#it’s really fun coming up with a fiction for all this

[httpvomitello]

Hii! Can I request rise Donnie x reader (rom) who teases him a bunch? Not in a hurt full way. Though they do get under his skin

Hello, hello! Thanks for the request, hope you like it ~ ♡♡♡♡

The Fine Art of Poking the Genius *⁠.⁠✧

It was easy to make Donnie flustered. Maybe too easy. Not that you’d ever use that against him. Well… not too much.

You lounged on one of the swivel chairs in Donnie’s lab, watching as he tinkered with some new gadget. His hands worked with precise efficiency, his brow furrowed in concentration. He hadn’t even noticed you sneak in, and you weren’t about to let this golden opportunity pass you by.

“Hey, Donnie,” you called out, dragging his name just a little too sweetly.

His hand twitched, and he paused, glancing up at you with a suspicious look. “Yes, Y/N? What do you want?”

“Nothing,” you said innocently, spinning lazily in the chair. “Just admiring your work. It's really something to behold. You should charge admission.”

Donnie narrowed his eyes. “You’re mocking me, aren’t you?”

“Me? Mocking you? Never,” you said, holding your hand to your chest like you were offended. “I mean, it’s not my fault that your genius comes with a side of ‘mad scientist aesthetic.’”

He groaned, pushing his goggles up onto his forehead. “It’s not ‘mad scientist.’ It’s visionary engineer.’ There’s a difference.”

“Sure, sure,” you said, grinning. “Whatever helps you sleep at night, Dr. Frankenstein.”

Donnie pointed a screwdriver at you. “First of all, Dr. Frankenstein was a fictional character. Secondly, if you keep disrupting me, I’ll have no choice but to eject you from my lab.”

“Oh, I’m so scared,” you teased, spinning the chair again. “What are you gonna do, sic one of your inventions on me? Wait—are you finally working on a giant robot butler? Because I’m so ready to see that.”

He muttered something under his breath, but you couldn’t make it out. Probably some witty comeback he was too annoyed to properly articulate.

“You’re fun when you’re grumpy, you know that?” you added.

“I’m not grumpy,” he snapped, clearly grumpy.

You bit your lip to stifle a laugh. “Of course not. You’re the epitome of calm and collected. A true Zen master.”

His tools clattered onto the desk as he turned fully to face you. “Do you enjoy this? Getting under my skin? Is it some kind of hobby for you?”

You tilted your head like you were thinking about it. “Eh, it’s more of a part-time gig. Keeps me entertained.”

Donnie sighed, pinching the bridge of his nose. “You are insufferable.”

“And yet, here I am,” you said, smirking.

He didn’t respond immediately, instead turning back to his work and muttering something about “distractions” and “increasing lab security.”

You leaned forward, resting your chin in your hand as you watched him. “You’re cute when you’re mad.”

This time, his hands froze completely, and you caught the faintest tinge of pink creeping up his neck. “I—what?!”

“You heard me,” you said, grinning even wider. “But don’t worry, Donatello, I won’t tell anyone. Your secret’s safe with me.”

Donnie sputtered, his mind clearly short-circuiting. “That is completely irrelevant to—why would you even—ugh, you’re impossible!”

“And yet, you tolerate me.”

“Barely,” he grumbled, but there was no real heat in his voice.

You leaned back in the chair, feeling victorious. “Admit it, Don. You’d miss me if I wasn’t around to keep you on your toes.”

He didn’t say anything for a moment, just kept fiddling with his gadget. But then, so quietly you almost didn’t catch it, he said, “Maybe.”

Your grin softened into a genuine smile. “That’s what I thought.”

“Don’t let it go to your head,” he added quickly, though the tips of his ears were definitely red now.

“Too late,” you said, spinning in the chair one last time.

He sighed again but didn’t kick you out of the lab. And you knew he wouldn’t, no matter how much you teased him. Because deep down, he didn’t really mind. And, if you were being honest with yourself, you liked seeing that little spark of flustered frustration in his eyes.

