#YOU HAVE TO BE!!!!!! SPECIFIC!!!!!! THERE ARE LIKE 12 WAYS TO DESCRIBE THE PLOT OF A STORY WHICH ONE?????????

[whileyoureinschoolidothisallday]

moral of the story from this mentorship discord: never let twitter bitches do a redditor's job

[demonking-propaganda]

13 spoiler-free reasons why you should read Mairimashita! Iruma-kun

...if you haven't done so already 👀 (With "spoiler-free" I mean I'm not describing plot points or characters, but under the cut I'll discuss the overarching themes, so be warned if that's too much for you. The first 7 reasons may be enough lol)

It's both funny AND wholesome. I literally can't read it without laughing out loud, and there are a bunch of chapters that make me cry every time I read them.

It's clever! The Japanese version contains several puns based on the kanji "魔" (read "ma", = devil, demon), starting from the title, but it's a recurring pun. The English translation adapts them pretty well. Plus, there are some of the best plot twists in recorded history (IMO). And the names and characteristics of most characters are based on real-life demonology.

It's queer AF. Like, really gay. There are explicitly homoromantic relationships and several nonbinary and gender non-conforming characters. One of these is the best unashamedly nonbinary character ever written. Plus, the manga premise can be seen as an allegory of hiding in the closet. The only thing that made me uncomfortable because of cisnormativity (boys in drag as a joke) is completely fixed in later chapters, and very well so.

It's feminist, without being preachy or paternalistic. Simply put, the women/girls are three-dimensional, complex characters, as the norm should be. And there are lots of them, without it being a harem (...the harem trope is actually used as a joke).

It's spooky and adorable, imagine Halloween vibes all year round. Both main and background characters are super diverse, and if you like monsters there is stuff for you.

Most characters are neurodivergent-coded. It's basically the autistic/ADHD manga.

The art is phenomenal. It's especially good to see the improvement of the art style over the years (the first chapter was published in 2017 and the manga is ongoing). Some panels are really breathtaking.

8. The story is about personal growth - like most shounen manga, fair enough. But the protagonist, Iruma, is so far from toxic masculinity I dare say he's the antidote to it.

9. It's also about found family, the discovery of unconditional love, and trust, and healing from familial trauma.

10. It's about finding a group of friends you belong to, and transforming your weirdness into a strength, identifying and cultivating what you're good at instead of fitting into a mold.

11. It's about the beauty of learning in your own way, and the importance of education and the shaping of future generations.

12. And the reason why I opened this blog: it's about fascism and fighting against it. I mean real fascism, as in "a powerful individual/group wants society to be hierarchical and oppress certain minorities, elevating a specific subset of the population based on intrinsic characteristics which are being misleadingly treated as merits". Ethno-nationalistic stuff. More specifically, it's about being a somewhat politically illiterate person, who learns about systems of oppression beyond personal injustices. It's about questioning what is the best way to arrange society.

13. Most importantly, this manga gives you hope about the future, something I find harder and harder to have. Hopelessness is dangerous - as people without hope stop fighting. This manga makes me actively feel better. Since it's ongoing I can't ensure it will always remain that way, but I've come to trust the author enough that I expect it to.

[notrapsplease]

Werebear Halsin Headcanon

I have seen a couple other posts going around about werebear Halsin and wanted to make my own with some of my thoughts/evidence because I have been a werebear truther since I first saw the beefy elf daddy.

This doesn't really have spoilers in it, but I do touch on a couple plot points from the game. Fair warning! I also pull a lot from D&D itself, specifically 5th edition since that's what BG3 is built on.

This ended up being long, so I split it into a few different categories, they are in no particular order:

Quite large for an elf

We all know, Halsin is big. Large even. In D&D, elves are described as being slender and slight. Even if they are athletic they are not muscular and are lighter than other races of the same size (as in a 5'5" human will weigh more than a 5'5" elf). They are a little shorter than humans on average.

This puts Halsin well outside the usual elf physiology. When this is addressed in game, Halsin says perhaps he has some orc ancestry or "conventional wisdom is too narrow about what someone can or cannot be" (beautiful sentiment Halsin, you're still big).

Being a werebear offers a simple explanation for his unusual size. Werebear in D&D are described as being large and muscular, even in their humanoid form.

It's a "Wildshape"

Sure buddy.

Halsin's bear form is explained away as one of his druid wildshapes, but there are a couple things that don't line up.

First is the UI itself. Halsin’s bear form is separate from wildshape. It’s in the general abilities section not the class features. This might be just for programming reasons, but I still think it’s interesting.

Second and more incriminating, Halsin stays in bear form for too long. ACT 1 Spoilers: When you find Halsin in the Goblin Camp, the Goblins don't know he's a dude, they just think he's a bear. Even if in the stories timeline you're supposed to reach him the same day as when he was kidnapped, that's still a long time to maintain a wildshape. As per DND 5e rules: "You can stay in a beast shape for a number of hours equal to half your druid level (rounded down)."

So even if Halsin is STARTING as a max BG3 level druid at level 12, he should only maintain wildshape for 6 hours. Even as a Circle of the Moon druid, the time doesn't increase.

"I...lost the run of myself"

Related to the idea that Halsin's bear form is a wildshape, I need to touch on the parts of the game that indicate Halsin can lose control of his bear form.

My main piece of evidence here is that wildshape in D&D has no indication that you lose any control of your impulses. In fact, wildshape describes the opposite: "Your game statistics are replaced by the statistics of the beast, but you retain your alignment, personality, and Intelligence, Wisdom, and Charisma scores."

The fact you retain your mental stats mean you are in total control. There is no mental difference between a druid in wildshape and a druid in their humanoid form. To be in wildshape is a CHOICE the druid makes.

This is in contrast to spells like Polymorph which indicate that you lose your mental stats AS WELL as your physical ones: "The target's game statistics, including mental ability scores, are replaced by the statistics of the chosen beast. It retains its alignment and personality."

I bring that up just to showcase that D&D does have that distinction, if wildshape was meant to be something that you could lose control of, or let the beast take over, they would have written it that way.

ACT 3 spoilers: This idea that he can be made to lose control is also hinted at if Orin kidnaps him from your camp. Orin's dialogue from the kidnapped victim usually indicates a deep-seated fear the victim has, or their worst case scenario. Having kidnapped Halsin describe himself losing control indicates to me that it's his biggest fear. Which makes sense as a werebear, as a druid…not so much.

In contrast to wildshape, which is a voluntary choice the druid makes, being a werebear is a curse. Halsin is obviously in good control of his werebear self (I discuss this later on), but it is still a curse and can affect him negatively, especially in impulse and instinct.

Alignment: Neutral Good

Now I've got to talk about the werebear curse a little more. And D&D lycanthropy in general.

When someone is afflicted with the curse and resists it, they maintain their normal alignment but struggle to contain the beast. If an afflicted person chooses to accept the beast they gain more control over their bestial form, but lose their alignment to the alignment of the kind of lycanthrope they are.

Both Halsin and the canon D&D werebear are Neutral Good. Which means Werebear Halsin is in alignment with his bestial side, offering some manner of control over his transformations.

Only you can prevent shadow curses.

Werebear are described as being lone hermits who guard their territories fiercely, protecting their habitat, and the flora and the fauna from any threat. Sounds like a werebear might get really obsessive trying to rid his territory of, say, a Shadow curse.

Halsin and Thaniel's relationship makes a lot more sense if Halsin is a werebear. They met when Halsin was a child, so Halsin wouldn't have been a druid yet. In D&D druids are a learned class, more like clerics. Certainly Halsin could been a child in touch with nature, but why did Thaniel single him out?

If Halsin was a werebear though, he would have already had a natural desire to protect the land, the land being personified as Thaniel.

The werebear curse is described in D&D as usually being passed on voluntarily, as in a werebear chooses who they want to bite, either a companion or an apprentice. Werefolk curses also pass through bloodlines (as in you can be born a werefolk). The general consensus is if you are born a werefolk you will naturally align with the curse's alignment so you will innately be in more control then a bitten werefolk. We already know Halsin is Neutral Good, like werebears usually are.

This is a more headcanon-y part, but I think Halsin’s family were probably all werebear, or at least one of his parents was and from a lineage that had a history protecting the land Halsin grew up on. Knowing that Halsin's family all passed away, this could also indicate why Thaniel singled him out, maybe Halsin was the last in the werebear lineage that had chosen to defend the land Thaniel personified.

Either way, Halsin and the werebear align in the desire to protect natural spaces, and Halsin's obsession with the shadow curse could stem from that innate desire.

This isn't my first time recruiting a werefolk druid

This is meta evidence, but I'm including it. In BG2 there is a druid named Cernd and he’s a werewolf! What does this have to do with Halsin? Not a lot, but it shows that having a companion who is a werewolf is established in the universe. Cernd also establishes that being a druid helps to control a werecreature curse. Cernd isn’t feral and has greater control over his werewolfism because of his abilities as a druid. Also Cernd has magic items that are from High Forest. If that sounds familiar, it's where Halsin says his family is buried. idk the connection but it's interesting.

Final thoughts

I think that's all?? I also want to talk about why I think the Werebear curse wasn't brought up in game.

One of the other posts I saw suggested that the reason it’s not brought up in game is Halsin doesn’t know he's a werebear. I get that, I can totally see that, but I don’t think that does Halsin justice. Halsin may be a beefy boy, but he isn't oblivious. There is no way Halsin has lived for 350 years and hasn’t realized he’s a werebear. 350 years is a long time not to bite anyone.

I think the more likely explanation in game is simply that it never comes up. Halsin is in control (mostly) and not worried about it. He is also not used to having people who care for him (this is a huge part of his characterization in game), and probably has had to keep the fact that he is a werebear relatively secret throughout his life.

