#and reading lines of dialogue where i got to thinking ''okay that's a bit fucked up let's see the others call it out and go 'dude what's

[mishkakagehishka]

i think it would be saur funny if Yuu suddenly got to telling people "well, actually, uhhhhhhh the great seven were villains" i think it would be so funny can we get a season 2 that is entirely just dealing with the fallout, i wanna see total anarchy i wanna see "what else were we lied to about" i wanna see the absolute existential dread

[virahaus]

Okay so I'm gonna say this cause I've just seen another post reiterating this narrative and I simply cannot comprehend the way people are going out of their way to make Tommy a villain when he's NOT.

First of all, the much discussed date.

It was clear that before Eddie and Marisol showed up Tommy was totally fine with Buck being a bit of a clueless baby bi and did not put it against him. He didn't say anything snarky to him, nor he questioned him being out or not, he teased and flirted with him even after the whole "I'm an ally" speech, which kudos to my man cause I couldn't have taken my date seriously if they said something like that.

It's clear that Tommy only took issues with the way the date was going after Buck made the horrible decision to say that they are going to pick up "hot chicks" and play it up like that.

Now, I don't think the issue here is Buck not saying he's on a date with him. It's clear by the way the dialogue has been constructed with all the hints about closet space and by Tommy's snarky line (which again VALID. He was not outing Buck. He was not trying in the slightest to do so. Eddie and Marisol are talking about closet space as in FURNITURE. To that for Eddie to take a leap and think that the closet is something more than it is, is frankly ridiculous. We know the double meaning because we are the audience. It's a joke for US, and for Buck only, not for Eddie who by the way was also clueless about Tommy's own sexuality);

The real problem was that Buck also shoved Tommy back in the closet. I don't think Tommy wanted Buck to announce there and there that they were on a date, especially after the whole convo and questions about being out in the workplace. It's an obvious hint to the fact that Buck is not out and it's reinforced by Buck also telling him that it's his first date with a dude. Season 7 Tommy hasn't been shown to be stupid or insensitive so it's obvious that he would have read between the lines.

So, it's clear that the issue here is that Tommy did not want to be shoved back into the closet, especially after years of unlearning bad behaviour and the journey to accept the fact he's gay. He doesn't offer it but he also doesn't want to be shoved back into a position where he has to deny he's gay. Which again, is super valid of him.

The moment most people try to use against Tommy is the fact that he cut off their date and left Buck alone outside the restaurant, which... Tommy had all the right to cut short their date. He was uncomfortable with how things were going and so he cut his losses. He's not rude or disrespectful, he even reiterates how he thinks Buck is adorable and in the same breath he also establishes his limits. Again, fair.

But some of y'all are acting as if he left Buck alone in the middle of the desert, not in fucking LA where Buck can call a cab anytime and go back home easily. Buck is not a kid, he's a grown ass man and can very well go back home alone. He's not drunk, nor under substance, he's not injured and he certainly can use his phone and call a cab.

You all have a thing about seeing Buck as completely incompetent, helpless and unable to take care of himself, and I must remind you that he's the same person who got out of his parents house and immediately took off and did a tour of the Americas, managed to live on his own, and was healthy and alive when he got to LA in season 1.

So you might want to remember that.

Another thing you all like to dangle over Tommy like "gotcha" kinda moment is the fact that in his past he was an asshole to Chin and Hen, some almost 10 years before what is being shown on screen now. It's clear that he's friends with Chim still and even if he did not keep in touch with Hen there's no animosity there either. In the flashback where he leaves the 118 Hen is the one to shove him face first into a cake. Do you think he would have taken it so well had they not been friendly? Or that Hen would have done that if she didn't think she could do so? It's already established in the flashbacks that they have worked through their issues and for you to demand Hen or Chim to be hostile with him rn or that he needs to "work for their friendship" it's simply madness.

The flashbacks already established him as having changed and being friends with both them and Bobby, since there's also a scene of them going out to a bar together and they all have fun together. For you to demand more without also having a Tommy Begins episode it's frankly ridiculous. He's not that important in Chim or Hen's lives as of now to need a further explanation but "they resolved their issues and there's that". And he was not obligated to come out to Hen at any time. You do not owe your sexuality to anyone.

Anyway. There's that. My big rant for some of the things I've seen since the break. If y'all liked this I might do more dissertations of the other out of pocket takes I've seen around. And my ask is also open if you want to ask my opinion on something

[pipsqueakparker]

ok but what dots did you connect in the oops flashbacks i"'m curious now

so here's my extensive personal analysis/breakdown of oops as it pertains to blitzø, fizz, and their history - i'll preface this by reminding you that i am just some silly little guy on the internet that loves to read into things

first of all, the sheer fact that fizz knows exactly what to say to get under blitzø's skin speaks to just how close they were because even fifteen years later fizz knows what buttons to press to get a reaction. this isn't a revelation by any means, but just a bit that i wanted to include because as a writer i love the subtle power of one or two lines of dialogue - and i don't think fizz actually expected blitzø to fucking pounce but he probably should have lbh

additionally, despite saying how much he fucking hates this guy, he is still extremely protective when striker gets his hands on fizz - and okay, i just thought the detail of him pushing fizz's head down so he doesn't get shot was just cute.

okay, so yes - so far i have simply connected the very basic dots of irrefutable evidence that blitz and fizz were very close friends. but was it more? yes, absolutely. at the very least, we know blitz had feelings for fizz but i fully think that was reciprocated and even acted upon and here's my further evidence:

I couldn't get a good screenshot, but the letter says 'FIZZ'S EYES ONLY' and it's sealed with a little heart and he has a little flower and he was about to give this to fizz for his birthday. blitz was coming with his little love letter, and it appears he made it all the way there with full intentions of handing that over to him - in front of other people. whatever they had, they at the very least weren't trying to hide it.

(and i'm so soft for the idea that this wasn't the first love letter he'd written to fizz, but i digress)

but in the moment just before...

CASH LITERALLY HANDS FIZZ A CARD THAT SAYS 'WISH YOU WERE MY SON' - now, Blitz may not know what the card says, but i'm sure cash was never subtle about favorites. especially when his favorites were just whoever made him the most money, and we know fizz made him a nice chunk of change - especially in comparison to blitz, who, in cash's eyes, was probably worth even less than a crumpled up five and a slim-fit condom by this point.

here's where i've connected my dots - it gets long so i'm gonna pre-emptively stick a rea more here

something happened just before blitz got to the tent, he's rolling up, love letter in hand, probably got that goofy fuckin smile on his face because it's fizz's day and he's so excited to see fizz, when someone stops him. it could've been cash, it could've been barbie, it could've been some random fuckin guy on cash's payroll who was assigned the task of breaking blitz's fucking heart, but someone told him something.

there are... many possibilities, but here's what i've convinced myself the truth is - fizz was the fuckin' star, he was the One mostly likely to make it the fuck out, and everyone knew that including blitz - hell, blitz probably thought they could do it together, because he tried to hold on to that dream for himself as long as he possibly could. but someone - maybe fucking everyone, we don't know the general feelings on blitz pre-fire - told blitz that he was holding fizz back. not just once, but many times, spent as much time as they could convincing blitz that he was distracting fizz, that fizz wouldn't make it if blitz kept clinging on. that, ultimately, their relationship was going to be fizz's downfall. (and probably because they knew fizz was really fuckin soft for blitz and didn't think they could push him up any higher so long as he was determined to keep blitz by his side)

and i think he was caught just outside the tent with that letter, and reminded of that "fact".

so this moment, witnessing this exchange, seeing fizz so fucking happy while he is left feeling like he is somehow ruining the person he loves? ripping away any chance for future success? i think he's already started feeling ashamed of himself here, and this anger is entirely towards himself, not fizz. so...

yeah, he lashed out and accidentally set the tent on fire and the prophecy fulfills itself. by believing that bullshit, he truly "ruins" the person he loves. and his mom, what a horrible additional fact.

(but i pull this from blitz's reactions when fizz tells him that getting blown up did not ruin his life, and that actually because of what happened, he's ended up in a place so fucking good and with someone that makes him so fucking happy - even when he thought he truly fucked up fizz's life, he didn't ruin it.)

and it of course didn't stop there, because they were both being fed lies after the fire. "they" told blitz that fizz didn't want to see him, and 'they' were probably feeding fizz lies about blitz not caring enough to come, probably started feeding into fizz's whole idea of no one caring about him if he isn't useful or talented - because even blitzo left him once he was too broken and he never thought he'd lose blitzo.

(and my guess is that cash is at least one of the 'they's mentioned, judging from a screen cap from the trailer, when blitz is reliving his memory and we see cash outside of fizz's hospital room - and i would 100% believe that at the very least after the fire, barbie became one of the people pushing blitz away, too. i'm so curious about their relationship before the fire, when did they truly disintegrate?)

anyway - this 'oooohh' could very well just be the realization of a horrible miscommunication, or it could be the realization of the lies that they were fed to keep them apart. it could be both.

(okay but imagine blitz bringing this all to therapy, god what a field day - as someone that just made up with a childhood best friend after we had a huge falling out in our teenage years, my therapist and i had such a time rehashing and healing some old wounds)

ANYWAY

so, yes, from all of THAT it is very safe to assume that blitz and fizz were extremely close friends. at the very least, they were like besties 5eva.

however, i am telling you that these two fucking dated. and here is my supporting evidence:

okay, this could also just be a TMI bestie thing but something tells me blitz made fizz watch his horse porn shows and there is nothing inherently platonic about that. i'm not saying you can't watch porn with your friends, but i am saying that if you're watching porn with your friend you at least wouldn't say no to fucking that friend. and it is valid to still hold a platonic relationship with that person! but...

