#is definitely the narration/text

[hrokkall]

Well, cat's out of the bag.

For the past few months (and by that I mean I made 90% of this game in two weeks then stalled with the ending for several months) I've been making a short visual novel game called Labyrinthian. If you like grungy black-and-white hallways, paths that only go forward, and indie games that won't take more than 10 minutes of time, this game is for you.

You can play it on itch.io for a minimum of free! Link here:

https://circuitbird.itch.io/labyrinthian

[laurelwen]

Gay Little Freaks

Text Post: Gay Edition Part 2 Humor Masterpost

[justdrawingcatsandotherstuff]

Stanley, who suddenly gained the ability to speak or at least Narrator can read his mind:

Narrator, are we robbing a f*cking bank?!

Narrator:

No, Stanley, we are writing a story about robbing a bank, keep up!

[catinfroghat]

I started a literature course at the public library and there was the poshest women I've ever heard in my life there my eyes literally widened in disbelief at the way she was pronouncing some words omg...

[elkian]

Listening to HG Wells' Time Machine on the way to work and there's something very moving about laughing aloud at words written literal centuries ago.

[arbitrarygreay]

Yeah, I really can't with the extent to which Gerit-bashing in fic warps what actually happened in canon. Gerit did, like, two minor wrongs, saying at two different times that he wanted to be exclusive with Tally. That's it. Everything else wasn't really a wrong, just a culture clash. Yes, that includes the Hilari threesome. All of that was acceptable for High Atlantic non-monogamy. It's really weird for stories to excuse all of the war crimes and go out of their way for Tally to accept and forgive Citydrop and Puppeting and Liberia (not to mention pardoning Nicte and Scylla's mass murders) and then yet find that it's the above slights that are the truly unforgivable things, and make Gerit complicit with the Camarilla and shit. Really, people, really? (With some, uh, extra-diegetic Problematic spice when you look at interviews and see how proud the actors are of those characters as rare representation for men of color as viable love interests and unconventional gender roles.)

[thermesiini]

I REMEMBER what i was going to say. vanitas (character) is also vanitas (concept) and an allegory for a cycle of systematic suffering and abuse that exists haplessly and without purpose. noé right from the start is in denial over the existence of such useless suffering (thinking he can save mina) and continues to deny this by writing the case study of vanitas, his futile attempt to scrape off some meaning from such a bleak allegory. while he can understand that killing vanitas is a form of salvation for him i don’t think that can come to terms with the fact that vanitas did suffer at all. so to write the case study of vanitas, trying to go over the events of their lives together, and trying to piece together vanitas the person he ends up disrespecting his existence altogether, simply by over scrutinizing it. vanitas did not want to be remembered. by saying he wanted to erase the existence of the votbm, he is saying he wants to erase his suffering from this world. what noé does with the case study is essentially immortalize it, because he is selfish, naive, and wants to understand something inscrutable. rather than taking comfort in the fact that vanitas can continue to exist in his memories, like how he will tell him as he dies (i won’t die noé even if i’m no longer here) noé bastardizes these memories and turns them into something almost masturbatory

[red-dyed-sarumane]

too tired to actually pull it up to look at it but thinking of the text in aru sekai shoushitsu and thinking yeah no i think thats actually her name. saginuma hisame. the one singular name we besides MAYBE MAYBE layla for the girl in kyuuyaku but thats really just a guess i think u can actually make an argument that the girl in shoushitsu is saginuma hisame

[laufire]

it's TRULY a pity that there's no prospective "fandom" around here for La promesa (for one, idk how easy it'd be to watch the show outside spain). because yes, I know people IRL that watch it and that I can talk to about it (mainly my mother xDD).

BUT. although there are plenty of things I can say about the show and discuss with those people (singing praises to Jana as a protagonist, complaint about the cop's stupidity, laments on Pías tragedy, my curiosity about Simona's past, theories about the secrets, my appreciation for how this show writes the working class characters, etc. etc.)...

if I tried to talk about how hard I'm falling for the Rebecca-Mrs. Danvers vibe these two bad bitches bring to the show they'd all look at me like I've gone insane xDD

I'm obsessed with them <333

[thekingk0ng]

rewatching Texas chainsaw massacre before it gets too chilly out 🥰

[itsdefinitely]

i teach myself an accent but it's just a fictional character's accent

[novella-november]

Novella November 2024 Announcement Post

Hate AI, but love writing challenges?

Want to take part in a global, fun project to write a Novella in one month?

Grab some friends, and take part in Novella November, by writing 1,000 words a day for the month of November, ending with a 30,000 word Novella to test and stretch your novel-writing skills!