From a meta perspective, I think it was cut for time and content. We KNOW that a lot of his content was cut already (Sorrow, anyone?). There is also the fact that originally one of the other origin characters was going to be a werewolf, so they may have decided to ease back on Halsin being a werebear so she would be more unique. Then she ceased to exist anyway. Personally I think they should have included some dialogue about it somewhere, especially after deciding not to have the werewolf companion. I genuinely can’t FATHOM that werebear Halsin wasn’t the plan all along, regardless of if they decided to cut it. Alright I'm done. Werebear believers unite!

[ohcorny]

hey corny. so i always see people recommending to outline their story before starting it, but could you talk a little bit more about what that means? what is an outline and how do you structure one? how long are the ones you write, depending on the project? do you focus on plot beats or feelings? how specific do you get? can u recommend any readings for learning more?

up front i don't have any resources for this, only experience. and outlines feel like one of those things where it's like... there are a million ways to do it and the way that works for me might not work for you. i have a friend who writes out all his ideas on index cards and that, for me, is insane. but he's also a better writer than me so who can say what is right or wrong.

anyway an outline is essentially a sketch but for a story. you go through the whole thing, start to finish, and figure out what goes where and what happens when. the idea is that this is the stage where you work out all the big picture stuff and make sure it all fits together, now, and not after you've drawn twenty pages and suddenly go "wait shit that doesn't work" and have to do it over. it is much easier to delete and rewrite a paragraph than to redraw several pages.

doing anything more, ie including dialogue or feelings, depends entirely on how useful that information is to you at that point in the process and whether the purpose of the outline is for your own guidance, or so somebody else can tell what you're trying to achieve.

this got really long with multiple examples

here is an excerpt from the original outline i used to pitch Hunger's Bite to publishers. this one had to be polished to a professional standard, because somebody else was going to read it and decide whether they wanted to give me thousands of dollars to tell this story. (also several of the details are no longer accurate. for instance it now takes place 9 years earlier lmao)

this paragraph represents the first eight pages of the book. the final book is 264 pages long, and the outline was 12 pages of paragraphs as dense as this one.

it establishes where we are, who's there, and what they're doing. i describe their conversation, but i don't commit to the dialogue. i will occasionally include snippets of literal dialogue, but usually only if it's Important Dialogue, or i just don't want to forget a good idea i had while outlining. it's not expected at this step.

an outline written as part of a pitch to a publisher should tell the whole story, with all the important details, and leave nothing ambiguous. they need to know the tone, shape, and the arcs. no secrets! all the spoilers. outlines for yourself should do this too, but outlines for others need to be as clear about your vision as possible. again, an outline like this exists for the purpose of getting you paid thousands of dollars. you should write it like that.

in comparison, here's an excerpt from the outline i wrote for revisions to my WIP prose novel, so i could show it to my agent (who already read the draft) to be like "do these changes sound good?" i'm not selling it to anyone yet, just making a guide so i can have a conversation about it. so it doesn't need to be neat, it just needs to be functional and clear. the first chapter was entirely new stuff. the second bit was just writing down what was already in the chapter that existed.

i have historically been very bad at outlining things when i don't think i "need" to, and only wrote this one after having written like 60k words of the book without any overall plan. i gave what i had to my agent for feedback and then sat down and figured out how i could apply it. it's made the whole revisions process significantly less daunting. now i have a checklist for things i need to do! this one was a paragraph or two for each chapter, with the ones that needed a lot of rewriting given a bit more detail.

lastly, here's a bit of the outline for the first roger crenshaw book. i was the only person who had to see this, and since the story was planned to be very short i didn't have to worry about a whole lot. as long as i knew what was supposed to go where, it would work. honestly it's not a whole lot different from the previous example.

this one was like five paragraphs and it did the job, and this story was like 15k words. you only need as much or as little as will actually help you on the page.

basically if you take nothing else from this, it's that there are multiple ways to write an outline, that it does not need to be perfect if you're doing it for yourself, and that it only needs what you think is important (unless it is for other people. then it should have everything). and also it's a good idea to do it earlier in the project than after you've written 60k words or drawn--jesus christ i got up to 12 chapters in never satisfied? it's amazing i didn't quit sooner

[c4tsc4pe]

Classpect Analysis Definitions Guide Combob

i read a Smashing aspect analysis by @/alicesonions (which this is very inspired by check it out right now the redesigned symbols are awesome) and wanted to revamp my own so here we go shaggy 2 dope classpect guide 2.0 (og draft here)

this is just a rundown on how i personally understand/use classpects even though i love talking my ass off and want to over explain all this i tried to write hopefully easily digestible and to the point definitions using key words and phrases bc thats how i personally learn things (i might make an extended version with further information and analysis later)

this can always be edited too i am So open to discussion criticism etc please tell me every single one of your thoughts about classpects in tags comments whatever I LOVE HEARING IT

anyway fat megapost ahead man the cannons

- - >

Classpects

A “Classpect” is a player’s title in Sburb, which uses the formula [Class] of [Aspect]. Not only does a Classpect dictate a player's reality-bending powers, but it defines a player’s place in their session, their place in reality, and their place within the narrative itself.

There are two components that make up a player's Classpect: their aspect and their class. There are 12 aspects and 14 classes in total. Hypothetically, ANY player could be ANY of the 168 total combos of these, no matter the person, but Sburb will narrow down the options and pick a player’s Classpect depending on how it thinks it can BEST use them in the game/their specific session.

A Classpect is chosen via a sort of “sorting hat” method. The person you are (struggles, goals, gaming strategies, how you interact with the world and others, etc.) inadvertently dictates your Classpect, but that is only BEFORE THE GAME STARTS. Once you’ve entered Sburb, Skaia will ultimately decide your role based on everything it gathered, and you are stuck with it whether you like it or not.

[In total: Classpects are a predetermined in-game role to fulfill as well as a narrative tool.]

Aspects

Aspects are described as “the basic building blocks of everything that exists within paradox space”; a cosmic property that relates MOST to a player and that they have the potential to BEST excel at.

A player’s aspect is always something the player starts out STRUGGLING with in some way. No one ever has total control or knowledge of their aspect right off the bat. It is something that challenges the player and must be learned over time so the player can grow and reach their full potential as a Hero of their aspect.

Aspects are a neutral and nuanced concept- no aspect is inherently good nor bad.

The 12 aspects: Breath, Light, Time, Space, Life, Hope, Void, Heart, Blood, Mind, Doom, and Rage.

Breath: The aspect of freedom and detachment. Breath is impossible to hold down, easy breezy, head in the clouds, go with the flow. Breath is breeze, movement, flight, weightlessness, indirection, and independence. Breath blows whatever way it feels like, not caring about much else.

Narrative connection: Plot development.

Breath’s opposing aspect is Blood.

Light: The aspect of knowledge and illumination. Light exposes the hidden, brightens the dark corners, brings things into the spotlight. Light is relevance, illumination, luck, enlightenment, sight, visibility, definition, and attention. Light brings itself to what is hidden in the dark.

Narrative connection: Plot relevance.

Lights opposing aspect is Void.

Time: The aspect of rhythm and destruction. Time is connected to death, the past and future, taking action, small details, the destination over the journey. Time is repetition, iteration, cycles, pace, patterns, preservation, decay, continuity, and management. Time is the steady tick of a clock, the constant rotation of an ever-turning gear.

Narrative connection: Pacing.

Times opposing aspect is Space.

[Time is one of the fundamental fabrics making up paradox space and is therefore an aspect required to win Sburb. If your session does not have a Time player, your session is doomed to fail.]

Space: The aspect of creation and beginnings. Space is new things, focused on the wait-and-see, the big picture, the here-and-now, the journey over the destination. Space is destiny, matter, physics, making, innovation, and intuition. Space is a vast endless infinity of possibility.

Narrative connection: Setting.

Spaces opposing aspect is Time.

[Space is one of the fundamental fabrics making up paradox space and is therefore an aspect required to win Sburb. If your session does not have a Space player, your session is doomed to fail.]

Life: The aspect of agency and autonomy. Life is foraging your own path, own destiny, self-direction, growing and strengthening. Life is nature, health, resilience, energy, progress, healing, vitality, and nourishment. Life sees its route and fights to take it.

Narrative connection: Agency/action.

Life’s opposing aspect is Doom.

Hope: The aspect of belief. Hope is dreams and wishes, blind optimism, unstoppable force, the "there’s always a way, nothings impossible". Hope is faith, possibility, positivity, will, imagination, and determination. Hope is a clear, enthusiastic "YES!".

Narrative connection: Convenience.

Hopes opposing aspect is Rage.

Void: The aspect of nothingness and the unknown. Void is a blank canvas, an empty page, a dark corner, a shadow concealing darkness. Void is secrets, mystery, invisibility, unexplained, ignorance, irrelevance, and uncertainty. Void obscures what the light can't reach.

Narrative connection: Plot irrelevance.

Voids opposing aspect is Light.

Heart: The aspect of feeling and self. Heart is the core of a person, their identity, passions and interests, the soul, feelings instead of thoughts. Heart is motivation, love, emotions, uniqueness, personal, individualism, bias, and passion. Heart follows itself.

Narrative connection: Inner self.

Hearts opposing aspect is Mind.

Blood: The aspect of unity. Blood is down to earth, grounded and chained, has expectations, forms relationships. Blood is community, responsibility, care, effort, stability, obligation, and connection. Blood is running through everyone's veins and knows it.

Narrative connection: Character dynamics.

Blood’s opposing aspect is Breath.

Mind: The aspect of thought. Mind is unbiased decision making, apathy, black and white, blends in with the crowd. Mind is equality, ration, logic, reason, judgement, calculation, choice, balance, and justification. Mind pushes away feelings and thinks instead.

Narrative connection: Outer self.

Minds opposing aspect is Heart.

