#i might just yeet this from existence

[artemisravencourtney]

Klaroline WIP Wednesday: Mixing all the colors like we're making a Monet

I don't know what this one is, guys. I guess technically speaking it's a songfic because literally all of it was inspired by 'Violet Chemistry' by Miley Cyrus (including the title), which I then put on loop as I wrote it, but you don't have to listen to the song to enjoy it. But anyway yeah normally when I write a fic I have something of substance in it but this one is literally all for the vibes. And somehow it's currently sitting at 2.5k and I don't even think it's any good so, yay?

Plot: Klaroline run into each other at a club. That's it.

When he first sees her, Klaus thinks he must be dreaming.

She looks like a goddess, but she always does, commanding attention in any room she enters with the warmth of her presence and her otherworldly beauty. And otherworldly is exactly the word for her as she twirls with some bumbling human who is far too inebriated to match her steps. She’s wearing a dress made of tiny, white, satin, the hem stopping at her mid-thigh. The dress shifts color as it’s caressed by the strobe lights, going from neon green to inky blue to a brilliant, brilliant violet. Her golden curls are loose and wild, the humidity giving them more volume than he’s used to seeing on her. And then she twirls again, and he realizes that beautifully tempting dress is backless, with thin white straps crisscrossing over bare skin that he can still taste on his tongue from their last rendezvous.

She is an angel among mortals, and he must see her up close. He knows he promised to keep his distance after their time in the woods, but a chance encounter like this doesn’t count, does it?

Caroline spins away from her partner again, and Klaus realizes that she’s being strategic about it. Every time she stills, even for a second, the drunken oaf tries to put his hands lower than would be appropriate.

“Marcel,” he grits out, remembering that they were in Miami for a reason, “have our associate know that I was unable to make it this evening, but I will join you both for brunch tomorrow.” The other vampire starts to question him, but he walks away before he can finish getting the words out.

No, this time doesn’t count, he decides, making his way toward them.

[garsideofthemoon]

hot take time but the point of shb is that venat was right

[vastiitas]

damn, might be time for that every-other-week violence call,

[jaewritesfic]

Everlasting Trio DP x DC Nobody Knows Au Pt 6

Part 5

Warning for very brief flashback implying vivisection

It is highly amusing to float to Red Robin's rooftop and see up close how intensely vigilant he's being. He looks like if a pigeon took off halfway across the city he'd fucking notice, but the ghost standing next to him and trying not to snicker goes undetected.

Poor guy. He really seems like the type to drive himself up a wall over a mystery - he's certainly been driving himself up a wall over Danny.

Danny has to force himself not to tickle the back of the guy's neck just to watch him flail.

He likes Red Robin, he really does. He didn't set out to torture the poor guy - Red did that all by himself, all Danny has been trying to do is help. 

They can't pursue him the way they have been and expect him not to try and get some entertainment out of it. It tempers the annoyance, making their obsession with finding him a game.

Danny considers the box in Red's lap.

He's been doing the same thing with each box they leave him from the beginning: grab box, open pocket dimension, yeet.

Not even Bat trackers can transmit from an entirely different plane of existence, it would seem.

And the thing Danny has discovered about having died when an entirely different plane of existence opened on top of him and merged with his DNA?

He is a pocket dimension, in a way. 

In other words, no need to expend energy to tear the fabric of reality to deposit his loot - all he needs to do is phase things into himself.

So Red will definitely notice when the box disappears from his lap and seemingly blinks out of existence, but at least he won't be seeing any neon green tears in reality open up in front of him.

That seems like a good deal to Danny.

He steps forward and reaches for the box-

NA NA NA NA NA NANA

Danny and Red Robin both curse and flail as the Ghostbusters theme rings out across the rooftop.

Red Robin nearly falls out of his lawn chair launching himself away from the sudden sound, almost dropping the lockbox in the process.

Danny frantically searches his pockets for his goddamn phone, pulls it out, has the fear of God struck into him at the idea of hanging up on Sam Manson and thus shoves it into his chest to go to voicemail somewhere where nobody can hear it ring.

In the dead silence that follows, Danny finds himself in something like a startled cowboy standoff where only one of the participants is actually visible.

Red Robin stands with feet braced shoulder width apart, lockbox in one hand and bo staff in the other. He is visibly bewildered and ready to throw hands.

He's staring at the space a little to the left of Danny's head, so at least he hadn't dropped his invisibility in panic.

Welp. No use trying to change plans now.

Danny lunges forward and grabs the lockbox, relishing in the squawk of shock and indignance Red Robin makes as it abruptly leaves his hand and blinks out of sight.

He doesn't anticipate how fast Red Robin will recover or move.

A hand wraps tightly around his wrist and jerks him back in an impressive estimation of where Danny might be occupying space.

Danny almost goes ghost right there. Not because he wants to, but because for a moment there are restraints around his wrists and ectoplasm on the table and bright lights and sharp blades and pain-

He swallows the growl that wants to well up in his throat as he turns and looks at Red Robin, teeth feeling a little too large and sharp in his mouth before he forces himself to calm down.

Red is staring him straight in the eyes despite Danny being able to see he's still invisible. Red’s hand looks to be wrapped around nothing.

“You're not going anywhere,” Red Robin says, voice low and slightly feral with the high of perceived victory. That, paired with the crooked smirk on his lips is kind of, uh- well. Hoo boy, that's all Danny has to say about that.

Well, he does have one other thing to say.

“Bet.”

The way Red Robin's face falls in disbelief when Danny phases out of his grip is nothing short of glorious. Danny's already floating off the roof and out of grabbing distance before Red finishes buffering.

“Are you fucking kidding me?!”

Danny cackles, tossing him a salute he can't even see.

“Better luck next time, Angry Bird!”

“Son of a bitch!”

Masterpost

[gunbun]

Gunbun's Pro Wrestling Explainer For FFXIV Players Who Don't Understand Graps Very Well

Hi! Are you an FFXIV player whose only exposure to pro wrestling is the tales of how Vince McMahon is a piece of shit? Do you have thinkthonks about the raid storyline so far but aren't clear on how it relates to pro wrestling? Do you think "correct me if I'm wrong, but…" about any part of pro wrestling, but you're not a watcher? Are you interested in obtaining a little bit of knowledge and context about what it is we're seeing in the Ascension Arcadia Championship?

I gotchu. This whole raid storyline is a large homage to the highs and lows of professional wrestling, and from my knowledge as a fan of WWE in particular, its storyline so far is unfolding just like the fictional storylines that unfold in our real-world on a regular basis.

I posit that the present Ascension Arcadia Championship is a pro wrestling promotion that exists in Solution 9. And that it's not only helpful but entertaining once you become a little genre-savvy about it.

Sidebar For The Smarks: Yes, other professional wrestling promotions exist. We got TNA, ROH, AEW, all the indie promotions, AJPW, NJPW, STARDOM…. there are many. I'm just using WWE here as an example as it's the promotion I'm the most familiar with. There's more to pro wrestling than WWE. But I'm using one promotion as an example to explain the tropes of these kinds of storylines to folks who might not understand.

Preface: A List of Wrestling Terminology

Pro Wrestling has its own lingo. This is not an exhaustive list, just trying to cover the terms I'm gonna use in the essay part.

Promotion/Federation - a company that presents a stable of wrestlers fighting to compete to win a title to the greater public for sports entertainment. Talent can move from promotion to promotion. Federation is an older-school term for the same.

Title - the cool belt that the champion gets to wear. disclaimer: may not always be cool.

Talent - a professional wrestler.

Heel - the Bad Guy character.

Face - the Good Guy character.

Gimmick - basically the core of the talent's character. Are they an undead wizard? A genre-savvy angry Canadian man? A sexy male stripper? Pro Wrestling Barbie? A maybe-stoner Samoan who turned YEET into his catchphrase? These are all gimmicks that have existed or do exist in pro-wrestling today.

Booking - where the management of the promotion decides who fights whom and what the stakes will be (title defense, match style, etc).

Bump - when wrestlers collide with either one another, or the mat, or the turnbuckle, or the announcer table, or the ring steps, or the barricades…..

Work - this is stuff within the entertainment itself that furthers the fictional story of kayfabe.

Shoot - this is stuff that is Real Life that may affect the fictional story of kayfabe.

Promo/Promo Segment - speeches/skits done between matches to further storylines.

Pin/Pinfall - when one guy pins the other guy for a count of three. it usually means they win!

Submission - when one guy taps out after the other guy usually twists them into some kind of painful position. it definitely means they lose.

Kayfabe - the illusion that the characters, rivalries, and championships within a promotion are anything more than stuff that the talent does to get a paycheque. Both the talent and the audience suspend their disbelief and buy-in to the idea that the match has real stakes. It's the fiction that plays out as part of the matches. ------

Part One: PRO WRESTLING IS FAKE AND GAY

First thing I want you to do, while the smarks are still distracted above because I neglected to mention their favourite promotion, is hop over to YouTube and watch….. oooh! How about Drew McIntyre vs CM Punk in Hell in a Cell at Bad Blood 2024? Content warning for blood, blood, so much blood, but you can view this match here.

Did you see how CM Punk just annihilated Drew McIntyre with that toolbox? Did you see the absolutely balls-to-the-wall violence on display? The athleticism?! I went to that match in person and Drew had to have his head stapled back together! It was intense.

BUT WHAT THE FUCK, GUNBUN, you say, I THOUGHT PRO WRESTLING WAS FAKE.

Nope. It's predetermined. It's booked. It is a live performance involving people beating the shit out of one another for the entertainment of a crowd. It is done deliberately, with full consent of all parties, and today is done as safely as is possible.

In my other posts, I said that wrestling is predetermined and semi-choreographed. However, saying this does not mean that the bumps are not real and that they do not hurt. It doesn't mean that the talent aren't giving it their all.

The wrestlers are still beating the absolute shit out of one another. They use their skills and know-how to do their best to keep it from causing severe injury. In fact, wrestlers are always contending with one injury or the other. The vast, vast majority can be stapled up and given some PT and are back to work (wrestlers are in insanely good shape; they have to be!), but sometimes it's career-ending. Look up Diamond Dallas Page or Big E or Charlotte Flair and what they've been contending with lately/in their past. It is rough on the talent, even when practiced as safely as is possible.

