#I'm not looking to make GOOD writing

[officially-other]

My first attempt at writing that's vaguely like poetry: from a dragon

I am not what you think.

I walk around, awkward limbs and flighty mannerisms, and you think I’m strange. You have no idea how strange you would think I am if you only saw what was underneath.

Underneath, I am a creature of the ocean. Something that could never pass as human, and no longer wants to. Saltwater rushes through my veins in secret, silent to everyone but me. To me, it’s a roaring sound of the waves that I have never seen except for within my soul. It yearns to dissolve into the ocean like it could long ago, but for now those days are over and I am hidden underneath skin and muscle.

Underneath, there are wings; fins; antlers. They ache to tear from my back, through my skull. Nonetheless, they stay hidden for me, safe in the silence. Protected like I protected my kin in a lifetime so close to the surface and yet unreachable. Wrapped in a form that no longer coils around them like a serpent, but keeps them hidden from predators well enough I suppose.

I suppose.

I accept my form reluctantly and do what I can to make it mine. I shape it to feel better when I discover my gender, and when I can’t shape it to fit my true self I cover it in things that feel a little more like home. A little more draconic. A little more like the ocean that I never have seen, but feel homesick for anyway.

I do find joy in being in this body, at least. Out there, there are others. Angels working minimum wage, dragons sitting on a park bench, wolves buying groceries. We hide, but we do so to be free. We walk through crowds, and no one notices our scales and fur and feathers. But we do. We see each other, even if from miles away, and we see what’s underneath.

And underneath, none of us are what you think.

(Tags for side commentary/context)

[shartfinz]

in my mind since Peach hasn't seen any of the movies the bros grew up with they have a movie night every weekend where they rotate who picks the movie each week (luigi picked twilight only partially because it gets on Mario's nerves) also dialogue is typed out under the cut cuz I know it's hard to read

Luigi: What team are you on? Jacob or Edward? I'm team Edward.

Peach: Jacob for sure. Edward is creepy... How about you Mario? What team are you on?

Mario: Neither! they're both weird and this movie sucks.

Luigi: Oh booo.

[mattodore]

birthday boy 🎂

[necrotic-nephilim]

i personally have very complicated feelings on the Gotham Knights video game and the routes it takes with characterization. i think it has a charm to it and it goes in an interesting direction with everyone (especially within the confides of the plot of the game) but it does have certain moments that veer painfully fanon for me. (such as: the dialogue where Tim drinks too much coffee) it's an interesting story for what it is but i don't view it comics-based for characterization and therefore don't care to interact with it much for like. fanfic purposes.

that *said* though. i do have to give the game some kind of credit for giving one of the top five JayTim moments that lives rent free in my mind. every since i played the game, the cutscene lives in my mind daily. it's the specific cutscene where Jason and Tim are arguing about whether or not Jason's non-lethal bullets are too dangerous for the field, and the argument leads to TIm *standing in front of the target* Jason is shooting and telling Jason to shoot him. it lives rent free for me. i never stop thinking about this.

the absolute certainty Tim has that he is in no danger standing in front of Jason, who has a loaded gun pointed at his face. the way Jason *hesitates* for just a moment before lowering the gun. he thinks about it for just a second. Gotham Knights JayTim seem to get along very well and can rely on each other, but Jason still clearly holds a bitterness about his death and Tim that flickers through in some lines of dialogue under the guise of jokes. especially since this game deals *heavily* with concepts of Pit Madness causing an altered state of consciousness, i think it's believable that occasionally, Jason fights the urge to fight and hurt Tim for the feeling of being replaced.

i like their tension so much in this canon. they get along but you can *tell* Tim is afraid of addressing Jason's trauma or even addressing Jason head-on, and Jason leans into spooking Tim about it. which isn't very comics feeling in their dynamic, but it is an interesting way to place their dynamic if you're playing with a more timid Tim who's newer to the role of Robin. (which he seems to be in-game) he really doesn't want to offend Jason, or worse, piss him off. but he'll still face Jason head on for things like this, while completely aware of what Jason could be capable of.

and Jason seems very protective of Tim and respecting Tim as a Robin in typical Jason fashion. if Tim pushes, Jason *will* relent. he knows this is a kid who's proved himself and should be treated with equal respect, sometimes even more than Dick and Babs do in-game.

so for all that to culminate in Tim stepping in front of Jason's loaded gun that he *knows* is on the edge of being too dangerous, just to force Jason to listen? it's the most unhinged way Tim could've gotten his point across in this scene. he was literally daring Jason to hurt him and playing with a very dangerous fire. but he did it anyway bc he believed he could make Jason heel just at the thought of hurting Tim. and he was *right*. they're gay and i'm feral ty.

