#and in a place where food isn't scarce. well

[swiftcast-selene]

Day 3: Free day

now that he doesn't have to survive off scraps, Negi'll be the first to admit he's gotten a little... spoiled. turns out having someone to help out makes traveling a lot easier... who would've thought?

(featuring @duisarcusxiv's Sagra!)

[pcktknife]

Boosting for Ola! I've reblogged from her before at @olagaza she has been verified by @/90-ghost and is also featured on @/nabulsi and @/el-shab-hussien's vetted fundraiser list so please don't hesitate to help if you can. Ola's family (consisting of her parents, 3 sisters,and brother) has been struggling to survive in north Gaza, they were forced to leave their home and food/clean water are expensive and scarce. Right now her campaign is at $43,930 of the $50,000 goal which isn't very far off. The bare minimum you can donate is $5 and it's important to remember a little bit goes a long way. If you can please donate if not reblog/share. I'll link Ola's gfm below as well as her pinned so that can be shared as well.

[snitchbo]

I dont know how to explain why this is important

But let's not forget that Parkour Civilization is a meritocracy. A socialist autocratic meritocracy.

I feel people don't dwell on this fact enough, opting to just focus on the capitalist allegories, which is awesome bc the allegory is strong and well made, but the literal government seperate from allegory is ALSO very well made and unique, i mean I've never seen a fictional government quite like it, and it's impressive.

People often struggle to conceive the thought of another government or societal idea, and Evbo managed to make an entire government and social norm completely different from any of our own.

Like, let's break this government (or lack of) down.

Parkour Civilization has a sole and all-powerful ruler, The Champion. Which makes the society autocratic with a dictator.

The "businesses" ( housing stores, buying food and blocks, etc. ) are collectivley owned, not belonging to a single person but rather the community. Especially in higher layers, people receive as much as they give to their society. If they work, they get food, they do extra tasks, they get blocks. It's essentially a Marxist Leninist socialist society, but one that's heavily affected by the meritocracy, which can make it seem more capitalist leaning.

Speaking of Meritocratic society, people often mistake the meritocratic aspects as being outright capitalistic, like the social hierarchies and needing to parkour for basic necessities. HOWEVER this is because the society is structured based on your merits in parkour, those with a higher skill level are placed higher in the social chain. Thats why the Parkour Champion is a dictator, because they're the person who is THE BEST at parkour, making them the most capable to lead society according to meritocracy.

In any case, the fact that people are forced to parkour ALL the time is pretty understandable, considering this government is based on merit. They're encouraging people to show off and practice their parkour because their skill level is the only thing to get them anywhere in society. Based on their merits, they get their bare essentials, and if they have particularly good skill levels, they can rank up in society and have access to better resources.

People also always talk about how Evbo didn't make food and resources accesable for free without parkour, which is kind of where the capitalist lens takes over because those things ARE free. There isn't a system of currency in Parkour Civilization. it's all just MERITS. The fact they can die from parkour and the fact they use language like "buy" and "sell" makes it seem capitalistic, but they dont work and receive currency. The currency is infinite as long as their SKILL SET allows it. People had to worry about the consequence of dying from parkour, which is what made it scarce and less accesable, people werent willing to try. Evbo, however, gave them the ability to try again without consequence, which pretty much DOES make everything free, as free as it gets. They have infinite "currency" based on their skills, and theres no consequence for failing or trying again.

I also feel that when people beg Evbo or the future generations to turn Parkour Civilization into more of a communist society, they're completely ignoring the worldbuilding. That is an insane leap to make, from a society based on parkour abilities to having nothing to do with parkour? "Well, they can still parkour!" They could, but you'd be removing the vitality of it completely. I mean, imagine asking the states to become fully communist? It's an insane change that their society would never make, and thats not the end goal. Society can be functional and good without our interpretation of a utopic government because every society is different.

I love the government in Parkour Civilization. Please hear this. And ask me questions or talk to me about it.

[itsonlybaby]

𐙚ᣟ݂﹒𝐮𝐬𝐞𝐥𝐞𝐬𝐬 - 𝐛. 𝐛𝐥𝐚𝐤𝐞﹒

◜♡﹒﹒𝐫𝐞𝐪𝐮𝐞𝐬𝐭﹒𝐭𝐚𝐠𝐥𝐢𝐬𝐭﹒𝐥𝐢𝐬𝐭

playlist !

Bellamy Blake - Arkadia

꒰ ୨୧ ꒱ ⸝⸝ you're a coder, but what's a coder without something to code? bellamy had instructed you to keep watch of the guns and ammo instead of going out with the guard on a hunt. you feel useless to the people of arkadia, maybe bellamy could help with that. ﹒ 　 ⊹ 　⤷ cw: cursing, small kiss scene, sfw

"I shouldn't be watching the guns, Bellamy!"

I shout from inside the main room where we kept the rovers. Bellamy had ordered me to stay in Arkadia while the rest of them went on a hunt, rations had grown scarce since Kane ordered the guard to go out less with the threat of grounders. This was a rare time when people got to go beyond the gate.

"We don't need a lot of people for this, okay? So just stay here." Bellamy argued back, it made sense, only a few people were going with him. Clarke, Murphy, Miller, Harper, and another from the guard. I never got around to knowing everyone's names.

I just knew I felt trapped being behind these walls, I was starting to feel useless to the people around me as well, it's not like I could code anything to help us with the grounder attacks, all I could do was sit with Monty and try to contact other stations with radios. Which always ended up in radio silence.

I could feel my blood boiling, "Well why Harper? It's not like I can't handle a gun, swap her out with me." I hadn't known Harper was leaning on a rover near Bellamy and me.

"Gee, thanks." I heard Harper chirp up in a sarcasm-filled tone. I'd have to apologize later, she knows I didn't mean it.

Bellamy sighed and placed his hands on his hips, looking at me sternly. It was only then I got a good look at him. His curls were more defined today, for once not littered with blood and dirt, you could see his freckles more clearly as well. I'd be lying if I said I hadn't dreamt of him once or twice.

"We need Harper, she's been training with Miller and has become a good shot," Bellamy turned towards the first rover, setting his gun down in the back as Miller climbed in, Harper following after. "This isn't up for discussion." He finishes off with his back turned to me.

Clarke had come up from behind me and placed her hand on my shoulder, attempting to comfort me. "It'll be fi-"

I had cut her sentence short by jerking my shoulder away, I wasn't just mad at her, I was mad at the world. I hadn't said anything further and took one last look at Bellamy before storming off to the armory.

It had been a few days since that last encounter. The group had come back with plenty of food, a successful mission with only a few scrapes and cuts. They didn't even encounter any grounders.

Since they had come back I made no move to talk to any of them- or anyone for that matter. Only speaking to Monty when I had to, which was only once.

Bellamy had tried to speak to me, he tried to sit with me during dinner, tried to speak to me at the bar, and even tried talking to me on the radio stations. Which made a part of my heart flutter at his attempts. It almost made me forget why I was even mad at him to begin with.

