#basically the beginning of the end :')

[scarecrowismybabygirl]

[levemetal]

Day 2: Timeloop / Xiao Qi and Jiu Ge

I am cringe and I am not even free

Feel free to reuse this idea but 24 hours are not enough for me to finish an entire comic. I could have taken the simpler prompt but nOOOOOO timeloop is too tempting. Past me why are we like this

[beaulesbian]

THE TERROR (2018) S01E05 "First Shot a Winner, Lads"

And who is going to stop you? You use the wind to carry you here. You use the forest to hide inside. You use all this and don't even want to be here. You don't want to live. Look at you. Even if I could help, you don't want it. Why do you want to die?

[songbirdmunson]

my edit please don’t repost

tomorrow can’t come fast enough 💗

[darcyolsson]

last heartstopper chapter EVER............... my brain cant comprehend it. there's literally nothing i've ever kept up with as diligently as i have, as long as i have, as i did with heartstopper. nick and charlie are like real people to me at this point. theyre my close personal friends who update me of their whereabouts three times a month. what do you mean their "story" is "going to end" i'm not sure i believe you alice oseman whoever you may be

[untitled-tmnt-blog]

My finished scene for the @rottmntmovie-fananimated project! I'm still pretty new to animation, so I really appreciate the team letting me participate (and starting me off easy with something so short and simple)!

[knockknockitsnickels]

Not sure if anyone's pointed this out before, but I think across the endings where you free the princess in the three new routes (princess and dragon -> cage -> happily ever after) you can see a bit of an arc for the narrator.

In PATD he is Mad as hell and tells you he hopes your happiness is ruined even as he fades away, in Cage he's more resigned (he doesn't like it but he'll still give you a good ending) and in HEA he outright admits he was wrong and wishes you well.

I don't have a good conclusion lol. Good for him.

[doodledorky]

2025 v 2023 frostpaw

my sketches definitely got looser + she’s SO much more shaped now…ougfh frostpaw ily 🫶

[spasikonik]

me if making fanarts of fictional bands was a job

[r26yz]

Top 3 reasons to not open a multidimensional time rift: number one will surprise you

[blackhholes]

teen wolf meme: [3/5] motifs -> resurrection

It's different now. I think dying did something to him. It did something to me, too. But none of it was good.

[lazuliquetzal]

I keep on telling people you're the only one who knows how to plot. Can you teach all of us how to plot, please? I love you.

I AM SUMMONED? PLOT BRAIN SUMMONED?

I love plotting. It's my favorite part of the writing process. Plot is "things that happen" and the best part of writing is imagining things that happen. I'm going to assume that whoever may be reading this knows how to imagine The Happenings, so I'm gonna be talking more about structure, but in like, a kinda abstract sense.

A good plot is a little bit more than a string of events. Plot is like music: there's variation in rhythm and sound and melody, but ultimately there's cohesion, because it's all one song. You can have a bunch of wild things happening, but no matter how strange, there should be something that links them all together, because you're telling one story.

Plot structures are patterns in stories. I'm pretty sure most of them were developed as analysis tools (as in, story already exists > look! it follows this pattern) rather than as writing tools, but people use them as writing tools because it's a neat little way to organize the chaos that is "shit happens." Stories follow patterns for the same reasons music follows patterns: we enjoy the certainty of hitting certain beats. But we also like being surprised. A good pop song doesn't sound like a random collection of sounds, but it also doesn't sound like the middle slider of other songs.

There is this shared concept in both music and writing: the idea of tension and release. Basically, you're playing with reader expectation: there's an imbalance in the experience (tension), and we want to see that imbalance resolved (release). All the common plot structures deal with this basic pattern:

You set an expectation

There are complications to the expectation

You meet the expectation

And this rhythm is happening on multiple levels in writing. Scenes follow this structure (we're gonna get past that door, we're gonna find the murder weapon, we're gonna collaborate and come up with a plan) and all those scenes feed into the overarching expectation (we're gonna solve this murder!). I usually think of chapters as their own mini-story, part of the larger whole. And I think of scenes as their own mini-story, part of the larger chapter. I have engineer brain. I see the gears spinning in the clock. That's why all my chapters have at least One Important Thing happening, because that's that particular chapter's Step #3.

And One Last Important Thing:

In music, a delayed resolution is almost always more interesting than the standard resolution. In writing, that means you wanna drag out Step #2 for as long as you can. That's where the bulk of the story is happening, that's how you build tension, that's how you get people to turn the page.

So when you write a fake dating fic, those bitches better not get together until the very end. I came here for fake dating, not for real dating, damn it. If you resolve that expectation early on, you better replace it with a different expectation that's just as engaging.

But also don't drag it out for too long. Sorry. The hard part of writing is learning the difference between too short and too long. Writing is unfortunately a nuanced skill which is why my advice is like "do this but not too much teehee." But tension and resolution is just rhythm, you can build a sense for it if you engage with enough stories.

[rbtlvr]

& by the way i literally CONSTANTLY think about how loop uses the partys titles to create distance to remind themself that those arent 'their versions' of them. that theyre not loops party anymore. and yet and yet and yet

[ghostlychaosfoil]

im hust going to post this because capcut is getting banned and its not getting any better

[moodyseal]

Okay I promise I will try to shut up about this specific moment in AA soon but. The dive into the past in Turnabout Succession with the whole Magnifi Gramarye case and its aftermath is already heartbreaking on its own but what I think is the most heartbreaking thing about it is how the gameplay itself carries out. I mean they could've let the player watch the case unfold as usual and then have Phoenix simply yell "HOLD IT!!" and present the single piece of evidence that got him disbarred completely on his own (no less tragic, but at least it's like hearing someone recount a memory) but they actually gave the player the choice. Or the illusion of it

A screen pops up with two single options, "Show evidence" and "No need", and of course you hesitate to click on either because this happens in the last few stretches of the game and you already know what consequences this will have. It will be bad. You try to change the outcome, click "No need". After some quick dialogue, it goes back to that screen. You click it again. It circles back to those two options. And again. And again. And then you realize you never really had a choice after all and you click "Show evidence" and then of course it ends badly. Which you knew already, but couldn't prevent

With this game dynamic you're not just witnessing this story—you become part of that case. You're forced to give the wrong advice even if you're aware it's wrong, and you're forced to knowingly doom Phoenix Wright with your own two hands

[rapidhighway]

hmmm thinking about how both Knuckles and Licho have been stuck in a single place for as long as they remember, Knuckles completely isolated and Licho unseen by anyone for a very very long time hmm