#i think it’s the most annoying part of storytelling for me

[warmsol]

sighs and opens blender

[ohbueckers]

WHAT’S MY NAME? i come alive in the nighttime. okay, away we go. only thing we have on is the radio.

THIS IS PART FOUR! pairing, paige bueckers x tutor!oc. notes, i think after this we can label paige as a crashout. this was so fun to write LMFAO. i’ll also be making a masterlist soon. warnings, minimal arguing ou… more sexual content & possessive paige? real tender or whatever.

liana sat between her two friends, their laughter mingling with the low hum of conversation around them. it had been a while since she had allowed herself to relax—her mind, atleast. no tutoring sessions, no basketball players, and, well… naomi was still there. she was always anywhere liana was, even if it wasn’t physically. paige had started to become that for her as well, but in a scarily good way. she was consuming her thoughts. tonight, however was just about good food, good drinks, and good company in a restaurant they’d been to a countless amount of times just outside of storrs, because quite frankly, there is literally nothing to do in storrs.

on her left, sat her friend amara, who was leaning back in her chair, her long faux locs cascading over her shoulders as she toyed with the silver ring in her septum. across from her was malik, dressed in his usual vibrant button-up, the fabric stretching slightly over his chest as he gestured exaggeratedly while recounting a story about his latest date. his animated storytelling along with the side notes had them both in stitches, and it felt good.

“i’m just saying, if he orders another round of oysters, i’m gonna have to start questioning his intentions,” malik teased, his grin widening as he leaned forward. amara snorted, nearly choking on her drink as she held up a hand, beginning to wave it around.

“okay, okay, but you survived, right? and now you know what to avoid on your next date,” she replied, always one to find a fair conclusion. she had one happy perspective on life, something incredibly admirable but also annoying at times. “wait… speaking of dates…”

liana froze for a second, her fork hovering over her plate of pasta. she had been waiting for this. a night out meant catching up, and catching up meant eventually diving into the complicated mess that was paige and naomi.

over the course of a few weeks, paige and liana had grown closer, sharing intimate moments that hinted at something deeper, yet never fully crossing that line. naomi, on the other hand, was becoming more aware of the growing distance between them. i mean, how could she not know? it was becoming painfully obvious liana was seeing someone else, sneaking around. but maybe she just didn’t wanna believe it.

she had been putting in more effort though, which was also an obvious factor. it was like she was holding onto something that had died out awhile ago, and while liana had found a distraction—or whatever it was, naomi just became more possessive. she always had been.

she’d been stopping by her apartment unannounced, resulting in paige having to hunch over in the closet for fifteen minutes (which the blonde still won’t let her forget), sending thoughtful, but not worth much texts, and even suggesting they spend more time together. but naomi had yet to ask the question that remained unanswered, despite it being the most important: where did they stand? and liana, in turn, didn’t have the answers… so maybe it was a good thing she hadn’t.

“what do you mean?” she asked, faking her innocence with those wide eyes, twirling some more pasta around her fork.

“liana, please spare me!” amara shouted, throwing her hands up in the air in mock surrender as she burst into laughter. her necklace caught the dim light above them, glancing at malik, who already knew what was up, then back at liana, whose quiet demeanor hadn’t gone unnoticed. “you’ve been so unusually quiet tonight, and i know exactly why. it’s because of paige, isn’t it?”

liana’s fork hovered over her plate as she looked up, trying to play it off with a shrug. but amara wasn’t having it.

“doooon’t even try to deny it,” she continued, leaning forward on her elbows. “you didn’t even know her a few weeks ago, and now she’s all you think about. and might i add, she’s paige bueckers of all people. like, i can’t believe my bestfriend is climbing that coconut tree.”

liana began to hide her head in her hands, elbows propped up on the table. “amara!” her smile was infectious, and despite her attempt to scold her friend, she couldn’t help but let it slip. amara grinned back, knowing she had hit a nerve.

“you ever talk to naomi about… all this?” there it was.

liana’s smile faltered for a moment. “not really. i mean, not directly.”

malik raised an eyebrow from his spot across from the two girls. “not directly?” he repeated, clearly not aware. “y’all still haven’t talked?”

liana sighed, her fingers toying with the edge of her napkin. “we’ve talked… but not about this. not about where we’re headed, what we’re doing. she’s trying, but—”

“but it’s not the same,” amara finished for her, her tone softening. “i get it. things got weird after… you know. but maybe talking it out would help.”

liana nodded, though she wasn’t convinced. she knew her friends had their history with naomi too, so it made sense as to why they’d try and help her out, even if it was just a little bit. they were the ones who had introduced them, after all. naomi knew her better than anyone before paige, but now… paige might just be stepping her up.

malik chimed in, swirling his drink lazily, the ice clinking against the glass. his eyes were half-lidded, a sure sign it was time to get out of there before he had one too many. “i’ve never really seen her with any girl. paige, i mean. like, ever. she’s always got that ‘untouchable’ vibe, you know? like she’s too focused on basketball to even bother.”

he wasn’t exactly wrong, and everyone knew it—but liana, seemingly always out of the loop and a homebody for that matter, didn’t. she went in completely blind, only to come out knowing everything. the blonde definitely did have her fun, but liana was indeed different.

amara picked up her own drink, grinning ear to ear. “and yet, she’s in your phone. clearly, you’re the exception.” she was just glad the topic had changed.

liana shrugged, trying to play it cool even though her insides were twisting. “i don’t know about that.”

malik laughed, shaking his head. “nah, you definitely are. trust me.”

liana smiled, a rather lazy one, but her mind was already elsewhere, thinking about paige. she pulled out her phone, her fingers itching to text her. it was almost funny how she hadn’t had any desire to reach out to naomi, like this blonde had swept in and made her forget. they had been messaging on and off throughout the night, nothing serious—just a few jokes, some comments about her day. but now, with the alcohol in her system and the her friends’ words fresh in her brain, she found herself wanting to reach out again.

she unlocked her phone, the screen lighting up with their latest conversation. paige had just sent her a picture of her sneakers—beat-up and covered in scuff marks after hours of practice.

You’re the one with the endorsements, remember?

😂 True, true.

You made it home yet?

liana glanced around the table, watching as malik and amara engaged in a slightly tipsy debate about whatever was on their minds. she smiled to herself before typing out her response.

We’re about to head out and call an Uber soon, so I’ll call you when I get home.

paige’s reply came almost immediately.

Let me come get you.

You’ve had a long day. You don’t need to do all that.

Liana dpmo 😂

You know I wanna see you

I’ll be there in 5.

she hesitated, looking at her friends once again who were now deep in conversation. she laughed softly at the pure absurdity of her situation, sending a quick reply before locking her phone and slipping it back into her pocket. “alright, guys. change of plans. paige is coming to get us.”

amara raised an eyebrow, a teasing smile on her face. “look at that, getting the vip treatment! could get used to this.” she nudged her, eliciting a playful glare from liana who was all around pretty tipsy and ready to go, but the thought of seeing paige tonight made things a little better. maybe she really did have her wrapped around her finger, or she was just lucky. perhaps both.

a few minutes later, they were outside, huddled together against the cool air that november brought. liana spotted paige’s car pulling up, and as the headlights washed over them, she felt her pulse quicken. when the car came to a stop, paige stepped out, rounding the corner and looking effortlessly good in a simple black hoodie and jeans. her hair was tied back in a low bun, and she flashed the three in front of her a smile.

“y’all ready?” paige asked. she hadn’t even looked tired, like she woke herself up for this.

amara blinked up at paige as she approached. “you’re taller in person,” she said, squinting as if trying to confirm it.

