#cool things about it but the choice to structure it more like a

[meraki-sunset]

so your crow strider au gave me inspiration for my own au, but i've built up the idea in my brain so much that now im scared to try to put it to paper (oops) did you ever deal with this while making crow strider? (and if you did, how you got over it would be much appreciated thanks fhdjks) also your art is cool :]

Hi, sure, i encountered a few blocks when writing CSAU and other projects. I think my method comes down to a couple rules

You need to know how the story ends from the start, so everything in the story leads to the end. Things can change about the contents of the story as you write it and you change your mind about the events that will transpire in it, but you need an end goal you can build your story towards. Most importantly, this is what allows you to add foreshadowing for said ending and structure the narrative in a clear direction. Otherwise, you might come up with a cool ending too late and regret some choices from past chapters that now don’t help this new ending you want

On that same note (and i’ll proceed to copy and paste from an old post) You need to have a Word document with a rough timeline of the events from start to finish. You need to know how it ends from the beginning and how they get there. It can be really, really vague, but it has to be there. It can go like

. They start the game, the trolls bother them.

.both games go to hell

.scratch

.trip, develop relationships

.new set of kids/teen drama

.old kids they get there

.to hell again

.John retcons everything

.new timeline

.they win

And that's homestuck simplified, Those are your Acts. With them, you will know where you're going and if you need to change something earlier. Everything will be constantly up to change of course, but you will be going from point A to point Z more easily.

From there, you go to every point in that list and create a Word document for all of them. I have them in different folders to have every act separated and in order.

A folder for each Doc for every Act, Numbered, and in each one make more lists like that one telling what happens, for example

WordDoc1 - ACT 1 "They start the game, the trolls bother them"=

.John needs to get his game

.introduce Rose

.introduce the trolls on pester chats

. John gets the game

.introduce Dave

.etc

And those are your chapters. Now you can know the extent of what you want to do and if it makes any sense.

I addition to that, every Folder can contain not only the Word document for the Act but also relevant texts and art that are connected to the Act, so evey folder is all about that specific act and any inspiration for it.

Another piece of advice I can give you is to hint at anything important. That's a rule of comedy; actually, the comedian usually closes the show with something related to the first things they said.

That works for everything, and makes people go, "Oh the thing! The meaningless thing they said earlier, it was a clue all along!"

Interconnect it like a web, and that web will stop the story from falling

Homestuck is so ridiculously interconnected that you lose track of the stuff and objects that repeat that have no way to be where they got to be, songs and people and events that are too similar to not be connected but nobody addresses, things like that make it feel like you're dealing with a universe and not just a line of events.

3. Yet another thing, it's something I'm still trying to assimilate, and is that less is more, sometimes things don't need to be said, specialy not bluntly, and an expression, a gesture, a flinch can summarize them. Backgrounds can be reduced, and ideas can be conveyed.

one example is, In homestuck, it's never said that Dave was raised with lack of food. He never sais it, but it's shown in how happy he was to find a warm bottle of juice in his closet, how there is only weapons on the kitchen and no sign of food, how he later sais he never learned what the purpose of a fridge was until he saw it on tv. If someone is lacking something, don't have them say, "i grew up without X thing" show what filled that space in the absence of X thing.

Instead of some character saying, "My dad was never there for christmas" have them say how they thrited for presents at the local goodwill, payed with their lawn mowing money and put the presents under the tree themselves for their siblings and mom.

4. Something that I always have in mind when writing the dialogs and sketching the scenes, is

"I have an idea; what's the easiest way for someone to get the idea, to get the feelings i want to transmit from the idea?" I made the art something I could handle drawing hundreds of times, simplified the coloring, the aspect symbols, the way I draw backgrounds, the way I write dialogs, etc.

That will save you time and work and could prevent you from getting stuck with a project too big to handle

5. This is the most important one: The first draft’s only purpose is to exist.

Writing is like playing darts sometimes; you only get closer to hitting the center by missing it and learning what not to do. That’s an actual rule on animation and a motto on the Disney office. “Get it wrong as quick as you can,” because when you learn what you’re doing wrong is when you start learnign what doing it right means.

If it helps, title your first draft “the dumb version,” because that’s what it is—the version to get the idea out of your head, and then you built over it.

On the same note, once you write "the dumb version" don’t correct it. Rewrite it. It’s annoying, I know, i know, but fixing and fixing a text only carries the mistakes from the first draft, and everything looks kind of disconnected, because it ends up being a Frankenstein text of all the versions of the story mixed together.

This also applies to art; that’s how I handle both writing and drawing; if it’s not working, hold onto the core idea, new page, restart.

Rewriting it puts it in perspective; it feels like a text of its own, with a clear intent in mind.

I think that’s all I have. Making a story is mostly about managing your strengths and weaknesses, organizing and not being scared of it not being perfect.

Hope this helps.

[beansterpie]

rewatching LoK, i'm being reminded how much I dislike the.... the brothers, mako and bolin, yanno? they're such underwhelming characters on basically every level. it'd almost be impressive if they weren't in every episode and didn't annoy me so much ugh

[aroaessidhe]

2023 reads // twitter thread    

The Battle Drum

sequel to The Final Strife, a queer Ghanian/Arabian high fantasy world where people are divided by blood colour

the nightly hurricanes are getting more deadly, and Sylah travels to unknown lands to discover the truth and find help

meanwhile Anoor is trying to manage her new political position while framed for a murder she didn’t commit

[justanotherbirdbrain-blog]

A Workshop for Creating Magical/ Fictional Crystals: A Guide from a Geologist

Hi folks, its me, here to talk about fictional writing again! Today I'm just tackling the idea of magical stones/mana stones by looking at existing minerals today and some neat properties that they have, and how you can apply these things to a fictional world. The goal is mainly to help you if you are stuck trying to come up with a unique magic system, or a unique identification/characteristic of your mineral.

First Things First: Mineral Shapes

I am exhausted, petered out, down-right fatigued by seeing every mineral depicted with having the crystal structure of calcite and quartz. There are soooooo many cooler, more interesting crystal structures, don't you think you would stop and take a look at a perfect cube in nature? It is completely unsettling.

Second: Color

Color within minerals can either be really important, or not important at all! It is your choice to decide if color is going to be something that means something to your mineral. But what are some times when the color is important? Well.... there are some elements that are called chromophores, this classification just indicates that these elements, when present, will determine the color of whatever they are in. So, if you wanted to treat mana like a chromophore, you could say, "Oh everything that contains mana turns green!" This could mean that regardless of the mineral, if that mineral is a specific color, it means it contains mana. This concept is exciting because you can just stop here and use minerals that already exist! You can also use it as an indicator for a magical ore! Chromophores are typically metals, so if you are making a new metal weapon, making the ore of that metal a unique color would make a lot of sense!

However, your mineral can also just be every color of the rainbow like quartz and perhaps that's what makes identifying your mana stones elusive and create an illusion of scarcity that your character can solve.

There are other things that can change the colors of minerals, like radiation damage, and electron exchange, but I think that is beyond what would be helpful! So lets talk about some unique color properties that happen in nature that seem magical in the first place! Maybe you don't need to design a mana stone, but you want a unique gemstone that only the royal family passes down or something (IDK).

The first one is the alexandrite effect! This is where a mineral can change color in natural light vs. incandescent light. (the mineral itself is not changing, but the lights contain different amounts of different colors that then get absorbed by the stone). Even if you don't use electricity in your fictional world, you could have the colors change in the presence of light magic. This could create fun misunderstandings about what the mineral is reacting to!

Pleochroism

Pleochroism is something that most minerals have, it is frequently used to help identify minerals in thin sections, however minerals are usually not pleochroic enough for it to be visible to the naked eye! Pleochroism is just a fancy name to describe the change in how light is absorbed based on the angle of the mineral! So if you scroll up to the first image where I showed a lot of crystal shapes, most of them have angles where they are longer and shorter! This will effect the way light travels in the crystal. Tanzanite is a popular mineral that does this.

Photochromism

This is when a mineral will change color (in a reversible way) when exposed to UV light (or sunlight), I am not going to go too into the details of why this is happening because it would require me to read some research papers and I just don't feel like it. The mineral that is best known for this is Hackmanite!

Alright! These are all the really cool color effects that might inspire you or maybe not, but now I am going to talk about how you might find your minerals within a rock!

When I see a lot of magical caves/mines, typically I see them with some variation of a geode honestly, but most minerals are not found like that! Now I am sure most of you guys have seen a geode, so I will not really talk about those, but I will talk briefly about porphyroblasts which is when the mineral grows larger than the minerals around it, this happens in metamorphic minerals!

sorry random stranger, but this is an image of garnets inside a finer-grained rock at gore mountain in New York!