Your goal is not perfection, but merely getting into the habit of writing a litte bit every single day :D

No website, no sign-ups -- Just a community initiative to write using only your own word!

What are the rules? Just Three so far!

#1 - No AI

#2 - No Plagiarizing

#3 - Wordcount for the month should only come from what you write during the month.

What does that mean?

Only words written during November should go towards your Wordcount for the month... but! Feel free to use your 30k words as a continuation of previous writing, or just make it the first 30k words in a longer novel!

Don't think you can write a whole entire 30k word story? Write a series of short stories that total up to 30k!

Not ready to write original works yet? Write a 30k word fanfiction that you can post after the month is over!

Share your writing experience, tips, encouragement, and questions in the #Novella November tag!

---

EDIT, from the tags: Want a progress tracker? Track your progress with TrackBear!

https://trackbear.app/

Don't have a word processor? Use LibreOffice , the free and open-source alternative to Microsoft Word!

Want to organize/storyboard your Novel and don't want to pay a subscription? Try 7writer by Simon Haynes!

Want to be able to listen to your story aloud for proofreading using TTS (text to speech)? Try Balabolka!

Or, create some custom progress / Goal Cards in advance you can fill out as you reach word goals! For ideas and templates, search this blog for "goal cards" :D

Want to do a writing challenge in more than just November? Check out my ideas here for year round challenges to keep you writing consistently! Got feedback? Send it in, I'd love to see everyone's ideas!

---

EDIT 2: I almost forgot to mention, if you are unable to write/type your story, you can also narrate/dictate your story to your preferred recording device!

If you're doing a Recording only and it doesn't automatically generate a transcript, it would obviously be hard to judge the word count -- but you're also working with a lot of obstacles, so I'd say if you're able to complete your story via voice recording from start to finish, you've definitely achieved the goal!

Edit #3: added the title "Novella November 2024 announcement post" to the top to make it more standard with my Ominous October and Drabble December posts (will be updating Outline October shortly) , added "Official Announcement Post 2024" to the tags so people can easily find the monthly events for 2024, and added a bit of bold to the third bullet point in the original post from September 2nd 2024 for emphasis.

[shadowtraveled]

"mithrun is the only real monsterfucker in dungeon meshi" is objectively the funniest bit you can get out of his everything, but in all seriousness i think his attraction to his love interest is deliberately overstated—and that makes sense, because romantic jealousy is a classic and digestible motive, which is explicitly what kabru was aiming for in condensing mithrun's backstory, and also because until chapter 94, mithrun wasn't willing to admit to the true nature of his desires.

but because romantic envy is both classic and digestible, it probably isn’t a unique enough or complicated enough desire to tempt a demon’s appetite. mithrun’s wish, as far as we can figure from kabru’s reduced retelling, was to have a life in which he had never become one of the canaries, and that carries like 3857 implications and desires within it. that’s delicious. his love interest acts as sort of a red herring to his motivation for making it, though. (side note: i'm saying "love interest" here because, keeping in mind that i barely speak japanese on a good day anymore, "想い人" is something i'd usually take as just kind of an old-fashioned and romantic way to refer to a lover, but in context i wonder if both the connotation of yearning and the vagueness are intentional, and i think this phrasing gets those aspects of it more effectively. anyway.)

mithrun considered his love interest to be untrustworthy. there was a minute where i thought that comment might be about a similar-looking elf (yugin, one of his squad members), but comparing the two…

the "sketchy" arrow is definitely referring to the elf we know as his love interest—the bangs go toward her right, she only has the one forehead ornament, and, most notably, her ears aren't notched.

every time she’s given a full-body depiction in his dungeon, she’s drawn as a chimera, with the body of a snake from the waist down. (side note: the “what if a dungeon has chimeras before reaching level 4?”/“then the dungeon lord is unstable” exchange just being mithrun grilling his past self alive is so funny. he’s so. but anyway) there are a couple things about this.

first, the snake part of the chimera appears to be modeled after some species of coral snake mimic

which, in the biology-for-fun manga, i… doubt is a coincidence, especially with the added context of the “untrustworthy” comment. the dungeon’s conjured illusion of mithrun’s love interest was a harmless copycat of a venomous original. for whatever reason, he felt this person was a threat and made up a "safe" version of her to be in a relationship with, and while it’s definitely possible to be attracted to or even love someone you find to be toxic and/or intimidating, when you take that into consideration alongside the configuration of her body, you get some interesting implications.