I was at the computer, sitting and waiting for anything to pop up about the radios when Monty said he had plans with Jasper to help cheer him up, I made no move to stop him. What's more time alone with my thoughts? They were all of Bellamy. Replaying the few moments he'd try and talk to me in my head.

Me and Bellamy weren't as close as the rest of the group was. It isn't that he didn't try and talk to me, it's just ever since we landed I've viewed him as a player who only had one goal in life; to get into girls' pants.

It's safe to say he's been growing on me- well he was. I had been starting to miss his shitty jokes, how the light from the fire would illuminate his face in the best way, how his smile looked, how it was like he got stars in his eyes every time he laughed. I always tried to impress him, so why wouldn't he let me go?

My thoughts were cut short when I heard a pair of footsteps, which I just assumed were Montys.

"Hey, Monty." I greeted in a monotone voice, not caring to check.

"It's not Monty." I heard the other voice say, a voice I knew too well. What did he want now? I spun around in my chair, seeing how Bellamy toward over me. I simply tolled my eyes at him.

"What do you need," I said flatly

"Why're you ignoring me? Avoiding me?" He asks, care lacing his voice.

I took a moment to think about my reply, why exactly was I? He made me feel useless, I can't do anything to help Arkadia besides sit her in this fucking chair.

"Why didn't you let me go?" I countered his question with a question.

I was met with a scoff, "You're still on this? I told you it wasn't up for discussion."

"Yes, I'm still on this! I do nothing for Arkadia besides sit here and listen to a radio nobody talks into!" I shout, standing up abruptly, and walking closer to him.

Bellamy crossed his arms, unmoving. "What if something had happened to you?" He spoke, trying to remain calm.

"Then so be it! I feel useless Bellamy." My voice wavered, tears threatening to spill.

"You're everything but. At least here, you'd be safe." We were now inches apart.

"Why do you even care." Tears began crawling down my cheek, I couldn't believe I let myself get so vulnerable with him.

"Because I just do," He paused, debating if he should say what he was thinking. "And I'd never forgive myself if I let something bad happen to you."

His arms were now uncrossed and resting on my forearms, a touch that practically melted me. His words brought a deeper blush on my cheeks, my tears slowing their roll. I felt myself moving closer every second until finally, his lips were on mine.

It wasn't a kiss of lust or craving, it was a kiss of passion, a kiss that made me feel warm all over, it was a feeling I wanted to last forever. Bellamy was kissing me like I could break at any minute. His hands went up to cup my cheeks and wipe away my tears.

He had pulled away with a smile, leaving my lips feeling lost.

"I've wanted to do that since the day we landed," Bellamy admitted, a faint pink tint lining his face. Bellamy, blushing, something I never thought I'd see. A goofy smile made its way onto my face at the sight.

"Being useless doesn't seem so bad now."

◜♡﹒﹒𝐫𝐞𝐪𝐮𝐞𝐬𝐭﹒𝐭𝐚𝐠𝐥𝐢𝐬𝐭﹒𝐥𝐢𝐬𝐭

[ask-the-prose]

Conducting a War

So, your story takes place during a war. Maybe your characters are experiencing war or maybe they're waging war against other characters or groups. Likely, you are not a general or expert in warfare. How do you write a story that is set during a war?

Who's fighting who?

The first, most obvious, step is to know who is fighting whom and why. Wars are between groups of people. They can be a small clan, a massive nation, or even an entire planet or galaxy. Two characters fighting it out are not considered "at war" because they are representing themselves and settling an individual dispute, even if it is a high-stakes dispute.

Why are the parties in your story fighting? There are a lot of different reasons why two groups of people would go to war against each other, but most wars are over resources at their center. Disputes over land and borders, over who gets what crops and for what price, and even religious wars are usually about the resources available and scarcity. So when you're talking about war, you need to know what either side wants. Just like a character, your war parties need to have desires and stakes.

"Resources" can mean just about anything that society needs. Food, fresh water, opportunities for trade, minerals, metals, building materials, and wealth are all examples of resources your war parties can fight over.

What does it take to wage war?

Wars require resources too. It's not just about getting resources but spending resources as well. When nations go to war in the real world, there are opportunities for people to make exorbitant amounts of money and wealth by taking advantage of a wartime economy.

The parties waging war need people to fight their battles. They need to pay those people, arm them, feed and clothe them, and transport them to where they need to be. Where does the government or person in charge get the food, armor, weapons, and transportation? Where do they allocate those scarce resources? Oftentimes in war, those in charge must make sacrifices. Is there a portion of land that the person in charge gives up to protect another portion with their limited resources?

There are unlimited stories hidden in these questions, and a large base of world-building will help to answer these questions in depth. There are many opportunities for tension and rising stakes for your war parties in the event that the opposing side makes acquiring war resources difficult or impossible.

Types of Armies

Your armies tell you a lot about the resources available to your characters and how you can build your story and plot line around the war. So I'll discuss the differences between four types of armies that exist in the real world and throughout history. These are examples; you can change or twist these examples however best suits your story.

The first is a professional army. These guys are paid and trained by the state; being in the army is their entire job. The army can fill a number of different roles other than fighting, but their purpose is to provide martial protection to the people of their nation and carry out martial orders from the government or sovereign entity in charge. Important aspects of a professional army to consider: these soldiers are paid for their work, they are trained by professionals, and oftentimes they follow a hierarchy or chain of command. Most governments provide medical care to their professional armies, but this isn't required. The soldiers can be conscripted or voluntary.

Next up is a mercenary army. This army is also paid for their services, but they are not trained by the state, and they ultimately take their orders from the organization, not the government. The government commissions the mercenary army for their services. The government does not provide most of the resources required to maintain an army. They pay for the army but don't necessarily feed, arm, or clothe them.

A fyrd is a historical term that refers specifically to the Anglo-Saxon armies raised by different Lords and Thegns to protect their lands and shires. These armies consisted of civilians and able-bodied free men from the local settlements and farms gathered by the ealdorman. They were conscripted into the service, and they lacked formal martial training. Also, importantly, their provisions and weapons were provided by the soldiers themselves. Meaning you will see fewer long swords and forged weapons for the purposes of fighting and more axes and improvised weaponry. The purposes of the improvised weaponry are primarily as other tools, such as axes for chopping wood and knives for butchery. Any horses or mules brought along for work or fighting are the property of the lords or farm owners who provided them.

A militia is very similar to a fyrd; this army consists of civilians who are paid or conscripted into service by the government but are not professional soldiers. These militias may sometimes have training from professional soldiers among their ranks, but mostly they are civilians training themselves. The soldiers provide their provisions, weaponry, and armor, meaning that the wealth has to come from the soldiers and their professional jobs and not from their martial services. The militia is a more modern term, but it is marginally different in that most militias we think of today are voluntary and not conscripted.

Battle Strategy

This is where a little research may help you. Battles behave differently depending on different factors. What technology and weaponry is available to your war parties? Are we talking about bladed weapons or guns or lasers? Is your army a professional or mercenary army, or is it more like a fyrd or militia?