Another way you might find minerals is in a pegmatite! This is when all minerals are really large! This is a formed from really slow crystalizing magma!

But something else to think about is that your mineral might just be massive, it doesn't have to have distinct crystals, it may be similar to jadeite where small grains grow together which leaves it looking smooth and seamless! A note about all of these is that you would have to mine into the rock to find these, there would not be any natural caves in these rocks! Caves are only ever really formed in limestones and maybe marbles (rocks that react with acid).

How can your characters identify these minerals?

Typically when you are out in the field you will look to see what type of rocks the minerals are found in (The overall texture of the rock will tell you how it formed). If you know how the rock formed, it will narrow down the amount of minerals you need to think about by quite a bit! Next, you are going to look closely at it and observe its crystal structure, does it have an obvious crystal? if so what is the general shape? If it is broken, how did it break? Did it fracture like glass or did it break along uniform planes. Some minerals have a thing called cleavage (breaks along planes of weakness). If a mineral exhibits this habit, it will again help narrow this down. Next we can look at color. Color can be misleading, because minerals like quartz can be any color imaginable, but minerals like olivine will always be green! The next thing your character can do is test for hardness, minerals all have a specific hardness that can help identify it as well.

After you go through all of this, your mineral might have some special property! This could be magnetism, fluorescence, reactions to acid, or any of the color changing effects I mentioned above! Other than that, your character can take it back to a lab and do a number of things to identify it, but the most typical thing would be for them to make a thin section (very thin piece of the rock) and observe it under a cross polarized microscope!

On that note folks! I hope this helped in some way in thinking of new magic mineral properties! I have other guides that explore some different fictional worldbuilding issues you might run into, but if you have any topics you would like me to cover please that I haven't mentioned already, let me know!

[badgertracksart]

Portfolio advice, from a lead who hires Concept Artists

(This was originally a twitter thread I wrote before the site self imolated, hense it's strange structure.) I wrote this after a weekend of portfolio reviews - 1. Like a maths exam, please please show your working. I want to see thumbs options, mid options and of course a final design.

2. Arrange your portfolio, I don't want to bounce about between subject matter and pipeline. Your portfolio's narrative should be as strong as your work... 3. Please make worlds that excite the viewer, make them want to go in and explore them, explain to them the interesting parts of the town, or the way the character's hat unfolds. How will this draw the viewer in? 4. As I've said before the majority of your project work is explanatory not mood, make sure your portfolio contains explanatory work. Explained here -

5. A lot of beautiful post apocolyptic paintings, , but 80% of realistic games and film, we just give the environment artists photo ref, they are capable artists in their own right. Different work in stylised where you do need to create rules for how things can be translated. 6. Production art contains call out sheets, material references and flat graphics. This doesn't have to be your final image, but it should support it.

7. Design characters on a swatch(es) of the environment they will be viewed in. Not on white. I make swatch backgrounds from screenshots, it avoids assumptions that damage readability. 8. Reverse of this, put people in your environments, show me the scale.

9. It's not a deal breaker for a review, but if you intend to get a job, please show me your work on a screen larger than a smartphone (print outs probably the cheapest option with the best battery life). 10. Please have your contact details clearly visible, and by that I mean email address, I will not pass your social media contact on, I cannot input your form into my tracking system. EMAIL ADDRESS emblazoned and bake it in, sometimes recruiters do funky stuff to pdfs

11. Your portfolio will never feel done, not to you anyway. You will have learnt from your latest pieces and want to apply it to older work. But we know art is a journey. Send your portfolio anyway. I've been in the industry 10+ years and my portfolio is still not 'finished'. 12. If you are applying to an environment centric Concept Art position then please vary your times of day! Golden hour is cool but show me some happy sunny days, looming overcast days, what about at night? Vary your weather too! Sunny snowy day? Rainy Spring day? Stormy night?

13. If you are applying for a character centric Concept Art role then please ensure your portfolio shows a variety of body types and ethnicities. 14. Designing characters for games? Please show back views and feet (!) Many potfolios contain only front views. This is a problem because:

You haven't shown you are considering the design from all angles.

In many games rear view is the main view.

Stop cropping feet.

15. If you are entry / graduating and looking at Portfolios to compare content and standard of yr own work too, look at hired grad/junior artists as opposed to seniors Seniors and leads often have old or personal work in their portfolio which isnt representative of the day job. 16a. Show clearly the intended use case for your Concept Art. Mention the game type in the description. Are these player character designs for a 3rd person adventure game? Then more back views please. Bonus points for diagetic ways of showing health / equipment / role etc.

16b. Are these designs for an FPS? Then really the player view of the gun needs to sell the player style/ choices, in an FPS your weapons are almost your character. Are these world designs? What's the view distance? For an RTS your shapes need to read from above & a distance. 16c. The lack of clarification means I am judging the design in isolation, which both harms the design (you might be considering the backview of a char as the main adventure character.) Or an NPC, their waist up expressions may be important for conveying exposition and mechanics.

16d. Concept art is not separate from gameplay, great concept art serves the game team before it is a good illustration.

17. Play games. A variety of games. Think about them. IMO to be a good concept artist you need to understand the common language & references used by your peers. Also understand the principles and common language your audience are used to. FPS design rules are v.diff from RTS.

18. There are many skills that are needed in concept art, please show them. For example: Graphic design - logos, liveries, typographic use etc. VFX concepts - Abilities, Ambience, motion concepts. Architectural knowledge - How buildings are built! & more but I'm out of space :O

[fishnapple]

12 months forecast for your 2025

HAPPY NEW YEAR!

This is a general reading meant for multiple people. Take only what resonates and leave out the rest.

Your feedback is much appreciated. If you find the reading resonated with you, leave a comment, I’d love to know 🎐

About me | Masterpost Book a reading with me - KO-FI (→ personal reading)

WILLOW

January: You will start the year with planning and preparation for the months ahead. You have the resources and opportunities to make whatever plan you're having into a reality. The year starts bountifully, you might receive some money or see your financial situation getting better.

February: Lots of gatherings, family, friends, colleagues. This will be a social month for you. You will meet, work with, and care for many people. Family responsibilities could be the focus of this month. Home decoration or cleaning will be the idea you entertain.

March: Continuing from February, you will need to take steady steps this month. Things might move slowly for you. Consider things carefully before making a decision, especially one involving finance, health, family or your living space. You will want to work hard, to get over the grind, steady wins the race.

April: It seems your effort of the previous months will finally reach a conclusion. Maybe a project will end and now you can celebrate and relax more. This month will also be about socialising, but of the celebratory kind, you might go to a fair, a concert or somewhere with lots of people to have fun.

May: As you relax more into May, your emotional space will also expand and be more open. Leaving the door open to let more opportunities for connecting come in. A new bud of attraction will be there. You feel that you're ready to give and receive love and affection.

June: The bud of attraction will bloom in this month, you will meet a person that you find very compatible with you, or you will have the opportunity to get to know someone on a deeper level and feel a new attraction towards them. For some of you, a connection will take the next step, commitment will be offered.

July: Summer will be a joyful period for you. You will feel very inspired this month and begin to envision more plans for the future. You're excited to start, but this month should be spent for building a picture in your mind about the things you want to do with careful details rather than jumping straight into action.

August: This is when you need to start putting your plan into action. This will be a prime time for you to build more structure in your life, take more control and be more responsible, you might also be put in the position of authority or be the one who makes major decisions. You will need to be firm and stay clear headed, because someone or something will create a distraction for you.

September: The result of your actions in the previous month will show itself in this month. It will feel like a reward. You will feel emboldened to do many things that you've been shy to do. Life seems much more lively and colourful for you. You could hear some joyful news or you just feel generally in good spirit.

October: As the months get colder, your spirit will also cool down a little bit. Maybe the good news of September will now make you feel doubtful, you need to reconsider some choices. You could have a tense situation with someone and you don't know how to solve it successfully, it seems whatever you do, the outcome would be the same, so you will hold off making a move in this period.

November: You will become much clearer headed in decisive. You might lean on your rational side more when it comes to approaching situations. You will think you need to cut something out of your life. It might not feel good, but it's necessary. Someone will act a little cold or less emotional, they will judge the actions of other people. This person could be you, but I feel it's likely someone else, they might be older than you.

December: The way you act in November will help make this month more light for you. You will be in good spirit again, ready for a new year, with many things you want to execute. I see many hangouts with friends. You will have the opportunity to freely share your feelings and what you've been looking forward to. I also see a concert, lots of singing and talking.