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[icewindandboringhorror]

I made a few new wax seal stamps out of clay (like the ones I did for my worldbuilding stuff forever ago), this time just of random symbols that I thought might look good done in the style of painting over the raised part of the wax or etc. :0c Some of them aren't carved deep enough to really show up that well, but overall they worked okay for being clay lol

[essektheylyss]

One thing that I feel is really interesting and often forgotten about Essek is that fundamentally, his characterization has been from the start based upon his desperation for external perspectives and connection, which, along with much of his narrative and mechanical positioning, means that he actually has an extraordinary and almost (but not actually, as I'll show) counterintuitive capacity for both growth and trust.

(Buckle in. This is a long one.)

In particular, I would argue, knowing now that many places where the plot touches Ludinus have long been marked for connecting back into the current plot, that he was quite possibly built as a prime candidate for radicalization by the Ruby Vanguard. He felt isolated from his culture, he was desperate for other connection, and he was certainly of the type to believe he was too smart to be drawn into such a thing, given his initial belief that he could control the situation and the fallout. If things had gone any other way, he easily could've been on the other side by now.

As such, he has been hallmarked by being fairly open to suggestion, perhaps for this reason, but the thing about that kind of trait is that it is both how people are radicalized and deradicalized. This is certainly true of Essek, who experienced genuine kindness and quite frankly strangeness from the Nein and was able to move from the isolation the Assembly had engendered to meaningful and genuine connection, largely propelled by his own internal reflection. By the time Nein are aware of his crimes, he's already begun to express regret to an extent and, furthermore, doubt in the Assembly, including explicitly drawing a line against Ludinus, even in a position where he was on his own and probably quite vulnerable.

Similarly, when the Nein reach the Vurmas Outpost some weeks later, he has moved from regret for the position he's ended up carrying a heavy remorse. This makes sense! He's fairly introspective, seems used to spending a lot of time in his own head, and was left with plenty to mull over. It's not some kind of retcon for him to have progressed well past where the Nein left him; it just means he's an active participant in the world who has done his own work in the meantime.

This is another interesting aspect to him. I've talked about this a bit before but I cannot find the post so I'll recap here: antagonists in D&D have significantly more agency than allied NPCs. Antagonists are active forces, against which the party is meant to struggle; allies are meant to support the PCs, which means they tend to be more passive in both their actions and their character growth. Essek was both built as an antagonist, in a position that gives him significant agency, and also was then given significant opportunity to grow specifically to act as a narrative mirror for Caleb's arc. Even when he becomes a more traditional D&D ally, he still retains much of that, though he occupies a supporting role.

I believe that this is especially true because of the nature of Caleb's arc, which I've already written on; the tl;dr of this post is that Caleb is both convinced that he is permanently ruined and also desperate to prove that change is possible. Essek is that proof, because he is simply the character in a position to do so. But this also means that his propensity for introspection and openness is accentuated! He has to do the legwork on his own, for the most part, because that's where he is in the meantime.

But he still ends the campaign necessarily constricted; he is under significant scrutiny, he's at risk from the Assembly, and he goes on the run fairly soon after the story ends. He spends most of the final arc anxious and paranoid, which is valid given the crushing reality of his situation. It would be very easy to extrapolate that seven years into this reality, he would be insular, closed off, and suspicious of strangers, even in spite of the lessons he's learned from the Nein and their long term exposure.

So seeing his openness and lightness now is surprising, but at the same time, given this combination of factors in his position in the narrative over time and his defining traits, it's not by any means unreasonable.

But one thing that I found so delightful is how much trust he exhibits, which is obviously a wild thing to say about Essek in particular, given much of what he learns is both earning and offering trust, which was something he says explicitly in 2x124 that he's never really experienced: "I've never really been trusted and so I did not trust." It makes up much of the progression of his relationship with Caleb, and the trust that he is offered by the Nein in walking off the ship is the impetus he needs to grow.

But I think it's easy to talk about trust when it comes to people who have proven themselves to you or to whom you've ingratiated yourself, and that's really the most we can say about Essek by the time he leaves the Blooming Grove. There is this sense in a lot of discussion of trust (not solely in this fandom) that it is only related to either naivete or love, but there's far more to it. Trust at its best is deliberate—cultivating an openness to the world at large is a great way to combat cynicism and beget connection instead. It allows a person to maintain curiosity and be open to experience, but it can be incredibly difficult to hold onto.