When setting up a battle in your story, focus on the differences between the two armies and how that may affect their strategy toward fighting or engaging the enemy. If your fyrd faces a professional army, they may encounter some problems regarding weaponry and armor. Your fyrd will struggle to match a professional army in defending against well-made weapons and professional training. How do they work to compensate for those weaknesses?

When looking at two equally armed and trained armies, a general or battle strategist will look to the terrain to plan a battle. Generally, controlling the high ground helps in battles. If one army has a heavy cavalry presence, your opposing army may want anti-cavalry measures in place. Do they have the space to do so? Urban areas will lend themselves well to guerilla-style and urban warfare tactics. Jungles and forests will look different to hills and plains, and deserts bring unique problems to a battle that a mountainous terrain might not.

What is the battle for? Battles have a purpose; otherwise, there would be no value to the loss of troops. What is worth the risk of losing lives? Does the battle have stakes? Some stakes that might be worth conducting a battle over include taking control of a river pass, allowing naval trade and travel, cutting off control of a trade route to the enemy, or invading an important town or city to process and refine necessary materials.

Ending the War

The war will eventually end if your characters are lucky. But what ends a war? Wars usually end with agreements between the two opposing parties following surrender or extension of peaceful negotiations. Negotiating what each party needs or wants is an art in and of itself. Each party must come to the agreement that waging war further is more expensive and less rewarding than ending violent opposition with concessions made by either side.

Conclusion

Wars and battles are like characters; they have needs, desires, and stakes. Writing your characters in a war or battle will hinge on the needs and stakes of the greater war and story. Important questions to ask are: what are we fighting for? Who are we fighting? And what happens if we don't fight?

–Indy

[mytragedyperson]

Wait, no, because at first when it was Cale's second day and he felt like all he'd done was eat since getting there, I just kinda shrugged it off as Cale being too hard on himself because he'd only been there a day. But realistically he's from a world that has an apocalypse so food was probably scarce and you can't tell me that Cale wouldn't either take smaller portions or simply not eat, if they didn't have much food, so that children and other people could have more because they need it more than he does all while telling himself he's just not hungry. And before that he lived withhis uncle or something, who was abusive, right? Can't imagine he got fed three good meals a day then, either. and even on the first day he misses a meal because he was writing down everything from the books. that probably happened a lot before too, him just forgetting to eat because he was so absorbed in his work. And now, he's in a new place where he's expected to eat 3 full meals a day and, if he misses one, someone will notice and come get him to make sure he eats at the next meal. And food isn't scarce for this family so he can now eat as much as he wants without worrying about the people around him starving. And he always makes sure the people with him eat as well. It's how even the small things with Cale, little things you brush off the first time you read, manage to tell you things about his character and his backstory. Because, at first, knowing nothing you just kinda see this as Cale being slightly dramatic and hard on himself, but he's not used to eating 3 meals a day, so for him, it feels like all he's done is eat

[midnight-bay-if]

how would the ros react to a super self sacrificial mc? like putting themselves in all harms ways just for the sake of someone else

S: With exasperation. They curate plans carefully, always ensuring you are in the most advantageous position for your skillset. Your penchant for self-sacrifice is going to get you killed one day; that terrifies them.

Once everyone has caught their breath after a particularly close call, S pulls you to one side, sweat dripping from their brow. "MC, are you aware I constructed this plan the way I did for a reason? I understand your desire to protect others; believe me, I do. But we play to our strengths, so, in the end, no sacrifice is necessary."

"Trust the plan. Trust me. Trust that I have already conceived of every possible outcome and have placed you exactly where you need to be."

Rain: It never gets easier. They see the impulse within you, the moment when your eyes blow wide before taking the plunge. It's instinctive for you; they understand that. You don't realise what you do to them whenever your instincts take over. You don't see it.

You don't see how their nails dig into the palms of their hands or how their breath catches in their throat. Nor do you realise the flashbacks that play vividly in their mind, plummeting back to their childhood. They couldn't bear to lose it all again, and to lose you would be to lose everything.

Once the fear has quelled, Rain brings it up to you in a moment of quiet. "You are kind, MC, but I wish you were kinder to yourself. There are people around you willing to help carry the load. Lean on us a little more. Lean on me."

Taj: They might not necessarily like it, but they respect it. It takes great courage and selflessness to put yourself in harm's way for the sake of others. Taj believes these traits have become scarce amongst humankind, so to see them demonstrated so boldly in front of them... Well, it offers some food for thought.

Still, Taj has their limit. If it's happening too often, and it's a pattern they get used to, don't be surprised if you find Taj jumping into the fray first. "Oh, fuck; had you meant to throw yourself onto the table like some sacrificial lamb once again, Koel? Tough shit. We're a team, now."

N: N thinks it's ridiculous. Most of the time, you don't even know the people you so thoughtlessly throw your life into danger for. How are they more important in your eyes? How is that fair? And what exactly do you expect them to do if something happens to you? How selfish.

The next time they recognise your willingness to jump into the fray, they reach out to snatch you from the grasp of danger. "Don't. Allow me," they scold, taking your place as they effortlessly weave the situation into their favour. Once the threat has passed, and you are both panting from the exertion, they turn to you. It's clear they are not pleased; the seething smile on their face tells you everything.

"My dear, if you insist on testing the limits of your fragility, would you at least warn me beforehand? So, I can, at the very least, tell you exactly how thoughtless I believe you are."

Umbra: Umbra has always admired your kindness. Sometimes, it's rough around the edges, and sometimes, it is as sharp as your tongue, but it is always sincere. It is what Umbra has always aspired to be. However, once they realise your strong inclination towards self-sacrifice, they realise they still have a long way to go because they realise where you want to protect innocent life; they only desire to protect you.

It scares them how angry they feel when you run into danger for the sake of a stranger. The anger isn't yours. It isn't directed at you. Oh, no, they never could. It's for them—for every person too weak, for every person incapable of saving themselves and expecting you to step out of the darkness to do it for them.

With shaky hands, they reach out to grasp your sleeve, their eyes avoiding yours. "MC... Please, please... I am right here. Do you not see me? You do not need to put yourself in danger. Use me."

(Sometimes, I begin writing these, and they completely run away from me. Hopefully, this is okay, haha.)