The 'fake' part comes from the wrestling principle of kayfabe. Kayfabe is the fictional world wherein the promotion exists, it is the personae of all the talent in the promotion and the way they interact with one another.

I asked ya to watch the HIAC highlight reel for a reason. In real life, CM Punk is a guy named Phil and Drew McIntyre is a guy named Andrew and this match is the culmination of months of matches and feuding between their characters. Phil and Andrew, the people, are working together to create a spectacle for us, the audience. Punk and Drew, the characters, want to kill each other. It was expected that there would be blood during this kind of a match, and it was expected that Punk was gonna clobber McIntyre with that toolbox, but the cut was not expected to be that severe. And yet, this is live. They can't stop. And they deliver what is shaping up to be an all-time classic match. You'll notice everyone cheering and chanting. This is the other part of kayfabe: the promotion presents us the fiction, and we play along. We cheer for the faces, boo for the heels, or are die-hards for our favourite talent. One of my favourite wrestlers right now is undergoing a heel turn, where his character is moving from being a face to being a heel, and the reasons why are very dramatic storytelling.

If you think about it too hard, it's stupid as hell. But the talent love to do it and pride themselves on doing it well, it is undergoing kind of a renaissance right now from its shady past, and it's the modern-day gladatorial combat.

(The 'gay' part? Just…. just google Rhea Ripley. Then Damian Priest. Then Drew McIntyre. Then Roman Reigns. Then Tiffany Stratton. Then Becky Lynch. Then Jey Uso. Trust me.)

--------

Part Two: OKAY BUT WTF DOES THIS HAVE TO DO WITH THE ARCADION

I am already 1200+ words deep into this, so I looked at the introductory cutscene for the raid. And…. um, friends, Romans, countrymen, puks that I know: kayfabe is demonstrably and textually alive and well in AAC. The Arcadion is a show. What is my proof? First conversation, Metem, the promoter of the federation tells the WOL it's a spectacle. That's the word he uses.

He then says the purpose of the Arcadion is "By providing them with gripping entertainment it is our hope to have them forget their cares." However, to shock the citizens out of their stupor, they need someone new! New entertainment is the best way to get them to think about something that isn't their dead queen and the horrifying realization of what regulator usage means, after all.

Well, how about the hero of the day, the one who killed the king?

That's what the mysterious behind-the-scenes president of the federation (Metem's boss) thinks WOL can be the next champion. And then immediately tells us the storyline he wishes to cultivate and discusses WOL's remuneration for participation.

WOL agrees.

Opinion time: At first I called him Lalafell JBL because of the hat, but having reviewed the cutscene Metem is totally giving me NXT-Shawn Michaels vibes. I love it. Anyway.

WOL enters THE LOCKER ROOM. We are introduced to the three combatants AS THEIR CHARACTERS. We don't learn their names yet, but all right.

Honey B talks about sharing the stage with the WOL.

Brute Bomber talks about meeting WOL the ring and how he's gonna take them down!

This is literally and explicitly kayfabe we are walking into. It is not a matter of opinion. It's in the text. It's in the tropes. The three other combatants are doing the kayfabe thing of establishing themselves. Metem explains that they're characters (literally) and that this is their way of welcoming WOL to the locker room. Metem then explains how AAC works and he and WOL work out the deal for the souls from the repository. This isn't anything deeper than making the battles align to an 8-man raid. This is all Alexandrian flavor.

The shoot is the WOL saving souls. The work is Fresh Flavour for the Arcadion. Metem tells us he'll tell us more after our first match.

Thus begins M1: Black Cat is our foe who uses a feral soul to become .... that thing. This is Black Cat's gimmick. In the Arcadion the gimmicks are literal transformations via feral souls, but they serve the exact same purpose. WOL's gimmick is LOOK MA, NO REGULATOR, in case it wasn't clear.

WOL is told that all of this hullaballoo is in place in order to provide the audience with a spectacle. it's first and foremost entertainment.

Metem explicitly tells you this is entertainment, this is a show. Right there in the cutscenes.

Like IDK what else I can say. It's kayfabe. QED.

I am not going to get into the storyline for M2-4, but it is almost a shooty nature: something from real life is affecting the fighters and it's being covered up. THIS is the wrong that WOL will right. The spectacle continues because it is the way of life for people.

[catofadifferentcolor]

Terrible Fic Idea #92: Percy/Apollo, but make it The Trojan War

Into every fandom, a time travel fic must fall - or in this case a second one, because I somehow got to thinking about the delightful PJO trope of Percy being thrown back in time to The Trojan War and realized that doing so misses out on a fantastic opportunity.

Or: What if post-TOA Percy Jackson and Apollo time travel to shortly before The Trojan War?

Just imagine it:

Everything follows canon through TOA, with one exception: rather than struggle to catch up in the mortal world following the Second Gigantomachy, Percy elects to stay at Camp Half-Blood. There he can homeschool at his own place with programs tailored towards ADHD children and still visit his family on the weekends - and not get into any more ridiculous situations in the mortal world when one of the gods kidnaps him or sends him on a quest to find their sneakers.

This, naturally, stresses his relationship with Annabeth - who, now that she's no longer living at camp full time, calls it the easy way out. But Percy is tired and struggling in mortal high school where everyone thinks he's a delinquent idiot when another option exists seems foolish. Percy and Annabeth break up and drift apart.

Enter Apollo, fresh from his latest stint as a mortal. He's trying to do his best by his children, which includes popping by camp as often as he can get away with - which in turn means spending a lot of time with Percy, who at this point is unofficially running CHB because it's not like Dionysus or even Chiron have done a brilliant job of it in recent times.

(First aid, strategy, and mythology classes are made mandatory. Percy personally ensures every demigod knows enough about self-defense to be able to survive long enough to run away or for help to arrive. Bullying is cracked down on so hard that it's this, not Percy's generally parental nature, that has people calling him Camp Mom.)

Percy and Apollo become friendly. Enough so that some of Apollo's kids assume they're dating and keeping it on the down-low so as not to draw Zeus' ire. Or Poseidon's. Or anyone else's. It's on one of their not-dates that they're yeeted into the past, without warning or explanation.

And so 19-year-old Percy Jackson and post-TOA Apollo find themselves in Ancient Greece c. 1220 BCE, roughly thirty-five years before the destruction of Troy.

The time travel is immediately obvious, as Apollo becomes the closest thing a god might experience to being high the moment they land in the past - being a powerful god in modern times is nothing like being a powerful god at the height of his power in ancient times. It's overwhelming (and somewhat alarming from Percy's POV, but kind of funny in retrospect.)

The specific date is harder to determine, but made clear when Hermes shows up and starts going on about you'll never believe what father's done now: he seduced the Spartan queen as a swan and she's laid an egg. Hera is furious - especially as they're saying the girl that hatched from it is the most beautiful in the world, even though she's only a few days old. It's nuts. By the way, where have you been? You missed the last two council meetings. Do you want Dad to punish you?

Apollo at this stage is very high. He's also been USTing over Percy for quite some time and is worried what the gods of this era might do to Percy without divine protection (smiting or seduction, it's all on the table). But mostly he's very high, and so to keep Percy close and safe he declares he's been off having the dirtiest of dirty weekends with his latest lover and that Hermes' presence is ruining the mood. So if he would kindly leave, please and thank you, he'd really rather get back to it without an audience.

This, naturally, is a surprise to Percy, but he rolls with it because 1) he doesn't have any better ideas on how to get rid of Ancient Greek Hermes so they can figure out what the hades is going on and 2) he's been USTing over Apollo ever since he recovered enough from Tartarus to start feeling attraction again.

Fueled by mutual UST, they put together a cover story that should hold the next time a god with too much prurient interest shows: Percy is now Prince Persē of Gadir - a Phoenician colony that will grow into the future Cadiz - well past the edge of the Greek world at this stage but not beyond belief for Poseidon to have visited, as it's obvious who his father is. They claim his mother is the King of Gadir's youngest sister and as such Persē had a royal upbringing, but was far enough down the line of succession that he was free to chose to sail east and explore his father's homeland. Apollo caught sight of him on his journey, one thing led to another, and here they are.

(Are there easier, more sensible cover stories? Possibly. But the UST refuses to let them consider any of them now that a fake relationship is on the table.)

Deciding what to do about The Trojan War is much harder. On the one hand, it's a lot of senseless death and destruction. On the other, without it we don't get The Iliad and The Odyssey - two of the most influential works of literature in western civilization - and Aeneas doesn't go off to Italy (leading to the founding of Rome, which would change the history of western civilization a lot). In the end, they decide to let the war happen but do their best to mitigate the worst parts of it.

And so Percy goes off and becomes a hero of Ancient Greece while pretending to be in a relationship with Apollo.

This stage of things is filed with angst from both parties, as both Percy and Apollo want a real relationship with each other but think they're abusing the other's trust by eagerly faking their relationship. There's a lot of PDA, a lot of feelings, and limited communication. It goes on for quite a while and would probably exasperate quite a few people if everyone in the know didn't think they were already in a relationship.

It's also filled with modern day Percy being confronted by realties of life in Ancient Greece. It's not just mortals knowing about - and interacting with - the gods: it's everything. It's food and clothes and language and culture and housing and travel. He can play a lot off it as being a traveler from the edge of the known world, but some of it has him asking Apollo if he's being rick rolled.

Apollo, meanwhile, is having troubles of his own. He is not the god he used to be and it's hard pretending otherwise. He tries to walk the line of doing enough to be believable and holding back enough not to despise himself, but it's a fine line, he fails often, and he spends a not insignificant amount of time worried he's backsliding.

And so it goes until 7-year-old Helen of Troy is kidnapped by Theseus to be his wife.

This, naturally, does not fly with Percy, who by this time has built up something of a reputation as a hero. He teams up with the Dioscuri to rescue Helen.

One would think this would earn him Zeus' favor. It doesn't. Instead, Zeus sends monsters to harry him for refusing to let Castor and Pollux take Helen's captors' loved ones captive and raze Aphidna for Theseus' crime. Percy manages to hold his own for quite a while but eventually, exhausted from the near-constant fighting, is gored and left for dead by the reformed Minotaur.

...and when Apollo arrives, frantic, to heal him, Percy ascends instead, becoming the greek version of Saint Sebastian - a minor god of heroes, strength in the face of adversity, and athleticism; sort of halfway between Hercules and Chiron.

