#i have no idea where this dialogue is originally from

[nighthaunting]

I know we’re all just clowning here on tumblr dot com but I do think the perception of Morgott as like, ultra-religious and sort of blindly following the Golden Order despite their hatred of Omens is a really contextless reading of his situation.

If we read the description of his great rune it says:

That the Omen King was born of the golden lineage, and that he was indeed the Lord of Leyndell.

Morgott was the rightful ruler of Leyndell, Omen or not that was his golden city full of people who would revile him if they knew of his true origin.

I think his motives are less someone who’s tricked themselves into believing in something that hates him and more someone who’s wanted a place where he belongs for so long that now that there’s finally a place that he provably has a right to he’s never leaving.

Morgott isn’t deluded about what the Golden Order is or he’d never have invented the Veiled Monarch. Even the lines about his becoming the Erdtree’s protector don’t really indicate he had a particularly faith-based reason for doing so, but rather that he found that he came to love the Erdtree despite not knowing love.

Morgott is the gothic heroine who just inherited a big cursed estate but he wants a place that’s his own so bad he moves into the haunted house anyway and starts loving the architecture despite it being full of ghosts that hate him.

Morgott who led the Night’s Cavalry to hunt Tarnished, and beat the shit out of Rahdan, and launched the Seige of Mt. Gelmir and prosecuted the bloodiest and most costly war in the Shattering is not a guy who is getting his blind fundamentalist on, he’s a guy who’s decided that he’ll pile up a mountain of corpses before he lets anyone take away or threaten his place and is willing to be extremely proactive about defending it.

Editing to add:

And see the thing is, I think there’s even more nuance to it than just Morgott finally having a scrap of something to call his own and being willing to defend it with all his might!

In hindsight, I actually think Morgott had a better idea than anyone what the Tarnished would eventually have to do to get to the Elden Throne.

His dialogue as he’s dying makes it clear he’s known about the thorns blocking the way into the Elden Throne and been considering every way anyone might get through them.

In his dialogue as Margit in Stormveil, he says very specifically “the flame of ambition” and speaks of snuffing that flame.

I think Morgott realized that the only way a Tarnished could get into the Elden Throne would be to burn the Erdtree, and not only has he come to love this fixture of the haunted house he chooses to live in, but he knows that burning the Erdtree would destroy the place he calls his own.

Is it any wonder he’s so proactively trying to stop any Tarnished from even approaching Leyndell in the first place, when in his eyes it wouldn’t be unreasonable to view a sufficiently powerful Tarnished as a direct threat to the piece of the Lands Between that he’s carved out for himself?

[lilianade-comics]

He's taught her everything he knows! (And that's the problem)!

[front-facing-pokemon]

[phenikas]

Episode 3 - Catch a Ride (Alternative Dialogue?)

Jack: "This is a complete waste of time. We should be downstairs plotting our endgame. Not chaperoning robots."

Rhys: "No! I didn't come up here for the robots. I came up here because… Look, you and I need to… you know, get on the same page about a few things. Okay. What you did back at Atlas was amazing, Jack. But I feel like we should tell everyone what's going on - that you're my secret weapon."

Jack: "You're too kind. But the operative word here is "secret." Tell everyone I'm in your head and who knows - they might crack open your skull for a piece of me."

Rhys: "Look Jack, I appreciate you trying to help me. I really do. But if I'm going to be the leader of this group, I've got to handle things myself. All I'm saying is we should be more discreet. If the others see me talking to you they'll probably think I'm crazy and stop taking me seriously --"

Jack: "Ohhhh I get it…you think you don't need me. Let's cut the bullshit. Nobody takes you seriously. You've got zero experience on Pandora, not to mention no spine. You can't lead this group - not without my help."

Rhys: "Yeah, well, that's just your opinion."

Dialogue taken from some leftover in-game files

[icewindandboringhorror]

finally finished all of one character's entire quests/optional dialogue/questions/etc.... 100,000 words... .... aughhh

[cinna-bunnie]

fictional or not, dragon lore is always so interesting.