“it’s the shoes. but i am all legs,” paige entertained, helping amara into the car before making sure malik was good himself. once everyone was settled, liana climbed into the passenger seat beside paige, who gave her a quick glance as she started to fasten her seatbelt.

the car rumbled to life, and as paige pulled out of the parking lot, the conversation in the backseat continued, but liana found herself more focused on the subtle shifts in paige’s demeanor—the way her fingers drummed lightly on the steering wheel, the small smirk that lingered on her lips. she was nervous. or anticipating something.

the rest of the car ride was pretty silent as malik and amara’s laughter and voices gradually faded into sleepy murmurs in the backseat, neither paige nor liana wanting to break it, knowing there were things better left unsaid while her friends were still in the car. even though, with the way amara was slumped against the door and malik’s head was tilted back, they probably wouldn’t have acknowledged or remembered much of anything by morning.

paige had her elbow leaned against the door, fingers stroking her chin as she drove with her opposite hand. it was a casual, almost absent-minded gesture, but it still held liana’s attention. she tried not to stare, but the small bit of alcohol she’d had made it harder to care. she seemed deep in thought—her eyes fixed on the road but her mind clearly elsewhere.

when they finally arrived at the dorms, liana turned in her seat to make sure her friends were okay to walk themselves. malik was already half out of the car, mumbling something incoherent as he navigated his way to the door. amara followed behind him, offering a tired wave to paige’s cracked window as she mumbled, “thanks for the ride, superstar.”

the blonde chuckled, waiting a few before pulling off. liana’s apartment was a bit of a ride from campus, but she found it less hectic to have her own space. “still can’t believe paige bueckers made time for me tonight,” liana said softly, almost teasingly, as she let her eyes wander wherever they wanted to go.

paige glanced over at her, one eyebrow raised in jocularity. “i always make time for you.” she hesitated, letting her shuffled music play through the car for a brief moment. “a four hour practice today, and i couldn’t resist seeing you before tomorrow.” and it was true. between all the practices, the games, and everything else pulling her in different directions, she had still made time for liana.

paige was used to getting what she wanted. not that she ever had to really try, it just happened. so the fact that liana was toying with her, in knowing of it or not, fully and completely messed with her brain. on the court, she could control the game, dictate the pace, and make split-second decisions that would leave her opponents scrambling. off the court, it wasn’t much different. with liana, she thought she’d be able to break her barriers down from the moment their first tutoring session ended, and she did in a way, but there was one that still needed to be tore down, and the fact that it wasn’t exactly easy frustrated her… because the barrier was a person, and a person is a hard obstacle.

the thought of liana’s smile, her laugh, the way she’d tilt her head slightly when she was really listening… it all made paige crave her more. the little things. and knowing that naomi had access to that and much more before she’d even met her, made her blood boil. yes, maybe they weren’t exactly together, but her teammates had really gotten into her head about the history thing, and the truth was, it did matter. it made things complicated. made it so that paige couldn’t just step in and take what she wanted without consequence. without someone getting hurt.

the conversation shifted, liana going on about her day as she leaned against the headrest. she made sure to leave out conversation details, but when paige was comfortable, she was one to prodde… and let’s just say blondie is already real comfortable.

“so, you didn’t talk about me?” paige pressed, her tone light and all-around teasing. normal.

liana’s usual wide eyes were lower and more lidded tonight, meeting paige’s with a growing smile. “is that so hard to believe?”

paige laughed, shaking her head. “it’s hard to believe because it isn’t true.”

they shared a look before liana looked away, rolling her eyes. the blonde licked her lips, stroking her chin once again as she thought about the next question. the one she really wanted to ask.

“talk about naomi, too?” paige asked casually, trying to keep her voice steady, almost as if it didn’t matter to her.

liana’s smile faltered slightly, and paige noticed. that small hesitation, the brief change in her expression—it told her more than words ever could. paige had learned that she was bad at hiding that. it made her think about how long she could keep this from naomi.

“yeah, a little,” liana admitted, her voice softening as she glanced out the window. her mind flashed to the conversation she’d had with amara and malik earlier. the part where naomi had been brought up and dissected, the part she’d deliberately left out when talking to paige just now.

the taller girl’s grip tightened a tad on the steering wheel, not purposefully… almost instinct. of course she did.

paige hesitated for a moment, choosing her next words carefully. she didn’t want to push too hard, but the question had been on her mind for a while, lingering in the background of their conversations. it finally slipped out, almost too casual, yet loaded with everything she was feeling.

“have you?”

it was a vague and simple question, but it required a longer response.

liana turned her head away from the window, her eyes narrowing slightly as she faced her. “why, paige?” her tone was a little sharper, mainly because she didn’t expect paige to force this type of reply out of her. she knew what she was getting at, but she wasn’t about to make it easy for her.

paige let out a breathy, frustrated laugh, shaking her head. “man…” she stopped herself in attempt not to raise her voice. “you gon’ fix that attitude around me, liana. i’m just askin’. just wanna know if… y’know… if she came up. that’s all.” her was on the road, but liana could see the way she subtly shifted in her seat, her knee angling outward as she manspreaded just slightly.

liana’s jaw tightened, and suddenly the dashboard was the most interesting thing ever. “you already know the answer.” her voice was a mumble, and you can believe she indeed fixed that attitude after being asked.

paige’s lips pressed into a thin line, running a hand down her face. “aight, cool. just makin’ sure.” she tried to brush it off, masking it as that being the only thing she wanted out of her question as they pulled up in front of liana’s place.

the car fell into silence, the engine the only sound being heard as paige shifted into park. she leaned back in her seat, exhaling slowly, trying to cool down atleast a little bit before either of them spoke. she clasped her hands together in the area her open legs left her, gazing down. she hated feeling like this—out of control. because although she was upset, there wasn’t much she could do about it.

liana sighed herself, uncomfortable with the tension their words had brought. the situation had sobered her just enough as she unbuckled her seatbelt, but didn’t move to get out. instead, she looked over at paige, her expression soft. “you really want me to stay clear of naomi?”

paige turned her head, meeting liana’s eyes with a quickness. that was all she wanted, she just knew she couldn’t be the one to say it. “i mean… i ain’t gonna lie, it’d be nice. but you grown. do what you want.”

“shut up.” liana rolled her eyes at the nonchalant act, a small smile tugging at her lips. “you and your half-ass answers.”

paige chuckled. it seemed like her smile was enough to make her forget about everything as she reached out to brush a stray curl from liana’s face. “nah, i’m serious, though. i just—” her voice trailed off, and liana could see the conflict in her eyes, tilting her head a little as if daring her to finish her sentence. let her be vulnerable.

before she could overthink it, liana leaned in, her lips brushing against paige’s, testing the waters. the blonde responded instantly, her hand sliding to liana’s neck, holding it gently as she deepened the kiss. the intensity spiked, eyebrows furrowed as they attempted to devour every bit of each other, heads leaning in opposite directions.

liana shifted, climbing over the center console and straddling paige’s lap which had become her designated spot at this point, her fingers sprawled out on her shoulders. paige groaned, her hands gripping liana’s hips as she pulled her closer, glancing down at where their bodies met. the kiss turned hungrier, more desperate.

paige’s hands roamed over liana’s body, exploring the curve of her waist before slipping down to her ass, squeezing possessively. she immediately got back to work, using her hand to tilt her head to the side for better access to her neck. liana gasped softly when she felt paige’s lips linger in one spot, then the slight sting of her teeth as she bit down gently, marking her up.

“p, did you just leave a hickey?” liana asked, completely breathless as she touched the marks on her neck.

“mmhm. a few, baby.” her voice was a low murmur, but the girl atop her had managed to make it out. she trailed her lips back up to liana’s catching her mouth in another kiss. the car felt like it was getting smaller, and definitely hotter. liana’s hands moved up under paige’s hoodie, fingers brushing over her abs before reaching her breasts. paige groaned into the kiss, her breath hitching at her touch. she was being drove to the absolute edge with this girl.

her grip on liana tightened, pulling her even closer, and the kiss deepened, both of them losing themselves in the moment, as if nothing else existed outside of that car. but then liana pulled back slightly, her breathing ragged, her eyes shifting between paige’s eyes and lips. “‘m gonna tell her.”

paige blinked, momentarily disoriented by the sudden shift in conversation. “what?”

“naomi,” liana clarified, glancing down at her hands. “i’m gonna talk to her. end it,” she repeated more clearly.

paige’s heart pounded in her chest, and she wasn’t sure how to feel. was it really that easy, all she had to do was ask? she didn’t respond right away, just kissed her harder, almost like she was sealing the promise between them. liana responded just as eagerly, fingers curling into the fabric of paige’s hoodie as if she needed to hold on to something solid.

it was only when they both pulled back for what felt like the millionth time that night to talk, breathless and flushed, that liana realized paige had whispered something else—something she couldn’t quite make out. she opened her mouth to ask, but paige was already leaning back, her eyes searching liana’s face. “can i come up?” her voice was softer now, hesitant.

liana hesitated herself, stopping her movements. since ted’s they’d done a lot, clearly, but had never really took it all the way. she wasn’t sure paige was even aware of why. she needed more time.

“not tonight.” she saw a look of slight disappointment on the blonde’s face, and made sure to add that it would be soon. they’d need to find a right time, and right now, while there were still some things to sort out, it wouldn’t have been good.

paige chuckled, nodding against the headrest. “alright. soon.”