Then and only then do Percy and Apollo finally get their act together, confessing to each other how much they care for the other and how much they don't want this to be fake any longer.

History proceeds apace - albeit with Persē being a second immortal trainer of heroes.

24 years after their arrival in the past, 16 years after Percy's ascension, The Trojan War begins. Despite their best efforts, there's only so much they can do - war is war and gods are gods. They are able to stop some of the worst excesses on both sides, but in the end Apollo still sends the plague that causes Agamemnon to take Briseis for his own, which caused Achilles' departure from the field, Patroclus' death, &c - not because Apollo was trying to maintain the timeline, but because in the instant he sent it he was angry and reverted to his old ways.

Troy falls...

...but when Zeus tries to use this as an excuse to ban gods from interacting with their demigod children, Apollo is able to say that's a bit extreme isn't it? with enough backing from the rest of the council that Zeus is forced to amend his ruling so that the gods are only allowed to freely visit their children on the "cross quarter days" that fall between each solstice and equinox (1 February, 1 May, 1 August, and 1 November).

This changes everything and nothing.

Time continues its inevitable march. Greece has its golden age before being conquered by Rome, which splits apart under its own weight and forms several smaller countries, which eventually spread their cultures around the world...

Apollo and Percy are there for it all. Persē is a minor figure in mythology, but never forgotten. He is ever-present in Apollo's temples - though the Church will later try to rewrite their myth so that they were merely sworn fighting partners, rather than lovers who eventually had a quite lovely wedding on Olympus (and then, at Poseidon's insistence, an even bigger ceremony on Atlantis). Percy takes over day-to-day operations of CHB from practically the moment the Trojan War ends.

...and so Persē is there the day Sally Jackson tries to get her son to camp, and is able to intervene when the Minotaur attacks on their border. He's able to meet her and her young son, Perseus ("Mom named me after you and the guy that killed Medusa since you're the only two heroes to have happy endings!"), and guide him through the trials that come with being a child of prophecy.

One day that Percy will hand Luke - who was never happy with the limited attention the gods were allowed to give their children - a cursed dagger so that Kronos can be defeated. That child will be offered godhood, turn it down, and go on to have a happy life with his eventual wife, Annabeth. He will never have his memories erased and be sent to Camp Jupiter. Gaia will not rise until long after that Percy's grandchildren are dead, and Zeus will not be quite so bullheaded when the proof of it is brought before him. That Second Gigantomachy is swift, well-coordinated, and fought without another Greek/Roman war brewing in the background.

And when they finally arrive at the day Apollo and Percy were originally sent back in time, Percy admits that while he is happy some version of him was better prepared for the war he was asked to fight in and allowed his peace afterward, he would change nothing about his own life, for it brought him to Apollo. The sunrise the next morning - on the first morning of the rest of their lives - is particularly spectacular.

Bonuses include:

Gaslighting Poseidon into believing that he's met Percy before the first time they're introduced. ("What do you mean you don't remember me, Father? You were present when I came of age! You gifted me this trident! Have I displeased you in some way?") It's an absolute masterclass that eventually manages to convince Poseidon that, yes, of course he knows Percy - and, maybe, he should check in on all his other demigod children to make sure he's not missed someone. (Two. He lost track of two of the others. Maybe he should be more careful about siring children in the future.) Apollo practically has to stuff his fist in his mouth to keep from laughing.

As much historical accuracy as can be crammed into the Percy trying to make sense of Ancient Greece chapters as possible. Think Of a Linear Circle - Part III by flamethrower levels of historical research. As much as can be shoehorned in without bogging down the plot.

Percy and Dionysus bonding over their mutual dislike of Theseus, though Percy generally gets along with his other half-siblings, especially the ones who come to camp young enough to keep from getting big heads over being the children of Poseidon.

Though Percy adores all the children in Cabin 7 (most of whom are born via blessing this time around), he and Apollo have at least one child of their own - maybe a demigod born before Percy's ascension to sell their fake relationship? Maybe a minor god who's later attributed a different parentage by mortals? Dealer's choice on details.

It never being made clear who, or what, or how, Percy and Apollo were sent into the past. All of Percy's oddities are attributed to him being foreign or formerly mortal, all of Apollo's to the fact that he's in love with someone who didn't die before their first anniversary, and no one ever guesses time travel is responsible for their eccentricities. Or that time travel was ever an option.

And that's all I have. As always, feel free to adopt, just link back if you ever decide to do anything with it.

More PJO Ideas | More Terrible Fic Ideas

[zeondraws]

I poked a few questions at Secret Mode on their discord server and got an answer back today. Right after I came home and I can't stress how happy I got reading it.

I'll try to show my the questions and the answers together, so that people on tumblr have enough context what I asked about. Figured you guys might enjoy.

"Does Muir play the Bagpipe?" - Personally (others might disagree), I could definitely see Muir play the bagpipe (especially if he can annoy Innes with it!) but what would most likely happen is that he would bring something small that is allowed in his baggage like an harmonica.

"Something I noticed is that McLeary's name seems to be an innuendo to MacReady from The Thing, which made me wonder: Were names chosen at random or did they serve a specific purpose? Another person I know noticed Muir means "sea" while Innes means "island"." - I think the short answer is yes names have meaning and none of them were picked at random! But our philosophy is to let people draw their own conclusion as we don't want to make things "official" by giving our reasons! (we love to read/see people create their own theories so feel free to share them!)

"One small thing me and other people wondered, ingame we found a schedule for the shifts. A bunch of the crewmates seem to be listed on it, like "Derek M."? and "Joey I." Where we wondered if those were the first names of Muir and Innes?" - To my knowledge Muir and Innes have always existed in the game and can be found listed on that schedule I think although it might be hidden. Derek and Joey might be in the background without lines. - Innes' first name is Terry and Muir's name is Ewan.

"Another mini question I had was, is it possible to know who lived in the room 121? I could never find any indications thus far." - 121 was meant to be Innes and Muir's room...Innes is the one who likes reading. Seeing how much fans love them I wish we'd set dressed it more with clues about them.

"And my last goofy question is, when Muir basically yeets Innes across the deck, he is still animated when he lands inbetween the containers (I'm using a mod to look around the level a bit more). Did that have a specific reason? Did Muir just threw him across the deck or did he want to carry him?" - For Innes being animated for a bit longer, the simple answer is that our lead animator always plan to show a tiny bit more than what is shown because you never know if an angle might change...

With this I am finally able to somewhat complete my picture of the crewmate rooms. Thank you so much! I am learning so much about this game and how the developers approach the lore. I've never really been in such a community before so this is all very new for me. But a very positive experience (Since I feel extremely awkward asking questions, where I never know if I sound pushy/annoying, so I am often extremely nervous).

But this also means I have another detail to add for my video- Ooohhhh!

[bluginkgo]

Another Nuzi rant. Don't mind me

Spoilers, duh

Since I've already done a quick character study/nuzi rant from N's side. Here's one from Uzi's side!

This is probably gonna be just me repeating things people have already said... again. But I love Uzi. (Just like every other character in Murder Drones, honestly.) But Liam did a wonderful job of making an angsty, emo girl, borderline maniac that we know as Uzi. Her character, to me at least, never became the annoying overdramatized and overused stereotype that follows her style. She has real reasons for being the way she is.

A loner, whose dad loves nothing but doors. School is not different, as her classmates pretty much forget about her existence on a day to day basis. No one to talk to, no one to connect with, gives her the angsty side that I absolutely adore. Because underneath all of that toughness is just a lonely little drone who was left by herself since early age. But guess who comes in and busts down those walls (literally and figuratively)?

Our good boi N! Despite their rough start, N never really gave Uzi a reason not to trust him. Their chance encounter, and a broken sensor, allowed them to have the talk that might have never happened. Their beginning might have been a lucky accident, but for the rest of the season, we can see how both sides had to work to make well... Nuzi work!

For Uzi, asking for help is like asking for a death sentence probably. After being on her own for so long, she doesn't expect anyone to help. With that information in mind, the first time she let's that wall crumble was episode 2, Heartbeat.

"Uzi, shoot! Or give it to me!"

Granted, we all know that was not our N. But in that moment, when Uzi was in an enough distressed state, she sought help in N. We all know how that ended, though. Absolute Solver took advantage of that and almost killed her, before N once again sweeped in to save her. The one and only notorious Nuzi misunderstanding was, for better or for worse, cleared up pretty quickly. Seeing as glitchproduction only has so much money at their disposal, they can't really drag this ordeal out. Personally, I'm glad that it didn't. The long drama that is just a misunderstanding after misunderstanding gets quite tedious to follow.

So, moving forward in The Promening, Uzi once again seeks out N when she's in distress. When she sees and hears about what Doll and Lizzy were gonna do, she books it to the only person she knows can help her.

N! Now don't get me wrong. Uzi, by herself is plenty strong. She's shown off her fighting and capabilities, and would have probably been able to take V on. She's taken J down before, aaaand Uzi does technically also take V down in Cabin Fever. But she still went out of her way to go find N. So they could work together and get this mess sorted out.

And then there's this. God I love Cabin Fever, and surprisingly no, not for the Falling.... for you? scene. No, I loved the entire Uzi going on murder spree because she can! The music was such a banger too. But back to Uzi. She recognizes V and briefly snaps back to her usual self. Curious isn't it? N and Uzi both tried reaching out to V, but because V is so untrusting (and we all understand why from ep 5, Home). Here Uzi tried to ask V for help... in form of N.

I find it interesting how ever since Uzi met N and V, she's been getting better at asking for help. Sure, V shot her down because, once again, V was scared. Uzi was turning into the monster that only Cyn has been capable of creating. This soon leads to N yeeting Uzi into the f*cking stratosphere and the two have a chat.

I love how the animators included Uzi hiding behind her bat wings.

Her metaphorical walls were back up. And guess who broke them yet again.

The bestest boi N! And ever since this moment, N and Uzi are way more open.

Episode 5 was taking place in N's memories. But episode 6 is where their trust and care shines. Yeah, sure, there was the hand holding. And it was a big moment! But I enjoyed the little things more. Uzi checking in on N, nodding at his little comments and jokes.

Summary: I love Nuzi. Send help they're on my mind 24/7.

