#and if i do add things from it they generally are character building things

[jollyhunter]

This feedback of you @lamentationsofalonelypotato, still makes me so happy 🥰😭 And my senile (you'll see once you crack the 30s) brain made me think I had reacted to this weeks ago.

Apparently it was all in my head.

OH LOOK OVER THERE *throws red herring*

Okay, okay, enough with the peep show - eyes on me now - back to business. 🤨

First I just want to say the "It's Ok. Writers Should Be Strange" is the best thing that I've seen this week and it is SO true.

ME TOO. I was looking for fitting quotes for the writer's block but when I stumbled across this one, it just spoke to me on a deeper level and I just had to add it.

Secondly… Thank you so much for tagging me in this, because it is LOVELY! I definitely needed Dean to help talk me through my writer's block and cheer me up 😭🥰 Thank you for your service- for literally writing this for all the writer girlies with imposter syndrome and writer's block who needed this today 🫡

In my head this quote fitted better lmao. I am happy it managed to cheer you up!! 🥰 It sure helped me writing it haha. Guess all those 'write what's on your mind' advices aren't too bad.

This is just a little thing, but whenever someone includes the word "audacity" in a fic I fall in love with them so congratulations 💐

LMAO I love the word as well. Funny thing is, I used to think it has something to do with sound because I only knew the word from the sound program 'Audacity' (like 10 years ago). Also the reason why I'd pronounce it as 'Auda-city' , 'cuz audio, right? 🤣😭

Yep. This is it. The travesty of writer's block- having it all in your head and not being able to actually put any of it to paper. And the writer's block (for me) only worsens when the frustration builds and builds being unable to write anything down. It's just (throws chair through window) just (starts aggressively peeling potatoes) just (eye twitching) just (slams on the keys) so annoying lol 😒

NOW YOU'RE KILLING ME 🤣 love how we're going from 'throwing a chair through the window' to something passive aggressive as 'slamming on the keys' 🤣 SO TRUE THO!

Also the "constipation" jokes are beautiful lol- I'm pretty sure that's the first time anyone has ever said that about constipation in general, but I am without shame 🤣 LMAO

Glad the joke worked, because I was hesitant about using the word in this context. LOL

I'm also not sure if i've told you this before, but I really like the way you write dialogue. In this it was a perfect combination of flirting and banter and it was just chef's kiss. It all seemed really realistic and I absolutely loved it!

No one has ever told me this before 🥺 - you're making cry over here 😭😭😭 Thank you so much!!! Writing dialogue's always been a bit daunting to me, mainly because I'm afraid I won't get the character's speaking style / accents correct, so hearing this means so much to me! 🧡

BUT OH MY WORD! I loved this one! The idea of writer's block being a "curse" was so imaginative and honestly just what I needed to make me feel better about my current writer's block curse 🤣😭 And also made me want Dean to waltz in to relieve some of that frustration 👀

You're very welcome 🧡 and oh yes, Dean would need to take his time in order to rid us of all that frustration 🤭

⋆ ˚｡⋆ PAIRING Dean Winchester x Writer!Reader [Early seasons vibe]

WARNINGS None! No use of Y/N. English isn't my native language.

⋆ ˚｡⋆ SUMMARY You're in your favourite diner; Got your coffee, breakfast, laptop in front of you. It's the perfect time to write. If it wasn't for the writer's block that's holding you in a chokehold. Oh, and the guy who has decided to join you.

⋆ ˚｡⋆ WORDS ~2k

⋆ ˚｡⋆ J/NOTES This silly little thing's dedicated to all my moots who’ve fallen victim to the writer’s curse just like me. I feel you. We can do this!! We can break the curse!!! 🫂

"Doesn’t suit you." A playful voice snaps you out of your thoughts.

"..Huh?" You look up just in time to see a well-worn leather jacket brush past your shoulder.

The booth seat across from you is being filled as a stranger slides in. A plate in one hand and a spoon in the other. Your eyebrows rise, and for a moment you debate whether to tell him the seat is taken.

But the guy doesn’t seem to notice your thoughts. He’s busy ogling his food, humming a curious ‘hm’, and then shoving a spoonful of cereal into his mouth. All the while he continues to mutter, his words now half muffled, "That thing you’re doing to your face."

You blink at him.

He puffs his cheeks, and green eyes travel up to meet yours for the first time, "Makes you look like the Grinch." His lips quirk into a smirk.

What? The audacity.

You stare at him with a deadpan. "Thanks for the compliment." He continues to chew, the flakes crunching. Accompanied by a content hum. Well, at least someone’s enjoying their breakfast.

"Just sayin’." He purses his lips before he eats another spoon, his cheeks stuffed like a chipmunk’s and an eyebrow arched. "What’s up with the face, sweetheart?"

"Uh," - is all you can manage at the moment. Too distracted by the way he's guzzling his yoghurt like a starved caveman. All eyes fluttered closed and nodding to himself like he's thinking ‘Finally, some good fucking food’.

He swallows. Tongue darts out to swipe a white dribble off his upper lip. When his eyes suddenly snap open, you avert yours in record time.

Your gaze's now fixed to the edge of the table, as if it’s the most interesting thing in the room. Left and right of it an elbow each. Of course you had to drop your gaze right between his arms. Well, this is awkward.

"You working on somethin'?" He suddenly asks, and you startle like a deer.

Your lips part - ready to form an answer - when you watch him splotching your notebook in slow-motion.

Your eyebrows twitch in irritation. You dart out a hand, just managing to pull your papers back before another dribble of his slobber taints your notes.

"Dude, please, you’re eating like a barn animal," you comment under your breath, face scrunched up as you wipe the stain off your paperback. Way to lose ones charm.

"But a handsome one," he quickly retorts. And stuffs another spoon into his wide grin, swallows and jerks his chin at your laptop. "So?"

Okay, fine. Maybe he still does have charm.

Your eyes follow his gaze down to the screen facing your way.

"I’m writing," you reply flatly, trying to hold his curious gaze as you tuck your papers safely under your forearms.

His expression flashes into a surprised one. Probably more at your tone than the answer itself.

Granted, the words 'I'm writing' should have come out enthusiastic. They at least used to. But that was before you’d been staring at a white screen for what felt like weeks.

"Uh-huh," he mumbles, the sound muffled as he keeps shovelling the muesli down his hatch. "Can I see?"

"W-what?"

How- how dare he? Only an uncultivated potato would ask that. This is like the biggest No-No. One does not simply ask a writer to look at their unfinished work. You don't stare at a painter when he's still painting. That's like asking someone to strip naked. And then have them bend over.

Let’s ignore the fact that there’s not a single written word to be ashamed of. Because there’s literally not a single written word in your doc.

"No." The answer probably came faster and more obvious of your inner panic than it should have, because to him it clearly translated to; 'Oh? Then I‘ll see it all the more.'

"Aw, c‘mon." His teasing grin spreads, the spoon tipped against his lower lip, "I won‘t judge." Damn it, why does he look kinda adorable?

Before you can react, the guy clamps the spoon between his lips, reaches over the table with his free hand and tilts your laptops screen back down.

"Hey!" you smack his hand away but it‘s too late - his grin just grows and he chuckles.

"Writing, huh? You mean you’ve been staring at a white wall. Here I thought you were writing some spicy stuff about me. What’s all the fuzz about?"

"I- I'm just... I'm still thinking..." you mutter and avoid his gaze behind a hand, trying to cover up the slight tint of embarrassment that’s crept onto your face. "I've got it all in my head, though." You try to back up your answer. He tilts his head back with a chuckle.

"All in your head, huh? For how long this been going?" he quips, lips twitching amused.

"Well, uh-" you begin, then clear your throat with an awkward rub of your neck, "A few days... or... weeks... maybe..." Your voice lowers more with every word until it's reduced to a sheepish whisper.

"Damn, that sucks." he huffs.

"Yeah," you admit with a heavy sigh, "It does."

For a moment you just share a look. His green eyes watch you closely. Calm and curious. But without ever being obtrusive. More like he's trying to get a read on you, like he's patiently waiting, allowing you to open up and reveal more.

And for some reason you find yourself to do just that.

"It's so frustrating, you know?" You begin and slump back in your seat. But he holds your gaze, the entire time and nods subtly, silently telling you to go on. "Like I've got all the ideas in my mind. I can see the scenes play out, can hear the characters talk. But the same moment I try to write it down, it all just-" you break off with a huff, gesturing a 'poof' with your hand.

After a moment, you add another frustrated sigh. "Honestly? Feels like the damn pipeline between my brain and hand's constipated." His eyebrows shoot up at that description.

"You’re an odd one," he laughs and sets the emptied plate down, "I like it."

"Pfff - look who’s talking. Mister 'handsome barn animal'." You jab and can’t help the chuckle. He smirks satisfied at your reaction, tugs at his leather jacket and winks at you.

You roll your eyes with a wide smile.

"What's your name?" You ask curiously.

"Dean," he answers simply. Then leans forward to rest on his forearms, "And you, sweetheart?" Your ears flush when he comes closer and you suddenly become very much aware of the effect his intense gaze has on you.

"I- uh, I'm -" you introduce yourself with your name and he repeats it with a smile, like he's committing it to his memory.

There's a moment of silence again and you don't quite know what to do or say - luckily he seems to have picked up on your inner distress.

"So," he begins, his face suddenly taking an air of - what was it? Business-like? Professional? You couldn't quite tell. "Back to your constipation."

"Yeah? What about it? You interested in my constipation?" You return the question, trying to imitate his new tone.

"Y-yeah," He tries to stay serious, but you both have to bite back a chuckle. "I am, actually."

"What about it?"

"This may sound stupid, but..." He mutters and rubs his forehead like he knows the question that'll follow isn't formulated very well, "Can’t you just, write? You know, like will it through?"

"No- That’s not how it works... it’s - it’s not that damn easy- it's - you don’t understand… It's not that I don't want to. I - I just - ugh-" You groan, face dropped to your hands.

You take a deep breath. The frustration of the past weeks threatening to break down on you again. Your eyes begin to sting and you screw them up in an effort to keep yourself from having a full on breakdown in front of a stranger. In a full diner no less.

"Hey, it’s okay, I believe you." he says with a lower voice now, the flirty attitude gone. The sudden change in his tone and his last words catches you off guard.

Your eyebrows pull together and you lift your head just enough to meet his gaze over the edge of your screen.

The air gets caught in your throat when you notice how close he is. He’s leaned across the table, emerald glinting pools searching your face for a trace of an escaped tear. His hand twitches but he puts it back down before it brushes yours.

"Don’t beat yourself up over it. It’s not your fault, ‘kay?" He murmurs. Almost like he’s sharing a secret with you.

"What? What are you talking about..?" And your voice drops to an equally low level to match his.

"You’re doing great, sweetheart. Trust me." He reassures you but avoids your question with another cheeky smile.

Although this one seems different. Genuine. And soft at the corners.

Unfortunately you don't even get to fully take it in when he's suddenly up on his feet. His eyes dart around the diner before they return to you, a hand raised to ruffle through his dark blond hair.

"I gotta go," he mutters, his attention suddenly drawn down to his empty plate, "Ah - Could you pay for that? You're a real sweetheart."

"..What?"

He doesn't wait for your answer as he slides out of the booth and rounds the table. When he's next to you, he stops for a moment and leans in.

"Oh and - Don't do anything stupid, okay?" He whispers. Then straightens his back again, throws you a flirty wink and a wave of his hand while he bounces off with a casual, "See ya~"

"Uh-" your gaze follows him, perplexed, before you echo his words under your breath, "Yeah... see ya."

You kinda hoped you would.

Wait- why would you do something stupid?

The diner door jingles when Dean steps outside. After a glance left and right, he walks towards a taller guy. He looks not much younger than him, but longer brown hair frames his face, his focus on the papers in his hands.

When their eyes meet, Dean jerks his chin at him and he follows him round the corner and out of sight of the diner.

"And? You got a lead?" He asks hopefully.

"Yep." - He pops the ‘p’ - "Looks like it's our lucky day, Sammy. I think we've got our patient zero." Dean takes charge and heads over to a black Chevy, his hands fidgeting in his pants pockets for the car key.

His bow legs bounce off the concrete floor while Sam follows him with long strides.

"You think it's a deal gone wrong? Or maybe some sort of black magic that backfired?" Sam thinks out loud as he flips through the journal in his hand.

"I don't know man. She seemed pretty clueless to me. Maybe Bobby was right, and it is a curse." The car lock clicks and the trunk flings open.

He pulls out a shotgun and props it up against the lid before he starts rifling through the various contents. "I don't even know what I'm looking for." He sighs.

Sam rubs his temple with equal frustration, "Great. How the hell do we get rid of a writer’s curse?"

"Beats me." Dean huffs, then tosses a set of wooden stakes aside and leans back to run a hand through his hair, "Maybe we should call Bobby again…" - he turns to flash a boyish grin at his brother - "...and then check her out some more?"

Sam groans, "Dude, can you not think with your dick, for two seconds please?"

"What? She’s cute. Plus, she’s got that whole ‘tormented soul’ vibe."

"Seriously? Chances are, that she’s the cause for all of this crazy crap that’s going on this city."

Dean’s smirk doesn’t falter. Instead he shrugs his shoulders unperturbed, "Let’s pay her a visit tonight. If she turns out to be a witch, we just gank ‘er."

"Dean," Sam scoffs and drags a hand down his face, "I know that look." Dean wiggles his eyebrows.

Sam shakes his head, followed by an incredulous chuckle, "Come on, man, you know you can’t charm your way into her pants. She's clearly not the type for a quick fling. And you’re not exactly Shakespeare."

Dean gets the shotgun out from under the lid and throws it back into the boot. "Oh Sammy, you've still got to learn a lot about women," he says, slamming it shut.

Sam rolls his eyes when his older brother turns to pat him on the shoulder, before he takes off to round the Impala. He pulls the driver's door open while Sam does the same on the opposite side.

"Mark my words, Sammy." He laughs and points a finger gun at him across the roof. "Every girl likes it dirty. Some just don’t show it."

If you reblog, I demand at least one gif of Dean that fits the last line. Cuz I couldn't find the one I was looking for and I want to wake up to many many flirty Dean gifs 😂

Dean Tag List

@aylacavebear @jc-winchester @ambiguous-avery @bettystonewell @lyarr24

@ladysparkles78 @v1v1-3 @maddie0101 @champagnepoets @livya99

@salemslostwitch @supernotnatural2005 @lamentationsofalonelypotato (I'm tagging you for this because our talk partially motivated me to write this ♡ and to post it even though I hate it lmao 😂)

[factual-fantasy]

25 asks! Thank you! :)) 💥

How SWEET and GENEROUS he is?? ...Gorl, no.. 💔.. when I rewatched transformers prime the second time around, I had this thought running through my head during every episode I watched. Starting from episode 1,

"Okay, so I know in season 3 somewhere Knockout becomes an Autobot. I'm not sure how, but I cant wait to pick up on all the little hints and details leading up to that that make you think Knockout might not be a con/is a kind person. Like sparing someone when he wasn't supposed to, or treating someone's wounds when he didn't have to. Or deliberately letting one of the human children get away because he didn't want to hurt them. Those are all things you could make a Decepticon do to lead the viewer to think they might not be a con."

