#intergalactic period

[orderofthecube]

Andromeda Clock

As the Andromeda and Milky Way Galaxies headed towards a cataclysmic collision, a plan was put in place to colonize Andromeda and then, at the appointed hour 100 million years in the future, to direct every spellcaster in both galaxies to cast warp push towards the opposite galaxy. This collective effort, it was hoped, would alter the galaxies’ trajectories enough to avoid a collision.

To this end each colony ship was given a number of Andromeda Clocks, complex mechanical calculators that counted down the years until the moment warp push would need to be cast. This one features three guardian naga that have been miniaturized with enlarge/reduce and petrified via flesh to stone.

The colonists passed down a prophecy portending the awakening of the guardian naga should danger come to the hourglass, called the Prophecy of the Serpent’s Mark

When need is greatest in the land Or danger wells up near at hand, The artifact of time will bring Great heroes to defend the king. You’ll know them by their serpent’s mark, These timeless rivals of the dark.

Get the book for free/PWYW on DM’s Guild.

[humansofnewyork]

“Like, porn star level sex. Ever since I was a teenager. I worked as an exotic dancer for a long time. I used to have long, red hair. I’ve been on the cover of romance novels. And I’ve also been gifted with great hands. I once wrote a book called The Extension of The Female Orgasm; I lost it in an old computer. But needless to say, I can make things happen with the human body. I’m kinda lucky downstairs, and I’ve done the work. There’s pumps and stuff that can make your ding-ding thicker and longer. But mainly I’ve been gifted with the willingness to listen. When women give you guidance, and you’re willing to listen, there’s no limit to what you can do.  I once provided thousands of orgasms over a five-year period, without ejaculating a single time. It’s called Mantak Chia’s Microcosmic Orbital Energy Raising. It’s a Daoist lovemaking technique where you don’t release your seed. You pull all your vital energies back into you, and spiral your electric body, to create a really powerful connection. Too powerful, honestly. It needs to be disclosed. Because most people don’t even realize you can take sex way deeper into an abyss of orgasmic pleasure. It’s intergalactic if you do it properly. But there’s a dark side. One time I went to somebody’s house that I hadn’t seen for two years. We were just having dinner. But then I go to the bathroom, and I open the vanity mirror, which I know I shouldn’t do, but I did, and there’s an altar to me. With all these pictures and different candles. I had to learn that I was hurting people emotionally, spiritually, and even physically. Because they’re probably never going to reach that level with someone else. Imagine having the perfect steak at your favorite restaurant, then eating nothing but dirty sock soup for the rest of your life. I never wanted to hurt people. I love people. I’m trying to be a better person. And part of being a better person is to put the other person’s feelings first. So now I tell people right from the start, the complete honest truth. You’re an amazing person. And enchantingly beautiful. But I’d rather just be friends, instead of having amazing sex that is probably going to make you hate me.”

[the-sassy-composer]

Really tired of streaming services making absolute banger animated TV shows for adults, never advertising them, then canceling then because no one watches them, so I'm taking it upon myself to share some of the ones I've watched recently with the hope other people will hear about them for the first time and give them a shot.

---

Blue Eye Samurai

"A master of the sword lives life in disguise while seeking revenge in Edo-period Japan."

Probably one of my favorite animated shows of all time. Mizu, arguably one of the best sword masters in this time period, goes on a quest to eliminate four white men living in Japan, one of which is Mizu's father. The show focuses heavily on how factors outside of your control, such as race and gender, impact how others view you and how you view yourself.

Watch if you are a fan of: Complicated characters/relationships, revenge quests, gore, complicated relationships with gender and race, and absolute badass characters.

Where to Watch: Netflix

Undone

"After 28-year-old Alma nearly dies in a car accident, she finds that she has a new relationship with time; she develops this newfound relationship to find out the truth about her father's death."

Undone focuses on difficult relationships with family, including how your parents can have profound effects on you even after they're gone, and how to deal with grief. That, plus the added chaos of being able to travel through time.

Watch if you are a fan of: character studies, shows dealing with grief, time travel, trying to rewrite fate.

Where to watch: Prime

Scavengers Reign

"The crew of a damaged deep space freighter are stranded on a beautiful but dangerous planet."

A mix between sci-fi and horror, this show focuses on the crew of a crashed spaceship. Each (living) crew member of the ship escaped in pods, scattering them across the planet. They must fight to survive and make their way back to their ship on a planet featuring some of the most fucked up creatures I've ever seen.

Watch if you like: sci-fi, isolationist horror, body horror, creature features

Where to watch: At the moment, Max. As of May 31st, Netflix. Max canceled the show (even though it has a 100% rating 🙃). Netflix may make a season 2 depending on how many people watch it in the first few weeks after it comes to Netflix.

Harley Quinn

"The newly single Harley Quinn sets off to make it on her own as the criminal queenpin in Gotham City."

Honestly I was feeling a bit burnt out on super hero shows, but this one felt like a breath of fresh air. It follows Harley as steps out from the shadow of the Joker, no longer being one of his henchmen and struggling to find her identity as a single, independent villain.

Watch if you like: Superhero/villain shows, stories that focus on blurred lines instead of a clear distinction between good and evil.

Where to Watch: Max

Primal

"At the dawn of evolution, a caveman and a dinosaur on the brink of extinction bond over unfortunate tragedies and become each other's only hope of survival in a treacherous world."

This show is super unique in that there's basically no dialogue, but it still finds a way to display an absolutely gutwrenching relationship between two parents of different species going through shared grief.

Watch if you like: Brutality, heavily visual story telling, prehistoric stories, and tales of overcoming.

Where to Watch: Hulu

Love Death and Robots

"This collection of animated short stories spans several genres, including science fiction, fantasy, horror and comedy. World-class animation creators bring captivating stories to life in the form of a unique and visceral viewing experience. The animated anthology series includes tales that explore alternate histories, life for robots in a post-apocalyptic city and a plot for world domination by super-intelligent yogurt."

I love this show because you never have any clue what to expect. A siren living in a river falling for a deaf knight? An artist painting intergalactic art pieces? Three robots going on a field trip through the apocalypse to visit old human historical sites? You never know, but there's going to be love, death, and/or robots in it. Each episode varies wildly, so I'd recommend watching at least a few to get a taste for it, as some will resonate more strongly than others.

---

I'm sure there are lots more excellent animated shows, but these are all the ones I've watched in the past year or so. I'd love to see more recs in the tags, because I'm always down to watch more cool animations!

[aromantic-ace]

Humans Are Weirds/SpaceOrcs: Junkers

I've seen that quite a bit but what if the thing that made humans so strange and deadly was their ability to use anything in any state, what if the aliens are so much advanced technologically that they have developed some safety mesure such as not using a component if it got the slighest damage, "just buy a new one" they say "or go to the workshop and get a fresh one, decadent component shouldnt be used". And then, here come the humans.

It was my first time on a human vessel, my superiors warned me about the human and their excentricity, that i should read carefully the Intergalactic Manuals About Humans and learn the most i could from the specie still using a technology old enough that even my grandparents barely heard of it.

I wasn't expexting much when i boarded on the ship, it seemed nice and i was here for 14 cycles to help the humans explore the void of space, some kind of guide telling them where they could go and where they couldn't. To be honest i was kind of curious to see how those fleshbags were going to navigate.

The captain, a Lady of roughly 49 humans years with a missing eye welcomed me and offered to give me a tour of the ship, it felt weird for the captain of a vessel to give a tour to a guest but i already knew human were weird but.. have they got no shame ? To be so open like that ? It's dangerous, more than one specie would take advantage of that. But anyway i accepted her offer as i had to live there for the next 14 cycles and everything seemed right at first, i met Colonel Stabby their... cleaning robots with what looked like a military knife strapped on it and explored quite a bit of the ship. All was good, just a few holes to patch after a rough travel in a asteroid field, until i saw the state of their engine room.