[seventeenpins]

violet pairing: older qz!joel x f!reader

word count: 5.8k

summary: follow-up to forget-me-not. it's been seven years since you last saw joel in the boston qz, and a lot has changed. you find yourselves reunited in jackson.

warnings: smut, actually contains a lot of plot (sorry), tommy, maria & ellie all exist, allusions to/discussion of abortion, reader has a kid, joel is insecure about being an old man (you're only 63, it's ok buddy), reader is mid-thirties to early 40s, lil bit of daddy kink, face sitting, multiple orgasms.

a/n: okay first -- header or no header? like, it's a bit ridiculous but i also kinda love it? instead of packing up for a move, i've been writing this 🤷 thanks for all the continued love on my fics, it's so sweet and means a whole lot. working on a few other stories, and i hope to have more out soon!

this chapter is dedicated to the dumbass at the club who didn't quite manage to ruin a first date i was on by asking us what we thought about gay rights (as two fem-perceived folks caught smoochin) and then telling us "you're clearly so in love, i respect that" before yeeting off in the moonlight.

you could have sworn the terrain had been totally empty only moments before, but now in the blink of an eye, you’re surrounded by a small group of riders, armed, their horses huffing down at you. 

“shit,” you gasp, trying to shield your girl, but realising there was little use. can’t put your body in front of hers when there’s people on every side of you. instead, your hands grip tighter on the shoulders of your daughter and you take a breath, trying to steady your breathing.

“you been near infected?” a man calls down at you, and his accent reminds you of joel, so much so that your heart flutters for a moment at the memory. you’ve met lots of people on your travels, a few of them from austin, too, and every time you think of him.

“no,” you call back, “last we saw them was back in the dakotas and there weren’t many there. that was weeks ago, haven’t encountered any since.”

the man nods, and you’re not sure what he’s thinking under his stetson, but the fact you’re not shot yet seems like a good sign. hopefully.

"frankly, we've had much more trouble from people than from infected on our way. but we've been able to take care of ourselves," you say, and you're hoping your words have an underlying edge of danger, but you're pretty sure you just come off as scared and defensive.

the man nods, and looks you up and down. “well, we've gotta make sure,” he says, almost apologetic, and you tense. it takes a moment before you see the dog, but then a dark blur comes bounding towards you, snarling. You tense and pull your girl close, but after a few moments of incredibly stressful sniffing, the dog leaves you alone and trods back to his owner, panting happily.

“good,” the man says, “now we've got that cleared up, what’s your business here?”

it's a good fuckin question, but not one you have a direct answer to.

"we came from boston," you tell him, "it was okay for a while, but the qz changed--got worse. more bombings. more hangings. if it was just me i might have stayed put, but i have my daughter."

there's so much you could say, but you're pretty sure you're advocating for your own life right now, so you keep it short and simple.

"we're just trying to find... somewhere better. travelling through all the places i've ever known people, to see if there's somewhere safe out there at all."

he nods, and the group surrounding you seems to back down a little.

"come with us. i think we might have what you're looking for," he tells you, and then one rider jumps down from their horse, mounts another, and the first man helps you and your daughter onto the vacated horse.

you follow the group, cantering along, and the man keeps an eye on you, and a woman in the group rides up next to you.

"so, you're from the boston qz? that's quite a journey," the man says, and nods his head towards the young woman, "she and i both travelled here from boston, years ago. i left back in, oof, '13? remind me, when did you leave?"

the woman nods, "left when i was fourteen, in '23."

"oh wow," you say, "i honestly didn't expect to meet anyone from boston round here"

there's a pause.

"what did you say your name was?" he asks, and you tell him.

"and this is violet," you say, giving your daughter's shoulder a squeeze, and she nestles back into your chest, ever shy around strangers.

"nice to meet you both," the woman grins, "i'm ellie"

"and i'm tommy," the man says. you're sure it's just a weird coincidence, a common name, just cos he happens to share the same name as joel's brother it doesn't mean anything, but you can't help but ask-

"this is probably silly, but you're not tommy miller are you?"

both tommy and ellie halt, so you do to, as they communicate something through quick glances and furrowed brows.

"wait," you say, "are you? tommy miller?"

he stares you down, and all of a sudden, you see it in his eyes. joel's eyes. violet's eyes.

"i-" your heart is pounding now with the realisation, "i knew your brother. i knew joel. he was a-" you hesitate for only a split second, "friend."

"well shit," tommy says. he caught the hesitation when you landed on friend, and he's looking at you, brows furrowed. "when was the last time you saw him?"

you shrug. "guess it was seven years ago." you look at your daughter, tucking a strand of her hair behind her ear, and then back up at tommy. "it was when he'd stopped hearing from you, actually. he came out to find you. did... did he find you?"

tommy doesn't answer, his eyes widening, and you can see him put the pieces together as he looks at you and then at your daughter, to you, and to her again.

"how old did you say she was?" he nods at violet but keeps his gaze fixed on you.

"i didn't."

"humor me."

"she's six."

"huh," he says, and ellie's looking between you two now and you can see realisation dawning on her, too.

"wait a second--holy shit," ellie cackles, "joel's gonna lose his fuckin' mind."

a sudden flare of panic and excitement floods through you. "wait, you know him too? he's nearby? i'm sorry- he lives around here? he made it?"

ellie snorts and tommy lets out a noise that's almost like a cross between a deep exhale and a strangled moan.

"yep, he lives in town. made it here with ellie a few years back. been living here a while now."

you don't know if you're thrilled or terrified. to be honest, your brain suddenly feels like it's filled to the brim with bees that were muffling out any thought more complex than AAAAHHHHHHHH.. you'd always hoped you might see joel again, but it wasn't till now you realised you never really believed you would.

he's alive. he actually made it.

as if sensing your racing thoughts, tommy pulls up beside you and claps a strong hand on your shoulder.

"one step at a time, sweetheart. seems like y'all have a whole lotta catchin' up to do."

after you're brought through the gate and finish up at the dining hall for a bite to eat, tommy and ellie take you both on a tour of jackson. you'd seen lots of things in the time you'd travelled, but this is the first real community you'd seen. it made you think of the old days, or rather, your ideas of the old days. you were too young when the world ended, but the idea of people living together and supporting one another without bombs going off on street corners and scheduled hangings was something else.

"we've been workin' on makin' a functioning society here. we get energy from the dam, so actual, non-fedra electricity." tommy points along the main street at the street lighting (actual street lighting!!)

"most of the shops are along here," he continues, pointing out each place as he lists them off, "necessities, like a cobbler and a tailor over in that space. greenhouses and farms over in that direction as well as a clinic. we've got a bar, a couple o' bakeries, house of worship, stables back that way- couple fellas opening a barbershop in that space over there pretty soon. and, of course, the residential area just down here. we've got a lotta houses, and we're working on refurbishing a whole lot, too. most families have their own homes. you're welcome to take some time to decide if you would like to stay here, but y'all seem like decent people and at the very least, we can put you up in some of our temporary housing 'til we have a better grasp on what you need. we got families of all configurations here. we did that a whole lot better after the world ended. and this is a home for a lotta people."

"oh-!" ellie says, suddenly excited, "and the school's over there, if you guys wanna stay. fedra school fucking sucked but this one was actually pretty cool. we actually got to learn stuff!"

violet giggles a little, and ellie shoots her a bright smile that makes her giggle little more. it feels safe here. you don't remember the last time things have felt safe. you're trying to take it all in, memorise every storefront, every person, every moment, when the aroma of fresh-baked pastries suddenly assaults your nostrils and you let out an involuntary moan.

"been a while, huh?" ellie asks and snorts, and you nod. "i grew up in the qz so i never had one of these till the shop opened up a couple years ago. but i hear it's just like the old days!"

"mama, it smells really good," violet says, and it's the first thing she's said since you've come through the gates.

"it does, doesn't it?" you ask her, "and look at all these shops. see those clothes in the window there?"

her eyes are as wide as saucers, and you're so overwhelmed with joy that she gets to experience this that you don't notice ellie bounding up the steps to the bakery and running back a minute later with a paper wrapped something in hand.

she holds it out to you and you take it from her gingerly. you kneel down to let violet unwrap the paper and inside is a perfect strawberry danish. you're stunned.

"that's cream cheese and butter from our cows," tommy tells you, "strawberries and wheat grown here, too. all fresh. all cordyceps free. we don't risk using any of the old stuff that might be contaminated"

that's amazing. that's fucking amazing.

"here, baby," you tear off a piece for violet, and she clutches it carefully and sniffs at it warily before popping it into her mouth, chewing with furrowed brows, and breaking out into a grin.

"welcome to jackson," ellie says, and now you're laughing too.

by the evening, tommy's given you a tour of the whole settlement and left you, ellie, and violet at the tipsy bison with an invitation to join him and his family for dinner. there was a strong likelihood that joel would be there and you were shitting bricks.

what if he's totally different from how you remember him? what if he isn't?

what if he wants nothing to do with you? what if he wants nothing to do with violet?

what if he's forgotten you?

you pinch yourself to pull out of your spiral. ellie winks at violet, who's sipping at her juice, and clinks her glass against yours. together, you take large swigs of your beer.

she tells you a bit about herself. she's vague about how she and joel met, and you're not sure if it's because she doesn't want to talk about it or if she's trying to spare the gory details around violet, but she speaks of him fondly and blushed a little when she mentioned i've kinda become, like, a surrogate daughter to him. and he's my old man.

before you could gather your thoughts and ask any follow-ups, she's already blowing through different topics, grinning as she tells you about her girlfriend, about her tattoo and how she wants another one, about her favorite horse, and the way patrols worked around here, and you relax into the conversation. into the peace. into taking a break.

before you know it, the three of you are walking towards tommy's house and right as you're about to knock at the door, ellie barrels past and swings the door open with a bellowed "we're here!" reverberating off the walls.

as you step through the door, delicious food smells waft through the hallway and you hear laughter and music coming from the kitchen. ellie makes a beeline through the door on your right and you take it all in for a moment.

"you coming?" ellie calls, and you follow her.

and stop dead in your tracks.

illuminated in the light of an antique shaded lamp, sat on a rocking chair, was joel.

he's greyer and more tired, but he also looks- happy? and he's got reading glasses on as he peers at what looks to be a picture book as he points out the illustrations to the kid on his lap. your jaw drops.

the kid's probably around the same age as violet.

ellie is stood in the corner of the room, half-heartedly pretending to examine a bookshelf while she blatantly eavesdrops.

joel looks up and smiles in a way that you've only seen a few times before. it's... unguarded. he extends a hand, "hi there, you must be our guests, i'm jo-"

and then recognition flickers over his face and he stops. stares at you, wide eyed, and then his eyes flick over to violet, and back to you.

