#b: travel

[kmn7]

[fluffyartbl0g]

I know this probably sounds crazy,,, but i used to wear a hat almost exactly like that one!!!

WUH?! THAS INSANE!!!!

[miawlabakim]

[uncharted-constellations]

~You were just a kid too, huh~

Again, I refuse to make adult mm link edgy sorry.

[psykopaths]

Transamazônica, 1998

Photo by Pedro Martinelli

[creatingchimera]

* injects my favorite nicktoon into @nicktoonsunite 's timeskip au because she was excluded from the games to spite ME SPECIFICALLY*

edit: colored the initial sketches and added some happy-centric new ones :)

[yumenosakiacademy]

[writingwithfolklore]

Getting Characters from A to B

Oftentimes a plot requires the characters to get from point A to B. They need to cross the wilderness to get to the next town, or climb to the top of the mountain, or take a boat to the other continent. But long paragraphs of just walking or moving is obviously not that interesting to read, so here are some elements to add to your travelling sections that accomplish the A to B and more.

1. It’s about the characters

If you’ve ever travelled with someone, you know that everything about your dynamic is amplified after spending like 72 straight hours with them. Use this with your characters—every little hidden grudge or flame or annoyance comes out when things get boring or stressful. This is a great time to really delve into character conflicts or even romance subplots, or any other way you’d like to develop the group dynamic. Also, there’s no better place to get the truth out of someone than being trapped in a car or on the road with them for days on end!

On another note, the slower parts of travel also allow for more quiet moments where your character can process what's happened so far. Especially in fast paced stories with lots of conflict, you may opt for a uneventful section of travel where they have time to grieve or plan or otherwise unpack things.

2. Switch up group roles

Travelling tends to carve out the same roles. Usually there is the leader who is driving the group forward and making decisions, the navigator who knows which way to go, the snack/food provider—who may be rationing or even hunting depending on the survival situation--and the one who has a hidden motive that is making them be difficult or drag their heels and provide conflict. These roles are a great way to force a change in dynamic between characters, and can inspire conflict between them.

3. Increase the stakes

A trip isn’t really a trip until something goes wrong. Whether the navigator was reading the map wrong, a bag of rations falls over the cliff side, someone gets injured, or there seems to be some creature stalking them, an increase of stakes raises the tension and creates opportunities for the group to work together or fall apart. For more tips on how to increase stakes, check out my post here:

4. Don’t be afraid to skip past the boring stuff

Once you’ve done what you wanted to do with the trip—broken a friendship, or a leg,, or both—don’t be afraid to skip in time for when they reach their destination. In fact, you’ll likely skip time for several parts of the trip in between interesting scenes between characters or moments where they’re facing against some conflict. We as the readers will assume that they continued on with their travels and just that nothing of note had happened in between.

I hope that helps!

[starry-bi-sky]

i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.

He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.

And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.

And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.

Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.

Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."

There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.

It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.

Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.

At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.

"Do you like to do anything?"

Nothing. Just silence.

Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.

Danny says nothing the entire time, and is again the first to leave.

Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.

And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.

He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.

Danny is dull-eyed and blank faced the entire time; he looks miserable.

So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.

"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"

"Don't."

He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.

Bruce tilts his head, practiced puppy-like. "Pardon?"

"Don't." Danny says, strongly. "Don't make any deals with Vlad."

It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"

The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."

Bruce stares at him, thoughtful, before looking away. "Alright. I won't."

And they fall back into silence.

Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."

He's scampered away before Bruce can question him further.

(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)

At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.

Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.

("Tucker told me once--") ("Tucker?") ("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")

(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)

(They are ecstatic to hear from him.)

It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."

The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."

The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.

When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.

Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.

"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."

When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.

Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.

[puppetmaster13u]

Prompt in Memes 6

Let's make it some in-world memes this time :)

[kmn7]

[fluffyartbl0g]

ANONYMOUS SUBMITTED

I love, love, LOVE your speedrun comic, expecially the parts with Ace losing his mind and ASL reuniting. I am VERY curious as to how, exactly, this gremlin crew of half-feral children managed to negotiate an alliance with Whitebeard. My bet is Luffy just went “rearranges reality until it’s more to his liking and everybody is left wobbling dazedly”. Also, the Whitebeard Pirates thinking “this explains SO MUCH about Ace”.

—————

hahah you got the “everybody is left wobbling dazedly” part right XD. here’s my answer to ur curious musings!!!

An alliance implies equal footing, and to have equal footing with the greatest pirate alive is not something to scoff at. So good job Whitebeard for scoring an ETERNAL friendship with the pirate king 👍!!!!

Time travel/Speedrun AU masterlist

[taitavva]

using your father's blood money for fun & profit

[viagginterstellari]

Passage - Stade, 2024

[drainbangle]

actors au

[photos-of-everyday-life]

Dar Glaoui.

Fès, 2023.