[astroismypassion]

Can you do cancer Mars men culture

Honestly, those be scaring me sometimes!

🦀Cancer Mars men:

how motivated they feel to do tasks, chores solely depends on their emotional states

they can be more productive when they are irritated

they dislike being underestimated, so whenever this happens, they like to prove those people wrong

they might also throw emotional tantrums, big emotional flare ups can happen, but like angry outburts, not really sobbing

they usually should work out more than they actually do, because this is how they process strong feelings

they rebel against their mother, sister, friends often

they love a typical “traditional” partner, basically like someone to cook them, wash their laundry

somehow get irritated by cleaning the house too much, actually gets annoyed by it

they like younger partners

they enjoy travelling A LOT, even short trips around hometown

storytellers, they CAN talk for hours, if they are comfortable enough with you and the topics

if they are not passionate about a subject, topics, I’m not gonna lie, kinda bad listeners

had at least 1 bad school experience

discipline was prioritised at home, but then there were times where they saw their partner “go all out”, either overdrinking, eating too much etc.

these people can be very absent parents sadly at one point in their life, but I noticed their partner usually gives them a reality check and they turn the tables around OR they are really a selfish partner for some part, but later only hangs with their own children and has very little adult friends

more prone to misuse alcohol, honestly a lot of Cancer Mars placement are susaptible to this, so really be conscious and mindful about this if you are Cancer Mars

they love pets, kind also has this animalistic soul, they really think a lot about animals

they love if their romantic partner has a pet

they don’t celebrate their birthday

they like to treat OTHER people on their birthday, but not themselves

they love cooking every 3 weeks, but prefers to be cooked for or eats out

they can be kinda awkward and shy at the most random times, but they still have quiet confidence about them

they love chocolate, but also homemade biscuits, cakes

they often miss out on family gatherings

they are overprotective only of loved ones and only of those family members that give them enough attention, otherwise they just ignore you or leave you to figure it out on your own

[vampiriccreature]

Dmc 3 Dantes design is AMAZING in a storytelling aspect but does NOT work outside of dmc3 AND I’M SICK OF SEEING IT USED IN CROSSOVER MEDIAS !!!!!!

Long ass yap under cut

Dante has always been one for over the top outfits and designs. In the dmc1 novel one of the first sentences is talking about how Dante is flamboyant. At the end of dmc3 we see he has his dmc1 outfit on with all the layers and vest and everything. NOT shirtless.

At the start of dmc3 bro was getting out of the shower, like you hear the water and the shower faucet. You see the water droplets and steam coming off of Dante. And when he answers the phone he says the shop isn’t open yet. Dude was having a lazy day.

Dante did not have time to put on a shirt, he wasn’t planning on going out anywhere or doing anything, he was just eating pizza and chilling. I see SO MANY people (including cannon media like the dmc3 manga) just assume he regularly does not wear a shirt…. like he does! he just didn’t have time to put one on before Arkhams bitchass showed up with his demons.

Don’t even get me started on those pants…. light brown has never been a part of Dante’s color scheme so light brown pants definitely seem weird right? Also he had no belt despite clearly needing one.

Like look at this render, you can see how far his hip is from his pants. He probably just threw on some old pair without thinking about it. And with no belt too, every other version of Dante has at LEAST one belt. So seeing Dante in light brown pants, alone with no belt is definitely strange.

Yet it WORKS SO WELL for the overall design in 3. Reducing the amount of black in his color scheme to better focus on the red and establish him as a much lighter character compared to Vergil ties in perfectly with the dark reflection trope Vergil and Dante play into.

The most iconic thing about Dantes design has always been that red coat. No argument there. So taking away the rest of Dantes more extravagant parts of his design to better focus on the coat is perfect especially for dmc3. Another thing that ties back into the dark reflection trope of Dantes and Vergil is that cutting down on Dantes design makes Vergil and Dantes personalities reflect in their designs so much more. Vergil is very well kept, with a much more complicated outfit and slicked back hair. So Dante being the opposite of that with a lack of shirt, pants that don’t match, no belt, etc. (while still being flamboyant with that red coat) shows their differences in maturity.

You look at this guy and you KNOW he put so much time and effort into his look. He exudes elegance and effort. Meanwhile Dante’s just thrown on a coat and called it a day.

My point is. This design is great for the storytelling aspect of dmc3 as well as the symbolism and metaphors in dmc3. However, we know Dante doesn’t usually dress like this. He wears shirts. So I get personally annoyed when I see Dante portrayed as that one dude who never wears a shirt. I head cannon that around the shop when he has nothing planned he won’t wear a shirt (saves money on the water bill cuz less laundry) but if he plans to go out or have the shop open or whatever, he’s putting on the full fit. Shirt, belt, coat, and plenty of other accessories.

Also here’s the second paragraph from the dmc1 novel cuz I just love how he’s described not only as flamboyant but also adorned with a lot of jewelry:

[tonowarii]

can i request a tsu'tey x dreamwalker!reader where he just indulge them in their rambles about earth?? reader is just talking about the most random things like cats and he's just there sitting next to her, listening. could be fem or gn reader, up to u!

(im a sucker for tsu'tey lmao)

and you shall receive!! ❤️ i'm sorry this took too long omg

tsu'tey te rongloa ateyitan x gn! dreamwalker! reader

Tsu'tey would rather feed himself to a thanator than to admit that one of his most awaited (and favorite) past times is where he's sat beside you, hearing you ramble on about anything and everything about your home town, which was earth. A planet away.

Now, his eyes carefully watched you as you made all these gestures from your hands as every expression you made enchanced your story.

Then something sparked in your head as you pointed a finger.

"Now, I don't know if this is a coincidence but have you noticed that we- or the na'vi look like cats!" You turned to Tsu'tey.

Tsu'tey's brows furrowed. What in Eywa was a "cat" and why does it look like them?

"What is a cat?" Tsu'tey asked, hoping that it further indulged you in your rambling.

You gasp out loud like what he said was something blasphemous. It had him confused.

"Okay, cats! Where do I start?" You think for a moment before you used your hands to show him an approximate size of cats back on earth. "They're this small... Wait is this correct... That reminds me I haven't seen a cat in a long time.." You battled with yourself as Tsu'tey chuckled.

Knowing someone was listening to you, you went back on explaining. "They're this small, at least I think so," You think again. "And they have ears like us." You said, pointing at his ears. "They have noses like us too." Then pointing at his nose.

"And don't forget about the tails, they have that too." You say, motioning to Tsu'tey's tail who was curled next to yours as you sat beside each other.

Tsu'tey nods, following your words.

"But they can be quite mean sometimes... And annoying, but we, humans, love them nonetheless." You added.

"Ah, can they.. Speak?" Tsu'tey asked.

"No, not really they just.. Meow." You answered.

Tsu'tey chuckled at the sound you made. Truly this 'cat' sounds something he'd like to see up close due to your impressive storytelling.

"Then why do you find them annoying?" He continued to ask more questions, getting to hear your voice being filled with wonder as you reminisced truly had an effect on him.

There was indeed no one like you.

"As far as I can remember, they tend to whine at me begging for more food when I just fed them!" You laugh. "I had a cat once and gods," You sighed.

"He always knocks things off of my table back in my house."

Tsu'tey seems amused. "Like- he would just look at me and let's say there was a pen on the table, he'd look at me-" You say, looking at Tsu'tey to demonstrate how he'd look.

"And he's using his little paw and his audacity to flick it off the table!"

Even though Tsu'tey couldn't understand parts of your sentence he truly felt that it annoyed you, but your smile said otherwise.

"Am I... like cat?" Tsu'tey asked.

Your eyes widened and you laughed. "I mean, yes.. Well yea actually now that I think about it-"

"You find me annoying?" He tilts his head, smirk now forming his mouth.

You quickly shake your head. "No! No! You are far from annoying." You defensively state.

"But you are like a cat." You smile up at him.

"How so?"

You laugh as you think of the reasons, holding a finger up for each one.

"One, you like to climb, don't you? Second, you have this habit of staring at people like you're judging them-"

"I do not do that-"

"Yes you do. Third, you like to be clingy when no one's around and when you're faced with other people you're suddenly this big intimidating creature." You laugh as Tsu'tey scrunches his face.

"I do not like this anymore."

You laugh further, leaning onto him as his arm suddenly wrapped around your shoulder, pulling you close to him.

"See, you are a cat, Tsu'tey, ma yawne."

He shakes his head with a small smile on his face.