"hi joel," you say.

if you're honest, you're expecting him to be the asshole you remember. grouchy. closed off. sweet only in private, intimate, brief moments.

what you don't expect is for him to gently call over to ellie with a "we need a minute here, could you take your cousin and see if tommy and maria need a hand?"

cousin, he'd said, and you can feel your heart slow down a notch, calming down a little. oof. one step at a time, you remind yourself, one step at a time.

"sure thing," ellie nods and helps the kid down from joel's lap, holding his hand as they walk through to the kitchen.

you're stood, frozen, as joel takes off his readers, rubs his eyes, and stands up. you've forgotten how imposing he can be, but even now, he just feels like a big shield between you and the rest of the world. you stare at each other for just a moment, and then strong arms are wrapping around you and joel is laughing?

"fuck," he snorts, "i can't believe it's you. after all this time!"

he pulls back but keeps his hands on your shoulders, looking you up and down, studying you.

and then he looks back down at violet and you see his face contort from joy to something almost like fear. maybe dread, even? or anticipation.

"mama, who is this man?" violet asks, tugging at your sleeve, and you kneel down to her.

you meet eyes with joel one more time before answering her, and you see building panic behind them.

this was, admittedly, a lot. one step at a time. "his name is joel, he was a friend of mine. i knew him before you were born!"

violet extends her little hand out towards joel. "my name is violet, it's a kind of flower. i like your hair. it's sooo silvery."

you snort involuntarily, and joel gulps audibly, wide-eyed, before taking her small hand in his large palm, cradling it as if holding something precious, and shakes it. "i'm joel. it's nice to meet you."

you all have dinner and it's actually a pretty good time, as long as you don't make too much eye contact with joel, who looks as though he has an electric current running through him, keeping him wide eyed and twitchy. he's clearly trying to appear unfazed, but he's jumpy and not at all subtle, to the point that the kid who'd been on joel's lap earlier, rowan you'd learned, prods at joel at one point in the meal. joel jumps a mile and rowan furrows his brow asking why are you being so weird, uncle joel?

despite the tension, it's so domestic. this was a joel who folded his napkin on his lap before starting to eat, who minded his manners, and obviously pressed ellie to mind hers, too. the joel you patched up when he came to you bloodied and bruised felt like a shadow long since past.

after dinner, when you've made it through unscathed, tommy's watching the little ones as they conk out on the couch. maria's going over paperwork, and ellie's tuning a guitar.

joel pops his head into the room and makes a vague gesture indicating outside. "wanna chat on the porch?" he asks, and you nod and follow him.

there are a pair of handsome adirondack chairs and you each take a seat. you don't say anything, don't even look at one another. you just sit there in comfortable silence.

but then joel takes a deep breath and you know the question that's coming.

"violet?" he asks, "is she mine?"

you smile sadly.

"yeah," you say, "you're her daddy."

he chokes out a strangled noise and tries to cover it with a cough, badly.

he doesn't seem like he's gonna say anything, and you reckon he's not gonna, so you try and breeze past it.

"i know- i know it wasn't part of the plan." you exhale, "but it's okay, joel. she's only known one parent her whole life and it's common enough these days that she doesn't think it's strange. and i don't know if you ever want her to know that you're her dad, but i'm not ready for her to know. i'll tell her, but i want her to settle in here before any big life revelations come up for her. jackson's enough of a change as it is."

he nods slowly, coughs out a low "i understand. and i respect it. i just never thought-"

"neither did i," you cut him off, "and when i realized i was pregnant i didn't intend to keep it, but fedra had raided the last underground clinics that i knew about. most of the staff got hanged, and i was out of options."

he lets out a sharp exhale.

you're silent for another minute before joel speaks again.

"i'm sorry-" he says, "i'm sorry that your choice was taken from you. and i'm so sorry i wasn't there for you."

he still doesn't look at you, but he rests a hand on your knee.

"i can't believe- all this time and i have another daughter and i had no idea."

"she's such a cool kid," you tell him, "and don't get me wrong, i felt like the worst person in the world, bringing a kid into that fuckin'- fedra plague world," you admit, "but she's so funny, shy when you first meet her, but she has so much personality. every day, she's more and more of a tiny person! and she's just started doing this thing where i'll tell her something and she'll just scowl at me and she looks just like you-"

"hey, i don't scowl that much-" joel argues, scowling, and there's the joel you remember. all of a sudden you're hysterical with laughter, and then joel cracks too and he's laughing with you.

after a while, you fall into another comfortable silence. it gets later and later, and then joel's standing up and offering you a hand.

"'fraid i've got patrol in the morning, so i'd best be going to bed soon, and i'm guessing y'all are exhausted?"

you nod, feeling as if acknowledgement of it suddenly made it true. good god you were tired.

"you know what house you're staying in tonight?" he asked, and you tell him the number.

"sounds good," he nods, "can i walk ya home?"

"sure," you smile.

you head back inside, scoop up violet, and then the three of you are heading towards your temporary lodgings.

when you arrive, joel bids you goodnight at your doorstep and bobs his head a little as though he was about to lean in to kiss your cheek but then thought better of it, and instead takes your hand for a moment and mutters without looking directly at you, "it's really great to see you, baby. glad you made it here safe."

you go to bed. an actual bed, mind you.

you dreamed of joel miller.

you'd pretty much decided you and violet would stay here in jackson from the first minute you walked down the main street, but you gave it a few days before letting the council know. this is what you've been looking for, though. a home. a community. safety.

violet starts going to school. she's in the same year as rowan and apparently thrilled about it, so you're at tommy and maria's home more often than you'd imagined. you start patrolling, too. just short routes to begin with, but you didn't make it through this much without knowing how to survive, and you're good at it.

and then there's joel.

he's different.

he's aged, but he still looks great. the salt and pepper of his hair has turned more salt than pepper, and the crinkles by his eyes are deeper. you're still attracted to him, so attracted to him, but you don't wanna make any rash decisions. he seems lighter, clearly taken by ellie, and cautiously friendly towards you and violet.

he's made it clear he'd like to get to know her, but is happy to take his time, waiting until you're more comfortable with it. which is so beautifully, frustratingly thoughtful.

you never expected that cold, angry joel could be so warm and open, but he seems like such a doting family man, keeping an eye out for ellie, always there for tommy, being a good uncle for rowan. there was clearly some tension between him and his sister-in-law, too, but one evening you walked in on them doing dishes together, singing along to some old dolly parton cd. you slipped out the door before either of them saw you'd seen.

one night, violet and rowan are having a sleepover, supervised by tommy, and you have a rare night to yourself. you make your way over to the tipsy bison and relax at the bar, letting the whiskey warm you.

you chat with the bartender, and decide to put a song on the jukebox, but as you get up from your stool you knock the whiskey bottle over and watch tumble seemingly in slow motion before being caught by- "joel?"

"easy now," joel smiles, "don't want a repeat of last time."

it takes you aback for a moment, and then your face is burning with the memory.

"can't believe you remember that," you say, and he snorts.

"course i do. that was the last night i saw you."

he pulls out a stool and sits down next to you. gestures at the bartender for a glass, and pours himself a healthy finger of whiskey.

"how do you remember that night going?" you ask.

joel scratches at his cheek for a moment, pondering, and smiles, sipping his whiskey. "i was gonna be leavin' town, and i wanted to say goodbye so i checked out all your usual spots. walked in to see you smash a bottle and then try and flirt your way out of it with that weedy little bartender."

"i remember that bit, too," you say, "though on my end, i'll remind you, i was drinking because i was preemptively missing you and didn't realise you were leaving so soon."

"i do remember you saying that," joel nods, "and i was so mad because i'd spent so much time that night trying to find you, and that was time we wouldn't get back."

your eyes widen at his words. you didn't know this part. suddenly, you feel a warmth rising in you that you hadn't expected.

"do you remember what happened next?" he asks.

you nod. "yeah, you yelled at me a little, implied i was a whore, yelled at me more, and then told me you were leaving in the morning."

"jesus, i'm an asshole," joel says, and you smile.

"yeah, you are. neither of us were at our best though. but then we had one last night."

"one last night," he echoes.

neither of you say anything for a minute, and then joel breaks the silence.

"i'd be lying if i said i hadn't replayed that night over and over again in my head."

you smile. "me too," you admit, "it's honestly been a while since i've been with anyone, and when it's just me and my hand, that night's the first thing that i think of."

joel inadvertently chokes and splutters, dabbing at his mouth as he tries to collect himself. he's flushed a beautiful shade of pink and it makes you giggle.

"shit, girl, i forgot how blunt you can be."

"i think this might be the first wholly honest conversation we've had since i got to town," you ponder, still smiling, "we're always dancing around each other. in orbit but never colliding."

he looks at you with a curious expression on his face, like he's enjoying the task of trying to parse you almost as much as he's seeking an understanding.

you pour yourself another glass of whiskey and knock it back in one. you're gathering your courage. you're plotting plots now, and sure it's been a long time, but you figure it's worth a shot.

"i've been thinking, joel," you tell him, and his eyes are so focused on you, "i wanna say up front i don't have any expectations, and i won't be offended if you'd rather not-"

he raises an eyebrow at you and you could swear you see flirtation behind it.

"but, if you wanted-"

"spit it out"

"that last night doesn't have to be the last night."

your eyes are locked and don't speak, don't move, don't breathe.

and then joel miller's lips are crashing into yours, and you moan into him, one hand clutching at your shoulders, the other cupping your chin, and you melt into it.

"my place," you tell him, "violet's with her cousin tonight."

you realise that's the first time you said those words like that, so casual and normal, and you know you'll need to unpack that later but joel, shockingly, takes it in stride.

before you know it, you're walking up the porch steps with joel right on your heels and unlocking the front door.

you've barely gotten the door open before you're on the other side of it and it's slamming shut, joel pressing you against the threshold and kissing you deeply. one of his thighs presses between your legs and without thinking you rub up against it.