ROSE

January: New year will mark a new transition for you. The cold weather will leave you feeling a little chilly inside. You might have to give up or change something that you've been familiar with for so long. But you realise that it no longer serves your growth, so you want to change. Travel could be possible for some of you, to go on a trip to heal or to get away from the stress you've been feeling.

February: You will feel a little uncertain about the change you made in January, you feel like you're going blind into an unknown future. But the freedom of endless possibilities entice you to keep going. You might find yourself suddenly being interested in a new project, a new hobby, or anything new, really. Some people will be there to welcome you to the new stage of your life.

March: The feeling of uncertainty still lingers, if not even more heavy than before. You keep being distracted by all the things going around you, your mind is unclear in this month, being too occupied by mundane tasks and respite. You will feel like there's not a moment of rest for you, that you're stuck in this endless cycle.

April: You will have more time to clear your mind and think things through carefully. You're unstuck and will now put on your thinking cap to strategise. A new information will arrive to help you. Every puzzle piece will fall into place, you will know what you need to do. This is the best time to make a decision or to start learning something.

May: You will make slow progress this month, but the faith has been restored, you now have solid goals that you will be working towards, no matter how slow it it. Avoid the urge to compare, just focus on your current work.

June: Help and support will come to you. You're not alone in your journey. A woman or someone with motherly qualities will help you. Children might be around. Also, you need to take care of your stomach and be mindful of what you take into your body.

July: I wonder if the person who appears in June will be someone whom you feel attracted to. You're a lot more inspired and joyful this month, like a new creative energy is blooming. Making yourself appear attractive to that person or just people in general.

August: There are several possibilities here. One is that you will get to see the results of your hard work and actions of the previous months. The other is that you will want to consider returning the favour. If there is something unresolved between you and another person, you will likely want to solve that unfinished business this month. The thought about commitment will also be heavy on your mind.

September: Whatever action you choose to take in August, it will have a positive effect on this month. You will feel fulfilled and happy. Maybe you will establish a more solid connection with the person you're attracted to. There could be a trip to somewhere with lots of water.

October: If you decide to commit to someone, this will be the topic of gossip for some people. Also, your work and what you're doing will be scrutinised. Don't let people's words get to you.

November: There could be a conflict this month. Either with the people who don't have great opinions about your life or an inner conflict. You want to do many things, but they all require your time and effort, so you will need to prioritise more.

December: A surprise or a secret awaits you this month. You could be aware of it through your own detective work or through divination. If an elderly woman gives you some guidance and advice, you should listen to her.

DOLPHIN

January: You might not start the new year with much of a celebratory mood. Someone might do you wrong, and you feel really stuck in the feeling of hurt and fear. You feel like you have the worst luck and need to be wary of the people around you.

February: But you will recover from this month, a new day has arrived. You no longer feel stuck anymore, you will slowly gain back your confidence. You will snap out of the blaming mode and start to take care of yourself more.

March: In an effort to turn the wheel, you might bite more than you can chew in this month. Avoid taking on many things at once. If you feel it's too much, best to ask for help. Don't be in a hurry and running when you're holding something.

April: The busy mood of the previous month will prompt you to take up learning management skills or skills that help you be more efficient.

May: Beware that someone might go behind your back, or try to trick you when you leave the door open. Selfish motives are there. You will want to be more discreet and not disclose your plans to people too openly. Some actions are best taken silently. Also, there can be a bad influence from someone, even if they are not intentional, you need to examine what you're doing with them is truly good for you or not.

June: A success or happy story will inspire you to make changes. You want to learn from examples, but you feel like you still have a long way to go. Be in nature will inspire you more.

July: You will be more relaxed and do things at a more leisurely pace this month. Though generally feeling good, you might be putting off making some major decisions, wanting to just enjoy the present moment.

August: Now the decisions can't be put off any longer. You will have to make a choice. The choice might be related to an emotional matter. It's not a heavy choice, and you're calm. You can listen to other's takes but don't take them to heart too deeply. It's important that you make this choice yourself.

September: You will decide to be bold in this month. Ready to offer your affection. You could start a new friendship or enjoy talking to someone more this month. Companionship is the highlight.

October: Festive feeling. You will feel more connected to people in general and want to go out more. Picnics, camping, and parties are around the corner. You will also feel the urge to join a community, a different world from your usual interactions. The community could be about shared interest, you will feel that you really belong there.

November: A new opportunity for financial gain or career achievement is there. It may be something you've been eyeing for a while but feel too unprepared for. But in this month, you will feel just right, that you're capable of more. Cooking and eating will bring a lot of joy to you.

December: You are finally able to grasp what you wished for and more. This chance is fleeting and doesn't come often, so be sure to keep your eyes open and catch it. You will also feel more playful and adventurous, so take good care of your health to enjoy this moment.

CORAL

January: Someone will be there to support you, they're generous and very warm. When you feel uncertain and frail, they will give you the right dose of affection that will get your strength back. In turn, when you see people who are in the same difficult situation as yours, you will want to act similar to that supportive person.

February: You will get inspired by the person from January and want to emulate their way of living. You look up to this person and want to chart your life in the same direction as theirs. This month will be a crucial step that can determine the course of the following months for you.

March: You will look around to see what you're lacking, what needs to be improved, what you have, what you can offer. Though you feel that you're not yet at a comfortable level, you're hopeful. You might embark on a new journey in this month with a mentality of a student, still have many things to learn.

April: Whatever you're doing, some people will not react kindly to that. You might face ridicule or outright bullying behaviour. Being timid and silent won't help you in this case, you're asked to stand up for yourself more.

May: Either you're fed up and start to come to your power, or someone with more power will intervene and protect you. Their energy is very soft yet protective. You're safe with them. Similarly, you will want to nurture a softer side of yours, let your ideas feel safe enough to run freely.

June: This will be a busy month for you. You have so many things you want to do and are asked of. Proper planning is needed if you don't want to see everything stays in WIP status. Also, be mindful and focused when you're driving and travelling to avoid any accidents. Don't put yourself in a hurry mode.

July: It seems the effort you spent in the previous month won't be paid off well in this month, you feel like you've wasted a lot of time and effort only to see things crumble. Which begs the question, is your foundation solid? Think carefully about what you invest in. Also, pay attention to your living space to avoid leaks, floods, or appliances malfunctioning.

August: Another busy month, this time, you will start to learn to balance things more, you will still do many things at once but you're getting the hang of it and be more skilful, make sure to surround yourself with supportive people. You still need to be careful when travelling, though.

September: You seem to have mastered the art of balancing. You're extra patient this month and willing to take a slower and more sustainable approach. You will also care more about your overall health and want to cut out unhealthy habits. Green juice and nature will do wonders for you in this period. Avoid any excessive behaviour, whether it's in the name of health, betterment, or work.

October: I see a potential lover on the horizon, or someone who can work with you effortlessly, a match for you, whether it's a romantic, platonic, or professional connection. You will want to adorn yourself more beautifully, pay attention to the beauty surrounding you. Rose and butterfly might be symbolic.

November: If the person you meet in October is a romantic potential, you might have some competition there. Also, you will feel a little conflicted about them, like you're not sure what exactly your intention is, or you have so many things you want to do that it's hard to organise the schedule.

December: I see that you will stay home a lot in this month, or prefer to be in solitude, which is probably what you need. To gather your thoughts and do some soul searching. You might want to search for new reading materials. Don't stay up late too much.

[reallyromealone]

I’ve been soooo obsessed with the babyhaul series.So,I was wondering if you could do an ep where the babe finally develops his quirk.Aizawa dropped the babe at the U.A daycare and a few hours pass and he gets called to the office bc his little one developed their quirk (You can pick the quirk bc I have no idea what it should be)

Feel free to ignore this <333

Title: quirk

Fandom: bnha

Characters: Yamada, Aizawa, Nedzu

Fic type: fluff

Pairings: Yamada x Aizawa

Warnings: male reader, reader insert, child reader, fluff

Notes:

🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸

Quirks were fun.

Especially when you get a call that your toddler rearrange the structural design of a block into a pile of sand, causing the daycare staff to have to call the parent to said daycare.

"What did he do?" Aizawa asked exasperated as he and his husband sat with their three year old, (name) sporting a cool quirk suppressant bracelet for children as he played with his papas fingers and wedding band "well it seems he developed his quirk, he turned a wood block into sand and then his cookie into a ducky toy and began crying when he didn't have his cookie anymore" the head of the U.A daycare explained and the two teachers shared a glance.

(Name) Had his biological father's quirk.

"Thank you for telling us, if you could excuse us" Aizawa lifted the little one In his arms as they went to Nedzu, they knew this time would come but god they wished they had a bit more time. (Name) Was confused as his dad's looked serious "papa! I got my quirk!" (Name) Tried to make conversation with Yamada who smiled down at his son that was in Aizawas hold "yeah, now we gotta see uncle Nedzu to teach you how to use it" (name) looked confused but just went with it, uncle Nedzu was the smartest guy ever so...

