#author in progress

[bluepenstemon]

so we already know i’m a huge minecraft diaries fan and i want to take some insoiration from it for my book.

in my book, there are 5 immortals known as the friðr (the old norse word for peace). they are known to me as the original friðr since there is a new generation

one and like three fourths of the immortals are villains (as in one is a fully fledged villain, one is a follower, and another is misguided). two are heroes. they gained immortality when shay (the fully fledged villain) killed one of the elder gods. this is when a civil war broke out between the 5. they separated and nearly destroyed each other, but somehow survived (i don’t know how just yet), but that’s not important. what’s important is the gods are furious at shay and really all 5 of them for stealing immortality, which they see as something that was not theirs to take.

i need a way for the 5 of them to stay alive and not be targeted by the gods and i’m not sure what to do. what do they do to escape the gods’ wrath/immortality if they didn’t want it?

shay runs an assassin academy for specialized fighters to protect himself from the gods’ wrath and any mortals they use to get the job done.

rhosyn, the follower, stays with shay and is protected by the assassins.

zyan, the misguided villain, i think reinvents identities every 70 ish years.

mara and anneth, the two heroes who never wanted immortality, also reinvent themselves, but they’ve found a way to come as close to dying as they physically can. what i’m thinking they do is, they invented a way to deage themselves and lock away their memories so they can have a fresh slate every “life”. what i can’t figure out is where the memories go. is it like irene? are their memories stored in relics?

if i wanted relics, how would i fit them in here with all of the immortals being alive? the original friðr are represented by objects: a crown, a sword, a shield, a rune, a heart, and a thread. they each have another object as well that i haven’t come up with yet. the new friðr, though, are basically the reincarnations of the old friðr, though they have different secondary objects. they are: the crown of a lion, the sword shining with the ways of the sun, the shield made of tatem (a kind of partly healing, partly toxic plant), the rune read by the ocean, the heart made of moonflower petals, and the thread made of starlight. how do i have the reincarnations with the og friðr still being alive?

currently, there are two prophecies, though one is not done for the original friðr and has to do with uniting the magickal world. the new prophecy for the new friðr have a prophecy that has to do with returning the life forces of the og friðr and restoring the balance of magick.

basically, if anyone has any ideas on how to flesh out my ideas, i would greatly appreciate it.

[justwriteyoudummy]

Hey! I made a thing!

Be sure to sign up so that you never miss an update!

[bamsara]

I think that one thing people fail to understand is that unsolicited literary criticism coming from an online stranger who is reading with no knowledge of what the authors intended goal is, is not going to be received the same as say: the authors beta reader or friends who know what the authors intended goal and has the sufficient knowledge and input to help the author reach that desired outcome.

"But I'm only trying to be helpful" How do I know you have the knowledge and literary skill for you to be able to actaully do that when we don't know each other and you are essentially a stranger to me? Are you applying this criticism based out of personal biased experience and desire to see the story or characterization be driven in another direction or tweaked, or do you know the author's intentions for the character? If the story is incomplete, are you basing your criticism of a character on the incomplete narration with only partial information available of them or are you building up a report until the story's completion? Did the author provide you with the information needed to make a fully informed criticism?

Have you discussed with the author what their plans are or are you assuming them based off the narration, especially if the narration is proven or implied to be unreliable or missing key points of the plot? Are you unbiased enough to help them reach their desired outcome for the characters and story regardless of your personal feelings towards the characters/antagonists and setting? Can you handle being told your specific input isn't wanted because you're a reader and/or have no written anything relating to their genre or topic? Do you understand and respect that the author's personal experiences might influence their writing and make it different than how you would have done it personally? Do you understand if an author only wants input from a specific demographic relating to their story?

If it's for fanfiction or other hobby media, are you holding a free hobby to a professional standard? Are you trying to give criticism because you feel like the author has produced 'subpar job performance' of their fic? Are you viewing their work as a personal intimate outlet or something that must conform with mass media? Are you applying rules and guidelines when the fic is shared for simple sharing sake? Is your criticism worded appropriately and focused on the parts where the author has requested input on rather than a general dismissal and or disapproval?

Have you put yourself in a place where you assumed you have the input needed for the story to evolve better, or have you asked what the author needs and what they're having trouble with? Can you handle having your criticism rejected if the author decides their story doesn't need the change and not take it as a personal offense against your character? Are you crossing that boundary because you think you are doing the author a favor? Are you trying to be helpful, or do you just want to be?

