#i have a theme to keep up

[lovestrucklovesickslut]

what’s your FAVORITE pocket frog and your UGLIEST pocket frog

omg…. hard to pick….. i think my favorite is HER, love a cool pattern and think the chroma’s are neat

ugliest is this man. it’s not his fault but.get sold uggo

[starry-bi-sky]

yall ever think Shen Yuan went through like, internet withdrawal after being transmigrated into Shen Qingqiu? Like, he's canonically a NEET shut-in who did nothing but spend his time online, you can't tell me that for the first week or first few weeks of being SQQ he wasn't twitchy.

Like, reaching instinctively to his pockets for a phone that wasn't there, having an obsessive itch in the back of his mind that he should check and see if X or Y novel or webcomic has updated -- only to realize he can't anymore and being irritated by it. Wanting to go and see if there's new posts about this or that, but again realizing that he can't.

When he's bored or uncomfortable or just feels like wanting to escape he tries to go for his phone to distract himself, but oops! Not there anymore, and now he has to find a new and different way to distract himself from his feelings. And going through system notifications, quests, etc only does so much.

And there's that Tetris Effect too. SQQ makes a mistake while writing and instinctively goes to backspace on it except hey-ho that's not a keyboard and now he just dipped his pinkie into a bottle of ink or on a still-drying letter.

With him scrambling to fix his reputation and learn how to be a peak lord, I think his abrupt cold-turkey from all things internet would just be another straw on the camel's back that he promptly Ignores until it goes away on its own after he acclimates to his new surroundings.

[somegrumpynerd]

Dust's nightmare

Dust has nightmares about fighting and killing here and there, but the ones that really stick with him are the ones that are just... memories. Things he can never have again.

What he can have though, is a distraction when he wakes up to help him settle and make sure he's not alone with his thoughts for too long

[emdotcom]

Yeah, so while I was on my "I'm going to read into Vanny/Vanessa as much as possible" journey, I noticed an odd quirk in her animations in how she moves. At first, I thought it reminded me of a ballerina, 'cause she's kinda tip-toeing, & she has this way of keeping her head & chest in one place as she moves, but I looked again & realized --

That's not ballet! She's doing a tight-rope act. Like, look at this one:

This is like standing up on the wooden boards before you do the actual tight-rope walking, & the ring leader is hyping you up as you do some fun movement for the crowds. &, then, these:

These are all instances where she walks with one foot directly in front of the other. In that third, she's doing the "woaaah" wiggly-ass balance movements & everything, as if she's swaying up at the top of the tent, even though she's down on solid ground.

Idk, I feel like the way her feet are placed isn't accurate (pretty sure they should be pointed left & right, not both forwards...) doesn't make this 100% correct, but I like it. It also connects back with her first SB teaser, wherein she's up in the rafters.

[dol--blathanna]

Thinking a lot about Orym choosing a rabbit when asked what animal he would pick if cursed with lycanthropy.

Because, it makes sense. Orym is small, quick, agile, jumps well, and is highly perceptive. That definitely evokes rabbit imagery. But a lot of Orym’s identity is also tied up with being a protector – giving people AC bumps, the shield being as much a part of his fighting style as his sword, even his title: Saviour Blade of the Tempest. He wants to be a “Shield that protects Exandria”; his priorities about saving the gods are less about the gods themselves, and more about protecting the people of Exandria from the unintended consequences and bloodshed of releasing Predathos. And it would’ve been very easy to pick a large, strong predator to try and evoke the sense of a protector – a wolf, for example, an animal associated with loyalty and protecting its pack. Yet Orym chose a rabbit.

And I think that’s interesting, because rabbits are often seen as ‘cute’ animals – but they’re also a prey animal. In fact, they’re a common food source for many animals across several ecosystems: foxes, wolves, wild cats, dogs, birds of prey like eagles or owls, coyotes, stoats, and humans (and that’s just off the top of my head). Rabbits are skittish, easily frightened; to be rabbit-hearted is to be timid or cowardly. They are not generally associated with fierceness or prowess in fighting. Mice and rats are prey animals too, but typically seen as vermin (rabbits are sometimes seen as vermin too, but a farmer could eat a rabbit – they wouldn’t eat a rat). Deer are prey, but they have hooves and antlers that bring a danger to hunting them, for any animal – the difficulties of hunting rabbits are more related to their evasiveness, speed and good hearing than any life-threatening danger they might pose. Rabbits are, first and foremost, prey animals. They are killed and eaten, so that another animal might live.

Which made me think a lot about one of Orym’s other key traits: self-sacrifice. Bait and switch doesn’t just bump up his ally’s ACs, it specifically switches their place to put him directly in harm’s way. Goading attack is meant to encourage enemies to attack him instead of his friends. He literally made a deal with a hag, essentially exchanging his own life for power to protect his friends. How many times has he gone down in a fight? He’s not the only tank – but unlike Ashton (and Chetney, who also uses ‘self-sacrifice’ in his fighting style with his blood curses) he has no abilities to reduce the damage from the hits he takes (barbarian rage and the werewolf form).

