#i have no idea if im doing it the right way! if it reads as i recieve it from the frail ends of my synapses. but god damn it if i wont try

[defiledtomb]

merry xmas! im drinking rum with aleks and listening to some really old techno. i blurted everything about ouro and all the tough things surrounding, and its future, and i got so excited i yelled and yodeled into the dead and dark forest. it's been such. such a good christmas. 2025 got nothing on me. we live we die and we fucking live again. hold my hand. giggle with me. have some zacapa. i love you

[ineedpaigebuckets]

unspoken truths

pt. 2

warnings: angst

an: it's awful i know. someone please help like literally how the fuck do you write. i have such good ideas but they just can not be executed right. anyways i prob actually won't write any more because i literally just cant stand to read this shit.

------------------------------------------------------

paige pov

i knew azzi and i wouldn't get along just because of her boyfriend alone, but then at practice one day it kinda hit. out on court chemistry was unmatched, she'd always find me, id always find her, when we played together we played fucking amazing. i started to become more and more drawn in by her, i started to realize she didn't really have a lotta friends since moving. i figured, maybe i'd give her a chance.

the second her beautiful ass walks into the party hand in hand with jake my plan almost flies out the window. my face tightens but i try not to think of it. i head to the kitchen to get some food and see one of our teammates, kk.

"hey k!" i grin as i walk up to her. slumping against the counter. the second i speak i see azzi walk in, she looks sad, it makes my heart squeeze for her.

"az!" i try to give her a polite smile as i hold my hand out for her to dab me up but she just kinda loosely holds on to it for a second, something's wrong and i can tell. my gaze darts between kk and azzi, i know i shouldn't, but i need to make sure azzi is okay.

"hey, did something h-" before i can even finish my sentance my fuckass girlfriend is on my arm and azzis hopeful expression drops. her big sweet eyes fall into annoyance quickly as she walks out to f the kitchen back over to jake.

emma, my girlfriend has done nothing but make me mad the last month or two and she knew it. i drag her right past azzi and her boyfriend out to the porch and look at her, my eyes drifting to azzi on the other side of the door. "emma, babe i'm sorry we can't keep doing this." i give her a knowing look and she slumps down, she knew it, we didn't love eachother we just had some sort of unspoken agreement i guess.

"i know." i hear her say kinda softly but that fire in her eyes is still there. "don't come running back to me when it doesn't workout with that bitch." she seethe and it takes me back, her hands meet my shoulders pushing me back a little while she stomps inside, right past azzi.

i sigh and walk back in kinda lingering in azzis space just a little.

"fuckin dyke broke up again" i hesr jake turn to azzi and joke, i'm about to fucking punch this sucker but azzi gets to him first.

azzi pov

"jake what the fuck, this is what i keep fucking talking about." i seethe my voice loud and hard. "don't fucking talk about my teammate like that." without another word i walk upstairs curling up in one of the empty beds just sitting on my phone.

the door cracks open and there she is, paige bueckers and all her beauty. but then she starts to talk and i realize i'm

mistaken, again.

"azzi, what the fuck was that. you just embarrassed the shit outta me i can take care of myself i don't need no transfer butting in and fighting off people like a child. i can protect myself." the second she starts to yell i feel tears fill my eyes, id had such an awful day already i couldn't deal with her shit right now. i try not to make it noticeable but her eyes soften in a way i've never seen before.

"i'm so sorry." she breathlessly whispers as i stand up walking towards her, i lean past her to open the door signaling her to leave but she kicks the door shut and pulls me into her chest, her hand in my hair and her other on my waist. i waste no time comfortably holding my arms around her torso. no words said just calm. "break up with him." paige whispers and im taken aback my head pulled out of her neck as i look up to her with big eyes, her eyes sweet and sincere, and only because it comes out of her mouth i think it over.

"i- i will." i say, both of her hands not rest on my waist, somewhere they really shouldn't be. "but- we- let's go downstairs." i stutter out clearly a little flustered.

she nods which makes me let out a sigh of relief but her head tilts down her hand meets my chin as she kisses my cheek softly. as she pulls away i see the soft gentle hope in her eyes and, why not return the favor. i bring my lips up to her cheek but paige's head must have turned, her lips brush mine and i jerk back.