I think sometimes when people hear authors go 'please don't give me unsolicited writing advice or criticism' they automatically chalk it up to 'this author doesn't want ANY constructive feedback on their stuff at all' and not "i already have trusted individuals who will help me with my writing goals and- hey i don't know you like that, please stop acting so overly familiar with me'

[anauthorinprogress]

I will do it!

I am determined!

Like every year I've signed up for NaNoWriMo...

But this is different!!

Right guys? heh...

[reallyunluckyrunaway]

Please SOMEBODY make it happen!!!!

[morbethgames]

NEW UPDATE IS OUT!

I’M FREE! FREEEEEE! 32 MOSTLY UNIQUE VARIATIONS OF INTIMATE SCENES DONE!

Clears throat

So, like stated above, the update is out! I’ll leave a list of patch notes, but this is majorly a bigger one for Alzarez and Lance romancers. The Lance extra story “Movie and Dessert” is being released with this update. You will need to replay the game. I’m sorry about that. BUT it’s because I added in new variables to the train scene so that stuff said there could possibly be brought up in this new scene! Reactivity, yay!

Along with that, you’ll get to read Alvarez’s flashback scene which is the actual end of Chapter 4. Along with a lot of little goodies. All in all, there was about… 44k-45k words added into this update? 40k of them are entirely optional and only happen if you choose to hang out with Lance after Alvarez’s flashback scene scene.

Not gonna lie, 1 variation in I was confident it would take two weeks. 8 variations in I was a bit tired but still energized to get this scene done. 16 variations in I had to step away for a couple of days to not let my brain melt. By the time I hit mid-twenties in variation for this scene, I was finding myself thinking that it just. wasn’t. worth it.

I have no idea if I’ll make the other intimate scenes this branching. It was honestly a lot of work. Like, a lot, it it was so fatiguing after a while, but I knew I had to get it done. IT’s also the reason I paused my patreon this month, because it wouldn’t be fair to charge people for something that they’re not getting early as promised in the rewards. This took way longer than I thought, so I wanted to just release it to everyone at once.

I do hope you guys enjoy it, and without further ado, here are the patch notes for this update.

Stay Brilliant, -Vi

Patch Notes:

“Movie and Dessert” Lance Extra Scene is finished.

Alvarez Flashback scene is finished.

Added a Text Box Investigation Tab in the Stats Screen.

You are now able to toggle between Text Box Investigations and regular choice script gameplay for TBI sequences.

You can now view the Text Box Investigation tutorial at any time via the stats screen.

Removed the Text Box Investigation Tutorial from chapter 4.

Added an option in the beginning of the game to Fade To Black during intimate scenes.

You can now pick asexual and aromantic as separate options, and they are not tied to each other.

Grammar edits and fixes (thank you to all who report them).

🛡️Patreon | Forum Page | Demo Link🛡️

[char-writes]

3AM writing brain: We came up with so many ideas today!

Daytime writing brain: You put twelve unconnected words into a note app and there is not a single complete sentence to be found

3AM writing brain:

[that-butch-archivist]

A recent acquisition originally published in 1965, and sure to be an interesting read ...

[theplotmage]

Hi, I was wondering if you could so some sort of rule set for time travel? I'm finding it hard to describe, and what rules there are on the subject.

Thanks!

Hello, I'm also writing a time traveling sci-fi fiction with a fantasy blend to it and here are some things that I find that could help us out!

Rule Set for Creating Believable Time-Traveling Fiction

1. Time Travel Mechanics

Mechanism Description

- Clearly explain how time travel works in your story. Is it a machine, a natural phenomenon, a magical object, or an innate ability?

Scientific Basis

- Incorporate real scientific theories, such as Einstein’s theory of relativity, wormholes, or quantum mechanics, to ground your story in plausible science.

Limitations and Costs

- Define the limitations of time travel, such as distance in time, frequency, energy requirements, or physical toll on the traveler.

2. World-Building

Historical Accuracy

- Research and accurately depict the time periods your characters travel to. Include cultural norms, language, technology, and major events of those eras.

Parallel Worlds and Timelines

- Decide if time travel in your story creates alternate timelines or if it follows a single, mutable timeline. Consistency is key.

