#but it can be done well in a book

[drac-kool-aid]

I like how in these past two entries Dracula is just There In the Background.

He's a flying bat, maybe a bird, he's that figure on the seat over there in the distance with the glowing red eyes. This is so different from how he menaced Jonathan (where he was the creepy old man that is Actively Keeping Me Prisoner yet still wants to have nightly chats) or the Demeter crew (where he understand the Nothing is Scarier trope and generally keeps out of sight till the end).

This time, he's just chillaxing in the background because we've had those two instances of different flavors of horror, and now we are thoroughly terrified of him, so just seeing him in the background is enough.

And this kind of tickles me in a weird way because I do so love when you can see the danger. It may not be actively menacing you. In fact, it may be moving away from you. Honestly, you don't even know if it has noticed you, and it's still TERRIFYING.

Like, sure, the idea that the monster is watching you and you not realizing it is scary, but sometimes you watching the monster is worse.

[egophiliac]

I don’t think we’ve ever seen you draw knight of dawn before 🤔 what are your thoughts about him? Or take?

I've drawn him a couple of times, just really little/in the background. but I should draw him more, I love this guy a lot! I have many, many thoughts about him and the way he parallels Silver...and also I think it is extremely funny that his ghost is stuck in a ring. especially considering where that ring has been for the last 16-ish years.

[yrsonpurpose]

Numbers on me being into dudes? Seventy-eight percent probability of latent bisexual tendencies.

[beatriceportinari]

Brook trout - Origami, one sheet of paper

[juniemunie]

Broskis ts!underswap is so fun. every single part of it is *chefs kiss*

I went in completely blind and honestly i think it was the best move i could have made

i love how its just swapped roles but not personalities so it leads to stuff like this its so creative

Anyways have some more self insert sansnomaly (and chara)

[firestorm09890]

Y'ALL. Y'ALL so for a long time I've believed that "the sun" in Meursault's story is Carmen, and I went to check Hell's Chicken's dialogue to see exactly how he said that he'd dealt with distortions before, and... you know what else he said?

To my knowledge, it is a phenomenon where an individual morphs into a form often unfit to be considered “human”. It has no known causes, and the appearances were all different.

Unfit to be considered human.

Meursault, who, in his book, was judged by the court to be soulless.

Meursault, who has EGO for Cyborgs who have been so mutilated they barely act like people anymore; a murderer who was experimented on until ceasing to be human; a sheep named after Do Androids Dream of Electric Sheep?, a novel about the humanity of androids and the inhumanity of humans; and now a rose that can't help its bloodsucking nature, based on Carmilla, a vampire whose story emphasized the duality between her vampiric traits and her human ones.

Meursault, who answered Heathcliff's ironic question of if he had metal for brains like this:

I'm placing my bets now, that line from Hell's Chicken is foreshadowing for Meursault's canto even more than "I have witnessed a number of [distortion] cases in the past" was

[catyuy]

Bridgerton time travel to just before season one.

Anthony immediately breaks up with Sienna and starts arraigning things for Kate's family arrival. Before being reminded by his mother and Benedict that he is Viscount Bridgerton first and others can help the Sharma's get settled in England.

Kate tells Mary that they are going to England now and tells Edwina to forget all that she told her about marriage, and she'll help her find a love match. Once she gets married to Anthony, after a decent engagement period, she starts helping Daphne, Lady Danbury and Violet with items that require a lighter touch then her husband's.

Benedict finds Sophie and gets her out of Araminta's clutches. Then he helps Anthony with various legal/financial matters to support all of their family and friends in the future. He also continues his art because he loves it.

Daphne helps Sophie find employment in the meantime and works with her mother to set up other social matters that will help them in the future.

Sophie is using this opportunity to help Posy get away from her mother as well. Lady Danbury eventually offers her room and board as a Governess for her grandson Gareth.

Colin starts to publicly court Penelope. She insists that he still travel and start his journals, and they can have a long engagemnet. He of course brings back gifts for everyone, even people who aren't legally in his family yet. He also takes Albion and Harry under his wing and has them hang out with the rest of the Bridgerton men.

Penelope takes this chance to improve her spy network Whistledown sources. She also makes sure to set up her sister's with their future husbands and warns her mother that her father is in worse trouble then she suspects. She and Eloise bring Madame Delacroix into their spy network inner circle. She uses her new excess funds to help various friends that are or will be in need.

Simon immediately courts Daphne and secretly finances the Sharma's ship passage. Then he gets roped into helping Lady Danbury and her various "charity cases" (she swats him for that).

Lady Danbury does her best for her various family members. Improving her relationship with her brother, arraigning outings with Gareth and the younger Bridgerton siblings. While keeping an eye on her nephews James and Marcus. She also takes every chance to invite Posy but not Araminta or Rosamund over to her house. As do the Bridgertons and eventually the Featheringtons. She also takes an interest in a young Lucy Abernathy.