I don't know how to describe it other than by saying "How are they still alive ?", their reactor looked no where like the picture we were sent, wires were coming out of the side in a chaotic mess, the core looked like it was pieced together multiple time before being strapped on to make sure it wouldn't move, i'm pretty sure i saw some kind of caged wheel being used as a way of kicking the reactor into action and one of the crew was using the heat produced to Cook food ! When i asked the captain about this she simply shrugged and told me that this reactor was doing fine for over twenty humans years and that there was no reason for it to not continue doing so, apparently humans tech is built to stay usable even when damaged and for extremely long period of time. Her reactor was supposed to be changed at least ten humans years ago !

I immediatly asked to leave the ship on the instant and went back to bring my reports to higher ups, i was stunned to learn that it was no special case, those kind of ship were well known and called "Junker" because they were full of junks. But the weird thing was that out of all the humans vessels those were the most dangerous in a fight, because the humans usually pieced together old and new tech to fight, making it hard to know what would hit you, they apparently roam in the battlefield arter battles to collect scrap to add to their vessel. I asked to have my affectation changed and promised myself to never step in a ship where every component could be throw at the bin again, Humans are definitively too weird !

[gayconstruct]

Humans are Weird — Fever

We literally heat up to cook our bodies when we can't ward off things with our immune cells, and there's a VERY slim margin for what's healthy vs what's not. If you'd like to skip the context portion scroll down to the second set of emdashes

—————

For some quick context, I use some consistent concepts and variations of time words under the impression there's a unified, simplified time scale in an intergalactic universal community

Shifts are 10 hours with hour lunches

There's 3 parts to every species day — Work, Relax, and Sleep — all 10 hours

Diurnal aliens including most humans are working in the mornings, relaxing in the evenings, and sleeping at night

Crepuscular aliens are working in the evenings, relaxing at night, sleeping in the morning

And Nocturnal aliens are working at night, relaxing in the morning, and sleeping in the evening

The clock is from 01:00 — 30:00 (simple 30 hour days for an even number and more leisure time) and rolls over to 01:00 from 30:59 with 01:00 being the roll over from night to morning

Time Increments

Seconds = Instants

Minutes = Moments

Hours = Periods

Days = Cycles

Weeks = Phases

Months = Stages

and Years = Terms

—————

Temperature Rising

Diverse biomes and work sectors began to stir to life, as the many species stationed upon the Integrated Vessel Ro’Vanna responded to the coming shift change. The Universal Timepiece, standard across the known universe, finally struck 0100 Cycles, the nocturnal species like the Umborra and Nostro eager to spend their recreational hours peacefully, while Diurnal species like the Shal’Dorei and newly integrated Humans were waking to begin another productive morning. 

Qin, the most well known Troqir aboard and one of its select Charters, rushed to his station in the hub of the Astrometry Center, cranial crests flaring with an eagerness that to most of his crewmates would otherwise go unnoticed. Ready to start his shift as soon as his posterior hit the chair, the rather tall and muscular humanoid gracelessly plopped down, emitting quite the noise as he got started. Other species present had their full attention focused on their tasking at hand, not a single thought or care thrown to his quite hasty entrance to his station. Several crystalline scales in the crook of his neck iridesced at the thought of his companion joining him soon, his thoughts anywhere but the latest mapping data coming up on his Virtual HUD. Time passed quickly at first, the sturdy man pointing metallic fingers to different notifications that needed immediate attention, adjusting calculations to chart the next few thousand Cargo routes as he went. After roughly 14.5 moments, though, he turned to search for his oddly quiet coworker to notice that the Human had made no attempt to join him this morning, the thought causing a darker color to glisten across his crystal scaling.

He’s late.

Why is he late?

He specifically stated last night he’d “see me soon.”

He’s never this late.

For the first time in his life, Qin was completely out of focus. Several happy-go-lucky phases — human parlance, not his own — had enveloped him, exchanging his stark Troqir logicality for Human whimsy and curiosity. His work tempo was slower and uncoordinated, an unfamiliar feeling coalescing into the turbulent color shifts across his luminescent scales. Every instant that passed on the cargo vessel's timekeeper seemed to lurch at an uneven pace, a deepening pit forming at the base of his abdomen. For four and a half painstaking periods, Qin swallowed his personal thoughts to gain some form of traction on his workload, swallowing emotion as all of his people were taught and opting for diligent productivity, until - finally - the release of his allotted Nutrition Period arrived. There was no moment spared as his dense footfalls rushed towards his companions quarters, his focus unbroken as the ceiling dropped from 4 meters to a much tighter 2.4m. Qin, at just under 2.2 meters, absentmindedly ducked to overcompensate, having quickly become accustomed to this section and its many distinctions after quite a few visits. 

There at last, the tall, silvery man reached what was worth looking for, a door which read in standard human language,

Room 152

Aspen Wright

With the slightest shake in his hand, Qin formed his digits into a fist to knock. 

Knocking… he thought, quite the odd custom, but like many human practices, this was the most respectful of his companion’s personal space and time. For several instants, the silence in the Human Sector’s Hall allowed him no sweet mercy, the lone alien man uncertain what to do as his weight shifted back and forth between his feet, a metal clang ringing out with each motion. Thankfully, a digital projection finally slid across the width of the door, Entry Permitted, displayed in large English typeface.

Thank the Fathers and Mothers for universal translation.

With the invitation obvious and a rather low duck through the smaller door, Qin entered into the darkened room — the simulated window turned off, the curtains drawn, clothes strewn across the floor, and strange devices and pill capsules laid upon the table — not even the so-called “fairy lights” lit the quarters he had become so accustomed to. The Troqirian’s own voice came quieter than he expected, as he rasped out, “Aspen? Are you there?” A strange groan followed, then silence, then- a weary voice.

“Q-,” a cough, “Qin?”

“Y-yes… it is I, I am present,” a facepalm.

“Oh, this is a-” more coughing, “a surprise. Aren’t you on Lunch Break sweetie?”

For a moment, the light from Qin’s Luminescent Scales - ones at his nape, a few at his crests, even the ones on his exposed digits - shined brighter than before, a rainbow of colors flowing across their surface at the thought of being a “sweetie”, before taking a dim, solemn purple. “I- yes, but when you did not show up promptly 15 moments late after last night's recreation I- I began to worry. Lateness? Normal to an extent. Absence??? Abnormal, even for you… Did I… do something wrong? Did our meetings and leisure time make work uncomfortable for you?”

For his first time that entire cycle, Aspen bolted upright with a purpose, but immediately regretted it as a wave of dizziness caused the room to spin around him before he fell the wrong direction, right out of his bed into the floor.

The sight startled Qin, having no frame of reference where the human man was until now, “Fathers and Mothers! Aspen, are you injured!?”

With a weak chuckle and the groan of even more pain, he responded in turn, “I’m fine, I’m fine… I’m sorry to worry you, you never make me uncomfortable dear, I’m just a bit [under the weather] today.” Another small laugh came, and then he continued, “I was trying to tell you that, and I- I must’ve moved too fast… everything is- ugh everything is spinning. Could you help me back into bed?”

Frantic to assist, Qin’s larger form - clumsy in the smaller space, helped lie the smaller, lighter human in his nest, placing his head upon the pillow. Once situated, he covered the small man, as many human’s liked, and noticed his skin far hotter to the touch than normal, homeostatic balance oddly off. “Damn translator…” a joyous light crossing his scales as he used the human swear as he’d been taught, “for whatever reason the English to Troqirian dictionary hasn’t found a suitable translation for your imprecise speech… Could you please explain?”