(Side note: I think it’s pretty interesting that Chetney, the wolf, has attacked Orym, the rabbit, more than anyone else when losing control. That Orym’s facial scar was given to him by a friend, not a foe).

Of course, Orym isn’t the only character with self-sacrificial tendencies (FCG wins by a landslide), but I just can’t stop thinking about how weirdly perfect it is that he chose a rabbit for his animal. Rabbits are prey animals. They are eaten, so that other animals may live. Orym takes the hits, he goads and switches with his team mates to put himself in danger, he makes a deal with a hag at the cost of his own life. He’s a soldier, throwing his life away for a cause over and over again because Ludinus must be stopped, because Keyleth has put her trust in him, because it’s the only way to protect his friends, to protect everyone, because it’s the right thing to do. Orym is a rabbit. He’s always been a rabbit. That day in Zephrah, it could have easily been Orym who died instead of Will and Derrig – “unfortunate but necessary sacrifices”, as Ludinus viewed the attack. It’s unfortunate they had to die, but it was for the greater good, according to Ludinus. It’s unfortunate that a rabbit has to die, but it will feed a family of foxes, or stoats, or even a hungry human, so it’s acceptable, right?

Orym is a rabbit. He is giving himself to a greater cause that could very easily kill him – he already willingly signed his life away to Nana Morri. Because that’s what rabbits do. They die to feed others.

And the theme of being disposable is present across the entire group, not just in Orym – Bell’s Hells has been called a “party of NPCs” before. Aside from FCG’s death, I’d say Laudna perhaps fits this theme the best: she was literally murdered and hung from a tree simply because she looked similar to Vex, acting as a warning to adventurers she had never met before. But FCG’s death was – rightfully – viewed as a terrible tragedy by the group. Laudna’s decision to remove Delilah, finally freeing herself from her abuser and emphasising she is more, and deserves to be more, than just some disposable puppet – this was rightfully viewed as a very good thing! But Orym seems to be embracing this identity of self-sacrifice instead, rather than this mindset being properly challenged or acknowledged as a bad thing. After all, there’s no time. There’s too much at stake. Keyleth, Bell’s Hells, all the memories of those who have died in this fight, all the people who might die if Predathos is released and kickstarts a second Calamity – they’re all relying on him, right? A rabbit feeding so many animals with his sacrifice. And it’s not malicious compared to the way that, say, Delilah killing Laudna was an incredibly evil, fucked up and unnecessary thing to do. If Orym died to save everyone else, well, at least everyone else would be saved, right? Saving lives is good, isn't it? How could he complain?

Because rabbits are prey animals, and Orym is a rabbit too. Destined to die so that another animal may feed.

Except, that’s not true. Rabbits are more than just prey. They’re highly social, and thrive best living with others. They’re playful, they enjoy running around and kicking their legs just to show their enjoyment. They’re inquisitive and mischievous, even being associated with tricksters in some folklore and stories. They’re also associated with innocence, playfulness, spring, youth – all manner of things, depending on the story or culture. And they’re not helpless, either, even if they might be thought of as such. They can bite and scratch and draw blood quite easily if they want to! In fact, freezing up isn’t their only response when being attacked by a predator, they are known to fight back if cornered. They can sprint quickly, they have excellent hearing and senses of smell, they know how to evade predators.

Rabbits are prey, and they are also survivors. They have their own social dynamics, their own habits and dislikes and preferences. They are more than just a wolf’s meal. And Orym is more than a soldier, too. He’s more than a “necessary sacrifice”, he’s more than just a shield and sword. He deserves more than to die for a cause. He deserves a happy ending, just like everyone else. I hope he remembers that.

Orym is a rabbit. And the message isn’t that he shouldn’t be a rabbit. It’s that rabbits are worthy of surviving, too.

[vaguely-concerned]

just had the thought 'in the end the most important thing varric taught rook was how to make a home for, with, and in other people' and then I had to go lie down on the floor and clutch at my head in unceasing agony for a few hours, as you may well imagine. hawke and the kirkwall crew........ in the end you kind of saved the world a bit in the most characteristically indirect and chaotic of ways. not by anything in particular that you did or achieved or accomplished (lmao imagine!), but just by -- having existed, and by the love that was always there, despite it all, in all its imperfections, even when no one was saved by it in the end. you're not here right now and you're not quite haunting the narrative but I hear your voices bickering and arguing and laughing from the other room. (and so, I think, does varric. all the time.)