"Oh! And fourth, you purr." You giggle, nuzzling yourself on his chest, indeed hearing a faint purring from him as you lay close.

Tsu'tey shakes his head, rubbing your arm as you thought about another topic you could talk his ear off of.

[freakinator]

funny thing about how i view the conflict in todays stream is that i view flame and wemmbu in very separate ways despite them doing essentially the same thing

in flames case:

i view his betrayal as ultimately a tragedy, their history all thrown aside due to a combination of wounded pride and genuine upset

if yall didnt see his chat for this stream it was actually really, really bad, like his chat is genuinely so fucking annoying oh my god and is a really good demonstration of why i think streamers should be mean to their chatters sometimes to so i actually wasnt at all surprised that he was so upset but i thought hed log off instead of acting out like this

he wanted respect but literally ruined the months long work of one of the few ppl that were willing to trust him over something that couldve been resolved if he just waited until september, but at the same time i can kinda understand why he was being so impulsive considering again his chat is Really bad, but at the end of the day that really shouldnt have been something you took out on one of your few allies like???? bruh even mocked zams storytelling as if he didnt do thee same shit as well 😭

honestly one of the reasons i was sad about his betrayal is cause it kinda sounded to me like he was genuinely about to cry at first??? maybe im just making shit up tho and he def stopped sounding like he was gonna cry after blowing up the spacewaffles tower lol

in wemmbus case:

i feel no pity for this man, he wanted conflict wherever he can get it and he got it! i think hes a lot like zam in that he just wants some attention and most importantly something to do but whatever happens to him next is his own fault lmao, i respect his honesty tho like hey he sucks but he knows what hes about at least lol

the fact that he still kept trying to get a commission from zam (or at least guilttripping him about it for lack of a better word) like bro i know you wanted to do a capitalism morality dilemma arc with zam but read the room my guy 😭

maybe hes at least a little mad that zam kept turning him away despite the fact he accepted a commission from mapicc of all ppl but like. bro. theres a reason zam called him a nightmare customer lmao

that being said you can tell hes not used to going this overboard considering he offered to help repair the tree when zam got upset lmao

idk i just thought his evilness was kinda funny, still hope he gets his shit kicked in spectacularly tho!

its funny, despite being acting like the shitty no reading comprehension version of abyss he gives me the exact same feeling of schadenfreude i did for minute back in s5 and i believe part of it is his mockery of lore and weird complicated dismissal of moral conflict particularly regarding zam

by weird complicated dismissal of moral conflict i mean both he and minute both tried to convince zam to see ''their side'' and ''reason'' but coming at it from an angle that completely misunderstands zam and when zam points it out they dismiss it and act like it means nothing because of their ''objective'' view of reality, spoiler alert! its not objective at all and they refuse to understand things from zams perspective cause they think hes just being unreasonable or something

idk overall i think their motivations for doing things are just kinda... shit lol

like ik theres some pretty obvious parallels that can be made with s5 here but the difference between the og players and flamebu aside from the lack of style and drama is that the og players waited several months before they started acting out the way they did and when they did start acting out tgey always made sure evryone who wanted to get involved Actually got involved rather than doing it while everyone was away plus their opps werent their own allies (except maybe pangi depending on how you look at it)

[bobbydagen24]

tbh I really don't think Raine should have been present for Belos's death.

This is something I've been thinking about more recently but why have Raine there? like writing wise

a lot of people try to claim that the reason for other characters not being present for Belos's death or at least not getting a final scene with him beforehand ( cough Hunter cough )

is that the scene was meant to be about our main three and keeping the focus on just them again like it was at the start of the show.

but that's kinda contradicted by the fact that Raine is also there now I love Raine don't get me wrong but they have no real business being there as they have no real emotional connection to Belos

and they aren't one of our main characters, and also what's with them being a ruthless killer all of a sudden?

does no one else find that out of character? kind caring sensitive shy but baddass and noble Rain is suddenly stomping a dying man to death while gleefully remarking on how satisfying it was.

that just seemed out of left field tbh.

makes perfect sense for Eda's character she was a criminal who lived on the run for ages and existed in a eat or be eaten type of world ( In most cases literally lol )

and same with little King who she raised but that never really seemed to be who Raine was at least not in my opinion.

so it just makes little sense to me tbh writing wise to have Raine present for such an important moment over other characters who it would make more sense for in terms of storytelling

like I said Hunter could have been given a final moment with Belos even if he wasn't present for his death as that would probably mess him up even more

or Darius could have showed up since Belos literally killed his mentor so him taking part in his death would make a bit more sense given the emotional connection.

or Lilith given the emperor used her for ages promising to cure her sister but secretly never planning to

or the collector who Belos lied to and used for countless years and tried to murder even after he forgave him.

or ya know Raine could just not be there and the scene could actually just be about our main three like people try and claim it is

but having them there over other characters who would make way more sense writing wise just feels wrong and kinda annoying tbh.

[hallowpen]

There was a lot of destructive criticism surrounding My Marvellous Dream is You, but I actually thought the series was quite good despite its shortcomings. I'm a lot more forgiving than most when it comes to Thai GL series, and that will have absolutely affected my viewing experience. But... every time I would see a comment that just read "This is boring/terrible/stupid" without ever elaborating, I felt very much like Khun Pu's character from Be My Favorite hehe

*WARNING*: There will be minor spoilers for the final episode of My Marvellous Dream is You, should that be something you wish to avoid.

I will be the first to admit, that I was very skeptical about this series in the first handful of episodes. So let's just get my personal negatives out of the way first... I think, by now, it's no secret that I do not support where a lot of Thai GL adaptations source from. So, this series already had an admittedly disadvantaged subjective expectation from the get go. It wasn't really surprising to see pacing issues within the first 5ish episodes, that seems to be a common occurrence in Thai GLs produced by IDOLfactory. Whether that is a result of the novels the series have thus far been adapted from OR from a choice in direction is up to you. I, personally, think it's a bit of both. Where I believe certain productions struggle in letting their narratives breathe, I find the complete opposite problem to be true with IDOLfactory. There were a lot of plot points that needed restructuring or to be removed entirely in order to have a stronger cohesive story that focused on the main characters' relationship more so than it did.

Now, while I stand behind my opinion that the series could have benefited from tighter and better organized storytelling, a lot of the groundwork was there to make a decent character driven narrative. And that's what I've chosen to focus on. Wan and Kim are both deeply flawed characters. There were so many inferences to be drawn from character relevant visuals and their joint backstory that truly informed their current dynamic.

The👏🏾character👏🏾focused👏🏾visuals👏🏾in👏🏾this👏🏾show!!!

One of the most interesting parts of watching a series, for me, is having to pick up on certain character cues in order to understand and delve deeper into the core of their behaviors.

Wan and Kim share a trauma, and it's easy to see how they both became so dependent on one another to fill the void their fathers left.

In flashbacks, Wan is presented as egoistic and headstrong since high school. She is also shown to be extremely protective of Kim before she even realizes her feelings. Kim, on the other hand, is a bit more sensitive. She cherishes Wan's attention and affection to a point where she would be willing to play a little dirty in order to keep it for herself.

All of these emotions become heightened once they are forced into adult life with adult problems. Wan is struggling with her mental health. While trying to balance fame and the repercussions her actions might have on her career, Wan must also deal with her mother's alcoholism... which has essentially caused her to check out from Wan's life. Her need to have Kim by her side, and never leave her, has become less protective and more possessive. Kim's desire for approval and affection has led to an over devotion of herself to Wan and constant worrying about disappointing her mother. She's neglected her own wants and needs for so long, that she's afraid putting herself first would be considered too selfish...too much like her dad. Her mother's cancer diagnosis further pushes Kim to continue to place her mother's wishes over her own desires. Even though comments about Wan and Kim being 'annoying' or 'frustrating' were aiming to be negative... they weren't exactly wrong. The audience was supposed to feel that way. Heck, even the surrounding characters called out their behavior on more than one occasion. Because in an effort to not lose one another, Kim and Wan fell into a cyclically unhealthy dynamic where their actions and reactions were actually pushing each other away. Their inability to communicate their true feelings to each other beyond their (unbeknownst) shared dreams prevented them from making any true progress toward a romantic relationship that they both so desperately wanted, but were each terribly afraid to pursue. Their feelings for each other were put up against the reality that their love being unreciprocated could spell the end of their relationship altogether. There was an added pressure of being unfairly compared to their fathers, where any romance between them might be found 'unacceptable'. Couple that with societal views of same-sex relationships, and you can understand why these two were so hesitant to reveal their truths.