[phantomrose96]

Aromantically rotating this quote from Jon "The Silt Verses" Ware from the Season 2 Q&A (bold emphasis mine)

Question: I love what Paige and Hayward have going on. How would you describe their dynamic? ​ JON: I saw someone online talk about the, “the paladin and the prophet.” Which I think is a really nice way of looking at it! Whereas I saw them as two people who…both of them have come to the end of the road in their old lives. [...] I think maybe there’s also an implicit question there about whether there’s something romantic going on – maybe I’m reading into it, but that is something that’s on my mind a lot, so I’d love to talk about it more. ​ Because shipping is fantastic and it’s wonderful and it’s cool, but as a writer who’s way too online in a parasocial world, I’m really wary of how I respond to it and how I process it. ​ I personally, I don’t like writing fictional characters where the most important moment in their narrative arcs is when they get together with the person they were always meant to get together with. Generally, it’s just a bugbear of mine in fiction and I’m not sure I agree with the underlying message. ​ But I think if any writer who’s way too online sees, hey, people are getting excited about these two characters hooking up and falling in love and they keep coming back to this idea of them hooking up and falling in love, there’s a real rodent voice in the back of your head whispers, "give the people what they want. Get those likes, get that fanart." ​ Which is the wrong response! Because we don’t understand that maybe people are just having fun exploring these characters or their own interpretations of these characters, we think they must be anticipating a pay-off from us. ​ And again, I think it can send you in the wrong direction, one that ends up being essentially flattening – we don’t think, "if these characters hook up, OK, what new opportunities does that give us to explore them, to understand them in greater depth?" Instead we think we need to perform a climactic moment of love and comfort and happiness to get the audience’s approval. Which can be very much to the detriment of the complexity of the characters, but also, afterwards, where do you go with it? ​ And after we released maybe one episode of The Silt Verses, I saw a couple of folks online going ‘oh, god, I hope this isn’t going to end with Carpenter and Faulkner hooking up,’. And you go, "oh my god, I hadn’t considered that as a possibility for a second, that’s not who they are and that’s not what the relationship is here" - but of course all of us are primed for it, that enemies-to-lovers thread that is so common. ​ [...] ​ So it felt like I could introduce a connection there [with Paige and Hayward] and we could see a different way that they begin to be around each other that hopefully feels like it’s adding new dimensions to both of the characters without me looking over my shoulder going, “Am I in danger of turning this into something a bit stock by turning it into quite a straightforward romantic situation?”

[papaya-inspiration]

This is really interesting! I hope you don't mind if I do a bit of analyzing of your loglines, because this is also something I struggle with and I'm interested in seeing what I can learn by breaking down the ones you've posted.

Some quick context first: I haven't read any of your longform fiction. I know from my sister (she's a fan) that they would probably be right up my alley (and I fully intend to read WtC, it's just long and I haven't quite gotten to it yet.) So I can't how accurately these capture the actual stories, but I can analyze them from the perspective of someone in the target audience who might pick up one of these books on the strength of the logline.

The thing that stands out to me most is that nearly all your loglines break up nicely into two parts: the first clause sets up the context of the story and the second clause provides the main thrust of the plot. In your stronger loglines, it is immediately apparent how those two things play off each other. In the weaker ones, the two parts feel disjointed or don't have an immediately obvious connection, and thus are missing the "twist" or "hook" that draws potential readers in.

Let me explain through some examples. I think your strongest logline here is the one for Shadows of the Limelight. The set up is both clear and snappy ("In a world where fame gives you power") and the plot hook immediately sets up several dramatic questions (what is protagonist going to do with all this sudden and unexpected power? what expectations come with it? how does the hero he saved feel about this? how does the protagonist's status as a "fanboy" affect with that?) The relationship between the set up and the plot is immediately obvious and it comes with the "twist" built in.

On the other side of things, I think several of your other loglines suffer from the same issue, particularly The Dark Wizard of Donkerk and Millenial Scarlet. Both have a set up and a plot hook, but the relationship between the two isn't clear. For Dark Wizard, how does "being raised by dark wizards" affect going on an adventure? Does it hinder the protagonist, or prepare them to approach their quest in a particularly unique way? Does it make them a particularly unlikely duo with the wayward princess? Are adventures a normal thing for this world? I think a stronger logline would tie the protagonist's unique background to how their quest will go down, which also has the added benefit of preparing the reader for what the tone of the story will be.