Doom: The aspect of fate and constraint. Doom works within the rules, within restriction, follows damands. Doom is burdens, prophecy, acceptance, necessity, limitation, punishment, and misfortune. Doom does not negotiate against the inevitable.

Narrative connection: Conflict.

Doom’s opposing aspect is Life.

Rage: The aspect of refusal and rebellion. Rage is the ugly truth, holding back, immovable object, being stuck, “it’s impossible, there’s no way out”. Rage is cynicism, defiance, fury, negativity, anger, riot and revenge. Rage is a loud, guttural “NO!”.

Narrative connection: Contrivance.

Rage’s opposing aspect is Hope.

Classes

Classes are the second ingredient of the Classpect formula. Since an aspect is a cosmic property that relates most to a player, a class is how that player USES/INTERACTS with that cosmic property & its powers. Classes are NOT something a player struggles with and are just dictated by how they approach/play the game.

Classes are a neutral and nuanced concept- no class is a “worse/better” or “evolved” version of another, no class is gender locked, and no class is inherently good nor bad.

There are six functions of classes: creation, destruction, exploitation, manipulation, knowledge, and relocation.

[Creation: Bringing something into existence.

Destruction: Taking something out of existence.

Exploitation: Having something and using it.

Manipulation: Changing or altering something.

Knowledge: Knowing all about something.

Relocation: Stealing and/or moving something.]

The 14 classes: Heir, Seer, Knight, Witch, Maid, Page, Rogue, Prince, Mage, Sylph, Thief, and Bard, and the two master classes: Lord and Muse.

Heir: One who changes with their aspect or is changed through their aspect. Heirs inherit their aspect and can greatly use it for their session and coplayers.

Class function: Manipulation.

Heirs' counterpart class is Witch.

Seer: One who knows their aspect or knows through their aspect. Seers are knowledge-seekers who obtain information by observing, and guide their coplayers using what they learn.

Class function: Knowledge.

Seer's counterpart class is Mage.

Knight: One who fights for/protects their aspect or fights/protects using their aspect. Knights are set on serving and defending their session and coplayers, using their persona as a shield and their aspect as a weapon.

Class function: Exploitation.

Knight's counterpart class is Page.

Witch: One who alters/bends their aspect or alters/bends using their aspect. Witches utilize their powers to bend the rules and test the limits of their aspect and session itself.

Class function: Manipulation.

Witch's counterpart class is Heir.

Maid: One who serves/repairs their aspect or serves/repairs with their aspect. Maids clean, preserve, and maintain their session with/and their aspect, just as a housekeeper would.

Class function: Creation.

Maid's counterpart class is Sylph.

Page: One who strengthens their aspect or finds themselves through their aspect. Pages start out as weaker underdogs, but once their potential is fully realized, they can use their power to an astounding degree.

Class function: Exploitation.

Page's counterpart class is Knight.

Rogue: One who steals their aspect or steals from their aspect to provide others with it. Rouges take from their aspect and redistribute what they steal to their coplayers Robin Hood style.

Class function: Relocation.

Rouge's counterpart class is Thief.

Prince: One who destroys their aspect or destroys with their aspect. Princes are powerful, blunt forces in their session who once fully realized, will stop at nothing until they reach their goal.

Class function: Destruction.

Prince's counterpart class is Bard.

Mage: One who understands their aspect or understands through their aspect. Mages are the experiencers of their aspect that utilize their experience with it to guide themselves.

Class function: Knowledge.

Mage's counterpart class is Seer.

Thief: One who steals their aspect or steals from their aspect to keep themselves. Thieves are focused on taking from their session and others in it, then keeping that power for their own benefit.

Class function: Relocation.

Thief's counterpart class is Rogue.

Sylph: One who heals/mends their aspect or heals/mends using their aspect. Sylphs are vastly supportive to their coplayers through both backstage influence and personal interference.

Class function: Creation.

Sylph's counterpart class is Maid.

Bard: One who allows the destruction of their aspect or invites destruction through their aspect. Bards can be kind of a wildcard for their session, possibly for the best (or the worst).

Class function: Destruction.

Bard's counterpart class is Prince.

Master Classes

Lord: One who rules their aspect or rules using their aspect. Lords are intensely powerful domineers who command their aspect, session, and everything in it to bow down to them.

Lord's counterpart class is Muse.

Muse: One who inspires their aspect or inspires through their aspect. Muses are completely in tune with their aspect and influence their session with it, leading it like a conductor with their baton.

Muse's counterpart class is Lord.

[sunsounds]

writing ask game

🌻 — prompts

(1) share an excerpt you're proud of, and elaborate on why.

(2) share an excerpt of [character pairing] interacting, either selected from the work or written now.

(3) pick a branching universe you would enjoy writing from the canon of [project]— a character makes a different choice, the dice roll a different number, etc. describe what it would look like and/or write 100+ words in this universe.

(4) pick an alternate setting you would want to put either the main cast of your work or [specific characters] in— zombie apocalypse, medieval fantasy, regency era, office hijinks, etc. describe what it would look like and/or write 100+ words in this universe.

(5) describe what [project] would look like if it were bad. (alternatively: list out what hypothetical horrible interpretations of the work would look like. fake socmedia discourse emulator optional but encouraged.)

(6) describe the premise/plot of [project] from the perspective of each main cast member.

(7) if you were writing an individual project based on each main cast member in [project], what would they look like? what genre would each main cast member do best in?

🌺 — questions

(8) what are your favorite character dynamics from [project]? elaborate on why. what scenarios not followed through with in-story would you want to put each dynamic in most? (ex: truthserum-ed and locked in a room; roadtripping; coffeeshop au; etc)

(9) who are your favorite characters from [project]? what do you want most from them as characters: to have them heal and be content/happy, or to run them under a cheese grater? how does this compare to what they undergo in the story?

(10) which characters do you personally dislike most from [project]? elaborate on why, bonus points for how impassioned your answer is.

(11) is there is anything intangible or inanimate in [project] which qualifies as a character in its own right? (ex: a specific theme, setting, etc)

(12) which scene/plot beat is your favorite? elaborate on why.

(13) which aspects of worldbuilding are your favorites? (if not applicable: which parts of the setting interest you most?)

(14) what are the focal points of [project]? what does it revolve around emotionally?

(15) in what ways are you challenging yourself with [project], and is there anything specific you want to come out of the work having improved skills in? on the other hand, which aspects are fully in your comfort zone?

(16) what sparked [project]? what was the original premise or jumping-off point, and do you have any records of the first notes from its creation?

(17) do you have a specific structure or method of plotting for [project]? what does your drafting process look like?

(18) pick 1-5 songs which you believe define either [project] or [character (relationship)] and elaborate on why with attached lyric selections. (optionally: link a playlist)

(19) what text/message have you sent about [project] which is most unhinged or incomprehensible out of context?

(20) do you think there's anything about [project] which is predictable from your previous works/interests, or to anyone who knows you well enough? if the work was written by someone else, what would a recommendation designed to personally bait you look like?

[ride-thedragon]

Nettles and Alys Parallels.

Finally the mistresses of our polysquare.

1. Witches: Both alys and Nettles are described as witches within the narrative. Both as accusations and explanations for who they are. With Alys, it's both at Harrenhall, and with Nettles, the accusation is at Maidenpool, and the description is in the Vale

2. Undetermined Age: Neither of their ages ar explicitly communicated in the narrative. Nettles is "no older than" 16 appearance wise, and Alys either is 40, looks young, or is an age much older than her appearance would lead you to believe.

3. Unnatural Allegience to Losers: Aemond Daemon mentioned. Yea, they kinda both stay beside their men with uncomfortable and concerning dynamics between them. Hate when bad bitches settles.

4. Wrapped around my Finger: Those men are also on their hands and knees for them. Between Daemon doting and seeming like he'd burn Maidenpool to the ground for her and Aemond torching the Riverlands with a pregnant Alys at his side, they're in their devoted era. The My Alys and Netty nicknames are unmatched.

5. Pregnancy: Both of their narratives uniquely contain pregnancy. For Nettles, a potential pregnancy almost costs her life, and for Alys, it gains her power after the dance. Little Hilbo is the 'rightful' heir to the iron throne at that point.

6. Bastard Daughters: They are both the alleged bastard daughters of House Strong and House Targaryen/ Velayron. In both instances, it's never said their direct relation. That part is left vague. In Nettles case, it's presented so vaguely to imply that she might not be of Valyrian descent at all.

7. Riverlands: Both their stories happen at a point in the Riverlands. Alys is always there, but Nettles specifically comes to the Riverlands and has her plot alongside House Targaryen severed there.

8. I go where you have yet to: Alys is the reason Aemond evades Daemon and Nettles. By whatever means, after flying every day, they never seem to get them, almost as though they are always ahead, and because of the destruction Vhagar is unleashing, Nettles always ends up where they were.

9. Dragons: They both seem to bind themselves to dragons in strange ways. Either actual dragons like Caraxes and Vhagar or in the ties the animals have to them and their riders (one day I'll look back at the dragon reflect your partner narrative) or in Nettles' case with her own tie with Sheepstealer. Alys is also pregnant with the "dragon's bastard."

10.Death to all Men: The men around them either die or have to consider that they will. With Nettles Daemon dies literally once she wasn't around, the Mootons have to contemplate death for protecting her or following orders, Corlys is sentenced for many things but also for defending her and Addam. With Alys, all the men of the house strong are killed, and Aemond dies with her at his side.

11. Older and Younger: They have a power dynamic of being the older and younger ones in relationships they find themselves in.alys as about 40 and Nettles is about 16 to their partners respective 20 and, 49.

12. I come when you go: As soon as Nettles departs from Maidenpool and the Riverlands, Alys returns into the narrative. Nettles' departure is the catalyst for Aemond's and subsequently Alys' return.