BLITZ'S FUCKING FACE HERE.

that's... a very fond and familiar look. that's a 'oh, we've been in this position before' and he's not mad about being back in it, that is a face that has been this intimately close with fizzarolli and is probably reliving all of those moments right now.

and yes, this can still be read as blitz just reliving his one-sided crush so let me just add on the final moment that cemented in my mind that they had already moved beyond mutual crushes...

this is i think one of my favorite moments & you can't convince me that this is the first time blitz has ever said that. i mean look at their FACES. (yes it is a funny one-liner, but look, i'm here for the deep dive baby and i will read into every single detail)

and so here i'll also just give my little thoughts on this moment, because i don't think this is the first time blitz has said something along those lines and i want to believe it's actually a callback to a moment we haven't seen.

like maybe the moment after they've actually confessed their feelings to each other - fizz is probably a nervous fucking wreck, because maybe it was his idea to just tell blitzo how he feels and he blabbers on about it and keeps reassuring blitz that this doesn't have to change anything between them and actually if he wants they can both just forget this EVER HAPPENED because like, fizz would totally be okay with that if blitz doesn't feel the same way -

and as adorable as blitz finds fizz's nervous babbling, he does stop him because god of course he feels the same way, fizz is one of the single most important people in his life, and maybe he can't quite say that but he says something close. he says it how he can, and he's not good with words but he doesn't have to be because fizz gets it and fizz, overcome with relief and also probably just overwhelmed bc oh blitz likes him BACK? he just reaches out and hugs him because what the fuck else are you going to do? and maybe he's babbling again about how he didn't expect blitz to feel the same way, and he's lowkey pouring all of his insecurities out, and blitz hugs him back because he knows it'll calm him down and it does and they're just sitting there in each other's arms.

and blitz being blitz. well. he's gotta shoot his shot, and yes this is a very nice moment but... "would it totally fuck up the moment if we made out right now?"

and it kind of just became his thing when the emotions got too overwhelming of just suggesting they make out, because he doesn't know how to hold emotions unless he is actively letting it out physically. because blitz is bad at the words but good with the sex, and assumedly most other forms of physical intimacy.

so yes,

[bonesandthebees]

Hi Bee!

I really admire your work and I'm currently attempting to write my own fic, and I'd love to have some advice on writing stuff.

1) Do you have any tips for writing the beginning of a fic? I cannot figure out how to start writing with a decent sentence. It all falls apart when my fingers go on the keyboard.

2) Do you have any tips for pacing/plot/outlining? I still have barely figured out what pacing is, because I cannot tell when authors are like "oh I don't like this because I rushed the pacing". I literally can't tell most of the time, unless there is not any space to breathe between things that happen.

3) Do you have tips for writing surroundings and the parts of the paragraph that aren't dialogue? Like. How do I naturally fit the description of the area into the fic? And how do I naturally fit extra commentary into a paragraph that has dialogue in it, especially when it isn't the pov character's dialogue?

Again, adore your writing. I feel kind of awkward since I've never done an ask before; idk if there's some kind of etiquette.

Hope you're doing well!

-Royal :)

hi sorry it's taken me a bit to answer this one! I'm more than happy to give some advice!

okay so first off, writing the first line of a fic is borderline torture sometimes. it's so fucking hard. to me though it's kind of like jumping into a cold pool. you can stare at the water thinking about how cold it's going to be and how unsure you are, but then at some point you have to bend your legs and jump before you can overthink it or else you'll never do it. you have to just put something down for the first line.

one method I like employing when I'm really struggling is starting with a line of dialogue. it instantly throws the reader into the scene as they have to try and find out who is talking, what they are talking about, and where everyone is. an example where I used this is in the stars and their children, which opens with a line from tommy "Hey Wil, can you hand me the epli?" this tells us multiple things right off the bat. it establishes a character present in the scene (Wil) and that there's something different about this world from ours (epli—it makes the reader want to know what it is and why it's being handed to the character speaking)

other times I try to either start with a line that describes the setting ("The streets were crowded at this time of day." - everything else has gone wrong), or start with a line that describes the emotions of the pov character ("Lessons were the most unbearable in the afternoon." - under the hanging rose). basically, you're trying to find a way to throw the reader into the scene in one line. it's difficult, but try any of those angles and hopefully you'll think of something that fits. but again, it's jumping into a cold pool. you just have to put something down so you can start. you can always go back and change it later

okay putting the other two under a read more bc it got long

2. okay now pacing. that's a bit more difficult to help with because a lot of pacing is just getting a feel for it. one way is to just think about it logically. say you have two characters that start as strangers and you want to get them to be best friends. you can show them meeting for the first time, but then you often have to show them bonding before they can reach best friend status. there's pacing here both in the literal world of the story, but also in the text itself. you don't want to write them hanging out for a few hours and suddenly decide they're best friends (although ofc there are exceptions to this like if they're little kids bc, well, that is a thing little kids do where they'll declare a kid they just met their best friend), nor do you want to write them meeting for the first time, write a line saying "they hung out every day for the next three weeks until they were best friends" and then just act as though they're besties (again, there are exceptions to this in specific cases). it just feels weird yknow? It doesn't get the reader invested in this relationship because it doesn't feel like it's been earned. it's a similar thing with plot beats. you have to make it feel natural both in the world of the story itself, but also the timing with which you tell the story. like I said though, pacing is really something you just get the hang of naturally with practice. reading published novels will help as well because it'll help you get a sense of what good pacing feels like.

3. ohhhh you've hit a specific issue I had a lot when I was younger. when you have a dialogue scene going on there's a lot of ways you can balance the text outside the dialogue. ofc if the dialogue is going by at rapid speed, you can straight up just do the dialogue lines and you don't even have to specify who's talking if it's clear within the text

Ex:

"You can't come to my nuclear reactor, Tommy," Tubbo sighed.

Tommy scowled. "What the fuck? Why not?"

"Knowing you you'd find a way to cause a nuclear meltdown."

"Would not."

"Would to."

"Would not."

"Would to!"

"So what, you're a bitch who can't handle a little radiation?"

"Oh for fuck's sake-"

see how after the first two lines of dialogue where I established who is talking in which order, I stop using the tags all together? it's still clear who is talking because the dialogue is ping ponging back and forth. it's a fast-paced conversation, so cutting out the tags helps that effect.

but of course this is only the case in a few instances. most of the time, you do need lines outside dialogue not only to establish who is talking, but also to keep the characters present in the scene itself.

you have several options for what to include outside your dialogue. one of my go to's is always character actions.

"Don't you have one of those swimming pools you keep the nuclear shit in?" Tommy asked, leaning against the wall.

Tubbo pinched the bridge of his nose. "Yes but before you ask, no, you can't go swimming in it."

there we include the action of tommy leaning against a wall after he asks the question, which is followed by tubbo pinching the bridge of his nose. this lets the reader see exactly what each character is doing, which can also establish the emotions each character is feeling without saying them outright. tommy is comfortable enough with tubbo to annoy him with his questions, which we see by him casually leaning against the wall. tubbo, meanwhile, is annoyed just like tommy wants, which we see by him pinching the bridge of his nose.

characters sitting down, standing up, wringing their hands in front of them, folding their arms over their chest, shrugging, curling their hands into fists, etc. are all examples of character actions you can include to give the reader the ability to picture the scene more accurately

then of course you have thought process and scenery description you can include as well. thought process is just including what your pov character is thinking as the conversation progresses.

"Yes but before you ask, no, you can't go swimming in it."

Tommy huffed and folded his arms over his chest. Tubbo was so fucking boring these days with his 'safety rules'. He'd nearly been nuked before and was fine! A little radiation wasn't going to hurt him.

that right there is a glimpse into what's going on in tommy's head at that moment. he's frustrated with his friend because he thinks he'd be fine swimming in the nuclear pool. it gives us more insight into the pov character and how they're reacting to the conversation at hand.

then for scenery description:

Silence fell over them as Tommy glared at Tubbo. Tubbo glared back, refusing to budge. Around them, the snow coating the ground glittered in the afternoon sunlight. Clouds of breath puffed in front of Tommy's face. An icy breeze wound between the buildings, making goosebumps rise along his arms. He tugged his sleeves down, still not breaking eye contact with his friend.

the conversation falls silent for a moment, so we take a moment to step back from the two characters. we look at the setting around us, which emphasizes the pause in dialogue and makes it feel quiet even to us as the readers. you don't have to restrict your scenery description to moments where a conversation takes a pause, but taking a step back gives a sense of a 'silence' to the reader even if it's brief. another example of this could be,

"Don't bullshit me, Tubbo. Why won't you let me see it?" Tommy asked after several long beats.

Clenching his jaw, Tubbo's eyes flickered to the ground. The snow beneath their boots was muddied. Tommy spotted a dead worm frozen against the hard earth.

Then, Tommy understood.

"You don't trust me anymore."

now let's see this a different way

"Don't bullshit me, Tubbo. Why won't you let me see it?" Tommy asked after several long beats. "You don't trust me anymore."

see how without all that extra description the pause feels much shorter? and with that shorter pause the weight of Tommy's next sentence loses it's emotional impact?

if you want to add scenery description to a dialogue exchange, imagine it like it's a movie. you have two characters that are talking, and suddenly the camera pans away from them to look at the setting around them. why does it do that? what effect does it have on the scene playing out? your words are the camera zooming in and out on the characters. there are a lot of ways you can use this 'camera' to change the rhythm/flow of a scene. you just have to play around with it to figure out how to use it

I hope that's helpful!

[galaxycunt]

My Dinner With Buggy pt 2

I love playing with dialog so I figured why not keep going. As with part one it’s all dialogue so enjoy the ride everyone lol

Tagging @gingernut1314 @gayafsatan as yall requested a part 2 a million years ago

Sea spray hits your face as you left the restaurant, “so, what’s the move?”

Hands appear in front of you holding two bottles of wine, “one for each of us.”

“Really? In front of a lieutenant like that?”

“You gonna handcuff me, officer?”

You giggle, “miss Impel Down that much, huh?”

“God! Let’s not talk about that fucked up place. Take the wine, honey.”

“I let you order steak and this is how you repay me?”

He wags his tongue, “I’m covering dessert.”

“Gross.”

“You love it, shut up. So where’s this room you got?”

“Couple blocks down. You don’t wanna go to a bar?”

“I haven’t seen you in at least 6 years. I wanna make up for lost time.”

“Tch. Shooting for the stars tonight?”

Buggy frowns, “I thought this was a date.”

You falter, “hey. I thought we were teasing. Come here, Bug.”