You know what we got instead? Any opportunity he's had to backstab someone, save his own skin, knock people down, hurt people, unnecessarily toy with people and upset them, get away with wrong doings and making himself look better no matter the cost to others? He absolutely took it with no hesitation.

I need some clearer evidence, like screenshots and gifs because I just do not see him as a good person. He doesn't take his job seriously or care about his patients, he just likes getting to rip people apart while being protected by the Decepticon army.

I'm not trying to start an argument or crap all over a character you seem to like- I'm just trying to say I absolutely do not know what you're talking about. I would like to have my mind changed about Knockout so I can more easily fit him into my AU as an Autobot💔So I'm open to further explanation about Knockout.

(I had planned to just completely wipe away Knockouts character and build a new personality for him because he's just Decepticon all the way to his core.)

@ardent-38 (Referencing this post)

Thank you so much! :DD And ngl that might be the only option if I wanna add Jetfire. Hmm.. I'll have to think about it..

Maybe Ravage would do that.? <XDD

Its hard to say, I can hardly remember what Gersons character is like <:/

(The gif is hidden because its not my artwork to share. Its a tall Seam grabbing a tiny Jevil by the face and yeeting him up into the sky)

They would be quite shocked and be sure to keep Jevil away from that Seam <XDD

Funny you should say that. A while ago I thought about making a comic talking about how Jangles is technically adopted because while I made the other three from scratch, I bought Jangles from a store and dolled him up.

But in the end I never finished the comic because of dried up motivation and I didn't want to give Jangles the title of "adopted". Partly because he actually lines up with other sonas of mine and sometimes looks more related to me than Bibi does. Plus idk it just didn't feel fun/right to call him that.

(Link in ask)

Bibi would be less likely do anything that annoys me. So Cici might go cause trouble with Gerald instead XD

"Why am I not on it??"

"You have no transmission.. or engine rn..."

"Oh yeah- 💀"

@florafandoms

You are right, its been so long I cant remember what inspirations I had for that comic <XD If any-

And thank you, they're gonna get tough as this depressive episode/brain fog/????/artblock gets worse. But hey I can at least try to try. 👍

Oh absolutely, with all the kids but Miko and Jack especially.

I feel like Miko never got a moment to connect with Optimus. And There was so much trust and responsibility placed on Jack that felt like it came out of nowhere. I wish he would have spent a lot more time with Optimus before that so the viewer would understand why Optimus picked him <:/

Also thank you so much! <:)))

@glitchhayden418

XDD Thank you! (?? Don't start world war 3 please💗)

I have no measurement of time when it comes to the Autobots. In human years I have no idea how old they are, how often they need to sleep, how often they need to refuel, nun of that. Do transformers even have designated sleeping times and "all nighters"??

If they do, maybe the human equivalent of 3 days..?

@badlyblurry

Prime would have been perfect if Arachnid and Breakdown had swapped places. Where Breakdown killed Arachnid instead and her remains were dragged off by MECH.

@misscherrypie (Image is from this post)

I know I should put some kind of notice thing on my phone or somewhere, but I know I wont. 🤷 I'll just forget again next year and it'll make for a funny post I guess.

And I've thought about giving them lore and making comics about them, but ultimately I don't have the motivation for that kind'a stuff anymore. At least not atm. 😔

@deimos21

I watch Markiplier and Ethan play it a little bit ago. I cant remember what the enemies were like but the little playable robots are too funny XDD

@wolfie-777

XDD "Hop". I hop your Easter was good this year too! :)

@smithanonsworld

Happy (late) Easter! :DD

Honestly fair XD

That's exactly what Bash Buggy did XDD

Ehh... I don't think so. Why would I bother talking about the fandom/series that's made me so uncomfortable? I'd rather just keep all my Octonauts artwork/opinions private.

@beryl-shade

Well for starters,,, In the humans mind they couldn't start the "car" without a key. So the bot could just stay shut down and not move until the human realized they cant start it and go away.

If they tried to hot wire the car and started prying at the plating, the bot could probably kick them out of the cab by transforming their seats and shoving them out the door with them. Then they would just drive away.

Who cares if this human runs off and tells anyone about this haunted car that drove off by itself? Is anyone gonna believe anything the whacko who tried to steal a car has to say? No reason for the bots to chase after him.

But alllllll that aside. If the human got inside and somehow "started" the car or it was already running, I can imagine the bot faking a backfire or shutting themselves down and pretending not to start until the human leaves. 👍

I have certainly heard of it, but I've never watched it <:/

AAAA THAT'S SO COOL! :DDD I hope it goes well for you! :))

(Referencing this post)

Oh yeah I forgot he did that to Bulk XD Maybe the only people he'd struggle with is Optimus, Megatron and Ultra Magnus because of their weight and fighting experience.

And I cant see TFP Ratchet ever being like that. But its crazy to hear he was like that in the comics! XDD

@silverscale (Images from this post)

Nooooo don't zoom in you can see all my coloring mistakes <XDD

[thewriteadviceforwriters]

10 Ways to Add Sizzle to Your Boring Writing

Writing that sizzles captures the reader's attention and keeps them engaged from start to finish. Whether you're an experienced writer or just starting out, there are several techniques you can use to make your writing more exciting and dynamic. Here are ten detailed ways to add sizzle to your boring writing:

1. Use Vivid Descriptions

Vivid descriptions bring your writing to life by creating a rich, immersive experience for the reader. Instead of relying on generic or bland language, use specific details that appeal to the senses. Describe how things look, sound, smell, taste, and feel to paint a vivid picture.

In Detail:

Visual Descriptions: Use color, shape, and size to create a mental image. Instead of saying "The car was old," say "The rusty, olive-green car wheezed as it pulled into the driveway."

Sound Descriptions: Incorporate onomatopoeia and detailed sound descriptions. Instead of "The music was loud," say "The bass thumped, and the high notes pierced through the night air."

Smell and Taste Descriptions: Use sensory language. Instead of "The food was good," say "The aroma of roasted garlic and herbs filled the room, and the first bite was a burst of savory flavors."

2. Show, Don't Tell

"Show, don't tell" is a fundamental writing principle that means revealing information through actions, thoughts, dialogue, and sensory details rather than straightforward exposition. This approach makes your writing more engaging and allows readers to experience the story.

In Detail:

Actions Over Exposition: Instead of telling the reader "Jane was scared," show her fear through her actions: "Jane's hands trembled as she fumbled with the lock, her breath coming in shallow gasps."

Dialogue: Use conversations to reveal character traits and emotions. Instead of "John was angry," show his anger through his words and tone: "John's voice was a low growl as he said, 'I can't believe you did this.'"

Internal Thoughts: Reveal characters' inner worlds. Instead of "Emma felt relieved," show her relief: "Emma let out a long breath she didn't realize she was holding and sank into the chair, a smile tugging at her lips."

3. Create Relatable Characters

Relatable characters are crucial for keeping readers invested in your story. Characters should have depth, including strengths, weaknesses, desires, and fears. When readers see aspects of themselves in your characters, they're more likely to care about their journeys.

In Detail:

Character Flaws: Give your characters realistic flaws. A perfect character can be boring and unrelatable. Show how these flaws impact their decisions and relationships.

Character Arcs: Ensure your characters grow and change throughout the story. A well-crafted character arc can turn a good story into a great one.

Background and Motivations: Provide backstories and motivations. Why does your character act the way they do? What drives them? This adds depth and makes them more three-dimensional.

4. Add Dialogue

Dialogue can break up large blocks of text and make your writing more dynamic. It reveals character, advances the plot, and provides opportunities for conflict and resolution. Ensure your dialogue sounds natural and serves a purpose.

In Detail:

Natural Speech: Write dialogue that sounds like real conversation, complete with interruptions, pauses, and colloquial language. Avoid overly formal or stilted speech.

Purposeful Dialogue: Every line of dialogue should have a purpose, whether it's revealing character, advancing the plot, or building tension. Avoid filler conversations that don't add to the story.

Subtext: Use subtext to add depth. Characters might say one thing but mean another, revealing their true feelings through what they don't say directly.

5. Use Strong Verbs

Strong verbs make your writing more vivid and energetic. They convey action and emotion effectively, making your sentences more powerful and engaging.

In Detail:

Action Verbs: Choose verbs that show precise actions. Instead of "She went to the store," say "She dashed to the store."

Avoid Weak Verbs: Replace weak verbs and verb phrases with stronger alternatives. Instead of "He was walking," say "He strode."

Emotionally Charged Verbs: Use verbs that convey specific emotions. Instead of "She was sad," say "She wept."

6. Vary Sentence Structure

Varying sentence structure keeps your writing interesting and prevents it from becoming monotonous. Mix short, punchy sentences with longer, more complex ones to create a rhythm that engages readers.

In Detail:

Short Sentences for Impact: Use short sentences to create tension, urgency, or emphasize a point. "He stopped. Listened. Nothing."

Complex Sentences for Detail: Use longer sentences to provide detailed descriptions or explain complex ideas. "As the sun set behind the mountains, the sky transformed into a canvas of oranges, pinks, and purples, casting a warm glow over the serene landscape."

Combine Different Structures: Mix simple, compound, and complex sentences to maintain a natural flow. Avoid repetitive patterns that can make your writing feel flat.

7. Introduce Conflict

Conflict is the driving force of any story. It creates tension and keeps readers invested in the outcome. Without conflict, your story can become stagnant and uninteresting.

In Detail:

Internal Conflict: Characters should struggle with internal dilemmas, fears, and desires. This adds depth and relatability.

External Conflict: Introduce obstacles and challenges that characters must overcome. This can be other characters, societal pressures, or natural forces.

Resolution: Show how conflicts are resolved, leading to character growth and plot progression. Ensure resolutions feel earned and satisfying.

8. Use Metaphors and Similes

Metaphors and similes add creativity and depth to your writing. They help readers understand complex ideas and emotions by comparing them to familiar experiences.

In Detail:

Metaphors: Directly state that one thing is another to highlight similarities. "Time is a thief."

Similes: Use "like" or "as" to make comparisons. "Her smile was like sunshine on a rainy day."

Avoid Clichés: Create original comparisons rather than relying on overused phrases. Instead of "busy as a bee," find a fresh analogy.

9. Create Suspense

Suspense keeps readers on the edge of their seats, eager to find out what happens next. Use foreshadowing, cliffhangers, and unanswered questions to build tension and anticipation.

In Detail:

Foreshadowing: Drop subtle hints about future events. This creates anticipation and a sense of inevitability.

Cliffhangers: End chapters or sections with unresolved tension or unanswered questions to compel readers to keep going.

Pacing: Control the pace of your story to build suspense. Slow down for crucial moments and speed up during action scenes.

10. Edit Ruthlessly

Great writing often emerges during the editing process. Be willing to cut unnecessary words, tighten your prose, and refine your sentences. Editing improves clarity, pace, and overall readability.

In Detail:

Cut Redundancies: Remove unnecessary words and repetitive phrases. "In my opinion, I think" can be reduced to "I think."

Focus on Clarity: Ensure each sentence conveys its intended meaning clearly and concisely.

Proofread: Check for grammar, punctuation, and spelling errors. A polished manuscript reflects professionalism and attention to detail.

[3hks]

How do I write a character to be a little mean and surly but with hints of softness, without making them annoying?

Ahaha, hello! When I saw your ask, I immediately jumped on it because it's such a fun question! I present to you...

How to Write a Surly (Yet Soft) Character Who ISN'T Annoying

Mean For a Reason + What Makes Them Appear Mean

One thing that is incredibly important when writing characters with a "worse" personality is considering what shaped their personality. Your character should not be rude just because you want them to. Add some background and context to their attitude. Oftentimes, this rudeness serves as a defense mechanism.

Additionally, consider what makes your character appear mean. Do they bully people? Are they inconsiderate of others? Or perhaps do they simply state the truths that people do not want to hear? A "mean" person can look like many things, and not all of them are stereotypical bullies.

Apologies

One of the best ways to showcase character development (in this case, it might be revealing some softness) for a surly character is through apologies.

Having a character who's normally stuck-up, rude, and/or inconsiderate genuinely apologize and realize their wrongdoings is a HUGE moment. It might not cause a monumental shift in the story, but it demonstrates that they feel guilty, responsible, and that they care enough to overcome their pride to apologize.

Awkward, Not Reluctant

A common thing I see when authors write a poor-tempered character apologizing, for example, is that they often seem very reluctant to do so. While the reluctance does make sense because they're doing something they are unfamiliar with, it becomes one of those things that can get annoying when overdone.

So instead of making your character too reluctant to do something nice to someone else, make them more awkward. Reluctance creates a sense that the character doesn't exactly want to be there but is doing it, nonetheless. Although it can seem charming, you don't want your character to appear to be forced to be kind.

However, if you make them more awkward/nervous when apologizing or helping someone, you demonstrate that they WANT to be there, they're genuinely putting effort into trying, despite it still being something that's out of their comfort zone. And honestly? That looks way better.

Avoid The Irrevocable Point

Before I start this, remember that all of these points are my opinion, and this is definitely one of them. If you disagree, that's alright! You're never obligated to listen to everything I say, and many things depend on context!

When writing a poor-tempered character, it's easy to get carried away. Despite that, I suggest being careful about the actions they take. No matter how rude they are, they should not go past a point that's irredeemable for them. Now, this point depends on many factors, but as the author, hopefully you can tell. It's just generally harder to rebuild their reputation as a character and any attempts to do so later on may seem insincere when trying to fix a mistake that's simply too bad to be fixed.

Subtle Actions

Realistically speaking, it's hard for someone to admit something they're uncomfortable with admitting. This applies to your character: verbal forms of kindness are often more difficult for "mean" characters to express.

Thus, I suggest using small, subtle actions to show that they care. It doesn't have to be saving a child from a building on fire or even helping an old grandma cross the road. It can be something like paying for a friend's meal without asking, leaving a bottle of water on an athlete's bench, or just listening to someone.

Pattern of Softness

A surly character is, by definition, not the nicest person, and they are definitely not going to be nice to everyone, ESPECIALLY in the beginning.

What makes your character feel empathetic/sympathetic towards someone? It could be an event someone went through, a few key traits, or their general personality that makes your mean character turn soft. They will not be soft towards everyone, but they might act nicer to those that fall into those specific categories.

It might help to remember that we tend to feel bad towards people who have experienced something similar to us. If it's not something we can't relate to very well, we'll feel less sorrow on the other's behalf.

Don't Make It Forced

When I say "don't make it forced", I mean it in two ways.

For starters, please don't force your character into being extra rude or being nice. You want it to be as natural as possible; remember that you determine your character!

However, I also mean that you should make your character feel forced to be nice. If they wish to correct past mistakes, then yes, there should be solid motivation, but don't force them into feeling like they have to change.

Remember: the key to all this is genuity. An annoying character, no matter their trope, often appears annoying if they lack sincereness.

I hope this helped!

Happy writing~

3hks <3

[starry-bi-sky]

Just as it was in the air, the drive to wherever they're going is a mess of orange-streetlight smeared blurs and rapid-passing buildings. Danny keeps his head rested against the door, forehead pressing against the cold window, and breathing slowly through his mouth.