13. Power after the Dance: They both come into power "after" the dance. Alys has Hilbo, and as he's the 'rightful heir,' she commands him as such. This is also where we get the most explicit call to her Witch powers. Nettles is likened to a fire Witch and a deity amount the burned men clan of the Vale. Her power also comes from a "dragon" in a similar aspect as the power is most likely her dragon Sheepstealer.

14. Power dynamic: As the women in these relationships and neither of them being Dragon riding Targaryen princes, their relationships have an uncomfortable undertone of how much explicit consent can be drawn. It's not a conversation for this post but one to consider, respectively, and overall.

15. Mistress" Aemond is betrothed to Floris Baratheon at the start of the dance, making Alys his mistress and Daemon is married to Rhaenyra, making Nettles his mistress (allegedly)

16. Allegedly: They are both the alleged lovers of these men, respectively.

17. Fire and Water: Nettles is tied to fire as a dragon rider and the fire Witch. Where Alys' power is tied to water where she sees visions. Alys can also allegedly see visions in fire, and Nettles is thematically tied to water through Driftmark and the one battle she fought in, the Battle of the Gullet.

That's it. I love my girls.

[iraprince]

Any ttrpgs (including/especially yours!) that you recommend to get the oc wheels turnin’? Or especially fun as oc design tools/inspiration?

as an overall recommendation for this, from the perspective of design tools, solo journaling games are often excellent for this -- you can browse the entire solo tag for the physical games category on itch and find TONS!!

moving on to specific recs: not for characters specifically, but for general worldbuilding one of mine i can recommend is lamplighter's festival! it's about building up the history and culture of a location by developing a ritual or holiday that's celebrated there, and i think sometimes creating a location with a lot of intention and thought will of course naturally get you thinking abt the ppl who live there. (i think this is also a great gm tool if you want to bring your party somewhere special!)

divined journey is a game about outlining a character's story in detail using tarot cards -- i've had a lot of fun using this to flesh out existing characters and imagine plot arcs that are different than the ones i'd come up with on my own, but i think it could absolutely start u running on a brand new character too. often the order ppl go in is make the character, THEN put them in a story, but forming a character BY putting them through the story (i.e. keeping them more malleable and considering events the primary development vs "backstory") can be extremely cool

on the more... i don't wanna say "traditional" but like, "narrative tabletop games as we know them" (vs solo journaling stuff/things that lean towards being design tools):

time to drop is a game about pulling one last heist (again and again and again, in a timeloop). i often find that games with a really specific premise/setting kickstart tons of fresh thought; as much as i love just doing the exact tropes i already like ad nauseum (being completely genuine there), restrictions and a narrowed focus are GREAT for getting the brain churning. and trapping a bunch of criminals in a time loop is a great way to develop necessarily juicy oc dynamics :3c

sapphicworld is a game that has gotten me SUPER revved about ocs (up to the point where i once planned out a 12 course formal dinner menu for a campaign finale.....). it's still in development, but you can get a pwyw glimpse at the ashcan here (kind of like a tasting platter of the style and mechanics of the game, which the dev describes as a dream about sapphicworld), and get access to the entire wip game on the darling demon patreon for five bucks. it's worth a billion times that. i love sapphicworld lol

in general i think games that have playbooks and picklists always get me going, for that same "narrowed focus" reason... at first ur urge might be to push outside the picklists, bc u have a different idea or none of the stuff on the list exactly matches what u had in mind for the character, but forcing urself to adhere and then branching out from that is something that i think creates a lot of really fun combinations. for this reason i think that a lot of PBTA stuff fits the bill -- i realize that doesn't narrow things down at all lol but it DOES mean u can browse the pbta tag and then just snag anything that seems to have a setting/tone that you're in the mood for!

i feel like this is a woefully small selection but it's all i have time for today, and ttrpgs are just so broad....! i would love if ppl gave more suggestions in the reblogs + replies!!!

[dearwriters]

Okay, So, I have this character, his name is Ciel. Ciel is a nervous 14 y/o trans boy who was conditioned to always act cheerful and full of energy, to act with the eccentrics of a circus performer(which he was)

Now here's the thing, he's my main character's best friend, but also has a plotline of his own. The main character is a toxic person w/ a hero complex and narrates the story(they are very unreliable and try and make Ciel seem like the toxic one)

The main character(13y/o girl) twists things to make themself seem better, how can I show that Ciel is morally grey while still having the unreliable MC villianize him?

How to write an Unreliable Narrator

Hi! Thank you for your question. What you describe is a great example for an unreliable narrator. Here are a few thought on how to create such a narrative voice:

It's all about the twist

The big thing for most stories told by an unreliable narrator is having the reader at first side with them before the relevation of their true nature. This creates the big conflict the reader is confronted by. It's not about straight up lying to the reader, it's about exploiting their natural willingness to side with the main character, since they are closest to their thoughts, reasonings and emotions. While the voice of the narrator leads them down the wrong path, foreshadowing the truth behind their narrative is essential. It's like placing clues for a mystery, so the reader can look back on the text and realize all the ways they have been led astray, while the truth was there the whole time. So think about this story as a mystery story with the crime to uncover being the obscuring of truth.

Give them a motive

Like in any crime story, the criminal needs a motive. "Being toxic" can be a character trait but in itself it doesn't add up to a motivation. If their motivation is to paint themselves as a hero, it might be crucial to explore their personality and their backstory for how this desire was produced and what their ultimate goal is.

One great example is the novel Gone Girl (spoilers, obviously): We learn about Amys story through her diary entries that paint her husband as violent, before the twist of the story reveals that she manufactured the diary to frame her husband for murder.

Another famous example is the novel Lolita, in which the narrator Humbert Humbert obviously twists the events of the novel in a way that paints him as the "victim" of the "seduction" of the 12 year old Dolores, to justify the sexual abuse he imparted upon her. The point of the novel is for the reader to be horrified and disgusted by his thoughts and reasonings, while being captivated by the hauntingly beautiful prose.

The next famous example would be The Tell-Tale heart. The fragmented prose of the text illustrates the narrators madness to the reader, thus marking him as unreliable.

Some ways to foreshadow the unreliable narrator

It can be quite tricky to place to clues that point to the narrator being unreliable. Here are some ways that can help with that:

a) Using other characters/POVs as a sounding board: A story using multiple POVs might be the easiest way to show the different narrators various reliability. The characters filter the events through their specific lenses and thus give the reader a way to piece together the truth.

b) Using the narration itself to instill doubt: this can be used by planting contradictions, by showing in real time the thought-process of the character twisting the truth, by establishing intentional "plot holes" that are later revealed to be part of the twist, by framgenting the narration in a way that indicated the narrators instability or by having the narrator justify events/acts/thoughts that are obviously twisted. Things can start out seeming very truthfull and reliable and then proceed to unravel as the narrator struggles to keep up appearances.

I hope this helped a bit.

Have fun writing!

[frogsndogs]

So recently I watched this pilot short: Epilogue of endings. It’s about 12 minutes long, created by a group of animation students over a single summer. I had never heard of the project before it showed up in my youtube recommended.

It changed my brain chemistry. I watched it 9 days ago and I can’t stop thinking about it to save my life. The music? Spectacular. The voice acting? Perfect. The art? astounding. The characters? I’m already emotionally attached. Hotel? Trivago.

Listen, I don’t tend to watch of a lot of things anymore unless I’m with other people, and I have this weird thing about engaging in new media, I think because a lot of what I’ve been watching recently has been kinda disappointing, or very… I don’t know… it’s hard to describe. It just feels like a lot of studios are making characters shallower, relationships strained, and half-assing their world building. A lot of media that I’ve taken in recently is trying very hard to make itself seem edgy and serious and that’s not what I want right now and definitely not what I need.

But this 12 minute pilot? This is everything I never knew I needed. The characters feel like real people, with complex motivations and interpersonal relationships. They’re flawed, but they’re trying their best with the situation that they have. They have things, other people that they care about and would fight for, they have motivations and backstories that you can see the breadcrumbs of, but have not been revealed yet, and the breadcrumbs are so good you can’t wait for the whole loaf. The world-building is exquisite, built up enough that you can see the beginning, but still drawing you in with more questions. 

I have a more detailed review under the cut, with SPOILERS, but I highly recommend that you go watch the pilot. It’s 12 minutes of time well spent in my opinion.

So the first scene. We’re introduced to Lucy, Blu and CG. I think Blu is already my fav, lol. In this scene, we see the three characters playing eye-spy while walking through a forest. It’s a pretty innocuous scene if we didn’t pan up to the sky and see the sun having broken open and Lucy becoming emotional over having to leave town, and presumably the rest of her life behind. Blu doesn’t answer her.

So Lucy clearly doesn’t know what’s going on, and I’m wondering if Blu has limited information himself. Maybe even Blu doesn’t know why or how any of this is happening. Maybe Blu literally can’t answer her question because he doesn’t have the answers. Maybe it hurts, being so helpless and out of control, so he’s in denial to a certain extent, trying to pretend that everything is fine. He’s trying to keep this little girl, happy and safe and alive, while also presumably dealing with his own shit, and no he’s not doing it perfectly, he’s flawed, as people and characters should be, but he’s trying and so far she is alive and safe to a certain extent so way to go Blu! I think this will probably cause some tension between the two down the road, but for now they just keep walking.

I wonder where they’re going, if anywhere specific? Why did they leave town specifically, we see there’s lots of danger pretty much everywhere, did something happen?