Your lips taste sweet, “I missed you a lot. I’m not the only salty dog missing their lost love, but hey, you’re more important, so there.”

You kiss him again, “let’s go out for a little bit?”

“Sure, I’ll take you anywhere you wanna go. Oh shit! I forgot, I left something for you on the ship.”

“We got road wine, let’s go get it”

“This is nice, by the way.”

“It is. Too bad you ain’t a civ, easier. Even easier if you were a marine.”

“I’m gonna ask again. You’d like it.”

“I dunno, man. Lot of baggage with that. Especially on the Grand Line.”

“Not with me.”

“You already got captured once, baby.”

“I know, I know. But you hate this shit. Been in the game too long, why?”

“I dunno, maybe I felt we were doing something good. Too old for that shit, I guess”, the Big Top is as nice as you remember it, “there’s the old girl.”

He smiles, “my two girls, together at last.”

“I wonder if that note I left is still there.”

“Note? What-“

“-captain! Oh shit, look who it is!”

“-Cabaji! Glad someone’s keeping Bug outta trouble!”

He smiles at the two of you, “we should catch up. Later.”

“Thanks, man. See ya.”

“So what note?”

“Oh! It’s uh, not important. Just something I wrote last time I was here.”

“Where’d you hide it?”

“In the galley, deep, deep in the pantry.”

He kisses you, “let’s go find it then.”

“Buggy, no. Come on, you’re supposed to take me out.”

“Real quick. I promise.”

You tug him away, to no avail, “Buggy. It’s really stupid, you’ll enjoy it after a few drinks.”

“I got a few bottles in my room. We can read it there.”

“What about my gift?”

“Just a buncha jewelry, who cares? I’m finding that letter.”

Turns out he can find anything with ease if he wanted to, “aw. Your handwriting is so cute sometimes.”

“Oh, shut up.”

He kisses your temple, he’s getting very touchy, you realize, “lemme guess, treasure map?”

“Look, it’s something I wrote when we were like 18.”

“….really?”

“Uh huh.”

He jerks his chin toward his cabin, “let’s take this somewhere quiet.”

You hear your heart beat in your ears, cheeks on fire, “it’s really cringey. I was 18.”

“Do you really not want me to read it?”

“You’ll make fun of me.”

“I won’t. I really won’t.”

“Okay.”

“I already know you love me.”

You laugh, “shit. Guess you’re right.”

He clears his throat, “Buggy, our paths are unwinding, the red string of fate tugging us apart.”

“Oh Jesus, it’s worse than I thought.”

Heightening his voice he continues, “if only I knew the devil’s pact I made, and the one you sold your soul to. My love I can’t bear it. You don’t even know I love you.”

“See, that’s why I didn’t wanna read it.”

“So why even give it to me?”

“Because I didn’t think you loved me.”

He grows serious, “I did. Why did you think I did that stupid shit? To impress you, dummy.”

“You’re such a clown.”

“Exactly! You liked clowns.”

You smile, “yeah, I remember that asshole at the pier.”

“Join my crew, I’ll marry ya.”

“Only if I join?”

“We been apart too long, I’m not waiting until I hit some shitty village every six months to see you.”

“Ah, that makes sense now.”

“Sometimes I’d lower the Jolly Roger, just see if our boats can pass by, if I can see you on the deck.”

“I didn’t know that.”

“Yeah.”

You stare at his lips, you wouldn’t be the only Marine turning, “marry me tonight then.”

“Don’t think captains can officiate their own wedding.”

“Let’s find someone.”

He looks at the clock, “and if we can’t?”

“Ask me again tomorrow. Do it for real.”

Buggy picks you up instead, “can we just skip to the wedding night?”

“I’m not gonna marry you then.”

He smirks, “according to that letter, we’ve been married for 18 years already.”

[amysgiantbees]

I find it very frustrating that Wyll and Karlach leave no matter what if you side with the goblins. Which feels particularly fucked up that the non-white and non-white coded origin characters are the only two who get this content cut off from them. Gale is the other morally upstanding character and although he's a bit more morally grey than the two of them he's certainly not okay with genocide by any means and yet he still stays.

I get it they are the two most morally upstanding characters and are very emotionally tied to the teiflings but they are then totally exempt from the story and loose a lot of content and depth. They both already have the least amount of content out of the origins characters from Karlach's late addition and Wyll's re-writes and cutting them out of the evil storyline just adds to this. It's especially frustrating with Karlach because she's so easy to miss as well as having less content. According to the DEV's this is on purpose bizarrely too "I would've missed Karlach if I hadn't been reading guides...

AS: That's common, I think.

SV: But it's also on purpose, because the replay value is much stronger if you've discovered things..." from https://www.ign.com/articles/baldurs-gate-3-final-interview-game-of-the-year-2023-characters-endings

I feel also that they could very easily stay for the evil route in multiple ways without sacrificing their characters.

For Karlach she could have a speech at the goblin party post slaughter about how she thought she was free but this is just like Avernus. There's really nowhere where she can relax, nowhere where she can do good. No one that she can form a connection to that won't betray her. But if that's how it's got to be fine she's put up with it for ten years she can do it a little more to be rid of the tadpole.

Wyll could stay if he kills Karlach. This causes him to go through a Shadowheart like change. I think choosing to save or kill Karlach is his biggest and most dramatic moment (partially because he's annoyingly passive so much of the rest of the story but still) like choosing to save or kill the Nightsong is Shadowheart's. And thus should bring about a similar change in him like how Shadowheart shuts herself off if you kill Dame Ayelin.

There's dialogue that I assume is from early access because otherwise it makes no fucking sense like "I fear your lust for power could get the better of you. You are a hero not a politician." that you can say to Wyll. But with this route we'd actually bring out this side to him. At present his reaction to finding out he did an honest to god murder with Karlach is pretty lack luster (I blame the writing as they reuse so much of his saving Karlach lines instead of giving him a properly new scene). Instead of being upset I say he goes through a change and tries to justify himself instead. Like "I had to do it, you don't know what Mizora would have done to me" "I can still be a hero" "it was a one time loop hole who else are we going to find who is heartless". Something like that. We play up the dichotomy between the Blade and Wyll too. Now he only refers to himself as The Blade. He's less willing to hear feedback. He's more defensive. He isn't so much a person but a symbol.

However, he still wants to do good and should still definitely be upset at the goblin party. At the party he should say something like "These people trusted me! Trusted us! I was to be their hero! This isn't over. But I can't have the people seeing me as any more of a monster. So I'll stay with you since you hold the only thing stopping me from growing tentacles." He's still concerned with heroics but it's more selfish now.

When he made the pact with Mizora he gave up his home, only family, friends, previous career plans, everything! This is him desperately trying not to have to loose anything else. He would argue now that at the very least he should be able to keep his reputation, be allowed to keep his secret (which would add to how powerful it is that he grows horns in the other path). He's scared and so young and so the "good" ending would be keeping his pact with Mizora and dooming himself to an eternity of torture. Doing the scary thing anyway and becoming a lemur, a monster. I do consider breaking the pact to be the "good" ending at present but maybe it's just the "good" ending for the other version of him on that path. Because the other version of him is unendingly selfless and so should prioritize himself.

The other option is Karlach and Wyll both live. Get very angry at you for killing the teiflings. Say they'll stay because they're not strong enough to kill themselves and can't risk transforming without the Prism and inflicting that on people instead. So they say they'll stay but are secretly planning to kill you if you don't change. They pull a Minthara . Much like after revealing to Minthara that you can stop the Absolute's voice she'll try and kill you if you destroy last light inn Wyll and Karlach try and kill you. It would at least give them a bit more time with the party and maybe even stay entirely if you change.

[dinkbear]

my honest review/analysis kinda of the new camp camp special (MEGA SPOILERS!)

okay i’ll start this out by saying i really liked it! when i watched it at first, i wasn’t crazy about it, then i rewatched (almost) the entire series and it gave me a new perspective. i didn’t realize how much of the series i had forgotten about considering i haven’t watched it in 2+ years. so i got to see the characters develop all over again.

i thought the story was very much something kids would go through and i thought their reactions and behavior was very believable. but, throughout the entire thing, i felt like some of the dialogue was very forced and some of it kinda fan-servicey?? like the “somebody fucking has to” throwback felt forced to me, but that brings me to another point. i think the new voice actors are pretty good, max sounds practically the exactly the same (which is good because i thought his old voice was perfect for his character) but his new VA definitely needs to find his spunk, which is completely fair, i’m an actor i know how long it can take to completely get into character. but i think that made some of the dialogue from him feel forced. and not just him, some of the characters who’s VAs didn’t change still had some dialogue that felt forced. and i get why they did it but it was like a drastic change from regular goofy david in the first half to soft and sentimental david in the second where he had his serious, soft voice on the entire time. 

i really liked how they had the two stories/fakeout ending thing! the only thing is i wish we would’ve had more time to expand on max’s emotions to the camp closing. i really liked seeing his facial expressions and how he reverted back to his yelling and snapping because he was upset. granted i understand why they couldn’t- they only had 30 minutes not 1 hour+. but i did something i don’t normally do and i watched the credits and listened to the song at the end:

“I hope this letter finds you well. Thought this shit was over, but I didn’t hear no bell. Put my life in every sentence written like it’s jail. The summer’s done, but I got hella stories I could tell. The doctor telling me my flow is sick at every check-up. Rap is my profession cause I went viral on Meta. Whipped the GTR like I’m piloting a Mecca. They talk behind my back, but it’s okay I keep my head up. I don’t give it weight unless they tell it to my face. I’m flashy like I’m in the mob, but I don’t stay in place. I cannot be phased ‘Campe Diem’ everyday. The memories we making they stay with us to the grave. I’m just being honest, every moment has to cease. Oh, this opportunity, the money, rest in peace. I write all these songs because he believe in me, so when the Winter comes I’m gonna still release the heat. (Richie, I said a lot of goodbyes, I said a lot of ‘so longs’).” and then it cuts to someone turning on a lamp on their desk to reveal this

and then it fades out with nothing else

given the lyrics to the song and this ending bit, i don’t know who’s speaking or who’s desk we’re at- max’s or gwen’s. now for the song i think it could be both, i think it could be two different letters written to david- lines like “Put my life in every sentence written like it’s jail,” “Rap is my profession cause I went viral on Meta,” and “Oh, this opportunity, the money, rest in peace” screams that its gwen to me, but then there’s lines like “The summer’s done, but I got hella stories I could tell,” “They talk behind my back, but it’s okay I keep my head up. I don’t give it weight unless they tell it to my face,” “I’m flashy like I’m in the mob, but I don’t stay in place,” and “I write all these songs because he believe in me.” which lead me to believe it’s max speaking. (KEEP IN MIND I HAVE NEVER LISTENED TO THE CREDITS SONGS BEFORE SO FOR ALL I KNOW THEY COULD MEAN NOTHING) so, i think it’s david reading two letters, one from max and one from gwen. to me thats the most logical explanation. now for the desk, i think its max’s. its not david because the walls are blue while in the counselor’s cabin they’re wood. and, max is the one who took the picture. granted, maybe he gave the picture to gwen, but seeing as max wears a blue hoodie, that might be his favorite color so his walls are blue too. i think this is max reminiscing over camp. and i think that’s how the new season is gonna start, with max reminiscing at home.

honestly, i have no clue what the next season will be, this special was set up like it was a finale with all the kids going home. but im very excited! 

all in all, i really liked the special and i’m excited for new episodes in 2024! but the special didn’t have jasper in it so 0/10

[its-all-papaya]

hands on your keyboard cowboy i want to hear about the rest of your directors commentary pls !!! i LOVE the last landoscar convo in AN i absolutely need to hear more about it

likely place for you to be !!

(me, frothing at the mouth waiting for someone to ask me about this convo after I told you I was staying off tumblr for the rest of today)

ask me anything about my writing and read anybody, nowhere

OKAY. so. the LAST last scene of AN (fan stage) was like one of the very first things I wrote for that fic. I think the paragraph that starts "Lando's not online much these days" was first, followed by the Silverstone podium thing I used in the blurb, then it was fan stage. (Not to keep russian doll nesting asks, but the fan stage scene is a WHOLE other topic I could ramble about, I won't get into it too much here.) Anyway, other than those little anchors, I essentially just typed everything in chronological order and included what felt right when. So it was building in Lando's brain and building with Oscar and I KNEW I wanted it to end with the fan stage, so I KNEW I had to give some mental and emotional like... break? payoff? for Lando before then so that the fan stage would read like I wanted it to.

(break bc this got disguuuuusting long)

The other thing though is that I originally fucked up the Austria sprint finish order? So like 2/3 of the way through I realized I had to switch Lando and Oscar and that obviously like REALLY changed the entire tone of that passage and the bits right after, because the whole thing NOW is Lando getting beat by his teammate, but that super didn't exist until after I'd written all of Austria and started Silverstone. So I added the stuff about Lando battling Oscar and losing, and I loved it bc I think it gives the whole thing more depth, but then I was like... I need to write Lando out of this. I can't finish the fic without resolving the "Lando resents Oscar for beating him" plot-line. And I hadn't actually drafted anything for the last scene, but I had vague ideas of how it was gonna go that changed drastically when I started thinking about how to include some resolution for the on-track stuff.

SO. I'm done with the whole fic minus the conversation scene. We've had the Lewis Silverstone podium (probably my favorite part of the whole fic, and again, one of the original theses of it) and we're trying to get to the fan stage (probably my other favorite part) and I just like... sent Oscar to Lando's room with him? I didn't plan on all of their relationship development being in that one room, but I liked that it ended up that way because it felt really safe and contained for Lando, so I wanted them to get their payoff there, too. I don't really have anything to tell you about the first bit because it REALLY wrote itself. Like I was IN Lando's brain while writing this fic, all of his stuff was kind of me blind reacting to my own lead-up and then polishing it. Oscar was a bit harder to write, and this scene is the first time I felt like I had to actually make him like... do anything. Other than passively react to what Lando was doing. But even his dialogue just sat really right with me, and once I started the conversation it just felt really true to how they'd been all fic.

PAUSE for me to say I was so paranoid all fic too that I wasn't letting Oscar be enough of a real person with real emotions? I was like... some of these races sucked for Oscar too... ESPECIALLY silverstone... am I just going to make him Fix Lando anyway and not address his race? But THAT felt kind of true to Oscar too. Like he's not burdened the way Lando is and he at least seems to let things roll off easier, so I don't think it's OOC for him to not bring it up or be especially affected by it when Lando was a more pressing issue for him at the time.

Okay anyway. I really really loved the weird fight/not fight energy where Lando was fighting Oscar but Oscar just was not fighting back at all, like the one-sided argument was exactly what I wanted. I got through the part where Lando's like "I'm just not winning because I'm not" and then I got. So motherfucking stuck. Because at this point I'm like... okay. Lando has to give something back. We have to address Oscar's races. And I wrote the end of the convo no less than five times and it took probably three hours. I actually have a draft that I liked (I'll include it at the end) where they did address the Lando-hates-Oscar-beating-him thing, but then I had NO IDEA how to get them out of that. Like Lando admits that he hates losing to Oscar, but then wtf is Oscar supposed to say to that? Like... okay? Yeah? And I tried a bunch of stuff and hated it all, so I literally started a new word doc, dumped everything after "I'm just not winning because I'm not" in there, and started completely over from there in my actual WIP doc.

And from THERE I was like. You know what? We actually don't have to fix this for them? Like LANDO thinks this is a huge deal and makes him a horrible person, but does Oscar give a shit? Obviously they all hate losing to each other, that's like... the whole thing. Their whole goal is to beat everyone. So I was like "I'll indulge myself and just let them not deal with it right away" and I'd already written the "oscar's hand is out, palm up" paragraph for that original draft I liked, so I slotted her back in instead. And again, I am IN LANDO'S BRAIN, and I was like if EYE am thinking too much about how this conversation "should" go in a perfect world, Lando is DEFINITELY thinking about it. And I was like oh I need to stop thinking? Lando needs to stop thinking. And it sounds insane now because when I re-read the fic now, the through-line of Oscar calming Lando's thoughts is so so so obvious, but I promise that until writing "I need to stop thinking" it had never ever occurred to me that that's what Lando and Oscar's building relationship was doing for Lando the whole time.

Oh ALSO, in my original concept, they were never going to kiss because I felt like it would be forced bc I hadn't built to it enough. But once I hit on "I need to stop thinking" I was like OBVIOUSLY Oscar will kiss him to shut his silly brain up. Which, fun fact, is where "Lando isn’t even surprised. At any of it, really. It was always going to end up here" came from. It was just me, Soph, being like... oh. OBVIOUSLY THEY WERE ALWAYS GOING TO KISS.

So then I finished the kissing part and I was like... how will we get to fan stage for REAL. And I was still kind of worried about not resolving the on-track tension thing, so I was like... Lando is probably worried about that too! And the last "No, babe. That's your job." came to me straight from heaven or something, idk, but it was so perfect for ending the scene. Like I had spent HOURS AND HOURS worried about how to make them authentically address this and still stay soft and warm with each other and Lando's been panicking about it for eight straight days and we finally get the nerve to bring it up and Oscar is like "you silly silly goose, of course you hate losing to me!"

hahahahaha okay final notes then scene draft: as I said in the answered ask after I first decided to write AN2, I feel like I ended up with a version of this scene that was.... SO accidentally foreshadow-y of Hungary?? I was watching the team orders situation play out during that race and I felt like that dodgeball "the gift of prophecy" meme because I was like... holy fuck, this is EXACTLY the kind of thing that AN Lando was afraid of. The other note is that the line "we don't have to fix it right now, Lando" in the hollow hereafter is a direct result of my fight with this scene in AN and the topics of it. AN2 was destined, it's literally the only thing I can think of with the amount of weird pre-work I'd already done for a situation I didn't know was going to exist ever when I published AN????

oKAY THANKS FOR ASKING CLEARLY I HAD THOUGHTS!! Here are your demos/deleted drafts !!

this is how the austria sprint scene finished when I thought it was Lando P2, Oscar P3:

As he clasps Oscar’s gloved hand in parc fermé, he wishes for a blind second that it was a grand prix so he could remember how Oscar’s eyes looked squeezed against champagne spray up close. Then he remembers that place in the back of his mind and the ugly, twisted relief he felt passing his teammate for the final time, and he shoves the idea away. He doesn’t deserve that, either.

And this is how the final convo went when I was trying to make them discuss things (picks up after "It’s just me. I’m just not winning because I’m not.” and the rest of that paragraph didn't exist yet):

“We drive the same car,” Oscar says and Lando already knows he’s not going to like the rest, “and I’ve been qualifying like shit the whole month, too. It’s not just us out there. You know that. You’re being really hard on yourself.”

Lando remembers then that Oscar’d had his race ruined too. Worse, probably. Without a choice in the matter. And instead of wallowing he’s here comforting Lando, who should know better by now. Who should be better by now.

“I’ve been here three times as long as you,” he’s teetering on that precipice, deciding between anger and the other thing. “And I’m still making stupid mistakes. It’s worse because I should be better by now, and-” he stops. Considers.

“And?” Oscar prompts and Lando still can’t look at him.

“And you beat me. In Austria.” He says, quieter than anything since they’ve entered his room.

Oscar takes a breath so deep Lando can hear it. When he finally glances up, Oscar is already looking at him. His eyes still have that stupid warm, fond look in them and Lando’s afraid he’s going to do something dumb, like apologize, but instead what he says is “I beat you in Monaco.”

Lando scoffs, eyes back on his feet. “That wasn’t the same.”

“Why?” and he’s still asking like he doesn’t know the answers.

“Because it wasn’t, Oscar, people weren’t saying things in Monaco.” He’s losing the thread of the conversation a little bit, brain wrung dry from hours of thinking these things over, and it feels ten times harder to do it all out loud.

“Is this about what people are saying?” Oscar asks, then, and maybe they’ve both talked themselves in a bit of a knot.

“It’s not about anything.

“Lando,” Oscar says. “C’mere.”