"Uncle zuzu! I got my quirk!" (Name) Said excitedly as he was freed from his dad's hold and set in the ground, waddling/ running towards the principal "So I have been told little mouse, very exciting" Nedzu said handing a cookie to the child who went around his desk to see him properly since he wasn't able to see above the desk.

"The commission isn't to know about his abilities so we can work that to our advantage" (name) was sitting on the carpet with his toys, playing happily while the adults put their plan into action, the daycare trained and signed enough NDA's to make a judge sweat "We will begin quirk training immediately, if he can do something like that without breaking a sweat now... That's something to keep close tabs on"

It was well known that quirks could be more powerful through generations, evolving into something even bigger than itself and (name) had no reaction to using his quirk even by accident, turning wood to sand wasn't an easy feat after all.

"It will only be for an hour a day, he is still quite young" Nedzu showed them folders he had prepared, a very cohesive and airtight plan that had the parents impressed "there's even snack time" Aizawa said with a huff, it fit in for their pick-up time for Eri and everything.

"And if course I'll be there in case something happens" Aizawa said looking back at his son who was in his own world.

That night, Aizawa and Yamada sat with their tot and explained a little bit about his quirk, (name) was already mentally developing faster than they were expecting, they were sure that Kisaki did something to cause that as the boy seemed to be understanding things faster and better than his peers.

"I can make cookies..." The power (name) realized he has was a horrifying realization to the parents who couldn't help but laugh at the fact that making cookies was his first instinct.

"Use that power wisely" Yamada snorted as they went home, they had some things to order and have lunch, (name)s choice.

[crowroboros]

A Really Cool Detail About Might Crystals in The Legend of Zelda: Echoes of Wisdom

The first time I encountered a Might Crystal was maybe ~an hour into the game. I think I found it in a chest or something in Suthorn Forest and the first thing that I thought was "Huh...that looks kind of like bismuth." But, as I was so early on in the story that I didn't know much about what the Might Crystals were, I didn't think much more of it.

Well here I am with 46 additional hours worth of playtime in Echoes of Wisdom, and I'm here to say that there is a very cool reason that Might Crystals resemble bismuth crystals!

Before we get into bismuth, I need to talk about what is going on in Echoes of Wisdom. This WILL contain mid-to-late game spoilers, so do be warned.

Long before Creation there was nothing more than a void—a vast empty oblivion. Occasionally, bits of matter would spark to life in this nothingness. Nothing substantial, just small clumps of reality managing to form only for a moment. Only a moment, for anything that managed to flicker to life was devoured by the one who dwelt within this void:

Null.

Null is the main antagonist of Echoes of Wisdom. It is an ancient, incomprehensible lifeform that thrives in the absoluteness of zero. Nothingness personified.

Seeing the way these sparks of existence were so quickly extinguished, the three Golden Goddesses—Din, the Goddess of Power; Nayru, the Goddess of Wisdom; and Farore, the Goddess of Courage—descended from the heavens and forced Creation. Together, the three built the world itself and everything that makes up reality with Null imprisoned and contained at its center.

The Golden Goddess then departed back to the heavens, leaving behind the Triforce, the Secret Stones (though they aren't relevant for this, just thought I'd throw them in since we know they were created around this time), and the Tris. The Triforce and the Tris served as the glue keeping reality together; the Tris specifically being created to maintain the structure of the world, as even though Null was imprisoned that didn't stop it from consuming and returning the world to nothingness.

From the point of Creation onward, Null and the Tris were locked in a delicate balancing act of destruction and recreation. Null ate away at the world, creating rifts that tore through reality. And in turn, the Tris constantly patched up these rifts, quickly restoring what was lost.

This return to nothingness is a major part of the themes of Echoes of Wisdom, and why Might Crystals likely were inspired by bismuth.

Might Crystals—as well as the energy they produce—are some of the only things capable of withstanding Null and the void. When everything else is lost, these crystals remain. But what does this have to do with Bismuth?

Well visually both Might Crystals and Bismuth share the iconic stairstep spiral growth structure, but the main reason I believe bismuth to be the inspiration for the Might Crystals is the Bismuth-209 isotope.

Bismuth was previously thought to be the heaviest stable element, with only one stable isotope (Bismuth-209). I say previously because in 2003, a research team at the IAS (Institut d'Astrophysique Spatiale, a research institute in France) came to the realization that the Bismuth-209 isotope is actually undergoing alpha decay at an incredibly slow rate. How slow? Well it was determined that Bismuth-209 has a half life of approximately...

2.01x10^19 years. Or about 20,100,000,000,000,000,000 years (20 quintillion if you don't know/don't want to count out the zeroes).

For reference, that is billions of years longer than the current estimated age of the universe.

It is because of this inconceivably long half-life that it is said that bismuth will be among the last elements to disintegrate. And it is that bit of information that I believe inspired Might Crystals. If you need to come up with a crystal that can withstand nothingness itself and outlive matter in a void that consumes endlessly, what better choice to base it off of than the element that decays so slow that we used to think that it was stable?

I just thought that it was a cool detail. This is a bit different from my other Zelda posts—as this isn't me talking about the lore and story, but rather me talking about a possible irl inspiration for something in the series���but I thought this was really cool and I wanted to share my thoughts.

[squeakadeeks]

Fabric highlights: Microsuede

I get a lot of questions about material choices, so I thought it would be cool to do little overviews of my favorite materials! (since to be honest, i pretty much just rotate between 3-4 fabric types haha)

Starting with microsuede, my all time favorite and most used material choice. Microsuede is a faux suede made from lots of tiny polyester microfibers split and combined together. its similar in feel to natural suede but distinctly different in its overall fabric drape. It can sometimes have stretch, but usually its a non-stretch fabric. (also not to be confused with microfiber!! mircofiber fabric is similar but its much softer, its the material that cleaning wipes for glasses/screens are used of.)

Some of the advantages of microsuede is its a thick, sturdy fabric. Personally I find it a very friendly fabric due to its thickness and body. Its a great choice if you want something to have some heft to it and structural support. It presses well and can hold folds like the dickens. Its both easy to work with and easy to make a garment that looks nice out of imo. It comes in all kinds of weights from apparel to upholstery. I've personally never used heavy duty, true upholstery weight microsuede so I cant speak much to that, I tend to use microsuedes intended for apparel.

Another great advantage of microsuede is it has an inherent, mottled texture. this is great for making simpler, color blocked designs still have visual interest.

It also takes to adhesives well due to the fuzzier texture, meaning the glues can grisp with more surface area (you just might have to press it in a bit, its still a poly fabric so its not the easiest thing to get hot glue to stick to but by god it can be done).

But microsuede is not a one-size-fits-all fabric. One, the stiffness it has can be a downside if you want a more flowy drape, it would rather fold and crease than flow. Two, its a pain to paint or use HTV on, the fuzzy texture is a downside here. Three, It can also show needle holes if you have to seam rip depending on what you used. You can use a universal needle on microsuede dependings on the weight (I usually do). But its still a thick fabric so be sure not to use too thin of a needle, i also have luck using medium pressure and a walking foot. but all the same ive lost many a needle to microsuede via snapping.

Another thing is personally i find that due to its texture, it looks more homespun and rugged, as such I would hesitate to use it if i wanted a costume to look more regal or formal (i still used it on thistle though lol so its all about the particular use-case)

I source my microsuedes from Big Z primarily (like literally 90% of the time) but I also use fabric wholesale direct, and jo anns, who despite their markups does have some very nice quality suedes, i love their stretch suedes in particular.

I love microsuede. its probably my favorite fabric to use and I will even change my plans on a costume just to use it!

[yuri-is-online]

Bro floyd is so handsome-

And he's weirdly the only twst character that I can describe as handsome??? Like every other character I like is either cute or pretty. Trey and leona might have been handsome to me at one point but I'm just. Not attracted to them yk? Even Jade! Jade is very pretty! He's my evil little wife! But floyd is like. The only one that's actually handsome, like in the traditional sense. At least to me he is. Just like. His mannerisms I guess... idk man he's cool as hell and weirdly reminiscent of dark vintage americana. Weirdest fucking aesthetic I can connect him to but fuck you I'm connecting them (national anthem demo 1 by lana. I was reading the lyrics and also the overall vibe of that specific version of the song just kind of cemented for me)

Idk dude sometime I just go into you inbox and dump out my twst thoughts with no real purpose or structure and this is one of those times 🦵...also it's 2 am so that probably has something to do with it. Good night Yuri!