It is clear that the Essek we meet now is a very pointedly and intentionally trusting individual. He trusts Caleb and by extension Caleb's trust in Keyleth, as he shows up and picks up a group of strangers from a foreign military encampment and walks in without issue. He trusts the Hells to follow his lead moving through Zadash and to exhibit enough discretion so as to avoid bringing suspicion upon all of them. He trusts that Astrid will respond well to his entrance, but he also trusts himself and the Hells enough to execute a back-up plan in the case that she doesn't. In the end, he even trusts them enough to give them his name and identity.

He doesn't scan as someone who has spent half a dozen years living like a prey animal, afraid of any shadow he runs across in an alley, withdrawn into himself and an insular family, which would've been an easy route for him to take. He scans as someone who has learned the kind of trust borne of learned confidence and a trained eye for good will and kindness, which are crucial weapons one would need for staving off cynicism in his circumstances—as if he has survived thanks more to connection and kindness than paranoia and isolation. (If we want to be saccharine about it, he scans quite poignantly as a member of the Mighty Nein.)

So it is easy to imagine this trust and openness as a natural progression of his initial search for perspectives external to his own cultural knowledge. Though he makes those first connections with the Assembly to try to vindicate his personal hypotheses, he finds in them exposure to the deepest corruption among Exandrian mortals, which could've—and did, for a time—turned him further down that same dark path.

But it's also this same openness to exposure from the wider world that allows the Nein to influence him for the better, and in spite of the challenges he's certainly faced simply surviving over the past seven years, he seems to have held onto this openness enough to move through the world with self-assurance and a willingness to extend the kinds of trust and good will that he has been shown.

(I would be remiss not to mention that I was reminded about my thoughts on this by this lovely post from sky-scribbles and their use in the tags of 'light' to describe Essek's demeanor this episode, which is really such an apt word for it.)

[bonefall]

This AU is basically the Dungeon Meshi of Warrior Cats. This is a high compliment.

It's so funny, I get that a lot and I totally see it + appreciate it, but BB actually predates me being a fan of Dungeon Meshi! I've been getting that compliment since even before the anime dropped.

It makes perfect sense though. Dungeon Meshi uses food as a metaphor for communication across individuals, class, and most relevantly culture. It's something that brings people together, even when that's being addressed as a sinister thing when.......

Ah. No spoilers. You should go and read the manga to find out what I'm teasing ;)

I do something with a lot of overlap in BB. Food is an extension of the culture of the five Clans. I use it to characterize individuals too and as a metaphor for things at times (like Darkstripe's growth or cultural friction in Heartstar's Rise), but most of all, I try to emphasize the food as the product of the society that makes it. The biome, the diet, the behaviors of its chefs... so Dungeon Meshi and BB are naturally going to draw some interesting similarities.

Plus, Dungeon Meshi's a good ass series man, it's downright awe-inspiring. I hope I can make a narrative as satisfying as Ryoko Kui can, lmao. I love how much that girlie loves food

[ihavetoomanyocsdealwithit]

Rook Hunt x Yuu/Reader

Rook was always so put together. Not in the way Jade was of course, but nothing ever seemed to surprise him or make him angry, anything other than that passion or happiness that seemed to shine through.

Maybe that's why they did it.

Vil had just left to start his skin care routine for the night and Epel could apparently be convinced to get enough sleep if one phrased it for Spelldrive practice instead of beauty sleep.

Yuu and Rook were quietly putting away what few study materials were left, a tray of sweets and meats out being stored away for Yuu to take home.

"You mentioned a game earlier, with these?" he says, picking up one of the 'pocky' sticks. It was called something different here, about half the size and richer, but it was more or less the same.

"Yea-Yes." they corrected themselves, "Yes. It's like a game of chicken. Two people bite down on either end and nibble on it until you get to the middle. Whoever pulls away first loses."

Rook's grinned, exclaiming some sort of French, before leaning over the table with the treat offered from his mouth.

Maybe that's why they let the intrusive thoughts win. Just to see what he might look like flustered or surprised. Maybe it was that he was an interesting man. Maybe it was a lot of things.

Before they could really think too hard about it, Yuu leaned across the table and pulled Rook closer by his chin. Their tongue wrapped around the treat to break it in half before simply taking both.

Rook's eyes widened slightly, chocolate smudged on his bottom lip that twitched into a small grin.