From his unfocused peripherals, the man -- of whom with the passing lights, Danny can see is dressed as... some kind of bat? Honestly, not the weirdest thing he's ever seen. -- routinely keeps glancing over at him. He's never seen someone grip a steering wheel so tightly.

"Do you know what your godfather poisoned you with?" The man eventually asks, his voice just as soft and raspy as it was in the air.

It takes Danny a moment to realize he spoke at all, his brain sluggishly catching up to his ears. "Hrm?" He blinks, lifting his head. Danny regrets it immediately, his vision swims nauseatingly and blurs dangerously. He rests his head again. "Oh. Y'h. A flow'r called blood bloss'um."

They pass a streetlight, shining just enough light that Danny sees the Bat-Man's lips purse. Danny's mouth opens, but he makes no sound, his mind trying to find the words he's looking for. "I'z- it's extinct."

He huffs a laugh just as the man snaps his head to look at him, regretting it with a sharp cough and a feeling of dust in his lungs. Weakly waggling his fingers to make jazz hands, Danny slurs; "Shcience."

A coughing fit overtakes him then, and without the adrenaline of flying and running away from Vlad to distract him, the ache and burn of consistently coughing returns and hits hard and sharp. He's been stabbed before, and somehow this still hurts more.

(Well, one is being stabbed. The other is the result of a toxin made from a flower specifically evolved to eat ectoplasm. Something Danny is 50% made of.)

Whining low and through grit teeth, Danny turns and curls back up into the corner of his seat, arms boxing over his head as if that will make him hurt less. Tears spring into his eyes, and he tries to use the feeling of breathing to distract himself.

If he's still breathing, everything will be okay.

Wherever they're going, he hopes they get there fast.

----

("You're a hero, right?" The boy said, but the way he said it made it sound like he was only asking as a formality. That of course Bruce was a hero, it was obvious.)

(He didn't know how to tell him that no, he wasn't. Then he didn't have the time.)

Bruce's hands would be shaking if it weren't for the white-knuckle grip on the car's steering wheel. Every time he focuses back on the road in front of him, his eyes are drawn back towards the boy coiled like a ball in the passenger seat.

He can't tell if it's rage or fear that's making his arms tremble.

The boy -- Daniel, if the voice of his godfather was to be believed -- is small. Bruce could wrap his thumb and forefinger around his wrist, and he's positive they would touch. A waifish, slip of a thing, and Bruce thought he'd been small as a child. His clothes -- simple, unremarkable; a hoodie that hangs off his shoulders and a band shirt he doesn't recognize -- look too big on him, and Bruce wonders if Daniel even knows he's shivering.

This was not how Bruce thought his night would be going -- he was following a lead on Falcone and his people. Now he was rushing back to the cave with a boy who couldn't be any older than fifteen, a boy who was dying of poison because of his godfather.

Hurt and fury bubbles beneath his ribs.

(Who does this to a kid?)

He glances at Daniel again. Messy, sweat-slicked black hair clings to his forehead, and gathers around his ears. It looks like it hasn't been cut in months. He's unnaturally pale, and Bruce isn't sure if his paleness is from the poison, or his natural color. It highlights the dark circles beneath glassy blue eyes, peering unfocused and teary out from lidded eyes.

The blood dripping off his chin is damning and stark against his skin. Some of it is half-dried against his cheek, but most is a horrifying dark red and wet, staining down his throat and into his shirt. Every time the boy coughs, Bruce fears that blood will spill from his mouth next.

He breathes in shakily, and swerves around a left corner. The boy moves with the momentum. Bruce throws his arm out to catch him, and keep him in his seat, the boy jerks, and grunts quietly.

Guilt turns the back of Bruce's neck red. That, and embarrassment. "...Apologies." He murmurs, retracting his hand quickly. Daniel blinks slowly, Bruce nervously keeps an eye on the unsteady rise and fall of his chest.

He's pulled away when, much to his surprise, the boy smiles. It's weak, barely even there and trembling like the rest of him, but glazed in fondness. "S'ok'y." Daniel mumbles, blood sticking to his mouth as he slumps back into the corner. "M'dad drove the same way."

...There were a lot of questions there. But the hurting, discomforting squeeze of Bruce's heart turns his tongue to lead. His throat swells shut, grows a cancerous lump, and keeps his lungs thick. "..Hh."

(What does he say to that?)

A silence, ugly, falls over them again for a few minutes more. Bruce should keep the boy talking -- it's confirmation that Daniel was still alive, still breathing, Bruce hasn't failed yet -- and yet, he can't think of a single thing to say.

They're coming close up on the cemetery, Bruce turns down the road leading to it. His eyes flick to Daniel again. The boy is staring at him, the sickly yellow streetlights catching shadows on his face, leaving a glow lingering in his eyes.

(In his lazy eye, his mind tricks him into seeing a corpse. Bruce suppresses a flinch, and looks over again.)

(Daniel is still breathing. Good. Good. Good.)

He breathes in shakily, something dark and angry rearing its head once again. Who does this? Who does this? He grits his teeth, biting back the scowl pulling on his face.

("You're a hero, right?")

(No, but for now he can pretend he is.)

----

They end up in a tunnel somewhere. Danny's not quite sure where, but the road gets bumpy and the uncomfortable, rough jostling brings a groan out from him. His eyes pound in their sockets, the discomfort ricocheting to this temples and circling to the back of his head.

His head lolls, and Danny shoves it back against the seat with a thud, ignoring the dull pain it rings through his skull. "Are w'there yet?" He asks, blood spilling into his mouth that he tiredly tries to spit out. He's done with drinking it instead.

The numbness he'd been so graciously left with was starting to fade now, returning back to a burning, rhythmic soreness spreading through his limbs. It clustered up around his joints, feeling like pins and needles in his fingers and down his spine.

Bat-man guy grunts shortly, shifts the gearshift into a new position, and glances over to him for the nth time that night. "Almost."

Almost. Almost was... good? Probably. Hopefully. Danny doesn't give a response, just nods mutely.

The car comes to a stop some minutes later, parked in a wide open space with LED lights spread erratically through the floor that hurt Danny's eyes.

Bat-Man barely has the car in park before he's flying out of his side. If Danny didn't know better, he'd have thought the man had phased right through the metal. That's not what happened, and he watches the guy zip around the front of the car to his side.

He's barely understood that he's even gotten out of the car before Bat-Man has Danny's door open. He jolts involuntarily, sitting lame in his seat as Bat-Man gets him unbuckled and pulled out of the car.

The lights are still painfully bright in Danny's eyes as Bat-Man pulls him out, and he whines involuntarily, tilting his face inward to hide it against the armor-weave.

"--sleep at a reasonable-- dear god! What happened!?"

Oh, forget the lights. Danny turns his head and braces against the brightness -- and his tilting, whorling sight -- to see who else was here. He sees an older man with a cane standing near one of the tables.

"His godfather poisoned him." Bat-Man growls, Danny nods heavily. "I need my antidote kit. Alfred, I need you to stay by him, make sure he doesn't start choking if he throws up."

The older man -- Alfred? Scoffs, and when Bat-Man passes by he follows after him. "As if you need to ask me. But where do you even plan on putting him?"

Without answering, Bat-Man shifts Danny until he's being held in one arm, and then approaches a metal table covered in nuts, bolts, and half-finished gadgets and gizmos. Without blinking, Bat-Man uses his free arm to shove it all off the table with a crashing, clattering, banging sound.

Then he lays Danny down.

The metal is freezing, sinking through the fabric of his jacket and shirt, and Danny turns his head to watch Bat-Man. In the process, he catches a glimpse at Alfred's expression -- and the sheer exasperated affront written on his face forces a laugh out of him.

Bat-Man's hands still from where they're tilting him onto his side, and Danny covers his mouth with his hand to stifle his giggling. "Sorry." He says, trying to catch his breath. "th'look on his face was funny."

The Alfred man sends a look at the Bat-Man when he glances at him, one eyebrow arched, before stepping over as Bat-Man gets Danny full on his side. Bat-Man disappears down somewhere, his footsteps echoing through the room.

"I hope he knows that he'll be picking all of this up when we're done, because I am certainly not." Alfred says stiffly, procuring a pristine handkerchief out of thin air. One of those nice looking ones that are probably made of like, butterfly silk.

Danny almost smiles, but Alfred starts reaching for his face, so instead he suppresses a flinch. There's a pause, before Alfred's hand glides over his cheek. Despite the callous padding on his palm, his touch is resoundingly gentle.

He cups Danny's jaw, and starts wiping the blood from his face.

...Oh.

Danny blinks uncomprehendingly up at him. He hasn't felt an actual affectionate touch in months. Vlad tried to be, but every touch to Danny's skin felt oily; disgusting. Danny wanted to scrub at the spot every time he pulled away.

So this was like warm sunlight on his face, and he hums low and pleasantly. "Tha'feels nice." He mumbles, relaxing unconsciously.

"I would hope so, young man." Alfred-guy says, folding his already blood-stained handkerchief in half for a cleaner square and moving to clean the blood from his throat. "All this blood couldn't have felt pleasant."

No, no, Danny thinks slowly, not that part.

"May I ask for your name?" Alfred asks before Danny can correct him. "It's not every night that the young master brings someone back with him."

Danny stares. "Danny." He says, "Mnh... just Danny. M'godfath'r calls me Daniel, an' he poisoned me."

Alfred nods, and pulls his handkerchief away. It was stained right through with blood. Danny cringes with shame. That probably won't come out. "I wish we were meeting on better circumstances, Mister Danny. It's a pleasure to meet you."

His good midwestern manners kicks in, and Danny nods curtly. HIs head spins in revenge for the movement. "Y'too, sir."

Bat-Man reappears in that moment, clearing off a space on the table across from them with a kit of various bottles and vials and other doodads that Danny's too unfocused to recognize.

He watches him yank off the vambraces wrapped around his arms, and then the gloves on both his hands. Alfred brushes the hair off his forehead, gathering Danny's attention again.

"If you don't mind, how did you two meet?" He asks, Bat-Man glances over his shoulder at them both, but says nothing. There's a clattering of bottles before he bounds off again down a tunnel. Danny takes that as his sign to explain instead.

"All'y." Danny says, shifting when the pressure on his shoulder grew too uncomfortable. His stomach flips, and he freezes in place to breathe in slow. He swallows dryly when the nausea passes. "Um-- I w'z runnin' from Vlad, an' I saw him in one 'f the alleyways."

Bat-Man reappears again with more things, and starts messing around with his collection of bottles and tubes and whatever -- probably to fix an antidote.

...Would he even be able to make one? Fuck, Danny hadn't thought of that. Blood Blossoms interact with him differently.

He forcibly keeps his breathing even, and zeroes in on Alfred. "I thou' he was a hero, n' I was right. He is." He smiles, and Alfred's expression softens out.

Danny breathes in sharp, pain ricocheting up his spine. "He's-- mine, at least."

I am loudly pushing the batdad agenda i am loudly pushing the— DPxDC Prompt

“Woah. You look like shit."

Granted, that’s probably not the first thing Danny should be saying to the guy that just bit the curb, but in his defense; he’s not running on 100% right now either.

The man -- tall, towering, and broader than Danny is tall -- whips around on his heel, black frayed cape flaring out impressively. Danny would've whistled in appreciation, but he takes the time instead to wipe the back of his hand across his mouth, smearing the blood running from his nose across his cheek.

"Sorry." He blinks widely, not even flinching as the man with the horns zeroes in on him. "That was rude of me. I have a really bad brain-to-mouth filter; Sam says its what always gets me into trouble."

And she's not wrong either, per say. His smart mouth is what landed him in this situation -- with blood blossom extract running through his veins and cannibalizing the ectoplasm in his bloodstream. Thanks Vlad.

The man grunts at him; a short, curt "hm" that shouldn't make Danny smile, but he does because he's somewhat delirious and probably concussed. The man keeps some kind of distance, sinking towards the shadows of Gotham's alleyway like he dares to melt right into it.

If it's supposed to scare Danny, it doesn't work. Danny's never been afraid of the dark; he's always been able to hide himself in it. He blinks slowly at the mass of shadows.

"You look hurt." The shadows says, blurring together around the edges. Danny squints, and licks his lips to get the blood dripping down his chin off. Ugh, he hates the taste of blood.

"I am." He says, "My godfather poisoned me. M'dying." The agony of the blood blossom eating him from the inside out looped back around to numbing a while ago, so all he feels is half-awake and dazed.

"Hey," Danny stumbles forward towards the man, a bloodied hand reaching out to him. "You-- you're a hero, right? You're not attacking me; which is more than I can say for most costumed people I've met." Maybe it's a poor bar to judge someone at, but he's already established that Danny's not in his right mind.

The man makes no change in expression, but Danny realizes blearily that it's hard to tell with the shadows on his face. He stays still long enough for Danny to latch onto the cape -- stretchy, but almost soft under his fingers.

He looks up blearily into the whites of the man's eyes. "Can you help me? I don't-- I don't wanna die." Again. He doesn't wanna die again. He blinks slow and lizard-like. "I mean- I'll probably get to see mom and dad again, but I told them I'd at least try and make it to adulthood."

There's a clatter down the street, and Danny's ghost sense chills up his spine and leaves a bitter, ashy taste in his mouth. He immediately knows who it belongs to even before the deceptively gentle; "Daniel?" echoes down the way.

"Daniel? Quit your games, badger, Gotham is dangerous for children."

Danny's mouth pulls back, and blood spills against his tongue. "Please." He rasps, and grabs onto the shadow's cape with both hands. "Please. He's going to kill me. Please--"

"Daniel? Is that you?"

His lips part, dragging in air to plead with the darkness again. He doesn't need to, the whites of his eyes narrow, and the cape whirls around him before Danny can blink. Soon swaddled in shadows, the Night lifts him up, and steals him away.

[flowersforthemachines]

Some facts about Neve (and Tevinter) gathered from the banters

I went through all companion banters on DanaDuchy's channel after playing the game to write down all facts about companions/the world that I haven't seen brought up anywhere in the game as a writing reference (and for funsies).

Note: This list may not be exhaustive. I might have missed some something or didn't write it down because I considered it common knowledge. If you have anything to add, please DM me or send an ask! (do specify what banter the information is coming from, though)

Note 2: Posts from this series (mostly) don't include information from banters specific to quests or between companions and faction members. I plan to do another playthrough to capture more of those and will add any relevant info to the character posts.