The prequel to this ask and also still goodnight because it is rather late here rn

Floyd is very much a mob boss, old Americana, guy you obviously should not be attracted to but still everyone kind of understands why type of guy. He's handsome in italics, in a way that you giggle about and exaggeratedly wag your eyes because hey you could be joking.

He's that sort of handsome where most interested parties would ditch him after a weekend. Handsome in a way that sparks but doesn't start a fire, like one of his bad moods that's strong, horrible, and will do so much damage but is gone as soon as it's come on. Like a man desperate for a real connection and can't quite get it, who is looking into your eyes while it rains outside not saying anything but really wanting you to know it's real. Handsome like the guy who doesn't get the girl but everyone knows if the writer was paying attention to their own characters would have been the better choice.

Handsome in a way that's stammered out without a technicality offered by someone small, vulnerable, and foreign to everything he knows in more ways than just the one obvious fact who ignores all of that stuff. Handsome enough for the spark to catch and the connection to wrap itself around your waist and drag you into the ocean without a single scream because the part those stories often ignore is that there are people who would look at an eel three times there size and still "would."

He laughs, dizzyingly loud and all the things he is at once because what he thinks of you is much simpler than all of that. He thinks you're cute~ so cute he could just eat you up.

[punkitt-is-here]

Yknow i love fo4 and fo76 as games but hate them as Fallout games yknow?

Like theyre nice to play and i love some of the characters but man. They just. Are not Fallout. Its literally like if you took Fallout but made it for a general audience, theres no spice!! Theres no grime!! Why is everything so clean!!!

That's the thing; these games are built with inherently different base goals in mind. Bethesda in the modern day thrives off selling the idea of player empowerment, of being an explorer in a foreign land that you conquer through hard work. You shape the world to your liking by questing and exploring and conquering. And genuinely? I got no problem with that. I think games that gas the player up like crazy and set you loose on a world to make it your own are totally fine conceptually! Like, the fantasy of being able to shape the world the way you see fit is something I think a lot of people can get into, whether you're just looking for control in your life or you just want the experience of feeling like you can have some grand effect on the world at large.

But because of that, I think the core of what makes Fallout so interesting has to be put on the backburner. I don't play Fallout to feel powerful necessarily, and I certainly don't play it for the fuckin' gunplay. I play it because it has such a fun dedication to weird stories that feel like they have something to say, a staff of writers dedicating their time and effort to being a proto-DM at a table, trying to provide interesting and thought-provoking or at least real damn fun stories in front of you, because ultimately, the West Coast Fallout games are about people. They're about characters! And when you focus less on the idea of telling stories in a world and more on empowering the player as a fourth-wall observer, those priorities clash and in the East Coast Fallout's cases, it makes for a game with no spice or edge. Having something to say about, say, the US Military or American Expansionism and Exceptionalism or the nature of clinging to the past kind of fundamentally clashes with the player empowerment fantasy that Bethesda Fallout games want to sell you. You can't have these philosophy-based, morally-interesting factional conflicts that want the player to look inward when the very concept of your game is built around collecting loot and shooting guys instead of learning about that loot and learning about those guys you're shooting and why you're shooting at each other. Having radiant quest loot loop gameplay just doesn't mesh well with a world where choices are meant to have far-reaching impact, because if it did, it'd be impossible to program under a normal development timeframe, and it would likely make the player look inward and go "what the fuck am I doing with my time?" at the endless meaningless quests to go on.

I don't think the "Lone Wanderer Comes Across A Microcosm Of Adventure" format is bad, not at all, but you have to put a lot of work to make that feel cohesive with the larger character and faction-based narratives that 1, 2, and NV are built on, so instead those Bethesda-style games opt more for a toybox, playground approach to the post apocalypse. And when your primary goal is showing the player how cool of a sandcastle they can build, it'll never be structurally sound enough to sustain even a wave of nuance.

[apple-salad]

Rose Ribbon Embroidery "Mini" Projects (for BABY NYFW) Part 2: Embroidered Bonnet

I decided semi-last minute to attend BABY's fashion show at NYFW!

BABY had mentioned in their NYFW brand description that their newest collection would be a return to their origins, as well as presenting archival items.

You have to dress to impress for NYFW, right? So of course, I had to pull out all the stops and wear my Rose Ribbon Embroidery.

Also at the last minute, I decided to make a few extra complementing items...

A matching RRE kumya JSK, and a bonnet.

What follows is more of a sew-along/journal rather than a tutorial or guide, mainly for my own memory's sake. But if you enjoy looking at my process (sometimes sloppy), I'm happy!

Also feel free to take a look at the more romantic process video I edited.

Part 1: Kumya JSK

Part 2: Bonnet (you are here)

This post will be my process pictures and notes for the bonnet, as well as a matching mask as a bonus.

I don't believe BABY released matching headwear for Rose Ribbon Embroidery, although I've seen an unknown velveteen headbow with rose lace sold with RRE before.

BABY usually coords RRE with the bunny ear bonnet since Ichigo wears it this way in Kamikaze Girls.

I do own this because I wanted to wear an Ichigo-like outfit at some point, but for this occasion I decided to do something different and make a "matching" embroidered bonnet.

I originally wanted to make a hard bonnet with a very defined brim that could show off the embroidery clearly as I don't really like soft bonnets, but when looking at existing BABY bonnets as a reference, it doesn't look like hard bonnets were a thing back in 2004 (and as it is, BABY rarely releases hard bonnets). So to keep with the oldschool theme, the bonnet is a soft one, although I later make some decisions to make it slightly more structured.

The next decision to make was full bonnet vs half bonnet. The bunny ear bonnet is a full bonnet and I think this is technically more "period accurate", but I am not a fan of how they look like a weird hood from the back so I opted for half (plus, that makes construction and patterning easier for me).

I still used my own bunny ear bonnet as a reference for approximate brim dimensions!

The kumya JSK was a little easier to carelessly sketch out and embroider since I was copying 1:1 from an existing design, but I felt I needed to do at least a bit more careful planning for the embroidery on this. I'm quite bad at creating embroidery designs from scratch, but with the mental image of the rose clusters and swags of vine, as well as referencing the embroidery from the film, I came up with this:

I wanted to emulate the embroidery style of the Momoko's (well, in reality likely the embroidery designer Onoe Megumi--unclear if she did the actual embroidery, but it's likely) embroidery, which I figured wouldn't be too difficult if I was also embroidering by hand.

For material, I am using the same velveteen I used for kumya's JSK. Not my first choice and I actually purchased some thicker looking 100% cotton velvet that I thought would be more similar to the original JSK material, but was worried it wouldn't arrive in time and wanted this project out of the way in case things went wrong/took longer than I expected (it did arrive about a week before the event, but it was totally wrong IRL so I'm glad I just went with this acceptable option). I also bought some more torchon lace, so I used that and another lace from my stash.

The colours of the embroidery in the film also seem to be quite different than BABY's dress. I'm not sure if the pink of the roses has faded over the years, but it has a slight salmon tone whereas the film's roses seem to be more of a pale cool/neutral pink (hard to tell with the yellow tint of the entire film) with some variegation. I love the colour scheme of the film's embroidery, but to keep things coordinated I try to opt for the same colours as the actual dress I have.

I only have white silk ribbon in the width I wanted, so I opted to attempt to dye it to match. Previously I have used alcohol markers to colour the embroidery afterwards, but I find the colour hard to control and it tends to bleed into the fabric. I've also tried colouring the ribbon with the marker before embroidering, but without heat setting the colour transfers onto the fabric as well (and it seems like trying to do so with the amount of ribbon I need would be a waste of ink).

I don't have a lot of experience with it, but since the ribbon is silk, acid dyeing seemed like the way to go.

Very interesting photo of ribbon in pot (the pink ribbon gets eaten up by pinwheel roses much faster than I expected so this is the second batch I had to dye--not ideal as they are definitely slightly different in colour but it's not too noticeable). In total, I think I had to dye 3 batches of ribbon and 4 for the pink ribbon as I just barely ran out near the end, and they are all slightly different colours. Thankfully the undertone is the same so it's difficult to tell unless you are really comparing up close.

I thought I would take this opportunity to use the "peach" acid dye that I bought years ago for another project, but this ended up being a mistake as the colour was totally off (maybe the red dye was too expired). I ended up using my regular fiber reactive procion dyes (with heat/acid), because I have many more colours I could mix together, and that was much better. I really should have done this from the start as I wasted perfectly good silk ribbon by making it too dark/off for my purposes (I ended up overdyeing it in pink so it's a usable colour now, but not for this project).