"shit, i've missed you baby," he says, and you're moaning against him as he helps you pull off your shirt, and you start to unbutton his. he continues, bashful, "didn't think you'd want an old man like me, anymore."

you scoff, "you've aged well, joel, and more than that, you've aged. you're still here and i can't even begin to tell you how much that means."

you tug the flannel from his shoulders, letting it drop to the floor behind him before you pull off his undershirt.

"besides," you tell him, "you're the best lay i've ever had and i don't believe for a minute you've lost your touch."

he snorts, but then he's kissing on your neck again and you know you'll need to talk about things properly at some point. for now, though, you'll get lost in the feeling of him.

you're lost in the dizzy haze of touch. joel's hands are all over you, grabbing, stroking, caressing. you stumble to your bedroom, stepping out of your jeans and helping him shuck off his pants along the way. then he's laid out on your bed, bare except for his boxer shorts, chest heaving and cock straining.

you yank off your panties and climb on top of him, straddling him so your bare pussy rubs up against his hardness. he groans and grabs you by the hips, rocking you up and down his length.

"feel so good, baby," he breathes, and his eyes are fluttering closed in pleasure. "come here," he tells you, and he pulls you down for a kiss.

you take him in. look at his body. his chest hair has greyed, and he's got more scars than you remember including a nasty-looking one that must've been a close call. you run a thumb over the one on the side of his chest, still pearly but less pink these days, from the time you patched him up.

joel watches you watch him. "i never thanked you properly for that, sweetheart," he says, "but thank you. you saved my ass that night."

"of course," you tell him, as you dip down and lick a stripe up from his happy trail, all the way to his throat.

"fuck," he whines, and you shut him up with a kiss.

when you finally break, he strokes your cheek. "sit on my face," he tells you, and you don't need him to ask you twice.

you hobble up on your knees and then rest your cunt on his open mouth. he lets out a strangled moan and hmmms into you, the vibrations hitting your clit deliciously, before grabbing onto your hips and eating you like a man starved.

his clever tongue finds your aching clit and flicks against it, hard. once you're nearly overstimulated, he senses it and starts to lick long strokes, back and forth, dipping into your drooling pussy with each pass.

it's heavenly. addictive. you've hooked with old flames before, years after you'd slept with them last, and not only does joel not disappoint? he blows your fucking mind.

you come on his tongue and instead of pulling away, he pulls you closer. licks you deep. takes a breath and tells you "one more, baby, gimme another one."

you do, using his face to get yourself off, taking your time to build back up, rocking your hips over him, his nose covered with your slick, his cheeks, lips, and chin glistening so pretty when you finally shudder and spasm all over him.

"taste so good, baby," he tells you, "i wanna make you come on my tongue all night long."

"as much as i'd love that," you say, "i need that cock in me right fucking now. it's been seven years, joel."

he smirks, but doesn't need persuading.

he flips you over and presses his cock head at your entrance. before he slides in, though, he takes a moment to look you over.

you know you look older, and your hair has a few grey strands throughout. you've got more wrinkles, and stretch marks, and more than a few new scars.

before you can second-guess yourself, though, joel is stroking a hand along all of your perceived imperfections, adoring.

"so fuckin' beautiful", he whispers, "after all this time- i can't believe-"

you let your hand lace through the hair at his nape and give it a gentle tug. he closes his eyes, focusing only on the sensation, before opening them again. looking directly at you.

you're already so wet and worked up, he slides into you easily in one stroke, making you both gasp, and he just rests there for a moment, fully sheathed in you.

you clutch one another as he starts to thrust into you, pressing you open in a delicious stretch.

he fucks into you and then pauses and readjusts. moves your legs so they're on his shoulders, rather than wrapped round his waist. then he presses into you again, tentative, and your eyes practically roll back. it's the deepest thing you've felt.

"takin' me so good," he praises, "i feel how wet and ready you are, you've been needing this a while, huh?"

you can barely speak, only enough to breath out a whiny uh-huh that makes him chuckle.

"touch me", you beg, and he does, rubbing his thumbs over your nipples, gripping your waist, your hips. he grabs at your ass and jiggles it before giving it a swat that makes you giggle, but he looks positively feral.

"this fuckin' body," he groans, and you squeak as you take a particularly deep thrust and he eases up just a little.

you reach up to grab his jaw and kiss him, and he kisses you back, deep and lovely. you drag your tongue along his jawline and pepper kisses down his neck, trace your fingertips along his pearlescent scars.

"god, joel," you moan, "so fuckin big, you feel so good."

"you even feel better than i remember, too."

"don't you dare stop, don't you dare stop fucking me-"

"never, baby. wanna have you like this always."

you can feel your eyes fill with tears, overwhelmed with the sensation, with the tenderness and the care and the big cock fucking deep into you, it's all so good.

"yes baby," he grunts, "keep it open for me, good girl, letting me fuck you so nice."

you can see how his eyes are glittering and know he's emotional, too. he's staring at you with reverential awe that might embarrass you if it didn't feel so right. this isn't the rough, hair pulling, choking, biting sex you remember from him. he presses a hand over your belly and rubs gentle circles against it. his touch is electric.

"can't believe you made it," joel whispers, "made it all the way here, and you still want me. we've got a kid, and i left you all alone, and you still want me."

"always, joel," you tell him, and you realise it's the truth. whatever life you make for yourself, you want joel miller in it.

he lets out a growl and starts fucking you harder, deeper.

your orgasm builds quickly and soon you're clutching at his shoulder, leaving half moon crescents in his skin where your nails dig in, holding on for dear life.

"i'm gonna come," you tell him, and he holds you through it, his pace steady as your walls clench around his cock.

his hips begin to stutter as he loses his rhythm, nearing his own climax. he chokes out, "where do you want it?"

"my chest," you say, "come all over my tits."

he pulls out and strokes himself twice before spilling out on your chest, his cum landing on you in hot ropes.

after you catch your breath, he gently cleans you up and then pulls you into the crook of his arm, holding you close. you lay there together, just breathing.

"so gorgeous, momma," he says.

"not too bad yourself, daddy," you tell him, and he snorts.

you know you have a lot of things to talk about. the past seven years. the future. loss and love. violet getting to know her father.

for now, though, joel miller is in your bed and you're going to cherish every minute of it. it's more than enough.

[thenyandrawsnstuff]

day 14 - who/what inspired your OC?

this might as well be drawing over memes: part two because I have no idea what else I could of drawn lol, anyways here’s the big wall of text:

It’s funny going back to when Bombyx was first made and seeing how they changed

so how were they made?

Uh well you see they just… came into existence I drew the first image in a discord call as a random slugcat oc

and things kind of built around from there lol

it’s funny seeing that they weren’t originally meant to be an absolute sassy icon

oh, and they were meant as a sort of sona but Yeahh no that got lost eventually

oh, and they got stolen a couple times???? Like one time the old arena icon was used as a pfp randomly and then they also got yeeted in a rp and I had no idea until I was told by the person LOL (there was no hard feelings though dw) i never really looked back on that but it’s really funny actually like wow i was good enough artist for people to want to yoink my characters??? And use my art?? I see it as very flattering NFKNFSKSN

oh yeah the inspo part, uhhh I just went “hehehe I like moths so I should make a scug based off one!” And that’s as deep as it goes in all honestly

I already said this part but their design wasn’t originally based on a specific kind of moth but one day i was like “fuck it, they’re a rosy maple moth slug now” and yeah that’s what Inspired their winged design at least

I’ve had people compare them to eevee from Pokémon before but honestly I don’t know if it was just pure coincidence or a subconscious thing??? I mean truthfully, it’s probably the latter but hey I guess that counts as inspiration then?

oh and a last thing? Their iterator-phobia was definitely a thing that was included early on in the making of them and I was inspired by the thought “hey why are all the slugcat/iterator dynamic always generally positive” yeah in short, I’m a chaotic being that HATES wholesome dynamics! THEY NEED TO BE ABUSIVE AND TERRIBLE AND- ok im joking obviously but since the idea of a negative dynamic between a slugcat and iterator had been something I’ve never seen done before until that point, i capitalised on it! Because of course i did and oh yeah that’s how FS came into the picture?? We’re getting all the creation backstories today

Anyways I’m happy I included that idea because I love seeing my OCs S U F F E R, or because I thought it was an idea unique at the time? Yeah that works too ig smh

[katyspersonal]

Somehow I will discover super elusive and obscure connections in the lore, and then will misinterpret something as simple and plain as Goldmask's ending kghygcnh

The notions that it does make everyone equal before it and that it is opposite of Ranni's ending ARE still true! But for some reason, for the longest time, I've been reading it as giving everyone the opportunity to interpret it and gain from it in their own way! Ranni yeets the Elden Ring, and by effect the GO "infinitely far away" for the next thousand of years, so everyone is free to forge their own fate! So I thought Goldmask did the same, but minus the "remove all golden things that stemmed from GW" part. Think like, removing the preachy guy from religion that tells HOW to read the holy book, but keep the book 🤔

I did think of it from a slightly wrong angle, and it IS simpler! GO is bad because it is effected by human logic. Their biases, their subjective vision, conveniences of the timeframe, their whims and ambitions maybe.. all the things that guarantee it won't and CAN'T please everyone and be fair to everyone! The darn thing can't even be consistently unfair, ffs! Crucible having been divine before but becoming condemned later comes to mind.

The "problem" is that the principles come from an imperfect, human in all but status mind, and there is no individuality that could fit everyone. Human mind just can't think of a one shoe fits all solution, and human mind in power will always have to hurt someone or favour someone. Goldmask ending makes the thing objective for everyone, as someone's individual mind, with all their biases, flaws and treachery is removed from the picture. In Goldmask ending, GO becomes something that cannot be debated, cannot be misconstructed, cannot be doubled or challenged! It is simply how things are, without any "interpretation"!

In a way, it is more liberating than Ranni's ending! People might be freed from the influence of GW that dwelled in Elden Ring and Marika/Radagon, but they are not freed from being people. Flawed, chaotic beings, that won't know what to DO with their freedom besides inventing new ways to cripple it by themselves. Making new oppression for self and others. Perfect Order deals with the problem of people having "will weak and minds young", having the rules and principles come from a much more transcendental and objective source instead. No guarantee that truth without any interpretation is always pleasant, of course. Who can tell if "objective reality" is FAIR to everyone? Except this time, if someone gets a shorter end of the stick, it can't be blamed on corrupt person in power... This is horrifying to think about.