[ria-ragdoll]

how does mike (fnaf) show affection / love in your opinion??

small showtimes

small things mike does ..

cw: fnaf movie spoilers!!! underlying narcissism (i just now he has something wrong with him i mean like— [insert movie spoilers]

michael "mike" schmidt.

first of all, he was previously relentlessly haunted by the past of garrett's abduction, it broke mike, knowing that he was right there and could have done something if he had just gotten up a moment before, or maybe if he didn't pick up the frisbee would he then be able to get to him in time. still, even after dealing with freddy's, that doesn't mean that the guilt is gone fully, just slightly. helping the dead children no longer be confused about their deaths gave him his own sense of peace seeing william 'die'.

but, i'll stop beating around the bush, with what i just mentioned there, it feeds into mike cherishing the littlest things. seeing death has changed his perspective on the world, making him more open minded then most people, yet more possesive at the same time. he's going to show that he cares using his voice and body, scarce touches throughout the day, or small mentions that he loves you along with a quick peck. but then it's going to take a long time for him to warm up to you, while you two might already have a relationship started, he wouldn't see much of it other than a special label on the friendship you both have. probably the only way he'd actually have a significant other is before freddy's, he's going to be kind of iffy in the start of your relationship, but still trying when he could, but then once the animatronics start to go after him is when you two actually have a breakthrough and start to have an actual heartfelt relationship. he'll start to open up by telling you his troubles, but when he tells you most of them but don't piece it together for you to understand is when he then admits about his dream idea and garrett. hearing and noticing you actually listening and wanting to help him through it actually makes him realize that his own feelings for you aren't just a subconscious way of him using you for affection, and that you aren't doing the same either.

once you two actually have a breakthrough and have an actual relationship that wasn't just believed momentary feelings, it definitely feels way more natural, but awkward in a way. mike doesn't want to weird out his sister at all so probably all affection will probably be done in the comfort of his large yet empty bedroom or somewhere private when it's just the both of you. he's definitely going to do faint touches throughout the day, he isn't the right person for public displays of affection and he'd probably make that known a little while after you two started to date. but that doesn't mean that he'll sneak in a kiss once or twice like when he's making food or about to leave for work. while in the privacy of his bedroom, he'll try not to cling too much but ends up doing so either way, his room is his safe space, a place where he doesn't have to worry about responsibilities or anything. he becomes kind of childish as well, kind of viewing himself as the king in his room, the bigger and better person, he's not going to be as reserved and closed off as he is anywhere else. but that also means that his room is also your safe space, you could do or say anything you wanted to, it's not going to leave the room nor is he going to judge, as long as you don't judge him.

i totally didn't do this at like midnight although i desperately needed sleep :3

— r

[raven-at-the-writing-desk]

Hey Raven, hope your doing well. I was rewatching book 5 and something struck me. Crowly stills does his thing to get yuu/mc to host the NRC tribe at Ramshackle. But compare to previous chapters hes seems a little nicer, i guess? He offering renovations and upgrades ( a positive), instead of just threatening to cut yuu's food budget or something (a negative).

Where im going with this is, do you think Crowley may have felt a tiny tinge for his (in) action in book 4? Or atleast, realized he actually screwed up. He did give Yuu in case of an emergency.... and promptly ignored it (or just turned it off) when he went on break. He likely had to have heard what happened over the break...an likely saw his missed calls and put 2 and 2 together. Sure he may not feel bad enough to apologize (at least openly), but he does seem to make himself scarce early in b5. That could just be him being, well, the headmage. Maybe he's just not sure how to deal with MC or how they'd react to seeing him? So instead of threatening Yuu, he offers them something instead? Idk, maybe im reaching. Crowley relationship with Yuu is complicated. I do like to believe he has some empathy or regret (or maybe he just has more respect for yuu by b5?) After everything up to that point

Like i said, i may be reaching here. Wanted to get your input. Sorry for the long ask. Have a good one :)

In many fandom depictions of Crowley, he often serves as Yuu's guardian who is incompetent but well-meaning. I'm also guilty of doing this, Crowley is considered my OC's father figure (even if my OC isn't a Yuu). That's how we choose to engage with the characters and the world that we love! However, I don't believe that Crowley has that sort of tenderness for Yuu in canon, whether at the start or as their relationship develops over the course of the main story. Now, that's not to say that I think Crowley is cold or hateful towards Yuu. Far from it! He does care for them, but in the same way that a teacher might care about nurturing their students and preparing them for the world beyond graduation. Crowley demonstrates a similar attitude towards other NRC students, with one very clear example being in his Raven Jacket vignettes. In those stories, he likens his students to apple trees that he raises and nurtures, hoping that one day they might bear fruit. He does not particularly grant Yuu special treatment unless it's a scenario where he wants them to do a favor for him. (Though here I would also argue he does the same for other students when he wants them to resolve an issue in his place, which happens frequently in event stories; in Fairy Gala, he warns the boys they'll be held back if classes cannot proceed due to the wacky weather. In Ghost Marriage, Crowley shames the boys for not expressing interest in rescuing Idia, etc.)

I also want to set the record straight regarding how exactly Crowley gets Yuu to comply with his requests. Reviewing all avaliable books in the main story, Crowley rarely outright threatens Yuu if they refuse to help him:

Prologue — Crowley does not initially ask anything of Yuu, but he does provide them a temporary home and food until they can sort something out. During Yuu's stay, they are meant to do handiwork to earn their keep. However, Crowley tries to expel them after their involvement in breaking what is considered a precious chandelier. In this case, his anger is somewhat justified but it's still the one major example of Crowley leveraging something to force Yuu to act in a way that he desires. The thing is, it's revealed in chapter 19 that Crowley did not believe Yuu could acquire the magestone he asked for and was all set to finalize the expulsion papers. So really, he wasn't serious at all in giving Yuu a chance to redeem themselves and was going to expel Yuu anyway (until they happened to prove their "usefulness"). Whether this counts as an example of Crowley "threatening" Yuu, then, is up to individual interpretation.

Book 1 — Crowley makes no specific request to Yuu. He shows up late in the book and suggests to the frustrated Adeuce that they fight Riddle to claim his seat as dorm leader, but does not tell Yuu to do anything in this situation. Recall that it was Ace that marched up to Ramshackle's front door and demanded that he be allowed to stay overnight; Crowley had no part in that.

Book 2 — In 2-7, Crowley asks Yuu to investigate the strange string of accidents that has befallen the students set to play in the upcoming inter-dorm magift/spelldrive tournament. There is a part where Crowley says he "never promised to cover living expenses". You, as Yuu, have the option to ask him "Is that a threat...?" to which Crowley never properly responds. Interpret that how you wish. He then offers Grim and Yuu a chance to participate in said tournament if they succeed, seeing as they lacked the 7 players needed to form a team. Crowley even says he will find 5 other players to fill in their missing team seats for them.

Book 3 — Here in 3-6, Crowley never actually threatens to cut off food. Instead, he is trying to earn pity from Yuu by guilt tripping them and emphasizing that he, the headmaster, is so busy with his tasks (like finding Yuu a way home) and will provide them with the funds they need regardless because he is so very kind. He's trying to tug at their heartstrings by pointing out the things he selflessly does for them, so they feel obligated to do something for him in return. Once Yuu agrees to help, he lavishes them with praise and says it is "expected" of someone he personally chose.

But!! I want to add that in the Episode of Octavinelle manga, this same scene is depicted as Crowley threatening to cut their food budget. I'm not sure if this is just a different interpretation (since Yuuta seems to prepare more food than is usually implied in the game; this would explain why their food costs go up significantly) or if Crowley truly was also threatening to cut the budget in the game.

Book 4 — Crowley makes a reasonable request in 4-2; he asks Yuu and Grim to tend to the fire fairies over winter break since it's a task no one else will be present to handle. In exchange, he says he will give them a banquet of tasty foods (which is not an empty promise; in 4-39, the Ramshackle Ghosts tell Yuu and Grim that the headmaster has left them with a ton of food as thanks.