(Quick sidenote: I did not agree with the idea that what Kim and Wan did was exactly the same to what their fathers did. They did not leave and abandon their families. Marwin didn't make it easy for them, and given the glimpse we saw into his family's cruelty, it made all the sense in the world to have him react in the way he did. Kim and Wan were at least willing to stay and face the hard consequences of their choice, no matter the outcome.)

I think them having to work through all of their issues made the moment of Kim and Wan finally deciding to be together that much more satisfying... And that was the point Kru A was trying to make when he explained his direction for their relationship on social media after hearing viewer feedback (He was subsequently rudely criticized by interfans for that decision, to the point where he alluded to the fact that he might take a break from directing... but that's a whole other discussion).

That final scene of them being married purposely not clarifying whether it was in a dream or in reality alluded to the fact that their shared dream world and their real life were no longer at odds, finally. I thought it was very fitting.

The frustration caused by KimWan's lack of communication reminded me of a similar dynamic between Team and Win in Between Us, a series that suffered from a lot of the same problems (not enough focus on the two leads and irrelevant plot points). However, those characters and the actors that portrayed them didn't receive even half the amount of negative reactions. They existed, trust me, but there were a lot of positive reviews to balance it out. I'm not going to get into what that means, because I think you can make the inference for yourself.

All in all, I don't think this series deserves to be completely written off. Is it perfect? No... but an effort was made, and it wouldn't hurt to make the effort in return to understand the vision. Fay and May did an incredible job for their first go around as main leads. And I hope they get the chance to develop their craft further.

[indierpgnewsletter]

A Sociology of Tabletop Roleplaying Games

Every once in a while, one must embrace hubris.

Let’s start with play. Play is an important part of life – mentally, spiritually, emotionally, physiologically, grammatically. It has uses. As a child, it helps with learning and growth. As an adult, it helps with not being sad all the time. But people don’t play because it’s useful. People play because it feels good to do – because it’s enjoyable, pleasurable, delightful.

The big joys for me are winning, risk-taking, solving, mastery, socializing, performance, storytelling, humour, novelty and catharsis. If you want a more in-depth list, it’s hard to do better than Levi Kornelsen’s Manyfold, which lists 17 different kinds of fun. But even that list is thinking about RPGs specifically and if you start including stuff like sports or sex or crafting, the list probably gets longer.

What I like about Kornelsen’s Manyfold is that it makes sure to focus on the fact that these are joys, not types of people. Which avoids 90% of the most annoying arguments.

Based on what kinds of enjoyment they’re chasing and what they’re avoiding, people make games. People connect with games that evoke their preferred kinds of enjoyment and fun. This leads to people making games that build on what came before in different ways – specializing, generalizing, forking, mutating, etc.

They also lead to cultures of play. These cultures are social infrastructure – values and practices that congeal around certain places or communities aimed at certain combinations of joys. These cultures develop norms and then expectations. Also, they tend to spawn sub-cultures constantly and immediately, often consciously defined in opposition to their roots. The three that I refer to most in this newsletter are trad, storygames, and OSR.

Trad play culture, the dominant play culture, is best understood as a specific model of player and GM roles and responsibilities. According to Retired Adventurer, “Trad holds that the primary goal of a game is to tell an emotionally satisfying narrative, and the DM is the primary creative agent in making that happen – building the world, establishing all the details of the story, playing all the antagonists, and doing so mostly in line with their personal tastes and vision. The PCs can contribute, but their contributions are secondary in value and authority to the DM’s.” In terms of joy, I feel like that the trad play style is defined by not specializing in specific forms of enjoyment and allowing groups to “wander” (as Kornelsen puts it in Manyfold) around from one kind of fun to another.

Storygames and OSR are both usually defined in opposition to trad. The storygames playstyle changes the trad model of GM-player by trying to make the GM more of a player. In terms of joy, the play style clusters around storytelling, performance, and risk-taking with less emphasis on solving or winning.

The OSR is an umbrella term of play cultures that accept older forms of d&d as a kind of lingua franca of roleplaying. They veer away from the trad model by eliminating the GM’s responsibility for a satisfying narrative (and resulting knock-on effects). In terms of joy, there’s a spectrum of cultures that vary in their emphasis on solving, winning, humour, and risk-taking.

There are probably an infinite number of potential cultures of play but some are particularly visible because they lead to design cultures (where games are made for a specific culture) and become markets (where game-sellers target cultures to reach customers).

In terms of design traditions, trad, storygames and OSR have their own norms which create a feedback loop with the play cultures associated with them.

Trad games are often built around detailed settings, involved character creation, and often tactical combat. They tend to avoid specificity in narrative, preferring to let the GM decide or use (often very specific) adventure modules.

Storygames tend to focus on specific narratives or scenarios and rules designed to support those outcomes exclusively. Settings tend to be co-created amongst the player and the GM and are thus, often improvised rather than prepared beforehand.

The OSR has a DIY ethos that values creativity and ease-of-use in setting and scenario design. So while settings are concrete, rule sets, while plentiful, tend to be improvised.

And markets, well, you know ’em.

That’s quite enough from me. I assume this kind of post can do no good but I typed it out anyway.

(This post was first published in the Indie RPG Newsletter.)

[runawaymun]

Hey! Any advice on writing multi chaptered fics or just longer stories?

I feel like I'm okay for like snippets but have no idea how to write the middle of a story or move a character or story from point a to point b.

And asking you because you're writing is phenomenal and I'd love some advice.

(But if no brain space for advice I totally get that too and feel free to hide this ask or something)

(Anyway great updates on boundless and the one shot Brimbrond)

Sorry for taking so long to respond to this! I just wanted to take some good time to gather my thoughts because oh man oh boy I am a bit of a nerd about plot structure, even if I pants it a lot of the time -- because middles and structure absolutely plagued me when I was a beginner and so I spent a long, long time studying it and breaking it down.

I'm going to start with some very, very basic advice and then get into some more specific stuff. So let's talk first about how to structure a long-form plot first.

DISCLAIMER: this is how I personally structure plots. More often than not I veer off my own track. And this is a very western way of structuring a plot. It's well worth looking into how storytellers from around the world structure their work because it can vary wildly (Miyazaki is a great example of this). Take this with a grain of salt. It's a guideline which I find helpful. This is going to get very, very long. Bear with me:

When I'm first thinking about how to create a plot around a story I want to tell, this is the process I walk myself through, and it tends to work about 75% of the time for the stories I like to tell (I'm not much of a thriller or mystery writer and those tend to have different kinds of structure). Main recipe is as follows:

Status quo - establish the setting and the character. Do this by the middle-to-end of chapter one, preferably. You can get away with drawing it out a bit in sci-fi or fantasy works that require more worldbuilding, but try not to.

Inciting incident - I won't tell you to start in media res, as that varies from writer to writer and story to story. Generally you want to have this somewhere in chapters 1-3. Say we're talking about LOTR - I'd say the inciting incident is when Bilbo goes invisible at his birthday party and leaves for retirement. Everything sort of snowballs from there (Gandalf confirming this is The One Ring, the Ring being passed to Frodo, the adventure beginning, etc. etc). This is where your character can lose something, or be confronted with a huge problem, or gain some new information. This is the point where your story really picks up.

Point of no return - your character has been presented with a problem or is put in a situation and now they have to decide what to do about it. Sometimes characters choose to run away, or choose inaction. It's up to you and your character as to what they do next.

The annoying part - the most helpful way I've ever found to think about middles is in terms of a series of decisions and consequences. Your character must decide what to do (or try to get what they want), and this will then come with consequences to those decisions. I ignore a lot of writing advice because writers seem to be very cagey about how they compose middles and plots for some reason, but the one piece I heard that helped me was: "What does my character want, and what stops them from getting it?" -- and this can be anything, right? Frodo wants (has to) take the Ring to Mordor. Luke wants to learn to be a Jedi like his father. Inspector Poirot needs to catch the murderer. Odysseus wants to return home. Each of these characters are going to make a series of decisions toward their goal, and they may be working from incomplete information, or bad paradigms, or racing against the clock, or against impossible odds. They're going to make mistakes. Over and over and over again. The middle is a series of decisions, consequences for those decisions, and obstacles (more on that later).

Point of no return 2, electric boogaloo (i.e. the actual midpoint to the story) - the part right before the climax -- the climax IS NOT the midpoint of your story, nor is it the end. This is your midpoint where Everything Fucking Sucks. Your character's back is against the wall. They have to change, or fail.