Eloise does her best to support all of her siblings and their soon to be spouses. Meanwhile she's helping Penelope with her spy network Whistledown. She's also subtly trying to get Cressida to be nicer and convince her to set her hat on Lord Debling when he returns. She also talks about her new penpal Mr. Crane and his love of plants.

Philip Crane makes it look like George and Marina got secretly married before he left for war. That way her children are legitimate, and they don't have to marry. He and Eloise start up a correspondence again.

Francesca Bridgerton worries about choosing between John and Michaela but they both reassure her that they love her and are fine with whatever she chooses. They all spend as much time together as they can knowing John's time is short.

Gregory and Hyacinth are frustrated by being children again but decide to use it to their advantage and get even more info for Whistledown. After, of course, making sure that they have regular outings with Gareth and Lucy. They might have to wait to be married but they are going to be around their loves as much is proper until they are all of age.

Lady Bridgerton is delighted all of her children are in love and working to better the lives of their friends. She works with Daphne on subtly bettering things in the Ton. And is open to meeting with Lord Anderson when he is in town. But she makes sure all of her children are being "proper" before marriage to avoid any scandals. She decides to make Portia an actual friend and help her with her husband wrangling. (she often assigns her sons or her sons in laws to keep an eye on him at various locations). Mary joins them when she comes to town. They all get tipsy at Agatha's on occasion to let off steam.

I'm sure they're all getting up too much more mischief, but I can't think of anything else to add. Or who else they are forcefully adopting helping.

If somehow Queen Charlotte traveled as well, she's getting her sons to marry their wives sooner and letting her children know she loves them. She is spending more time with her granddaughter. She hopes that things will be different but knows her death cannot be changed. She also engages Penelope in a long-distance chess match, with Agatha having go between to inform the other of their next moves. When he's having a good day she's having family meals with George and their family. She still picks her Diamonds but its not as fun when she knows the Bridgertons have the whole Ton rigged now. However, they do know how to get things done and she can appreciate that.

[bookshelf-in-progress]

The trick to writing a good story is to make sure it has at least one element that people like so much that they don't care if other elements are imperfect.

People are drawn to stories with stuff they like; they're going to like flawed stories that have those things more than they're going to like perfect stories that don't have those things. I personally love certain authors because of one thing they do well--I go to this one for character, and this one for intricate plot, and this one for immersive worldbuilding, etc.--and get confused when people complain about the other elements not being done well because that's not what I'm reading for. If one element is really well-done, I will forgive a million other storytelling sins that would make me tear apart a book I liked less. If I can give that grace to other authors, I can trust other readers to give me that same grace, if they like my stories well enough to keep reading them.

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[beaulesbian]

I'ts like there's a rope attached to my chest and it keeps pulling me towards you. And it feels so right. - Red, White and Royal Blue (2023)

"On purpose. I love him on purpose." - Red, White and Royal Blue, chapter 13, by Casey McQuiston

[scificrows]

i like to make fun of murderbot for being all "i hate everyone, i don't care about anything or anyone, fuck off" while simultaneously caring very much about the people around it and the situations it finds itself in. i love how it "accidentally" ends up caring quite a lot about the friends it makes along the way. but i think something that i tend to forget is that murderbot actively decides to care - at least at some point in its story.

idk, as a person that struggles with depression, this paragraph from artificial condition really resonates with me. prior to all systems red, murderbot had contracts. it had routine and it had protocols. it knew what it had to do to just get by, how to perform so no one would notice it had disabled its governor module. it was deeply depressed, yes, but it was functioning (for lack of a better word). in artificial condition, murderbot's routine is gone. it cannot go on in that state of numbly going-from-contract-to-contract, putting in as little effort as possible, consuming media to cope. that option is gone because it escaped (and note that escaping the company was not an active choice, it kinda happened to it). murderbot has two options now: it can either gather all its energy; actively do something new and difficult and distressing; change something in its life and try. or it can let the numbness and the emptiness take over and stop trying. if murderbot wants to survive as a rogue secunit, it has to try. no matter how difficult that is. the wording in that paragraph really hits home for me. the way the non-caring sees an opportunity to slip in and to take over. does murderbot even care? does anything really matter? is anything really worth the hassle? wouldn't it be so much easier to just let your mind slip away a little, to go numb, to be passive, to watch media and wait for things to happen to you? wouldn't it be nice to stop thinking and struggling and feeling complicated things? to stop making an effort? you've been dealing with a lot lately and maybe it's time to just shut down. maybe you'll just take a little break. just slip deeper into this chair and start the show. time flies when you're not paying attention. trying is exhausting. who cares if you don't do the things you wanted to do, you were supposed to do. it'll be fine. let's just ignore those things for now. just let the non-caring take over. just stop thinking. you can deal with the aftermath later. just watch your shows. who cares. but murderbot cares. it decides to care. it decides to fight with all it has and i think that is so brave. and i think in the later books caring is less of an active decision for murderbot. once you start caring, it's easier to keep going than to stop; and murderbot, for all its "i'm a grumpy rogue secunit, leave me alone" behavior, knows just how important caring is. so it's not that it doesn't know what's happening; rather, it lets itself care. tl;dr: caring is not the default for murderbot, it's just the more difficult of two options. and it decides not to take the soft option. it decides to struggle. it decides to care. and so it does.