Temporal Organization

- Consider the existence of a governing body or organization that regulates time travel. Define its structure, rules, and purpose.

3. Language and Communication

Temporal Dialects

- Characters from different time periods should speak differently. Use historical dialects, slang, and accents appropriate to each era.

Temporal Jargon

- Create specific terms and jargon for time travelers and the technology they use, such as “temporal jump,” “chrononaut,” or “time anchor.”

Code of Conduct

- Develop a code of conduct or set of guidelines that time travelers must follow, including how they communicate with each other and with people from different eras.

4. Character Development

Motivations and Goals

- Clearly define why characters want to time travel. Is it for adventure, to change a personal event, or for scientific exploration?

Personal Growth

- Show how time travel affects characters emotionally and psychologically. Do they struggle with the ethics of their actions or the loneliness of being out of their time?

Conflict and Tension

- Use the potential for paradoxes, rival time travelers, and moral dilemmas to create conflict and tension.

5. Ethical and Moral Implications

Paradox Prevention

- Address how your story handles paradoxes, such as the grandfather paradox. Use concepts like self-healing timelines or fixed points in time to explain inconsistencies.

Ethical Dilemmas

- Explore the moral implications of time travel. Should characters intervene in historical events? What are the consequences of changing the past Responsibility

- Emphasize the responsibility that comes with the power to alter time. Characters should consider the broader implications of their actions.

6. Plot Structure

Non-Linear Narrative

- Use non-linear storytelling techniques to enhance complexity and intrigue. Flashbacks, flash-forwards, and parallel timelines can create a rich narrative.

Foreshadowing and Payoff

- Plant clues and foreshadowing that pay off later in the story. Ensure that all plot threads are resolved by the end.

Multiple Perspectives

- Consider telling the story from multiple viewpoints to show the impact of time travel from different angles.

7. Integrating Science Fiction and Fantasy Elements

Scientific Plausibility

- Ground your time travel mechanics in plausible science, even if you incorporate fantastical elements. Use pseudo-scientific explanations to bridge the gap.

Imaginative Enhancements

- Blend scientific theories with imaginative elements, such as ancient artifacts, alien technology, or supernatural forces.

Explanatory Dialogue

- Use character dialogue to explain complex concepts in an accessible way without overwhelming the reader with technical details.

8. World-Building Consistency

Timeline Integrity

- Map out key events in your story’s timeline to avoid inconsistencies and plot holes.

Cultural and Societal Impact

- Consider how time travel affects society. Is it a well-known and regulated practice, or a secret known only to a few?

Technological and Historical Changes

- Explore how changes in the past affect technology and history in the present and future. Ensure these changes are logically consistent.

9. Avoiding Common Pitfalls

Avoid Overcomplication

- Keep the rules of time travel simple enough for readers to follow without getting bogged down in excessive technical detail.

Plot Holes

- Be vigilant about potential plot holes and inconsistencies that can arise from complex time travel mechanics.

Exposition Balance

- Balance the need to explain time travel mechanics with maintaining the story’s pace and engagement. Avoid info-dumping.

Rules for Time Traveling

1. One-Way Trips Only

Restriction

- Time travelers can only move forward or backward in time once without the possibility of a return journey.

Explanation

- This rule ensures that the timeline remains linear and prevents paradoxes caused by multiple interactions with the same time period.

Effect

- Limits interference with historical events and reduces the chance of creating alternate realities.

2. The Observer Effect

Restriction

- Time travelers cannot interact with their past selves or directly influence their previous actions.

Explanation

- Direct interaction with one’s past self could create paradoxes, such as the “grandfather paradox,” where altering past events prevents the traveler’s existence.

Effect

- Maintains the integrity of the timeline and ensures personal history remains consistent.

3. Fixed Points in Time

Restriction

- Certain historical events, known as fixed points, cannot be changed or altered in any way.

Explanation

- These events are crucial for the stability of the timeline and the universe’s structure.

Effect

- Prevents catastrophic changes to reality, ensuring key moments in history remain intact.

4. Memory Corruption

Restriction

- Excessive time travel can lead to memory corruption, where the traveler starts forgetting crucial details of their original timeline.

Explanation

- The brain struggles to handle multiple versions of events, leading to cognitive dissonance and memory loss.

Effect

- Ensures travelers use time travel sparingly and only when absolutely necessary.