The silk seems to take on dye extremely fast--even just heating up the dyebath will colour it. In some cases I removed the ribbon before adding any acid at all because I felt the ribbon was already getting too dark.

I managed to get a fairly usable mossy green colour for the leaves and vines, however the pink still ended up being a little off/dark compared to whatever BABY used. It's not too bad here as one strand of ribbon, but when many layers are on top of each other in a rose it seems pretty dark. While not ideal, I think it's still okay, especially considering the embroidery colours used in kumya's JSK match nothing else (many pinks will be going on in this coord).

After dyeing and drying, the ribbon is super wrinkled so I ironed it and wound it on some spare card so it's ready to use.

And now I can start the arduous process of embroidery.

Like before, I mainly use a combination of ordinary ribbon stitches, pinwheel roses, and french knot roses. However, this time I try harder to duplicate, or at least evoke the appearance of the embroidery of the film.

It's interesting how plain and somewhat boring the roses look on their own, especially with this monotone colouring. The varied colours of the film's embroidered roses are lovely, but I decided against it here because the BABY dress has monotone ribbon roses.

The roses definitely seem to just be pinwheel style which is very easy and doable, however I am a bit more confused about the leaves. They look like a number of straight stitches in various lengths and directions that fill in a leaf-like shape. I have no idea if this technique has a name and if there is a proper method for it, because I am a silly beginner who is very uneducated in embroidery.

Anyway I do my best and hopefully I got close enough. Ribbon embroidery is really all about the texture, which is really lovely to look at. Except I have trouble looking at my own work for too long because I start nitpicking all the mistakes I made...

Adding the green and leaves really helps the embroidery come to life.

I took even fewer pictures of the embroidery process than kumya's JSK this time because it's not that interesting. I was definitely getting sick of doing the same pinwheel over and over...

I stupidly decided that aside from embroidering the front of the brim, I also wanted a little bit of embroidery on the back of the brim for interest, as well as on the side.

The designs I drafted out for these two pieces is much simpler, but still, more work....

Almost ready for construction! Hopefully a lot faster with the handwork out of the way.

I iron on some interfacing onto the back brim panel and the bonnet band for slight extra stiffness.

The bottom part of the brim is plain cotton sateen because I was worried that the part that touches the head would get dirtier more quickly it if was velveteen.

I wanted some lace gathered around the brim and an extra velveteen ruffle on the back of the band, so I prepare that now. The lace is gathered with a single gathering thread and sewn down before sandwiching between the two brim panels.

Brim sewn and topstitched (and band is ready for attachment).

The upper flowers ended up a little closer to the top of the band then I intended, but I think it's okay.

Gathering brim and attaching it to band. Because the velvet fabric is so thick, the usual "sew one line of stitching with a wide stitch length" not only made the fabric incredibly difficult to gather, but the thin polyester thread also continually broke when trying to do so. Therefore, I opted for an alternative method I think I'd remember seeing in my sewing machine manual of all things--a zigzag carefully stitched over a central gathering thread. This worked much better, although I probably should have used a thicker/extra strong thread as the central gathering thread because it did break the second time I had to gather the brim due to a mistake.

I also add a bit of lace to the inside of the brim. I think this adds some luxury and frilliness between the head and the bonnet's brim, so I wanted to add a small width. I probably could have used even more of the lace's width since it turned out very subtle when worn. But I still think it adds a small amount of interest to the innermost part of the brim and was worth adding.

Unfortunately here after sewing on both brim parts I realize that I gathered both using an incorrectly marked centre line, so I had to rip it out and do it again ;_;

Next, I can carefully align and pin the bottom of the brim to the bonnet and sew it down. I tack this down by hand because I'm not skilled/accurate enough with a sewing machine to topstitch both sides nicely at once (look closely, and my messy stitching is quite visible...)

I also fold in the raw edges and finish the sides of the brim by hand, leaving some openings for ribbon ties.

At this point I spray almost the whole bonnet with water to disperse and fade my markings. Unfortunately, some of the earlier batches of ribbon that I dyed (Can you tell the variance in the 3 dye batches I needed to do?) were probably not washed well after dying and seem to have bled into the fabric from the water...but hopefully it's not too noticeable.

Next I topstitched all around the brim and attached the ribbon ties.

I bought some double sided velvet ribbon in my last minute supplies shipment and made some bows from it. I think the material is a little thick and petersham would have worked alright as well, but the consistent velvet material feels more luxurious, doesn't it? I also think as an added benefit (?) the ribbon being plush and double sided made the bows more puffy looking.

I add some clips to the sides and a toupee clip to the top for security. I opted for a toupee clips because I think it's really the way to go if you don't want the head item to move at all, no matter how thin or slippery your hair.

Finished.

Bonus 1: rose accent pin

I was in a bit of a rush at this point as it was near the end of the week coming up to the show, so I didn't take any photos of the process here but the technique and templates I used were identical to my handmade faux rose rosettes I made for UM (and the bonus corsages). I have a post with all the details of this sitting in my drafts that I will post eventually, and I will update this post when that happens.

The brooch was just meant to add a bit of 3D faux flower accent to the bonnet, bringing in the rose motif even more. Partially inspired by the faux flowers BABY adds to their bonnets sometimes, like on Milk Tea Doll.

The fabric was "custom dyed" with the same fiber reactive dye I used for the silk. The fabric was further starched, cut out by hand, and shaped with flower iron tools before gluing together.

Bonus 2: matching embroidered mask

I wasn't sure about whether or not I wanted to wear a matching mask, but decided to do so for situations when I would want my face at least half-covered in public. I didn't really expect to be visible in fashion show pictures as someone in the back, but just in case. (I think this decision was worth it, although my makeup transferred all over the thing and in most pictures my face was even more unflattering. eh well)

I forgot to take a lot of pictures of my process for this, but it's very uninteresting and not dissimilar from every other mask sewalong from 2020. I draft out a design similar to the bonnet motifs on both of my mask panels (cotton sateen), and embroider.

I should have embroidered closer to the centre of the mask because when worn the embroidery is not very visible/covered by my hair at the sides. What can I do since the panels were already cut though...oh well!

The lining material is some Japanese CLEANSE Ex fabric I had bought previously to make masks during the pandemic. It's supposed to be antibacterial and antiviral, as well as washable, but I have no idea how well supported those claims are.

Sew together normally on both upper and lower sides, turn inside out, add a channel for nose wire and side channels for elastic.

I also have some mask elastic on hand so I use that.

And the finished outfit again with all my items~

Thank you for reading! If you ever feel inspired to take up a similar project, such as the kumya JSK, I'd love to see it!

[serpentface]

I know that you got rid of all the definite super-natural stuff which I think was a really good choice. I know dreamlands cult is still around, but what happened to the giant ur-tree. That was really cool. I was wondering if that was still a thing or significantly changed at all. This blog and all your world building is super cool 🫡

Unfortunately it has to be significantly changed due to the original concept being like, not actually a tree but like a suspended structure of millions of years of plant life (the highest branches being composed of early land plants extinct everywhere else, the trunks being a twisted amalgam of contemporary trees and foliage) supported by a quasi-sapient deified fungal network.

There's nothing I can do that doesn't wildly nerf the concept down, but I'm maintaining the Spirit Of Things by having the Ur-Tree be a clonal system of very large trees that are actually a single tree connected by a root system, which is over 10,000 years old. This single tree is functionally its own woodland, and part of a much larger (otherwise non-clonal) forest.

This ancient tree is an individual from a spec bio species that I haven't fully fleshed out yet. I was thinking something spruce-like in appearance but it needs to produce fairly substantial quantities of dimethyltryptamine in its bark/roots. It grows in humid subtropical-tropical regions (the Ur-Tree is in the Lowlands, which is a humid coastal subtropical region) and has a fairly wide spread, but its range is fragmented and it's almost always found as a singular tree among other species, no other clonal colonies of this size and age exist (and thus the Ur-Tree is recognizably unique). Its root system is a key host/mutualist symbiotic partner for a spec bio fungus with strong hallucinogenic properties, which is refined along with the bark extract to make the Ur-Root entheogen used by the Scholars sect of the Eterhimhamdli religion.

This retcon allows for people to still live in the Ur-Tree (in a less literal sense of living within the space of the colonial organism), for it to be a large location that is a focal point for a religious practice, for its components to be used in production of a very strong hallucinogen, and for it to be a Presence that predates the cultural memories of any groups that encounter it. It might not have the cool factor of the Giant Fucking God Tree but it preserves the aspects that are most interesting to me in the confines of this setting.