Similarly for Millenal Scarlet, the logline would be stronger if we got some sense of how the dead mother's plans came into conflict with the protagonist's job. I love the set up--"gig-economy demon hunter" is an inherently interesting premise (at least to me) and it sure seems like the kind of job that could bring you into conflict with a loved one's last wishes. But the logline doesn't actually tell us enough about the nebulous "plans" to show that there is a conflict, or what it is going to be.

So yeah! I hope something in there is helpful to you, or at least minimally annoying to receive. It was fun to look over your examples and think about why some of them jumped out as more appealing to me than others (and hot damn I really do need to read WtC one of these days.)

Also, in the spirit of practicing and improving I'll tack on attempts at loglines for two of my own stories (though they are currently not available to read publicly anywhere, alas):

Zivanka at Baytown - In a harbor town ravaged by unpredictable storms and unfriendly to outsiders, an orphan girl discovers the lengths she will go to secure a place for herself.

Death and the Doctor - Accompanied by the personification of Death itself, a plague doctor must free a village from a strange malady with otherwordly origins.

Save the Cat is a snappy read, and only 8 chapters, so I'm just doing a liveblog of them unless I get bored or distracted.

Chapter one is about the pitch, the logline, the title, what you put on a poster and how you sell it. It doesn't necessarily come first, but I get the sense that for Snyder this would be his preferred way of doing it. (A logline is just the one-sentence "what is it about" that you use to sell people on the idea.)

Snyder says that writing loglines is awful, soul-crushing work, and I agree there. I'm awful at it. But Snyder also says that if you don't have a good logline, maybe there's something wrong with your movie, and that I don't agree with.

I think there's a fairly wide set of stories that have good, snappy, easy loglines, and are also good stories. But I think there are other stories that are good stories and don't have a great way to pitch them. The lack of a good pitch can exist for a lot of reasons, and sometimes it's just that it's more complex than can be summed up in a single sentence, or even a handful of sentences. I think in practice writers will often dumb down the story for the logline, lying about what's contained within, just to make sure that it will sell, that people will want to know what's inside.

One of the other main points of the chapter is that a good logline has irony to it, a twist inherent in the title, some kind of thematic tension, and I disagree with that too, maybe not from the standpoint of selling a script, but from the standpoint of storytelling.

Why does everything have to have an irony to it? Why does everything have to have a twist? Why can't we have stories that are just well-told explorations of conflict and character? It's like at some point people decided that they only wanted Distinct Pieces of Media, so if you wanted to tell a story that's been told before, something with its own unique texture, you're just shit out of luck.

I find this all the more irritating because often the twist/irony/idea/pitch is good, and then the execution is shit, and then people don't want that idea again. It's not like you can say "like that thing that flopped, but good".

Blake Snyder is trying to tell good stories, but he's also trying to sell stories, and this is a good thing for authors to know how to do. I accept this. I just don't like it.

So as a writing exercise, here are some loglines for things I've written, without the amount of care and polish and revision that a good logline needs:

Worth the Candle - A teenaged dungeonmaster gets thrust into the worlds he's created, where his recently deceased friend is a historical figure. (This is bad, not short and snappy enough.)

This Used to be About Dungeons - Five young adults team up to delve dungeons and bake pies. (I don't know man, I said I was bad at this.)

Thresholder - A man travels through portals to different worlds and genres, gathering powers and skills as he fights other people just like him.

Shadows of the Limelight - In a world where fame gives you power, a fanboy saves the life of the world's greatest hero in full view of the public.

The Dark Wizard of Donkerk - An orphan raised by two dark wizards adventures north with a wayward princess.

Millennial Scarlet - A gig-economy demon hunter grapples with the death of his mother and the plans she set up before she passed.

Alright, I found that less soul-sucking than usual, but I don't think that these are the oiled, muscular, perfectly toned and smiling loglines that are necessary to sell, just to be clear. The marketing unit of written fiction is not really the logline, though that helps, it's the blurb, and I am equally awful at writing those. I just don't agree with Blake Snyder that a blurb or logline coming poorly is a sign that you don't know the story.