[elftwink]

been reading fanfiction at the front counter at work as of late because our fiction selection that's available to read online is sparse, there's only so much academic non-fiction a man can read especially when he's just blindly in the catalogue looking up random keywords in the hope of finding something even mildly interesting, and i haven't been able to get out to my local library to fix my library card that doesn't let me log in and possibly has no associated email to access their ebook collections. and i can't do anything at the front desk that doesn't look work-related so i've been downloading pdfs of fics and emailing them to myself to pass the yawning void of hours between the 3 whole patrons who are there during the semester break.

anyway im telling you all this because i sent a few to myself and all but one (1) fic i was like oh my GOD he Would Not Fucking Say That. but i had nothing else to do not even work related tasks so i read them anyway. woe is me. i will learn nothing from this and do the exact same thing tomorrow probably

[misterradio]

those reviews weren't lying that movie can be so bad it's amazing

[derinwrites]

The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

[galedekarios]

a while ago, as i was playing gale's origin, i was talking about his "i cast my first spell whilst still a babe." line with my friends @lairofsentinel, @shibepetter and @voliialpha, bouncing ideas off of each other. i also made this post about it.

when halsin asks you to share a story about you, origin gale has the possibility to answer as follows:

Gale: I cast my first spell whilst still a babe. My mother took an awful fright when I conjured up a score of rabbits in the pantry. Halsin: Ha! Talented from the very beginning, then? Almost surprised you didn't cast magic in the womb.

now we have this new bit of information from one elminster's possible epilogue letters, revealing that gale cast fireball, a third level spell, at eight years old:

Elminster: You could have been no more than eight summers’ old, clutching your mother’s apron, eyebrows singed off by the fireball you’d unleashed into your neighbour’s rose bush. You were crying because the flowers were so beautiful, and you did mean to destroy them. How kind, how eager, how brilliant you were. And yet so naive. 

adding to this gale's background reveal dialogue, where he says that he could not only "control the weave, but compose it, much like a musician or a poet", i'm more and more inclined to think that gale is a sorcerer with a wizard's education.

he would be a very rare type of sorcerer. sorcerers usually have different sources from where they draw their powers from. for gale's case, it seems to be from the weave itself.

this is just a theory of course, but i do enjoy playing around with the idea. of him chosing to study, to not simply be content with his natural gifts and talents, but improving his craft to the best of his considerable abilities.

[easy-there-leftovers]

I See You, Darling

[Astarion x reader] The idea never left my mind, and I so very badly need this right now. Heavily inspired by this cutscene where Tav chooses a dialogue option and Astarion's eyes just deviate-- (gif above, just wait for his eyes to look at you WKDKWKDK) |Word count: 2k.| Based off of this post I made.

Part 2 here!!

Also, this is more heavy on the world building rather than dialogue. If I end up making this a series, I might write with more dialogue in mind but it was just necessary to do this first afhjaqfbnjkafbnebn--

A story in which an overworked art student longs for a fictional character that they've devoted so much of their time to.

Alternatively; Astarion realizes there's someone else watching him. And he can't wait to get acquainted with them.

————━─━────༺༻────━─━————

One.

Two.

Three.

It takes you three seconds to comprehend what just happened. Three seconds for you to try and save the progress you’ve already made so far. Three seconds for you to feel the chill of dread run up your spine. 

You’ll admit, perhaps you were simply tired. Attending a prestigious school for the arts doesn’t exactly leave you with much free time to indulge in more calming forms of recreation. Your course requires you to consume a wide array of media to expand your library of creativity, after all. All in the name of generating more interesting media to entrance and enthrall your audience with your original work. 

Maybe all the moving pictures and swimming texts have caused you to greatly misunderstand what you are seeing. Surely, your favorite character isn’t looking directly at you, right?

Right?

But before that, let’s review what might have happened earlier to explain just what exactly in gods name is happening.

Shall we?

——

You purchased the game a few months back. “Baldur’s Gate 3.” A game that took the players and immersed them in the world of Dungeons & Dragons, introducing them to the mechanics of tabletop RPG as they did. It seemed interesting enough. And if the concept of character creation and storytelling didn’t sell you on the idea of it, the pretty faces on the cover certainly did.

So, with the little money you could spare from your part time job at your own institution’s library, and with what little sanity you had left to argue with, you impulsively bought said game. And it was fun. Exhilarating. Electrifying. 

Until you ran into a problem.

Astarion. The rogue, elven vampire that you have chosen to romance after careful deliberation. You scoffed to yourself. He was one of the biggest reasons why you purchased the blasted game at all. You’ve carefully studied the character in all his glory, from his striking carmine eyes and delicate unstained curls, to his aptitude for bloodshed and all manners of gore. He was such an interesting character, giving you more and more reason to pursue him as the story progressed. Yet the same can’t be said about your relationship with him. Or at least your “Tav’s” relationship with him. 