Book 5 — Crowley appears in 5-21 asking that Yuu allow the NRC Tribe to stay at Ramshackle for their month-long training camp. He explains that Vil and Rook are willing to give up their share of the prize money if Yuu agrees to these terms. It is then that Crowley adds that he will help with renovation too, most likely to sweeten the deal with his word.

Book 6 — Crowley does not ask anything of Yuu. He does, however, call in STYX in 6-2 because he becomes concerned about the threat that Grim poses after consuming multiple crystallized blots. After Grim is taken, Crowley instructs Yuu in 6-4 to wait until Grim has recovered and been evaluated by a third party to speak with him again.

Book 7 — Crowley makes no specific requests to Yuu.

You can see in almost all instances that Crowley uses a variety of tactics to get his students to do what he wants them to. He bribes, shames/guilts them, points out very real consequences if the problem at hand is not resolved, and, yes, occasionally makes what can be interpreted as a vague threat. Despite this, the fact remains that he was always nice, not just post-book 4 (in fact, Crowley was also nice during book 4). I don't see the circumstances as "anything before or during book 4 is him being negative and threatening to punish Yuu and anything after book 4 is him being kind and positive to Yuu". In most cases with Yuu, he is offering them something they would want. His go-to strategy isn't threats, it tends to be the promise of a reward.

I wouldn't tie any of Crowley's actions to feeling a sense of remorse or guilt on his own part. While it's true we don't really get to see inside of his head, from what we see of him... this man is utterly shameless. He's willing to resort to emotional manipulation to convince literal children to solve problems that he, the powerful mage and adult, should be dealing with. What's more, he praises himself for Yuu's competence and willingness to step up. That's him placing a lot of faith in his students, and I don't think he feels any guilt in doing this. Why else would he send them into dangerous situations over and over again? He must, to some extent, believe they can already handle themselves just fine, otherwise he's creating tons of legal liabilities for himself by purposefully throwing children of tons of affluent families into the line of fire. Besides, he's a highly skilled mage himself--if any true, TRUE danger were to befall them, surely he could save the day himself. My thought is that he has sort of a "tough love" approach where he tosses his students into the fires and sees how they get out of it in one piece, but it's just presented in a "devil-may-care" way because of his lackadaisical attitude.

Regarding book 4, I personally see Crowley giving his cell phone number as just a means to provide reassurance to Grim and Yuu, since they (especially Grim) are protesting about him seemingly leaving on vacation. It's an empty gesture so he can have his getaway without much of a fuss; I totally believe that Crowley did not ever intend to answer his phone. When he returns in book 5, he's already asking another favor of Yuu, so I get the sense he isn't really bothered by what happened. I would even say that Crowley still has several major appearances in book 5, not that he has made himself scarcer. He appears to ask the favor, appears again to evaluate their performance, and then a third time at the cultural festival to speak with the headmaster of RSA. Crowley gets plenty of screen time here, much more then in books 6 and 7. If he truly felt bad or actively wanted to avoid Yuu, he could easily just tell other students (ie Vil) or even school staff (ghosts, teachers, etc.) to relay the deal for him.

Again, I want to be clear: THIS IS NOT CROWLEY BASHING. The only thing I am expressing in this post is that while I do love this bird-brained goober and think he cares for his students, I don't believe it's done in the conventional sense you're thinking of. Crowley can be selfish and callous and throw his students into danger, and that's okay! Sometimes we want to love a useless man who's trying his best, even if his best is pretty lousy/j

Whew, that was a lot of brain dumping! I hope I properly responded to all your thoughts and that you found this read semi-entertaining~

[bambiraptorx]

For the ask game! Raph and with either Starved or Punishment

Oooo this is gonna be fun.

content warning: disordered eating

---

Raphael 'Ragnarok' Hamato learns many things when he gets tossed back in time, and one of them is that he'd apparently underestimated just how scarce food had gotten during the decade or so that he'd been living in a world dominated by the Krang.

Sure, he'd known there were limits to what he could have--snapping turtles have a nasty habit of growing throughout their lives, after all, and feeding someone who's just going to keep getting bigger and bigger puts a strain on anyone's resources. He's gotten used to a reduced food intake over the years, everyone has.

But he just doesn't quite realize how reduced it really was until being thrown into the past, bruised and battered and more exhausted than he'd ever been before, and somehow ending up in the care of none other than Baron Draxum.

And it's not like he minds the Baron attempting to nurse him back to health--he needs to recuperate somewhere, anyway, and watching Draxum trying to hide his research when Raph already knows full well what's going on is kinda funny--but it involves way more food than it should. Three meals a day, plus snacks in between? It's ridiculous.

At least, that's what he thinks at first.

The weeks pass as he waits for a sign from his brothers, his injuries healing. There's more than he'd thought at first; at least there's more things Draxum considers to be 'injuries' than Raph does. A few cracks in his shell, some thin places where the scutes never fully grew back after taking damage, scars and old wounds galore, not to mention all the actual damage. So what if those are all healing slowly? Not like Raph has anything else to do right now but heal, rest, and pretend to eat all the food he's given.

And it's not like it's even that hard to hide what he doesn't eat. Some of it he squirrels away here and there, just in case. Some of it he pawns off to the gargoyles: all it takes is telling them he doesn't like the texture or the taste, though if he isn't careful with how much he gives them they'll bring him more. Most of it he sneaks back into the kitchen, hiding it away in the back of the fridge or taking the time to stash it in a container.

A few times he's had to take a protein shake (or the weird yokai equivalent of it, anyway) to the bathroom, and pour it down the toilet, cringing internally at the waste of food, but it's fine, really, it's not like he would have eaten it. Some days he hides or stashes or replaces more than he eats, but it's not like he wasn't managing just fine before. He's not even that hungry nowadays.

And maybe it's just all the time he has now, but he seems more tired than he ever was before. Colder, too. Draxum must not have heat in his house or something, that seems like something a mammal who lives with two employees made of rock would forget about.

Not like it matters too much right now, when he's getting himself a glass of water in the middle of the night. Also putting his bowl of rice from earlier back in the fridge. Why did the gargoyles bring him that, anyway? He'd already had his three meals for the day, he doesn't need extra food.

It's just after he puts the bowl away (well, puts the rice away in a different container, he's not leaving an entire untouched bowl in the fridge to be found later) that the kitchen lights flick on. Raph blinks a few times at the sudden brightness as he automatically shifts into a wider stance and lets ninpo bubble up his arms--oh, it's just Draxum. He looks pissed, is he not sleeping well again? Couldn't be Raph, he knows for a fact he's been too quiet to wake someone up.

Draxum glares at him with a ferocity he hasn't witnessed since coming to the past, and even before that hasn't been directed at Raph in years. "I don't understand why you keep doing this."

Raph sets his empty bowl in the sink, gently so it doesn't crack. "...doing what?"

"Don't play innocent, you're getting rid of your food again." Draxum jabs an accusatory finger in his direction. "You've been doing this for weeks and it cannot continue."