"shit- i'm sorry." i muster out quickly my fingers tracing over my lips, i'm disbelief but within seconds her lips are on mine.

i feel her soft wet lips against mine making a soft breathless moan leave my lips. they seem to absentmindedly part as paige's tongue slips into my mouth. her hands pull my waist as close to her as they can as mine pull her face into mine. within seconds there's a fire through my body, her kiss felt like no one else. i wasn't scared of her going too far, i wasn't uncomfortable with the way she was holding me, i felt safe and calm. and above all else i was fucking drenched through my leggings. "fuck." i mumble against her lips as her hand finds the back of my head gently pushing me against the wall but making sure my head doesn't hit it hard at all. the soft gesture so kind and sweet. my thoughts are interrupted when her knee pushes between my legs and i let out a gasp under her, leaning my head against the wall. "m not gay." i whisper as a kinda last resort to not let myself fall into her trap but her knee leaves my core, but she's wearing shorts there's a small glisten on the top of it and i curse myself.

"way to ruin the fucking moment." she grits out.

my hand flies out to her shirt and i yank her lips back to mine. i don't care how "straight" i think i am i want her fucking tongue in my mouth, and of course she obliges. but only seconds later there's loud voices outside bringing us both back to our senses. we silently pull away and look at eachother and i scramble out the door with her on my heels. the second we get downstairs some other bitch is in my boyfriends lap and i walk over to him. im gonna take paige's request.

"you wanna date this homophobic asshole go for it. cuz he's not with me anymore." i yell at the girl, and i go to say another thing but before i can he stands up. my eyes widen and im nervous but paige comes up behind me pushing him, hard, back onto the couch his head hits the wall and paige let's put a grunt. my eyes widen and fill with terror i grab paige's shirt and tug her outside.

"i can take care of my fucking self." repeating her words from earlier. i let her shirt go with a scoff and walk down the block back to my house leaving her there. and bam we're back to square one.

[yaoireview]

Glinda and elphaba

...excuse me?

Glinda and- elpha... what are you SAYING RIGHT NOW?

...Those are WOMEN.... NOT MEN.... i'm god damn YAOI REVIEW..... NOT YURI REVIEW... oh my GOD..

This isn't funny! You've got a SICK sense of humor!

I think some people need a lesson on Yaoi right now.

(boys kissing. dont like, dont read)

WHAT IS YAOI?

its boys kissing.

just boys kissing.

And I don't mean it metaphorically or rhetorically or poetically or theoretically or any other fancy way. Its boys kissing. Straight. Up.

please let it be known that yaoi in some forms is innapropiate artwork of boys.. i dont see it that way.. its just boys kissing. keep your sick selves out of this.

you may not know this, but glinda and elphaba are NOT boys. check again, they're girls. (unless im wrong, in which COMMENT DOWN BELOW and tell ME what your favorite boys kissing is.)

You wicked fans... i cant even CALL you wicked.. you're STRAIGHT UP DEMENTED.. You people make me sick.

Look.. I'll do it but if you're not satisfied with what you find, just go over to Yuri Review's house since you LOVE them so much

GELPHIE, THE EVIDENCE AND REVIEW

I think this is gonna be pretty easy to prove the existence of, so im just gonna do this QUICK and simple.

What is This Feeling? Beginning Lyrics

This is definitely one of the smaller pieces of evidence but the lyrics at the beginning REALLY make it seem like they were gonna say they are in love.

You might just say "oh its just a joke its a joke of the song!! musicals LOVE jokes!!" but your pal in high school "jokingly" hit on a man, and now they're married? Still think its a bit?? ....yeah... me neither..

They literally kiss in the first novel

look man.. you're gonna have to take my word for this one.. because im not opening that book.. I've heard of the things that happens in the books and I'm not taking any chances. An article about it said this.. it may be false.. it may not be its kinda a guessing game with that sorta stuff

i may have also just grabbed the wrong quote though because they said it was heterosexual but I'm SURE it'll be fine

Ariana Grande's Comments

Ariana Grande HAS claimed that she thinks that her character is 'a little in the closet'.

You can trust Ariana Grande. She would never do anything bad

Ariana Grande is CLEARLY the most important person to speak out about the canonical ideas of yuri in this story

CONCLUSION

look... you must understand that i REALLY didn't enjoy this. I like wicked just fine i watched it opening weekend its just... not what i review... I review BOYS kissing.. not girls kissing..