At the same time, it is also better world than what Miquella wanted in the end! He was opposite to Ranni in the way of striping people of their freedom "for their own sake", but Perfect Order is not forced by anyone. It is just creation of "objective reality" that can't be debated, in can be both a blessing or a curse. People have freedom, but they also have answers, so they can "calm down" if that makes sense...? There is harmony to be found, for sure. Though both Ranni and Miquella suggest that any world can only be "a thousand years voyage", so for sure EVENTUALLY someone would just become Marika/Radagon 2 🤔 Perfect Order is just a long rest before another inevitable turn of the vicious cycle of existence, but honestly, it is the best option

[fozmeadows]

hey. i think i'm going through a phase of self-hatred and… I don't know, of believing I'm not capable of anything. would you have any tips or books that approach this from an AFAB/trans perspective so I can cope? (it's not that I hate myself for being trans. I just have insecurities, anxieties and I don't know what to do to stop most things from seeming so discouraging, for lack of a better word.)

I'm sorry you're having a hard time! I don't have any book recommendations, and I'm not exactly an expert, but:

Where possible, try to focus on what you enjoy about the process of an action instead of worrying about the end result. A lot of anxiety comes from privileging a hypothetical future version of yourself ahead of the person you are in the moment, and while it's still good to have goals and aspirations for the future, that doesn't render your present self irrelevant, because that's who you have to be to achieve them.

To give a personal example: late last year, I was really disappointed with how little reading I'd managed to get done in 2023 particularly, but also over the pandemic. I'd bought all these awesome books that I really wanted to read, but I never seemed to get around to starting most of them, and meanwhile, I was spending hours of my life mindlessly doomscrolling Twitter and TikTok, which regardless of anything else is a really good way to depress yourself about the state of the world. So I sat down and thought about it, and I realized that the problem was how much pressure I was putting on myself about reading. I wanted so badly to finish books that I was psyching myself out of starting them in the first place, because each choice had to be Perfect, lest I pick the wrong book at the wrong time and waste twenty minutes or an hour or three reading something I might later set aside. And because I'd subconsciously set the stakes for starting a book so much higher than they needed to be, I'd end up dithering and scrolling social media to delay having to make a high-pressure choice at all.

In other words: I'd become so concerned about Future Foz's hypothetical dislike of a book I was yet to start reading that Present Foz would be scared to start it in the first place. I was forever privileging a version of myself that didn't exist and likely never would over the person I was now, and it was making me wildly unhappy, because it felt like I was failing at something I loved.

So my single New Years' Resolution became: to value myself and my time in the moment. If I catch myself scrolling for too long, I ask myself: is there literally anything else I'd rather be doing right now? Could I start a TV show, or a book, or a game, or write something, or message a friend, or have a bath? It doesn't matter if the activity goes anywhere long term; what matters is that I inevitably get more pleasure out of doing something than not. My time now matters, because I matter.

And suddenly, just from that one change? For the first time in I couldn't even say how long, I've read something every single day this year. In the whole of 2023, I read just 67 books; it's now the 30th of March 2024, and I've already finished 33. By giving myself permission to start things without the pressure to finish them, I'm suddenly finishing way more than when I was telling myself I had to finish everything, and I am vastly happier for it.

Is the world still a burning hellscape that daily makes me want to yeet a solid 80% of elected politicians globally into the sun? Yes. Am I still working on self-improvement in other areas of my life? Yes. Is it magically any easier being trans and queer in the current moment? No. But it helps to focus on who I am now, in this hour, in this minute, instead of worrying so much about whether some future version of me will think I spent this time badly that I don't use it for anything at all.

I don't know if this is helpful to your situation, and if it's not, I apologize for rambling. But it's a little change I've made lately that's helped me a lot, and I hope it might help you, too.

[phaedraismyusername]

Hi hello I have been knee deep in a genre binge so here are some literary sci-fi books that deal with loneliness as a core theme

I Who Have Never Known Men by Jacqueline Harpman

Translated from French this book follows the youngest girl in a group of 40 women who are being kept in a cage underground in an unknown place, for unknown reasons, until one day they get the chance to escape triggering a search for answers and survival on a desolate surface.

Never Let Me Go by Kazuo Ishiguro

This is a very subtle dystopian story about a group of people who spend their childhoods at an extremely secretive english boarding school, the course of their relationships, and where they are at the end of their lives. There's a subtle feeling of wrongness from the first chapter and the author spends the rest of the novel very slowly revealing the reasons why.

Everything You Ever Wanted by Luiza Sauma

The super short form pitch for this book is 'Fleabag if there was an option to yeet herself to another planet'. Iris is in a long term relationship with depression, kind of hates her pointless job, sometimes hates her family, and is generally overwhelmed by the weight of existence, when she hears about Nyx - earth's first space colony - and thinks that just maybe it could be the answer to all her problems.

Remnant Population by Elizabeth Moon

When the population of a company sponsored colony finds out they have been designated a failure and the people are to be packed up and shipped off to another planet to try again, one little old lady decides that for the first time in her long life she's going to break the rules - she's going to stay and live her best life alone on the planet, and finally get some peace and quiet. What could go wrong?

Skyward Inn by Aliya Whiteley

Skyward Inn is an odd little book set in a future where Earth has come into contact with an alien world that quickly surrendered to humanity. The story follows a small group of kind of unlikeable people who live behind the walls of the 'western protectorate' - a place in the moors that's decided to isolate itself and live like the old days with rudimentary technology for a simple life. Until strangers appear and things start to get... weird. Slower, stranger and with more body horror than you might expect.

[justatalkingface]

Hi there,

I'd love to know your ideas and opinion on Hori going out of his way to make Bakugou the second OFA user as it was shown in the movie. Are you a fan of it?

This post has aged badly because of how long it's been sitting in my inbox, but... well, I was the one who did that, so that's my own fault.

Hahahahahah, yeah, wow, sweet flying fuck no. In a series that has been escalating in how many bad decisions they've made lately, that is one of the worst. More than that, it is telling, in this deeply concerning way, about how little Hori seems to like his own main character.

I've never watched the movie, and I have no desire to, because I'm pretty sure all that'd happen if I did would be me spending the entire movie picking out plot holes than anything, but I have done some basic research on it, and my impression is that it's very... Naruto filler-movie-y, where the protagonists get Random Power up that is basically never spoken of again (note that this is basically official confirmation of Bakugou's promotion), the same general kind of big fight sequence where both of them work together, etc.

It's just... it's just shallow, though, is the thing. At least the filler Naruto movies had the basic decency to make up whatever power up they used and threw away; here Izuku is taking one of the foundational parts of the entire story and just.... giving it away. All of his emotional attachment to it, as a Quirk, as his Quirk, as part of a legacy connecting him to All Might, One For All, and what is singlehandedly keeping him in his current place in society (since at this point he wasn't allowed to be smart anymore), and he just throws it away to Bakugou.

And then, to top it off, it just comes back to him. Some Fucking How(TM). And, because this is, again, one of the foundational parts of the fucking story, that just leaves... so many questions. So many.

Like. If the Quirk could yeet itself from hosts it doesn't like, could AFO ever really take it? Or would it Yeet Thyself from his body, and presumably take a copy of AFO with it in the process (and doesn't that mean, since there was that nod to this happening in canon, that Izuku should have Explosion now? That he literally, by Hori's own logic, has taken that fundamental core of Bakugou's character, and should be in the perfect place to invalidate his entire, badly managed and over all atrocious 'character arc'?).

Really, the more I think on this, the more I realize that that is proof that, not only was Explosion drastically warped to contort to Hori's whims, but so was OFA; OFA, originally, was just supposed to support Izuku, as an assistance to his character, but as time passed, it became clear that that was no longer true, and Izuku only existed to assist OFA. And no, I'm not even talking about the actual person, I'm talking about the set of powers Izuku's entire purpose in the story had been reduced to helping display on demand.

And the fact that, looking at it with that symbolism in mind, that movie's ending was a perfectly horrible encapsulation of what happened in the overall story, of Izuku handing his entire self identity over to Bakugou, for him to take and use however the hell he wanted.

...Fuck, that's depressing. Really, honestly, I wonder why the hell Izuku even exists. Seriously. It's clear that Hori doesn't want him, and he wants all the good Izuku things to go to Bakugou; there's plenty of manga and anime with an asshole of a main character, although a lot of early things would have to be changed to explain how that'd work...

I wonder, but I actually know that answer: beyond needing a more acceptable hero, beyond changing plans, having Bakugou as the focus the way Izuku was would, A, put a spotlight on the traits of him Hori clearly wanted to avoid doing, and B, would put more pressure on Hori to make Bakugou change in way he so clearly wasn't allowed to do, to make the reality of him match up with the narrative version so many people love (You could argue that Izuku, in a similar place, stopped changing after awhile, but at the same time his complete lack of growth is the main reason why the people stopped liking him anymore, because he stopped feeling like a person, and one of the major reasons the second half of the story became so overwhelmingly shit, to the point even people just casually enjoying the story on a surface level read couldn't miss; combining that clusterfuck with Bakugou's shit characterization is probably the only reason Hori didn't just... have Izuku die at some point so Bakugou could flat out replace him, along with shallow nods to their 'rivalry' (like this movie!) to help the story sell).

...I've gotten off topic. So, to sum up: No. No, I hate it, it's terrible, I'm glad I've never had to actually watch it happen.

[pocketramblr]

Ask game where izuku time travel and somehows saves hawks which leads for massive hero worship of him

1- izuku is yeeted backwards through time and crashes outside the shanty Tomie and Keigo lived in. Tomie hides and, curious, Keigo peaks outside to see a darkly costumed hero in a torn cape and cowl sparking lightning and spasming bits of darkness. he thinks that is very cool but also probably dangerous, ready to fly off.

Izuku, who looks around and has no idea where he is, sees the shack and heads closer to try and see if anyone is there and can tell him where he is

2- Tomie freaks and grabs Keigo to run, but Izuku is able to pretty easily catch up and pull out his hero license, apologizing for the scare and getting halfway through asking where he is when he stops because either Hawks has a secret lovechild that Shoto and Fumikage are going to go crazy about, or, this kid is just Hawks. which means he's time traveled. And he knows exactly what's going to go down, how the commission botches the war arc, leading him directly to the runnaway arc he was in the middle of- not to mention Keigo is like, six years old right now and looks just like all the other small kids Izuku's helped before.