“Ah, thank you for the lift, love.” Settling for an instant, eyes closed and his head on the pillow, Aspen pondered with a clouded, slow mind, trying to search for the words as his body ached and caught a chill. “... uh- an English idiom of common use in my native tongue… it’s like… to feel sick, to be unwell. I didn’t go to my work shift today because I’m too sick to go… I’m- I’m sorry I didn’t contact you to say something, this fever is really kicking my ass.”

Fever? What in the Cradles was a Fever? 

“Ah… Fever- yes. Hmm, and that is… The translator states you have an elevated temperature? You were hot to the touch, hot because you’re currently ill, or ‘under the weather’ as it were?” Pondering his line of thinking, Qin couldn’t help but attempt to puzzle it together, his evolved logic center placing presented data together to reach understanding. 

Why is his temperature so elevated? He… he’s too hot… His temperature felt at least 311.8°K through my temperature cells… Humans are on average 310.2°K and their species exhibits signs of death at temperatures of 315°K or more… Fathers and Mothers that’s far too close. That is far too close.

Startling Aspen’s tired eyes open, the large metallic man started in with question after question, “How are you okay? You were perfectly normal yesterday. You’re temperature is far too elevated! Are you dying? Do you need emergency services? I can call the Human Physician on board! I can, I can, I-”

“Stop. It is gonna be okay. This- uh this is a normal human response to various pathogens our immune system is unable to combat with its defense cells, so we get hotter and hotter to try to kill the invader before it can do too much damage. I’ve already spoken to the captain and the doctor and I was given some things to bolster my strength while I attempt to naturally ride out my fever. It’s gonna be okay Qin, I’m gonna be okay. The fever just has to kill the pathogen and it’ll break on its own.”

For several quiet moments Qin sat in disbelief at such a process. Actively breaking their delicate homeostasis for an illness? Their specialized cells unable to do it on their own??? He found himself running his digits through his smaller companions' hair as he pondered. He looked so weak, so small, so… precious. 

Breaking the deathly silence with a few coughs, Aspen shuddered from his fever chills, squinting to the light of Qin’s scales before smiling to himself, “I can see your scared glow through my eyelids, Qin, I promise I’m okay… though the comforting touch is nice.”

“Well your eyelids are thin layers containing Keratin and Collagen, it's a miracle your species is alive…”

A laugh, somewhat stronger this time, escaped Aspen’s lips as he smiled again, “And yours have thick metallic plates and the most beautiful glowing scales I’ve ever seen. What about it?”

A hot reddish-pink overtook the Troqir’s luminescent features as he realized what power the smaller man held over him. The power to care. The power to worry. The power to be emotionally honest, something found few and far between his own people. 

The power to be bold.

“Th-they’re beautiful, you… are beautiful, Aspen… I’m sorry I haven’t said it sooner. You always try to make advances on me, and I always try to deflect them with feigned ignorance.”

Slowly, the small human man scooted to leave some room next to himself in the bed, the blanket moving and leaving him even colder than he already was, “Please… could you stay with me a while longer… could you… could you cuddle me to keep me warm?”

The pink glow wouldn’t cease for some time, as the giant of a man laid down on the small bed and wrapped his warm silvery arms around his companion, a small humming noise coming from deep in his throat like a pur. Aspen snuggled close to stifle his chills, overjoyed to know his feelings were reciprocated. Feeling the radiant heat from his alien partner, he drifted into peaceful sleep for the first time that awful sick day.

[hayatheauthor]

Forging Epic Battles: Techniques for Writing Gripping War Scenes

I want to start this post off with sort of an author's note: this is a long one! I tried to keep my detailing to a minimum but I guess this topic Is just so vast I couldn't help but pour it all out. This really is sort of an ultimate guide and I hope it helps! Also, it was requested by @xweirdo101x (if you want to request something just send me an ask)

War has long captivated readers' imaginations, evoking a sense of grandeur, sacrifice, and the clash of ideologies. As writers, we have the power to transport our readers to the frontlines, immersing them in the chaos, drama, and emotion of epic battles. 

Crafting gripping war scenes requires a delicate balance of research, skillful storytelling, and an understanding of the human experience in times of conflict. In this guide, I will explore various techniques that will help you create dynamic and compelling war narratives, transporting your readers to the heart of the action and leaving them breathless.

Setting the Stage: Creating a Compelling War Setting

When it comes to writing gripping war scenes, creating a vivid and immersive setting is paramount. Whether you are crafting a historical war or inventing a fictional conflict, the setting serves as the backdrop against which your characters and their stories unfold. Here are essential steps to help you create a compelling war setting that captures readers' imaginations:

Research Historical Context or Build a Fictional World:

For historical wars, immerse yourself in research to understand the time period, social dynamics, and political climate surrounding the conflict. This knowledge will lend authenticity and depth to your narrative.

If you're building a fictional world, establish the rules, geography, and cultural aspects that shape the war. Consider the unique elements that set your world apart and make it feel real to readers.

Describe the Physical Environment and Atmosphere:

Depict the landscape, whether it's a war-torn city, a rugged battlefield, or a desolate wasteland. Pay attention to sensory details—sights, sounds, smells—to transport readers into the heart of the war.

Convey the atmosphere of the setting, capturing the tension, fear, or anticipation that hangs in the air. Is it shrouded in darkness and despair, or does a glimmer of hope persist? Use descriptive language to evoke the desired emotional response.

Incorporate Cultural and Societal Elements:

Explore how the war has affected the culture and society within your setting. Are there new traditions, rituals, or customs that have emerged in response to the conflict?

Consider the social dynamics at play—class divisions, power struggles, or the impact of war on marginalized groups. These elements add layers of complexity to your setting and provide opportunities for conflict and character development.

By carefully constructing your war setting, you transport readers into a world brimming with authenticity and intrigue. Whether it's the trenches of World War I, a futuristic intergalactic battle, or a mythical realm engulfed in strife, the setting sets the stage for compelling storytelling.

Building Conflict and Tension

In the realm of war fiction, conflict and tension are the driving forces that propel your narrative forward and keep readers captivated. From the clash of opposing ideologies to the internal struggles within characters, here are essential techniques for building conflict and tension in your war scenes:

Establish Clear Goals and Stakes for Characters:

Define the objectives and desires of your main characters within the war. What are they fighting for? What personal or collective goals are at stake?

Create conflicts of interest between characters, where their motivations and objectives may diverge, leading to tension-filled interactions and confrontations.

Introduce Opposing Forces and Ideologies:

Develop compelling adversaries that challenge your protagonists. These opposing forces may represent different sides of the conflict, ideologies, or even personal vendettas.

Explore the contrasting beliefs, values, and philosophies driving each side, heightening the ideological clash and intensifying the conflict.

Utilize Internal Conflicts within Characters:

Explore the internal struggles and moral dilemmas faced by your characters. How does the war affect their beliefs, principles, and sense of self?

Delve into the emotional turmoil and psychological toll of war, showcasing the internal battles characters face as they navigate the chaos and make difficult choices.

By effectively building conflict and tension, you create a dynamic and engaging narrative that keeps readers invested in your war story. The clash of goals, the ideological friction, and the internal struggles of your characters add layers of complexity and depth to your storytelling, drawing readers deeper into the heart of the conflict.

Developing Dynamic Characters

In the realm of war fiction, dynamic and well-developed characters are essential to breathe life into your narrative and create an emotional connection with readers. By crafting relatable protagonists and antagonists, you elevate the impact of your war story. Here are key considerations and techniques for developing dynamic characters within the context of war:

Crafting Relatable Protagonists:

Give your main characters depth and complexity by exploring their backgrounds, motivations, and personal histories. What drives them to participate in the war? What are their hopes, fears, and vulnerabilities?

Develop relatable goals and desires for your protagonists that resonate with readers. Show how the war impacts their lives and pushes them to grow, change, or make difficult decisions.