You’ve had some difficulty in deepening your relationship with the ex-magistrate. It seemed as if no matter what options you chose, no matter what manner of advances you made, he’d be quick to dismiss you. Painting you as a desperate little pup as he did. Denying you the opportunity of further knowing him. You’ve created and overwritten more save slots than you'd like to admit, perusing each one to select different lines of dialogue only to be rejected time and time again.

You thought it strange. But perhaps this was simply the way his route was meant to unfold. He was such an incredibly complex character after all. Perhaps this was meant to prove the party’s loyalty. 

But that didn’t stop you from being frustrated with other aspects of the gameplay. You've spent countless nights hunched on your work chair, back curving like a dead bug as you analyzed each and every possible outcome in combat. Eyes, bloodshot from cutting your sleeping hours short, just to endure the story until you were at an appropriate place to log out. And hair, flicking and curling out in different directions due to you weaving your hands through them in exasperation. 

You saw your reflection on your screen as it darkened to load the next scene and you couldn't help but stare at your character in slight envy. You know full well that however you designed them, it wouldn’t affect how the others perceived you, and yet you couldn’t help but pretty them up for your own interest. You designed it with yourself in mind, but making them far more attractive than you would ever be. Effortlessly beautiful as they stirred to wake up in the forest you settled in for camp.

How could Astarion ever turn this beautiful being away? If not for their heroism, then surely their looks would be enough to draw him in, no?

And speak of the devil. Once you could control your character again, you readied them to interact with your sharply dressed companion. Wanting to try your luck once more as the bright sun shone upon your character like a promise of a new day. Unfortunately, you’re greeted with a look of boredom, oh so familiar, that you sigh. “I hope you’re not here to beg—” Mocking him, echoing the words you’ve come to expect with faux mirth in your voice. But you cut yourself short when you realize he has yet to say anything. 

Strange.

 What’s even stranger is that he's just staring at you. Well,--- he’s staring at Tav. Your character.

“What the fuck…?” You move your mouse around, clicking to try and toggle the dialogue options to no avail, screen stuck in a cinematic close up of his face. Much like how the camera always pans when awaiting your response. 

However, unlike the common script of his actions that you’re used to, the one that you’ve memorized like a well practiced dance, his eyes smoothly glide off of your character and onto you. 

You freeze, but your heart doesn’t. The beating of your chest growing stronger the longer he looks at you. Eyes, blood red like rubies, boring into your own. He regards you, blinks, and then smiles that deviously charming smile of his before your screen turns dark. Your computer turns off, and you stare in shock of what just happened.

‘No fucking way, no fucking way, no fucking way—‘ You’re not delusional, right? Sure, you’re tired, but no fucking way did you just imagine one of the hottest characters you’ve seen in a while break the fourth wall just to fuck with you.

You laugh to yourself.

Yes, you’re just tired. Nothing like a good four hours of sleep can’t remedy. Although, as you get up from your chair, foolish as it may seem, you grab a used shirt from your floor, and hang it on your computer in the case that those piercing eyes come to life once again while you sleep.

——

You stir awake after your short slumber. Your body, heavy like lead, though not at all a feeling foreign to you. You think about what happened last night, wondering if it was all a dream. Yet as you get ready for the day, you notice your dirtied clothing still on your computer. Covering it as if it were a petrifying doll from a horror movie. You feel childish for doing so, reasoning that you were simply stressed from the events that taken place prior and removed the cloth.

As you did, your screen was brought back to life. Showing you the next night as if your little "tryst" with Astarion never happened. An entire thirty minutes or so of progress seemingly gone. Thankfully, you saved just before your game went haywire and you attempted to load up your last slot. 

Zzzt Zzzzt!

Alas, your game was not cooperating once again. You tried the save just before that and the same error screen presented itself to you. ‘Maybe this is a sign that I should just fucking work instead.’ Irritated at the thought, you moved to log out of the game but a familiar voice convinces you otherwise as the screen returns to normal. 

“Why, hello pup. How was your awfully short slumber?” 

‘Is this— a romance scene?!’ Astarion had never initiated an interaction before! Perhaps the game gods were granting you mercy. Or maybe, something you did last night might have given way for this line of dialogue to open up. Regardless, you happily took the opportunity and began reading your choices.

“Why, hello pup. How was your awfully short slumber?” ━─━────༺༻────━─━

Well. Thank you.

It’s none of your concern, fangs.

Better now that you’re here.

What happened last night?

━─━────༺༻────━─━

What…did happen last night? You don’t recall anything past the blackening of your screen, but it looks like you did something after that which caused this dialogue.