3- Izuku is like "Hey, actually, can i like, buy you some food? or we can go to a safehouse? from your villain husband/father that i know about?" and that spooks Tomie enough that she tells Keigo to fly away as fast as he can, but he comes back in under a minute to help her, only to see Izuku letting her go back inside the house, and muttering to himself about how to help them.

He could try to hunt down All Might, but he doesn't know if his number is the same this far back, or the ramifications of dealing with time, or if Gran Torino will believe him, or if his teacher has even started at UA at this point, and Keigo lands and says he sounds like he knows a lot of heroes.

Danger Sense didn't warn Izuku and he's startled, but nods, saying the problem is a lot of them don't know him yet.

4- Izuku thinks about it for a while with the vestiges as he takes Keigo into town and brings food back to the home for dinner, figuring out what he should do because none of them know what to do about time travel. Eventually, he decides to take Third's advice- he doesn't know any heroes that will believe him or can risk causing a paradox with, but he does know a hero he can blackmail whose life choices he probably can't make any worse.

To say that Endeavor is surprised when some stranger waving a hero license in the air and carrying two civilians with his quirk lands in his front yard is an understatement.

5- Izuku gets Enji to talk with him in his office while he shoves Tomie and Keigo at Rei and the three todokids, telling him everything- that he's from the future, that he can prove it with a lot of information that he really shouldn't have and a very legit license from the future, and that if Izuku is about right about when he time traveled, Rei is very recently pregnant with Shoto so Enji better get it together before Touya tries to kill the infant threatening to replace him as central piece in the mini eugenics experiment he decided to run. He tells him off for caring about the ranking system more than the reason heroes exist, warns him that he should probably see if he can stop the commission from training the kid they currently are training to be their super illegal and immoral assassin before she snaps and kills the president, and then decides 'oh what the hell, predictions of death have been great motivators in mine and All Might's experience!' and tells Enji that unless he wants to be killed by a quirk affected Shoto minutes after killing Touya, he'll prevent that future by changing things right now.

Izuku leaves the office with a stunned Enji and announces that Endeavor oh so kindly offered to make sure that Tomie and Keigo have safe housing and food. He ruffles Keigo's hair, tells him that he should be proud of working so hard to improve his quirk so quickly that he's practically faster than Izuku, who was so bad with his quirk originally that it was out of control and broke his own bones, recommends Touya look into Sheild Industries for support tech, waves at a shy Fuyumi, and then slips the kids a phone number for absolute emergencies with the passcode 'one for all' written on it. Then he leaves.

Keigo watches him go and announces that he must be the greatest hero ever, and Keigo is going to be just like him one day.

Touya takes offense since obviously Endeavor is the greatest hero and then Touya will be. Keigo looks at the still stunned Enji, then back at the very cool multi quirk silhouette, and decides that Touya's tastes cannot be trusted.

+1- Several years later, Endeavor watches the sports festival and pulls out his phone, calling Touya and only saying "no" because he knows that Touya is also watching and seeing the bone breaking kid who looks just like the hero from ages ago. Touya protests that he didn't want the kid for internships anyway, just thought he must be that old heroe's son. Enji goes 'nah, it's him, before he time traveled' and does not elaborate even as Touya asks if he's joking. Keigo is already filing the paperwork for the internship, and says he already knew that, because Izuku muttered a lot- but he's not going to let him vanish without a word this time! not to mention, his agency is going to be the one to make the first official merch that Keigo has been dying to collect for over a decade now. Touya questions Keigo's tastes, and Izuku ends up picking another agency.

[ellraiser]

Mudborne Deblog #7 - World Building

Hey friends! Another month whizzing by, but I managed to get a lot done for Mudborne - here's what I've been up to.

Cold As Ice

Towards the end of last month I started designing the 4th region, where things are a bit colder. 

At the start of this month I finished up that area, spending some time to make the snow look pretty, or add some details like the player breathing or skating around on the ice. 

I then decided the colors and plants for the 'dream' version, I wanted to keep the more turqoise color and boost the saturation, and then make the ice more of a lilac color to match the dream "white" i use a lot already.

The main mechanics of this area (apart from yeeting around on the ice) is using heaters and coolers - heaters so you can melt frozen paths or objects (or frogs), and coolers so you can create new ice.

As you might have noticed in the screenshots above, the deeper water has ice too, which normally isn't passable by the player. By freezing the deeper water you can then cross over to areas you couldn't access before and find all sorts of places and secrets!

There'll be a few puzzles to work out using the heaters/coolers, but they also affect the nearby environment, allowing you to make the extreme ends of temperature for your mushrooms to find some new species.

This means I can 'gate' off a few types of mushrooms and trait modifications until you've come to this region and gained access to the machines.

I also wanted a way to let the player turn on/off weather, as it does have some uses and although you can sleep until the next day for a different weather pattern, I like to give players full control over stuff like that as they progress.

It also fits within the theme of the region, which is very much like a sort of 'climate control' type area - plus the idea of changing weather fits with the existing climate control machines. I tried to design the machines to be similar, but still have their own unique style.

I finished up some other bits and bobs and then that area was good to go! Now it was time to move onto what I thought would be the last area...

===

Central Hub

After getting past the 'tutorial' region of the Spawning Pools, you end up in a large central area that leads to all other areas, and it's where your main goal of the game is that you have to come back to. I wanted this one to be more unique and stand out to the other areas, and seem much more important (because it is!), so I went with a more purple palette to emulate some feelings of it being more 'connected' with the dream world.

I've tried to make all regions have some unique characteristics but I wanted some extra stuff with this region, hence the large purple lilypads and special pink trees, and the light pink pollen falling over the area. This is also the area that will have the large central 'temple', that is a giant version of the smaller gates you use in the game - will take me a while to finish drawing it, I reckon it'll probably still be one of the last things I'm tinkering with right down to release...

===

Yet Another Region

I thought I was done at this point with adding regions and was relieved as there's a lot of setup involved in getting everything in and working - there is a 6th area but it felt like an extension of the central region at the time so I thought I'd use the same region style. However at the same time of doing all this I was also working on designing the full map for the game, and realised that this area would actually be a bit bigger than I thought initially, and also connects with the starting area so I wanted to make sure it had a different style to make it clearer that its not just part of the central area.

This region has a lot of different research labs, and is focused more in the dream area with lots of 'dream' research being done - there's a few different machines for this area but I don't want to spoil them too much so I'll just show their designs instead.

There's also quite a few big important lore things here, so you can't actually access it right away and instead have to come back later when you've progressed enough. With this region done I did some last little tests with each of the regions to make sure I was happy with how they looked - this is how my "developer" map looked by the end of it:

With that done I was about halfway through the month - now it was time for the biggest task of the entire game's development, actually designing the full world map.

===

​Game Cartography

Trying to start tackling this was definitely one of the harder parts of making this game for me - I had all the pieces, the mechanics were all done, I knew roughly what each area would have and do, but trying to put that alltogether in a giant interconnected world is very daunting. I decided to do this all on paper first so it'd be quicker to iterate, starting with really rough sketches of each region and the things that should be there guiding me on what the structure should roughly be like.

I then taped together a bunch of grid paper so I could have one 'main' map rather than keep swapping between what was already like 7-8 sheets of sketches, and started to pencil out the first couple regions together.

After sketching I then started to color in the areas, which was some nice screenbreak time but also let me think more about the regions and how the player would progress through them all.

As a final step I then went over the area with a pen to mark some key stuff - where lilypad crossings would be, gates, doors to rooms etc. I could then use this later for mapping the actual content or paths.

I didn't really need to color in all the darker water for most regions, but tbh it was just fun to do and baby ellraiser used to draw custom rayman 1 overworld maps when they were young so who am I to deny my inner child!

​It took me about 8 days but eventially I had the final map! Technically it's still not the final map as there's a couple areas I didn't want to put on the map for spoiler reasons and I knew I'd be taking photos of it and posting it around. However its good enough to keep me on the right track and remind me of what goes where - I'm also really happy with some of the routing of the areas, I think it should be really fun to explore and unlock and backtrack!

​With that done I could start plugging it into Tiled - I tried to not be too strict with blocking out the areas, at first I was doing like exact square by square, at great eye-straining cost, but then I realised really I just needed to make sure the regions were roughly where I expected them to be and got a bit more loose with some island shapes. Just this blocking stage along took some time, as I was first just blocking in the islands and water, then I was going and doing the 'proper' tiles, then the stone tiles and the grass/mud on top - this was so I could stop having to keep looking at the bigger map all the time.

Blocking out all the other regions took me all the way to pretty much the end of the month, on paper (lol) it doesnt sound like much to have a 500x400 map, but after actually drawing it all I can say it really is!

With all that done there was still lots to be done - for each region I need to add all the stone + grass "decor" (cracks, bricks, grass patches, posters etc). Then I need to add the actual flora objects to the islands (grass, shrubs, trees), then add all the water plants for both the shallow and deeper areas, add all the world decoration, and then block out all the rooms! Then I need to do the collision layers for the bottom and top floors...

It took me about 2-3 days to go from the blocked out version of the first area, to a 'finished' area (that still needs a few last bits added to it) - to give an idea on the scale, there's about 15,000 objects in the screenshot below, including all the plants and grass and decoration, all placed by hand. I'm not going to do every single decoration and scenery piece for every other region right now, as thats something that can be done later - the main thing is making sure it all fits together and is walkable and all the doors lead to the right places.

Adding all the extra decoration and scenery is something I can do quickly at the end while doing playtesting/qa/localisation, so I don't want to spend too much time on it, but I wanted to get at least the first area fully finished off so that it's clear what each area will look like when finished up!

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Big old month really! I'm a lot further ahead in my rough plan than I expected to be, I was thinking I'd be deciding the last 3 region designs in November and had expected to do all the final designing in December - but with this approach I'm finishing an entire area at a time and the first one is nearly done now, so I'm feeling a bit less stressed than I was, just a 'normal' level of stress now :') Next I'll be going through the other regions, roughly placing some of the scenery (but not all), and just focus on the actual gameplay and the routes the player will take so that I can start doing some internal playtesting! ~ Ell