Creating Compelling Antagonists:

Craft antagonists who are more than just one-dimensional villains. Give them their own motivations, beliefs, and reasons for engaging in the war. This adds depth and complexity to their characters, creating a sense of empathy or understanding.

Explore the potential for redemption or transformation within your antagonists. Are they driven by misguided ideals, personal vendettas, or the pressures of their circumstances? Allow their development to challenge readers' perspectives.

Conveying the Psychological Impact of War:

Explore the emotional and psychological toll that war takes on your characters. Depict their fears, traumas, and inner conflicts as they grapple with the horrors and realities of the battlefield.

Show the evolution of their beliefs and perspectives as they confront the brutalities of war. Allow their experiences to shape their character arcs, highlighting the resilience, resilience, and vulnerabilities that emerge in the face of adversity.

By developing dynamic characters in your war narrative, you create a multi-dimensional and emotionally resonant story. Readers will become invested in their journeys, experiencing the triumphs, losses, and personal transformations that unfold throughout the war.

Writing Action-Packed Battle Scenes

Action-packed battle scenes are the heart of war fiction, where the intensity and stakes are at their highest. These scenes immerse readers in the chaos, danger, and adrenaline of the conflict. To craft gripping battle scenes, consider the following techniques:

Structuring Battle Sequences for Maximum Impact:

Begin with a clear sense of purpose for the battle scene. What are the objectives? What is at stake? Establish the goals and set the stage for the conflict.

Build tension gradually, starting with smaller skirmishes or encounters that escalate toward the climactic moments. Consider pacing, alternating moments of heightened action with moments of respite for emotional impact.

Balancing Fast-Paced Action and Descriptive Details:

Use concise and vivid language to convey the fast-paced nature of battle. Focus on capturing the essence of the action, highlighting key movements, and sensory details that immerse readers in the experience.

Strike a balance between brevity and providing enough detail to engage the reader's imagination. Avoid overwhelming readers with excessive description, ensuring that every word serves a purpose and contributes to the overall impact.

Using Sensory Language to Immerse Readers:

Engage multiple senses to transport readers into the battle scene. Describe the sights, sounds, smells, and tactile sensations to evoke a visceral experience.

Leverage sensory details to enhance the emotional impact of the battle, capturing the fear, adrenaline, and urgency felt by characters and evoking a similar response in readers.

Good action-packed battle scenes bring the war to life on the page, immersing readers in the heart-pounding action. Remember to focus not only on the physical aspects of combat but also on the emotional and psychological experiences of your characters. 

Conveying Emotional Resonance

In war fiction, it is crucial to convey the emotional impact of the conflict on both individual characters and the larger society. By tapping into the raw emotions experienced during times of war, you can create a profound connection with your readers. Here are key techniques for conveying emotional resonance in your war narrative:

Show the Human Cost of War:

Portray the personal sacrifices, losses, and tragedies that characters endure in the face of war. Highlight the emotional toll on their relationships, families, and communities.

Explore the range of emotions experienced by characters, such as fear, grief, anger, and resilience. Through their struggles, allow readers to empathize with the profound impact of war on the human psyche.

Engage the Senses to Evoke Emotion:

Utilize sensory language to evoke emotions within readers. Describe the sights, sounds, smells, and tactile sensations associated with war to create a vivid and immersive experience.

Connect specific sensory details to the emotions they evoke. For example, the acrid stench of smoke may elicit a sense of danger or the distant cries of anguish may stir feelings of sorrow.

Develop Authentic and Complex Relationships:

Showcase the bonds formed and tested amidst the chaos of war. Explore friendships, romances, and the camaraderie among soldiers to highlight the connections that sustain characters in the face of adversity.

Depict the conflicts and tensions that arise within relationships due to the strain of war. This adds layers of emotional complexity and authenticity to your narrative.

By effectively conveying emotional resonance, you invite readers to experience the human side of war. They will connect with the characters on a deeper level and become emotionally invested in their journeys.

Navigating Moral and Ethical Dilemmas

War is often accompanied by moral and ethical dilemmas that test the values and principles of individuals and societies. As a war fiction writer, it is important to explore these complexities and shed light on the difficult choices characters face. Here are key considerations for navigating moral and ethical dilemmas in your war narrative:

Present Conflicting Perspectives:

Introduce characters with differing moral viewpoints and beliefs. Show the diversity of perspectives within the war, whether it's among the protagonists, antagonists, or the larger society.

Challenge readers to contemplate the gray areas of morality and the complexities of right and wrong by presenting conflicting viewpoints and the reasons behind them.

Highlight the Consequences of Choices:

Illustrate the consequences of characters' actions and decisions. Showcase how their choices ripple through the narrative, affecting themselves and those around them.

Explore the moral dilemmas characters face, such as choosing between duty and personal convictions, sacrificing the few for the many, or grappling with the aftermath of their actions.

Offer Reflection and Discussion:

Provide opportunities for characters to reflect on their choices, engaging in internal dialogue or discussions with others. This allows readers to contemplate the moral implications alongside the characters.

Invite readers to reflect on their own moral compass and engage in discussions surrounding the ethical dimensions raised in your war narrative.

Navigating moral and ethical dilemmas makes your war fiction go beyond the surface-level action and delve into the deeper questions of humanity. It prompts readers to question their own values, moral boundaries, and the intricate web of choices that arise in times of conflict. 

Research and Authenticity in War Fiction

For war fiction to have a lasting impact, it is crucial to conduct thorough research and strive for authenticity in your narrative. By grounding your story in accurate details and historical context, you enhance its credibility and immerse readers in the world of war. Here are key considerations for incorporating research and authenticity in your war fiction:

Study Historical Events and Settings:

Research the historical events, conflicts, and time periods that serve as the backdrop for your war narrative. Gain a comprehensive understanding of the context, including the political, social, and cultural factors that influenced the war.

Dive into the specifics of battle strategies, weaponry, and tactics employed during the time period. This knowledge will help you create authentic and realistic war scenes.

Explore Personal Accounts and Memoirs:

Read personal accounts, memoirs, and interviews of individuals who have experienced war firsthand. These sources provide invaluable insights into the emotions, challenges, and nuances of the human experience during wartime.

Pay attention to the details of daily life, the physical and psychological tolls, and the individual stories of courage, sacrifice, and resilience. Incorporate these elements into your narrative to add depth and authenticity.

Consult Experts and Military Advisers:

Seek guidance from military advisers, historians, or experts in the field to ensure accuracy in depicting military operations, protocols, and terminology.

Engage in conversations or interviews with individuals who have expertise in areas relevant to your story, such as veterans, soldiers, or scholars. Their perspectives can offer valuable insights and help you portray the realities of war with authenticity.

Strive for Emotional Truth:

While research and accuracy are crucial, remember that emotional truth is equally important. Balance historical accuracy with the emotional resonance of your characters and their experiences.

Capture the human aspects of war, such as the impact on relationships, the psychological trauma, and the bonds forged in the face of adversity. Connect readers to the emotional core of your story.

By incorporating thorough research and striving for authenticity, you create a rich and immersive war narrative that resonates with readers. The combination of accurate historical details, personal accounts, and emotional depth brings your story to life.

War fiction is a genre that holds immense power to captivate readers, evoke emotions, and shed light on the complexities of human nature during times of conflict. Through the techniques and considerations I have explored in this guide, you have the tools to craft compelling war narratives that resonate with authenticity and engage your readers on a profound level.

I hope this blog on forging epic battles will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and marketing tools for authors every Monday and Thursday

[lady-sci-fi]

A Star Trek thought inspired by this post.

I really like when this happens. It's great for world and character building.