Anyways, then we get to this scene of someone fixing what appears to be a subway train. He stops, pulls out a journal and we get some exposition stuff. We find out that the world ended, and how. And WOW. This whole thing was gut-punchingly realistic I feel. People blowing up the competition trying to race off into space when it’s announced that the sun is going to die out? That’s something that unfortunately I can see people doing. I wonder/hope that this will become a plot point again later on, and we’ll find out what happened to all those people. But anyways that’s not even the craziest part; the fact the sun broke open and released a whole bunch of eldritch horror monsters??? Yep here we go. And then the next thing hurts. Like a lot. Because the narrator says that ‘people who hoped to live out their last days in normalcy quickly found out that their life-style was no longer sustainable’. That shit made me want to cry. The want for a peaceful death, a calm death, a painless death, but having even that ripped away from you. This setting that these characters are in is awful and very terrifying, and we can see how it is hurting them, torturing them, but I got to give props to the world building. It’s good writing. They set up the plot, the problem, what’s been going on the past couple yrs, some mysteries, to both the viewers and the characters, and in doing so give us some idea of the characters that we do have. Because the characters that we do have are trapped. The characters that we do have are abandoned. The characters that we do have are survivors. 

And then we pan out to see the narrator having an interaction with one of the Monarchs. And this scene? Gave me chills, man. I was so creeped out by this. Acedia’s ‘I do not like that response,’ Mole’s utter helplessness to do anything, his clear, potent fear of the creature, the way that it just lightly touches him and he flinches. Then the frustration that we see on his face after it leaves, the anger that turns into tiredness and then hopelessness? Someone needs to wrap this man in a blanket stat.

And this is where I’m starting to think that Blu doesn’t really know the full extent of what’s going on. There’s a good chance that Mole knows about the Monarchs because he’s being held prisoner by one. It’s possible that Mole is seeing the world collapse before his very eyes, while Blu is just seeing the aftermath and not knowing why and I can’t say which is more terrifying.

The ‘I have influence?’ line is peak. I love it so much, I can’t even say why. That whole little interaction with Lucy saying that she takes after Blu, Blu being so genuinely touched and CG being low-key offended is perfect and I love it. It shows how close they are, how much they care about each other.

The the… zombie ppl??? I love the detail of how unlike a lot of teenage protagonists, Lucy listens to Blu, and gets out of danger. She trusts him to handle the situation on his own, and knows that the best thing that she can do right now is get to safety. There’s an implicit trust there, in spite of her clear issues with Blu not telling her things, and this is what I’m talking about when I say the character relationships are complex.

Oh fuck. The transitions? The way that it cuts from one character to another, each unintentionally completing one another’s scentences, and unknowingly engaging in conversation. It’s amazing storytelling, an amazing presentation and for some reason it just confirms to me that these characters are family. They fit together like puzzle pieces. I don’t know what else to say.

We get more info on our mysterious narrator, Mole, who is an amnesiac, and clearly going through it. During this scene we see a crumpled newspaper of what seems to be a younger version of him, winning an award for his dedication at being a subway motorman. His name is crossed out in black ink, so we can’t see it. Which makes me question, did he do this to himself? Is his amnesia a trauma response to everything he’s going through? Did something happen to the point that his brain decided shutting down and forgetting everything was better than remembering this one thing? And it hurts, because in the picture in the newspaper he looks so happy. So young. So alive. It’s a stark contrast to the man we see with bags under his eyes, talking to himself and becoming increasingly distressed. I read through the article, and again, props to the team, some other people might have just did random letters or whatever but they put in a whole ass-story, giving the viewers more info about Mole than even he has. We know he was a dedicated subway motorman. We know he was inspired by his father. We know he had a sister. But these answers only serve to bring up more questions? What happened to his sister? Was his father still alive at the time of he end of the world and what was their relationship like? Because there’s a chance that their relationship was really good, and that’s why he went on to become a subway motorman, but there is also the possibility that he was pressured into doing so, and the way that he complains about being on a train when the world ended makes me kinda lean towards that option.

Then we see CG and Lucy walking around the underground tunnels and we get more info on them. We find out that CG was created by Lucy’s mom, which begs the question of where is Lucy’s mom???? What happened to her? Is there a chance that she’s still alive? Does Lucy know what happened to her mother?? Or is this just another thing that Blu is keeping her in the dark about? Does Blu know what happened to Lucy’s mother???? Or— as you can see I am totally normal about this woman. Anyways.

CG is a fun character, optimistic and bringing a lighter atmosphere to the show, but there is just something… off about her in this scene. The disregard for the danger, the naiveté, the joyful voice in such a horrible situation, feels so wrong to me. I wonder though if CG chose to be like this, or a certain amount of it is her programming? Does CG know what happened to Lucy’s mom? I think CG was created to be take care of Lucy but it seems to be the other way around here, why is that? 

And then we get info on Blu. Blu was a solider during the war when ppl were trying to get all the resources to race off into space. I wonder if Blu had believed that he would be granted a place on one of these ships. (If he managed to survive of course.) Or had he been in the military prior to all this, and was just pulled along? This makes me want to know more about his belief system before and after the end of the world. Also it is implied by CG that Blu is carrying a lot of pressure, and I wonder how that will be dealt with later on… hmm… 

Also the music that plays when Blu uses his arms to pull down the wall? Amazing, I love it, I love the scene, I love the fact that he’s a cyborg, I am so invested in these characters already it’s killing me.

Then we see Mole almost (accidentally) kill Lucy and CG. He’s out of it, he’s the only person running the trains, he didn’t expect to have to watch out for anyone, I think that we can give him a pass on this. Blu doesn’t think so obviously.

(Sidenote: the way that Lucy curls into Blu, as he protectively shields her is so cute, my heart, help)

Blu is pissed. His tone doesn’t change too much, it’s light, but there’s this threatening undertone there that kinda creeps me out. Mole tells them he doesn’t have a name, before Blu forces him to tell them that its Mole. Wait… is he called that bc Moles live underground? Anyways, Blu wants to leave him to die there, which shows an interesting side of his character. Prior to this we’ve seen him take a protective, fun role as Lucy’s guardian but here we see this apathy towards someone who is obviously not doing so well. A lot of other people would be excited to find another living person in the apocalypse, but he’s fine just walking away. Is this just because he almost killed Lucy? Or is there something more going on here? In Blu’s bio on the rainbott instagram, it says that Blu was ‘left to die in a mysterious incident’ and it’s interesting that he feels fine leaving someone else to die in such horrible conditions. Again - complex character writing, props to the team.

But Lucy doesn’t want to leave him. This shows her compassion and maybe too her want for connection with other people. Blu resists; ‘Lucy that is the most unimpressive man I have ever seen,’ this line has no right to be so funny, esp with Mole just staring at him in the background. Did he hear that or is he too far away, too out of it? Then he relents, perhaps solely because of Lucy, or maybe also because of his own want to do the right thing. He doesn’t like Mole, he makes that obvious, but if Lucy want’s to adopt this strange hobo man, fine, if it makes her happy. He’ll do whatever it takes to make Lucy a little more happy.

Mole’s ‘it doesn’t want me to leave’ scares the shit out of me, and the way that he just freezes up when Acedia shows up… 

The scene when it talks about humans really creeps me out, and makes me worried even more about Mole. Calling him ‘entertaining’ and saying that he ‘belongs’ to them. It sounds like it sees him as a toy at best, and reminds me of the way that Mole said earlier that the Monarchs had the power to ‘turn Earth into their own personal sandbox’. Did Acedia get rid of Mole's memories for that purpose? So that he would 'belong' only to them. I wonder though, why Mole, and if there were others, if Mole had to watch those around him die, or worse when they gave an answer that it didn’t like. I wonder what Mole has had to do to scrape by and survive, what he’s been through. But Blu pulls him along anyways, kind of against Mole’s will. Like obviously being with Blu, Lucy and CG is better than being with a horrifying shadow monster, but aforesaid horrifying shadow monster is going to be pissed at him. I wonder how he’s going to react to that, if he’ll lash out at Blu or worse, Lucy for rescuing him because now it’s gonna be angry and he’s gonna have to be the one to deal with the fallout of that.

Then the scene where Blu pretends to buy tickets to appease CG? It’s for comedic relief, but again it makes me think about Blu. Is he doing it because he knows CG will be annoying if he doesn’t? Or does he genuinely not want her to be hurt? I’m not sure. 

Then the campfire scene. Lucy looks away when Blu removes his mask, Mole tries to lean in to see what’s behind it. Blu doesn’t like this, I assume it’s a sensitive subject, but Mole is again, kind of out of it. Mole is scared of Blu and Blu clearly knows this, even kinda uses it to freak him out. I’m looking forwards to see that relationship developing, maybe one that contrasts Mole’s relationship with Acedia, I dunno, someone who cares about him in this really twisted way that hurts him, and someone who at first doesn’t care at all(at first), but still takes care of him in spite of it. I dunno… just vibes.

And Lucy’s little ‘what if we tell ghost stories around the fire’ breaks my heart. It’s like she too, is in denial to a certain extent. This is just a fun camping trip not the end of the world. Everything is fine. Everything will be fine.

Then the post-credit scene. There’s presumably, something left of the government that is working to try and deal with the Monarchs, which gives me hope that there might be a way to stop them, a way to stop all this death and destruction. I am curious about what’s left of this order, what the gov was like during the war, and how they’re operating now. Also the way the commander calls the droid C21, and the way that CG is called CG, and the way that he says ‘find the girl’ and C21 frowns and does this have something to do with Lucy’s mom??????? What does any of this have to do with Lucy? Does she know more than she’s letting on, or does not even she know what she knows??? Help I need answers.

Also all the characters in the credits. I desperately hope that they find the main cast and all become friends pls.

CG’s little song is beautiful and I think that it embodies the heart of the show. Like I said earlier a lot of the stuff I’ve watched recently tries very hard to be dark and edgy and a dystopian show where all the characters have been trapped and abandoned and tortured is the perfect setup for some grim and gritty TV. But it’s… not. The characters are funny and lighthearted and smiling in spite of all the shit that’s going on around them. The characters are trying to be nice, to be good. They are connected, they are a family. It is a dystopian setting for sure, but I think that the story is about family, about love and caring for each other. The story is about Blu, Lucy and CG playing eye-spy. The story is about Lucy smiling when she tells Blu her mom said he was a bad influence. The story is about CG wanting Blu to get some rest and take a break. The story is about Mole’s desperate panic at trying to stop the train before it hits Lucy, and Lucy not wanting to leave him to die. The story is about four people sitting around a fire, listening to music.