His hand is out, palm up, and he’s taken his cap off at some point so his hair is messy and ruffled and he looks soft even though he’s got his damn polo neatly tucked in like always. He should be mad. Lando’s selfish, he’s so… he’s always taking what he shouldn’t from Oscar, but he goes anyway, puts his hand in Oscar’s and lets his teammate pull him down next to him on the bed.

“Are you upset about Austria?” he asks gently. He’d let go of Lando’s hand as soon as he was sitting, so his arm is free to curl around Lando’s waist, drag his palm up. Hip to ribs.

Lando sucks on the side of his thumb where it’s started to bleed. When he brings his hand to his face, it’s shaking a little. “Not…” he pauses, concedes, “Kind of. But not at you, I don’t think. I like when you do well.”

Oscar laughs a little and Lando’s eyebrows pull together, but it doesn’t feel mean. Lando’s not sure Oscar has a mean bone in his body when it comes to him, and that should be an issue, probably.

Oscar’s palm slides back down, ribs to hip.

“At what, then?”

And that’s the question, isn’t it.

And then I couldn't get them out of it so all that went to the graveyard! But I like the way it ended up, so I'm really really not mad about it.

KAY THX CHARLIE love u <3 if anybody else made it this far, ask about other scenes, I dare you >:)

[wetcatspellcaster]

Hi! Sorry to bother you again, I'm the one who asked you a while ago if it was okay to ask for some tips on writing dialogue. Thank you so much for your availability and time 🙇‍♀️ I'm mostly curious about how you structure your dialogues and how you manage to build chemistry between the characters through banter. Do you follow a particular set of rules or does it just come natural to you? You write so many ideas and cool dialogues, how do you manage to come up with so many? In general, if you have any tips for a fledgling "writer", they are super welcome. No pressure, of course, I really don't want to intrude/steal your time. P.s. I forgot last time to tell you that I also really loved your AU fic, Party Favours. I was hooked from the first lines and I had so much fun reading it. It was a really comforting and entertaining read, like drinking a hot chocolate in winter. Honestly, thank you so much for gifting us with such a warm and funny story. 🥰☕

Hey! Thank you for being so nice about my writing and the strengths you think I have - I didn't know I had them, so it was interesting to see my work from someone else's perspective.

And also don't worry, it's not a bother to answer this question. Although I'm not sure how helpful I'll be as I have no formal training and that might mean my explanations aren't useful!!

I'll try to answer as best I can :)

I don't really have rules for chemistry, I'll be honest, but my favourite dynamic (as is fucking obvious from many a fic I've written) is overconfident flirt/straight-laced practical killjoy. Luckily for me... there are a lot of these in media (Howl/Sophie, Tamaki/Haruhi, certain flavours of Buffy/Spike, Jude/Cardan from The Cruel Prince, Labyrinth fanfiction, whatever was going on with Emily Wilde's Encyclopedia of Faeries)! So I guess, if I was to give advice on that... I'd say if you really like a certain dynamic, go and look for examples of how they work elsewhere. Work out what it is about the pairing that makes your brain itch, or examine how these characteristic interactions play out, if there's any kind of formula to them - for instance, in Party Favours, the bit where Astarion is actively and overconfidently faking while talking to Threnn while Rose gets more and more flustered, was based partly on a fake relationship episode of Buffy lol. Like I didn't copy it word for word or anything, but it was an idea I saw elsewhere that I knew would be good for the pairing. .

Coming up with ideas... again, idk how idiosyncratic my process is. I maladaptive daydream a lot, and I really like scripting arguments (see above about what dynamics in fiction work for me, lmfao). i just love to hallucinate bickering, apparently. If I have any lines of dialogue that occur to me in any situation, I tend to put them into my notes app on my phone, to revisit later. If I have a scene with a particular purpose, I might look through my dialogue on my phone and try to find a series of quotes that work. Other times the maladaptive daydream for a few days might be the scene, and I'll write down any notes on what I want to happen and let it percolate for a few days before I actually write it. Sometimes pieces of dialogue will come to me before the scene does - Astarion's speech in chapter 7 of pieces happened before any of the rest of the fic, and then I was like "fuck. well. now i've got to get myself there." Mostly, this seems to just be a result of having these people live in my head rent free, but I'm also pretty autistic and so I script conversations a lot in social interactions anyway. .

Dialogue. I think dialogue comes naturally to me (see above comment about autism) and as such, I don't really follow any strict rules, I'm afraid... but these are some things I do formally try to do-

If a person is talking at someone (again, see how much I fucking love writing people bickering), you need to make sure it's not just a wall of text. Adding in paragraph breaks, even if it's a monologue, is kind of essential (speaking as someone who did not do this in the beginning, and it shows, particularly when you're reading my earlier fic on mobile rather than desktop). Often I will break it up with a one sentence interjection, a false start from the other person trying to get a word in edgeways, or a stage direction. I had a problem with one pairing I wrote for where one of the characters just would never speak... I needed to engineer lines for him to say even if it was completely superfluous. Sometimes, now I look at my writing, I feel like these are obviously fake and unnecessary... but they help break up the text and give the reader pauses. So they must be helpful, even if they're kind of just... there. it makes the dialogue a dialogue, with two people involved and reacting to each other. -

Similarly, speeding stuff up can be useful when creating banter, to keep pace and avoid people monologuing at each other. The key ways I tend to speed stuff up is usually a) characters finishing each other's sentences (derogatory or affectionate), b) interrupting each other (you'll notice my repeated 'Astarion-' is often used to get Astarion to just talk quicker and at more length and in more detail until Rose loses her goddamn mind), c) quicker back and forth where you don't need dialogue tags or stage directions bc characteristic voices will make it clear who is speaking. -

I read everything aloud as I post. This is how I proofread. Reading aloud helps me find spelling errors/sentence errors, but it also means that I have to speak all my dialogue aloud to my own wall like a crazy person. If I'm speaking it aloud in a different way, like the phrasing changes subconsciously to what's more natural in my mouth, I will often edit the dialogue to reflect that. I speak it, to see how it is spoken. -

Second to the above point, if you have a character who's voice you struggle with, listen/watch clips of their voice. I do not think I can write Lae'zel (or Gale tbh, and I'm now writing a whole fic from his pov so I clearly hate myself). I watch back clips of them all the time, and then I go to my dialogue, and see if I can hear it in their voice. If I can, I keep it. -

...Be brave enough to tell jokes. I genuinely can't tell you how much I don't think I'm funny. Every joke I write in my fic, I have no idea if anyone else will enjoy it, or if it only makes me laugh. But I put it in there, for me. I'm lucky, bc now some people tell me they found a joke amusing, and I'll know it landed with someone else other than me. But you tell jokes with your friends, presumably, and you're playful with them. So allow your characters to joke with each other, even if you're scared that no one else will 'get it'. If no one else finds it funny, at least the characters are having fun! -

Anyway, those are my main 'tips', I don't know if any of them are helpful!!

My other one main piece of advice is... read. Seriously. Even if the media you want to write for isn't a literary novel, read other people's writing, and I do mean both fic and published books, because published books (if they're good) have an editor. I read a lot of books/webtoons/manga before I ever wrote a fic... like for 12 years or something. I was a big reader, and reading good writing is useful - it's inspiring, it's also just technically helpful. These writing tips might be useless, because lot of what I've done in my own writing I've learned through osmosis - just by reading a fuck tonne of books, good and bad. I'm not saying you have to read 60 books a year or w/e, but read like, a few good books!

(also, just write a bunch. I am only becoming a 'read' fic author on my 11th project??? basically??? so I've had a lot of practice at this point, and grown in confidence. The more things you finish, the more ambitious you get. I couldn't have conceived of Pieces when I was writing my first fanfic, bc I thought plot was my main weakness... now I'm writing an almost entirely original premise and that's bc I've learned a lot since I started writing!)

[ourflagmeansgayrights]

MAJOR OFMD S2 SPOILERS!!

talkin' about the most recent leaked audition tape below the cut!

so we now have the leaked archie audition tape, archie being one of the two probable s2 lesbians and who will be played by madeleine sami (who is not actually the woman in the audition tape, for those of you who are also faceblind like me lol). i want to talk about the first scene from the audition tape

it's hard to tell what's going on, since it sounds like there's at least three characters in this scene and two of those characters are being read by someone off-screen. but here's a rough transcript of that scene:

READER(CHARACTER 1?): Let me die you cunts! Archie: Woah, hey! Easy on the c-word, compadre. That word just—makes me feel really uncomfortable READER(CHARACTER 2?): Sorry, man, we got orders. ARCHIE: Bite down on this. [HOLDS OUT BELT] READER(CHARACTER 1?): Bite down on my nob you bugging twat! ARCHIE: ...Okay. [ARCHIE SMACKS THE BELT ONTO A TABLE OFF-SCREEN, POSSIBLY KNOCKING CHARACTER 1? UNCONSCIOUS] ARCHIE: Um, do you think you could do the honors? Cause I’m—I’ll be honest I’m more of a, um, stabber than a chopper. I don’t love chopping. [SMACK NOISE FROM SOMEWHERE OFF-CAMERA, PRESUMABLY THE CHOPPING] ARCHIE: Ooh, haha, ugh. Icky. Icky yucky. READER(CHARACTER 2?): Well that was um, that was intense. ARCHIE: Haha. Super intense, eh? Superrr intense. [LONG PAUSE, ARCHIE MAKES PROLONGED EYE CONTACT WITH PERSON OFF-CAMERA] ARCHIE: [WHISPERS] Do you wanna...? [ARCHIE GRINS AND RUNS OFF-CAMERA]

so, obviously we have to take scenes from auditions tapes with a grain of salt. like, i doubt this is finalized dialogue. it's possible the plot has changed in some way since casting the role of archie. and also, again, it's kind of hard to really tell what's going on

but from what i can see, here's what i personally think is going on:

izzy is character 1

izzy is getting something amputated. probably his foot or part of his leg.

izzy calls the people in the room "cunts"

archie expresses discomfort with the word "cunt"

izzy then calls her a bugging twat

archie knocks him unconscious

the other person in the room proceeds to chop off izzy's body part

archie and the other person in the room... get horny from this? and leave to go hook up

(that last one tracks with the next scene, where it sounds like ed is making archie and another person fight to the death because "all love dies." this could be the same person who did the "chopping" in the scene above.)

and again, we don't know for sure that this is what's going on here! the plot might change, and it's kinda hard to tell who's saying what. but here's my main takeaways from this bit:

1. this scene is meant to be funny

unlike the toe scene, this scene seems tonally in-line with lucius's amputation scene in s1e06. just like how roach saying "knives are knives, meat's meat" was meant to be funny, archie's "icky, icky yucky!" is meant to be funny. it's also meant to be funny that and then she makes bedroom eyes at the person behind the camera and they presumably go hook up, after just having chopped a body part off izzy.

and yeah, that's pretty gross and fucked up! yknow what else is fucked up? the nose jar. lucius cutting off his own finger. making a turtle fight a crab. beating each other up for "vacation." lighting people on fire. turning people into furniture. "making some poor bloke eat his own toe for a laugh."

the show treats stuff like this as funny. this is nothing new. this should absolutely not be a surprise to anyone. izzy's foot (or other body part, but most likely his foot as a result of an infection) getting cut off in a comedy scene is very on-brand for this show.