Firstly, it just make logical sense. TNG era is 350ish years in the future. They have an extra 350 years of history that we don't. I'm sure there are some things that happened in the 1600s that people in the 1700s thought were important, but most people today don't know or care about. It's not as relevant to us as it was to them. To Earth Star Trek people, Zephram Cochrane (the Human inventor of the warpdrive for Earth) is probably a more important historical figure to know about than Amelia Earhart. And you only have a limited amount of time to teach history in school. There's no way to teach everything, and a student won't retain everything they do learn.

They also live in an intergalactic society, so some non-Earth events are going to be important history that's shaped their society. Stuff like "This event on Andoria led to them joining the Federation, which has led to blah blah" and "This Klingon leader is why we've had peace with the Klingons for the past 50 years because blah blah" might take some general history class space.

As for the character aspect, that's a realistic detail that works. I like Julian not knowing about the 2024 Bell Riots while Sisko does. That historical period and topic is something Sisko finds important or interesting, while Julian doesn't. Paris knowing about 20th century gas-powered cars when they've had non-gas hovercars for at least 200 years is an interesting detail for him.

Personally, I have very little interest in any history after 1900. As result, using a "DS9: Past Tense" style example, if I was thrown back in time to an important WW2 battle, I'm not going to know a damn thing about what's supposed to happen and how. And that's not nearly as big a time difference as it is between Julian and 2024. To use a Paris style example, I have little idea how the very first cars from over 100 years ago worked, and I don't care to learn about it. All that matters to me is that I know how my 2021 car works.

Anyway, I just like whenever this happens in the shows, because its realistic and gives insight into the world and characters.

[missmonstermel]

Quarantine period has ended for these intergalactic imports and these Squip spawn are all looking for homes! These experimental nutrient tubes contain sediment that helps the baby Sepioid stay healthy and grow at a normal rate- it is also fun to stir around and watch the iridescence. ( don’t worry, the babies love it!) the bottom of the tube has an automatic glow in the dark nightlight so the little ones don’t get scared of the dark. Who will you choose? Use the link in my prooooo file to find my s h o paroony 🦑 #missmonster #missmonstermel #specimentube #specimen #prop #alien #stimtoy #calmtube #scifi #sepioid #squip

[wiltking]

I also tried to read Leviathan Wakes because I saw it was a show and I hated it, tbh 😭 do you know any sci fi that isn’t misogynist? I want to like the genre more..

disclaimer it has been several years since i was seriously into scifi so i can't 100% vouch for these and your mileage may vary. but here are some favorites off the top of my head!

blindsight by peter watts - one of my favorite books of all time. existential space horror scifi about a guy with half a brain on a ship sent out to make first contact, with a handful of other chosen/altered humans. and a vampire. the freeze-frame revolution by the same author is also good if you want a shorter read, its about a crew on an intergalactic ship that stages a revolution during the short time periods they're allowed to be awake.

machineries of empire trilogy by yoon ha lee - military scifi with a disgraced lesbian MC (no romance) who has to redeem herself by capturing a fortress through some of the most insane and strange combat i've ever encountered in scifi. verrrry creative and unique and ambitious. the definition of innovative. did not enjoy books 2 and 3 as much as the first, but still very worthwhile, even if you only ever read ninefox gambit.

warchild by karin lowachee - space scifi about a deeply traumatized child who comes of age amid an interstellar war, who has to become both a living weapon and a master spy. i remember really loving the alien language present in this book and how it encouraged the reader to learn it while reading along. also another case of not liking books 2 and 3 as much as the first, but warchild is 5 stars to me. heads up for graphic and mature themes, though iirc warchild doesn't go into it with as much detail as cagebird.

the ophiuchi hotline by john varley - space scifi published in 1977 that reads surprisingly modern and has some fascinating depictions of gender and sex changes, with a very interesting female MC. the plot itself is very strange, something about signals being sent from an unknown deepspace entity. i've been meaning to read more from this series.

ancestral night by elizabeth bear - another space scifi with a lesbian MC with fantasy elements, about a crew of deepspace salvagers who come across a terrible crime in the dark recesses of the galaxy. i remember not caring much for the love interest and don't think it really hits romance territory, but everything else really worked for me: from a complex MC who carries deep issues and uncertainties, weird spacetime stuff, weird alien concepts, little bits of gender nonconformity, and bear's lovely descriptive writing. definitely slower-paced at times.

[commsroom]

honestly, i wonder a lot about eiffel's past relationships, when 1) the way he describes his relationship with kate gives the impression it was intense and burnt out quickly (though i can definitely imagine they were very on-again-off-again for quite a while as well), 2) if we go by gabriel urbina's estimate that he imagined anne was about ten by the end of the show, eiffel was about 23 when she was born. they broke up before anne was born, and i don't think they were ever together again after (i would imagine kate was probably adamant about that, and about prioritizing anne's well-being), but eiffel was obviously still in her life, in some capacity, until kate got full custody.

eiffel's got that line in a matter of perspective: "i've been awake for twenty-six hours straight, half of it because i've been sitting by the phone waiting for a call that never came. it's like my teenage love life played out on an intergalactic scale." and while it's a self-deprecating joke, it's probably not... entirely untrue about his dating life in general? we know why his relationship with kate was toxic (the implications of "things get real sid and nancy" speak volumes), and eiffel strikes me as the kind of person who prefers emotional intensity to casual indifference, even if it's terrible for everyone involved. i don't like to lean too much on things the writers have said - not least because gabriel urbina has been very clear that nothing that isn't in the show is strictly canon - but this is all speculation anyway, and the idea that eiffel was a "tv is my parent" kid who grew up unsupervised has always explained a lot about him, to me.

kate is his most significant ex because she's the mother of his daughter, obviously, but i'd be surprised if there were many other people he was that involved with for... a long enough period of time. like, don't get me wrong, i think eiffel has had plenty of hookups, one-or-two-dates, and even ex-girlfriends, but these aren't people who stay in his life; he comes on too strong for casual and doesn't have the day-to-day stability for someone who wants commitment. he's a lonely, stimulation-seeking person - he was a teenager who didn't have luck in love, and then a young adult who made a lot of bad choices (and didn't maintain any stable friendships), and then just... kinda a guy with a lot of baggage. a lot of things just kind of fizzle out because he assumes disinterest from people who don't meet him with that immediate intensity, or, otherwise, he says he's fine keeping things casual, but then he hooks up with someone once and he gets weird whenever he sees her from then on like, wow, crazy that you're here and i'm here... just two people who are both here... hanging out... like friends do. yup. and he tries to put his arm around her and she blocks his number.

[k9punkout]

sharing my thoughts on this image cuz it's eating away at me

so this is what (im pretty sure) the text above them says and implies

luka: breathing test- makes sense due to the respirator he has. acing a test on breathing is really funny to me, but as much as i'd like to leave it at that i think luka canonically has asthma. the aliens were probably tweaking with that/torturing him via his respiratory problems. he clearly gave them the response they wanted, considering he earned such a high grade. sobbing.

hyuna: superiority test- im still so interested about this one. while idk exactly what happened, it should be noted that hyuna's guardian, phan, is considered to be one of the highest class/most superior intergalactic lifeforms. maybe they only accept pet humans of the utmost best quality? also, we never see hyun-woo's scores/tests. it might be because he isn't a main character like hyuna is, but what if it implies that he fell short of phan's expectations? maybe that's why they didn't care enough to revive him after he died. that might've been a driving factor for why hyuna hates the segyein so much. hmmmm (im reaching)

ivan: smile test- considering the equipment, it's pretty obvious what went down here. i think this further confirms my theory on ivan being forced into masking his emotions with a smile, rather than just doing it to fit in. help him :((

sua: hearing ability(?)- i don't think we've been told anything about sua having TROUBLE hearing, but the aliens could've tweaked with her ears so she can hear her own music better and therefore perfect it? idk.