Paradigm shift: your character learns something new, or develops in some crucial way that leads to:

The climax/confrontation: 3/4 - 7/8th of the way through your plot. Frodo decides to keep the ring. Luke uses the force to blow up the death star. Anakin's fear and the manipulation from Palpatine overtakes him and he turns to the dark side. Inspector Poirot gets his last crucial piece of information and gathers everybody together for the Big Reveal. Odysseus gets home and chases the suitors out of his house. Etc. Etc. This is that Big Point in the story we all think as the most important or crucial point (but it's not. That's the key here. THE most important point is the whole middle of how we got here).

Consequences and paradigm shift 2 electric boogaloo: varies from story to story, but this is the fallout of the last decision or confrontation. Your character may reflect on what they've learned. The killer goes to jail. Frodo returns to the Shire and it's saved, but not for him. The journey your character has been on has irreparably altered them, or the world around them -- for better or for worse.

Resolution: the place where you land the story ;) what is the final impression you want your readers to have of your character, or this world?

Alright so that's all kind of nebulous. Let me give you a slightly more specific form of this plot structure that I use pretty often, because I almost exclusively write character and relationship-driven stories since that's what interests me most:

So most of this looks much the same (the inciting incident is some kind of meetcute. The characters then have to decide if they want to have some kind of relationship -- I like to name this part the callback). Then we have a whole weird squishy section of building interest and tension, before once again we have The Big Fight (darkest before the dawn or what have you), before one or both characters have some kind of paradigm shift, they confess their feelings (or resolve the fight or whatever), and the security of the relationship is established -- happy go lucky times, everything is beautiful and nothing hurts.

So the middle here is of course still squishy and nebulous, but the focus here is still on "What decisions are the characters making? What are the consequences of those decisions? What are they learning, and how do they respond to it?" Maybe the tension is in one character being more reticent, while the other is more open. Maybe the tension is a sexual tension (will they, won't they?). Maybe a character is working off of incomplete information, or a misunderstanding, and that needs to be cleared up before the relationship (or even their own personal growth) can progress (both Elrian and Thalionel in Stars and Boundless Sky follow this pattern). The middle is a push-pull between your character's desires and outside forces that are stopping them from getting what they want, or achieving what they want to achieve.

So okay, that's all well and good. That's basic plot structure. Let me get into my thought process about middles specifically:

Begin with your ending in mind. I do not mean that you need to have like the whole resolution to your story fleshed out. If you're that kind of writer, great! But if you're more of a pantser like me, then that can be a big ask. Instead, ask yourself: what do I want my character to have learned by the end of the story? How do I want them to have changed, or grown? Do I want it to be for better, or for worse? Is there a specific plot goal you have in mind? (saving the world, or catching the murderer, solving the mystery, exorcizing the ghost, the couple getting together at the end, the found family finally gelling with each other, or whatever).

Once you have that thought in mind, now start to think about what your character might need to get from their starting point to their ending point. If it's a murder mystery, this is your information gathering section. You can lead your character to wrong or right conclusions. Have them make mistakes. Etc. etc. If it's a romance, this is where you create a string of scenes where the characters have opportunities to interact and learn more about each other (works for platonic slowburns, too). If this is a traditional hero's journey, this is where you plop in your actual journey.

Not to repeat this ad nauseum, but your middle is all about getting your character to your end goal, but in the most difficult way possible lmao. Let them make mistakes. Let them make bad decisions -- and then follow through with the consequences of those bad decisions. Give them bad information. This is where understanding your character's fundamental flaws becomes extremely important. Your entire plot, imo, stems from your character's fundamental flaws -- because ultimately that is what is going to slow them down the most from reaching their goal. Sure, you may have the big bad evil guy (bbeg), but we're not worried about him. That's an external factor and that's easy to drop in when you need a quick problem to place in front of your protagonist -- but that problem needs to be in service to your character or your worldbuilding. Teach them something. Give them an opportunity for growth. Aragorn needs to lead at Helm's Deep so he can inhabit his leadership role. The mountain pass of Caradhras needs to force the Fellowship through the mines so that Gandalf falls fighting the Balrog and comes back leveled up and ready to fight, and other characters in the fellowship have a chance to grow into their roles without relying on Gandalf for leadership. Your middle is all about crafting little opportunities for character growth, always while moving toward your end goal -- whatever that may be.

The paradigm shifts are crucial, and they can shift for better or for worse. It's up to you and your characters and the story you want to tell as to which it'll be.

If you're bored, your reader is bored. Only write what excites you, skip all the rest, and make it make sense at the end -- I'm so serious. Yes you need to add in breaks for pacing (like the whole Rivendell section in LOTR), but in those breaks still make sure that you're either expanding your worldbuilding, or giving your characters and opportunity for growth.

If you want to tell a really long (novel length) type of story, sideplots and alternate POVs are your best friend. They are structured exactly the same as a regular plot, they're just simpler or smaller and generally work in service to the main plot. Maybe there are side characters or side relationships you'd like to develop. Maybe there's a smaller mystery or a part of your worldbuilding you'd like to explore. Action plots can be side plots to romantic or platonic slowburn plots, just as much as it can be the other way around. And this is not something you need to structure out the gate. Just be curious and playful. Find points in your story that interest you, and explore them a bit. You'll find that they expand the story.

Biggest and best tip I can give you, when all is said and done, is to decide what kind of story you want to tell and then examine how other people are doing it. If you want to write a superhero story, pick out your favorites and look at how they're structured. If you want to write a mystery, same thing. If you're writing a romance or a drama, again -- same thing. Look at the pieces of fiction that you like, figure out what you like about it, and then apply it to your own work.

That's all the general advice off the top of my head. IDK how helpful this was lol. If you want more tips on middles I can try to look at it a bit more in depth, but to be quite honest middles are really what defines a genre. Romances have different middles to thrillers. Thrillers have different middles to mysteries. Mysteries have different middles to dystopian sci-fis. Etc. Etc. So take the general advice with a grain of salt and look more specifically at the genre of story that you're looking to tell.

Thanks for coming to my tedtalk <3

[nana-b0b]

Horse racing

The name Ran means "orchid" (蘭) and is the name of this short graphic novel.

Ran's name is inspired more exactly by the black orchids, which are the most exotic within their kind, moreover, there is some symbolism with The Garden of Earthly Delights (Bosch's painting) and all its hidden meanings, in part and summarized: the most beautiful orchids in the hands of man.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>●

|| We have more around here and we have her name! "She" is Aurora Imagawa, a special grade sorceress with a very very scandalous past but who is currently in Sukuna's hands... we'll find out why.

So who is Guido? An ancestor of Aurora's who had her same curse, who we know here as "the Meiji era girl" but now has a temporary name and will have a story to tell us about her... and her favorite son, Choso.

The story of Guido and Aurora can be interspersed, sometimes there will be drawings of Aurora, and others of Guido, I'm not doing things in chronological order because I would have to explain a lot of things and sometimes I like to keep the mystery.

Some notes:

♡Guido was born with a very out of the ordinary beauty, she has a sleepy and tired look most of the time but is a very astute young lady.

♡Her mother was very annoyed with her horse because it was not straight like her sisters and not black like hers, she has a very dark auburn warmth in her hair, also, her eyebrows are a bit thick breaking with the beauty standards of the time.

♡Her eyes are light blue, her mother says she is "too much water" bad omen, she should have been born with brown eyes like her sisters, rooted to the earth like the cherry tree.

♡Aurora has one of Guido's moles, the one next to her lip.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>●

Nana's notes:

Thanks to everyone who is supporting these drawings, I really appreciate it very much and I hope to continue working with this story because I would like to show you more things and make it your afternoon novella! something to read for a while and think during the day.

I saw a lot of people excited to write inspired by this story and I just want to say one thing: take your pen and do it!

And remember: if you publish it don't hesitate to tag me so I can see it, I would love to be able to read it and even be able to continue to be inspired for storytelling.

I'm very excited to inspire more artists with my graphic pieces, in a way it's my goal to take care of the details, the scenes, the gestures of each drawing, because I want you to feel it as much as I do (this is also closely related to why Aurora's face is so little seen or always covered, keeping her face gives that air of mystery and gives way to the possibility of imagining that she could be your OC or... you).

[idoodlestuffsometimes]

DRAWING BACKGROUNDS: TIPS AND TRICKS

So many people are afraid of drawing backgrounds and I think it's a shame, so here's some tips and tricks, because I'm not perfect at it myself but I think the hardest part is really just knowing where to start.