Other characters' posts: Bellara, Davrin, Harding, Lucanis, Emmrich, Taash. I'm also planning a post about just the Lighthouse some time later

About Neve:

General:

Neve isn’t rich, and her best coat is a gift from a grateful tailor after she saved his warehouse from an arsonist

Neve’s coat is woven with enchantments to resist fire and lighting 

Neve has never done blood magic. She is against it on principle and judges those who use it 

Neve doesn’t seem to like entertaining extreme hypotheticals since she reacts to Harding’s questions like “What would you take with you to a deserted island?” with asking why she would end up in such situations in the first place 

Neve wouldn’t want gems on her leg, because she thinks they would get stolen within a day of working in Minrathous, and she generally prefers to keep a low profile while on the job

However, she still considers saving up for a new, fancier leg to have more fashion choices. She likes Taash’s idea of getting a ruby inlay for it

Neve never visited Rivain before joining the Veilguard, though she now finds its beaches charming

Ever since she was a baby, Neve was stubborn and asked too many questions (and hated unanswered questions as well)

Neve likes Qunari food but thinks it’s very spicy

Neve likes seafood 

Neve doesn't drink tea

Neve isn’t really close with her family

Neve once tried to use a wisp-repelling artefact the Veil Jumpers found to get rid of the wisps in her room, but it only attracted wisps from the entire Lighthouse

Neve isn’t interested in exploring the mysteries of the Lighthouse because she has enough mysteries on this side of the Veil

(If Rook chooses to save Minrathous) Neve sends civil engineers to assist in Treviso 

On work: 

Neve didn’t want to be a detective when she was a child (not as if in she didn’t like the idea, she just didn’t consider it), though she didn’t have any dream career either 

Neve got into detective work by picking up odd jobs and building a reputation of being good at finding things. Eventually, she was hired to find someone’s brother, a case nobody else wanted to pick up, and her career took off 

Neve agrees that she is cynical and married to her job, but doesn’t consider herself ‘serious’  

Neve allegedly has a system for sorting her papers (Emmrich and Rana are sceptical about its existence) 

(If Neve becomes Dock Town's protector) Elek is implied to visit the Lighthouse again multiple times. Taash mentions seeing him poking around the library. Neve explained that he thought he could grab some fade-touched items to sell, and told him to run the plan by the Caretaker (one would think they did not approve)

On life in Minrathous: 

Neve was born and raised in Minrathous

Neve has never been inside the Archon’s Palace

(If Neve chooses to become Dock Town’s inspiration) Neve doesn’t regret letting Aelia live because she got information on Venatori out of her, and her death wouldn’t change the past

(If Neve chooses to become Dock Town’s inspiration) Neve gets to take a break for once in her life because Rana keeping an eye on the Dock Town actually helps

(If Neve chooses to become Dock Town’s inspiration) People gossip about Neve and Rana after they start their agency :)

Neve describes the rain of Minrathous as "cold fingers down your neck", but she misses it now that she's away from the city. The sound helps her fall asleep 

Neve’s entire apartment could fit inside villa Dellamorte’s dining room 

One of Tevinter papers referred to Neve as "Dock Town dirt-chaser," and to Emmrich as "sinister foreign necromancer”

A Tevinter paper called The Minrathous Herald once wrote that Neve should be exiled. The same paper called Shadow Dragons “traitors to the Empire” 

Neve never runs out of ink because she's on good terms with Minrathous ink sellers 

There is however one banter where she runs out of ink (I think it was with Davrin). Make of that what you will. 

On the Shadow Dragons: 

Neve didn't know Dorian personally until she joined the Shadow Dragons

Neve figured out the Viper's identity even before joining the Dragons. Her not revealing it to the public is one of the reasons he recruited her

Tarquin calls Neve a pain in the ass 

Relationships with companions: 

Neve calls Manfred ‘Fred’ (he seems to like that)

Manfred learns to say Neve's name (likely only happens if you revive him at the Necropolis, though I am not sure)

Neve introduces Lucanis to a spice shop in Dock Town

Harding describes Neve’s tastes in coffee as “made of gutter water filtered through an old sock”

Lucanis once showed Neve’s coffee to Viago. He found it “unsettling” 

Davrin thinks drinking Neve's coffee is worse than the Joining

Neve spoils Assan (but denies that accusation)

Neve is rather quick to consider questioning corpses with Emmrich’s help for her cases 

Neve is very apprehensive about lichdom and the perspective of Emmrich eventually turning evil (just like Emmrich isn't thrilled about her taking over the Threads for similar reasons)

Lucanis is concerned about Neve taking over the Threads. Mainly, about how much they are paying her

Neve has multiple banters with Taash discussing her relationship with Lucanis. Taash initially thinks of it as some sort of predator-prey dynamic, but Neve says she is not into that and explains that they are taking it slow and cautious. They both went through a lot of pain in their lines, which they tend not to show for different reasons

Neve's relationship with Lucanis is also more than she usually looks for with people

Neve takes Taash to Hal’s fish fry stand. Taash loved it :)

Taash offers Neve help on ladders in case she may need it/it gets stuck on steps due to being hook-shaped, mentioning they knew a Lord of Fortune who lost a hand and whose shoulders hurt while climbing because of it. Neve seems to appreciate the gesture, even though she can handle herself

Neve thinks Taash is nice to work with, offering help without being overbearing like some people are

Neve asks Taash to teach her Gold Thief (a Lord of Fortune dice game), so she can play it with the Shadow Dragons, and then subsequently gets beaten by the Viper

On Tevinter: 

Fashion is important in Tevinter because a good outfit lets people know you are under the protection of someone powerful

There aren’t many mages in Docktown, which is one of the reasons the government doesn’t care about it 

The big red cat near Halos’s stand is named Ferdinand

Stains on clothes can be cleaned with magic

You can get pineapples anywhere in Minrathous 

Neve calls the magic used for the lights in Minrathous a party trick, but Emmrich considers it a high-level enchantment because of its quality and duration

Tevinter doesn’t regulate the charms sold in the market (which is why there are a lot of scammers who sell fakes) 

[sabertoothwalrus]

your character designs are incredible! do you keep anything/any thought processes in mind as you draw fanart vs how you draw ocs?

OOOOOO what a fun question...

I'd say my general thought process about how to build a new character-- figuring out who they are and what they do and what they're like-- is all pretty much the same across the board. The main difference between designing fan characters vs original characters is how I answer those sorts of questions.

For original characters, it can be almost overwhelming because I get to choose everything. I can make everything perfectly suited to my own tastes, except I have a broad range of things I like, and my tastes change constantly FJHFHD so depending on the project, choosing a more specific direction helps narrow things down.

Here's some old ocs I redrew recently. They're from an old story I'm not planning on revisiting, but it was about an art student, her little brother, and some grim reapers. Can you tell who is who?

I wanted the alive characters to have a lot of Opposites from the reapers. Warm vs Cool colors. Round vs Angular shapes. I wanted the reapers to look skeletal and sickly looking, and it was important that they all had some kind of hood. They needed to wear black & grey, but their colors still needed to be interesting, so they're all tinted with a color (one is sort-of blue, one is sort-of red, one is sort-of purple).

The story is more serious, so it felt appropriate that the characters were more realistically proportioned compared to some of the cartoonier designs I tend to do. They're still heavily stylized, and I tried to push myself to go harder on the shape language and Appeal™.

For fan characters, it's actually a lot of fun because so much of the work has been done for you. The more source material you have to work with, the less you have to come up with.

So, an example I'm going to use is Hugh Dini, a character I came up with as part of a fan concept for a new entry in the Ace Attorney series.

Phoenix Wright's daughter, Trucy, is a magician. She was 17 in her last appearance, and my fan concept takes place 7 years later, so she'd be 24. I decided she'd have a boyfriend who is also her assistant, and went from there.

I knew Hugh was going to be a defendant, which according to Ace Attorney rules means that he'd be falsely accused of murder. I needed to create a guy who was sympathetic, someone that you'd WANT to help prove his innocence.

What I did was reference existing characters from the games who fit similar archetypes and took a lot of design cues from them. I also referenced characters like Fukuo from Kiki's Delivery Service, who is a delightful himbo wifeguy that looks a little intimidating but is actually just kinda shy. And then I looked at actual photos of stage magician costumes for additional inspiration. THEN I go back to the source material to compare design details I want to add (ex, Hugh's high collar, his cuffs, the collar, the cape being turned into fringe on his jacket) and see if it already exists somewhere. No point in reinventing the wheel if I don't need to!

I wanted him to be like a "sexy magician's assistant", which I thought was a funny contrast to his restrained demeanor. He needed to be flashy, but not TOO flashy that he'd upstage Trucy. And additionally, since this is a game series where the characters are mostly seen from the waist up, I tried to keep his most interesting details in the top half of his design (but honestly in hindsight, I could have given him more. like Zak Gramarye's thigh-strap belt bag, perhaps).

Some other things I like to do when creating fan designs is to "roleplay" being the designers of the source material. If concept art is available, I reference that. I like to find the design quirks the character designers favor, and use them to make my own designs more convincing. If I'm designing something for, say, a european tv show that came out in 2005, I'd refer to the fashion and design tendencies that were most prevalent in the culture then, because that's what the actual character designers would have been most inspired by. But I'm not perfect, I'm gonna have the biases of an american lesbian living in 2025 no matter how hard I try LMAO

Hopefully I was able to answer your question!

[ladybyakuya]

| HIGH IN LOW PLACES + natsuki seba & yoichi nagumo.

+cw. — fem!reader, headcanon + scenarios format, canon typical themes and elements, mention of alcohol and drinking,ex.plicit smut{ mention ofunprotected, oral acts }, slight angst and fluff.

+wc. — 2k.

+syn.— how do they generally spend their off day ? Is it any different when you're with them?

+notes. — my sk days debut post. yay! yay! i just caught up with it and im still making memes in my head ( yeah, its that bad </3)tap the banner for better quality </3 cuz tumblr made it so whack after upload. the title is from a song by beach weather ( one of my recent favs ). i have some more wips on sk days but lets see if the starts align or they go against me. wanted add two more characters but i got carried away while writing. so next two for next weekend ig. if you catch my favoritism, then good. go ahead & exploit it ;) | redirect to blog navigation.

✦ natsuki seba : 

The sun has not even kissed the horizon yet. It is still afternoon. Natsuki was busy building one of his work-in-progress weapons as usual even though it was an off day. The JCC is not exactly asleep but is surely a little doused today. JCC never sleeps. You are in his dorm room, waiting for him to finish his work at least to a certain stage and then have lunch with you but you doubt he is barely aware of what time it is. You are not exactly hungry, at least not for those wet soggy noodles but you do miss him even though he is right in front of you. There are times when you have to feed him lunch so that he can keep working. The dorm room is small for two but given the habits of you two, it always works out, somehow. You sleep when he is working while he sleeps when you are busy or out to get something. But currently, sleep is nowhere to be found at the banks of your eyes.

“Natsu, come eat with me,”

Seba turns his head at first and gives you a look; a look that clearly states: “Are you mad?” Do you know how ridiculous you sound? His eyebrows grow closer while his lips pucker forming a pout and then he goes back to working again. He is mocking you. He is working while you sit idle and flip through a porn magazine from his collection. It’s funny because the porn magazine is not his. It is from Shin. He was just looking out for him. Shin thought it was highly uncanny how a guy could make weapons all day and night, and be obsessed with something so odd that one forgets to masturbate. Doesn’t even have the urge? Or better does his curious side not think about such self-pleasurable prospects? Well, what would Shin know?

“Natsu, come eat me out,” 

At first, he looks up from the device he was working on and then spares a glance at you.

You make yourself busy flipping through the pages of that lewd magazine. He is staring. You can feel it.

He goes back to work again but a second later he puts the miniature parts from his hand beside the device and turns his chair towards you rubbing his chin as his elbow stands on the hand-rest of the chair. He is considering it. Holy Shit. You did not mean that.

“Really? Can I?” There is a thin layer of sneer laced underneath his voice.

You closed the magazine and stood up, keeping it on his table. He looks at the cover and a chuckle escapes from his chest probably remembering how he got it or why you ordered him to eat you out; not that he would mind . . . his eyes are back on you again. “Now that I’ve your attention. Finish your lunch and then work on your project.”

“I’m going out to meet someone,” You try to leave but he grabs your wrist pulling you back in front of the bed. 

“You're lying.” he snorts out a chuckle.

“You know,” Natsuki gets up and takes slow steps towards you as you back away cornering you as he still holds your hand. “eating you out . . . that might just be the thing I need to finish my project.”

Wait. what?

Before you can ask anything he just puts you on his shoulders, walks to the bed throwing you on the mattress. For someone who is a weapon engineer, who does not spend time on fieldwork he sure has a lot of strength.

“I didn’t mean it. I just wanted to get your attention that’s all.” you try to protest but it does not faze him, not even a little.

“Well you did a good job.” Grabbing your ankles he pulls you towards the edge of the bed before getting on his knees. He points to the cup noodles. “And, i’m not eating that.”

He pulls down your panties and shorts simultaneously. You do not stop him because you crave him as much as he needs this to de-stress or that’s how he would put it. Spreading your legs he places a trail of tender kisses along your thighs threatening your sanity, threatening the urge to push him away but you simply do not want to do that. You want this: him worshipping you like he used to. The moment his lips graze your entrance you arch back, hands resting on the mattress and crumpling the sheets as Seba gets more devoted to the cause. You put one of your legs over his shoulders as he buries his face deeper inclining his face a little to lap his tongue against your pussy lips. You bite your lower lip roughly before a whisper of words comes out of your mouth, “Ya know, you should return those magazines to Shin,”

“What?” he asks; nose glistening with your arousal, wet lips, cherry cheeks, and excited eyes. A curvature appears along your lips as you run your fingers through his hair and tug at it revealing his forehead forcing his eyes to close just for a second. He is still waiting for your response. 

“Nothing. Get to work,” you say and he listens to it like a good boy.

✦ yoichi nagumo.

“Is it that tasty?” Nagumo asks drinking an o-choko full of sake from your share. His face distorts feeling the strong fizziness. “How can you drink this?” his voice spikes up as he gulps it down. He hates it, hates this, that how you on every weekend would to go Sakamoto stores and buy liquor to drink out your misery. What a waste! He does not understand why you would spend your weekends drinking, especially when he is here. Sakamoto would often tell you to stop drinking but what’s the point? You nod like a good girl, buy some cup noodles and chips and after the store closes Shin arrives with the booze. Shin is knocked out on the floor already. But he is still keeping up with you not that he enjoys it but he is looking for an opportunity to make you stop and in that process, he ended up taking a few shots. He hates it, he hates this. He hates how you make drinks. It stings on his tongue. This is not because he wants to spend his off day with you. He rarely gets a day off and he can not go that to waste, can he now?

“Wanna fuck?”

You look at him with heavy eyes and a flustered face for a few seconds. “No.”

He is stone-cold sober. He is not even that drunk, to begin with. You are. You are still so dizzy and slumber threatening your eyes but you force them open divulging, “Too much work.” Ah! The slur. The slur in your voice. His head tilts as a smile breaks on his face like a plague.

“I’ll do the work.” Nagumo insists. “All of it.” His voice is low, slow. He wants to get through to you. “I’ll make you feel so good.” He does not want you to dismiss his words as just a drunken haze or something like that. He is already neck-deep in guilt for being unable to give as much time he wants, as much as the time you demand and crave from him. He can not sabotage your security but he would not deny that he likes meeting with you in secret; gives him some sort of thrill he thinks. “I promise,” he mumbly adds.

But he does not want to overdo it or wear you out. He can’t. He won’t. He is a good when he is with you. “Woah, careful.”

After moving the bottles and cups aside, now you are all on your fours crawling towards him like a cat. He can see your boobs, the nipples— everything. Wait, is that his tank top? He must have left it when he came to you here last time. He can’t remember when but he remembers he lost that one black tank top.