Yaoi: 0/10

Yuri: 8.5/10 (or something like that as i said this isnt my profession, im kinda like a substitute teacher that just turned on a video)

[morningsharksworld]

I just wanted to say thank you for posting so many good pieces of writing and sharing them all with us! I love peeking at your page to see what you posted, and I love the way you write hazard's dialogue. 🥺 You've helped me gain the confidence to contribute to the fandom as well! I decide to try and write a big HC/Story all about Susie's life - when it's done I hope you'll like it.

and also hopefully give me constructive criticism because I have no idea to write good for tumblr and you seem to have a lot more experience lmao. and please id love any tips for how to better write haz's scottish accent because i dont want to get it wrong and insult someone haha 😅😅

OOOOUUUUHHHH IM GLAD YOU LIKE THEM!!! 🥹💖

I’ve also been checking your page ever since I saw your Hazard comic and I just KSNSKSSNJS

And absolutely! I would love to read and see what you come up with! As for hazards accent I wasn’t sure at first on how to write his accent for a bit until i started to do my own research- (and that is just listening to his VA on streams as well as looking at the vocabulary)

But These are just some I know that can help ya out! Scottish accent involves tweaking spelling, grammar, and word choice to mimic the way Scots speak.

Use phonetic spellings like:

"you" becomes "ye"

"not" becomes "nae"

"my" becomes "ma"

"can’t" becomes "cannae"

"don’t" becomes "dinnae"

Scottish speakers often drop "g" in words ending with -ing:

"walking" → "walkin’"

"talking" → "talkin’"

The "oo" sound in words like "book" or "look" often shifts to sound like "buk" or "luk."

The "i" sound in words like "right" can become "richt."

There’s also vocabulary words like:

"wee" for "small"

"bairn" for "child"

"lass/laddie" for "girl/boy"

"aye" for "yes"

"ken" for "know"

[shesmore-shoebill]

oh dang okay i see there have been some developments since i made this post.

i appreciate everyone being considerate and sharing advice here! All that said, i feel i should say im. not actually, personally worried about/in distress about the idea of smosh cast discovering my fics. Like i wouldnt be THRILLED about direct confirmation of them reading it/them directly trawling through AO3 or very active in the smosh rpf AO3, but that has more to do with my general feelings on "its beneficial to have fan spaces in which the creators/actors/etc are not expected to be active/participating/monitoring", moreso for fandom/content in which the content is, in some form, a live persons persona/life. Like I would die a little inside but I am not actually in distress about it. I post everything I've written with the understanding that it's posted publically and with filtering/placement such that anyone can see it if they so wish, they won't if they don't want to, and if they do, they can, and it's out of my hands at that point. If I'm truly uncomfortable about it being seen by certain parties, I wouldnt post it, or would put more effort into filtering access. And in general I support this as an approach! 👍

That said, I am mostly having fun/leaning into hyberbole here. I do appreciate people trying to be helpful, and in that vein for other folks sincerely worried:

I definitely want to reiterate some of what is being said, particularly re: everyone involved/the subjects here are adults with some familiarity navigating online presence and notoriety; they are all adults experienced with and ideally capable of curating their own online experience. And while I would argue it is to everyone's benefit to think about your conduct online and be considerate with what you say and how you act, the biggest element, if you are worried about causing harm, is making sure your conduct gives them the option to not see what you're saying. I post RPF fic and tag it appropriately here and on AO3. I'm probably not ever going to go and fuck around with RPF/speculative commentary in the comment sections of the cast's unrelated posts. If I am curating an environment or a mindset I am uncomfortable with persisting outside of my intended space, I want to be aware of that. But in general, all of the Smosh casts are adults with the means and agency to faciliate and take care of themselves and curate their spaces/make their own choices, and it's a disservice to both me and them to disregard that. If someone expressed extreme discomfort about RPF fic about them- as would be their right, I probably wouldnt write about them! But as a personal choice, and less because I don't think they'd be able to avoid it the way I post it.

This whole discussion can spiral out into a bajillion discussions about fan conduct in fan spaces and moderation and etc that I. dont really want to get into. But. In general I'll say that it's very fair to not want the cast to see what you're writing about them. But also I'd recommend everyone to treat the internet as it is- aka, a place where folks can and will do what they want to do when they can, and your biggest responsibility is more ensuring that you do what you can to curate your space and actions, instead of pre-empting everything that other people, with agency, might do.