[kc5rings]

Starting a new Pokémon Sun run together with my wife playing Moon and I always play to a theme so

Say hello to the starting lineup of the Alolan Wrestling Federation

Early fighter profiles under the cut

1. Champ: Our current local champion with her eyes on the world title, a mankey who rises to the occasion with the grit to take hits and strike back twice as hard

Signature move: A flashy jumping suplex that uses her powerful legs to take her and her opponent fully into the air

2. Chance: A bold little bonsly who once challenged Champ to a match with tears in his eyes, seeing the kid had something to prove Champ gave him one chance. Stay standing after one hit and she’d teach him the trade, he was rocked but stood his ground and has been learning from Champ and the rest ever since

Signature move: Nothing yet but he’s got a sharp eye and absorbs his lessons like a sponge, mimicking the other fighters and slowly working out a style of his own

3. Lockjaw: A classic example of a heel on the surface who always looks out for her crew behind the scenes, helping treat as many injuries as she causes, which is A Lot. Fights largely by soaking impacts and out muscling her opponent, often hides foreign object in her body to use herself or pass to her heel teammates

Signature move: Designed to catch people off guard by being counter to her usual slow style, it’s a low darting rush followed by an upward poison mist spray to the eyes

4. Mako: A newer babyface making a name for herself and the resident heavy for the Face side of the group. Normally easygoing but has a heated rivalry with Lockjaw given her position as the heavy of the Heel side and her use of foreign objects, which Mako finds particularly offensive

Signature move: A running clothesline propelled by the ropes

5. Sly: A former boxer and proudly dirty fighter, he uses his speed and footwork from boxing to create a unique shoot style of wrestling, wants to prove he’s the real deal and not just here as a post boxing career stunt

Signature move: A blindingly fast flicker jab adapted into vice grip of a choke slam

6. Rhea: Leader of the heel side of things and Champ’s long time rival and sparring partner. Their grudge matches always get the wildest crowds and Rhea in particular thrives on the hype, becoming more vicious as the excitement builds

Signature move: An extended backbreaker into a vicious slam where he gives his opponent plenty of time struggle for the crowd before driving them to the mat

[triglycercule]

murder time trio should get to all experiment with dead bodies. why? because they can and it would be cool (okay but seriously i'll provide an explanation). all these freaks are scientists. i think it would be cool and funky if they all got to experiment! except morbidly and bloodily because none of them are right in the head now

killer like has his whole thing with wanting SOULs for some unspecified reason??? i'm just gonna steal the common interpretation that it's so he can find a way to fix his own soul through coding. but like,,,, what does he do with the desd bodies??? all the fellas he stole those souls from??? well this is where dust and horror come in

it's One Panel and i'm ABSOLUTELY reaching here but there's a (single) panel in horrortale where horror's pulling apart some sort of human limb like an arm with a device. why? what for? i dont fucking know at all man like papyrus said why is he always doing something weird in his room. anyways i'm just gonna guess its probably for rationing in horrortale (but it could also be that horror just felt like ripping apart an arm. for scientific purposes. or because he did this after ripping off aliza's arm so maybe he's doing some sort of recollection reflection or something i dunno im not a professional on this man). killer could totally send all the already dead HUMAN bodies horror's way for horrortale's food situation. maybe horror likes to dissect the humans yk maybe he's not just the type of bash (a head open) and dash. monsters dust so you cant see their guts but humans dont so horror gets prime time first hand experience on the human body! and then after he's done poking around in the brain he can give the meat and organs to papyrus for him to do his specific spaghetti confectionery

but but but what about the monsters that killer takes the souls from! surely he doesn't just take from only humans (dude idk if he actually does take from only human or monster. probably not right? he needs to study BOTH types of code so he can be most informed) so he must also take monster souls. and fortunately for dust (i do NOT think he'd quite like handling gore) monsters don't leave behind bodies or blood or allat they leave behind dust. hah. dust experiment with dust. i think its already a headcanon out there that dust likes to study dust. i cant exactly recall WHY exactly but maybe it's for sentimental reasons or just something to do to pass time between resets. so killer can just pass on whatever dust he gets to him and he can put it under his little microscope and be a little nerd what a GEEK. give this guy glasses and remove all his teeth but one i guarantee you he'll look like 🤓

and once again i hear you cry out but but triglycercule! why would killer even give the dead bodies and stuff to horror and dust in the first place??? erm number one because i said so silly. jk. and number two (if we're going in a nightmare's gang context here) it could be as a way for killer to gain horror and dust's trust. a way for them not to tattle on him for stealing souls for some unknown reason. maybe there's somehow important coding information left behind in the bodies/dust (because that's literally what utmv is made of) and killer wants dust and horror to do that work for him for some reason. maybe just a way for him to get rid of evidence maybe if theyre buddy pals and close enough just as a gift. i dunno man there's a bunch of reasons as to why he could possibly do this. i just really liked the thought of the trio all wearing fancy lab coats and goggles and i was like damn how can i make this a real possibility