'did you think you mattered, hawke? did you think anything you ever did mattered?' yeah actually, varric says with da2 and keeps saying through the series. you were here. and I loved you. and as it turns out that mattered more than almost anything in the world, no matter how long it lasted or how fucked up it was at the time or what else happens, because varric manages to pass that feeling, that intangible... home, that echo of you all as you were together, that love, hopefully the best parts of it, on to someone else for them to bring with them on their journey, with their family. and maybe the world will be kinder this time. you never know. merrill's line of 'Everything affects everything. We were born, a bunch of things happened, and now we're in a mess with our friends.' varric's greatest fear of becoming his parents. even through the wreck and the ruin of the world, ghosts upon ghosts upon ghosts of love -- malcolm hawke, who we never even see, but his life touched hawke's and hawke's touched varric's and varric's touched rook's and rook is passing it on to the family they're creating. the unbroken legacy of love shines through in ways that are stronger and stranger than any magic. help

[slickricklj]

Jill Valentine + Chris Redfield - When you know, you know.

Bonus:

[tunastime]

ok ok?

Once again, Etho and Bdubs find themselves in the same predicament: navigating the complex relationships of their lives while trying to keep each other safe. However, unlike the times before, they have a little bit of a better understanding of each other. And a little more commitment to what they've made together. Or: like every time before, Etho and Bdubs have a conversation. This time, it feels good. (1584 words) (x)

The light sky is waning fast, the fringes of the horizon still orange with fading sunlight. In it, the small, deepslate keep is almost purple, the warmth of the day still held close in the humid river air and sun-warm ground. Inside, Tango is fast asleep. The sniffling breaths he takes are muffled slightly by the noise of nighttime: crickets and salmon and birds. Bdubs is among these noises as he lowers himself to the ground at the base of the keep, dropping his pack and resting against the cooling stone. He tips his head back, letting out a long, tired sigh through his teeth. 

Above him, as he widens his eyes and raises his eyebrows, he can see the beginning pinpricks of stars. He hums to himself, reaching up, eclipsing for just a moment the spread of the planets and suns he’s learned so well from stargazing. The motion feels familiar, in its own, strange way. He stares up through his fingers before he drops his hand into his lap. Bdubs shuts his eyes, letting out another slow sigh.

From beside him, Etho clears his throat. Bdubs startles, immediately cracking an eye at him, shifting around to pretend like he hadn’t just jumped. Etho snorts.

“Mind if I join you?” he asks, that familiar smile to his voice and a crinkle to his eyes. Bdubs blinks his eyes open, furrowing his eyebrows as he gives Etho a quick once over. He crinkles his nose.

“You gonna nag me again?” he asks. Etho huffs out a laugh.

“Me?” he grins. “Always.”

Bdubs sighs again, slumping back against the cold deepslate tile. He rolls his eyes. 

“Alright, wise guy,” he grumbles. Then he pats the grass beside him. His hand comes back slightly dirty. Etho laughs under his breath as Bdubs waves his hand, trying to shake off the dirt before he ungracefully smears his palm onto his pant leg. After a moment, Etho sinks down beside him, letting out his own, tired sigh in relief.

“How ya feelin’?” Bdubs asks, shifting his body ever so to face Etho better. He glances over at him. Etho glances back. He raises his eyebrows and, in the fading light, looks less tired than normal. Bdubs for a brief moment wonders if it’s his doing.

“Mm?” Etho hums. “Pretty good, all things considered.”

Bdubs nods.

“Good,” he says. “I’m excited we’re together again, y’know.”

Etho snorts. He raises his eyebrows in question.

“And Tango?”

Bdubs makes a face. Duh. “A’course.”

Etho laughs again softly.

“Me too,” he says, all pleased like Bdubs had said something he found funny. Bdubs likes that tone of voice a lot. It means only good things out of Etho. Which usually meant good things for Bdubs, too. 

They lapse into a silence then, both comfortable and apprehensive. Etho fiddles with his hands, the skin of his fingers, picking at the nail beds in a show of his bad habit. Bdubs wants to grab his hands and force him to stop, as much as he kind of wants to tell him to just ask whatever question he’s holding himself back from, but Etho rolls his shoulders and settles back against the tile and seems to relax, so for a quiet moment, Bdubs watches his eyes flutter shut, and sees the pale eyelashes against his face in the rising moonlight. His chest seizes for a moment. Then Etho hums out:

“‘M sorry I forgot that one time,” he says, almost muffled through the mask he’s still wearing. “Bout the dragon.”

Bdubs blinks. He almost asks, albeit stupidly, what dragon. There’s a moment where his mouth opens and closes as he tries to remember what in the world Etho could be talking about. Dragon. Dragon. When had he fought the Ender Dragon recently? Not Hermitcraft, not this season at least. Later than that? Why would he be bringing it up now if it were something from this world? Unless he means. 

Ah.