Anyway i might have lost the plot here a little. point being. Im not existentially concerned about it, although Amanda lurking on ao3 Does Instill Me With Deep Horror, and I hope folks who are can figure out a method or model of thinking that works for them, and thank you to folks trying to be helpful. 👍

also on a lighter note i disagree with the tumblr vs ao3 bit but only in a joking way because tumblr search, for me, historically. is a menace. yes even with the search hacks. ah well. 🫡

i know ive made my stance on "i need the smosh cast to Not See My RPF Fic Ever and if they do i think i need to leave" clear. But, actually. I think we need to get Amanda on AO3. Yes I would need to evacuate and possibly torch all my fics in a panic and etc etc. But it would be worth it so we could be blessed with more of Amanda's crack fics. I think it would be worth it.

[musubiki]

danmarch 🐉💎

[recent-rose]

yknowwww there is something... deeply uncomfortable about the way mel never speaks directly to viktor in the 'build hextech weapons' scene. she really only speaks to jayce. plenty of people have pointed this out already but like the one scene they actually share a meaningful interaction and she treats him like he's beneath her. all this after jayce has emphasized how important viktor is, that hextech is theirs, together. she unequivocally ices him out, there's no other way to interpret this scene. the way it's shot too - from viktor's perspective, looking up at her, as though to reinforce the same belief in him. like he doesn't even bother expecting respect from her - or anyone from the upper echelon of piltover. he's fully accustomed to being dehumanized by everyone around him at this point. sometimes even by jayce, despite the trust they clearly have in each other.

then of course after this scene is viktor experimenting on himself. it's pretty clear that he has internalized his own dehumanization. crazy.

[goldensunset]

the indecision between ‘i love this character and i want them to be happy/i want to see more of them’ and ‘it would be most narratively compelling/intriguing if they died or otherwise were (mysteriously) never seen or heard from again’

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[deoidesign]

Hello! I just discovered your blog and I immediately became captivated by your webcomic, but I'm unsure where to read all of it. I know it's on Webtoons, but I can see it hasn't been updated for a while, and you still post about it.

Are your physical novels just prints of the webcomic? Are they a continuation? Is the story complete? Thanks in advance!

Hi there!

Glad you found me and are enjoying my comic!

It's only on webtoons, and the story is not complete yet! We're 2/3 of the way through right now. It's currently on hiatus, and it's scheduled to come back in about 2 months!

I'll explain why it's been so long if you're curious, but also for my followers who might also be wondering about it under the cut. Sorry, it's pretty much just me complaining haha

I took a month off I took 2 months to get the books printed I took a month to prepare my next comic and I took 2 months to write the rest of the series (I knew the character arcs I wanted, but not the time periods or mysteries!!!) I've been working on actual episodes since then

I had to take some time off because of some pretty extreme burnout due to the sheer amount of work it was to draw over 800 pages and write 6 complete stories in a year and a half... I was getting sick almost weekly due to the overwork, it was really really bad honestly. I was having to work 60+ hours every week just to keep up...

The nature of the comic itself is also difficult... Each of the arcs is a complete, self contained story which can be read (ideally) without context, and my arcs need to be about 10-13 episodes each... And since I have an exact number of episodes to work with, it's even harder.

It takes a ton of planning and a ton of refinement, and working week to week with no breaks I was forced to put out second or even first drafts, so I just wasn't happy with the work I was doing... And to do that for the rest of the series? I wouldn't be proud of the work I did.

Plus... To be entirely honest, webtoon has treated me quite badly IN MY OPINION... They deprioritized me before I launched (I had to beg for more promotion, I'm not exaggerating), they outright denied me the opportunity to even ask for a raise, I don't make any money on fast pass and they pay me less than my partner makes working at trader joes. My first editor left me completely hanging, my second editor (who I loved) was fired... And they told me I wouldn't get a third season before my first season even finished. So it was just repeatedly completely demoralizing.

I'm sorry it has taken so long, it'll have been 10 months by the time I come back. But I realized... I won't get promotion either way. I won't get more episodes either way. I won't get more money either way. So to finish everything, to make it feel good, to make it something I'm proud of, I chose to take longer to make it better.

I am fully aware I will lose a significant amount of my readership for this and it might genuinely affect my career moving forward. But it's what I had to do! So I'm sticking to my guns on it, and I'm confident long term it'll be worth it. It never could have been this good if I didn't take this much time.

[ccbatman]

actually so evil how much of hal's internal world gets obliterated with the rewriting of his relationships with jessica and martin.