The effects of the hallucinogen are also VERY similar to the pre-supernatural nerfing event version (just less Specifically Targeted without the 'experiencing the memories of a semi-sapient fungus' aspect). A full trip starts with minor visual distortion that turns into fractals, the experience of going through a tunnel and 'breaking through' into a distinct experiential Space, you may encounter things you perceive as entities that communicate with you, etc. (This is just DMT.)

The come up period for the fungus times itself near perfectly with the come-down for the DMT (there is usually no moment of in-between for the user). This is experienced as the previous space shifting into one that feels more like the real world, but with a heavily distorted sense of time, the user feels as if they are living through hundreds of thousands of years. Their senses are distorted and indistinct from one another, hard to categorize as 'vision' 'sound' 'smell' 'touch', it's raw Experience. In a good trip, the user loses all sense of individual identity and experiences a sense of oneness with all life, rendering the sensation of endless time into a peaceful experience. In a bad trip, the user remains semi-conscious and might retain the concept of the 'self' and therefore experience what feels like being trapped in this space for millennia.

(Here's the original post about it. Everything about the religious practices and interpretations Surrounding the tree/the Ur-Root is still canon, with the exception of the Scholarly Order Of The Root being a singular sect/mystery cult of a much larger religion rather than The central priesthood of that religion)

[heavenbloom]

🇵🇸 BEFORE YOU READ: DONATE • BOYCOTT TLOU • MUTUAL AID

⏾ — 𝐦𝐢𝐬𝐭𝐲 𝐦𝐨𝐨𝐧 | 𝐞.𝐰.

song: smoke - gia margaret

synopsis: you watch ellie as she sleeps and let your mind shape the weight of a future with her — one that could never be.

warnings: 18+ mdni, angst, nsfw themes (descriptions of sex but not outright explicit), mentions of cigarette smoking, typical situationship that wants more trope, profanity, not proofread

a/n: sorry, all i’m motivated to write rn is angst 😭 based loosely on the song mentioned above and this playlist i made

There’s something about this closeness that plucks at the animal-tender chord within you. The moment where the blaring tones of fucking dull into a single note — the hushing, isolated strain of violin strings that melt into the end of a concerto. The aftermath of frenzy.

You refuse to call what this is ‘lovemaking’, but you couldn’t deny the sweetness that blurs the edges of it. Where red bleeds into purple and then into blue. A calm.

Blue like this night. Dusk has long since passed, and the rich darkness of the sky is laced with the silver of the moon. Its celestial light spills into the room through the open windows. Over the bedside, to illuminate her phone and keys resting there. They are an inky stain upon the white wood.

The pale light extends to Ellie’s figure that lays leaden in the midst of sleep. Spindly limbs outstretched even as the cold breeze pours over her. Auburn hair splayed over the silky grey pillowcase, the colour of a bough caught ablaze.

You’re used to her features twisted in ecstasy, eyes diluted like moss-rimmed rocks. This stillness is something not often tasted, a rare delicacy that only twists, knife-like, in your chest.

Was it a foolish thing to search for love in a mirage? Domestic bliss had no place here.

But then… why were her clothes crammed up against yours in the gaps of your wardrobe? Why did a plastic toothbrush lean against your wooden one? Why did all your favourite scents linger on her now? The freshness of your shampoo in her hair and your favourite perfume at her wrists.

Her presence was a haunting, something to seal the empty cracks of your life that sagged, heavy with nothingness.

But was this not also a sort of nothingness?

This relationship was a skeleton, a meatless husk in which the absence of i love you’s whistled through sun-bleached bone. It was a timeless rhythm that moulded its structure, but no life pulsed within it.

Even so, you allow yourself to ignore the bone-shard reality in favour of the pulp of fruit, to tear it apart, sticky with the ambrosia of what-if.

A makeshift wooden bookshelf lined with hefty classics and comic books alike. Waking to the smell of charred, buttery toast and the too-sugary jam that she adores. Waxy green plants in hand-painted ceramic pots. The sound of a pen whispering against paper in the noon and the warm strum of guitar strings in the evening.

And the mornings; The absence of haste, the slow rise as the sun shines in just as the moon does now. The smiling green of her eyes and freckled cheeks flushed pink from waking. No tiptoeing in the purpling hues of dawn in order to leave, no overstayed visits or turned-away gazes. Just proximity and quiet care.

The unabashedness to stay.

⏾ ☀︎

You know, when you next open your eyes, that these shining images are mere fiction. They are golden and warm unlike the vacant right side of your bed.

Your hand smooths over the crumpled sheets to feel the fabric already cooling beneath your fingertips. Wraith-quick and cruel.

All that lingers now is the veil of smoke that hangs over the room. The half-finished cigarette, its end a glaring ember.

It continues to churn out soft tendrils of white. Ghostly. Intangible.

What choice do you have?

With steady fingers, you snuff it out.

[withthewindinherfootsteps]

Wei Wuxian and Narrative Agency – Part Three

For Xiantober Day Five: Past and Present, in which the author gets very unhinged about what parts of the past are shown and how that’s affected by the present!

(Part One | Part Two | Full version on AO3)

The Power of Agency: Shaping the Narrative

When I've discussed Wei Wuxian's agency previously, I’ve talked about how what’s shown and omitted tells us about a character, and we’ve talked about the character himself. Though this is a niche topic, it’s not necessarily something out of the ordinary to analyse, and we can assume everything up to here has been in some way intentional.

This? Linking structure to a character’s in-universe preferences?

This is where we get unhinged.

Before I start, let’s quickly establish something which will be important later: although Wei Wuxian is the central character, MDZS isn’t strictly from his POV. While omitting events a character doesn’t like to dwell on and concealing things the character wishes to hide is common in books with only one narrator, MDZS has multiple narrators which it switches between relatively quickly. This includes Wei Wuxian, but it also includes nearly every major character that appears in the story, and omniscient narrator as well. As a default, this format doesn’t lead to this deliberate shaping and omission because of one character’s preferences, since we have many other sources of information and events – which is what makes Wei Wuxian’s influence over the narrative and structure so interesting. We could have access to a lot more information, and access to it at different times, than we do (and that’s not an insult, quite the opposite!).

To begin: we’ve established that times such as Wei Wuxian’s time on the streets, his three months in the Burial Mounds and his loss in the Siege aren’t shown because Wei Wuxian has little agency there. But that’s not the only special thing about them. They’re also the three most traumatic times in his life, and so moments Wei Wuxian himself either can’t remember, or doesn’t like to dwell on.

This is why discussing Wei Wuxian’s treatment of tragedy in his life was important. Firstly, it shows he doesn’t focus on the tragedy in his life, so the idea that the narrative not focusing on this tragedy relates to his character has merit; secondly, it affirms that this is not a passive trait, but a choice. Therefore, when the narrative omits events due to this aspect of Wei Wuxian, it’s respecting not only a character detail – which would be cool by itself – but also an active decision. One that shapes the story it’s made in.

In other words, its very structure is respecting Wei Wuxian’s agency!

Now, of course there are flashbacks to other moments of his past he probably wouldn’t like to dwell on, too. But within the structure, they’re only shown when Wei Wuxian is thinking about them (or when he has reason to)!

Wei WuXian hadn’t woken up yet. His eyes were still tightly shut, yet his hand didn’t let go either. He seemed to be dreaming, muttering, “… Don’t… Don’t be angry…” Lan WangJi seemed somewhat surprised. His voice was gentle, “I am not angry.” Wei WuXian, “… Oh.” Hearing this, as though he finally felt assured, his fingers loosened. Lan WangJi sat beside Wei WuXian for a while. Seeing that he was motionless again, he was about to stand up when Wei WuXian grabbed him with his other hand, hugging his arm and refusing to let go. He shouted, “I’ll go with you, quick, take me back to your sect!” Chapter 63, EXR translation

Which, of course, is him dwelling on…

Lan WangJi spoke one word at a time, “Go back to Gusu with me.” Hearing this, both Wei WuXian and Jiang Cheng were surprised. Quickly afterward, Wei WuXian laughed, “Go back to Gusu with you? To the Cloud Recesses? Why go there?” He immediately seemed to realize, “Oh. I forgot. Your uncle Lan QiRen hates crooked people like me. You’re his proudest disciple, so of course you’re the same as him, haha. I refuse.” Chapter 62, EXR translation

…the painful flashback immediately preceding this. The third set of flashbacks (which are also painful) are a similar case. Look at the contex:

He lifted the bottom of his robe, revealing a prosthetic leg made of wood, “This leg of mine was destroyed by you, that night in the Nightless City (…)” (…) “Wei WuXian, I won’t ask you if you remember or not. Both of my parents died by your hands. You owe too many people. You definitely won’t remember them either. But, I, Fang MengChen, will never forget! And never forgive you!” (…) “In the fight at Qiongqi Path, my son was strangled to death by your dog Wen Ning!” “My shixiong died by poison, his entire body festering due to your cruel curse!” Chapter 68 (immediately preceding the flashbacks), EXR translation