mizi: vision- i remember there was this old livestream where vivimeng said that there's technology in the alnst universe to fix mizi's vision problems, so this must be it. judging by the bandages, it seems to be some sort of surgery. it explains why she doesn't need her glasses anymore.

till: it just says "be obedient"-bandages are covering his ENTIRE face. whatever skin that's showing seems to be covered in bruises. it's very vague about what happened to him but i just know it's terrible. someone get him OUT OF THERE

im also wondering whether or not this is like. directly after these tests

it would make sense with luka, hyuna, and ivan, but sua doesn't seem to have anything attached to her ears, mizi's not only completely blindfolded here, but she's also being made to dance while her grade in the previous image is labeled "vision", and till looks much more docile than usual here (plus he's widely regarded as a musical genius so i doubt he'd get a low grade on instrument practice)

then again sua's hearing operation could've been performed after this (maybe a test on how hearing affects a human's voice?)

and mizi's dance test could've been right after her eye operation while the image of her grade could've been taken after one of her eyes healed.

as for till, he could've gotten that C simply because he played an entirely different song than what was assigned to him (which is in character, but i dont think it warrants that extreme of a beating or whatever it was they did to his face).

alternatively, he seems to have a tendency to act more tame before pulling a wild stunt (he was uncharacteristically obedient before killing freddie in r2, and his aggression at the karaoke scene was after a long period with little to no resistance), so he might've tried something violent halfway through the test.

moral of the story, no one's happy

[orderofthecube]

Wormhole Machine

Wondrous item, legendary, intergalactic

When activated, this black glass sphere levitates four feet above the ground. You can use an action to touch the sphere and name a location on the same plane of existence. The sphere computes the exact properties of spacetime in the two locations and begins rapidly spinning. After 10 minutes, the sphere generates a wormhole per the spell wormhole in the nearest available stretch of open space.

The sphere has 3 charges. 1 charge is expended when a wormhole is created to a location within the same galaxy, and 2 charges are expended for a location in a different galaxy. The sphere regains 1d3 − 1 expended charges daily at midnight.

Get the book for free/PWYW on DM’s Guild.

[skelswritingcorner]

A Body So Stubborn (Mercenary! Reader fic Pt. 3)

Barely winning against making the TFP bots learn about the horrors of endometriosis, it's the 3rd part to my First Contact AU fic (though it barely feels like one anymore). I ended up splitting this into two parts because this is like 5 pages in the Google Doc.

Warnings/Tags: Injuries, blood, hospitals, mentions of unethical experiments, Megatron experiencing remorse for something he had no actual involvement in, mentions of dead parental figures, Prowl shows up I guess

Word Count: 2050

The third part is finally here! I was going to draw something for it, but I'm currently working on my 2.0 model (Vtubing stuff) so I pushed that off to the side.

“So,” the Cybertronian on the screen tilted his head, “you found a human in a solar system that, as far as our knowledge, has no humans on it?”

“Until now,” Ultra Magnus replied, “according to the files, she was brought to this place at eighteen months old, therefore her connection to her species is nonexistent. She appears to be the only human who’s lived here for any large period of time.”

“There are, however, a group of humans currently on the local planet right now. According to Skids, they’re here to help establish an interspecies alliance. Along with that,” Ultra Magnus showed his datapad; two similar human women on the screen were shown in separate images, “one of the humans of the group appears to have a strong physical resemblance to the one we found. Not only that, she claims that her sister was abducted at eighteen months old twenty years ago.”

“Interesting,” his blue optics flickered, “it’s too similar a connection to be a coincidence. Is Ailith on the Lost Light? I’d like to see her condition for myself.”

“First Aid brought her to the clinic her ship’s coordinates were originally at, Prowl. Once she’s back, I’ll contact you again.”

“Very well. Goodbye for now.” The video feed of the officer ended, and Ultra Magnus sighed. Did he expect to have a human on board the Lost Light? Not at all. However, this is an injured human, and as he was the one who realized that there was an injured organic on board, he felt the slightest feeling of responsibility over her despite never actually seeing her in person.

Ultra Magnus walked out of the communication room, seeing the Co-Captains talking amongst themselves. Once they noticed the officer, they turned to him.

“What did Prowl say?” Megatron asked.

“He’s not sure about how and why a human would be here prior to any intergalactic relations being established. He also wanted to see her for himself, but she’s at the clinic right now. That, and I don’t know how she’d feel around him of all ‘Bots.”

Rodimus laughed. “I’m sure she’ll be fine, as long as we tell her first. It’s not like Ailith can fight in her current state.”

“I doubt that, Captain.” Magnus rebutted, “She’s adapted quickly to her current situation. Too quickly, if you ask me. Along with that, the planet she lives on has weapons designed to defeat Cybertronians. I’m confident that she has at least one weapon in her arsenal that she can use to defeat us if she truly wants to.”

“I know about those weapons.” Megatron said, Rodimus slowly turning with a horrified look. “I remember sending a team to this planet some thirty years prior because of potential energon deposits. The people used the remains of one of the ‘Cons I sent to reverse engineer weapons and other equipment that gave them an advantage. In fact, this might be the cause of Ailith’s subspaces as well. They could’ve tried creating subspaces, and tried to implement them on organic creatures. Including those from Earth.”

“Are you implying that it might be your fault for what happened to Ailith?” Rodimus asked.

“Who else could be to blame?”

“Let’s not dwell on that for too long, Captains.” Ultra Magnus looked at the datapad, “You didn’t know about the experiments until now, correct? Then it’s likely she doesn’t know either. First Aid said that Ailith’s been cleared to return to the Lost Light for recovery, so when she comes back you can ask her.”

“Do we have instructions on what to do?” Megatron asked.

“According to First Aid, it’s best to keep her from doing anything too strenuous. This includes training and combat. Along with that, she can only walk short distances. Her stitches are to remain for fourteen cycles total. Two cycles have passed, so that makes it twelve. As long as she doesn’t strain herself too much, she’ll be alright.” Magnus informed them.

“But who should she be with while she’s recovering? She’s smaller than Tailgate, literally half his height!” Rodimus asked.

“First Aid’s been taking care of her all this time, correct? Why not make a temporary space in his habsuite for her so he can make sure she’s recovering without complications?” Megatron suggested.

“That makes sense. As he’s one of the medics, he can treat her quickly if she gets injured.” Ultra Magnus agreed. “According to Drift and Ratchet, he’s been non-stop worrying over Ailith. It should be reassuring to him if she’s nearby.”

“Hmm…” Rodimus frowned, “Fine. Tell First Aid, and ask Skids and Velocity to get some stuff for her before we get back, I doubt we have anything right now to make sure she can have a smooth recovery.”

“I already asked them, Rodimus. They should be gathering some items right now with the help of someone that might be Ailith’s twin sister.”

“Great! I’m going to talk to Ratchet now. We’ll talk again later.” Rodimus turned on his heel and left the other two mechs standing there.

✩✩✩

The cycle in the hospital came and went. And now, you need to return to the Lost Light for the rest of your recovery. You would’ve protested if it wasn’t Aunt Daule who said that. Instead, you just sighed.

“So, I'm going to spend twenty or more days with them as I recover?” you asked.

Aunt Daule nodded. You understood that the clinic was pretty busy, so if they could they would have anyone who can recover outside the clinic so they can have space for those whose conditions are more severe, they would.

“Welp,” you slapped your knees, “I guess I’ll be stuck with that lot for a while. I’m fine with that though, I need to learn more about them in case I need to defeat a Cybertronian.”

Daule chuckled. “You talk just like your guardian. I remember hearing her many exploits back when they tried to take over our planet and failed, mostly when she charged in without hesitation. She’d use her magnetic grappling hook and a blade, get close to an exposed cable and slice it open. I’m glad to see you’ve inherited her fighting spirit.”