You don’t want to squander this opportunity, who knows when this will happen again, but your curiosity gets the best of you. So you save, and choose option 4. 

“Oh, you poor thing. Spooked you, did I?” He laughs, seemingly taking in the look of confusion that graces both yours and Tav’s face.

“What do you think happened last night?”

“My fucking game crashed.” You answer automatically.

Tav moves to open their mouth but is silenced with a tut. “Not you, spawn.” His eyes crinkle at the corners in amusement, but the way his mouth is pulled in a tightly-lipped smile offers you further insight otherwise. 

“I need your answer.” His eyes are on you yet again, and you feel the world begin to spin.

——

You stir awake after your short slumber. Your body, heavy like lead, though not at all a feeling foreign to you. You think about what happened last night, wondering if it was all a dream. Yet as you plan to get ready for the day, you notice you’re not exactly in a state to do so. You expected to wake at dawn, the dark and cool air to greet you as it fills your room and envelops your walls. Instead, you wake to see an endless amount of evergreen and the smell of the dark and damp grass beneath you filling your senses.

And if spending hours, weeks, months, of playing this damned game has taught you anything, you know that you now reside in the heart of the forest that you usually set up camp in. But this time, you're far from your bedroll and the fire that your party created.

One.

Two.

Three.

It takes you three seconds to comprehend what just happened. Three seconds for you to try and save the progress you’ve already made so far to no avail. Three seconds for you to feel the chill of dread run up your spine. 

And this chill so does love playing games.

You clamber away on your knees when you hear that deep chuckle of his emanate from right beside your ear. Creating as much distance to inspect this figure you’ve yet to face.

You see Astarion in all his vampiric glory. ‘Well, for a vampire spawn, I guess.’ You comment to yourself. Crimson eyes, darker than you imagined, with full, dark lashes contrasting his pallid skin and pure hair that glow under the moonlight. An unsettling, and cursedly attractive, smirk curls onto his lips. His ivory fangs on full display as he does.

“It seems as if those useless artifacts were worth something.” He marvels at his handiwork, his prize, and approaches it with confidence. 

“Well, your character certainly is more ‘prettied up.’” He circles you, carefully appraising his newest asset, and grins. “But you are far more intriguing.”

A simple, “What the fuck?” is all you can muster.

“Although, you are very cute. Cheeky little pup, aren’t you?” He jests.

A simple, “What the fuck?” is all you can muster which earns you a click of his tongue in response.

“You’re not broken, are you? Or am I to anticipate your little ‘what the fuck?’s as your only contribution?” Long, and incredibly masculine, fingers crawl and curl to grasp your chin like a spider. 

“I’ve waited months to have you. And now here you are, finally within my grasp.” The statement causes something to stir within you.

“What do you mean, ‘months?” 

He narrows his eyes, possibly trying to comprehend your stupidity.

“I’ve been watching you. Waiting, for the right moment. Interacting with this– caricature of yourself until you could deny yourself of me no more.” Blood rushes to your head. Your cheeks burning in embarrassment for seeming overly eager. And in panic as his intentions have yet to be cleared.

“And now that I’m here? Do you want to kill me?” You feel your heartbeat in your ears, awaiting his response. Your eyes wide in fear, yet trying to fake heroic bravado in the attempts to gain the upperhand.

And in this moment, he thinks you absolutely invigorating.

“Oh no, sweet pet. I’ve waited far too long for that. I’m going to make you mine.”

————━─━────༺༻────━─━————

Should I make this into a series? "The adventures of a misplaced artist in Baldur's Gate!!" Or something like that. Let me know, lol

[grunckle]

I think something that gets misinterpreted a lot in the Rain World community is what purposed organisms actually are. Theres a common interpretation that they were like “beasts of burden” and looked like or were the creatures we still see today. But this isn’t what Moon tells us, here’s what she says.

“Most purposed organisms were considerably smaller than me, and most barely looked like organisms at all. More like tubes in metal boxes, where something went in one end and something else came out the other…When I came into this world there was very little primal fauna left. So it's highly likely that you are the descendant of a purposed organism yourself!”

This dialogue paints the picture that most purposed organisms were closer to machines, or machine cogs, with biological parts than actual animals.

Of course most people are aware that creatures like leviathans and miros birds have mechanical aspects, but I think that most if not all creatures have some sort of blending of the biological and mechanical; it’s more of a spectrum than a dichotomy with cyborgs in between.

This idea is also based on some of the old Rain World concept art by Joar.