And Wei Wuxian’s own thoughts and words:

Wei WuXian looked at the cultivators before the Demon-Slaughtering Cave. Their expressions were the absolute same as those of the cultivators from the night of the pledge conference, pouring their wine on the ground as they took the pledge to scatter the ashes of the Wen Sect’s remnants and him.  (…) Wei WuXian, “Now it’s time to ask just whom it is that treasures it so much. It’s like Wen Ning. Back then, some certain sects or so were scared to death of the Ghost General. They said they’d kill him on the surface, but behind their backs they hid him for over ten years. How strange. Who was the one that said his ashes had been scattered back then?” Chapter 79 (immediately succeeding the flashbacks), EXR translation 

Once again, Wei Wuxian’s own thoughts relate to the flashbacks we’ve just been shown. And, as I previously mentioned, though all the events which are shown are tragic, they’re also events which Wei Wuxian’s own choices and actions shaped – which he has this to say about:

“The things I did, not only do you remember them, I remember them too. You won’t forget them, and they’ll stay even longer in my mind!” Chapter 82, EXR

Admittedly, this applies more to the third set of flashbacks than the second (which is still fitting as the third set was the most recent), as in the second, although he still had agency within and influence over his circumstances, the majority of the pain was caused by others’ actions (excluding, of course, the Golden Core transfer… which is something we know stays for a long time in his mind, albeit with a caveat we’ll soon discuss). But it’s still important to note – especially considering that otherwise, focusing on this very painful time in his life wouldn’t seem like something very in-character for Wei Wuxian to do.

Of course, this can all just be explained by good writing. It is best to insert flashbacks when they’re relevant to the characters and events in the present day! But it is interesting to compare these to the start of the (not painful) Gusu flashbacks, which open this way:

At a later time, Wei WuXian pondered upon the reason why his relationship with Lan WangJi wasn’t good. Getting to the root of the matter, everything started when he was fifteen, coming to the GusuLan Sect with Jiang Cheng to study for three months. Chapter 13, EXR

Again, considering the circumstances around which these flashbacks take place – returning to the Cloud Recesses for the first time since the lectures, and meeting Lan Wangji once more – it makes complete sense for Wei Wuxian to be thinking about these events*. So it does fit the pattern of Wei Wuxian dwelling on something, thus leading to the narrative dwelling on it, too (and being shaped by his thoughts)… but there’s another layer to this. Importantly, it is the only flashback where Wei Wuxian’s present thoughts don’t lead to this happening, with his thoughts at an unspecified future time leading to it, instead. I like to interpret this as the text saying that, since these events aren’t something Wei Wuxian wouldn’t focus on in normal circumstances, he can dwell on them at any time. Therefore, they’re free to come up in the narrative at any time as well, even if he’s not dwelling on them in the present moment!

So, to summarise: Wei Wuxian’s decision not to focus on the painful times in his life directly influences the narrative to not focus on these times. When painful times are brought up and shown to us, it’s in the context of him thinking about them in the present day, and even then, his most painful moments still aren’t shown to us. His agency in this regard is still respected by the narrative structure.

This is the main way his agency influences the structure of the narrative, but I’d like to talk about the revealing and concealing of information, too. For example, I said I’d talk about the Golden Core transfer – though Wei Wuxian does think about this many times, as evidenced by his internal narration in Chapter 103. But unlike everything we’re shown through the flashbacks, this is something Wei Wuxian is actively trying to hide from others. And the narrative respects this choice (Wei Wuxian’s agency, again), never reveals it even when it would be relevant in the flashbacks, and we find out not through narration, but through a character’s dialogue!

And to clarify – I know these aspects may not be in the book for this exact reason. Showing flashbacks in relevant moments is good writing, concealing an important plot point you want to do a reveal for is necessary writing, and MXTX has said she didn’t want to write about Wei Wuxian’s time in the Burial Mounds, due to not liking to write transformation sequences (and also because it would not be pleasant at all, which likely also applies to Wei Wuxian’s death). That doesn’t prevent it from also being intentional – MXTX’s intelligence is shown in many aspects of this book, and there’s nothing disproving it – but there’s no proof for either option, so I won’t pretend there is. I bring this up because I know this feels like I’m overanalysing, as I feel that way as well.

But, whether it’s intentional or not, it exists in the text, and I adore it – so, regardless, it’s something I’ll explore. Because taking this into account… We aren't just told about Wei Wuxian having agency, we aren’t just shown it in the text, we aren’t even just shown it through which parts of his past are shown and hidden in the structure of the text (as I talked about in Part One). The parts of the past that are shown and hidden also have an in-universe reason for being shown and hidden, this reason being the choices he makes! Agency is the ability of a character to influence the story they’re in, but Wei Wuxian’s agency, as a property of a character who only exists in-universe, shapes the out-of-universe structure as well! That’s how we’re shown its importance! How cool is that?

At The End Of The Road: Summary and Final Thoughts

In this essay, we’ve covered how important Wei Wuxian’s agency is not only to the events of the plot, but to the structure of the narrative as well. The narrative omits periods in which Wei Wuxian has little or no agency, in favour of showing us periods in which he does, even when important events happened in the former. This indicates that who Wei Wuxian is without agency isn’t important enough to be shown to the audience, and therefore that his agency is an integral aspect of his character in MDZS. We’ve discussed how both in-universe and out-of-universe, tragedy does not define him – out-of-universe, the tragic events in Wei Wuxian’s life are used not to build sympathy but rather to show his strength of character and who he still is despite going through them; and in-universe, he chooses not to focus on the negativity and resentment caused by his circumstances or others’ actions, instead staying true to his moral compass and enjoying his life in the present day. Finally, we’ve also explored how this choice is another reason for the omission of certain events from the narrative, resulting in his agency shaping the story in a very literal way – it affects the out-of-universe structure, as well.

It’s quite fitting, for a story whose essence is about defying a conventional narrative – that of righteous clans rising up and defeating a great evil – and about a character who defies many conventional narratives on his own – that of status defining how skilled you could be, that for a golden core being necessary for cultivation and other paths being unavailable, that of a tragic but complete story of someone killed for staying true to their moral code (instead, that character returns to life and has a happy ending) – to have its own narrative play a role in such an important and interesting way.

(Or, if an image would be preferable:)

Thank you for reading!

(Part One | Part Two | Full version on AO3)

--

*This strong relation to the present day circumstances is another reason I love the flashback placement so much (and why I think it’s such a loss both screen adaptions altered it so strongly)! 

[ddarker-dreams]

I ASPIRE TO WRITE LIKE YOUUUUU UGUGUHHHHGUGHHGHHGHGHHGGHHHHHH I CAN'T STOP DEVOURING YOUR WORKS PLEEEEASE HOW DO YOU WRITE SO ELOQUENTLY YET SO CHARISMATICALLY?? PLEASE SHARE YOUR WISDOM, GREAT ONE!!😭🙏

PLSSSSSSS thank you so much,, i feel undeserving of such high praise 🥺 ...

i'm not entirely sure how my writing style came to be hjiegrjw lots of practice, i guess?? i consider what i want to get across in any story, whether it's a snippet or full-fledged series, then work around that. all that experience has made me familiar with my most effective storytelling methods.

my writing process basically looks like this:

initial idea

brainstorming about the idea (what are the character's positions? if they're at conflict, how do they express it? what's their body language, their word choice? etc etc)

open the accursed google docs and either:

(a) start at the beginning of the story, specifically what context the reader needs and drawing them into the Vibe. also equally important is knowing what information not to provide the reader, so they're left wanting to unravel what is going on.

(b) start smack dab in the action. structure comes later. lean into the excitement of the cool idea. context be damned, go ham.

in both cases, when i feel like i'm getting stuck, i come back to it later if it feels like it's grinding the entire process to a halt. i'll underline the segment, write a description of what it is i'm going for, then keep chugging along.

🚄 continue chugging until i can't anymore. exit google doc.

daydream about the story literally nonstop until i can work on it again, looking at things with a fresh lens in the days that follow the initial draft.

i make a few copies of the draft and try out different ideas, scrapping and adding as i go.

(here's an example of what this looks like, chap 4 and 5 of nexus had multiple versions with differences throughout until i landed on something i liked)

reread 458729x times and nitpick over smaller things like word choice, clean up dialogue to make it more fitting to the character

pray

huh . this is actually more convoluted than i thought. i'm not entirely sure if this will be helpful or not, messy as it is... but it is an unfiltered look into whatever tf my process is.