As you reach, your face inches away from him you lean for a kiss but he sways away. It instantly ruins your mood. He is smirking now as you are pouting. It turns into a snort. “Shin’s still here,” He points at the boy sleeping on the couch. You glance at the boy and then look at Nagumo. He is confused. You are impatient. Fuck it.

You hold on to his shoulders trying to get into his lap, legs sprawled apart and as you make yourself comfortable your legs get clamped around his waist. He does not lose his balance but rather helps you with it.

“Babe, Shin’s still here,” Nagumo repeats making you remember.

“Don’t care,” you shout and Nagumo covers your mouth with his palm while his index finger stills over his lips shushing you. You nod. It seems he got through to you.

You do not allow him to dodge him anymore.

You lean into his hand that is still over your mouth, nuzzling against his palm. He shoves his fingers into your hair, his index finger grazing behind your ears igniting your skin with goosebumps. His thumb roughly stretches across your bottom lip before you kiss the tip of it but he swats his hand away before you could suck on it; grabbing his other arm and you slide it under the blacktop. Nagumo does not squeeze your boobs. Not yet. He does not want to do it, not like this. Last time, both of you were sober and now both of you are drunk: you on alcohol and him on you. You buck your hips trying to get closer to him. 

“God Nagumo, why are you being like this? You said you'd do all the work. . .”

because it's amusing. The fact that you are scolding him with a whispering tone is making him tremble in mirth. He is barely holding it; you are frustrated, drunk, and horny. God! What is he going to do with you? Can he really hold himself back? Maybe he should not have proposed the idea in the first place. His hands are stretched, settled on the floor as he watches you: intently, nervously.

“Kiss me.”

And your lips instantly dance against his in a frenzy yet his hands are still on the floor. Even in this state, you manage to unbuckle his belt with one hand as the other works on the buttons of his shirt. It turns him on how swift you are too. You would be very skilled in his line of work. Maybe you are, too skilled that he did not even notice. Nah! you can't be a spy.

“Put it in” you command this time breaking the kiss. Nagumo was just starting to get to the good part of the kiss only to get deprived of it. He does not waste a second to abide by your said words. If he did, he might have to walk out thinking out the possibilities of how odd it was for a first meeting with you.

Strong hands against the plush of your hip as he adjusts his cock to your entrance. He pushes aside your panty before rubbing it against your entrance. Your hands squeeze the muscles of his shoulders.

“Without . . . condom?”

So, is that why he was delaying it? You thought he didn't want this but mentioned it for the sake of pity and now he is trying to get on your nerves to wake Shin up.

Your brain freezes after such a flow of info. You give him a nod.

Nagumo swallows before his cock goes inside without rubber. It's electric: the feeling of your flesh around his.

“Take me to that room,” you gasp out the words.

“What?”

“I said what I said.”

You become so handful when drunk not that he minds. He takes you to the room kicking back the door behind you to close before crashing onto the bed.

The next morning Shin has to buy a pair of black trousers for Nagumo and he does it without even questioning. He really does not wanna know what happened after he took you inside the room.

@underratedcharactercorner

@interstellar-inn

[oc-ology]

How to OC post without being an artist (or spending money)!

As much as I yelled about OC-posting, some people said that they struggled to know what exactly they should be posting. Obviously the answer is whatever you feel like but if you’re already aimless, that answer isn’t very helpful. Additionally, not everyone knows how to draw (which I think is an obvious method of OC-posting) so I wanted to give some ideas for what people could post for their OC! This will be split up into different sections.

Creating visual representations of your OC

Disclaimer: I will not suggest nor support the usage of generative AI. OCs are about creating something yourself, not allowing a computer to do it for you.

Outside of commissioning someone else for art, it can be disappointing and frustrating to not have any visual representation for your character. An easy way to get a representation of your character is to use Picrew, Meiker and other similar sites. There’s a large number of art styles, types of fashion, species, that can all be used to make your OC and that amount only grows by the day. Many of these websites can be accessed on PC and mobile and take very little processing power.

However, this can be limiting at times since you might not find exactly what you’re looking for, especially if your OC has a unique combination of features. For something with more customisation, you can use video games with character creation to make a version of your character. I personally would recommend games like The Sims or Skyrim as both have very active modding communities. This way, if a certain type of clothing or facial feature isn’t present in the base game then you can often find someone who has created a mod that adds it in instead. This does require you to have access to a computer that can run not only the game but the mods as well.

Another option would be using a program like Vroid Studio to make your character from a base model. This has both a mobile and PC version, although I will primarily be speaking from a PC perspective. The mobile app, while able to create a character from scratch, is a lot more limited than the PC version. The great thing about Vroid is that there’s a lot of user-made content that you can often get for free through websites like Booth, as well as many tutorials for beginners to follow along with. Again, this requires a computer that is able to run it. I would recommend against using Vroid on a laptop as it will likely be too intensive for it.

My final suggestion for character visuals is to take a character from anime or cartoons and simply edit them. This was actually how I first got into making original characters! You can recolour their hair or outfits with an editing program (with some free examples being FireAlpaca, Krita or GIMP) and even edit different images together to create something more unique. Please only do this with characters from existing media and avoid using fanart for this.

Other OC visuals

Other than just what your OC looks like, there are other ways to visually put together your OC. Moodboards are the most obvious example of this, but you can also edit other things such as putting together outfits for them or finding pictures of items they would keep in their bag.

If you have multiple OCs, you can create fake text conversations between them using a number of websites. These can be as silly or as serious as you like!

Finally, you can always build them a pinterest board. I am a massive pinterest enjoyer and not only can you use pins that others have posted to pinterest, you can add your own from off the site. 

Writing

Beyond writing out your characters’ story, there are numerous other things you can write. Keeping in line with what you’ve already written, you can re-write scenes from alternative perspectives. These can add context to what is seen in the main story, as well as flesh out background or side characters and their relationship to your other OCs.

Another fun thing to write is non-canon scenes. Write a beach episode! Write about a character getting sick and someone else having to take care of them! There are countless ways to draw your OCs interacting with their world or other characters that wouldn’t necessarily ever fit into the “main” story.

Next is genre changes. If you had to categorise the genre of your OCs’ current story, what would it be? Now image what if the genre was something completely different? Romance to mystery… Slice of life to horror… Part of the challenge is figuring out what story beats remain the same and what gets changed, including character dynamics! And of course… Alternate Universes. There are too many types of AUs to list but some of my favourites are superpowers, mafia, zombies, time loops and time-travel-fix-its. These are similar to genre-changes but often include a number of AU specific tropes. If you’re struggling to figure out the staples of a certain AU or what kind of AUs exist, there’s a really good page about alternate universes on Fanlore.org!

Other ideas

These are ideas that didn’t quite fit into the other categories.

First is music playlists! There are two types of these. The first is a playlist of songs that describe a character and their story while the second is a playlist of songs that the character would listen to. Some people like to combine the two as well! There are no rules to this, simply have fun listening to music and picking out songs that remind you of your OCs.

Second is incorrect quotes. I remember these used to be beloved by fandom and now they can be beloved by you and your OCs! The concept of incorrect quotes is that well-known and funny quotes from pop culture (such as memes or movies) get written out and your characters are assigned a line of dialogue. While there’s a website that’ll generate these incorrect quotes for you, I personally find more fun in coming across quotes organically while scrolling social media and realising that they fit my OCs almost perfectly.

Finally, ask games. These typically take the form of lists of questions or prompts with emojis or numbers next to them. People can send in the relevant emoji or number and you then answer the corresponding prompt. There used to be a kind of “ask game etiquette” where if you reblogged an ask game from someone, you sent an ask from the list to them as well. This way, it allows the game to continue circulating and you can spread the joy of OC-posting with others! It can also lead you to making friends within the community.

And that’s it for my post! If you have other suggestions for kinds of OC-posting then I would love to see them!

[making-you-in-spore]

pinned post

TRANS RIGHTS!! TERFS GET THE FUCK OFF MY BLOG!!!!!!!

we have a source of income again, but if you like my work, donations are always appreciated!

who are you?

i'm just a guy who likes spore [2008]

why do this?

i just really like spore and making creatures in spore. it helps me practice my creature creation abilities.

can you make my oc in spore?

as of right now i do not take requests. i generally find characters and creatures i want to make by them appearing on my dashboard. refer to the Request Beast.

what is in your icon?

captain thunderhide, my main spore space stage captain.

what is peeling?

peeling is when i remove all detail parts from a creature and show the bare sculpt underneath - anything that is not eyes, mouth, hands, feet, or limbs will be removed. it is a tradition around these parts

what are "original spores"?

original spores are spore creations that aren't based on existing media - ocs, copyrighted characters, or otherwise. usually, they're just making things to make them in spore, or are based on simple prompts such as "a plate of spaghetti" or "a penis".

do you use mods?

i exclusively play this game with mods.

can i download the creatures you make?

only if the original creator of the design is okay with it and requests a png. please note that in order to successfully download the creatures, you will need to download every mod used to create them.

i will not always be able to say what mods i use to make something, so it's a gamble if you don't have all of the ones i use.

how do i mod spore/do advanced creature creation like you?

darkedgetv's FAQ is a very good resource to begin. i started there, and it's where i recommend you to start if you're interested in spore modding. it also contains many other mods i have not listed under the cut.

as much as i disagree with the process of using a discord server to contain vital information and resources, the davoonline spore modding community discord is also a good source of resources and mods that even i do not use.

are there any other blogs like yours?

there's a few and ever growing! i refer to this as the ecosystem or the making-you ecosystem.

i have a masterpost of all known individuals in this ecosystem here.

what editor mods do you use?

a lot, so they'll be under the cut.

not mods, but highly recommended for enhanced playing experience

4GB patch - Tutorial - patches spore [and other 32bit programs] to be able to use 4gb of RAM. recommended if playing a highly modded copy, and makes the game more stable.

Reshade & ReSpore - post-processing injector & shader that alters the appearance of spore, giving it more detailed shading and vibrant colors. i use this for gameplay and screenshots. runs on GPU power, so excellent if you have a strong graphics card

HD graphics fix - this doesn't actually seem to work for my copy, but it alters the textures of base spore to be more high-quality.

mods that are absolute must-haves

these mods are ones that i use in almost every creation, and add a lot of QoL to the editors. if i forget a mod in a creature png i post, it will be one of these.

Dark injection - THE spore mod. it's likely a lot of other mods you'll download will mesh well with dark injection. you can turn off whatever you don't want to use through the installer.

Universal Property Enhancer - a library mod that many other mods require

The Smoother - a useful tool for building muscles and smoothing out your creatures' bodies

Enhanced Color Picker - a requirement for super detailed creations, enables hexcode color picking and color wheel selection beyond normal limits of spore

[UPE] Infinite Part Scaling - allows scaling of parts near-infinitely, beyond the limits of the original game

Project Skyncraft - adds new creature skinpaints

Unshackled - adds nodes and limbs for creating custom wings, heads, hands, etc. a little bit unstable, i mostly use this for wings.

Spore Stacker - allows stacking of any part

Subtle Rotations - reduces part rotation snapping

Advanced CE - adds building editor manipulators to the creature editor

Every Part Costs Nothing - self explanatory

Rotate Anything - lets you rotate anything, including feet and hands

Advanced Creature Paint - allows for individual coloring of parts on a creature, like in the building and vehicle editors

Ambient Occlusion Disabler - removes baked-on shadows for creatures

Delta Paints - adds new skinpaints

Valla's Skinpaint Switcheroo - adds duplicates of all vanilla, C&C, and GA creature coat and detail skinpaints into their opposite category

test drive related mods

these mods are not required to download the creatures i post, but are recommended for the test drive.

No More Creature Editor Animations - turns off the animations that play when you add eyes, mouth, feet/hands, etc

Sevan's TF2 editor animations - adds multiple animations from tf2 into the creature test drive.

Mx3's Dance Animations - adds a multitude of dance animations into the creature test drive.

Tenebris's Creature Test Drive Animations - adds many animations from within the game to the creature test drive.

EditorBG - adds extra editor backgrounds

Ramone Kemono's MMD Drag Ball - high-effort dance mod complete with special effects and a reverse engineered camera system

part mods

these mods add parts to the editors.

DroneParts 2017 - adds many mechanical and polygonal parts useful for machine creatures, i like to use it for building clothes and markings.

New Drone Parts - a sequel to droneparts 2017, compatible with the old version. install both at the same time if you want to be able to use creatures from the old droneparts mod.

Himeric Engine - adds horror-themed parts to the creature editor.

Spore Resurrection Next Steps - adds a few parts to the creature editor and several new textures to the building and vehicle editors.

Dinosaur Parts - adds parts based on dinosaurs and other animals. mostly heads.

Strange And Beautiful - a now-discontinued, reuploaded mod that adds unusual and unique parts to the creature editor

Bionicle parts - adds a few bionicle pieces to the creature editor

Little Box Of Horrors - adds many parts with an overall horror theme. some are animated.

Pandora's Toolbox [1.0] - adds a multitude of basic shapes and polygons to build with

Replicant - adds non-textured animating parts and non-animating parts in a separate tab. good for if you want to use hands, limbs, etc without them animating or adding stats

Armoured And Dangerous - adds a few high detail mechanical looking parts.

Delimbiter - increases the amount you can scale limb parts, and allows for more crazy movements of certain limb parts

Valla's Vanilla Style Parts - adds several parts which mimic the vanilla style

Wordsmith 2.1 - adds letters to the creature, building, and vehicle editors

Kaiju parts - adds several parts based on popular kaiju

Organic Help - adds many membrane pieces to the creature editor, for creating wing webbing among other things

Project: Mad Mannequins - adds many human body based parts. and a horse for some reason

A Mouth For All Seasons - adds alternate versions of all vanilla mouths [and all unused cell mouths] with alternate diets

Valla's Captain Badges - adds all space badge models into the captain outfitter and creature editor

Rock On! - adds rock props from spore into the building and creature editors

[sugarcubetikki]

From day one, there have been multiple theories and interpretations about what Adrien’s future career path and passions would be as we all wanted to see this boy be able to choose and discover something for himself rather than the dozens of activities his father was making him do. I believe the most popular theories in the fandom were Adrien becoming a baker or a stay-at-home dad. I think the popularity of these theories arose due to Adrien being good with kids and showing a fondness towards Marinette’s family and their bakery in early seasons. Furthermore, as Miraculous is built on subverting gender roles, and Adrien’s characterisation is more traditionally feminine with the narrative I guess we were building on that (and men taking on more domestic roles seems to be loved in fandom spaces in general).

However, I hadn’t quite seen running as a potential career choice for Adrien and most of us wouldn’t expect it either.

I, for one, didn’t expect it but I am not disappointed and I think it makes a great lot of sense for his character for three reasons.

Reason #1

As much as I love baker and stay-at-home dad Adrien aus, I’m glad that canon chose not to take that route in this episode. I think that choice would be more detrimental to his character rather than beneficial in our canon narrative.

As Thomas commented, so much of his character already revolves around Marinette considering that he’s pretty much all he has left and feels the most comfortable around her right now. (Even before his father’s death, his sense of identity seemed to revolve around her a lot as we saw him expressing that his love for her was the only thing he was sure of in S5. I think it’s because he’s been deprived of autonomy so much that he seems to be used to basing his desires around other people’s).