Here, it looks like melting globs of flesh, (or fleshy rubber and plastic) mutate over a metal “skeleton”. I think this can show the possible intention for purposed organisms and evolution in this world. Organic and mechanical transition seamlessly, and organic parts grow rapidly. I believe most purposed organisms started off on the more mechanical side of things, but evolved their organic “cover” in this way. Maybe everything we see, including us, have some mechanical components that are hidden by the flesh exterior.

This sort of, life overabundance and rapid growth is shown through Five Pebbles’s rot in game. His rot globs are able to grow legs and become mobile in an incredibly short amount of time, and even proto rot grows from innocuous metal walls.

My friend over at Darthzz-Ploo-World really coined this interpretation (and many others) in my opinion and did a wonderful art piece showcasing it.

My friend Re also did some great art showcasing a theory on orange lizards evolving from those computer boxes in Sky Islands and the exterior.

I also did some doodles on my own theories in the same vein. This time on the origin or Shoreline leviathans from Moon’s collapsed iterator components.

But yeah, I think Downpour leaned more into the “beast of burden” interpretation, but I also don’t think the two are mutually exclusive. Not everything needs to be a tube-box descendant I suppose.

[yoursweetwife]

Did you know that...

warnings: female reader, fluff, mention of Aventurine, Aventurine (a separate warning for him), display of affection, attempt at flirting

Synopsis: Ratio's attempt to surprise you didn't go as planned.

p.s. I don't like writing dialogues, but this idea seemed too interesting to me

"[Name]."

You shuddered in surprise and looked up from the papers you had been looking through for the last hour. Your gaze fell on Ratio, standing not far from you. The serious gaze did not waver, even when you smiled at him.

“Oh, Veritas, I didn’t notice you came, I’m sorry. How are you doing?”

You smiled awkwardly and clutched the paper, your heart still racing from fear. For a split second, a guilty expression appeared on his face, but it quickly gave way to a thoughtful one, as if he was deciding on something.

Ratio began to slowly approach the sofa where you were sitting. Sweat formed on your face due to the uncharacteristic silence coming from your lover.

"Veritas? Is everything okay?"

You asked worriedly, tilting your head, and if he didn’t know how to control himself, he would definitely have smiled. Eons, you were too sweet.

Ratio grinned and leaned towards your face, one of his arms resting on the back of the couch, allowing his body to completely cover you in shadow. You felt like your face was burning right now, this situation was very strange, but you couldn't deny that you were enjoying it. There was a beautiful view of his muscular body and arms, and the warmth emanating from his body made you squirm in place in anticipation...

"Did you know that penguins find a partner for life??"

You were silent for a few seconds, trying to process the question. If he saw the look of complete shock on your face, he definitely just ignored it. He still had a smirk on his face, apparently taking this as his cue to continue.

"Will you be my penguin?"

"Pen-penguin...Pfft"

You quickly covered your mouth with your hand and turned away from Ratio to contain your uncontrollable laughter. Veritas looked at you incredulously, this was all contrary to his original plan!

He watched as you held your stomach, your red face was visible even through the veil of hair, and snatches of loud laughter somehow slipped out, making Ratio feel like an idiot.

"That's the last reaction I expected to see from you."

Ratio furrowed his eyebrows in irritation and crossed his arms over his chest.

You finally took control of your will, quickly stood up and took his hand, preventing Veritas from leaving.

"Sorry, sorry."

You spoke quietly, still recovering your breath from the sensation of laughter.

"It was just so unexpected, were you... trying to flirt?"

You smiled cheerfully, making Veritas’s heart beat faster. Oh, he could have sworn the room was getting hot.

"Veritas, don't turn away!"

You stood on your tiptoes and took Ratio's face in your hands. He sighed irritably, what a pity that his mask is not with him now. He cleared his throat and looked at you, immediately noticing the happy smile on your face.

"I read that flirting helps make a relationship more 'romantic'. I thought you'd like it since I often see you reading romantic nonsense."

You couldn't help but blush when you heard Veritas' words, and your awestruck gaze didn't go unnoticed, making him feel a strange sense of pride.

"You did this for me! Ooh that's so cute..."

Your arms wrapped around Ratio's neck, pressing your bodies together. The scientist's hands found your waist and he had to lean down so you could kiss his cheek. But immediately one question popped into your head.

"But why did you decide to choose this..."

You were too curious as to why he decided to choose this particular line. An irritated grimace appeared on his face, he rubbed the bridge of his nose, which at least helped to hide his embarrassment.