5. Temporal Anchor

Restriction

- Time travelers must establish a temporal anchor, a fixed point in time to which they can return or stabilize themselves.

Explanation

- This anchor serves as a safeguard against getting lost in time or drifting uncontrollably through different periods.

Effect

- Provides a safety net for travelers, ensuring they have a way back to their original timeline or a stable reference point.

6. Butterfly Effect

Restriction

- Minor changes in the past can have significant, unforeseen consequences in the future.

Explanation

- The butterfly effect illustrates how small actions can ripple through time, drastically altering future events.

Effect

- Encourages travelers to be cautious and minimize their impact on past events to avoid unintended consequences.

7. Temporal Energy Consumption

Restriction

- Time travel requires a significant amount of energy, often depleting the traveler’s resources or affecting the environment.

Explanation

- The energy needed to manipulate time is immense, and its usage can lead to resource shortages or environmental damage.

Effect

- Ensures time travel is not undertaken lightly and that travelers consider the environmental and resource costs.

8. Chrono-Sickness

Restriction

- Prolonged exposure to different time periods can cause physical and mental ailments, known as chrono-sickness.

Explanation

- The human body and mind are not designed to handle the stress of moving through time, leading to disorientation, nausea, and psychological effects.

Effect

- Limits the duration and frequency of time travel, encouraging travelers to minimize their trips.

9. Temporal Interference

Restriction

- Time travelers must avoid interfering with major historical figures or events.

Explanation

- Interfering with significant events or individuals can drastically alter the course of history, leading to unpredictable outcomes.

Effect

- Preserves the natural flow of history and ensures major events occur as intended.

10. Temporal Paradoxes

Restriction

- Travelers must avoid creating paradoxes, situations where actions in the past contradict the present or future.

Explanation

- Paradoxes can destabilize the timeline, potentially leading to its collapse or the creation of alternate realities.

Effect

- Ensures travelers act responsibly and with caution, preventing actions that could lead to paradoxical situations.

***

Hello, I’m Kali The Plot Mage!

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Thank you for your support, and happy writing! 😊

[madrewrites]

not writing my wip and not not writing my wip but a secret third thing (elaborately daydreaming about wip)

[goodluckclove]

Man, you're thinking, I'm struggling with writing. But this stranger on the internet can't possibly want to personally cheer me on and talk me through my creative problems for free and for nothing in return.

Listen. Let me tell you about my day.

Wife has what is, to me, a Big Important Job. Because of that, and with her support, I get to try my shot at being a full-time writer. So about six days a week, I get up and write for five hours and market for three. Every day. It's all I do.

This is cool and a problem - a cool problem, so to speak. I need other things to do with my time and for the sake of my carpal tunnel. And it has always been a dream of mine to support other artists, just because I feel like if you want to do art you should do it. And if the art is so hard you can't figure out how to start, maybe you're thinking about it the wrong way.

If I do nothing else substantial with my day it will be a rousing success because last night I asked a friend to write me three sentences and they came back with seven. That's the most amazing thing in the world to me.

So if you think you'd be taking up my time or burdening me by talking about your writing, you're not. I've decided to consider this part of my job.

Asks are open. Chat is open. Email address is luckyclovegardener@gmail.com. Send me what you're working on, send me what you're struggling with, tell me why you're struggling and I swear to god I will leap through the screen and help.

Try me.

[elysiumcircusif]

18+, content warnings for horror, fear and death.

Come One! Come All!

When the lady of summer graces the town of Dusklight, she brings a plethora of fun with her in the form of a circus known as "Elysium".

The residents of Dusklight can be seen spending their leisurely summer days in this dome of fun.

There are all the rides one can dream of! Rollercoasters, carousels, ferris wheel, hall of mirrors, fun house, house of horrors, teacups, you name it, Elysium's got it!

But of course, our circus won't be complete without its marvelous cast!

Let me introduce you to them:

First up, we have, drumroll please!

THE RINGMASTER! The runner of the show and the captain of our vessel. The ringmaster will ensure your safety but also guarantee your fun at Elysium. Keeping you entertained is their first and foremost duty. For I exist only for your pleasure, I will make sure you walk out thoroughly entertained.

Next, please give it up for, drumroll again please!

THE CONTORTIONIST! Watch in awe as his body defies the laws of gravity. He moves like he doesn't have a single bone in his body. Though some find him a bit strange and unnerving it's all hearsay. He will have your mind swirling with his moves. Watch me, watch me, are you getting confused? Are you getting sleepy?