which brings us to our second point: if we assume that mithrun was not in fact fucking a snake, then sexual attraction, at least, was so far removed from his idea of a relationship with this person that he did not even bother to keep her dungeon copy human enough to maintain the illusion of the option of a sexual relationship. this is somewhat echoed in the depictions of their interactions, which also imply a frankly unexpected romantic distance. she kisses his cheek and he doesn't seem to react; she's at the edge of a narrow bed with only one set of pillows, on top of his blankets while he's underneath them.

the kiss is particularly interesting because it seems to contrast the text. kabru's narration tells us this was everything mithrun could have asked for, but mithrun is there looking unreadable to pensive, likely because this is right before the panel that makes it clear things in the dungeon are beginning to go wrong.

walking through this backwards for a minute, we have the physical barrier of his bedding and the spatial separation inherent in a bed made for one person, the emotional barrier of his mounting anxiety getting in the way of his ability to enjoy the affection he sought, and... the snake, which historically carries the connotation of temptation, yes, but also mistrust, barring physical intimacy. okay. ok. if a dungeon reflects the mentality of its lord, all of this might suggest that mithrun was not able to have any real desire for a relationship with this person. his unwillingness to be vulnerable or let another person in was insurmountable. but in that case, why was she such a focal point that she remained to the end, after his dungeon had stopped creating iterations of his friends to come and visit him? why would he get so upset over her meeting with his brother that he became lord of a dungeon about it?

well. mithrun's brother was also interested in her, probably genuinely. and mithrun had to win.

you have an older brother who your parents completely ignore, probably in part because he is chronically ill/disabled and almost definitely in part because he received a ton of recessive traits that resulted in rumors that he was an illegitimate child. you are aware, most likely because those same parents fucking told you, that you actually are an illegitimate child. but they keep you around because you had the good fortune of looking just like your mother. what can that possibly teach you but that you, like your brother, are disposable?

it's utterly unsurprising that mithrun, under these circumstances, developed a pathological need to be better than everyone around him. people don't keep you otherwise. i'd argue this is also why he says he looked down on everyone he knew while milsiril claims his dungeon reeked of feelings of inferiority—he sought out people's worst traits and prioritized them in his mind to protect his already extremely fragile sense of self-worth, and all the while he tried to be as likable and high-performing as he possibly could be. his parents disposed of him anyway, but even then he tried to keep up the performance. he was kind to everyone. he never once lost to a dungeon.

when he saw his "love interest" meeting up with his brother, what he saw was himself being replaced by a person his parents had always treated as worthless, and if that was what they thought of the child they'd kept, what value could anyone possibly see in the bastard they'd given away to die? mithrun and kabru tell the story like he wanted to win this unnamed elf's heart, but it was never about being with her. it was about cementing his worth, proving that he didn't deserve to be thrown away.

and so it's particularly cruel that his demon discarded him, too. but maybe it's also particularly gentle that, in the end, there was someone who refused to even consider giving up on him.

kui laid it out in three panels better than i could hope to.

yeah. it's love. you wanted to be loved, even when the only way you were able to understand it was through the desire to be wanted, and you wanted that so badly that the idea of being consumed felt like the promise of finally mattering to someone.

[satan-in-a-box]

What's that sound?

Oh nothing, just me crying over the meringue mushrooms I made for my friend's birthday cake

Because they're so cute and perfect, right?

Oh no, noooo no no.

Because I fucking STORED THEM IN THE OVEN YESTERDAY TO KEEP THEM SAFE FROM MY CAT

AND THEN PROMPTLY FORGOT THAT I DID THAT

AND THEN I PREHEATED SAID OVEN TODAY TO BAKE THE CAKE

AND NOW THEY ARE SAD AND GROSS AND TOO BROWN AND TOO CRISPY AND I HAVE TO SPEND 2 HOURS MAKING MORE

[opencommunion]

one reason (white) queer people misuse the term homonationalism is that they see queerness (or whatever you want to call it) as naturally disaffiliated with the US empire. so they understand homonationalism as a divergence from a natural mutual antagonism between queerness and empire. they talk about homonationalism as if it's an exclusively "normie gay" project, and as if it's a divergence from, rather than a consequence of, the overall trajectory of western lgbtqia+ politics. ironically it’s that self-exceptionalization by the queer, on the basis of their queerness, that imbricates them in homonationalism. they produce themselves as a homonationalist subject, and reproduce homonationalism, every time they articulate their queerness as individualized freedom. and Puar actually anticipates all of this in her original theorization of homonationalism in Terrorist Assemblages, and that's why it really helps to go to the text instead of osmosing queer theory solely through tumblr posts (esp when tumblr is so white and the queer theorists are not): "Some may strenuously object to the suggestion that queer identities, like their 'less radical' counterparts, homosexual, gay, and lesbian identities, are also implicated in ascendant white American nationalist formations, preferring to see queerness as singularly transgressive of identity norms. This focus on transgression, however, is precisely the term by which queerness narrates its own sexual exceptionalism.