I really love this story, and I hope to see more of it one day. It’s really beautiful.

[sendmebacktomysecondlife]

I'll say it, I didn't like the PJO series. Now, I've been a book reader since I was 12, I'm almost 22 now, I have bias. But the series does not do the books any justice, and it's very meh in execution.

First of all, the lack of mention of the "battle reflexes" and "hardwired to read Greek" just left a bitter look on Percy's ADD. As someone diagnosed with ADD in the really early 2000s, PJO was the only thing that didn't call me broken for it. So for the series only mention of his ADD be to have him saying he was broken and messed up with no explanation otherwise when that was the entire point of the series left a sour taste in my mouth.

Second, I understand Rick loves these kids, but damnit, it's so obvious they are quickly growing too old for their roles as children. PJO would have benefited much more from being an animated series, if anything for consistent character appearances and visuals concerning the gods and powers.

Third, I hated the actors for Zeus and Hephaestus. I'm sure the actor for Zeus, may he rest in peace, was a wonderful guy, but it was so clear he was not healthy in those scenes and I was genuinely put off and uncomfortable being stared at by him when it was clear his health was failing. As for Hephaestus, call me picky, he came out looking and sounding stupid as fuck, and I was honestly annoyed they didn't find a disabled actor for him [yes I know the actor has a cane, I don't want to hear it, he's still a conventionally attractive actor who's disability wasn't even visible on screen]

I didn't like the casting for Annabeth. Leah, she's a lovely actress, but I'm just tired of characters described one way or having specific traits for a reason being changed, and it's the same for me with Luke and Percy, but Annabeth frustrated me most as a fellow geeky blonde little girl who was never good enough

I also didn't like the massive changes to Percy. Overhauled from a troubled kid with a sketchy past due to being a demigod to the most soft, sanitized crap ever.

This was something my fiance and I both noticed, they practically inverted Percy and Annabeth. Annabeth was the insecure one, and Percy was always taking the lead. Personal nitpick, didn't like

There was only eight episodes, and jesus christ if you weren't a book lover there was nothing to hook you into this fandom. No filler, no small reprieves. Just straight plot for 45 minutes.

these are all my personal opinions, I'd love to hear you guys thoughts. Please don't send a crap ton of hate, if you disagree move on or be nice.

[alexanderwales]

Chapter 4 of Save the Cat! was the one that I was most looking forward to: the Blake Snyder Beat Sheet and some discussions on story structure.

Maybe because he's a hack writer, or maybe because he's writing specifically with the intent to sell mass market movie scripts, he goes very structured. The Blake Snyder Beat Sheet is basically what this chapter is about, and when he's describing it, he's very firm about where each individual beat will be. A screenplay of the kind he's describing is 110 pages, and by God you better have the Catalyst exactly on page 12.

Going in, I was curious about two things. First, I'm very familiar with both Joseph Campbell's monomyth and Dan Harmon's story circle, so I was curious how easy the mapping would be, or whether there were any notable deviations in terms of what he suggests.

The BS2 is extremely similar to the monomyth. Of course, the monomyth was meant as observation, and the BS2 is meant as rules to follow for making a good story (or one that will sell), but many of the steps are identical. Snyder calls it the "Catalyst", Campbell calls it the "Call to Adventure". Snyder calls it "The Debate", Campbell calls it "Refusal of the Call". Interesting, Campbell said that refusal of the call was optional (since it didn't show up in all stories across all cultures) but Snyder insists on it.

Snyder doesn't call it the underworld, but he does repeatedly reference the "fun house" or "upside down" aspects of the middle part of the story, the antithesis to the setup's thesis. But here there's a break from Campbell, because for Snyder this is where we have the B-story, a plot that's contained within what Campbell would call the "underworld", which I found conceptually interesting, and which I could immediately map to a lot of stories and movies.

So there wasn't a lot new for me on that front. Opening, catalyst, underworld, enemies close in, triumph, synthesis ... it's not revelatory, and Dan Harmon does a better job explaining the fundamentals of why each piece is there, which helps if you ever want to monkey with them. I specifically found the "underworld B-story" bit interesting, and the phrase "promise of the premise" tickled something in me, but that was it.

Snyder's "promise of the premise" happens during a section he calls "Fun and Games", which happens in the second act, usually before the midpoint. It's the place where the characters are just having fun, where the plot isn't racing forward, where we're seeing all the stuff that's cool and awesome about our premise. I could immediately picture this in my head, and so far as I know, this isn't part of Campbell nor mentioned by Harmon (though it's been a bit). This is "the gang's all together and having fun", it's most of the stuff you'd put in the trailer, and yeah, I think conceptually this is a really strong narrative beat, and a valuable addition to my arsenal of storytelling concepts.

So second, I don't write screenplays, I write webfic that's ideally written in such a way that it becomes ebooks to sell on Amazon, and so I generally have some sense of what I'm doing in terms of structure, but wanted to see if these screenplay lessons had any mapability to the stuff that I do.

And overall ... kind of? Dan Harmon has this insight from TV work that the whole season of television is a big ol' monomyth circle, and each episode is a circle, and each bit of television between the ads is a circle, and you can just nest circles like that.

So my first step would be to say "fuck it" to this stupidly rigid structure, then to duplicate it across different spans of writing, and maybe make sure that I'm not missing anything that way. I think this would be fine, though mostly what I care about are the fundamentals, making sure that there is an underworld, that there is a synthesis, and that we do get some kind of climactic battle where the thematically appropriate forces of darkness seem like they might win. And then subvert a lot of that, because that's more interesting than playing it straight, and eventually playing it straight becomes so cliche that it just won't hit.

I generally do book-level plotting similar to story circle, though I'm not consistent in my approach, sometimes to my detriment. Understanding Snyder's method is helpful in the sense that it reinforces my understanding of what's important to have, what plot beats are most vital for having pleasing structure ... but I actually think that's maybe it?

I really do dislike the dogmatic approach, and really would have loved an exploration of movies that deviate hard from this approach and what makes those work. But Blake Snyder doesn't do that, and maybe is incapable of that level of analysis.

At this point in the book I'm thinking that he's a guy who can only build a single type of bicycle. He understands that bicycle really well, but not the actual mechanics of bicycles generally, so if you showed him a tandem bike or a recumbent he'd just scoff and say that it doesn't work in spite of clear evidence that it does.

[they-lived]

20 questions for writers

@theblueeyedfirebender THANKS FOR THE TAG FRIEND I LOVE YOU LOTS 💙💛💙💛💙💛

1. How many works do you have on AO3?

41! (And an additional 37 on ffn 🤪 for a total of 78 just cause I was curious what 11 years of a hobby produces)

2. What’s your total AO3 word count?

782,267… holy crap 😅

3. What fandoms do you write for?

On my page you’ll find fics for Dragon Age (2 fics), Resident Evil (3 fics), Baldur’s Gate (2 fics), Until Dawn (2 fics), Critical Role (1 fic), Fullmetal Alchemist (6 fics), and Yuri on Ice (25 fics)!

4. What are your top 5 fics by kudos?

Bloom in the Dark (Yuri on Ice)

Сонечко - Sunshine (Yuri on Ice)

What I Wouldn’t Do (Yuri on Ice)

Truth (Yuri on Ice)

Four Hidden Talents of Yuri P (And His Hidden Achilles Heel) (Yuri on Ice)

5. Do you respond to comments?

I used to not respond because on ffn you pretty much had to dm people to do so which felt weird (especially because I was 11-17 on there and did not want anyone knowing that fact even tho it was pretty obvious in hindsight) but now I respond to almost every comment I get! Fandom is a shared experience and I want to communicate more!!!

6. What is the fic you wrote with the angstiest ending?

Lessons I Learned From Loving You Alone (Dragon Age) ~ Loghain’s wife had a really tragic life in my brain and I leaned in HARD

7. What’s the fic you wrote with the happiest ending?

I almost always do angst with a happy ending but I think the happiest is a toss up between Сонечко or As The World Begins to End (which is my resident evil meets pride prejudice and zombies mash up)

8. Do you get hate on fics?

I wouldn’t call it hate necessarily but weirdly I get a lot of discourse around Yuri P being Ukrainian but like… I have always written him this way and I always will lol. It’s a part of my brand at this point. For the most part they’re pretty tame comments tho

9. Do you write smut? If so, what kind?

Yep! Most of the time I use sex as a way for characters to express their indescribable inexplicable connection or just to explore a couple in their most intimate moments. I love smut with funnies too so I try to throw that in there… also yes I do write porn without plot just because I want to lol.

10. Do you write crossovers?

Not really. Closest I got to was As the World Begins to End, which is Resident Evil in a similar world as Pride Prejudice and Zombies, but the zombies and lore were still RE based. It was more inspired by than anything else.

11. Have you ever had a fic stolen?

Back in the day someone wrote a fic “based on” one of mine but they just changed the names and nothing else. I still laugh about it because like… what an odd thing to do.

12. Have you ever had a fic translated?

Yup! Into Portuguese, Japanese, and Russian! It was very cool and they were so nice!!!!

13. Have you ever co-written a fic before?

Nope but I’d be down!

