or a tiny but significant detail. Playing around with the extremes of zoom is one of the best ways to achieve shot variety!

Focus: I don't think Reshade is a necessity for good visual storytelling, but it does make certain things easier. I rely a lot on depth of field shaders to pull focus in shots. I like using cinematic depth of field especially in conversations to blur some characters while emphasizing others. I feel like this helps ground conversations because it reminds us there are multiple participants instead of always zeroing in on the speaker alone. Another way to play with focus is to allow the angle to mirror the emotions of the conversation. It's an older shot, but I always liked how Caleb seems to cower beneath Lilith's bat form here even though she's technically smaller. And in the recent conversation between Lilith and Helena, I kept the camera to Lilith's back to emphasize her vulnerability and discomfort and put the focus on Helena's reaction to it.

Framing/Angles: I do this by pure instinct, honestly, and have gotten better at getting it right on the first shot over time. I used to take half a dozen shots of the same pose from different angles and choose the best one. Nowadays, I'm quicker to commit and often take only one shot. I've learned that if something immediately tickles my brain, it's usually the way to go. I usually angle shots so that the characters aren't looking directly at camera, as it seems more natural that way. On the other hand, sometimes the direct to camera look can actually work in more confrontational or unsettling moments.

Environment: If I can help it, I don't do my own builds. In some ways, this is a disadvantage because I have to set up the scene within a space that wasn't specifically catered to it. On the other hand, it makes for fun little surprises, like the ability to peek in through a skylight or frame two characters within perfectly placed archways. I like using objects and structures to create interest when I can. I often don't discover things like this until I'm pulling the camera around and randomly happen upon them. I definitely recommend navigating all around to see what you've got to work with before committing to any specific angle. You might find one you didn't even think of!

Lighting: I do what I can with the game's lighting. I avoid placing ceiling lamps or at least turn the brightness down much lower, and I don't usually turn all the lights on in a room at once. I tend to change the color to one of the warmer golden hues to avoid a stark white that washes everything out. I always like when I can get some sources of light into frame because it adds a lot to the ambience. But I've also been using Relight on all of my posts lately. It's an addiction, and it truly makes all the difference. I'll use it to give light sources a stronger glow so they stand out more and also to create shadows on Sims' faces. It's also very good for flashlights and computer screen glow!

After having self-indulgently written all this, I'm not sure how much is usable advice versus rambling musings. I find it hard to give storytelling "tips" because so much of it feels innate and personal and hard to put into generalized terms. I also don't want to imply that every one of my shots is perfect or that there aren't a million other ways to go about achieving good results. But thank you to anyone who's made it this far, and I hope you found it worthwhile. 💕

[yeehawpim]

What's your process in making comics

And how do you make something so good with such a simple art style!? 🥺

(if this has been asked before could you send a link to the post?)

Alright so ive been sitting on this ask b/c I already know it's a long answer aflskdjf

Write dialogue/text down in my notes app Sometimes it's just me sitting there like hghghg as music plays and I stare at my phone for 10min. Usually it's 12am thinking about stuff while I'm in bed and I type some piece of dialogue down real quick. I'm nowhere near as comprehensive as comic script I've seen online that they give examples for, like there's no direction on what's happening in panels or anyth because it's just for myself and I just sort of remember composition ideas if I have them on the spot

Literally start drawing 😂 As previously said I sometimes go into comics with comp ideas already, like for this one I knew I was going to divide the page going in. Or like I know this is gonna be 4 panels and pretty static. Other stuff I fully wing it sentence to sentence because I can't bother with thumbnailing 😅 sometimes this bites me on the ass because I spend forever drawing smth I have to toss, but I've gotten better at doing stuff fast

I use photoshop, so for vertical comics I've been following this tutorial for years

Vertical comics are a lot easier to structure composition-wise for me, I started out making those because it was less intimidating

The red arrow is your eye direction as you read it. For me it's always the bottom of a page is one less boundary to worry about. You can be less precise if the reader is automatically drawn to looking down b/c they're scrolling and never sees a full page laid out. 😂 Also if I want to pace something slower/further down I don't have to worry about having to cram it in y'know?

This might be a weirdly specific thing to mention but I'm always thinking about it when I make comics because...

lol I gotta make up for being too lazy to spend more than 30 seconds drawing a character

jkjk but yeah my interests are more in slapping the story in my head on the page. I like doing compositions and writing stuff that interests me. I get tired when I spend too much time fiddling with stuff, so if I can get smth across with a rough estimation I'm happy. This does limit the type of stories that can be told cuz certain more rendered styles just work better when you're trying to convey certain things but! there's lots of things you can do drawing simply too!

there's defs more stuff out there that doesn't follow what I'm doing, lots of different styles. Eg American superhero comics are super text-heavy and boggle my mind. This is just what I like to do cuz I like reading way too much manga/webtoons lol

you don't have to be super technical to make comics! go out there and make one if you've got an idea!

if you want to of course haha

hope this explains my process a little (thank you for the compliment it means a lot 🤠🙏)