That’s why I believe him going into baking or being a stay-at-home dad at the future would not really help him grow as a character as both those choices still keep him under Marinette’s wing.

As this episode established, Adrien needs to figure and explore his passions for himself. Whilst Marinette will always be there for him, he needs to understand what he wants by his own volition.

(Having him make a breakthrough in discovering his interest for running without Marinette at the end of this episode was a great start!) Reason #2

I thought it was interesting how they started this sequence with Adrien looking up sadly at his big and lonely house before running away from it.

It takes me to what Sublime asks him later on.

This is what Adrien has wanted from Season 1: to run away and escape the four corners of his house to explore the outside world. It feels like a callback to Origins where I think of Adrien running away from house to start school. There’s also several times in the show where he runs away to escape the cold and lonely atmosphere his house brings.

The bars on the gate of the house in this scene also makes it look so much like a prison.

Of course, we now have Adrien standing on the outside of it rather than inside considering that the person who was keeping him in the house in the first place is dead.

It still doesn’t mean that Adrien thinks of the house as less of a prison. An association like that is hard to forget especially now that the house is where both his parents died.

But now, without Gabriel, we know he’s free to run from it for as long as he wants.

I also want to add that in Hinduism, running is considered as a physical response to escape distress.

Reason #3

Should someone’s passion really be built on running away from something else? Well no. But I don’t think we’re meant to see it that way. Adrien running at the end of this episode away from his house is meant to symbolise him finally breaking free from the Gabriel’s controlling influence. Him running away is mainly a step towards his growth.

Besides, running isn’t only seen as means to escape problems but it also signifies pursuit of a goal and taking on a spiritual journey for self-growth. (Dream analysis tends to associate both escapism and pursuit to running in dreams depending on the context and circumstance). This also fits Adrien’s character quite well. Not only is he escaping past trauma, but he’s taking on a new journey to explore what he wants in life.

So yeah, let the boy run!

I’m super excited to see where they take his characterisation with this one. The symbolism behind his potential passion/career choice is just gorgeous.

Edit: I’d just like to make it clear that I don’t see this scene as Adrien finding his passion for life. I more or less see it as Adrien taking a step forward to discover something he potentially is passionate about by himself without input from any of the people in his life (he also makes a new friend on his own and that makes me happy). Running is indeed a potential career choice for Adrien, and it could possibly be something he can see himself doing in the future, and we will definitely get more buildup to this passion of his in future episodes too! It’s not a definite career choice for Adrien though, because as Marinette said, he’s young and he has plenty of time to explore what he’s passionate about. This scene isn’t really about making a definite choice, but rather Adrien being allowed to explore something he feels is right by his own choice.

[sunniedesi]

The Decay of Andy and Leyley: the bad, the ugly and the terrible

Now that it’s been a while since I finished the Decay route, I think I’m ready to finally analyse this chapter as a whole. I’ve collected my thoughts and read through a couple of people’s opinions here and there… just to be utterly disappointed. I knew casual fans generally didn’t understand much of the subtext for tcoaal, but damn are they completely lost with this one. Maybe it’s the fact that I only interact with a small echo chamber of the fandom that does get it, but after all the terrible takes I’ve had the displeasure of seeing, I think it’s time I leave my own. There is quite a lot to comment on, since this part of Decay builds upon several plot points of the story: the quarantine, the entity, lord unknown, and namely, the main duo’s upbringing and relationship. While I’d love to pick apart every nook and cranny of this episode, this analysis will only focus on Andrew and Ashley’s relationship, as that alone has plenty of things to dissect for one post. I will also comment on some of the changes done to the previous episodes and what that could mean for the next routes. (More below the cut, this will be a long one).

But before I begin anything I want to start with a disclaimer of the obvious; yes, this game is fucked up and the relationship is toxic, horribly so (wow, who would’ve thunk it?). If things weren’t messed up before then they certainly are now, so I understand why nobody would want to touch this game with a ten-foot pole. In fact, I’ve noticed many let’s players who’ve previously played it either not mentioning it or going as far as to delete every video they’ve made on it (not dropping names here but I had a couple of videos in my watch later taken down mere minutes after I saved them because of this). I often see people saying “it’s just fiction” as a defense for talking about this, which is totally valid, but my view of it is a bit different. It is fiction, yes, but also something that could very easily happen in real life and that a lot of people could (unfortunately) relate to. That’s what makes it uncomfortable and gross, and that is exactly the reason why we should talk about it. As per words of the author “although unpleasant, true [CHAOS AND MAYHEM!!!] can only be achieved by unearthing the root cause of one's issues and addressing the underlying decay.” Even if you think it’s icky and gross that doesn’t disqualify it from existing. Moreover, it calls for analysis as to why it makes you feel gross, which might I add is an impulse reaction to something much deeper than a simple “nooo they’re related,” as there are many layers to this from a moral, ethical and psychosexual perspective.

So… let’s talk about it. 

The Bad: Andy and Leyley

The beginning of the episode tells us a lot about the upbringing of our characters, though most of it was writing on the wall if you paid attention during episode 2. We play as Andrew, examining his psyche and going through the motions of how to be a walking disappointment. As he cooks, cleans, excels at school and sets order in his family, he accomplishes a level of independence many don’t reach until adulthood, all before the age of 10. Yet every single mistake, as small or out of his control as it may be, is a cause for reprimanding. Renee doesn’t spare the emotional rod with him per se, expecting Andrew to go above and beyond for tasks that she should be responsible for. And whenever her live-in maid complains or dares to set an even playing field, such attempts are crushed by repressing him further into his shell. Berating, insulting, belittling him.

Nothing he does is ever enough, and it can’t be,  lest giving him hope of ever meeting others’ expectations, of ever doing better. The more suppression, the less of his independence, say or personality, the easier to control. The less of Andrew the better. And as such, Andy was born: a sorry replacement for Andrew’s essence, easily malleable and capable of becoming everything you want him to be. Many believe Andy is a result of Leyley, but really

Andy was a nightmare of Renee’s own making. And speaking of nightmares, Leyley’s origins aren’t much different. Having a second child as a middle finger to your disapproving family is no good if you don’t intend to raise said child. But what’s the need when Andy is there to do it? Disciplining a kid aching for attention is far too taxing for Renee, especially one with as much attitude as Leyley. So, instead of inflicting more trauma as she’s done with Andy, she lets him pass his own over to her, creating a direct pipeline to the cycle of abuse. It should be noted that in one of the new visions available we see that Renee is an older sister herself, and was expected to also go above and beyond for her sister despite being completely disregarded by her family.

In other words, her treatment of Andy and complete neglect of Leyley are anything but surprising. It’s all she’s ever known. (Not excusing Renee, I hate her with a passion, but it’s important to know where everything is coming from).

Funnily enough, Leyley’s personality isn’t as innate as many believe. It’s easy to see her as the “difficult child,” but in reality, everything she does is a cry for help. We’re dealing with a lonely, undisciplined girl, disregarded by the world as a crybaby and a freak, left to be raised by trash TV and her clueless older brother. The result of this terrible concoction is a self-loathing, marshmallow spine of a boy and a lost, shrieky viper of a girl. Neither can like each other, because they don’t like themselves. And neither can help the other, because they refuse to see themselves for what they are. These are Andy and Leyley, the antagonists of the story.

As much as people have difficulty separating Andy and Leyley from Andrew and Ashley it must be noted that, from a narrative perspective, these are entirely different characters. Andy and Leyley are the immature, worst traits of our main duo personified: Andy is a paranoid pushover garnering resentment every time his buttons are pushed, while Leyley is nothing more than a scared little girl, terrified of abandonment and terrified of change. The more they push and pull, the more they test and bring out the worst in each other, the more they decay. But if these are Andy and Leyley, then who are Andrew and Ashley?

The Ugly: Andrew and Ashley

I believe the cliffhanger route is where we get to see the most of these two, though glimpses of them can be seen in the Shots and Such route. Andrew we know (thanks to his lengthy pov) is a crude and relentless antisocial who can’t stand anyone. He only does so out of keeping appearances, instilled by his mom, but just like her, is incapable of caring for anything. Something Ashley is very quick to point out when they were children.

We also see he’s very manipulative, sly and finds fun in (mentally) messing with people and romanticising the shit of his life, perhaps as a way to feel something other than the misery it bestows upon him. However, not playing nice can only bring trouble, so he hides behind the mask of the innocent pushover (Andy). Needless to say, this is a life full of lies and deception, utterly unsatisfactory. It will never fulfill his true desires and can only push him further into nihilism. But what are his true desires? 

Well, to be seen and understood, the one thing no one’s ever bothered to do. No one except the mess of his own making. Ashley, the girl Andrew raised, is full of wit and charm. As seen in the flashbacks, she’s perceptive and quickly calls bullshit whenever she sees it. She doesn’t play nice, she doesn’t put up a front, she’s everything Andrew could be if he wasn’t afraid to show his true colors. This last bit is why I would argue Andrew is so drawn to her, that and of course all of the trauma bonding. As Andrew says himself, his attraction is pathological, i.e. unreasonable and irrational, a result of his loneliness and conditioning from childhood. And as much as I agree that it is paraphilic in nature, I do believe there is a logical side to his attraction; Ashley is loud, obnoxious and annoying. Carefree and unbothered, the flip-side to his Andy facade. In fact, she hates having to keep up appearances and how everyone around her is a phony. For Andrew, the man that has endured years of suppression and self-loathing, it is a relief, it is liberating to have someone just as bad as him. Someone who wouldn’t be afraid of him. Someone who could meet him at the same level; an equal.

Continuing with Ashley, one of her most emblematic traits is that she’s self-assured and doesn’t care about anything or anyone except for Andrew. This is quite the contrast to Leyley, who is incredibly insecure, selfish and does not care for Andy, only the reassurance he brings. And how do we know Ashley cares about Andrew if Leyley does not? Well…

This flashback is the single most important piece of information we get from the whole chapter. So let’s analyze it from the start. Julia takes Andrew to visit Nina’s grave, bringing back a slew of emotional turmoil he’s still haunted by. He immediately goes home to unpack it with Ashley.

(because god knows he was thinking about her the whole time he was talking to Julia). Ashley shows her first signs of maturity in the conversation that ensues, accurately pointing out the impending doom of Andrew and Julia’s relationship, and being a little more… introspective.

It’s clear that Leyley’s view of relationships is skewed, to say the least. She barely distinguishes romance from platonic love and has a very childish take of sex being "gross and all men want.” I’ve seen many people, before and after this chapter release, theorize that Ashley is asexual, something that’s always bothered me to no end. It’s one thing to just headcanon a character having “x” sexuality for the sake of it, but here people were using a headcanon to explain a critical part of her characterization, one of her Leyley traits. It is reductive and misguided, not to mention a terrible example of what asexuality would actually look like. Because this isn’t an innate characteristic from Ashley, it is a sign of immaturity, and to a certain degree, also insecurity.

Leyley has been conditioned her entire existence to believe she’s loathsome and undesirable, so anyone sticking around would never be out of their own volition. It would have to be a transaction, give and take. If Andy and Leyley marry it would have to be this way, a selfish exchange on both ends. But as she says: “different is fine, sometimes.” This is Ashley talking, taking into consideration Andrew’s needs for once and for all, which is the reason she made a move after he woke up. She understands his needs and is willing to put out for him, thinking maybe it could be good for her too. 

But boy does he fumble hard. Which I don’t blame him for, dude wasn’t in the right headspace at the time. Though this is the moment that set Ashley’s development far, far behind square one. She didn’t take the rejection well. For once she was doing what he wanted, and he pushed her away (mixed signals much). He began being very cold to her afterwards (albeit in a fruitless attempt to repress his feelings, which as we see through the puzzle sequences, the more he crushed his feelings on the outside, the further they spread on the inside). The moment Andrew reached out for her again, a year later might I add, he did it because of Ashley, or rather Leyley, needing to be reprimanded and set on the right track (with the massage parlor job).

This sealed the deal for Ashley that the only way to secure Andrew’s attention was the way that Leyley used to do with Andy: bitch and moan until he pays attention. In other words, it’s Andrew’s fault that Ashley is the way she is… though he’s not entirely aware of it, as seen in parts of his pov. And to a certain extent, Ashley also plays a part into why he’s so apprehensive to the idea of liking her. Her childish nature and refusal to grow up is proof to Andrew that if she were to indulge his desires, it would be to keep him around, but it wouldn’t be reciprocal (which is ultimately what he desires the most). 

This is my main takeaway from the cliffhanger route. I won’t be theorising much on what the outcomes for this route could be (more on why later), though I will be referencing this heavily for the analysis of Shots and Such.    

Also the symbolism in this scene is quite strong (couldn’t fit it into the previous paragraphs but wanted to bring it up anyway).

Her painted nails are trashy, and Julia's nails are painted. Andrew stares in silence as Julia rings away...  

Also:

This is after you destroy the Leyley plushie on the wedding cake scene, to retrieve Ashley's choker (which can later be used to create Andrew's partner... which also grants you a star). Originally, the plushies were watching cartoons, but now that Leyley is gone... something else surfaces. Interestingly enough, if you refuse to destroy it when prompted, the narrator will say "what are you, some Andy?" And if you try again after that, it won't allow to you to tear it apart, saying "you've made your choice." Very strong symbolism there. Let's move onto Shots and Such now.

The Absolutely Terrible: the Decay of Andy and Leyley

A terrible, disgusting, horrifying and necessary ending. Necessary to really discern the differences between Andy/Leyley and Andrew/Ashley, plus why the former will ALWAYS be a pointless, troublesome pairing. They hurt, abuse and tear each other down in the most sadistic and depressive ways possible. Long gone are the days of their playful banter, they are now replaced with just plain ol’ spousal abuse. Even when they try reviving their spark with their quick banter about the vacuums, it is soulless and dry, the damage done to their dynamic far too damming to ignore. 

They are never honest with each other, and they’re always afraid and resentful of the other. The only thing keeping them together is codependency and lame sex that sometimes distracts them from how miserable they feel. The one sex scene in this chapter reads like a dagger to the heart, because it is everything neither of them wanted to happen. Andrew yearned for something reciprocal, for him to be seen. And as much as he begs and pleads for Ashley to understand, Leyley’s fear of abandonment overtakes her, diminishing the little trust she had for him and respect she had for herself. As a result, they both hated the encounter, and the only two solutions are ending themselves or committing to a life of such misery.

In the splat ending, we indulge Andy’s desires of ending it all, and Leyley reluctantly follows, scared and unsatisfied until the bitter end, but unwilling to let go of her Andy. In the Shots and Such ending, we indulge Leyley’s fantasies of a forever union, which turn out to be anything but the ideals she had for Andy and Leyley’s marriage. It is more of the same old horrific abuse, dishonesty and bickering over nothing, with maybe one glimpse of honesty forced out by the alcohol every once in a blue moon. 

No matter the end, they’re both together forever as Andy and Leyley, dragging each other down into the lowest of levels. It’s pointless and bleak, and it certainly sent the fandom into a frenzy. You think the people defending Andrew “I’m normal” Graves or the people saying Ashley “did nothing wrong” were bad? Well, just as this route brought the worst out of the Graves, it also brought out the worst of these fans.