Moving on, we have, keep the drums coming!

THE DANCERS! Please have a look at our enchanting triplets. Their dances are mesmerising stories of tragedies. As they dance in unison, the stories become more captivating to watch. They will immerse you in their performance. You won't regret buying a ticket to a show of our trio. Hold on dear brother, we might just make it out of here. Hold on dear sister we will see the sunlight soon.

And of course what circus is complete without- come on guys, I need the drum roll:

THE CLOWNS! There's two of them in Elysium. One of our clowns has his face painted to resemble a smile and the other has a permanent painted frown. Watch their skits to feel your belly twist with laughter! or perhaps it is nervousness that you feel in the pit of your stomach?

Let's keep the introductions going! More drumroll! Let's go and meet:

THE MIME A.K.A THE DOLL! Her face is made of porcelain. She'll entertain you silently with her gestures. Wrapped in a blue silk frock, her eyes the color of the sky at dawn, she is a beauty to gaze at. When she is not performing, she can be seen trying to get out of an invisible cage. Just another one of her gimmicks, I am sure.

And how can we forget the- drumroll!

THE FORTUNE TELLER! Hey there beautiful maiden, want to get your fortune told? Look no further! Elysium has a fortune teller at hand. Our old man is covered in a veil but his eyes are clearly visible. His eyes seem, sad and hollow somehow. He does not beat around the bush. Tell me oh wise man, what makes you so sad?

We are almost done with our cast, another drumroll, for-

THE TRAPEZE ARTISTS! Watch the young couple express their love to one another as they fly in the air. Stories of their love, romance and hardships all bottled into a trapeze performance are sure to catch your attention! Will we ever meet again my darling? Will I ever hear your sweet voice again?

And last but certainly not the least, ending drumroll please! Elysium couldn't function without:

THE RIDE OPERATORS AND THE FOOD STALL MANAGERS! They are the heart and soul of Elysium. Without them, we might as well close the circus! Though they don't speak much, they ensure that every craving you have is satisfied. Surely they don't believe that we don't know anything?

And that folks, completes the Elysium cast introduction! Thank you for your time and we hope to see you in Elysium this summer.

DEMO: SOON || PORTRAITS: TBA || KOFI || THE OTHER CAST♡♡♡(ROs) || ELYSIUM CIRCUS PLAYLIST

[marsplastic13]

Noo babe sorry I disappeared for hours! I'm not dead, I was just writing smut

[bookshelf-in-progress]

Reflection: A Retelling of “Snow White and the Seven Dwarves”

The mirror is a gift from the dwarves. Its frame of hammered gold is wrought with delicately-crafted birds and beasts, fruit and flowers. Its silver-backed surface, unlike those created by human craftsman, shows a true reflection.

The queen loves to gaze at herself in the mirror. It tells her that she is beautiful—skin like milk, hair like midnight, eyes as blue as a crystalline lake. She is young, healthy, graceful, charming—perfection in human form. Truly a queen worthy of this kingdom.

Then, one day, the mirror’s message changes. It shows that the queen has lines around her eyes, sunspots on her nose, wicked glints of silver in her night-black hair. The queen does all she can to hide the damage, spends hours before the mirror with cosmetics and concealers. To the rest of the world, the queen is as perfect as ever.

Yet every morning, the mirror tells the truth.

Worst of all, her husband has a little daughter—barely fourteen years old—who grows lovelier by the day. Every morning, the mirror says that before long, those who worshiped the queen’s beauty will transfer their devotion to the princess—and will be right to do so.

The queen's beauty would not seem so tarnished if the princess were not there for comparison. The queen tries to send the princess to an isolated estate—tells her husband it is better for the girl to grow up away from the corrupting influences of the court. But the girl is too dear to her father. She wastes away with homesickness, until her father the king orders her to come home for the sake of her health.

The queen tries neglecting the girl in ways the king won't notice—refusing to let her wash with good soap, denying her a maid, forbidding her fashionable clothes and hairstyles. Through it all, the mirror tells her that the girl’s beauty shines out brighter than ever.

Before long, the queen spends hours by the mirror each day, locked in a futile endeavor to restore what is lost forever. One moonlit night, she finds a dagger, and considers plunging it into her heart just to end this ceaseless torment, but the morning shows her a better path.