"Not bad." Yuu whispered, grasping the handle of their bag and practically running out.

Why? Who's to say?

Really they should have expected some sort of retaliation, but pinned the next day wasn't in the top 10.

No, him finding Yuu curled under some tree only to drop down into a crouch with his knee on one side of their head and their foot on the other was not in the top 10.

"That was a dirty trick, Mon Trickster." he whispered playfully, though his eyes were dancing. His smile was different. Softer. Warmer.

Again, damn intrusive thoughts, because reaching up to pat one of those muscular thighs was not apart of the plan.

"Maybe I'm just testing the waters."

He hums, tucks a strand of hair that had fallen out of place before lightly pulling on it.

"I am picking you up at 7. Nice, but not formal. Wear good shoes for it will be a bit of a walk."

He rises, hops back into the tree, and the faint sound of a zipline starts going before Yuu picks themselves off the ground.

Ace and Deuce, who were waiting underneath the tree for them, can only stare ludicrously.

"What the hell?" Ace asks, staring at the place Rook had left from.

"Well mark me down as scared and horny." Yuu murmurs, looking at the same spot.

"By the seven..." Deuce shakes his head, and then everything passes when Ace makes fun of his blush, and they start to wrestle.

Neither of them notices Yuu's own cheeks until long after it's faded. Thankfully they say nothing when they leave just a little bit earlier than planned.

Afterall, they have a date tonight.

[pickleddandelions]

This took way longer to make than I expected and/or wanted it to.

I've collected some stray thoughts and ideas I had into what I've been calling Shape!Caz AU. The name might be subject to change because I'm terrible at naming things. To be honest I haven't completely fleshed out the AU yet and I have no idea what I'm gonna do with it.

The basic premise is that after destroying the Shape, Caz becomes the eldritch horror instead. He doesn't know about that part. What he knows is that all of the sudden he's back on an oil rig that should have been destroyed, surrounded by people who died horrible deaths at best but are suddenly alive and well and there's creepy shit happening around him that gets worse the more he panics.

It’s December 27th. None of the crew remember the 26th happening, but the people calling from the outside insist on that. They say the Beira D was completely unreachable for a whole day.

Caz just appeared at the derrick at some point. He didn’t walk in or anything, all of the sudden he just stood there, screaming. Gibbo was the first one to get to him, but then he started freaking out and yelling about not wanting to do something and ran away. It’s impossible to get him to stop crying for long enough to explain anything. It’s even harder to get any explanation from Caz. The guy just keeps rambling about people dying and monsters. Looking at him for too long hurts.

Apparently Rennick tried to fire Caz. No idea what made him change his mind, but his office has been destroyed and the guys from Administration say that he called some random guy just to threaten him. They also said that Caz is now banned from using any form of long-range communication. This was not elaborated on.One of the first things Caz did after getting to Accommodations was punching Addair. Nobody thought anything of it at the time but now Addair’s wandering around Engineering muttering something about the engine and calling his kids. He’s not responding to anyone trying to talk to him. It’s really bad for the crew’s morale.

There’s something big moving on the deck that you can only see when looking out of the windows. Some of the deckhands keep insisting that it’s Muir, but none of them have any idea how they know that. Muir himself is currently trapped in their cabin where Innes locked him in after Caz mentioned his name. Innes went missing a few hours ago. Muir is starting to get pissed. Caz seems really upset by this.

The hallways are alive when Caz is upset.

[fearandhatred]

[averlym]

fairest of the fair

[demodraws0606]

People complaining about Tsukasa5 already are pissing me off, because like, it's so unbelievably obvious what this event is trying to do and the fact that people are so hung up on "urgh dur tsukasa strong why can't he do a wall climb".

Like, first of all, a lot of Tsukasa's strength has been used as comedy before and also it's never been said that Tsukasa could specifically do a wall climb before so people calling this a retcon or a stretch is really dumb to me.

Sure we can make jokes about it, but this is not like a serious writing problem or anything.

Also are we just gonna ignore the fact this event is literally just a reference to his 3rd event in a silly trenchcoat. Or the fact that this is obviously meant to be WxS's downtime and training arc to prepare them to face the loose plotpoints in the future?

His inner dialogue when chasing the ninja is very clearly a reference to the whole Pheonix thing, how he can't reach it no matter how hard he tries.

The wall climb is like an extremely fucking on the nose metaphor to him climbing over his issues as an actor.