Of course, this train of thought for Bdubs lasts only a second. And it’s in that second that he finally stammers out:

“Oh, what?” and clicks his tongue disapprovingly. “Nah, Etho. Don’t—that was so long ago. Don’t you worry about that.”

“You’re not mad?” Etho asks, tilting his head over. His eyes open to peer at Bdubs. It feels like his pupil is consuming his iris, the way the dark brown and black of his good eye muddle together in the dark. It’s black like the night sky. His eyebrows furrow as he looks over Bdubs’ face. Bdubs snorts.

“Oh I was furious,” he finally says, tearing his eyes away from Etho’s face. Warmth crawls up the back of his neck. He stares at Etho’s unfolded hands, which have come to rest palm up on his knees. “But now? You think ol’ Bdubs carries grudges?”

He looks up at Etho again. Etho shrugs, looking away.

“Uh… yeah?”

Bdubs blanches.

“What! No—not with—” he stammers out. Etho pales even further, visibly swallowing. “Etho!”

‘What!” he squeaks out, spreading his hands, shoulders coming up to his ears. Bdubs swats at him, grumbling as he whacks fabric. 

“Not for you,” he huffs. Etho deflates a fraction—at least, his shoulders come down from the sides of his head. He tilts his head, eyebrows still raised questioningly.

“You sure?” he asks. Bdubs sighs.

“Yeah. Not anymore,” he says, folding his hands together, unfolding them, fidgeting with his fingers. For whatever reason, a prickle of nervousness stores away in his stomach, forcing him to swallow to try and push it around. He sighs, stretching out his hands. “We… we play these things differently. I know that now.”

Etho, from his peripheral, nods once.

“Oh…” he says, voice mellowing out. He sighs too. “That’s good. I’m glad.”

“Yeah,” Bdubs says. He reaches out after a beat, knocking his fist into Etho’s shoulder. Etho wobbles, eyes crinkling. “I missed hanging out with you.”

“You—” Etho wheezes, voice peaking suddenly in amusement. Any higher and they’ll really risk waking Tango. “You see me every day!”

“Well!” Bdubs huffs, folding his arms. “This is different!”

Etho shakes his head. The tufts of white hair being held back by his poorly tied headband come loose all at once. He sweeps them back unsuccessfully, scrunching up his face.

“I dunno Bdubs,” he argues, squinting at him. Bdubs rolls his eyes dramatically, hunkering down over his folded arms. “Feels a bit the same, don’t’cha think?”

“What’s that supposed to mean?”

Etho shrugs, relaxing again, leaning back against the cold stone. He finally tugs his mask down and off as he settles, turning his face from where it rests against the stone to give Bdubs a once-over. He smiles and it’s all slightly crooked teeth and sharp canines and wrinkling his nose. Bdubs’ lungs squeeze painfully. 

Maybe that’s the reason that he leans forward and grabs a fistful of Etho’s shirt. Maybe it’s the reason Etho’s hand ends up on his knee, then his thigh, then his hip as Bdubs kisses him. Maybe it’s the reason he feels Etho laugh against his mouth and kiss him again. And maybe it’s the reason that Bdubs rests his forehead against his, nose against his nose bridge, and sighs the most profound breath he has in a while. The air leaves his lungs and enters warm and humid. From this close, Bdubs can see the faint beauty marks on Etho’s cheek. He smooths his hand back up Etho’s collarbone to his shoulder, flattening out his high-neck shirt, keeping his hand under the lip of his coat, under fluff and wicking fabric.

“Let’s not do something stupid this time,” Bdubs says to the point of his nose. “Okay?”

“Like what?” Etho asks. His eyes flick up. For a moment, they’re far away, fixed on a spot far from Bdubs’ dark eyes. His expression softens like he’s remembering something far too painful. Bdubs squeezes his shoulder.

He’s never gonna get that blood off his hands, is he?

“Like stupid traps,” Bdubs finally says, forcing a smile. Etho’s eyes clear just a touch, and he pulls a face.

“I’ve never made a—” Etho pauses. Then he grins. “A stupid trap.”

Bdubs rolls his eyes. It’s in this moment that he pulls away, shaking his head as Etho giggles at him. He smothers the sound with his hands, peering over at Bdubs over his fingers. It takes everything in Bdubs not to swat at him again. His face is properly warm now.

Instead, he shuffles over and makes his home at the dip of Etho’s side. He folds his arms, huffs indignantly, and presses his cheek to his shoulder. Etho makes a small squeak. He relaxes, though, and lets Bdubs lie against him for a long moment. After that moment, however, he presses his cheek to his head and says:

“I’m not gonna let you fall asleep here.”

Bdubs grumbles.