"Perhaps I asked Aventurine for help."

Well, those words said it all. You put your hand over your mouth to hide your smile, and your man seemed to notice. He ran his hand through his hair, mentally cursing the blond.

“This gambler, I immediately found his enthusiasm suspicious.”

Aventurine’s smug face immediately appeared in his mind. He slowly twirls the glass of champagne in his hand, deftly leaning over his colleague's shoulder.

“What's this here? I never thought I'd see a seduction guide in your hands, have you really decided to be a romantic for the first time in your life. Haha, you’re lucky, my friend, I’m an expert in this matter.”

You quickly took his hand and squeezed it softly. A quiet laugh escaped your lips, having a sedative effect on Veritas.

“Just don’t kill Aventurine, I still have to play cards with him.”

"Don't expect me to let him get close to you at all after this."

Veritas sat down on the couch, crossing his legs, and you immediately followed him, clinging to his side and resting your chin on his broad shoulder.

"Don't be mad, his idea actually worked." He instantly perked up and looked at you incredulously.

"Really?"

You pulled his face down with one hand, kissing his cheek passionately, practically squeezing both sides of his face.

"Of course. But did he advise you anything else?"

Ratio instantly reached into his pocket and pulled out a notebook.

"Thirty lines, however, I would prefer to forget about this situation and return to our normal routine, but if you are wondering.."

"That's right!"

You said loudly and snatched the book, scaring Veritas with a sudden movement. The only thing you wanted now was to relax in the arms of your loved one, and not look at the list of phrases taken by Aventurine on some forum, although knowing him, he could come up with them himself. You can discuss this with blonde a little later.

"How about a shared bath?"

Your proposal was met with a quiet chuckle, but his gaze immediately softened, relax in hot water next to you? He wouldn't refuse.

"Sounds great."

You may have stopped a murder today.

[3hks]

Foreshadowing I

Foreshadowing is a literary element where the author hints at a future event without giving it away. However, if you're like me and struggle to actually include original, effective foreshadowing, then luckily for you, I completely racked my brain to find very specific types/examples of foreshadowing that you can include to your story!

Note: I specifically stated "very specific types," I'm not going to be detailing the separate types of this element that you learn in school, but more of prompts and ideas that are meant to spark your creativity!

Dialogue:

>> Threats - Threats hint at future negative events that may occur to your character(s).

>> Warnings - Warnings and threats are not necessarily the same thing. While they both suggest negative things, a warning does not have to come from aggression, but rather helpfulness!

>> Promises - Promises foreshadow two things: said promise being kept, and said promise being broken. However, most readers will assume the former, since the latter is typically less likely.

Item symbolism:

>> Flower language - Different flowers have different meanings, and while most readers will skip over that, it's a fun addition! You can use those meanings to hint at what might happen later. For example: Purple hyacinth represents a desire for forgiveness! With the idea of foreshadowing in mind, if a character gives the flower to someone they're close to, it suggests that they might do something they'll regret in the future.

>> A broken item - This is an example used to foreshadow future struggles, pain, and separation. To get the most effective result, choose an item that has value to your character and is connected to the future event. For example: A crack in a glass picture frame holding a picture of a character and their closest friends should hint at the idea that the group of friends will split up.

Miscellaneous:

>> History - You know what they say! History always repeats itself! Use this to your advantage! What people did a long time ago can still influence the current generation, and what happened in the past could most definitely happen again in the future. This could involve family, ancestors, wars, diseases, deaths, friendships, etc.

>> Weather and seasons - This is a pretty simple idea, different types of weather and seasons symbolize different things! Summer and sunny weather typically demonstrate joy and blitheness! Fall and similar weather exhibits a change or shift in things, and even nostalgia! Winter and cold/stormy weather can symbolize an ending, numbness, apathy, and darkness. However, winter can also symbolize beauty, comfort, and festivity! Lastly, we have spring! Spring represents a fresh start and change!

Alright! That's it for now, so here you go! Hopefully, these examples are able to give you some new ideas! There will be a part two, but in the form of dialogue prompts! So if that's what you're looking for, keep an eye out for that!

Happy writing~

3hks :]

[alpaca-clouds]

Let me talk about Mizrak

Yeah, this with all the entire Nocturne brainrot is going to continue for a couple more days at least. But the show has so many interesting themes and characters and I just love it so much. And after getting all my friends to watch the show, I got surprised by one of them being super angry about Mizrak.