[harvestmoth]

more rejuv things but its. its just this guy again, im sorry shes all i can draw

[theokusgallery]

I hate that I have reoccurring themes in everything I make. YES this guy has a complex over the fact that everyone prefers his sibling AGAIN. YES he was ostracized by his peers since he was in primary school and never knew why until years later. URGH

[schemelin]

every now and then i experience brief moments of self-awareness telling me to make major changes to the fusionsprunt story

[elftwink]

been learning to play ironsworn (gritty fantasy ttrpg which you can play with a gm but is mostly suited for solo or small group co-op gmless play) after having the rulebook pdf for several years (stars finally aligned to remove invisible thing blocking me from reading it idk) because i'm on another solo ttrpg kick & i don't know what took me so long to get around to this game because it genuinely is exactly what i was looking for. years ago when i was playing through solo 5e modules i should have just been playing ironsworn (believe it or not, 5e isn't very suited to solo play and is extremely clunky when you try lol).

also though i have dabbled in some other solo ttrpgs, a considerable amount of them are journaling games which is fun but imo considerably more work (usually by the time i'm a quarter of the way through the journal entry, i know how to entire scene played out and i want to move on to the next gameplay thing, so i get frustrated and bored quickly. it feels like when you solve a level in a video game but don't have the coordination to pull off the necessary move so you have to spend 20 extra minutes doing something you already figured out), so i really appreciate like not needing to write something for the game to progress (ive been taking notes for my own record since im playing solo and thus am not really out loud roleplaying the way you do in a group, but i definitely could do that instead and not take notes and the game would still function perfectly)

& ive been playing by myself but also in the past ive played a lot of ttrpgs in very small groups which has been other games but is mostly dnd and like. we also should have been playing ironsworn so that having a gm was not necessary. have definitely played games where we had to adapt the rules soooo much to do something that is just base game included in ironsworn. plus it's rules-light enough to do pretty complex moves that pose difficulties in bulkier games (ever introduced someone to dnd and they tell you they want to do a sick backflip and catch something and then attack and you have to tell them that will require several different consecutive rolls and some creative liberties with how the rules are 'supposed' to let you move? you can just Do That in ironsworn. use the strike move and describe it. done!)

the one thing is that although it's rules-light enough to theoretically play any setting or genre (some with more difficulty than others), ive found so far that like... the grittiness and sense of threat is very built into the mechanics so that would be sort of difficult to work around or change (but i think it's great from a game design perspective). what i mean is like, okay: you start with 5 max hp. there isn't really a way to raise this max hp, you just slowly gain abilities (assets) that make you less likely to have to lose the hp in the first place, or that make it easier to recover. when you encounter foes, you rank them on a scale of 1 -5, and enemies on the lowest side of this scale do one harm to you, while enemies on the highest side do five harm to you. so even though encountering an epic enemy won't always be deadly due to the assets you have, they are ALWAYS capable of taking you down to 0 hp with one good hit. so the feeling of threat is much more present compared to games where your character starts to be able to just tank and push through a failure or huge threat.

admittedly also i'm playing solo, im still learning how to balance combat, and also i built a character who has NO combat talents and iron (the close quarters fighting stat) is one of my lowest stats so i personally am under much more threat than if you built a character who knew how to fight or who could do deadly harm. but also the other thing about combat is it's extremely difficult to maintain control of the fight; you have to score a strong hit to do it on basically all moves, and there's a really limited pool of moves available when you don't have the initiative, and obviously none of them really favour you. i don't know that this makes combat genuinely more difficult, but it does make you feel like the fight is always about to spiral out of your control. every second you let it drag without decisive action feels like it brings you closer to dying. like i said, this is a feature of the game design and not a problem in any way. just thinking about it because when i was initially learning i was going to try to supplant it into a homebrew fantasy world of my own but the tone just wouldn't be right. and that it is somewhat difficult to replicate the kind of worlds that i typically play or run for dnd, which tend to lean somewhat sillier and definitely much higher fantasy

but i like to try new things and tbh especially in dnd i find that i very rarely feel that sense of threat and when i do feel it, it has nothing at all to do with the actual mechanics and reality of the combat and everything to do with how well the dm sells it to me and makes it sound and feel scary and dangerous. which is a testament to what a good gm can do for you but i do appreciate the threat feeling more built-in and also being actually real.

[pleasedontcareaboutme]

The urge to spend a 100$ on merch before getting my paycheck is so strong. I might not survive soldiers