“Fine,” he says. He lets Etho untangle himself from beside him, takes both his hands when he offers to help him stand. In the slowly building moonlight, Etho and Bdubs trudge into the small deepslate fort. Etho’s hand stays in his, warm and solid. Tango still rests soundly, sprawled out on one sleeping mat at the other side of the base, tail twitching ever so in his sleep. Bdubs sighs again as he lies down next to Etho. It takes a long time for his eyes to finally close.

At least he has him now. He doesn’t want to let him go any time soon.

[lunarharp]

gonna draw them being lovely for a bit

[imthegayone]

A Broken Rib (drabble)

Summary: You broke a rib during a stunt, earning yourself a scolding by your girlfriend.

Warrnings: mention of bruising? and some errors (reread this maybe twice)

Author's Note: A small little drabble cause I wanted to get something out for you all but these wips are kicking my ass rn. Also this is inspired by an interview where Britney Snow (i think) broke a rib during a stunt where she had to ram against a car to break it's widow and a fic I read a bit ago were Jenna sprains her ankle at work when she's distracted by a video of reader. (sadly I can't find it or I'd link it) Hope you enjoy 🩵

Word Count: 431

________

“You’re never doing that again.” Jenna reprimands a look in her eyes that says there’s no room for negotiation. However, it was an accident, you knew that and she knew that. The stunt was easy, even your manager agreed that you could ram yourself into the car for the scene. It didn’t stop Jenna from worrying though, the second she was told about your hospital visit a nervous pit settled deep in her stomach. 

“Jen.” You groan, you’re in need of sleep and just want to be held in the shorter girl's arms while you watch your favorite comfort movie. “Don’t Jen, me I’m not the one in trouble, you are.” Crossing her arms, you finally notice just how high her anxiety was. Understanding exactly how much stress someone could put themselves under when not knowing the condition of their loved one. You had experienced the same mounting fear when she sprained her ankle on set a year ago.

You sigh, never wanting to make her sick with worry especially when you were fine. “Baby, I’m okay. It’s one broken rib, plenty of people get broken ribs and survive.” 

“I’m just a little sore.” You add, prodding at the growing colors splayed across your abdomen. “And bruised.” Jenna mumbles knowing she’s not gonna get anywhere with you. You grab her hand placing it above your heart. “I’m fine. We got the shot, neither I nor Naomi need to redo it.” 

“She’s doing all your stunts from now on and I mean it.” Jenna gives you her best stern eyes but she knows you, you’re just like her when it comes to things like this. If you can do it yourself then why not? 

“You know I can’t promise that.” Jenna sighs knowing you’re right. She gently wraps you up in a hug, careful not to hurt you further. She’ll have plenty of time to scold you but for now she’d rather get you into bed to rest. “Just take it easy next time, okay? If you need a break, take one.” 

“I will. I promise.” Promising sincerely, your y/e/c eyes boring into her soft brown ones. “Too bad there’s not gonna be a scar though, I heard women love scars.” You tease, breaking the tension.

“Oh my god, please shut up.” Jenna says hiding her face in your neck at your embarrassing statement. Unable to contain her chuckle at your silly excuse for flirting. “I love you, even though you’re a reckless idiot.” 

“Yeah but I’m your reckless idiot.” 

Squeezing her tighter in your hold. “I love you too.”

[originalaccountname]

There was one line in that last volume right before where the pages had been torn out. It was something the protagonist said to the assassin. “People live to save themselves. It’s something they realize right before they die.” - Oda Sakunosuke, Dazai Osamu and the Dark Era

He had told me his name the first time we met. I had forgotten it for so long, but it was only just recently that I remembered. His name was Souseki Natsume. The same name as the name of the author on the cover of that novel. - Oda Sakunosuke, Dazai Osamu and the Dark Era

[absolutely-not-my-main-blog]

Dennis Reynolds + Textposts/Tweets

+ bonus, this weird image the guy who smokes weed by the gas station accidentally sent me instead of the movie meme he meant to, which I immediately spun to be Dennis-related of course.

[natjennie]

i think mostly we as a culture need to stop pretending media is for us and instead recognize that it's for the people making it. "the show didn't do the thing I wanted it to" is so not the point. did it do what the people making it wanted it to do? did it tell the story they were trying to tell? than it was successful. if that doesn't align with what you wanted to happen, don't get up in arms about it. don't badmouth the creators and throw a tantrum. that's what fan works are for. the text is the text, and it told the story it was telling. you wouldn't be like "ugh shakespeare is insane for act v btw like there was no reason for juliet to kill herself she should've just waited and then her and romeo could have been together wtf this ruined the whole play" like no!!! the themes were there the set-up was there the foreshadowing was there shakespeare did what he intended to. just because it wasn't a happy ending and just because you thought it should've went differently doesn't mean it was bad. read a fic where juliet lives and move on.

[yamanoskk]

The real mastermind, the unpredictable subordinate, and the 'spies'

My fanarts of the new casts in Touhou 19!