[semisolidmind]

Random question that struck me out of nowhere but what do you think of, like, vampires? And I don't mean the hot ones everyone obsesses over, I just mean in the sense that theyre...kind of just parasites 😭🙏 (you'd have to convince me with reasons why I should like one) I know that you're a schmoopy sort of love kind of person but for you, does that still apply to these dudes? Does you even care what the monster is as long as they're lovey dovey

im not a big fan of them overall, but i think they can be fun if you get a lil creative with em

like, the general zeitgeist has sorta adopted the twilight (or if ya wanna go back a bit, the lost boys) trope of "vampires are hot people who drink blood and are sexy," and that's not really my thing.

i have drawn a vampire monster before, but i went the bat-like route. i don't see a lot of vampires that are monstrous without them defaulting to hot person form almost immediately. i get why they're considered one of the sexy monsters (they're the lure and the trap, looking human is part of it), but that's kinda...all they're allowed to be, unless they're a nosferatu type.

eh, i don't mind them if they're a more classic, bat-like monster that's in love with a mortal; but they're nowhere near a favorite for me.

[ao3-shenanigans]

I think this is often for a few reasons

- it leaves a lot less room for characterization errors (if thats something readers care about, which sometimes they don’t mind)

- most shows and visual media is naturally done in third person so to read fan works for that media in first is unusual

- most fan works are done in third person and so it’s sort of seen as a default where as books have a full mix

For clarification

1st person: I sat in the chair and looked over to the window. “What’s Jon doing here?” I asked.

2nd person: You sat in the chair and look over to the window. “What’s Jon doing here?” You asked.

3rd person: She sat in the chair and looked over to the window. “What’s Jon doing here?” She asked.

Which works together with Past, Present, and Future tenses too. They aren’t the same things, but they do go together.

Past (3rd): Jon pulled out a chair and sat down.

Present (3rd): Jon pulls out a chair and sits down.

Future (3rd): Jon will pull out a chair and sit down.

[stopper-my-heart]

Nothing like Heartstopper S2E8 removing some of Taylor Swift's "seven" lyrics just so that the singing can specifically come back in at "Or hide in the closet" while Isaac is processing difficult emotions related to the book he's reading (i.e., Ace: What Asexuality Reveals About Desire, Society, and the Meaning of Sex by Angela Chen).

Did I mention "Or hide in the closet" hits just as the camera focus finishes shifting away from Isaac?

This is fine

[soranatus]

WEREWORLD IS GETTING ADAPTED AS AN ANIMATED SERIES!!!

It’ll will be titled “Wolf King” and it will release in 2025 on netflix

I really enjoyed these books as a pre-teen, they had a unique world that I had never encountered before. I can’t wait to see how they’ll adapt the series, especially in animation!

[huntquinlan]

thinking about elain’s story and bodily autonomy. i think sjm was very intentional in using elain’s powers to introduce us to vassa and koschei. how vassa’s body was corrupted against her will by koschei, and how her existence is now defined by the changes he made. thinking about how koschei has a lake full of swans who were once women who’s bodies he changed against their wills as well. thinking about how elain was changed against her will by a cruel king to teach a lesson to somebody else. how she was reduced to a body and then a tool, a means to an end (to demonstrate the power of hybern against her sister but especially people she barely knew). how even the tool used to change her, the cauldron, which once belonged to the mother and symbolically can be connected to the womb, was appropriated and used forcefully by the king of hybern.

i think about how canon suggests that the cauldron loved elain, that perhaps it gifted her the powers it did because it loved her. maybe the cauldron recognized then, that this poor girl was like it, and sought to give her the power to prevent what was being done to her, and what had been done to countless other women and girls by making her a seer. let’s not forget that elain’s vision of vassa helped them turn the tide of the war against hybern and that it was elain that struck the killing blow against the king of hybern in defense of her sister, another who was denied bodily autonomy. ultimately bodily autonomy, especially given the current political climate in the US is a really heavy theme to deal with, but i sincerely hope that this thread is continued, and that we will get to see an elain who is empowered, and empowered on her own terms. an elain who reclaims her body and her future, and helps others do the same.