"Noooot really sure what you're talking about here." Raph reaches for the cabinet where the glasses are kept. Maybe Draxum's just in one of his moods again. He's a lot crankier in the past, that's for sure.

"You nearly passed out earlier today!" Draxum yells, and okay, Raph does not care for that at midnight.

"Pretty sure that was just exhaustion catching up with me. 'Sides, I don't need that much food anyway." He sets the cup under the faucet and turns the water on.

Draxum's mouth falls open. "You don't--you need more food than what I've been given you for the last few weeks, any simple calculation of your caloric needs could show you that. That's what the food between meals is supposed to be for! Not hiding away! And you'll only need more as your recovery continues and your metabolism jumpstarts again--" he pauses as Raph tilts his head.

"You sure?" It's a genuine question, but it makes Draxum ball his hands into fists so tight they tremble.

"Ragnarok--do you realize the condition you were in when I found you? The injuries that wouldn't heal, the lack of appetite, the constant cold you complain about--those are signs of starvation. You were on the edge of mass organ failure when I found you, and with your continual avoidance of food--" Draxum presses a fist against his temple. "And you're telling me you didn't even know?!"

The water is still running, overflowing the side of the cup. Raph slowly reaches out his hand and turns it off. He blinks, first with his outer eyelids, then the inner membrane.

"No, I didn't."

There are a lot of things that he'd learned before coming to the past, but the signs of starvation weren't among them. That would explain a lot more that he's actually comfortable with it explaining.

---

I don't want this to get too much longer so I won't write the resolution, but I couldn't not tie this into my I'm Not Dead Yet AU.

ask game

[zerm2v0hg]

RWBY - Fixing the V8 Exodus Strategy

It's no secret that some of us in the 'RWBY' fandom think that Team RWBY using the Staff of Creation at the end of Volume 8 to just force-emigrate Atlas and Mantle's populations straight into Vacuo to get Team RWBY themselves closer to defending Relic Number 3... wasn't exactly the best thing they could have done if it was played realistically.

Vacuo is basically a failed state with no law outside Shade, its desert climate is on the polar opposite extreme to what the peoples of subarctic Atlas-Mantle are used to which will guarantee health problems and deaths by heat stroke, resources are very scarce, the anarchist locals have a history of bad blood with Atlas-Mantle; and it's very unlikely Shade and its oasis will have enough food, space and resources to house, feed and protect the majority of an entire foreign nation's population, even less likely that the Atlas-Mantle refugees consuming Shade's resources won't rub a lot of Vacuans the wrong way on account of Vacuo's past of being exploited.

So, yeah. Not a good way of convincing us that RWBY/JNR are any better for "saving Remnant" than the villains or Ironwood. Or that they really give as much of a shit about any of the civilians as people instead of set dressing as they claim to. :/

Probably my biggest criticism against Unicorn of War's otherwise-delightful RWBY Volume 8 rewrite is that she kept the plan to expunge the Atlas-Mantle population to Shade unchanged, with even Ironwood getting onboard with it, and it looks like it'll be a few years yet before we can find out how Fixing RWBY will tackle it if it does at all.

But here's how I think Team RWBY's plan to evacuate Atlas and Mantle's populations could potentially be fixed in rewrites, if it still comes down to losing Atlas-Mantle and evacuating the populations:

I think the heroes, if they'd been actually thinking when they used the Staff of Creation, could have used the staff to connect the portal network's exits not to just the one destination in Vacuo, but to multiple inhabited destinations across Remnant. So that the heroes could disperse the Atlas-Mantle civilians to multiple habitations across Remnant in small groups where they're not concentrated, won't likely strain the destinations' local resources, and won't on their own produce enough collective negativity to mass-attract the Grimm; and then the heroes could use the Vacuo exit portal to get themselves to Vacuo to protect the next Relic. (This would've still been throwing the evacuees to the wolves to a degree, but at least it wouldn't have been herding-America's-population-into-Afghanistan-or-El-Salvador level of throwing them to wolves.)

I think Mistral's capital would've been a far better place than Vacuo for evacuees to go in large numbers.

Despite the crippled huntsman population thanks to Lionheart, Mistral's infrastructure is otherwise still intact unlike the other kingdoms, it doesn't have the (purported) resource problem or racial tensions that Menagerie would have had, the local climate isn't nearly so life-threateningly far on the opposite extreme from the Atlas-Mantle people's native climate, and the Mistralian terrain could help shelter the refugees from the Grimm just like it did for Mistral's founders in the past. Plus Atlesian military personnel sent to Mistral with the civilians could even make up for Mistral’s lost huntsmen in the bigger picture. And unlike Vacuo, Salem has no real reason to be interested in Mistral anymore, because there aren't any Relics there as of V6, and neither of the Maidens needed to unlock the remaining two Relics' vaults are in Anima.

The criminal elements infesting Mistral would still be a major downside, but with all the listed perks in mind, Mistral definitely seems to me like a better option than Vacuo for the exodus.

Team RWBY don't just need to stuff the evacuees into the kingdoms' capital cities either: there's also Patch and other well-off seeming frontier towns that have their own huntsmen that they could connect the other exit portals to.

[mask131]

Magic the Gathering: Innistrad (Innistrad block)

My favorite Transformation cards

The Innistrad block introduced numerous nec mechanics into the game with all sorts of eery names (Curses, ...). But the most famous addition of the block was the Transformation mechanic, aka the double-faced cards. Cards you could return to reveal a different creature.

The line "in Innistrad everything has a dark side", or "in Innistrad, nothing is as it seems" is literal. Innistrad isn't just the home of werewolves and illusion-creating vampires: it is also the place for many figures and archetypes of religious or Gothic horror. As a result, Dr. Jekyll and Mr. Hyde-like figures can be seen wandering the streets, and possessions are very frequent, without talking of the mad scientists' deranged transformations.

Each double-faced card has a side corresponding to their "day self" and marked with the sun - it is their public self - and a side for the "night self", marked with the moon - it is their "secret self".

Speaking of night and days, moon and sun...

I said before that in Innistrad, the cycle of the moons controls the wheel of the seasons. Well it was a literal claim: in Innistrad, the seasons and divisions of the year are based on the moon. Innistrad's autumn for example is the "Harvest Moon": a time where days grow shorter, the weather cools, the forests turn "vibrant colors", and the moon shines with a orange-to-blood-red color. The Harvest Moon is the seasons during which vampires are at their strongest, and this is why farmers who toil late in the fields or who are out after twilight lit huge bonfires.

Innistrad's winter will be the "Hunter's Moon": the longest and chilliest season, when food becomes scarce and hunters have to go in the wilds. This time, it is the werewolves that are at their strongest, and given there are so many humans in the woods and travelling around at this time of the year, werewolf attacks are more frequent than during the rest of the year.

The third and last of the Innistrad seasons is the New Moon, their spring-summer equivalent, and yet the shortest season. Days are long, the sun is bright (though still pale), the forests regrow. It is the season of life and births - and it is believed that New Moon-born babies are holier than the others, and will have better chances of reaching the Blessed Sleep.