2. izzy's misogynistic language is given a female target

izzy's probably delirious and feverish from his infection, just like lucius was in s1e06. interestingly enough, lucius did not call anyone misogynistic slurs when he was delirious and in pain. and lucius especially didn't call anyone a misogynistic slur after they told him they were uncomfortable with the first misogynistic slur he called them.

yeah, izzy's probably delirious in this scene. but the writers who wrote this dialogue probably weren't. in this scene, a woman expresses discomfort with being called a misogynistic slur, and when izzy then tells her to "bite down on my knob you bugging twat" she proceeds to hit him, possibly knocking him out. this is not the final cut of the show, so this scene might play out differently on screen, or maybe this scene will be cut altogether. but i think there's three possibilities for what this means for izzy's character arc in season 2:

they cut this scene entirely and we never see izzy say sexist slurs to a woman at any point in season two. if/when he continues to say "twat" or "cunt" it does not get called out

izzy gets the same feminism 101 arc that black pete got in season 1

the story punishes izzy for using sexist slurs but he doesn't have any character growth about it. izzy getting body parts chopped off becomes a running gag.

and on a smaller scale, here's what i think it means for this scene alone, provided that the final cut of the show has similar dialogue:

the writers chose to have izzy call a woman a cunt to her face because they want to make it clear that he is the butt of the joke in this scene

this is different from lucius's amputation scene, where he was still the butt of the joke but he was portrayed more sympathetically. this decision to write izzy less sympathetically was done deliberately.

3. medical inaccuracy in ofmd is alive (lol) and well

bro they literally just leave him there. like they chop a body part off this man and then leave him there. they don't stitch him up or anything they just leave his unidentified body part as a bleeding stump. whatever they cut off is probably still on the goddamn table.

this shit is hilarious i love this show so fucking much.

[zilabee]

A meme about my fic, believe me when I tell you. This is one of those question lists for ask memes, but I don't believe in that, I am just answering the questions I have an answer to and I've combined a couple of memes into one to get rid of the questions I don't understand.

1: What inspired you to write this fic?

It was a kink meme prompt, so that prompted me. And it's a lovely thing anyway, the idea of John finding lyrics with his name in, but the prompter specifically said that they have a 'heart to heart' and I was immediately enamoured at how ridiculously hilarious it would be trying to have a heart to heart with Paul McCartney about what his song might actually mean. Reading The Lyrics I had spent a lot of time trying to work out Paul's head, and wondering how much he actually believes that the long and winding road is about a road, you know, and what he really means by that, what level he's on with anything he says, so I wanted to write a fic looking at that anyway.

2: What’s your favourite line of dialogue?

"You kissed me." "I know." "But you're not..." Paul says. "I mean we're not..." "I think we might be, Paul."

3: What’s your favourite line of narration?

"Paul kisses him and then kisses him again, and it's such a relief. It's the first thing that's made sense all day. It's the first thing that's made sense for years."

4: What scene (or line) did you first put down? Did you plan it out, or write as you go?

As ever, I wrote the first bit first! Dull but true. And I wrote it as I went, which is always how I write, even if there are going to be chapters which there weren't with this one. I have the vaguest idea of the shape/length of the thing when I start, and then I just write a bit and see what comes next. Saying that, it's a terrible way to write, I tie myself in knots and have to do a lot of rearranging, and I'm not saying it's best, it's just the only way I can do it. I suppose it's like I wrote it by writing down EVERYTHING they might say to each other, and then carving out the bits that made sense.

5: Was it easy or hard to write? Which part was most difficult?

It was okay. I kept hitting dead ends trying to make the conversation flow even a little bit from one thing to another, so there was a lot of moving it about, but it didn't feel difficult until I got to the bit after the kiss. That stalled me for ages because I didn't know how much they really needed to say or if it felt rushed. I still think it does feel a little bit rushed, but also I don't care. I kind of sided with Paul that as soon as they'd kissed it was more important for them to fuck than to actually dig into anything about how they felt or what they wanted or how it was going to work or what any of it meant. Mostly because I think the moment they talk about what they want it's all going to be very difficult again and I didn't want to be involved.

6. How did you choose the POV to write from?

I knew this one would be from Paul's POV because I wanted to get inside the way he thinks about lyrics and songs and try to feel it out as a thing he's genuinely feeling, not something he's aware is defensive, not something where he actually deep down knows that putting John's name in his song means something and just doesn't want to say so, but where he genuinely feels it's perfectly normal and John's being weird about it. (Although then with a slight sense of nervousness when he first sees the lyrics, as if there's something deeper inside him that knows it needs to be hidden?)

I thought about slipping between that and John's POV to really get across how used to Paul's strange thought patterns he was, and how he had to puzzle it all together, but in the end I found it more interesting to try and have Paul show how John was responding and hoping it was clear what John was actually feeling compared to what Paul thought he was thinking.

7. Did you always know how it would end?

I knew it was going to be happy and together, because that's always my aim. And then quite early on the bit of dialogue with John promising to tell Paul which of his own songs are about Paul, came to me and I love the idea of Paul's insides collapsing like a house of cards at the very idea of it, so I worked towards that.

8: Where did the title come from?

The song! I love having a musical fandom, where you just write about a specific song and it makes titling a breeze. (Saying that I'm not sure the title suits.) (But then, saying that, I don't care. The title exists, and that's all I look for in a title.)

9: Were there any particular lines or scenes which you had to cut despite wanting to keep them?

Not as much in this fic as in longer fics with more than one scene in them, but there was this bit, which isn't much on its own, but I quite liked when it was in place because it created a very definite shift in tension and they were both suddenly right there in their skin:

"Is that what's happening?" John asks, his voice low, a rasp in his throat. "Are we losing the whole thing?" "I think so," Paul says lightly, and he wants to say more, but his throat closes up.

10: What do you like best about this fic?

I like it when Paul just says something totally open and honest without noticing it and John quietly looks at him. Like when Paul's all 'I put your name into all my songs, it doesn't MEAN anything' and John has to just stare for a bit. I like that Paul feels like he has won that point and that John must realise he was being silly. I love Paul. I love that he's stupid.

11: What do you like least about this fic?

I find their voices very hard, so writing a fic of total dialogue was not a good look for me. And I feel like I concentrated a lot on the 'begging you to stay' aspect of oh!darling and maybe some of the 'I'll never let you down/do you any harm' bits would have also been quite interesting to John.

12: What music did you listen to, if any, to get in the mood for writing this story? Or if you didn’t listen to anything, what do you think readers should listen to to accompany us while reading?

I have absolutely no musical associations with this one. I didn't even listen to the song itself.

13: What happens after the end of this fic?

Obviously very lovely things happen in the immediate aftermath. And I do think that being able to touch and kiss and fuck John would suddenly push Paul into boyfriend mode, and he is more capable of being loving in that mode, it gives him permission to be softer, and I think it might blow John's mind and they might be good for each other, I don't know.

I also feel firmly that one morning in a couple of weeks, Paul will mention that he dreamed about kissing John, and casually say that usually when he has that dream they're at the studio, but this time they were at home. And John will stare at him with exasperated fondness and quietly ask him how often he dreams about kissing him, and if he ever thought about what that might mean, and Paul will wrinkle his nose because he dreams about kissing John all the time, and obviously it doesn't MEAN anything, because dreams aren't real.

14: Is there anything you wanted readers to learn from reading this fic?

NO.

15: What did you learn from writing this fic?

NOTHING.

[nyoomfruits]

▵ pick a fic and I’ll tell you my favorite line

ALL.

oh boy oh god oh lord

WELP in order of first to latest i guess!!

you can hear it in the silence

have NO memory of writing this but i guess anything daniel says in this fic is pretty good and uh i like this bit?

“Max would look good with a mustache,” Daniel musses. “Like one that curls at the ends. And a little bowler hat. Dashing, really.”

“You suck,” Max tells him wholeheartedly. Charles laughs, and Max glances at him. When they make eye contact Charles smiles softly, privately, like him and Max are in on the same joke.

silly me (to fall in love with you)

i rlly like this piece of dialogue:

“Your ratings are dropping. People don’t really seem to like you,” Poppy says. She’s from PR, and she has multiple folders spread out in front of her, all of them together apparently painting a perfect picture of who Max is. Or, who people think he is.

Max rolls his eyes. “Because I fuck men?” He’s seen the comments on his Instagram, has seen the tweets, the articles. It’s died down, over the last few months, and there’s also a lot of people who support him. But still, it’s there. It’s probably always going to be there.

“No, it’s because you say shit like that,” Christian says, pinching the bridge of his nose. “Look, we’re not asking for some magical fairy princess make over here. Just maybe start being a little nicer in press conferences. Stop being so goddamn blunt all the time.”