THERE IS ALSO THE WHOLE THING THAT HINTS THAT TSUKASA CAN ONLY OVERCOME HIS PROBLEMS IF HE HAS HELP FROM OTHERS (AKA tsukasa would've literally BEEN INJURED, if it wasn't for the fact the troupe's leader was there).

In fact this literally followed an event aka Tsukasa 4 where he FAILED to do his role correctly.

It's almost like this event is meant to be a transition point between Tsukasa 4 and 6, where Tsukasa builds up the knwoledge on how to face his problems.

But no this is just mid event because it's very silly and "wow plot is stupid why can't tsukasa wall climb".

WxS fans are slowly just turning into VBS fans in terms of how whiney they're being i swear

[silusvesuius]

feeling their exceptional inherent goatedness in my blood after finishing re-reading a good book

[theminecraftbee]

okay now that i'm no longer trying to keep a project secret from certain people i can complain publicly about a thing i've been losing my mind about:

why the fuck is the evo wiki like that.

listen. i know. i know fandom wikis being decent entirely relies on whether there are people who both want to obsessively categorize things enough to fill out the wiki, with the free time to do that kind of obsessive categorization, and the desire to manage it all as a wiki. believe me, i know. but please i'm just trying to do research please, please at least bigb's page was just Entirely Empty so i knew i had useless information and just left. why the fuck did the mafia's page, by contrast, have this:

a sentence that is actively LESS USEFUL THAN IF IT WERE NOT THERE.

and then grian's page - GRIAN'S. GRIAN'S. THE ONE PAGE I THOUGHT MIGHT HAVE A SHOT OF BEING FILLED OUT. JOKE'S ON ME I GUESS.

BECAUSE IT HAS THIS????? I'M LOSING MY MIND. WHY ON EARTH IS THE WIKI LIKE THIS. WHY IS IT THIS BAD. PLEASE I'M JUST TRYING TO FIGURE OUT WHAT EVERYONE'S RELATIONSHIPS WITH JIMMY AND MARTYN WERE PLEASE,

anyway thankfully i had friends who could help me with their own knowledge and who also found the evo recap but in conclusion i have been being driven mad by this for weeks, thank you for coming to my ted talk.

[dollypopup]

look, y'all can all gleeful cancel me for this #unpopular opinion if you want, but even IF Nicola wasn't nominated for the comedy section and it was her and Luke head to head in best drama?

I'd still vote for him

because I genuinely and truly think his acting is INCREDIBLE. and I think he's one of the better actors on Bridgerton full stop. I love the nuance he brings to Colin as a character, I love how he so fully embodies him as a character and that Colin has similarities to him, but is fully different at the same time. Colin does not talk like Luke, walk like Luke, even fidget like Luke. He has his own character beats and yes, sometimes parts of Luke bleed into him, such as with the head tilt, but the voice is different, softer, the movements of Colin as a character are distinct to me, he delivers humor well ('you'd already be dead?') and his decisions for Colin as a character are ICONIC (I'm never forgetting that dress adjustment with specific fingers was all him). Colin had a harder go of it than a lot of leads because his story isn't as loud- he doesn't get a lot of big, dramatic moments to have big dramatic acting, and honestly the show didn't give him a lot of screentime in the first place. But when he does have poignant emotional moments? They feel REAL. He isn't given as much time with the audience as other characters are and he doesn't go for the broad strokes with his acting, so sometimes I think he can get lost in some of the louder acting, but that doesn't negate the fact that he's GOOD. He's a good ass actor. He plays Colin like Colin is an actual person.

And for me? For me, that hits home. Even with truncated time on his own season (yeah, I'm still bitter), he delivers every single time. Anger, betrayal, longing, heartache, silly awkward humor, heat- and he does all of those emotions BELIEVABLY. I watched Luke Newton depict Colin falling in love so beautifully and so realistically, I HAVE NO CHOICE but to give him his flowers. Just because he's not as heavy in the hustle as other actors are (please remember this is a neurodivergent actor with anxiety and dyslexia, mental health is important and it's good he took a break ) doesn't mean he's not a fantastic actor. And if you've ever seen his depiction in The Shape of Things? The man is excellent.

I think Bridgerton has a lot of 'big moves' actors. And that's fine. Many people prefer that. But I prefer the nuanced moments and the softer beats of it all, and I think if the camera had allowed us as an audience a longer glimpse into moments with Colin, we'd all be even more floored. I can watch gifs of his scenes over and over and over again and find something new every time.

So y'all can sit there and accuse others of a 'pity vote' but idgaf. Luke Newton is one of the best actors on that show. And I stand by that. Eat me.