Every time I look into the comments section of a video or discussions for this chapter, it’s a constant shit-flinging contest of who had the worst upbringing, who has the worst personality, who is the most abusive, (which most people seem to be pointing fingers at Ashley for that one). It’s all blah blah blah who’s the woest of the woe. And worst of all, plenty of men (they’re almost always men) saying “Andrew should beat Ashley up some more.” I understand that Ashley’s worst traits as Leyley were amplified in this chapter, but honestly, men who had that takeaway from this chapter disturb me more than the game itself. Heck, even mother-of-the-year Renee calls bullshit on this:   

(context: this is a rhetorical question, the answer being no, obviously.)

Let’s get one thing straight: no character here is worse than the other. They’re both awful, they both beat each other, they both abuse each other and they're both victims of each others’ abuse. The tragedy here is that they are as much victims as they are perpetrators, with no end in sight, because the more one hurts the other, the more retaliation ensues. Characterizing one as the worst is, again, completely reductive and overlooking the point of the ending: nothing gets better because neither got better. We only saw Andy and Leyley in this route, with brief glimpses of Andrew and Ashley, that are quickly crushed by their inability to disengage from their toxic habits.

I think it’s clear to see how Ashley is regressing more into her fears (Leyley), given the threat of being murdered by the only person she has left forced her into that state. She doesn’t want to die, she’s terrified of death, and wants the security she believes Andy will bring her back. Except Andy is the one harboring resentment, as Andrew is the one trying to work past it. And to the people who think we’re playing as Andrew and Leyley in this route because “we chose Andrew,” no we’re not. There’s a reason the beginning of both the Andy and Andrew (shots and such) routes look the same in terms of the area we explore in the demon realm. 

There’s a reason why he keeps devolving further and further into resentment for Leyley. The “Andrew” choice means nothing if Ashley refuses to stop being Leyley. And her regression is reinstated by the selfish decision to kill Andrew in the bullets ending (and yes, I’m calling it selfish, since it is once again denying Andrew of his need to be rid of the Andy and Leyley dynamic). This reinforces Andrew’s belief that Leyley doesn’t want him, that his love is one-sided, and that she doesn’t care for his needs. The moment this choice (shooting Andrew) is set in stone it’s game over for both, because one can’t heal without the other. Again, nothing gets better because neither can get better.

The only difference between both routes is that when we pick Andy, Andrew surrenders. He’s hurt, battered and confused, but Andy’s instinctual need to please Leyley reigns above all. He knows it won’t get better, he doesn’t know how to make it better, so to hell with it. If we choose to be Andrew, Andrew never surrenders, insisting there must be a way to fix this, but can’t due to Leyley’s insistence. This leads to Andrew's decay, as he devolves into a mixture of Andy’s resentment boiling over and Andrew’s sadism. The logical part of him (which is Andrew’s lingering care for Ashley) tells him to disengage from the fighting. But his resentment (Andy’s decay) is overpowering his love for her. It gets to the point where both Andy and Andrew become undistinguishable, as they have melded to become his most deranged self. Surprisingly, something similar happens with Ashley, who also struggles to surrender in this route. There are two moments of honesty in the Shots and Such route, the only moments we get to see Andrew and Ashley completely. First is Andrew comforting Ashley’s sobs:

Here, Ashley was actually honest with him for once, which allows both of them to open up. This exchange is much more lighthearted compared to the rest of the route because both are meeting each other at the same level, talking through things together, addressing their happiness and where they want to go. Ashley shines through, taking genuine interest in Andrew’s happiness, but before things can settle…

Ashley must face her fears of freeing Andrew, trusting him. And she doesn’t, because let’s remember, we chose Leyley in this route and let Ashley decay. So once again, things go back to how they were, pointless resentment. There was also a time where Andrew opened up, and that’s when he was drunk out of his mind.

He put his front down, enough to indulge in his paraphilia but not enough to fully express his love. The mixed signals are strong with this one, which further confuses Leyley. However, when they go to sleep that night, Andrew opens up about his needs, about needing Ashley to see him for the mess of a man that he is and still accept him. Ashley takes the stage, reassuring him that she knows all his secrets and loves him regardless. Andrew is honest about why he pushes her away, because it’s the last thread of normalcy he has left. However, things quickly go back to normal, when Leyley refuses to give him a kiss due to all the times he pushed her away. At the end of both of these scenes, we hear a sad music box tune, a sad reminder of how crucial these scenes are. How easily things could be fixed with the care and honesty they warrant, and how easily they fall apart out of simple reluctance and conformity. 

This is a constant thread we see in their relationship, throughout flashbacks and present time, as well as symbolisms throughout Burial and Decay. The choice to not only trust, but to be honest with one another despite their fears could’ve been the fix they needed all along, the one thing they needed to mature. Their bond is so fragile, so easily twisted, that the only way to salvage any semblance of tenderness is to address their underlying decay. I find it funny how there are still people (few but still some) who were disappointed to see that Decay wouldn’t be the "normal" route. I read a few comments of people wanting their relationship to be fixed and be a normal sibling dynamic. To which I just have to say, that is way more delusional than the people who expected any routes of this game to be all fluff and rainbows.

The relationship was already screwed from the get-go, but here’s the hard pill to swallow: having a normal relationship is not the fix they need nor want. The paraphilia has consumed Andrew so thoroughly that his only solution is to completely wipe his brain or fully indulge in it (possibly the two routes of episode 4), while Ashley has to let go of her selfish, childish desires to recognize the Andrew she wanted has been there all along if she cares to meet him there. Is it an unsavory solution? Yeah. It’s gross, morally and ethically reprehensible. But that’s just who they are as people. And accepting themselves for who they are is ultimately the last ditch effort they could ever take to salvage this volatile, fragile relationship. I mean, this optional dialogue really puts it best:

(This is the single line of dialogue that actually made me tear up btw, not even the splat/shots and such ending tore into me so much as this line). 

The Coffin of Andy and Leyley is, at its core, a cautionary tale of generational trauma and the cycle of abuse. How far will people go if pushed to their limits? Is it ever possible to remedy yourself once you’re at the point of no return? And is that remedy worse than the sickness itself? Can the doomed ever be redeemed? And if so, what are the necessary steps to take in order to redeem yourself, before it all goes dark? Andrew and Ashley can keep longing for one another all they want, but until Andy and Leyley are ripped and torn to shreds, neither will improve, and are fated to decay in the coffin of a different apartment, one built out of their own hangups and fears. We’ll see what episode 4 has in store, I trust the author will give us a satisfying conclusion. And speaking of the author…

The Meh: Changes to Episode 2

This new update brought about a couple of changes to the previous episodes as well. Namely, the wording for the decisions that split the story into Burial and Decay, as well as revamping the Burial route. I’ll be honest… I’m not a big fan of some of these.

For starters, this new update made me realize the author, as offline as she appears to be, is keenly aware of people’s opinions of the game and takes quite the contrarian attitude to people who miss the point of the story (something I can’t blame her for entirely, and seems to be the reason why things escalated so much in this chapter). Take for example the Grave Mistakes vision, Andrew explaining why they’re not addressing the Toxisoda thing anymore, and going as far as to add a bloody sprite for Ashley in the Burial route (something a few people were complaining about back in the day). Also, there is an optional dialogue in the highschool flashback that feels like a clapback to the Renee mod:

I’m glad the author is aware of people’s criticisms and takes the time to sort through them, but part of me wishes she didn’t try to over-explain some plot points. The thing that I originally loved about the game was the subtle storytelling, how it takes you a couple of playthroughs to fully understand everything lying beneath the surface. It plays tricks with you and makes you think about the characters’ true intentions, goals and desires, all the way until they spiral out of control and pretenses can’t be kept anymore. I liked that Ashley has a little back and forth between wanting to trust Andrew, being unable to because of her insecurities, and falling back on the trinket. But now…

The choice kinda spells it out for you already. For one, the choice of dialogue feels a bit clunky and also redundant given the next couple of lines confirm this already. The change in the olive branch choice, with it now being reflect/decline, doesn’t bother me as much, but this feels a little too in your face. Same thing with the changes to the Burial vision. I like that you have to put the green plushie back in the cage at the end, as it’s something you also did earlier in the puzzle, so it feels less contradictory. But the change to this line…

It’s honestly giving too much away. People go through the Burial route because they want the siblings to trust each other, and they select the left door for the questionable outcome because they want to make the questionable choice. However that route turns out, whether good or bad, is for us to find out as we play. And mind you, I already know it’s not ending so well given the hex Andrew gets in Burial is the same as in the Decay Andy route. That just cannot be any good. Plus, the fact that Burial is all about burying things under the rug. I suspect that while Decay is more about Andrew due to its reflective nature, Burial will be all about Ashley due to her nature of compartmentalizing. I imagine both Burial and Decay will have their own good and bad routes, but I’d rather not jump the gun into assuming what each will pan out to look like, as chances are I’ll be completely mistaken.

And I say this as a good portion of the fanbase was proven wrong with this new update, in terms of what Decay and Burial are about. The general consensus used to be Burial = romance, Decay = hate. Some fans even came up with the bizarre defense that the game is not so bad because the incest is totally optional! It's on the player to pick it. All the while you have Andrew grabbing Ashley's belt loops and cuddling her on the couch in both routes...

I can appreciate asking people to look at what's beneath the surface and analyze things a little more critically, but that was just plain wrong lol. In the back of my mind, I always hoped that Decay would address some of Andrew's feelings to completely shut down all the "optional" nonsense. Welp, that it did... way more than I anticipated.     

Anyway, my point with this last bit of the rant was that I hope these changes don’t become a trend of the author trying to make things clearer for normies or paying any mind to them, as that would only cheapen the storytelling. Those who get the story get it, and if not, they can read people’s shizo analyses online. But I don’t need my hand held throughout the game; I like figuring things out on my own. To wrap things up, I’ll just say I’m very happy with the outcomes we got. They were terrible, but necessary for the reasons explained above. I was originally very scared of the Decay route, as I didn’t know exactly what to expect and angry Andrew scares me. But this has quickly become my favorite episode of all and I can only hope the next ones do it justice. Keep cooking Nemlei, you’re doing good.

[judenostopwaitkeepgoing]

A Class Analysis of the Crown Villains

Analyzing all of the EN-released Villains from who would be the most to least wealthy in 1890s Victorian England.

A/N: This is just for fun! These characters/stories are not that deep, and I don’t want them to be! I just find it fun and silly to think through what this world would actually look like in history, and maybe you do too! 😊 Spoilers for pretty much every villain on the EN server, so read at your own risk! Also I am not a historian or economist, just a gal with a computer, so take all of this with a grain of salt.

Also, I’m assuming that Ikémen Villains takes place sometime in the 1890s in London, England—the tail end of Queen Victoria’s rule. This estimated time frame is based mostly on Harry’s love of Arthur Conan Doyle and passing mentions of when “he has a new novel coming out.” Doyle was a prolific writer and wrote for a long time, but I wanted to keep the time period specific enough to really think through what the economics would be like.

Wealthiest - Jude Jazza

Originally I was going to put the villains who belong to the gentry (Elbert and William and ... Victor??? Maybe?? haha) at the top of the list, but the more I thought it through, the more it became clear that in order for Jude to realistically carry out some of the actions in his route (which I haven’t finished!) or various story events/collection events, he would need to be so fucking rich. Like stupid wealthy. Like not quite at Jeff Bezos level of wealth, but pretty up there.

And baby started from the bottom now he’s here, okay! The fact that Jude grew up in abject poverty then became a successful CEO of a trading company originally struck me as one of the more unrealistic things in the game (which I do not care about, he’s still daddy), but the more I looked into it, the more I got on board with it. The writers were smart to add a rich benefactor to his backstory, because in 1890s London, that was probably the only way for a poor kid from the slums to receive an education. Wealth disparity was bad in the 1890s, and people were mad about it! Jude’s hatred of the rich and powerful is in keeping with working class (and even some middle class) attitudes at the time. And with the rapid development and expansion of the Port of London (from the completion of the Royal Victoria Dock in 1855 to the Port of Tilbury in 1886), trading was the business to be in at the time. So it’s not impossible that Jude could have just lucked out in a few key ways and worked extremely hard to get to where he is (although he would still probably be considered a unicorn in this time period).

As for Raven Co.’s annual profit: who knows. I’m guessing it’s in the billions in today’s money. I’m unsure what Jude’s salary would be, he is explicitly characterized in his route as a fair boss who pays his workers a living wage, but he’s also like randomly really generous with like Ellis or Kate (i.e. giving Ellis a blank check for Xmas, giving Kate more than enough money to get a dress, etc.) so he’s probably taking home plenty. And considering how smart Jude is, he’s probably pretty savvy about saving and investing his money. He also makes a lot of deals and has a lot of involvement overseas, so I wouldn’t be surprised if he has bank accounts in several countries. The man is committed to building his rocket, okay! I’d say his annual income is in the hundred millions of dollars (in today’s money). But his net worth is probably in the billions.

Lord Elbert Greetia

Okay, now on to our first landed-gentry boy: Lord Elbert. Lord Elbert is most likely the wealthiest member of Crown in terms of generational wealth, with William coming in a close second.

Elbert is a member of the landed gentry or “peerage” and uses the title of “Lord,” which he inherited from his father. Being in this class means that he not only has significant wealth (in literal pounds and assets), but it also means that he has a rock-solid social standing and owns land. Land ownership is a big deal here because it means that Lord Elbert has the power to control anyone who might be living/working on property that he owns. And I’m not just talking servants/staff at his estate, I’m talking residents of any townships or villages on the likely acres and acres of land that he's in control of. So he has a passive income via taxing residents and laborers on his land(s)... forever! Being in this class also makes his wealth a lot more stable and immutable than say, Jude, who is a great businessman but whose income and assets are at the mercy of the market/demand.

Elbert’s character in the game is very stoic (until Kate shows up!), and he has deep trauma from his childhood home, so he doesn’t seem to exercise a ton of the privileges that would be available to him in terms of controlling the people who live on his properties. But, if we’re talking the 1890s here, he would probably have entire villages or even small towns under his economic purview. I think of him as a Mr. Darcy type, probably bringing in about £10,000 a year, or a little over £1.5 million/$2 million in today’s money. This combined with the cost of all of his assets or “beautiful things” that he compulsively collects (artwork, fine furniture, jewels, real estate, etc.) means I’d estimate his net worth to be about $70-100 million in today’s money.

Lord William Rex

I’m only putting William after Elbert because I do think Elbert has more non-cash assets, simply from the nature of his curse which causes him to be greedy. But let’s be clear: Lord William is also loaded. He, like Elbert, is a member of the peerage of the time and owns lots of land/real estate. He probably receives a pretty substantial passive income from all of his properties like Elbert.

I do think there’s one key difference between them: I have a feeling that William would either redistribute some of the income that he gets from any taxed residents/workers on his properties or lower their taxes—he just seems like the type to be about that. So that’s another reason why I think Elbert might have a higher net worth. Still, we find out that William paid for the construction of a hospital in his route, and for a man to do that in the 1890s, he’d have to be pretty freaking rich. I’d say that his net worth is probably somewhere between $50-100 million in today’s money.

Victor???