Why? Well, because of the last scene with him and Olrox in the season and his words of: "You are just an animal that lost its soul centuries ago." And the friend considered that "being an asshole" and "cruel".

To which I say: Cruel? Yes. Asshole? No.

Let me explain.

First, let me make one thing clear: No, Mizrak is not a templar. I have seen that one too many times. He is not a templar. He is a monk knight of the order of St. John, so the Knights Hospitaller. Like the templars they were very much tied to the crusades originally, but they are not the same thing. There were a lot of orders and types of knights associated with the crusades. Templars were just one of them. (Do you guys wanna hear more about the templars? I can talk more about them.)

We know from bits and pieces of dialogue that Mizrak originates in Jerusalem (which is also where the order was founded). This is a gentle reminder: Israel as we know it today was not a thing back then. But Jerusalem was always a place of religious conflict as it holds importance in all three Abrahamic religions. Which was, what the crusades were all about after all. Before the time of the French Revolution, though, there was mostly some a conflict between the Ottomans and some Arab forces over Palestine. There were some Christian orders accepted within the city though.

Now, the Knights Hospitaller, who were accepted in Jerusalem, had a strong connection to France. Which... lead to problems, when some of the Arabs and the French got into problems. Which let to the Knights Hospitaller leaving for Malta. This too is referenced in the dialogue. (If you guys cannot tell: I am very happy with the amount of historical research put into this show!)

Mizrak looks to be in his early 30s. So I assume he entered the order in his mid-teens (which was a usual age to enter an order like that) and then probably left for Malta within a couple of years after that when the political situation got more charged. And then from Malta to France.

The Knights Hospitaller back then for all intent and purposes lived as militarized monks. That means they made vows of poverty, chastity and obedience. And this very much shines through with his character in so many scenes.

Of course we see that the entire "chastity" thing does not work out that well for him. But that is also why he clearly is shown to be conflicted about that entire thing. What he tries to uphold, though, is the obedience aspect of his vows. And that is, what his entire conflict is about.

See, what I love about this character is that there is all this delicious conflict.

I will iterate again: I grew up in a very, very conservative, strict, catholic household. Other kids got read fairytales for bedtime. My mother read me the bible. Priests and monks were people we intermingled with a lot. (Heck, the last pope? I met him when he was still a bishop.) And hence I got to make one very clear experience: There are three types of Catholics: Those, who focus on all the horrible things. Those, who focus on the literal stuff written in the bible. And those, who focus on the positive stuff. You know, the stuff with helping people, and being poor, and sharing, and being in general a good person. (Though the three types are not always mutually exclusive.)

And it is pretty clear that Mizrak is of the latter kind. He believes in the good he can do through his faith in God and Christ. But he has also grown up in an Order and a Church that puts a lot of focus on the idea of sin, on the idea of obedience, and the idea of the "natural order".

But there he is, with his Abbot collaborating with demons and vampires to enforce that "natural order", which among other things goes against their own vow of poverty. This is so clearly against Mizrak's believes. Because in his very core, Mizrak is a good fucking man. He is one of the good guys. Who wants to do good through his faith in God. And this conflicts for him.

So by the end of episode 7 he reached the point to go against his vow of obedience, because his faith in doing good was stronger, than his dedication to his vows. He very actively broke his vows in the eyes of his order, standing against his order, to protect those darn kids. Because it was the right thing to do. He is absolutely willing to do the noble sacrifice if that is what it takes to save those kids. And in comes that weird dude and takes this chance from him.

And his entire thing with Olrox... It seems very much that Mizrak is indeed gay. As the series so helpfully points out: Yeah, priests, monks, other clergy, and their vows of chastity were always a thing that rarely worked out. Again, as someone who grew up with close ties to the church: The fact that everyone is secretly fucking is... well known. As well as the fact that yeah, there are a lot of gay clergy. Mostly for the reason that they are shamed for their sexuality and then take the vows to not be tempted into homosexuality. Only to find that a priest school with a lot of other queer supressed men is exactly the place you do not want to be to not be tempted. (And that is all without going into all the non-con, pedophilia and what not. Things that were also already happening back then, I guarantee you.)

So, try to imagine that entire thing from Mizrak's perspective. There he is, already ashamed and suppressed about all of that and in comes this very, very seductive vampire man, who kinda seems to align with some of his values, but not with others. And who is emotionally unavailable as fuck, outright telling him that he does not love our dear Mizrak. Someone, who clearly is not for the vampires and your abbot, but also clearly not willing to take the other side. The side that you in your heart (even though it means standing against your order) know to be right. And this man, who claims to not love you, then comes in and tries to stop you from doing what is right.