[mxtantrights]

the flowers

this is a snippet from the famous dc!au that started with The Greatest Hits [read here]  you don’t have to read it but a lot of things would make sense if you do! 

it isn't until about a year after you've wrapped the film and a few months after it's premiered that you find out the truth. And it does send you for a loop. The matter of it, and how you end up finding out.

You are sitting at a table for two. Your date for the evening? Delores. She had texted that she was working a job where you were and wanted to meet up and chat. You were so down, already terribly missing her even though you hadn't stepped on another set yet.

And that's what you talked about at first. How scared you were that now the movie was out, you were getting offers left and right. But deep down you didn't know if you were good enough. In your mind you thought that your success came from a lot of things and mainly one of them being luck.

You have no prior experience with acting. And now everyone is acting like you do because you were able to do well in one movie. You wanted to make sure you weren't a one hit wonder.

Delores of course talked you down from all this. She told you how good the movie was, how good you were for a first-time actor. She even offered you some contacts that knew of acting coaches.

Then you turned the conversation on her, which she was very scarce about. Apparently the film she's working on had her sign an NDA. She couldn't even tell you what kind of makeup she used on set today. It was that tight lipped.

So you moved on from that and asked her about her life. Delores is the proud mom of two cats (Ginger and Lemon). And they go with her everywhere. She brought them to set a couple of times when there weren't a lot of crew around. You liked Lemon the most because he liked getting head pats from you.

When the food came you two still managed to talk. You didn't realize how much you could talk while eating but with Delores it was normal. She's family.

The night wrapped up and Delores headed to the bathroom. It's when she came back and talked about wrap day that started this whole endeavor.

"Oh and those flowers you got me! I tell ya no one has ever gotten me something so colorful before." she smiles.

You can't help to laugh, "You're telling me it was better than Jason's?"

And she snickers to herself. Then she looks at you, as if expecting you to join her. When you don't her face drops a little.

"Those weren't for me," she says confusedly.

And if she was confused, so were you. What did she mean? You watched Jason hand them over to her the same time that you did. You were kinda jealous at how good his bouquet looked compared to yours, though you never said anything to him about it.

"Delores, I watched him hand it to you! They were for you, it was wrap day." you say.

She shakes her head and begins laughing with herself. But you're not laughing because you honestly want to know why she thinks those flowers weren't for her, and who she thought they were for.

Delores places her hand over yours on the table. And with a smile she just pats it, once then twice. You are utterly confused.

"He gave the flowers to me yes, but they weren't for me. I think you should just ask him." she puts simply.

And with that she's up out her chair and putting her coat on. You are slow to join her, and even slower to put your coat on. Your mind just couldn't wrap around it. Jason gave her flowers he was gonna give someone else? It kind of rubbed you the wrong way.

The two of you walk out of the restaurant and out on the street. It's midday and the paps aren't around which you're thankful for. Delores drove here so she said earlier on and wanted to pick up a few things after for work the next day. You sent your driver a text that you were finishing up and ready to be picked up.

You turn to her.

"Wait how'd you know that they weren't for you?" you asked finally.

"When I got home that night, there was a bouquet waiting for me at the door, signed with his name and a thank you note." she answers.

"Huh." you sound.

Delores smiles, "It was good to see you. Keep in touch yeah?"

She wraps her arms around you and you return the action. You wished that you could hire her as your personal makeup artist but you know she would only be tied down. She's off to do great things with great people. You couldn't stop that.

"I will, and whenever your NDA is up tell me the movie you're working on." you joke.

The two of you unravel from each other and give a few more goodbyes. And then she's walking off to her car. You see your driver a across the street. So with caution you look both ways before crossing and getting into the backseat.

"Where to?" Mike asks.

"Uh, I think I'm headed back to my place." you answer.

"Home it is." he says.

And then he's driving off. In the backseat you pull out your phone from your pocket. Your fingers work faster than you can think. Unlock your phone. Messages. Jason Todd.

You begin to type out a question but backtrack and delete your words. Maybe you should just leave it alone. It was his business after all. But then, you think, why would Delores tell you to ask him? Your fingers start typing again.

you: Hey Todd, how's heartthrob life going?

What you weren't expecting was a fast response. You heard it from your agent that he was already in meetings for other projects. It wouldn't be long before he's shooting again.

him: good now that I know you consider me a heartthrob.

you: shut up. I was JOKING.

him: it's okay. I think you're cool too. What's up?

you: I just met up with Delores for lunch.

him: nice!! but don't think you can steal her away from me.

you: hard to steal someone that already likes me more than you but ok. and I had a question

him: go ahead

you: so you got her flowers right?

him: you were there when I gave them to her

you: yes but she told me that those weren't for her. she actually couldn't stop laughing about it too.

him: oh

you: oh?

him: I don't know what to say

you: I mean it's fine if it's private. you don't have to tell me anything. but I was just wondering.

him: wondering what?

you: who were the flowers for if they weren't for Delores?

him: she didn't tell you?

you: nope said I should ask you.

him: they were for someone else on set.

you: Jason why would you give her flowers meant for someone else????

him: bc I'm an idiot and I saw you going to give her flowers and needed to beat you to it.

you: you wanted to one up me so bad you made yourself look like an idiot?

him: something like that.

you: nice hehehe

him: oh please do not hold this over me

you: oh Jason I think I will! have a great day idiot!!!

him: I'm gonna ask Dent to release your bad takes.

you: SHUT UP YOU WOULDN'T DARE

him: have a great day hun!!

[spaceorphanssecondbreakfastclub]

Reading Agatha Christie: Mrs. McGinty's Dead

I'm going to straight up admit that I really enjoyed this one and read it all in a day.

The first quarter of this book really had me. And I think it's because there was an interesting setting and tone shift that has been starting to appear in this post-WW2, 1950s era, where Christie is getting older and starting to reflect on life. The plot is simple enough - in that Poirot is asked to investigate a murder where prosecuting police inspector's convicted killer just doesn't work for him. So, Poirot ends up in a small town -- looking into a murder that just seems impossible at first.

And, usually small town murders are left for Miss Marple. Poirot seems incredibly out of place. And that's really the point. Everything from Poirot complaining about his discomfort and lack of good food to everyone having no idea he was (is!) a world famous detective. The point is, a bit, that the world has changed, and it isn't the way it used to be. And, idk, I kind of found that theme intriguing, especially in the beginning when it's mostly about Poirot dealing with small town life while investigating a murder that just doesn't make much sense.

Then the real plot kicks in -- and there is some intrigue where it's possible that one in four possible murderesses from way back when is alive and well in the small town and things kick off from there. It's still a lot of fun and definitely a page turner, though maybe not as capturing as the first quarter of the book.

Poirot is just at his absolute best in this novel, and I think that's one of the main reasons I liked it. I know that he's going to scarcely pop up after this point, and in limited form when he does, I can take what we can get. I also appreciate the fact that this kind of does build on Poirot's previous characterization. It's definitely a novel that is a sequel, in a way, to what's come before it -- and works best after you've experienced Poirot at an earlier time.

Ariadne Oliver also makes another appearance and she is just a delight as a disgruntled author -- barely veiling the fact that she's a stand in for Christie herself. This book, while dealing with some dark things, is often very humorous, too -- which I can appreciate.