Overall, I do enjoy the game! Really adore all of the new casts, the new music are cool and the story is interesting! Really nice to see more of the old casts come back in here too!

[monstersdownthepath]

Homebrew Horror: The Unnamed

The world hosts all manner of boogeymen and ghost stories, many of which are based on very real entities that prank or prey upon mankind when the sun sets and the lights go out, but few enjoy the obscurity and success of the Thing with No Name. There is perhaps a handful of people in all the world who can claim to have witnessed the nameless horror hunt its prey, and fewer still who are telling the truth about it, as to speak of it to another is to invite it into your life.

The scant scratches of concrete information that can be pieced together all paint a similar picture: It is predator that has haunted thinking beings as far back in history as anyone can look, its methods of hunting and its means of killing leaving precious little evidence behind. What it truly is, where it came from, and why it hunts the way it does are all mysteries which cannot be solved. Rare and esoteric writings which tell of it list numerous titles, all unhelpful; The Thing with No Name, the Stain on the Page (or simply "the Stain"), the Nameless Legend, and simply the Unnamed. It is written that such ambiguous titles are to protect the reader, not the creature, for attempting to affix any more descriptive title to it is the surest way to invite its horrific attention.

The Unnamed is one of several self-keeping secrets in creation, hunting down and annihilating any creature which knows too many details or who becomes too curious of it, for reasons which may never be truly known. For those it hunts, it seems like a nightmare made terribly real in a way few other creatures can match; an unstoppable, inescapable force which will use seemingly any trick to disorient, mislead, and ultimately capture its victim.

Anyone targeted by the Stain can always feel when it's near, and rarely do they ever manage to find help before they're simply never seen again. Witnesses to the scenes rarely speak, and never coherently, never to say what they saw, lest it target them next. Even in scenes where a tremendous struggle obviously took place, investigators struggle to turn up so much as a single drop of blood or scrap of hair of the victim... but sometimes they find something else. A misshapen footprint, a handprint caused by something deeply inhuman, or some strange fluid almost but not quite like blood that causes the mind to reel with a single touch.

Not enough to solve a mystery, just enough to make one curious. Just enough to make one try and wipe away a stain of ink on some dusty old report tucked away in the back of an archive to see what could have been written underneath.

The Unnamed CR 13 Chaotic Evil Medium Aberration (Shapechanger) Init: +8 Senses: Darkvision 60ft, low-light vision, thoughtsense 60ft, blindsight 20ft; Perception +23 Aura: Unwind (30ft, DC 24) ------ Defense ------ AC 29, touch 14, flat-footed 25 (+4 Dex, +15 natural) HP 193 (15d8+105), Regeneration 5 (Cold) Fort +12, Ref +9, Will +14 Defensive Abilities: Amorphous, Unbound, Undone; DR 10/Cold Iron and Lawful; Immune: Charms and compulsions, death effects, poison; Resist: Acid 15, Electricity 15, Fire 15; SR 19 ------ Offense ------ Speed: 50ft, climb 30ft Melee: Bite +17 (1d8+6 plus poison/19-20), slam +15 (1d8+6 plus grab), 3 tentacles +15 (1d4+6 plus pull) Ranged: Bone dart +15/+10/+5 (1d3+6 plus poison/19-20) Space: 5ft, Reach: 5ft (10ft with bite, 20ft with tentacles) Special Attacks: Pull (10ft), rake (Bite +17, 1d8+6 plus poison), Unwind Spell-like Abilities (CL 15, concentration +17) Constant: Freedom of Movement At-will: Dancing Darkness, Ghost Sound (DC 13), Ventriloquism (DC 13) 3/day: Rusting Grasp, Telekinesis (DC 17), Warp Wood 1/day: Knock, Modify Memory (DC 16), Teleport, Traumatic Eyebite (DC 18) ------ Statistics ------ Str 23 Dex 19 Con 25 Int 13 Wis 21 Cha 15 Base Atk: +11; CMB: +16; CMD: 31 Feats Combat Reflexes, Critical Focus, Improved Critical (bite, bone dart), Improved Initiative, Multiattack, Traumatic Spell-like Ability (Eyebite), Sickening Critical Skills Acrobatics +13, Bluff +13, Climb +21, Intimidate +15, Perception +23, Stealth +21, Survival +23 Languages All; language mastery. SQ Change Shape (any past victim; see Uncanny), Compression, Unknown ------ Ecology ------ Environment: Any Organization: Unique Treasure: Standard (taken trophies) ------ Combat: The Stain enjoys toying with its Target out of both sadism and pragmatism, forcing them to make mistakes and expend resources battling shadows and hallucinations. It goes Unseen as long as it is able to, tormenting them with its spell-like abilities to haunt them, destroy or remove light sources, weapons, and escape routes, and make it seem as though it is coming from everywhere at once. It will attempt to hit them with one or several of its bone darts to infuse them with its poison and terrorize them with the hallucinations, but it will try to avoid killing them with its darts (including by making them nonlethal). It will further toy with them with its tentacle attacks from a distance, making them think their hallucinations are real, until eventually wearing them down and closing in to finish them off and consume them. Against a large group of victims, it will attempt to isolate and pick them off one by one after loosening their reasoning with its poisonous aura, stolen voices, and Eyebite. When the mood strikes, it leaves one survivor (never its Target) alive but traumatized and possibly insane, usually using its Modify Memory to erase the majority of the encounter. But never all of it.