She will never be perfect, nor make the princess less so—but she can destroy perfection.

It would be easy to take this dagger to where the princess sleeps and shove it through her perfect heart, but the queen doesn't dare to mar her own beauty with blood-stained hands.

She gives the dagger to a loyal huntsman. He takes the girl into the forest—and returns holding a small, bloody heart.

That night before the mirror, the queen's smile makes her glow with a new kind of beauty.

*

People often tell the princess she is beautiful. She believes them, for she has never seen an ugly face. Old Sal’s missing tooth is an open door into her smile. The chambermaid’s freckles make a daytime constellation. The little stable boy’s one good eye glitters green as an emerald. Her stepmother owns a beautiful mirror, but the princess barely gazes at it. Why would she waste time examining her own familiar face in a world with so many other lovely faces to gaze upon?

One day in early spring, she asks to go berrying in the forest beyond the castle, as she once did with her mother. To her surprise, the queen permits it—the queen rarely allows the princess anything that might be a luxury. She even sends one of her huntsmen as protection.

In the eaves of the forest, the princess finds strawberries not far from the path, and she hastens to gather as many as she can. She invites the huntsman to join her, but he stands statue-like at the edge of the clearing, always on guard. Not wanting him to go without, the princess brings the berries to him, and offers him the largest, sweetest one.

As she does, she gazes at his face. Scars make mountain ranges along his cheeks and brow. His hair is edged with silver. The lines of his face are solid as stone. His deep gray eyes hold storm clouds.

“Oh, my,” the princess says in awe. “You are beautiful.”

The huntsman’s face disappears as he hides it in one of his hands. “I can’t,” he says, his voice rough with unshed tears. “I must betray my queen."

His other hands darts to the side, quick as a serpent, and the silver flash of a blade disappears into the undergrowth.

The huntsmen places both of his hands on the princess’ shoulders and crouches to look into her face. “You must run. The queen wants you dead. If you stay at the palace, she will find a way to kill you. You must flee into the forest and never return.”

“The forest?” the princess asks in terror. She has often wandered in the eaves, but she has never dared the strange terrors that are said to lurk in its interior.

“There is nothing there that can harm such innocence,” the huntsman says. “You will find shelter.” He turns her around and pushes her toward the depths of the forest. “Now run! As fast and as far as you can!”

The shadows of the forest embrace her, and the flowers make a path at her feet. She crosses shallow rivers, climbs rocky slopes, winds through twisted groves of trees. She couldn’t return home even if she wanted to.

She had not been blind. She had seen something like ugliness in the queen’s face whenever they were alone. But hatred? Murder?

She nearly collapses with grief, but through the trees, she sees a wisp of smoke. A chimney. A roof over a tumbledown cottage. The princess runs through the open door, collapses on the floor, and is glad to find a safe place to weep.

Her father will think her dead, and she will not be there to comfort him. She will never again see any of the beautiful faces that fill the palace. The hundreds of hidden details that made the castle home are forever out of her reach. The huntsman saved her, but to what end? A lifetime of loneliness and misery? Is this truly a better fate than the quick death of a dagger through the heart?

She opens her eyes. She has looked too long at the sorrows in her heart. She must find solace from without.

She gazes upon the cottage.

And sees seven beautiful faces.

*

The dwarves love their princess. She is beautiful, not only because of her face, but because of the way her soul shines out through it. She is endlessly beautiful because she sees the beauty in everyone and everything.

There never was a girl so selfless. Her every waking moment is spent filling their days with a million small comforts. The cottage has never been so clean. The food has never been so lovingly prepared. There is nothing she would not do for them, and in return, they devote their lives to her service.

She needs their protection. One so naturally kind and innocent can’t recognize when strangers might have ill intent. One day, after being out in the woods, the seven dwarves return to the cottage to find the princess nearly strangled by a set of stays. When they revive her, she tells them of a ragged old woman (with such beautiful hands!) who asked for food and water and then repaid her generosity by giving a nearly-fatal gift. The eldest of the dwarves caught a glimpse of the stranger’s retreat, and saw enough of her form to suspect the queen.

The dwarves keep a closer guard on the princess, but six months later, a few minutes go by when all seven of them are away from home. They return to find the princess nearly killed by a poisoned comb in her hair. The story she tells is similar to the last one—an old woman in need of help repaid their kind princess with a gift meant to kill.