14. What is your all-time favorite ship?

Don’t ask me that my stomach hurts (it’s probably Everlark or Jasper or Otayuri or Royai don’t make me choose~)

15. What’s a WIP you want to finish but doubt you ever will?

I never say never but golly it’s been hard to keep writing I Will Carry You idk why I really lost steam on it. I also have a fic I’m literally 25 pages deep into that was supposed to be a bit fic that I have not posted but WANT TO FINISH SO BAD

16. What are your writing strengths?

I think I’m super good at eliciting the specific niche emotion I’m looking to express and hitting the exact topic I want to address. When I want something to be heightened and funny I nail it, when I want something to be bone deep nostalgia I’ve got it. That part is really fun for me personally.

17. What are your writing weaknesses?

I. Hate. Describing. Scenes. And. Action! My theater of the mind is pretty garbage so when I have to exposit what something looks like I cannot for the life of me enjoy it. My brain shuts off and on autopilot I go.

18. Thoughts on writing dialogue in another language in fic?

Even though I am bilingual I still get nervous doing this. Mostly because I’m smol and embarrassed but also because I really have to decide what the purpose is. I love having multilingual characters I grew up on the border between the us and Mexico and I have constantly been surrounded by multilingualism and generally think it’s dope. But I prefer to write the dialog in italics if it’s in another language so my audience can immediately understand what’s going on and have the full picture. If I don’t want them to know what’s being said I simply gloss over it lol

19. First fandom you wrote for?

*Glances wearily at my self insert Harry Potter fic I wrote when I was 12 and had the audacity to post on ffn* … uh… Hunger Games

20. Favorite fic you’ve written?

Changes by the day honestly but the top 5 are as follows in no particular order:

- As the World Begins to End (p&p will ALWAYS take me out you guys)

- Сонечко (the way I trauma dumped in this one is still so raw and so relevant. The fact that family and love really does win OUCH)

- An Ode to the Daughters of Darkness (first and only attempt at a more poetic style and some of it really holds up)

- Idioms and Idiots (idk I feel like I could turn this into a whole novel it’s wholesome and funny I smile the whole time I’m reading it I love her)

- Long May You Reign (I have reread this bitch so many times since she’s been posted I love the chaos the funnies and the feels. Idk man I just have an insatiable craving for Royai to be parents and this makes me laugh while writing it)

Tagging @masterdisastre @lou-is-lurking @kaleidodreams @weeheilandcoo and anyone else who wants to ✨✨✨✨

[muirmarie]

mcspirk month mYEAR planning post

idk if anyone likes these (these being planning posts), but here, it feels weird to have it tucked away in my notes when my BTHB and mcspirk bingo planning posts are on here, so. anywho. you know the drill: this is just me rambling, feel free to ignore!!

the bolded are those i still don't have a plan for <3 - as per my usual these are all tos unless otherwise noted

Day 1: Forced Proximity (“this isn’t a blessing,” mccoy hisses. “one day,” the king says, “you’ll see that is it.” - the one where spock and kirk cannot get more than an arm's length away from mccoy for 30 days w/o causing him debilitating pain)

Day 2: Touch-starved (spock and kirk cuddle mccoy out of touch starvation - this is like 75% done, I just need to finish it)

Day 3: Only One Bed (established mckirk to mcspirk. um. very nsfw. by far the most nsfw i’ve ever even considered writing lmao. currently sitting at almost 12k, probably will be around 15-17k all told. i don't even know how to describe this. kirk aggressively helping spock play gay chicken with mccoy until mccoy finally believes spock wants both of them, idk.)

Day 4: Hand Holding (maybe the one where spock & kirk slowly gaslight mccoy into holding hands with them - yes the tags are spones but i am very certain kirk would be very happy to gaslight mccoy into hand-holding as well)

Day 5: [hurt comfort or against a wall (no story planned)]

Day 6: Protective McCoy (no story planned *eta - actually i think i am going to take the one elian assigned me w/o even asking me lmao, where mccoy drinks the poison meant for kirk, but don't tell him that)

Day 7: Hand Kink (the one where spock is cucked w/ hand sex lmao)

Day 8: Public Display of Affection (would you still love and/or employ me if i was a worm?)

Day 9: Spock is a Hopeless Romantic (the flirty spock one probably?)

Day 10: [Hands or a bonus (no story planned)]

Day 11: Fuck or Die (vulcan sex magic hanahaki, this is, like. I have elements of it, but it’s not nailed down yet quite how it works. it's a vulcan disease but naturally mccoy's the one who gets it.)

Day 12: Aliens Made them Do It (the plato’s stepchildren one - i've been poking at this one since. like. january lmao. it's maybe 30% done, but it's not gonna be super long, i'm just slow with it. it is. hm. not a fluffy story. the platonians decide that mccoy simply needs to learn to say yes to them. how helpful they have spock and kirk around to help underscore the point.)

Day 13: [time loop or sex in a three way body swap or a bonus (no story planned, BUT do I really wanna write another time loop fic and/or can I really handle writing another smut fic lmao. If I did do time loop tho it would be the one where Kirk refuses to leave the time loop until he can solve the no-win scenario, i just don’t know how that goes yet. The sex in a three way body swap would be the AOS mcspirkura one, probably. Or the tos spones to mcspirk one. idk idk.)]

Day 14: Tarsus IV (kirk: i always knew i’d die alone. this is....jim character study, i think? I do need to come up w/ a happy (or at least: not sad) ending for it tho. So I’m still Thinking about this one.)

Day 15: Fake Dating (the one where the royal is trying to marry mccoy in order to keep him, and spock and kirk independently decide to fake date him to save him. also sarek loves trashy romance books. background uhura/scotty.)

Day 16: Lost the Ability to Speak (bones and uhura signing in federation common sign language - yes that's vague but all i need is something to center around tbh)

Day 17: McCoy Hurt w/ Spock & Kirk Comfort (this is like 95% of what i write lmao but i don’t have a specific plot yet)

Day 18: [Jealous Bones OR Oral Fixation (no story planned but it it’s jealousy it’s not gonna be traditional jealousy, bc I’m generally not a fan of jealousy storylines (unless all parties are unaware that they’re jealous - those I find VERY funny)]

Day 19: [Kirk is Missing, Presumed Dead or a bonus - probably a bonus (no story planned)]

Day 20: Accidental Voyeurism (okay the one where mccoy wakes up and his arm is trapped underneath kirk’s head and spock’s holding that hand as he’s laying on top of kirk and making out with him. I will have to find a plot tho. a reason. a Reason. It’s not established spirk either)

Day 21: Bondage (heh established spirk discovering mccoy’s penchant for getting tied up and/or tying others up and then literally not able to shut up about their platonic friends private habits for like a solid three months. they only care platonically of course. you don’t need those other ppl to tie you up bones you’ve got us. this one’s about 10% started.)

Day 22: Mirrorverse (mirrorverse katra sharing, it’s a whole thing, this is out of my wheelhouse but i have some Ideas, but this one isn’t going to be anytime soon)

Day 23: [reunion or teasing or a bonus (no story planned) - *eta actually for teasing i could maybe do the one where spock conducts an "experiment" in a private lab where he has mccoy & kirk work on a project for him while he gets extremely handsy w/ them - he's doing a study ("study" - they're all aware this is just spock's ideal version of foreplay) about human arousal in a working environment, and they're supposed to not let him distract them*]

Day 24: Temporary Blindness (this is going to be such a long messy mccoy whump story tbh. orpheus and eurydice part two. before i can even really start it tho i have to decide on pov, because that….really affects things for this one. but i mostly know how the story goes. also not anytime soon tho, maybe not even this year)

Day 25: Praise Kink (i COULD go temporary awkward ability if i don’t want to write anything too sexy, but the planned version is, like, kirk blossoms like a bashful babe and spock is genuinely moved when it comes to praise, but mccoy turns bright red and wants them to stop? BUT they like so much the way he flushes and struggles to accept the praise that they ask him to be good for them because THEY like it, and so he’s absolutely mortified but still? allows it for them? and they of course like it because they want to make him accept it.)

Day 26: Expectations vs Reality (counseling fic! The one where spock and kirk are dating but still somehow drag mccoy to their relationship counseling.)

Day 27: Vacation Gone Awry (no story planned) (*eta actually i think i'm changing this to Voyeurism and stretching that to make it work for the spirk - they keep coming up w/ weird sex injuries until they can finally convince mccoy to come over to help them figure out what they're doing wrong....he probably needs to watch....actually maybe hands on is better....actually maybe he just needs to stay forever*)

Day 28: Awkward Spock (checking for pulse over the liver instead of the wrist because he forgets where human hearts are when jim or leonard is hurt)

Day 29: Getting Interrupted (mcspirk sexy 3d chess - that’s right they’re interrupting mccoy’s WORK lmao)

Day 30: Desperate Measures (the enemy within one that’s 80% finished where kirk’s wolf and sheep sides both have to have sex w/ mccoy while spock melds with them both, all for very important science reasons - don’t worry about it.)

Day 31: Insecurity (*eta - mccoy gets out of a LDR and is bummed, and kirk tries to cheer him up by putting his name up for the underground "sexiest starfleet officer" bracket that scotty & uhura are running, to prove to mccoy that ppl find him attractive. unfortunately it turns out the crew finds him VERY attractive, kirk is having some jealously-related revelations, spock is gonna kill jim if he has to watch mccoy get asked out one more time, and mcco is yay close to having a nervous breakdown from being turned into a sex symbol*)

Bonus 1: nightmares (look this is fucked, just trust me this is a very messy thing and it is very fucked and i have to make all my maths fit together before i write it or it will feel too flimsy and fall apart, but. kirk's trapped in a nightmare by a parasite that bleeds into the waking world (there are reasons for it) that cause physical damage to mccoy. spock melds w/ kirk to try to change the dream. this has unexpected side effects. - this one WILL be written for mcspirk month i just don't know what day i'm replacing yet.)