Both faces went solemn. Such goes the usual conversations whenever anyone brings up your first guardian. “It’s been almost five years, hasn’t it? Thirty-five more days until the anniversary.”

“Do you plan on going to her memorial?” you asked.

“Of course. I am, after all, Salva’s sister. It wouldn’t make sense for me to not visit the grave of a family member once in a while.” Aunt Daule answered.

“But that’s in more than a month. For now,” Aunt Daule patted your head, “make sure to focus on recovering. No straining yourself, alright?”

You nodded, and with your aunt’s arms as support you walked to the waiting room. You made sure to hold onto the box Makayla gifted you.

First Aid was already there, along with Tailgate. You walked to them, albeit with a slight limp.

“What are you holding?” Tailgate asked.

“It’s something from her sister.” First Aid answered for you.

“Did you meet her?” he asked again.

“She only came to drop off an injured friend the cycle before First Aid brought Ailith here.” Aunt Daule replied, “We did genetic testing, and they’re almost completely identical. After the testing she gave me the box Ailith is holding right now.”

Tailgate seemed fascinated. Do cybertronians have siblings, or is that an unfamiliar concept to them?

“Regardless of that, here,” Daule gave First Aid a document, “these are the instructions that should help with assisting Ailith in her recovery. She has a copy too, stored in her subspace.”

You nodded at what Aunt Daule said.

“We’ll return in twelve cycles, Dr. Daule!” First Aid said, picking you up. At this point, you’re used to being held by him. Aunt Daule waved, and the three of you departed.

Entering the pod, First Aid set you in a place that was relatively stable for you to sit down. While he piloted the pod back, Tailgate looked over at you.

“What’s in that box? You’ve been holding onto it this whole time.” he asked.

“Stuff from my twin that she asked Aunt Daule to give me. There’s a few pictures, including one of my niece who I just found out exists.” you replied, “Other than that, there’s some clothes.”

Tailgate tilted his head. “A niece?”

“The daughter of a sibling. In my case, my niece is the daughter of my older sister, Chloe MacArthur. I’m not sure if Cybertronians know about the concept of siblings, though.”

“Ooooooh,” Tailgate nodded, “sometimes sparks split in two. That’s the closest we have to siblings. Those are almost identical though.”

So, they sometimes have twins. Identical twins, just like you and Makayla.

“When we get back, I’ll show you the pictures.” you promised.

The pod slowed to a stop, and the door opened. Ratchet and… a cyan Cybertronian? He had red eyes and accents. His helmet was black, with two horn-adjacent finials extending out from the sides.

“Fortress Maximus,” First Aid exclaimed, “I’m surprised that you’re here!” He picked you up as well, placing you on the Cybertronian equivalent of his right shoulder blade before walking up to the two larger mechs.

“You must be Ailith,” the cyan mech put a hand over his chest, “I’m Fortress Maximus. The others informed me of your condition. I’m surprised you even survived the injuries Ratchet informed me that you have.”

You shrugged, “Eh. I’ve been operated on without painkillers and fully conscious. A few slashes and bullets aren’t that bad.”

Oops, you overshared. Fortress Maximus AND Ratchet are looking at you in horror. First Aid tensed up.

“Out of all things you could’ve said… Wait, you were fully conscious? Wouldn’t that hurt?”

Fuck it. You did this to yourself, nothing to hide now. “No shit it hurt! I still have the memory of seeing my intestines on hooks while they put that thing inside me, and when they put the subspaces on my body. As they did for all the other experiments.”

“That’s horrible!” If Cybertronians could cry, Tailgate would be doing that right now. “I can’t believe that anyone would do that, especially to a child!”

“Anyway,” Ratchet spoke before anyone could say anything, “First Aid, the captains assigned her to your habsuite so her recovery can be monitored closely. Skids and Velocity acquired some items to make sure Ailith’s comfortable.”

First Aid nodded, “I’ll bring her to my habsuite, then.” And so, he walked past the two taller mechs.

He’s been holding you for a while now, should you say something? It’s probably better to say something.

“You know you don’t have to carry me everywhere, right?” you asked him.

First Aid’s vocalizer choked, “I- You’re just small, that’s all! Most of the ‘Bots might not realize you’re there since you’re so tiny! Also, you’re still recovering from your wounds. Dr. Daule said that you shouldn’t walk too much as the leg wound recovers, right?”

“Touche.” You felt his grip on your thigh tighten slightly, as if he’s doubling down on keeping you right where you were. It’s understandable though, organic species compared to hulking machines are so delicate, especially those with injuries or preexisting medical conditions.

The rest of the walk was done in silence, which was fine with you. Talking isn’t exactly your best skill, after all. After First Aid went to his habsuite, he placed you on the desk that didn’t have much on it, but that’s something that you didn’t really care about. There were a few soft blankets and a few pillows, likely things the two others Ratchet mentioned. What were their names again? Velocity and… Skids?

Why is that name familiar? You swear that you knew someone who was called Skids. Your caretaker mentioned a large mechanical being with that name who helped save you from that facility, transporting you both to Aunt Daule so you could get treated. You’re pretty sure you bled on him, is he mad about it?

Oh well, it can’t be helped. You’ll find out after you sleep. Cautiously crawling into the blanket pile, you wrapped one of them around you before laying down. “I’m going to bed, see you later.”

First Aid nodded, “Please rest well.”

[bonny-kookoo]

I haven’t seen enough people talking about Unstable! I loved the first chapter, and I’m sooo looking forward to the next and seeing where it goes! I would love any Drabble/chapter about what happens next! • ㅅ •

♡ -> Masterlist

"Human." His voice calls out from the speaker in your tiny cell, and you open your eyes, no other visible reaction given though. "Your vitals are all over the place. What's going on?" He demands to know, and you shrug, hugging the bunched up blanket tighter between your arms and legs.

"Got my period, what else." You huff to yourself.

"You need to speak louder." He s put almost annoyed, and you turn your head towards the small screen giving you a live feed of the control room of his spaceship, where he's sitting on his chair, arms crossed and one leg over the other. "So?"

"I said, I'm on my period!" You bark out, making him nod after a moment in realization.

"Interesting." He simply says to himself. "I'll bring you some water and food later." He shortly tells you, before the feed is brought offline again, leaving you in silence.

Apart from your obvious prisoner-situation and his rather sour attitude, it's not all that bad on his ship. It's warm, you've got a bed, water and food, a small bathroom- definitely better than on earth.

You're just.. a little lonely, that's all.

The hydraulics of the door hisses as he enters, placing a bottle of water and a pack of.. something edible on a small table close by. You're not turning around, more or less waiting for him to leave-

But he doesn't.

"How bad are you, from 1 to 10." He says, and you shrug.

"...like a 7½.." you mumble, closing your eyes again. "..thanks for the water. N' food." You slur, trying to fall asleep again, when you hear the only small chair scrape over the floor a little, as he sits down in the corner of your room. "Huh?" You wonder, now looking at him as he watches you with crossed arms.

"You have yet to complain over your treatment." He says defensively, and you shrug, letting yourself fall back down on the mattress on the floor.

"Nothing to complain about." You answer.

"Earth is attempting to implement more strict regulations on intergalactic traveling for humans. Meaning that you, right now-" he says, leaning back in his seat, "-are legally in a loophole, since the laws changed while you were absent." He informs you. You shrug again. "-I can bring you back by early next.. summer, it would be on earth."

"Hm. Just drop me off the next stop or something." You say.

"My next stop is Etis." He informs you with a serious face.

"So?" You ask, and he clicks his tongue.

"So?" He scoffs, imitating you. "Etis has banned human travel since earth refused to send them any weaponry during the last war with Veon." He tells you with an irritated face. "If I drop you off, you'll be dead the moment I leave."

"Cool." You just answer, turning around to face away from him.