After that, the princess is never alone. The dwarf on guard duty always has the envied task, so lovely is it to be in her presence. A year, then two, go by with no signs of danger.

Then one winter morning, after a night of birthday feasting, all seven of the dwarves sleep late. The princess rises at her usual time, hoping to fix them a holiday breakfast. By the time the dwarves stumble out of bed, they find the princess sprawled across the kitchen floor—cold, pale and lifeless, with a poisoned apple in her hand.

They despise themselves for having failed her, but their love for the princess drives them to serve her the only way they can—by laying her body to rest. The cold, hard earth won’t take her, and they can’t bear to hide her away in the realm of death. Knowing that decay will not touch one so innocent, they place her in a coffin of glass and lay her in their garden, where her beauty can brighten the world in death as it did in life.

They keep a constant vigil, lost in loving grief. They ought to have known she would end this way. This is the fate of all innocence in this dark and sinful world—to be destroyed by wickedness. Even as they see this truth, they know that it is wrong. The world should not be this way, but what can they do? They wish and pray for better, but they can’t hope. How can innocence ever overcome such evil?

In the spring, when the last snow melts and the first snowbells bloom, the dwarves see movement in the woods beyond their cottage. A prince approaches on a snow-white horse. He is ruler of this forest and its mysterious ways—a king of kings, even more beautiful than their princess. His face shines with a wisdom that does nothing to defile the innocence of his heart.

He leaps from his horse, approaches the coffin, raises the lid, and takes the cold hand of the princess between his.

“Beloved,” he says, “arise.”

In his words and actions, the dwarves find the answer to the riddle they have pondered in their long vigil of grief. In a world of wickedness, the salvation of Innocence is Love.

The princess opens her eyes. Takes a breath. Sits up and gazes upon the world she loves, upon the one who loved her back to life. Something of the prince’s wisdom is reflected in her, so that her beauty is almost painful to behold.

The dwarves rejoice, and the princess rejoices with them. She kisses each one atop the head, but does not release the hand of her prince.

Eager to serve one who served them so well, the dwarves cook her breakfast, and she eats with even more enthusiasm than she showed in her former life. Yet when the meal ends, she stands with her prince at the threshold of the cottage.

“I must return to my father,” the princess says.

The dwarves protest. What of the queen? What of the danger?

The princess looks at her prince with eyes full of love. “I have nothing to fear.”

*

The king rejoices at his daughter’s return—he has thought her dead for so many years. Grief has aged and weakened him, but there is beauty in his face that grows brighter with every minute he spends in the presence of the princess.

The princess tells him of her troubles since she went away, and the king is horrified by her words. “I knew my wife had lost her reason,” he says, “but not her heart! She must pay for her crimes!”

He moves toward the door as though he will administer justice this moment.

The prince stops him with a gentle hand upon his chest. “There is no need.”

*

The queen gazes at herself in the mirror. She never looks anywhere else. If there is a world beyond the edges of its frame, she has forgotten it. She sees only her own face, searches for the remaining scraps of beauty, tries desperately to erase the blemishes that grow ever more hateful with the passing of years.

Another face appears in the reflection—a face the queen thought she had destroyed long ago. It is lovelier than ever. The queen hides her face in her hands so she can not see the painful beauty of the princess.

“Come away from there,” the princess says. “Gaze with me upon the other beauties of the world.”

“And lose myself?” the queen shrieks. “That is what you have always wanted—to destroy my very self! To take all the honor and beauty that should be mine!”

“I wish to save you,” the princess says. “Come away.”

“Never!” the queen screams, clutching the mirror in two white-knuckled hands. “I have everything I need right here! You can’t take it from me!”

The princess touches the queen’s shoulder. The queen screams and shrinks away, hiding her face once more in her hands.

A man’s voice—painful in its beauty—says, “Beloved, she has made her choice.”

At long last, they leave. The queen looks in the mirror and sees no face but her own. No greater beauty remains nearby to shame her.

In the confines of her world’s silver surface, she is fairest of all.

*

The queen is locked away in the prison of her choosing.

The king stays to do what good he can for his kingdom, and the princess promises to return for him after he has fulfilled his purpose.

The prince places the princess on his snow-white horse, and they travel once more past the cottage of the dwarves, who are glad to see her so beautiful and beloved.