Big question mark around Victor! I’m putting him here just because he is so connected to the Queen, and unless we learn something different from his route, I’m pretty sure that means he’s at least upper class, if not a (former) member of the gentry/peerage. Or perhaps comes from a wealthier family. He also receives a salary and lodging from the Queen (as do all the members of Crown I think) so he’s certainly getting all of his needs met. He’s also the oldest member of Crown, which just makes me assume he’s had more time to accrue savings. But couldn’t tell you what his net worth is even if you held a gun to my head, this is all just vibes haha.

Liam Evans

Liam grew up comfortably upper class, basically wealthy despite not being a member of the landed gentry. His father owns an estate, or at least did when Liam was a child, and had staff and servants. Because of his mental illness and disfigurement, Liam’s father probably relied entirely on family money after a certain point.

As an adult, and considering he is a successful and popular leading actor at a major theater in London at the time, Liam is doing well for himself! He is now much better off than his father! Good riddance! Actors at the major theaters at the time were typically paid anywhere between 2-25 pounds per week, and Liam was likely on the upper end of that spectrum. Let’s say he takes home 20 pounds a week, which in today’s money would be about 3,200 pounds, or about 4,000 dollars. That’s 208,000 dollars a year before tax! Not bad at all! But, it’s worth noting, that at the time actors were definitely not seen as contributing members to society (especially women/actresses—they were essentially thrown into the same category as sex workers), so Liam’s social standing in the grand scheme of things is definitely lower as an actor than it was probably growing up in an upper-middle class house.

Ellis Twilight + Alfons Sylvatica

I’m throwing these two in here together because they are probably doing well for themselves, but only because they are attached to a super-rich person haha. Who knows what their salaries/wages are or what kind of deal they have with their respective sugar daddies (hehe) but suffice to say they don’t have to worry about money. Alfons is probably more irresponsible with his money, only because of his lifestyle, but even so he’s nowhere near as big of a spender as Elbert so it probably all ends up a wash. And I’m assuming that Jude pays Ellis pretty well because he loves him lol.

Harrison Gray

Okay, this one took some digging! Harry’s dad was a police officer, which in today’s world would mean that his family was pretty well-off and Harry had a comfortable upbringing. Not a member of the upper classes/gentry, but probably solidly middle class. This is also implied in the game, or at least Harry isn’t one of the characters that we know grew up poor.

But, it turns out, police officers weren’t paid super well in mid/late 1800s London! Harry’s dad would probably be on the better-paid side of the spectrum because he was a chief/high-ranking, but the police were a relatively new-ish phenomenon and weren’t considered “high-value” professionals. Harry’s dad likely only took home about 10 guineas a week, which in today’s money is about £1,400 or $1,700, so he was making about $88,000 a year in today’s money (before taxes). Which would be relatively comfortable for a single person today, but for a family in the 1800s would be pretty much living paycheck to paycheck with maybe a couple splurge purchases a year (like for Christmas or birthdays). So Harry’s family wasn’t anywhere near as poor as Jude or Alfons were growing up, but they likely lived quite modestly!

As an adult, Harry probably makes a healthy salary as an editor/proofreader. Publishing was booming in the 1890s, and writers were most often serialized in weekly publications, which meant a steady income for both writers and publishers. I’d say Harry is probably taking home a couple hundred pounds at the least per week, so something in the thousands of dollars in today’s terms. It’s unclear to me what the rules of living in Crown castle are. Like do they pay rent? I don’t think so? Let’s say they don’t, which means Harry gets to save/keep all his wages and only spends on personal stuff. He doesn’t seem like the biggest spender, if anything he reads as very sensible with money to me, haha. So he’s likely got a cozy little net worth building up but nothing crazy. Since wealth stratification is so extreme in this time period (the rich were very rich and the poor were very poor), Harry would probably be making enough to still be looked down on by the upper classes and enough to still be the object of contempt for the lower classes.

Poorest ? - Roger Barel

Doctors today are very well paid, but this was not the case in the late 1800s! Growing up, Roger’s dad probably had an annual salary of about 300-500 pounds a year, or roughly $45k-$80k in today’s money. Not a lot to live on for a whole family now, but this probably went further in the 1870s/80s when Roger was growing up. It’s implied that his family lived relatively comfortably, so I’m guessing that his dad had a good reputation and was sought after for his surgical expertise. He may have even gotten paid to teach in surgery ‘theatres’ of the time. (I haven’t read or looked much into Roger’s route so this might be wrong!)

I’m only ranking him last because he seems to not be formally employed haha. Since Roger is not a publicly practicing surgeon, he is relying on his income (?) and lodging from Crown for his day-to-day expenses. This could be any amount it seems, haha, depending on what he asks Victor/the Queen for. He doesn’t seem like a crazy spender, so he’s probably not complaining. I have no idea what his salary would be, though. It doesn’t seem like Crown bothers with all that, haha.

[queermikewheelertruther]

mileven vs byler fight

I think by now we’ve all seen that “I really want s5 to be milevens season” post, but I noticed something interesting about it.

“No fights.” Now this isn’t just specific to this post, I’ve seen plenty of other milevens say similar things and just generally being against the idea of a mileven fight.

But compare this to Bylers. I’ve seen countless amounts of posts wishing/begging for another Byler fight, a rain fight, etc. But why is this? What’s the difference between mileven and Byler’s fights?

With Byler, their arguments always end resolved. Mike apologies to Will, and they tend to have some sort of intimate moment(s) afterwards. But compare this to mileven, they don’t. Any relationship issues mileven has had throughout the series haven’t really been resolved.

These problems just kind of build up overtime and result in things like an argument “you can’t come back from.” I also feel like this is why milevens don’t want a mileven fight again. They know that it wasn’t really fixed. Their relationship isn’t doing so well by the end of s4.

As for Byler, their fights build on to their relationship, and also just their characters. As we’ve seen in s4, the rain fight encouraged Mike to join a dnd campaign again, and also attempt to bring the party back together. And their s4 fight, well I mean, all I have to say is the flirtatious bedroom scene(s) LMAOO

But milevens can clearly see that it’s not the same case for mileven. A fight wouldn’t help their relationship, because they don’t understand each other when they have a disagreement romantically.

(id also like to add that milevens arguments just… aren’t on the same level as bylers. for example, milevens ‘fight’ in s3 didn’t feel emotional. it felt like the average teen couple breaking up but it didn’t feel devastating or even that big of a deal. as for byler, they want you to feel kind of taken back by their fights. they want you to go “wow, this is a pretty serious argument that no other friendship seems to have in the show.” and for a reason too. milevens fight in s4, it was upsetting but in a specific way. they’re trying to make it feel unappealing, hence why mileven is always separated and having problems throughout the series.)

[superectojazzmage]

Just back from Alien Romulus and hoooo boy oh boy. Review/analysis.

Easily the best Alien movie since the first two, which isn't saying much, yeah, but it is legit a really cool and well-made movie, competing with Late Night With The Devil, Longlegs, and Cuckoo for title of my favorite horror movie this year.

In a lot of ways it's about harvesting the few good ideas from the post-2 movies that were squandered and doing them right, plus getting the series back to it's healthier roots, kinda the movie equivalent of someone doing physical therapy to get back in the saddle after an injury. This means it's not quite brand new ground like some may hope for and I've heard some people feel it gets a little derivative at points because of it. I can kinda agree and certainly understand that criticism, but I feel it does what it's aiming for really well and sets things up for future works to go in even crazier directions. Furthermore, it takes a lot of time to try and weld together the disparate post-2 movies in a way that brings the series back to a little coherency.

The atmosphere is really intense and cool, swinging between lovecraftian dread and build-up and high-energy chaos. The aesthetics and special effects are gorgeous, taking full advantage of the progress that technology has made since 2 plus really digging in to the used cassette future vibe of the older films. The characters are likable and actually intelligent (or at least understandable) in behavior like in the first two movies, so you care about what's happening to them instead of just waiting for them to get munched. The action and kills were really cool and creative, the cinematography in general was off-kilter in an awesome way - there's a definite attempt to make the movie feel claustrophobic and intimate. Fede Alvarez did a fantastic job in general, I'd love to see him do more with the series.

It REALLY cranks up the series' psychosexual, freudian, and sexual assault subtext, arguably to a point where it's just plain text. So if you're sensitive to stuff like that or if this is your first go at Alien, be warned for that.

More specific notes go under the header for spoilers. Highly recommend you go in as blind as you can.

Andy and Rain were wonderful leads, their dynamic was fantastic and Calie Spaeny and David Jonsson both turned in great performances. I direly hope they join the first two films' casts as "major" characters for the series going forward.

The effects to make Daniel Betts look like Ian Holms were quite possibly the one and only time the special effects failed. It looks very wonky, which is sad because Betts does a really good job copying Holms' mannerisms for Ash while still making Rook feel like a distinct character.

In addition to the usual themes of sexual unease, genetics, and parenthood, this movie adds in some really interesting themes of familial legacy, the rise of new generations, foundations, etc.. Andy and Rain are like Romulus and Remus of myth, orphaned and left to fend for themselves but growing into founders of a new age - both in-story with their carrying the XX121 substance and evidence of Weyland-Yutani's misdeeds to Yvaga and out-of-story with them being the protagonists of a new era for Alien. Likewise, the Offspring is the first example of an entirely new species, neither human nor alien but taking from the lineages of both through Kay and Big Chap, a Romulus-like founder of it's breed that will later bear fruit in Resurrection with the Ripley clone and Newborn.

I'm really not kidding when I say above that the psychosexual undercurrents are taken to the extreme here. This movie basically sees the ways the original film subtly pin-pricked at those themes, says "fuck that", and deliberately rubs it in your face in a way designed to make sure you can't ignore it. It wants you to be grossed out and to squirm in your chair and it knows exactly how to make it happen.

Alvarez noted in the lead-up to release that he took a lot of influence from Isolation and you can definitely see that in how he depicts the Xenomorphs and the general aura of the film. He further described it as a kind of halfway point between the first and second movies and you can also see that; it has the Lovecraft-style tension and horror of the first, balanced with the energy and action of the second, and it does a really good job finding a middle ground between Ridley Scott and James Cameron's styles while also doing it's own dance.

I mentioned way back at the start how the movie basically harvests the good ideas from 3, Resurrection, Prometheus, and Covenant and gives them the room they deserve while dumping the bad. It does that in both terms of themes/style and continuity/lore. Concepts that those movies bungled like xeno-human hybridism, the black goo, genetic engineering as a focus, and so on are done here more creatively and competently. Themes that those films tried and failed to tackle are handled with significantly more grace. It has the atmosphere and characterization of 3 but none of it's baggage and needlessly depressive tone. It has the body horror and weirdness of Resurrection without taking it to the zany, embarrassing areas that movie went. The effects and creativity of Prometheus and Covenant without any of their awful writing and clumsy messages. Alvarez takes on kind of an Al Ewing-esque "repairman" writing style here.

The Xenomorphs are absolutely deranged in behavior compared to most portrayals, attacking like either cruel sadists or raging chimps and rarely bothering to take hosts. I'm not sure if such a reading was intended, but I got the vibe that the idea is Xenos raised without a queen or hive grow to be basically sociopathic like how real world predatory animals grown without parental figures become feral and dysfunctional. Which would also explain a lot about how the Xeno in the original movie, Big Chap, acts there.

The Offspring's design is fucking wicked and I love it.

One of my few major criticisms is that Big Chap died off-screen instead of getting more to do. What was the point of having him be alive at the start if he wasn't gonna be used beyond a backstory point to set up the main story?

All in all, a very impressive effort and a great return to form for the series that I recommend highly.

[beescake]

i am in love with your sollux i think

sollux love party :]

if you’re interested heres some of my personal fondness thoughts on him.. big warning for the mega long read ahead aye

as we alr know sollux's rejection of participation somewhat mirrors dave's rejection of heroism, but even without getting cooked to completion i still find sollux's character v compelling beyond the fourth wall

as someone who doesnt get a pinch of that Protagonist Sparkle to begin with, he can openly say he wants to leave anytime…. and unlike dave, he actually Can leave the scene anytime. but he can never be truly Free from the story via permanent character death like the other trolls.

his irrelevancy is indeed relevant - he’s there so u can point him out.

while his image is intended to be a relic of past internet subculture, his role is not only about hehehaha being a Chad or a 2000s cyberforum 2²chan haxxor ragequit gamebro.

his continued existence also happens to add a Bit to the overarching themes of homestuck! a Bit that gives him longer-lasting thematic relevance compared to the trolls who could’ve had more character potential but didnt get to survive beyond the main story.

the Bit in question:

his defiance contributes to the illusion of agency (treating characters = people with autonomy). he’s “aware” of it, and that recognition is worth noting enough to forcibly keep him alive as both reward and punishment.

considering how his personality & classpect is designed its definitely a very haha thing for hussie to do LOL. he’s made to be op asf so he's resigned to doing dirty work, gradually deteriorating along the way but never truly dying. as fans have mentioned before, him openly rejecting involvement after a while of grim tolerance is like if the sim u were controlling suddenly stopped, looked up and gave u the finger while u were step six into the walkthrough for Every Possible Sim Death Animation.

but since he’s just a sim… the more he hates it, the more you keep him around. if ur sim started complaining abt your whimsical household storyline you’d definitely keep that little fuck.

but yeah i like that sollux is just idling. the significance of his presence being that one dude who's always reliably Somewhere, root core Unchanged, no individual ambitions (possibly due to fear of consequence?), and design-wise: a staple representative product of his time.

compared to dirk's character, who has aged phenomenally well into the present (themes of control + AR + artificial intelligence, clearer exploration around navigating relationships/sexuality, infinite possibilities of self-splinterhood and trait inheritance), sollux's potential is really... contained. bitter. defeatist. limiting and frustrating in the way old tech is.

the world continues moving on to shinier, brighter, more advanced automated things - minimalist and metaverse or whatever but sollux is still here 🧍‍♂️ going woohoo redblue 3d. (tho personally i imagine his vibe similar to what the kids call cassette futurism on pinterest mixed w more grimy grunge insectoid influences eheh)

conceptually-speaking,

at the foundation of it all, the rapid pace of modern development was built off the understanding of ppl like sollux in the past, who were There actively at work while the dough was still beginning to rise

thats one of the cool things abt the idea of trolls preceding humans! the idea that trolls like sollux excelled back when lots of basic shit still needed to be discovered, building structures like networks and codes from scratch, and humans will eventually inherit and reinvent that knowledge in ways that become so optimized it makes the old manual effort seem archaic, slow, and labour-intensive.

but despite information/resources/shortcuts being more accessible now, much of the new highly-anticipated stuff released on trend still end up unfinished, inefficient, or expiring quickly due to cutting corners under severe capitalistic pressures

meanwhile, some of the old stuff frm past generations of thorough, exploratory and perfectionistic development still remains working, complete, and ever so sturdy.

those things continue to exist, just outside our periphery with either:

zero purpose left for modern needs (outdated/obsolete)

or

far too important to replace or destroy, bcs of its surprisingly essential and circumstantial usefulness in one niche specific area.

which are honestly? both points that sum up sollux pree well.

dramatic ending sorry. anw are u still on the fence or are u Sick abt him like me </3