First off: Perspective

Yeah, yeah, that's the scary word. But I promise you, once you're familiar with the basics, backgrounds are a LOT less intimidating. Don't get discouraged if WHEN you have trouble with it. Even professional artists struggle with it. I promise you, screwing it up is good and normal. That's how you learn after all!

Now I'm not going to go into detail on how to do it here, because honestly there are a thousand and one free resources online and in libraries that can explain it far better than I ever could in a singular broad-strokes tumblr post. But I AM at least telling you you should familiarize yourself with these basics:

Important Terms: Horizon Line: A horizontal line across your canvas, showing your viewer's eye level and providing a location for most of your vanishing points. Vanishing Point: Integral to drawing in perspective. The sides of a 3D object get smaller as they become farther away from the viewer in space. This point is where the parallel lines of a side eventually meet.

The Basic Types of Perspective: One Point Perspective: Good for drawing things that you're looking at straight on. Two Point Perspective: Good for drawing things at an angle. Three Point Perspective: Good for drawing things the viewer is looking up or down at, especially at an extreme angle.

[Click images for ALT descriptions]

And if you're comfortable with these and serious about improving your skills for use in storytelling, I also might suggest looking up:

4 Point Perspective: Great for extra wide or tall shots and for camera tilts if you're doing an animation or animatic. I think some other names for this in animation include "banana pan" and "warp pan."

5 Point Perspective: Fish-eye lens. Good for all your angsty anime boy slipping into madness needs!

Some perspective tips I wish someone had told me earlier:

Objects' relation to the horizon line is constant. A super helpful tip to remember when placing a character or object in space is that they will always (assuming they aren't changing in size or moving up or down) have the same relation to the horizon line no matter how far or close they are. If your horizon line is at shoulder height for your focus character in the foreground, any character of the same height in the background will still line up with the horizon line at the shoulders.

How to pick the distance between your vanishing points: 2 pt perspective uses 2 vanishing points, 3 pt uses 3, etc, etc, but how close should they be? Well, first of all, for anything that isn't one point perspective, one or more points will usually be off the canvas. Super annoying, I know, but the closer your vanishing points are, the more warped your drawing will become. Second, a helpful thing to know is that choosing the distance between your points is basically the illustration equivalent of picking your camera lens! Photography buffs will know that wider (shorter focal length) lenses show more space and make the distance between foreground and background more dramatic, while longer focal length/telephoto lenses are flatter, and more focused and intimate. The same is true of vanishing points that are closer (shorter focal length) or farther apart (longer focal length).

2 point/3 point/etc doesn't actually mean you're limited to that many points total on your page. this one confused me a lot when I was getting started, lol. A lot of examples will show you drawings of nice, neat cities or something, in which all the buildings are facing the same way in order to demonstrate perspective drawing. But in real life, buildings don't all face the same direction. They're at all sorts of different angles. So how do I do that??? Answer: Just because you're drawing in 2 point perspective or whatever doesn't mean you... have to actually keep your 2 points in the same spot. You can move them around, just keep them the same distance apart, so you're not screwing up your camera lens.

Other Tips:

Use reference! The instant you try to draw a house, you're going to forget every house you've ever seen. That's just how it goes. Buildings are complicated. Do yourself a favor and collect a few reference images first, buddy!

Consider details (like architectural style, amenities, and materials) Your building will look more like a building when you keep in mind that buildings have gutters and door knobs and light switches and paneling and stuff, and aren't just boxes with roofs on them. Again: reference! You will forget electrical sockets and baseboards exist immediately. Art brains are dumb.

Use details and texture to fill in negative space Giant stretches of blank space tend to be boring and distracting. Put a few suggestions of wood grain or something on that wall back there, bud, just don't overdo it.

Line weight Darker, thicker lines draw more attention, look heavier, and look closer to the viewer than lighter, thinner lines do. Take advantage of this to draw the viewer's attention to your focal points, de-emphasize less important details, and imply depth. It's up to you to decide how you want to use this and what your style is, especially once you start getting into combining or replacing it with shading, values, and color, but a helpful rule of thumb is to try reserving your thickest lines for focal foreground characters and use thinner lines on backgrounds, especially details in the far distance.

Perspective guides If you're drawing digitally, take full advantage of any perspective tools you have access to! A lot of art programs lately have begun adding perspective guide features that let you set up vanishing points and then literally guide your hand as you draw so you stay in perspective. Some of these include Procreate, Clip Studio Paint, and Adobe Fresco. (still sadly none in Photoshop as far as I'm aware, what the heck, Adobe!). Check through the settings of yours to see if it gives you any perspective guides or other similarly useful tools. They're 100% worth it! And for god's sake, if you've got any skew or perspective warp tools, draw your complicated shapes flat and then warp them instead of spending an hour on it! Don't make my mistakes!

[greenconverses]

Richard saying, "we're going to end up in the same place, it doesn't matter how we get there" pissed me off so much ISN'T "HOW WE GET THERE" THE ENTIRE POINT OF STORIES?! ISN'T THAT WHY THE ENTIRE DAMN BOOK EXISTS?!

So, shocker, I have Thoughts about this post of his. My knee jerk reaction when I saw it last night was an eye roll and an urge to rant, which I kept contained because I'd already ranted and we gotta space that stuff out from time-to-time.

And now that I have had a full night's sleep and I am slightly less cranky, I'm gonna have to go on record and... DEFEND part of his logic, gasp.

For those not in the know, RR wrotes this reply to question on Threads (lol) a few days ago about changes to the plot in the sixth episode that apparently bugged a lot of people:

And like, I'm deeply annoyed about the "it won't change anything" bit because OH MY GOD STORYTELLING which is a whole other thing but I do have something to say about the man's logic and the difference in the show premise vs the books that I think is flying over a lot of people's heads.

The plot of the show is Percy saving Sally and doing a quest along the way. Sally and Percy's relationship is the A plot, the mythology and conflict among the gods is the B plot. Percy knows from 1x02 that his mom is alive and that changes his priorities immediately; we see him start to care about the overall quest and his place in the world in 1x05, but he's still pushing forward because of his mom. You have to add another pearl to pay off that A storyline, to promise audience members that Percy is going to succeed until he doesn't.

Percy in the books has a feeling his mom is alive or that he can get her back from the Underworld, but doesn't know for sure. The quest and the setting up the overall Big Three backstory is the main plot of the books and what we the readers are focused on. I wouldn't even put saving Sally as a B or C plot in the original TLT. Percy doesn't get confirmation that she's alive until they're down in the Underworld and Hades reveals he took her for leverage, so then only having three pearls becomes a brief but important conflict.

This is where we're seeing a lot of the issues with the show's plot come to a head. It's fine to change the priority of the story from returning the bolt to saving Sally, because it delivers the same result in the end anyway, like Rick says. But you have to bulk up other parts of the script in a way to make up for it and the show has not delivered on that part. (See exhibit A: my rant about any lack of mystery with the monsters.)

I think the most egregious change that he says doesn't matter is the trio missing the deadline. In the books, we're told that natural disasters and weird things have been happening since the bolt disappeared as Zeus and Poseidon fought, and stuff was getting worse the closer the deadline came. We are briefly shown this in 1x05 with Ares and in 1x06 with Luke saying things are "bad" at camp, but imo, it doesn't feel super heavy. The consequences of missing the deadline is that gods go to war and bad shit happens! Lots of mortals are gonna die! Doesn't that matter?

The show could've stepped outside of the Percy and Sally storyline for little bit to give more of a perspective about what was happening at camp or the outside world to bring that weight - you're not limited to just Percy's POV storyline in the medium of a TV show! (Of course, we can step outside of it to give a LMM cameo/stinger because priorities but I digress.)

They didn't and I'm not sure how they're going to "solve" Zeus's response to Percy missing the deadline 'cause like... this is the unreasonable king of the gods that Rick has started yet another series based on the premise of him being a petty bitch who wants to ruin Percy's life. Is the guy gonna walk back starting a war? Is he waiting to start because Poseidon asked nicely? What's the consequence to the world going to be? Clearly nothing, since Rick said the story is going to end how it was always going to end, which is just poor storytelling.

[natdocx]

I don't mean to sound dramatic but I'm still flabbergasted by that TLP episode. Like, I literally can't stop thinking about it. I can't believe they cut THEE love scene that people have been waiting months to see. The love scene that, in my opinion, should be the emotional climax of the show.