He sighs.

"What am I gonna do with you.." he mumbles mostly to himself as he gets up to walk out, door hissing as it opens and closes, signaling you that he finally left. If he drops you off at Etis, sure, you'll be probably eaten as soon as they get their hands on you- but then again, it's your fault you fucked up this bad anyways.

A fitting end, maybe.

[forestwitchontheroad]

Billford Analysis!

Chapter two: Bill Cipher and his failed plan of taking advantage of Ford's naivety or the path from pawn to something more.

chapter 1

this chapter will be the smallest since there is no direct data on what our triangle felt and thought during this period of time before his plan was revealed. the main source that I dare to refer to are Bill's quotes in Ford's Journals with his personal notes regarding meetings with Bill, which will have to be deciphered from a loving and sometimes too exalted haze to such a chaotic and cruel creature as Bill Cipher.

at first, Bill jokes a lot and is completely not serious about Ford, mixing his condescension with forced lies. maybe his obvious fatigue is reflected here after so many unsuccessful attempts to get humans to build a portal, maybe he initially realized how much Ford is a complex person with low self-esteem and loneliness, which is why he can not try to control his behavior at all.

however, the very first step of a change is that Ford is joking in response. unlike all the other humans Bill tried to deceive and who treated Cipher seriously and cautiously, Ford tries to copy the style of the demon's jokes, which obviously flatters him very much. I even think he was flattered by this little inconspicuous fact more than the blind adoration he had met before.

however, at this stage, Ford for Bill remains something on the level of a non-irritating pet, who is not stupid but naive in his attempts to please. the tattoo, which he asked Ford to fill, serves as an example that Bill sees Ford, first of all, as a thing that has become dear to him only due to its undeniable value in the construction of the portal.

but then, under the influence of the presence of the foolishly genius Ford, who had no distractions to slow down in his work on the portal, Bill begins to allow himself to behave more naturally in his manner - he does not restrain himself from doing terrible things, lifting Ford a gift in the form of an inscription of dead rats. he offered a drink, like to one of his interdimensional criminals-buddies, and, judging by Ford's crooked notes after that fateful night, Bill liked the night, too. at this point, the line between a funny toy and a friend begins to slowly but surely fade.

then, when Bill told about his destroyed dimension, he completely does not restrain himself in the whole dialog - he directly talks about the possibility of eating his twin brother, mentions the Time Baby, although then immediately changes the subject and then does the incredible - shows Ford, only a human he is using for his own gains, the last atoms of his home dimension, what he didn't do with any of his friends from the gang of intergalactic criminals.

one of the reasons why Bill did this, I think, was relaxation and sincerity. Bill is always relaxed and behaves as he wants. that's obvious. however, his gang perceives him above them - they know what kind of monster he can be and what he can do to them for the slightest mistake, which is why they can lie to him for their own good.

and Ford is sincere. he completely trusts Bill, and this trust is felt in the assertiveness in questions, in retaliatory jokes, in excitement and emotionality, which Bill had previously met in humans, mostly only in a negative way.

for a borderline immortal being, blind adoration, sincerity, and human trust as an equal create such a crazy cocktail that the demon of dreams can not refuse it.

and when all this strong whirlwind of emotions and devotion is directed not at Bill, but at Fiddleford, it annoys him if to use very soft words to describe it. insults towards Fiddleford slip through his speech without filters, and not only because Ford may slow down in building the portal, not at all, because Cipher is already confident in him.

Bill at this moment, and also in the case of the Axolotl, is very jealous. he is so jealous that he tells Ford not to trust anyone, naturally implying himself as an exception. the very possibility that Ford can spend his emotions and experiences on other people seems dangerous to Cipher in losing this bubble of security and honesty, where he can be himself and not see constant fear of others.

concluding this short chapter with spatial reasoning, it is difficult to say where Bill drew or whether he even unconsciously drew the line between a close friend and a living toy when he thought about Ford. however, at this point in time, it can be said for sure that Bill was not in love and did not have similar feelings for Ford at all. Bill appreciated their secluded bubble, where everything was fine. he appreciated communication and a perfect plan.

but this value consisted solely in the desire to possess and nothing more. however, this most zealous craving to own the illusion of stability became the basis for the emergence of a strange attachment in the future, or rather, its full realization.

[contentment-of-cats]

More Chiss head canons

Why, yes. I am geeking out.

1: The Chiss came from a 'sleeper ship' that missed its target world around 30,000 years ago after being launched from the Ratukan Empire. The ship spent 3,000 or 4,000 years in transit. The Humans who reached Csilla found not a welcoming world, but a planet that experienced periodic ice ages.

2: The Chiss skin color evolved from minerals in the hydrosphere, and were later found to be a silica-based life form that acted as a symbiont, allowing rapid evolutionary changes. The life form is now extinct, but slotted itself into the genes of the settlers and has remained in Chiss DNA and is outwardly reflected in their iridescent 'freckles' - which are a silicate similar to mica. The freckles will shed from time to time over the course of a Chiss' life. It was debated at the time that this was a sapient life form that was dying out, and 'invaded' the settlers to survive. Others argued that it was a type megavirus or even a hive virus with no sentience. Many settlers died from the 'infection' in a time called 'The Interval' before Ancient Chiss evolved into Modern Chiss about 5,000 years after the founding.

3: The Chiss terraformed Csilla over tens of thousands of years, turning it into a garden world, settling other worlds in the same time period. Before the Intergalactic War where they allied with the Sith, the Chiss governed an empire. After the Intergalactic War and the use of the Starflash along with Ratukan weaponry, the Chiss never terraformed another planet as penance for their sins.

4: Hundreds of Chiss colonies were lost to the warfare that created the Chaos. What is not mentioned in any modern history course is that the Chaos was created deliberately to confound both Sith and Jedi. The Chaos interfered, as as seen in Alliances, with the ability to find other Force users in the Chaos. Palpatine could not find the Sky-walkers until they were taken beyond the borders of the Chaos.

5: Chiss history is heavily redacted. After the Intergalactic War, they changed even their system of writing to make it incomprehensible to outsiders. Cheunh is not allowed to be spoken in the presence of outsiders, and communication instead relies on trade languages like Minnisiat. Meese Caulf, and Sy Bisti.

6: There are Chiss intelligence agents in 'Lesser Space' and even in the Empire and Rebellion itself. Candidates must be smaller than average and undertake extensive surgical remodeling to pass as other species. It includes eye transplants, and only the most dedicated (fanatical) of intelligence officers will undergo the years-long process. The program is top-level clearance, with six people at a time knowing about the program and allowed to read the briefs. The Supreme Admiral, the Supreme General, the UAG Chief, the Speaker of the Syndicure, and two civilians who are kept anonymous.

7: The histories of many planets speaks of blue warriors, or even blue gods who disappeared 5,000 years back. Chiss ruins can be found on Hoth, though nobody can now read the language.

8: There are Chiss who live outside the Ascendancy, descended from exiles and those who fled in other ways. If any Chiss of the Ascendancy happens on the Outlanders, they are instructed to report immediately, detain if possible, terminate in extreme cases only. In some cases, these Outlanders have hundreds of years outside of the Ascendancy and are not keen on going back.

9: Yes, there are a number of women in the CEDF, and nobody would stand in their way. As with Lakinda/Ziinda, it's a way for girls of Common and Lesser families to move up and secure their future outside of making a good match and having children. Blood-born girls like Ziara are heavily pressured not to join.

10: Upon leaving service, Sky-walkers are not encouraged to talk to others about being Sky-walkers, even to other former Sky-walkers. They are largely isolated by the Ruling Families, and pushed to marry within their adoptive or an allied House. Many do marry within their adopting House as it is well-known that the little girls of Ruling Houses are seldom chosen as Sky-walkers.