Morale: If a group of creatures has no Target among them, the Unnamed will fight only long enough to potentially traumatize one into becoming a Target later, and then flee to let the memories fester. When in a combat involving its Target, the Unnamed will always attempt to kill them, even if its own life is in danger. If its foes prove to be beyond its power, it will still attempt a death or glory attack against its Target. Its own life doesn't matter. It will come back eventually. ------ Special Abilities ------

Unbound (Ex): The Unnamed will not be denied its happiness. It may make an additional saving throw at the end of each of its turns to remove any effect causing any of the following conditions, even if the effect causing the condition does not normally permit a saving throw: blind, confused, dazed, deafened, exhausted, fatigued, nauseated, sickened, slowed, staggered, and stunned. This does not require an action. If it is affected by multiple effects or conditions, it may only make one additional saving throw with this ability each turn.

Uncanny (Ex): The Unnamed can use its Change Shape ability as a full-round action to change into any creature it has ever consumed, but its shape is grotesquely twisted to the point it could not possibly be mistaken for a normal creature. It does not gain any additional abilities or attacks, the changes are purely cosmetic. Similarly, though it can speak any language, its voice is completely inhuman and distorted. Creatures under the effects of its poison (see Unwind, below) or who are confused or insane instead see and hear it as if the transformation was flawless. This effect is lost if they are adjacent to it.

Undone (Su): If the Unnamed reduces a Target to 0 HP or lower with its attacks while the Target is both within its reach and suffering from the effects of its poison (see Unwound, below), the Target's body crumbles to a fine dust the Unnamed may inhale as an immediate action or at any point within the next minute as a swift action. When it does so, it regains 4d8+15 hitpoints and may immediately end one condition or effect on itself.

Unknown (Su): Whenever a creature attempts to give a more descriptive title or a name to the Unnamed, or attempts to describe or dictate its appearance or abilities in detail to another being, they must attempt a DC 19 Will save. Success indicates that they stop themselves from going through with the attempt as a brief sense of dread washes over them. Failure allows them to fully convey the information, but they become a Target. When creature becomes a Target, they are shaken automatically for one round by the sense that they have committed some unfathomable wrong. What "naming/describing the Unnamed" entails will vary at the DMs discretion; it could be as simple as writing details into a document meant to be read by another, speak the details aloud to another, or drawing it a little too clearly, but it must be a willing, conscious attempt to define or describe the Unnamed to another intelligent creature. Creatures defining or describing the Unnamed only for themselves may still become Targets, at the DMs discretion (it often allows these creatures to write just enough to make a potential reader curious, but no more). The Unnamed knows the precise location of all Targets not shielded by divine power, as well as the distance and direction to them relative to itself. Targets become permanently shaken whenever the Unnamed is within 1 mile of them as a feeling of impending doom creeps into their minds, and if it is within 100ft, this condition pierces all forms of immunity to fear. All parts of this ability work across all boundaries and through any barrier.

Unseen (Sp/Su): When not being observed by an intelligent creature, the Unnamed may become invisible as a standard action, as per Greater Invisibility, except the effect lasts until an intelligent creature successfully sees the Unnamed through any means (such as if it's outlined through Glitterdust or mundane dust, or viewed through True Seeing), until any creature ends its turn adjacent to the Unnamed (or vice-versa), or until the Unnamed ends the effect itself as an immediate or free action. It can only use its spell-like abilities while invisible using this ability.

Unwind (Ex): The Unnamed produces a powerful, hallucinogenic poison which it delivers with its bite and dart attacks. It may also produce a colorless, odorless version of the poison as an aura with a 30ft radius, affecting all creatures which inhale it, though they gain a +5 circumstance bonus to the save. It may begin producing this aura version of its poison as a full-round action and stop as a move action; its bite and dart attacks do not poison their targets while it's producing the aura, and it can only maintain the aura for a total of 7 rounds a day (they do not have to be consecutive).

--Unwinding Venom: Bite, dart, or aura--injury, contact, or inhaled; save Fort DC 24, frequency 1/round for 5 rounds, effect 1d3 Wis damage plus hallucinations for 1 round (all other creatures have 20% concealment), cure 2 consecutive saves.