Max frowns. “I think I might actually prefer the magical fairy princess make over.” (the rest is below a read more because this got seriously out of hand lmao)

you'll be alright

this is one of my personal fave scenes from you'll be alright and idk this just??? feels so soft i rlly like it

Max is leaning in the doorway, looking like an absolutely vision with messy, wet hair, wearing Charles’s clothes, which look unfairly good on him. The shirt is a little tight in the arms and chest, but it’s accentuating his build in absolutely the best way possible. Max is smiling almost fondly at the scene before him, and when Charles catches his gaze, there’s an almost intense look in his eyes.

Charles wants to kiss him. He wants to bury his face in the exposed line of Max’s throat and fall asleep there. He wants Max to wrap him up in those big, strong arms, rub his back, and tell him it’s all going to be okay.

He wants, he wants, he wants.

heart on your sleeve

Charles pulls his hands away from his face. “Well, that’s kind of the problem,” he says, pointedly avoiding Pierre’s gaze. “See, I was kind of holding my helmet when it happened.”

“Oh no,” Pierre says.

“And Max was there.”

“Oh no.”

idk i just love this bit for some reason

glitch

weirdly the easiest one because its the best sentence i've ever written but its

Daniel opens his mouth, presumably to say thank you, but then he looks at the coffee cup and frowns. “Uh,” he says, pointing at the cup and looking up at Max. “Where’s the rest of it?”

Max pulls a face. “Soaking into the shirt of two time Formula One World Driver Champion Charles Leclerc.”

[blackjackkent]

Still slowly working on clearing out the nautiloid crash area map, bit by bit. Found the cellar of an apothecary shop in the Blighted Village where apparently a Red Wizard of Thay has been masquerading as a healer while working on necromantic research. Beginning to think maybe this place was kind of fucked up even before the Absolute got to it. We had to fight a bunch of undead guardians and it was a whole thing.

Also of interest in this basement is this strange mirror in the corner, which rather stands out from the rest of everything which is kind of mossy and overgrown.

Hector speaks to it and reveals a spirit or enchantment of some sort inside:

"Speak your name."

One of the dialogue options here is quite excellent:

Luckily, Hector is a nerd and read all the books in the basement before approaching the mirror. (I actually got an achievement down here for having read 100 books in a single playthrough.) So he blew all the dialogue checks here out of the park.

He remembered a name from a journal to identify the Red Wizard working here, and passed a history check to provide an opinion on the Thay lich Szass Tam. He answered a trivia question about balsam ointment (which he'd read elsewhere in the basement was used to clean wounds).

And then the mirror had a final question for him.

"Finally...if you could see anything in me, what would it be?"

The three options here were "I would see my loved ones," "I would see my enemies suffering," and "I would look for a spell to get this worm out of my head." Really only the latter seemed like something Hector would say; he cares for those at the monastery but I'm not sure he sees himself as having "loved ones". It's been made clear already that growing up in a Selune temple comes with a major emphasis on self-reliance and stoicism. And he's not vindictive against his enemies either.

So he says the line about the worm, and the mirror seems pleased. "You seek to survive. You seek power. Be welcome."

Hector isn't sure he likes that analysis much.

Behind the mirror is a laboratory where it appears the wizard has been doing his research on reanimating the dead. This terrifying thing is in one corner behind a locked gate and several traps:

Narrator: The book is locked tight, with no visible keyhole - only an oval recess in the cover's mouth. You try to examine the book, but the longer you stare, the more those piercing amethyst eyes draw you in. You can sense something dark about this tome - something profane.

Gale and Shadowheart were both in favor of investigating the book further, which is all very well for them because they are not currently holding it. Karlach, however, was quite forceful:

"Please don't open the creepy book."

Sorry, Gale, Hector's with Karlach on this one.

Drop the tome, ready to destroy it.

Narrator: You feel better the second the book is out of your hands.

"What are you doing? That's no way to treat a book!"

Gale, your judgment in matters of ancient dark powers is suspect. (And trust me, Hector is just as much of a nerd as you are and isn't thrilled about having to do this either.)

Narrator: The voices return. Louder. Stronger. Commanding you to stop...but they have no hold on you. All you have to do is strike.

Despite the animation in the cutscene, the book is still in Hector's inventory, with this ominous descriptive message:

Drop. Smash.

...It's apparently immune to bludgeoning damage so we hit it with a guiding bolt and it burned right up ^_^

...and then Gale sassed me for destroying a book and then some terrifying shadow creatures spawned out of it.

What is even happening around here.

...They don't have too much HP so I wasn't super worried about this fight but then one of them straight up one-hit-KO'd Gale with something called "Strength Drain." AHHHHHHHH.

Luckily Shadowheart has Revivify now and the rest of the fight went okay. But yeesh. Time for a long rest.

[jackdawandicarus]

Okay I was totally going to post about this when it happened but I forgottttttttt

Um so on Friday I did what was *supposed* to be the final performance of the devised drama piece I’ve been doing since January. Our whole group were in and we all had complete costumes so that was good. And we all knew our lines. I got into a bit of a panic about it but eh I was fine. So the camera began recording.

When I tell you I put my WHOLE FUCKING HEART into that performance, I mean it. I’ve never given a better performance in my (admittedly, quite short) life. No hyperbole there, I swear I was blessed that Friday afternoon.

Except clearly not because THE SHITTY CAMERA STOPPED RECORDING FIVE MINUTES IN!!!! AND OUR TEACHER JUST LET US CARRY ON!!!!

And everyone else was actually relieved because they’d made some noticeable mistakes (I also did but they were pretty minor, I don’t think anyone who hadn’t read the script would have noticed) and apparently our teacher couldn’t hear them for most of it, but I’m actually experiencing the seven stages of grief right now. Oh and also it’s like I know it’s kind of selfish when I write it down but honestly if you can’t project at this point then??? Like did you not learn this when you were like eight??? It’s not that hard??? And you ain’t getting a good mark here without it??? Yeah anyway you’ll have to forgive me for sounding insensitive this is a full on rant. These people cannot write naturalistic dialogue either :/. I wrote most of my lines but the two I didn’t I had to rework because they sounded like a robot. OFF TOPIC, anyway these people are so relieved and I’m fucking furious because I’ve been micromanaging every little movement I make to make the scenes where I don’t do shit seem like I’m actually doing something. For instance, I have a scene where I just stand there listening to the suffragettes give their speeches, so I was, like, straightening my posture and leaning in at the particularly ‘empowering’ parts of the speeches, pretending to repeat ‘deeds not words’ right after they all say it. Trying to make the bit where I stand up to my character’s shitty husband (I murder him at the end 👍) seem more realistic for my character to do. There *was* originally more material for me to work with, but it got cut. So I can’t help to feel kind of bitter about it. Some of their lines sound so stilted, which obviously isn’t helped with them not being well-written, but still. It’s still only happened recently and I can’t help but personally feel kind of angry at them I guess. They haven’t actually *done* anything. I mean one of them’s always criticising tiny aspects of my performance which actually don’t need changing at all (I dare her to try saying ‘a brief moment of catharsis’ five trillion times, one time where I trip over it isn’t that big of a deal, it’s not easy to say and it never usually trips me up). Okay I’m going to end this rant here 😭👍. Going to pray and give a couple offerings to Dionysus before take 2 on Tuesday.

[grasslandgirl]

HI SAV!!! HAPPY SLASHERVERSARY MWAH. legitimately so deeply excited to read the new fic 💖 ALSO wanted to throw ask at you bc I am sure you have many thoughts and I wanna hear them all, so! do you have a favorite line you've written, across all of slasherverse so far, or one that you think is like, a core line/core component? and what scene in 'verse so far has been the most fun to write?

HIII JADE MWAAHHH MWAAH MWAH THANK U SORRY FOR BELATED RESPONSE XOXO

ooooohh aaaaaaa okay. in answering these it got really long bc I added some snip cuts from some of the fics so. click thru the read more xoxo

do you have a favorite line you've written, across all of slasherverse so far, or one that you think is like, a core line/core component?

ummmm. this is so hard. I think the ending line/lines of the original slasherverse fic are sooo crazy and like impactful to me personally at least ??

But in the moment before the officer reaches them, light breaks through the dense tree line, the first clear beam of sunshine that morning. It lands squarely on Fig’s face. Blinding, but warm. She grimaces, half smile.  “Fucking day break,” she mutters under her breath. 

like. yeah. I feel really good about that being the final ending beat and I think the first/original slasherfic is soooo concise and effective and is forever one of my favorite things i've ever written- I also think the line

He told them that so many times- there’s no one around for miles, kids, did you know that?   There's no one to hear you scream.

that Jamie @gilears used in his first collage (and the cover of the bound fic she made of slasher for me !!!!!) (and my phone lock screen for nearly the last two years) is just. mwaaahhh and maybe that's bc its in the collage. and yet <3

what scene in 'verse so far has been the most fun to write?

i really really loved the imagery in the gorgug pov fic, windows down, scream along at the end when he and fig are driving in the middle of the night scream-singing along to teenagers by mcr. I just love that moment so much.

i also really really enjoyed two different bits in the most recent slasherverse installment, the two year anniversary fic, one where fig and gorgug have a conversation in the middle of the night and the scene is almost entirely dialogue- I really wanted to push myself and try to pare down the descriptions and internal monologue as much as possible bc I think sometimes my writing and dialogue specifically can get bogged down too much, and I really really like how clean and quick the scene came out (also the you and me bit at the end of this snip was a reference to something Jamie and I say to each other all the time bc I'm a SAP <3)

“Nightmare. Uh. It was- it wasn’t- yeah. I was awake until like four last night I think though. Staring at the ceiling.” “Hello preacher, it’s me, the choir.”  Gorgug huffed out a quiet laugh. It filled the room.  “Hello, choir. Can I join you in the… church?”  “Yikes, I dunno, maybe too soon with the church-and-religion jokes, dude. I had to go to four funerals. In churches.” Another pause stretched thin.  “Only two of them were even in churches, Fig-” “Yeah, okay, I know-” “Also it was a year and a half ago-” “Yeah, fine! Okay, sue me for trying to make a terrible-” “And if you’d tried to say that to anyone else-” “-Unfunny joke about our dead friends, dude-” “-They’d probably have you, like, committed, or whatever-” “-I’m sleep deprived as shit, you know I get punchy and stupid when I’m exhausted-” “-and-” “Wait.” “Huh?” “You’re gonna have me committed?” Gorgug sighed. Quiet and affectionate. “Only if I can come with.” “Deal.”  “You and me?”

and then similarly, there's a bit at the end that's basically just a monologue from fig about her feelings for and relationship to gorgug and a single brief response where the context is finally given that she's talking to a therapist. and I just. really enjoyed getting to fall down the rabbit hole of how people. and fig (hello projection) would talk? about that? and I really enjoy how it came out.