Yeah, no fuck, Mizrak is a bit pissed at him. Especially as in that moment Olrox very clearly goes against Mizrak's ideals, that are all about self-sacrificially doing the right thing.

And I do think that Mizrak is right in one regard: Olrox lost his soul. He lost a part of himself. Through the trauma of colonialism, but he lost it never the less.

So, once more: Thanks the team for giving us another interesting, well-rounded religious character! CV already did so well with Isaac and Mizrak is sofar extremely promising in that regard.

[beelmons]

okay okay but imagine there’s a case where like the team needs reader to go undercover in like a bar/club or something to lure the unsub and so spencer gets to see her in a club environment like all dolled up for a night out and dancing slutty and he has no idea how to react

A/N: hehehehe this was fun cw: fem!reader, reader uses a dress

A gala. A fucking gala. Are you kidding me? Couldn't the unsub pick a more comfortable setting? Didn't he know just how uncomfortable doing police work was in heels? Of course he didn't, the profile told you as much. White male, 35 to 45, his recent stressor was losing his company due to bad management, his "loving" wife left him for his more economically stable former partner.

Clear as ice, he didn't know one thing about empathy. Oh, well, occupational hazards. You weren't an absolute stranger to a tight dress and fancy dress shoes. Your instruction was to fit in, as was Spencer's, the team member that was chosen to pose as the person you would try to seduce.

The ruse was simple. You'd arrive at a certain time with your "husband", fellow Agent Morgan, who'd leave early due to a work issue. Girl alone in a gala full of wealthy couples, you would then find a suitor to entertain you whlie your husband was working hard to give you the life you ever wanted.

Unfaithful, ungrateful women, just like the victims he was after.

To avoid much suspicion, Spencer was forced to remain at the bar. Once you had gotten a handful of potential suspects, you would reach him and begin the seduction game, prompted by a verbal cue that you would give to the bartender.

And, in time, the occasion had arrived.

"Cosmopolitan." you ordered the barman "Virgin."

That was the sign for Spencer, who was now standing next to you, to begin playing his part. However, the second he laid eyes on you, his brain was wiped blank.

"G-Good morning." he said albeit it being around eleven in the evening.

You let out a half-fake, fully-amused chuckle. "I guess it's morning someplace around the globe, hm? What's a handsome gentleman like you doing on his own on a 'morning' like this?" you tried to ease the conversation, as if trying to redirect him to the original planned dialogue.

"I-" he tried again, still unable to gather his thoughts "You look so beautiful." he thought outloud.

You blinked rapidly. That was not the exchange you had agreed on having.

"Reid. Stay on script." Hotch murmured into his earpiece.

"Right." he muttered to himself and cleared his throat "Pardon. I'm afraid your beauty stunned me." he laughed awkwardly, signature of him. "I'm Spencer, I own a psychiatric practice."

"Handsome and a doctor?" you landed a hand on his shoulder, and you could see him physically redden "Must be my lucky night."

Both of you could feel the threatening stare of the unsub somewhere among the attendants. You had successfully baited him, and it was time to guide him out.

The ruse continued and, eventually, justice came up triumphant. Of course, your ever so dedicated girlfriends had a set of tennis shoes and a FBI jacket ready for the go. You were debriefing the situation with the boss in his office, while Spencer simply observed from his desk.

Your hair was undone, makeup faded from the sweat, and your jacket was twice your size. Nonetheless, the vivid picture of your dolled-up image remained engraved in his mind. Accordingly, his heart rate was elevated, cheeks flushed, and body hot. He was never going to be able to look at you the same, that much was clear.

"You look so beautiful" a mocking voice in his ear startled him, causing him to bolt up.

It was Derek Morgan, with a taunting, all-knowing grin. Behind him, Penelope Garcia, whom had witnessed the exchange on the camera Reid carried on his tie, laughing at the teasing.

"Shut up." the blond quietly grunted.

"It's okay, boy wonder, she looked really great." Garcia mentioned.

"Seriously, kid, a cleavage like that, I would have lost my IQ too." Morgan added, earning a playful hit from Penelope.

Spencer rolled his eyes at Morgan and quickly shoved the file he was drafting into his bag. Without a further word, he hid into the briefing room to work uninterrupted.

At least, that's the excuse he had made up for himself. Truth was, if he looked at you any further, Morgan was going to be teasing him for a completely different, very hard thing.