At last, the prince brings the princess to his kingdom at the heart of the forest.

The beauty she finds there is beyond words.

[idontcaboose]

Haunted car au part 19

Previous. Masterpost

Out of all the days the past week, today was pretty good. He has an actual day off that he plans to use by getting to hang out with his little brothers. He hasn't spent time with Duke in a while. Maybe he should plan a brother bonding hour with him, then have lunch with Tim, take Damian to that one documentary about the ecosystem of Madagascar, and wrap up the day by dragging Jason back to the manor to have an impromptu kids dinner. Alfred might be convinced to make a pot of Mac and Cheese and hot dogs if he gives him some pictures he snuck of Tim and Damian ‘tolerating each other's presence’ while comparing lighting in a picture Tim took vs a painting Dami did of the same alleyway. Dick was proud of his little brother's artistic abilities. Even if they all use it to mock his fantastic skills at drawing stick figures. 

Dick was just about to open the cave door when it opened without his input and the Batmobile roared out, barely missing him. 

“Ooooh someone is going to get Grounded™.”

Dick sped into the cave and changed into his gear in record time, and followed where the Batmobile may have gone. It wasn't hard with all the daytime gothamites filming and excitedly talking about the Batmobile showing him where to go. He caught up soon after, making ‘wee-woo’ noises in his com to try to get whichever sibling in the car to respond. 

“ACAB!”

“Hood, please pull over.” Dick asked, voice full of affection and exasperation.

“Only if you ask Danny nicely N.” Duke laughed out.

“Ok? Danny, could you please pull over?” 

Dick was half deafened by the song ‘Fuck Tha Police’ over the coms before the Batmobile revved it's engine and went faster though Gotham.

“Well, Sugar Honey Iced Tea.”

@kizzer55555 @sebas-nights @candeartist422 @trappednyourheart @fandom-life-corrupted-me @tkiesai @2lbballpeenhammer @admiralwidow @rewrittenwrongs @whotfevenknowsanymore @symmetricalastigmatism

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[morbethgames]

New Update Is Out!

First and foremost, new update is out! It's kind of a small one, but it's a scene with Hawks where they are debriefing the PC on the case. Lots of variation in those 10k or so words, so you'll probably only see about 2k of it per playthrough.

Well everybody, I had been taking a bit of time. Admittedly, and a bit… embarrassingly… coding like, 30 different variations of Lance's happy-fun-time burnt me out. But, it gave me time to really think about things for the game and scenes that should be in there and where their place in the story is. As well as a scene or two I could probably cut so the game doesn't take another year. It's all about that balance of whether or not you can say a scene happened, versus which scenes need to be shown happening. Maybe it can be added in later, but right now, the priority is definitely the time skip scenes and the main story.

But one thing that is refreshing, and a little scary, is seeing the fact that the first scene for chapter 5 is now set up in the game to start being written in. Chapter 5. The final chapter of the game. It's been 3 years. Now, it's gonna be another few months (few as in upper few) until it's finished because Chapter 5 is going to be the chapter with the most variations yet. Multiple TBI's to code. Multiple endings. Multiple paths. It's gonna be a huge chapter. But I'm gonna be starting it (in between finishing up the time skip scenes of course). It's absolutely wild to think about.

There are gonna be some scenes in the final game that aren't going to be in the demo, so the incentive to purchase the game is still gonna be there, but as of right now, the plan is to fully beta test this game. Including the ending. Because what's important to me is making sure I get it right, and in order to do that, I need people to help test it. Whether or not I'll do that publicly through to the ending here or not is yet to be seen. I may ask a couple people to beta test it in private. I'm honestly not sure yet. Maybe it'll be a patreon thing; who knows?

What I do know is this game has been, and will be until it's finished, a great lesson. I have a habit of starting things and not finishing them. Obviously I wasn't gonna say that before because then people wouldn't be invested in the game. But I think it's quite obvious at this point that I'm absolutely going to finish this project, and that is a huge accomplishment for me. It's proof that I can do something like this and see it through to the end.

But yeah, thanks everyone for continuing to come back and check out the game. Now that the current version of the demo is finished, I'll be posting a bit more on Patreon as well. Snippets and whatnot. I figured since I released the little mini-extra scenes game on there I could take another week or two to focus on finishing this up.

As always, stay brilliant.

-Vi

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