“It feels selfish. To- to- we’re trying to be better, right? Like, that’s what we’re doing here, uh, you and me. But I also mean me and him. We’re- fucking- we’re trying to get better. To not be, like, codependent and insanely traumatized and agoraphobic or whatever the fuck and- and- god. I don’t know. I don’t want to lose him. And I feel like- I feel like we’re both trying so hard and going through so much insane shit that no one else can even fucking understand, and- and- if I mess it up, if I want something more then I’m threatening all of that. The- the understanding and the safety and the comfort and like, like, he’s told me that sometimes it’s like I’m the only string keeping him together or the only, like, balloon keeping him afloat- god. Not in those words, actually- whatever, I’m editorializing, but the point, the point is that like. He’s my, like, touchstone to reality. And I’m his. And I get that that’s probably not the most healthy or well adjusted, or anything, but that’s what I’m in therapy to fix? And it’s taking a really fucking long time to fix my fucked up trauma PTSD brain which I get is like, normal and expected or whatever, but until we’re both like, normal and not traumatized codependent ducklings who’ve imprinted on each other for safety in a world that tried to kill us I’m- I’m like- it should stay the same. Us. Me and Gorgug. ‘Cause if I change something and it makes him worse or us worse or undoes any of the progress we’ve fucking made to recover then like- like- it’s just selfish, you know? I don’t wanna be selfish about that. About him.” Her therapist’s blurry image on her computer blinked, head tilted, considering.  “Okay. I hear you.”

finally there's a bit I wrote ages ago and haven't had a place where it fits in a fic yet but really enjoy it so here a gift for anyone who actually read thru this whole post lmao:

“I don’t really know how to pray,” Fig said, kicking slightly at the water. Droplets flicked up and landed with tiny ripples on the surface of the lake. “But I feel like we should. Because they are, back there, all the people that loved them but didn’t know them- not like we did. Who don’t know what it was like. Like, we should do something to like, counteract their prayer or something. Correct it.” “Spell check?” “Yeah,” Fig said, smiling faintly. “But I don’t really know how to do it ‘cept the whole, like, are you there, god, it’s me Fig; thing.” “Dear God.” “Yeah, exactly, Dear God. Do you think that does anything? Do you think he’s listening? If he cares if we say it like a letter or know all the right words? Amen, love Fig, that whole thing.” “Dunno. Do you think it matters? Maybe it’s just for us. To say what needs saying and remember them the way we knew them. And if God’s there and he listens then. I don’t know. It’s a bonus.” “Yeah. Yeah, I think you’re right.”

XOXOXOXOXOOXXOOXOX JADE LOVE U HOPE U ENJOYED NEW SLASHERVERSE THANK UUU FOR THE ASK XOXOX MWAAH

[fictionfixations]

twst halloween

so ive been reading the events for twst all day. (like the dialogue for the stories)

SO. okay so i need to talk about halloween for a second--

so of course, spoilers for the event

deep breaths (i had started writing while reading. then i got very frustrated and it went on from there. haha. it gets long.)

---------------------------------

unique magic Tag. something like that

Where they can mark something, and it'll have a specific tag unique to that person (it'll stay in their memory until the tag is removed or fades away, in which the memory will fade normally instead of never). They could also tag items to that person (as in it'll have that person's unique signature that ties them together).

….honestly ive been like reading the twst halloween stuff. ( SPOILERS ) and for pomefiore they're in like the mirror hall and these mfs kept taking pictures INSIDE when its NOT ALLOWED (…bruh now people know what it looks like inside! what if theres like a flaw thats been caught on camera that'd help future criminal doers do something there!?)

anyway. so i was thinking of confiscating like phones. but so it doesnt get lost, or given to the wrong person.

this random pomefiore student being able to tag people with skin contact (example: passing the phone along, light touch on, say, the hand and the phone, and thus tagging and attaching them together through a line only they can see)

and it'd also help if say that same person did something malicious like 'hey, that's not your phone!' or 'i know that person!'

sorry im just kind of really ticked off at them. and all the other magicam monsters i swear--

im angry ranting now

oKAY for one that guy who was climbing the apple tree. you realize that if you do that people are just gonna want to do that to for the views so they'll climb it evne if they have no experience in it and will probably injure themselves or worse!?

ALSO THE FLOWERS. SCREAMS in heartslabyul OH MY GOD (i think id actually get so frustrated too though like bruh. idfk. WHAT IF THEYRE POISONOUS? i mean they probably wouldnt be out in the open but like. HELLO? YOU DONT KNOW THESE PLANTS. [they're for like potions] WTF ARE YOU DOING. THEY COULD BE HOME TO A VICIOUS SPECIES FOR ALL YOU KNOW YOU IDIOT)

pictures are horrendous. savanaclaw… 1. Why the fuck did someone make up some bs rumor that putting like treasure on your head (its fake tho) would like grant you a wish? WHY? WHAT DO YOU GAIN FROM THAT!?? HELLO???? also oh my god as a person who hates everything about being in pictures (i have to be tricked to get my picture taken ugh) THAT WAS HORRIBLE TO READ. im reading on the wiki by the way because i want the context. also oh my god (im sorry im saying that a lot.) as a person who was absolutely repulsed by touch for awhile (and still kind of squeamish about it but dont have the courage to shove ppl off half the time) i think id die inside. like. okay so they're like touching his ears and his tail (i only remember the ear but i was so pissed off i dont know if i imagined the tail bit or not) and kinda his everything right? WHY? thats. like. such an invasion of privacy. like. HELLO??? WHAT ARE YOU DOING. pleASE stop???? also oh my god WHYH ARE YOU MAKING A MESS OF IT WHAT tHE HECK (they should have like those ropes that signify 'you're not allowed past this part' to make it clear HEY youre not allowed to touch that. but also some people will ignore it and they could get overrun FAST. ughhh)

octavinelle

i wish i could say that people have the courtesy to be careful not to do anything to harm others but i cant really no words. just. oh my god. be CAREFUL WITH WHAT YOU'RE DOING . there are important sUBSTANCES HERE THAT ARE VERY FRAGILE. (they should've been made to pay for it ughhh. teach them.)

scarabia. honestly ive read a fic that went over this before. and honestly its very funny. so like yuu's just going to sam's shop where they are the teachers are nearby (stunned) and jamils just like 'I'LL BURN IT ALL TO THE GROUND' and its HILARIOUS. also bugs. shudder. i dont even know how youd get people to stop wasting the food tho. man. bruh.

(also where are there self preservation skills oh my god)

ignihyde. oh my god THEYVE DONE THE WORST CRIME OF THEM ALL. THE DESTRUCTION OF BOOKS. okay im being overdramatic but WHAT THE FUCK if anyone did that to my books id honestly be so done.

well anything else could be salvaged sort of (with the exception of the destruction of the plants, the destruction of one of the things in the lab, and this) but. this. destruction of property???????? FOR ALL YOU KNOW THAT COULD'VE BEEN SOME SUPER RARE VERY LIMITED BOOK WITH ONLY. LIKE. 10 COPIES MADE. OR LIKE. ITS ENTIRELY HANDWRITTEN BY SOME FAMOUS PERSON WHO DIED A LONG TIME AGO AND THIS IS ALL WE HAVE LEFT AND YOU DESTROY IT!

AGHHH. im so aggravated. (as a person who ADORES books. im so irritated. i mean dont get me wrong they arent that important to me. but the library is my favorite part in a school! i love reading! its practically sacred!) "Jail. Jail for one thousand years! Some of us LIKE being alone, y'know? Please, for the love of everything, just let us live our gremlin lives!" YES. (honestly. out of all the dorms. if not savanaclaw, then id probably be in ignihyde. like yes hide me away forever so i can play games and not have to interact with people)

"Y'know, for Malleus Draconia! The guy so zetta powerful that everybody trembles at his name! Getting a picture of yourself touching him is a legendary feat."

SCREAMS INTO PILLOW

WHY THE FUCK ARE PEOPLE BRNEAKING AND ENTERING WHY OD YOU IGNORE A SIGN

im so rrry im yttypingoifnhgfh there comes a point where im so frustrated i cant typer ight. heavy sigh

WHY WOULD YOU IGNORE A SIGN. THAT CLEARLY GIVES YOU A WARNING?! YOURE LITERALLY BREAKING AND ENTERING. THERE IS A REASON THAT SIGN IS THERE. WHY WOULD YOU JUST SHRUG IT OFF BASED ON APPEARANCES???! HAVE YOU NEVER HEARD OF DONT JUDGE A BOOK BY ITS COVER? I SWEAR. AGHH thats. such. a major. violation. i cant… AGHH

i wonder if a sort of barrier spell to prevent people from moving past (aka into the dorm) would be possible. but that might be a huge drain and whose to say they couldnt idfk take pictures through the windows? ew stalkery behavior, and not any better.

AND NOTHING CAN BE DONE BECAUSE YOU KNOW WAHT THE HEADLINES ARE GONNA SAY?

'NRC student attacks tourist!'. IT WONT EVEN MENTION ANY WRONGDOINGD THE TOURIST HAD DONE AND ITLL SPREAD FROM THERE AND AGHHHHHHH

THE STATUES? WHAT THE FUCK!? that. i. AGH (people are so dumb. why. would you. post a picture OF YOU COMMITTING A CRIME!?)

!!!! POP OFF (edit: this is like heartslabyul going against the magicam monsters. id probably adore octavinelle's if i hadn't already been spoiled about it lol)

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kind of off topic. but yknow what? i kind of feel like im really living up to my riddle pfp lmFAO

(i wrote it all down on discord. i probably could've just started it on a tumblr post instead but it didnt even occur to me)