Bonus 2: pet names (i think i might be able to fit the kiss me/fuck me fic into this prompt but i’m not 100% sure yet - aka the one where mccoy & kirk use “kiss me” as a SFW swear for “fuck me” and “don’t make me kiss you” as a SFW swear for “fuck you” and annoy everyone around them w/ this silly in joke until one time mccoy says “kiss me” w/o thinking to spock, and spock’s just. hmm. don’t mind if i do. and kirk thinks it’s so funny he starts kissing mccoy all the time as WELL. very pre-them even realizing they want a relationship (except for spock, spock has Plans, thank you). this will be written at SOME point, it depends if i need another bonus/if it fits the prompt enough.)

Other bonuses i’d consider if i need them, but no stories planned: blindfolds, misuse of the bond, uhura helps them out.

Other vague stories i have that i could rotate until they might fit a prompt: pacific rim au, space forgetties, [number]+1 of mccoy getting kissed awake/the +1 getting kissed to shut him up, spock going through the wringer re: mccoy getting hurt (that was written spones but could easily by mcspirk), empath era katra au, post-empath spock won't stop touching mccoy, katra transfer requires a kiss, this isn’t even all of them, it genuinely is absurd how many tag spirals i’ve written like this lmaoooo /sigh 

[fuckyeahisawthat]

Hello I am here again to ask for your thoughts on A Dune Subject.

So I know we both have had thoughts re: Paul's injuries at the end of Part 2. I still don't know how they'll handle the Messiah time jump but my guess is that they'll still show *some* stuff that took place in the in between rather than just having a 12 year gap like the books...I still think the idea that they'll address his injuries feels too specific to hope for HOWEVER. However. I was glancing through that scene in the books and realized something I'd forgotten about -- in the book, Feyd's knife is drugged, just enough as an attempt to slow his opponent down in a fight (Paul's narration calls it a soporific but what he describes is essentially a muscle relaxant) and it turns out he's also got a poisoned dart hidden under his armour that he's trying to get Paul close enough to in order to stab him with it.

Now I know none of this was in the movie, but do you think it's possible it'll be alluded to somehow in the third film? Bc a part of me feels like even if they don't do it exactly it would make sense to have a nod to it even as a short lived plot point, like possibly it'll turn out Feyd's knife was straight up poisoned and this is Bad News for Paul? Idk I'm curious about your thoughts...even if they don't do it (which I'm not EXPECTING) it's A Concept for certain

I don't think it's likely anything like this will come up in the films, mostly because I don't really think it fits Villeneuve!Feyd's characterization. He seems to relish having a worthy opponent and consider himself "honorable" so I don't know that giving himself a hidden sneaky advantage would be appealing to him. And like, unless the Emperor himself is carrying around a poisoned blade idk exactly how the logistics would work.

It is, however, a GREAT whump fic concept. Or I can even see a canon-divergent AU that more or less uses Thufir Hawat's plotline that got cut in the film, where Paul got poisoned when he was stabbed, but it's a slow-acting poison and someone is withholding the antidote unless he does what they want. And wait wait it has just occurred to me that that someone should be IRULAN who knows that the Emperor's knife is always poisoned and suddenly she goes from a pawn to being in control of the whole situation. Oh that's juicy. Someone who likes writing Irulan scheming and plotting should totally write that.

I don't know if we'll see any of the intervening years between the end of Part Two and Messiah. I think we'll most likely get a prologue voiceover similar to the first two movies orienting us to what's happened in the intervening years. (I would love it if they did some sort of riff on the way the book opens, where we're introduced to the events of the preceding years by some random historian from Ix who we have NO context for. But actually now that I'm thinking about it, I think the most interesting person to give the opening voiceover is Alia.) I do think they will have to skip ahead more than 12 years, because one of the few things we seem to know about the movie is that Anya Taylor-Joy is gonna be in it, and while I think she can play a convincing-enough teenager, I don't think she can pull off 12.

[celestie0]

Hii! This is my first time messaging any fanfic author (I'm an extremely anxious person and tend to be more of a lurker LOL) I'm so sorry but this might be a long one lmfao

First of all, the way you write in general? Absolutely phenomenal!! The way you characterise and describe scenes is honestly so incredibly immersing. I've always had a relatively easy time imagining scenes in my head when reading, even with relatively little detail, but the way you word everything puts the scene straight into my head and it's such a wonderful experience!

Your characterisation of Gojo (in all your works!!) is probably my absolute favourite out of any fanfics I've read of him (trust me I've read an embarrassing amount :sob:). The way you actually capture what he feels like in canon, without making him feel super mean or cold, but still retaining that side of being emotionally repressed is absolutely chefs kiss!!

I also really love y/n in both kickoff and ihm so much. I relate to both of them in different ways, but probably more so ihm reader personality wise (might also be because I'm around the same age as her lmao). As someone who is very emotionally repressed due to trauma (especially of loved ones leaving you), the way you've portrayed those sides of reader in ihm is VERY spot on!! And I would like to add that I, for one, LOVE slow burn, so I don't mind the pace ihm is going at right now personally!

Chapter 12 of Kickoff?!?!? Holy shit I was literally sat there blushing, kicking my feet and giggling. It was absolutely hilarious and super cliché in the absolutely best way possible (I absolutely love clichés if they're well used!)

I could honestly wait years for anything you write. Never feel any pressure to churn out your writing and take it at your own pace!! My genuine first thought after finishing the latest chapter of Kickoff was that it was sooo worth the wait haha.

Personally I have an extremely hard time writing anything but angst, because I like making myself sad I guess who knows LOL But I'm sooo excited about your next work!! I absolutely love the song you're basing it off of <3

AND did I also see some talk about a potential Spider-man Gojo fic in the future??? Cos I would honestly probably scream (in a good way lol) if you ever did that, he's my alltime favourite superhero!!

Okok this is getting really long, but I found this photo of four football players a bit ago and thought I absolutely HAD to draw them as Gojo, Geto, Choso and Nanami from Kickoff (adding the art at the bottom)! But I haven't gotten around to colouring it yet (or cleaning it up considering it's just a sketch lmaoo) cos I'm stuck on how to do the jerseys. So I have two questions! I know you've explained the colours of their jerseys, but do you have any particular idea in mind of what the design on the jersey itself looks like? As in where the colours are placed specifically etc? And we know Gojo's signature jersey number, but do you have numbers for the rest of them too? (I may or may not also have a wip of a drawing of just Gojo from Kickoff too!)

I'm sorry there's A LOT of different plot points in my message??? The most important part was just to convey, hey, I love the way you write and you should definitely give yourself some more credit cos you are genuinely a really good writer!! <3 (Though I know us artists tend to be our own worst critics LOL)

hi love i’m so sorry this took me a sec to respond to!! first off thanks you so much for sending me such a sweet ask :’’’) i literally gaspeddd when i saw it

aaa i’m so happy the scenes feel immersive!! and that you enjoy my characterization of gojo aaa i’m so happy to hear that. and yes i totally relate to ihm reader’s suppression of her emotions due to trauma and lack of trust so it’s been very…cathartic yet challenging to write for her, but i wouldn’t have it any other way hahah

i’m so glad you enjoyed kickoff ch12!! i totally agree that chapter was so cliche, honestly it made me cringe while i was writing it because i typically hate cliches esp when they’re corny rather than on-the-nose, but i posted it anyways bc i figured maybe i just hate it bc i’m the author xd but it seems my readers enjoyed it so :’’0 perhaps i made the right choice

oh you are too kind. i really appreciate you looking out for me <3 tbh i’ve been feeling really overwhelmed lately, and it’s been really hard to deal with the emotions, but coming on here and seeing sweet works n ppl interacting w my stories brings me lots of happiness n i can’t thank you enough :’’) yes i will definitely take my time bahahha that i can assure you LOL and i’m so happy to know you’re looking forward to more of my works!! you’re so right about artists/authors being our own worst critics. i swear no one has been as mean to my writing as i have LMFAOOO but alas i think i’ve gotten better in trusting my direction n kinda choosing what i think is best soooo. progress i suppose? hahah

ok. now. i can talk about. THE ART?!?!?!?!? HELLO!!!!!!! OH MY GODD?!?!!?!?! ok i KNOWWW that’s it’s just a sketch so far but tell me whERE MY PANTIES HAVE GONE?!?!?!? WHERE MY CLOTHES ARE AT?!?!??!

the expression on kickoff gojo’s face has me reeling he looks so focused n sexy and THE HEADBAND PUSHING HIS HAIR UP OUT OF HIS FACE YES YES YES 100% THAT’S HOW I PICTURE IT WHEN I WRITE AAA and kickoff geto’s expression too pls i could cum (sorry i hope this isn’t weird to say lmfaooo i am also very respectfully looking at your artwork as well aaa) nanami’s hair looks so nice too

as for the uniforms hmm i know i said like gold and blue colors, i believe actual real-life UTOKYO has more of a yellowish color but i actually like gold better hence why i chose gold. but…i can imagine the whole jersey being blue and then with gold accents then white numbering?

here are some options!! like w the first one, probs sky blue fabric with the white stripes as gold instead, and then the numbers/brand sponsors or whatever are in white? they would probs have like “UTOKYO” in large print somewhere too, maybe underneath their numbers or sumn. tbh i think the middle one is the nicest, i can picture the stripes of blue and gold, and then accents in white. but the third one also works too!!

as for numbers hmm. ok yes gojo is #10, geto is #7, choso is #4 and nanami is #24 :0 that sounds…about right! LOL i hope i don’t have it somewhere in the other chapters that they are different numbers although i don’t think i’ve assigned the other boys numbers before

BUT I HOPE THIS HELPS AND THANKS SOSOSOSOSOSO MUCH FOR DRAWING FANART INSPIRED BY MY FIC!!!! I AM SO HUMBLED BY YOU AND I’M SOOOO EXCITED TO SEE THE FINAL DRAWING BUT ALSO NO PRESSURE AAAAAAAA

so much loveee <333