I mean, props to them for keeping most of the dialogue from the book because I will admit that was the most important part of the reconciliation. But how tf do you make a show with so many gratuitous love scenes in order to capitalize on your main couple's chemistry and popularity... and then fail to deliver when the story actually demands it?

Like I'm sorry I can't shut up about this but at the same time I don't even know how to properly articulate why I'm so disappointed. And I don't mean to sound greedy because it's genuinely not about having one less love scene; it's about the storytelling aspect of it. They could have cut almost any love scene between eps 8-12 and it wouldn't have made much of a difference. But why leave THIS ONE out? The whole show is about Anilpin's relationship. That's literally the only plot. And the only real drama that exists in this story is the angst we've been watching for the past couple of weeks. That's the main conflict of the show and the main conflict between the characters they've been setting up since episode 1. How do you take this romance story and then not give the main drama, the ONLY drama, a proper emotional resolution? How do you have the main couple separated and suffering over each other for months and then not give them a proper love scene when that's exactly the emotional payoff both your audience and the characters themselves have been waiting for? Just... why?

Anyway, I don't even know why it annoyed me to this extent when in the grand scheme of things it doesn't matter all that much. Maybe because I think TLP is miles ahead of most other gl shows in terms of quality so I set my expectations too high. I don't know. I'm just... confused.

[that-ari-blogger]

Would love to hear more about your thoughts on Mermista being your favorite character from She Ra 👀 if you ever felt like sharing

I’m totally not biased at all but I too think she’s the best character

I think this is really interesting, because a character can be someone’s favourite for a ton of reasons. Sometimes it is aesthetics, or mood, or empathy, but I like Mermista because of how she operates as a vessel for storytelling.

And before I start on this tangent, please be aware that this is, by nature, subjective. If you don’t like Mermista, state your case in the replies. Please don’t take my word as gospel.

SPOILERS AHEAD (She-Ra and the Princesses of Power)

So, I am a fan of wordless storytelling. It’s why I love the traditional mystery films and old western flicks. I like the pacing that comes from characters wandering around and not saying anything, but working things out in a way that the audience can see.

This is partially because writing dialogue is easy, but writing good dialogue is infinitely more difficult than anything, and I am still getting the hang of it, so a lot of what I write is slow and methodical. But I also think that visual storytelling is a lot more interesting and easier for me personally to keep track of.

It's Show Don’t Tell taken to its logical extreme, and while its situational, it really works for me.

Which brings me to Mermista, who I think has less than half the number of the lines as Frosta, despite being on screen for a ton more. That is because no dialogue with Mermista is ever wasted, and instead she takes in situations and thinks.

The only times Mermista ever really speaks are when she needs to communicate information quickly, and when she is annoying one of the other princesses for the fun of it. Even with Shadow Weaver, she finds the quickest possible solution, she interrupts her by calling her a name. She throws her off balance, then gets back to being quiet.

Case and point, at the end of No Princess Left Behind, Mermista doesn’t give a speech, or tell anyone that she is feeling sad. She just turns away from the camera and acts out her emotions subtly.

But the show doesn’t write this as just a strength for Mermista, it’s core to what I keep saying about how the series writes tragedy. Each character’s greatest strength is their greatest weakness. Mermista is detached and methodical, but that’s a façade, and it means she is totally unequipped to handle big emotions. She doesn’t know how to respond to Entrapta’s death, and she is totally unprepared emotionally to cope with the fall of Salineas later on.

In that way she acts as a counter to Perfuma, who is all about those big emotions and big connections. But there are other things that show them as opposites.

For example, Mermista is dynamic as hell. Part of her water theming is that she is able adapt to almost any situation and work through a problem. She can fit any shape, and fill any role in the team. She’s a bruiser, or a scout, or a tank, or a saboteur. But she’s also dynamic ethically.

You may notice that Mermista has the single most flexible moral compas in the team. Not in the sense that she is morally grey, (or morally pink like Glimmer), but in the sense that she applies a different framework to each problem she is faced with. She doesn’t have a thing against deceiving, trickery, or even killing if the situation calls for it, but she never strays into that dubious territory because she knows when to implement it and when that fails, she tries something else. Mermista perseveres and adapts.

Perfuma, however, is the She-Ra equivalent of Batman. I’m not joking about this, and I will talk about it in a later post. In short, however, Perfuma’s greatest strength is her uncompromising moral code. That’s how she gets through to Scorpia at the end. But it also means she is utterly inflexible, hence why she can’t work with cacti or Entrapta.

The reason I bring both of them up together is because their balancing out of each other leads to character development over the course of the story. Perfuma learns to widen her understanding of the world, and that she doesn’t realy have to subvert her morals to do so, and Mermista gains a healthy framework with which she can interact with people and form meaningful relationships.

For example, she can’t really react to Sea Hawk at the start of the series because she doesn’t know how to. She thinks in problems to be solved, but people aren’t that. At the end of the series, they become a couple because of the development seen above.

Essentially, I like Mermista because I like the story that is being told about her, and the way in which it is told. She's also just a big ol' nerd, which is just a joy to watch.

Just stop giving her one liners. I’m talking to the show and a few fanfics I have read. They’re jarring. Please, let my girl brood.

[punsbulletsandpointythings]

So I've been watching My Hero Academia and like

GOD ALL THE TODOROKI FAMILY BAGGAGE HURTS SO GOOD.

Like damn. What a complicated situation. I love that all the kids are handling things differently. I've already figured out the (obvious) Touya twist and BOY do I hope we get a reverse Darth Vader moment with that.

But also like. Fuck Endeavor with a rusty spork. He's a terrible terrible person. But gosh what a good character. That contrast between being a Great Hero and a Terrible, Abusive Father is a deeply compelling story, is definitely a part of how the show interrogates the idea of heros and the complexities around a society and culture of heros and villains.

We already see that complexity with All Might, and how by becoming a Symbol of Peace he's made it so he can't do anything but destroy his own body and still try to put on the smiling face for the public, and when he forcibly can't do that that anymore, for a few moments, the public turns on him, until he shows he's /still/given all of himself for the "Greater Good". Which is heartbreaking, and fascinating, I hope between him and Deku we get to examine that dynamic a bit more.

But that's like.....the needs of an individual being put aside for the expectations of society and how by being There for Everyone All The Time, All Might unintentionally became part of a system that can't really survive without him, so he can never leave, until he's forced to, and the plot becomes how society deals with that sudden lose of security.

With Endeavor, it's like. How do you come to terms with the duality of this person. He's saved so many lives, and in doing so, in his status rising because of his heroics, he turns around and commits atrocities. But it's not so much society forcing him into a corner like I think All Might is. Yeah societal expectations of heros probably played some part, but I think the larger part is the narrative pointing out how Endeavor's own drive, while I think coming from an initially good place, is corrupted by his own way of viewing the world.

We know he cares for people, he clearly can manage that on wider, impersonal scale. But he can't, or doesn't, apply that to his own family, because his own drive and desire to Be Better Than All Might outweighs everything else when he's not out in hero mode, thus: a Good Hero and at the same time, an Abusive Asshole Father.

And I like that, at least so far, the characters and the narrative won't let him forget that! Even as he tries to "fix things", I like how, as far as his family is concerned, he can't! He can try, but Natsuo and Shota, and even Fuyami, have no reason to trust him, and even less to forgive him, and I like that they say that! Like, good! I'm glad he's trying to be better, but fuck him!

AND I like that we see Shota seeing that juxtaposition of Good Hero v Terrible Father. I love that scene where he straight up says, "Don't pretend to be a good parent in front of my friends. I'm here for Endeavor, not Enji ((that's his name right?)) Todoroki, and I'm only here because it will benefit me and my training."

I don't entirely know where I'm going with this but it's all just! Such a good story! And there are so many other bits I could ramble on about (Fucking!!!! Bakugo???? Listen, as someone who was bullied for uhhhhh most of my pre-uni school life, if this were real I'd have OPINION. But it's NOT it's FICTION and GOD Bakugo and Izuku and their fucked up co-dependant situationship delights me, what delicious storytelling!!!) but I'm currently watching the Todoroki Backstories episodes of season 5 and ANNOYED (Read: delighted, again this narrative is WORKING SO WELL) that I'm so invested in Endeavor and his painfully slow realization of just how badly he fucked up!

Anyway, I'm gonna need so Todoroki Family Time Travel Fix-It aus please, because I want Rei and All Her Children to not get Backstory Trauma, so if anyone has recs (or like. MHA recs in general) HMU!