[tyttetardis]

Macbeth Donmar Supporter's Zoom Conversation

On the 9th of May 2023 Donmar Warehouse held a Zoom "meeting" for supporters where Michael Longhurst talked about their two newly announced productions - Clyde's and Macbeth. This was a week before tickets went on general sale and before they announced that Cush Jumbo would be playing Lady Macbeth.

At the time it was all, of course, quite exciting since everything they revealed during the talk was brand new info! Most of which wouldn't be known at large until the play was being perfomed (or later). I think only about 80 people participated, most of which I think either worked for the Donmar or were members at much higher levels.

Today it's no longer new information as such, but I thought it might still be interesting to make a post about what was said during this talk :)

Michael first spoke about Clyde's (which I didn't actually listen much too) and then introduced Macbeth as their Christmas show (using the word Christmas "incredibly tenuously") saying the cast was yet to be revealed, but called it a beautiful ensamble piece, and that they were in the process of casting with the cast to be revealed "shortly".

He then went on to say that the casting that was revealed the week before made a bit of a spark - David Tennant coming to the Donmar to play Macbeth :) He mentioned it being directed by Max Webster since Michael was so impressed with how he did Henry V the year before. He said they had a joyful process of going to their favourite actors trying to match slots and titles to the actors that they love - and that they were thrilled that Mr. Tennant was stepping up to the Scottish play - "we felt it was time!"

"He [David] has obviousley given amazing Shakespearean performances - Hamlet, Richard II at the RSC - I, yeah, I think his verse speaking is frankly unparalleled, it's a thing of beauty. He's quicksilver, but he can push himself into the most extraordinary characterisations."

He went on to say that David and Max were deep into discussions about what this production should be. He said there's always Macbeths, but he thought what they would do so spectacularly would be to allow it to be a deeply psychological take on the play (facilitated/inspired by the Donmar's space).

He said they had a very exciting Lady Macbeth who would be announced in a week. He said she was a Donmar alumni who had a great Shakespearean set of works under her belt. He was thrilled to reunite her with David, saying that they had just done a TV series together. "So you can go do some subtle googling, but please don't share it" :P "It's amazing, they are gonna be a fierce combination!"

Someone then asked about whether the show would be streamed to which Michael said they were having conversations about it since there was a LOT of interest and they knew demand for this show with David would be incredibly high. So they would be doing everything they could to get the show streamed, it was their absolute ambition. Not least since it would be amazing to be able to share it with students. So they were in those conversations "as we speak". He later talks about it again - saying that streaming is a way of mass sharing, even if it can't recreate the experience of closeness at the Donmar. That they would try to secure screenings of it since they were aware it would be very popular "It's almost a curse of having such an intimate theatre - that when you program a star like that, it becomes huge".

Choosing to stage Macbeth was down to Michael and Max having a conversation about a short list of Shakespeare plays Max was keen to have a go at and them talking about various leading actors (later he expands on this as Max having had conversations with potential leading actors on which titles they were inspired with/ to perform - sorta like an Actors dating spree, 6 months ago) to decide which one would be the best one for this moment - "David's availibity created this window between two massive screen projects and it felt like the one to grab". Macbeth hadn't been staged at the "Donmar" since 1976 - with the legendary Dench and McKellen version. Michael said he thinks that the Donmar stage is the perfect space for Macbeth since "it allows the director and the lead actor to utterly hold a room of people in a way that'd be thrilling and terrifying, that you can't necessarily do in other spaces". He then said that he didn't think Max was interested in the witches and the supernatural as real entities but rather looking at psychological, trauma related reasons to explore those devices within the play. He also said Max was very passionate about making it very Scottish and that he had already been meeting with Scottish folk musicians to create his ensemble team. Also that he was very interested in Lady M being from outside the Scottish hiearchy - that she's be unafraid to challenge that Scottish status quo.

For Michael it's about "the synergy of an actor who should be playing that character - and that is Mr. David Tennant because he is one of our greatest verse speakers, let alone the greatest Scottish verse speaker".

He said that the production would definitely be a contemporary set. A modern dress Macbeth.

He then said that the reason he wanted to back Max as a director is that he thinks he offers a brand of total theatre that is really exceptional. There was a question about the music used in Henry V, and Michael said he just knew about the Scottish folk music and that music would be a part of the show, and that music is always a big part of Max's shows.

Someone then asked if they consult with scools on what plays they are studying in order to choose what they put on. Michael says they were obviously very aware of Macbeth being part of the curriculum and that being one of the reasons they thought this was "the text. And obviousley with David and his DW background, he brings a huge appeal and accesibility for young people who might find Shakespeare challenging - and you know, being brought into that story by someone they know and love so well is...you know we saw the effect happen on Henry V, 40% of people coming to the Donmar were coming for the first time when we had Henry V on - and it's thrilling to expand that connection, and we know David will do the same".