While we can point to the obvious problems with the emancipatory, missionary pulses of certain (U.S., western) feminisms and of gay and lesbian liberation, queerness has its own exceptionalist desires: exceptionalism is a founding impulse, indeed the very core of a queerness that claims itself as an anti-, trans-, or unidentity. The paradigm of gay liberation and emancipation has produced all sorts of troubling narratives: about the greater homophobia of immigrant communities and communities of color, about the stricter family values and mores in these communities, about a certain prerequisite migration from home, about coming-out teleologies. We have less understanding of queerness as a biopolitical project, one that both parallels and intersects with that of multiculturalism, the ascendancy of whiteness, and may collude with or collapse into liberationist paradigms. While liberal underpinnings serve to constantly recenter the normative gay or lesbian subject as exclusively liberatory, these same tendencies labor to insistently recenter the normative queer subject as an exclusively transgressive one. Queerness here is the modality through which 'freedom from norms' becomes a regulatory queer ideal that demarcates the ideal queer. ... I am thinking of queerness as exceptional in a way that is wedded to individualism and the rational, liberal humanist subject, what [Sara] Ahmed denotes as 'attachments' and what I would qualify as deep psychic registers of investment that we often cannot account for and are sometimes best seen by others rather than ourselves. 'Freedom from norms' resonates with liberal humanism’s authorization of the fully self-possessed speaking subject, untethered by hegemony or false consciousness, enabled by the life/stylization offerings of capitalism, rationally choosing modern individualism over the ensnaring bonds of family. In this problematic definition of queerness, individual agency is legible only as resistance to norms rather than complicity with them, thus equating resistance and agency.

... Queerness as automatically and inherently transgressive enacts specific forms of disciplining and control, erecting celebratory queer liberal subjects folded into life (queerness as subject) against the sexually pathological and deviant populations targeted for death (queerness as population). Within that orientation of regulatory transgression, queer operates as an alibi for complicity with all sorts of other identity norms, such as nation, race, class, and gender, unwittingly lured onto the ascent toward whiteness. ... To be excused from a critique of one’s own power manipulations is the appeal of white liberalism, the underpinnings of the ascendancy of whiteness, which is not a conservative, racist formation bent on extermination, but rather an insidious liberal one proffering an innocuous inclusion into life."

Jasbir K. Puar, Terrorist Assemblages: Homonationalism in Queer Times (2007)

[blacktabbygames]

why is scarlet hollow hard to pitch? you can romance a cool stylish goth girl who loves anime and has a pet stick bug. this should be enough for people

So part of the challenge is that, from a marketing perspective, that isn't really a pitch! You don't actually know what kind of game it is from that, and there isn't a story hook. A pitch needs to communicate: 1. Gameplay. 2. Story. 3. Why someone should play — what's ~special~ about the game?

And a good pitch needs to do all of that without falling back on specific genre-descriptors. So you can't just say, "it's a mystery game" or "it's a horror game," and you definitely can't say "it's a visual novel."

Slay the Princess has (IMO) a very strong pitch (and I can say that because we've got hard data on how well it sells!):

Juxtaposition of cute art with horror elements sets the tone and communicates the interesting narrative dissonance in the game.

Logo + "please don't" combination establishes a push and pull between the narrator and princess + communicates that the game is funny.

Short description tells you the story by giving you a task, and communicates that you have agency to do something different in the second sentence.

To capture what's special about Scarlet Hollow you need:

To communicate the story hook — harder with a slow burn!

Communicate how much your choices matter — useless to say as a developer, because developers lie about this all the time.

Scarlet Hollow is also dragged down a bit by being in early access — so we have high hopes for it performing a lot better after the full release.

Falling back on the splashscreen text we use as an intro (you won't be able to save everyone, etc.) helped improve things a lot — it communicates in a quieter way that choices matter. And it's also helped to lean on the reputation we built w/ StP by mentioning it at the beginning. But even then, most days we're able to move 1 copy for every 20 copies we sell of StP.

At the end of the day though, we're super comfortable and stable as a studio now, so we can continue to make scarlet hollow the best game we can without worrying about how well it sells on a day to day basis!