The rest of the cast is fine, even if they all blend together a bit. There's a lot going on, and sometimes I do like the mess of characters - even if characterization is limited a little. And while I think the ending is -- maybe not as shocking or twisty as the build up leads it to be -- it does still work.

The funny thing about this one, though, is that I think it does work best as something you read in quick succession. I think the more you think about it -- the more things fall a part a little. There are definitely a few plot holes, and some uncomfortable undertones, and things that just don't work the more you take it a part.

But overall, I think it's the perfect quick read for bad weather - stay in doors and read afternoon.

[duckapus]

(So, most Storyweavers are just as terrible as Lydia, some even more-so, and I thought of a funny way to show that. Don't worry about when exactly this would take place, it's probably just part of one of CCC's Cosmos-based promotional videos so technically it doesn't happen in-universe of the AU at all.)

Lydia's wandered out from her and the girls' hideout, looking for a good hook for her next meal, when she hears one of her least favorite sounds in the world.

"Yoo~hoooo! Ly~di~aaaaa!"

"Fucking hell," Well, so much for the one benefit she thought her banishment had.

As she resigns herself to her inevitable torment, a comically small and cutesy Storyweaver with green twintails and a blindingly bright yellow dress comes up to her, "Oh my dear sweet Lydia, I'm so delighted to see you again!"

"Hello, Rhythmi..."

"It's been quite a long while since we've seen one another, hasn't it?" several decades, not that that was really all that long for a Storyweaver, and horribly short compared to the 'rest of forever' that she'd been hoping for, "It was before your banishment, wasn't it. I could scarcely believe it when I heard the news. Hm, then again, you always did love playing with your food growing up. Where are the delectable little morsels you threw your life away for, anyway?"

She doesn't even try masking her contempt, "What do you want, Rhythmi?"

"Mmm, sore subject?" A wince and pout never looked so smug, "Very well, I did have something I wanted to show you." she begins leading her much taller 'friend' along, their casual stroll crossing hundreds of lightyears in seconds, "See, I've just created a true work of art, and exile or no I just had to show it to my oldest, dearest friend before anyone else."

They come to a stop at a universe bustling with activity, "And here we are! Please, take a peek darling."

Lydia rolls her three functional eyes and kneels to take a look, only to gape in astonishment at what she sees, "No way..."

"Beautiful, isn't it?" She looks inside as well, reveling at the sight of what the audience will recognize as the setting of Connected Cosmos: The Game, "Nine worlds snared in my web at once, with plenty of room -and time- for more. That's a record, if I'm not mistaken."

Indeed it was. Lydia would know, seeing as she'd been the previous holder with a count of four.

"I'll admit that The Twilight's not the most complex antagonist -especially compared to yours, you really do have such a way with words, my dear- but it's ever so versatile."

After a few more moments watching the narrative below play out, Rhythmi stands up and makes a show of brushing the stardust off her dress, "Well, it's been lovely catching up with you, but I'm afraid I must be off," translation; I've had my fill of rubbing my successes in your face and proving my superiority, again.

She opens up a portal to wherever it is she's staying while maintaining her current web, waving demurely to her 'dear friend,' "do tell your adorable little pets their auntie Rhythmi said 'hello,' darling! Ta~taaaa!"

"...Fucking condescending bitch."

[artdecosupernova-writing]

Small Stories Hour: Darkspace Portent

Red Alo

↳ Sussa didn't know what she expected upon stepping out of Mydhassa's dwelling, but she knew it wasn't the low murmur of neural activity drifting down at her from somewhere over her head. She turned and peered upward, where she caught sight of a figure perched on an outcropping farther up the mountain, staring out into the dimming horizon, a leg hanging off the edge. She watched him for several moments before determining that the buzzing between her ears was Orthrive'poliea's, and that it came from a place of distress and anxiety.

She couldn't quite get the hang of hearing the thoughts of a being from the neighboring galaxy, but the longer he remained stuck on C'o, the easier it became.

Sussa disappeared back into Mydhassa's house, taking some time to prepare a few items from his kitchen before pulling her long hair out of its ponytail. It glowed faintly in the darkening room, silvery white cascading over her shoulders, and she smiled to herself as she arranged her food on a stone tray. She placed a single unassuming purple blossom on the tray and tapped its petals to activate a chemical reaction, creating blue swirls among the violet.

Orthrive'poliea hadn't moved by the time she made it up to the overhang with the tray, and she approached him with caution in order to avoid startling him.

"May I join you?" she asked.

Orthrive'poliea cleared his throat but didn't make any move to reject her or otherwise. The white noise in his mind dulled down to a nearly inaudible whisper, and Sussa sat down beside him, setting the tray on the ground between them.

He glanced at it.

"Red alo," Sussa said, holding a small bronze cup of spiced liquid out to him. "I don't know why it's called that…it's not even red."

He took the cup, dwarfing the tiny receptacle in his long fingers, yet said nothing.

"I also brought some sweets and berries in case you wanted something other than Mydhassa's vegetable broth for once." Sussa uncovered a steaming crystal pot and dropped two puffed sugary rolls onto a strip of cloth. "These are said to cause silhou hair to change colors. It's mostly a joke. I say mostly because we practically live on the stuff and haven't really bothered to look into it."

She giggled, not hesitating to brush her hair back from her face to take as big a bite of the sweet bread as she could. A wash of nostalgia overcame her as she chewed, casting her gaze down at the lights and scarce activity around the shuttle runway. She heard a soft crunch as Orthrive'poliea bit into his roll and the two of them ate in silence for a long while.

"…This is delicious."

Sussa looked at him. She knew he could talk, as she's heard him speak before, but never that many words at once. She smiled again. "You have a very nice voice."

"It isn't mine," Orthrive'poliea said between bites. "When I can master my natural form again, you'll be able to hear my actual voice."

"I'd like that a lot."

He turned a warm expression her way, then fell into contemplation as they enjoyed their treats once more. Sussa regretted taking her hair down during a particularly harsh gust of wind that knocked the flower off the tray and threatened to carry it away from them if Orthrive'poliea hadn't caught it quick as a snap before it dive-bombed off the mountain.

Her eyes widened in disbelief as he placed the flower back on the tray, tucking the stem under the crystal bowl, and when he turned his attention back to the bread, she found she couldn't tear her stare from his face.

They descended the mountain some time later, full of cider and bread, and they stopped at Mydhassa's door.

"Would you like a break or should I come by in the morning?" Sussa asked.

Orthrive'poliea sighed and pulled his long garment tighter around himself against the chilled breeze of the night. "I haven't been feeling well but I don't want to give up."

"It's good to keep working at healing, but don't overexert yourself either. You're making significant progress."

He stared into the distance again. "I'd like to do this again, if that's alright. I'm still getting used to the idea of indulgent food."

Sussa couldn't contain her ever-widening smile and placed a hand on his arm, meeting his eyes. "I'm here to indulge."

He returned the smile with a small but sincere one of his own before turning to enter his temporary abode.