[princekirijo]

World's most frustrating feeling: having multiple ideas and character designs but despite working on the thing for nearly 5 YEARS still being nowhere close to having a coherent plot 💀

[abelas]

you guys are gonna go feral for the characters im writing

[softeninglooks]

i've recovered a little since yesterday, but i never thought a game could hurt this much. ryujin nippon really gave it their all, they worked so hard, and this loss at the gates of the semifinals was heartbreaking. but it was such an extraordinary, overwhelming game, and as much as it still hurts, it was so fun 🥹 congratulations to team italy for qualifying for the semifinals, they played so thrillingly, and the fact that most of the players from both teams are friends added another special layer to an already extraordinary game!

watching rjn break down after the game broke my heart, they all worked so incredibly hard to get to the place they are now, but i am so proud of them, no matter the outcome of the olympics. this was coach blain's last game as rnj's coach, kentaro is retiring, nishida is taking a break, and sekita announced that he might be retiring too, so it truly feels like the end of something. but despite the tears, what a fantastic journey it has been. this team has achieved so much, from their bronze and silver medals in the vnl to their olympics journey. it may not have always been smooth sailing, but they made us dream, they took our breath away with their clever and impressive volleyball, they made us laugh, cry, smile. their smiles after plays and all the fun they seem to be having is infectious in the best way possible.

seeing our captain, yuki, come back stronger than ever was so deeply inspiring. like many fans, i was introduced to volleyball through haikyu!!, so i was familiar with fictional characters struggling and pulling themselves back up and persevering through everything. but watching yuki do just the same after the game against usa was so incredible - fictional characters can be inspiring like no other, especially in hq's case, but watching a real-life athlete do just the same hits in a different way. if a real person can do it, then we can do it too, it doesn't exist just on paper. yuki is a person i admire greatly, he changed japanese volleyball forever and gave this team his all, he leads with his whole heart and dedicates himself to volleyball fully. thank you for leading this team, yuki.

thank you for everything coach blain, and ryujin nippon, thank you for proving that volleyball is fun with every game, thank you fujii-san for looking after rjn. we will always be proud of you, so keep fighting. ❤️

[candyheartedchy]

Just want to thank everyone who’s been enduring my Spo.ngeBob fixation these past few days.

[victorluvsalice]

AU Thursday: Valicer In The Dark -- Fun With Trauma

Hi all -- it's time to talk about my VITD trio again! Specifically, today we're discussing their Traumas! :D Now, "Trauma" in Blades In The Dark refers to a condition your scoundrel picks up when they max out their stress during the course of their adventure -- once they fill up all their stress boxes, they have some sort of mental break, can no longer participate in the rest of the current score, and develop a new specific personality quirk that will haunt them for the rest of the adventures. A character can develop four traumas before they have to be retired from life as a scoundrel (either literally retiring or being thrown into jail as a sacrifice to the Bluecoats). On the plus side, each new trauma is also a chance to earn extra XP -- if your character struggles with the side effects of a trauma during a score, you can mark a point or two of XP for it and level up your character a little bit faster. The book has eight potential traumas for scoundrels to pick up -- Cold, Haunted, Obsessed, Paranoid, Reckless, Soft, Unstable, and Vicious -- but as I've thought about my trio and where I want them to go (and what other systems in the book I'd like to use), I've come up with somewhat more bespoke traumas for them:

-->Alice: Our favorite Cutter actually starts with a trauma -- as I've mentioned before, I looked at the description for the Haunted trauma -- "You’re often lost in reverie, reliving past horrors, seeing things" (pg 14) -- and went "yeah, that pretty well covers her hallucinations of Wonderland." (It's the reason she also gets two starting abilities instead of just one -- trade-off!) As for her next potential trauma, I was initially considering Vicious -- "You seek out opportunities to hurt people, even for no good reason" -- but then decided that perhaps a slightly more logical one would be a tweaked form called Overprotective -- "You make sure everyone knows that what's yours is yours, to the point of violence." Alice is, of course, protective of Victor and Smiler even before she picks up this particular trauma, but afterward, she can get a little overenthusiastic about keeping danger away from them, simply because she doesn't want to lose the people she loves again. That house fire where her family died did a number on her head, after all! The pair probably have to rein her in sometimes to make sure she doesn't accidentally cause them more trouble trying to keep them safe. I don't have a specific scene in mind for what triggers it, but I know it would have to involve Victor and/or Smiler getting hurt and her just letting loose to protect them.

-->Victor: My initial ideas for a trauma for our lovely Whisper were Paranoid -- "You imagine danger everywhere; you can’t trust others" -- as the result of a particularly dangerous score that spooked him badly, or Obsessed -- "You’re enthralled by one thing: an activity, a person, an ideology" -- as the result of him getting a little too much into studying the dangerous magic of Duskwall...but then, while researching the Ritual special ability to figure out how to create new rituals for Victor to use, I found the sample ritual "Portal to the Depths" -- which involves singing an ancient song to open a portal up into the Void Sea, swamping anyone unlucky enough to be in front of it with its dark water filled with mysterious starlight and dragging them into the cold depths. The thing is, whenever someone uses this ritual, along with taking six stress, they must also tick a progress clock called "Seduced By The Leviathan's Song."

Cue me coming up with a scene where Victor, having filled up that progress clock, is with Alice and Smiler at The Docks (yes, this the name of a neighborhood in the city; it is self-explanatory) -- and ends up getting mind-controlled by the song of a nearby Leviathan into nearly walking off one of said docks to either drown or get devoured. Fortunately, this is after the trio have started playing with hypnosis in their private lives, and Smiler and Alice are able to stop him in his tracks by invoking their control over his mind -- but the experience leaves Victor with the custom trauma Phobia -- "You are terrified of a particular person, thing, or place and refuse to be near it." As you might imagine, Victor's terror revolves around the ocean, and he refuses to be anywhere near it if he can -- no more scores involving The Docks for this trio!

-->Smiler: Deciding on any trauma conditions for our cheerful combination Leech/Slide was a bit tricky for me at first -- not only is Smiler a naturally-cheery person who takes a lot of things that would stress out others in stride (see them very casually talking to ghosts in "Start At The Beginning...Sort Of"), they also of course end up in possession of the ability Functioning Vice, which allows them to adjust how much stress they clear when indulging their Vice and makes emptying out that track between scores a lot easier. I really wasn't sure which of the ones on offer would actually fit them --

And then. While reading through the "Changing The Game" section of the book, I stumbled across the "Forgotten Gods" section in "Advanced Abilities and Permissions." Which details what happens when your character opens their mind to a forgotten god -- including access to the ability Glorious Visage, which allows the character to hit everyone in the vicinity with an image of the god's form, costing them three stress and causing everyone around them to at least flee in fear or be paralyzed with dread. The more traumatized the character, the more harm they can do, up to killing a specific person by shattering their mind. I was like "Oooooo, wow, creepy but neat" --

And then I was like "Smiler's already been touched by their god..."

Cue the creation of the custom trauma Vessel -- "Your body is capable of hosting the will of a forgotten god -- and they know it." The way I see this working for Smiler is, the first time they overmax their stress, their god Mar-Mal sees this, is like "!!! Let me help!" and straight-up possesses their body for the rest of the score. Fortunately they do leave once the danger is passed -- helped by Victor and Alice going "It would make us VERY HAPPY if you gave us Smiler back" -- and Smiler recovers from the experience, but the door has been opened in their head, and it's not being shut anytime soon. The trauma automatically gives them access to the customized special ability Joyous Visage -- where Smiler can use Mar-Mal's power to stun people with happiness (it works a bit like the "Hysteria" power in VTMB's version of the Dementation discipline, with people getting completely incapacitated by laughter) -- but every time Smiler uses that power, a die must be rolled. On a six, they use the power safely and only take two stress; on a five through two, they use the power but Mar-Mal takes an interest in the proceedings, forcing them to take three stress; and on a one, Mar-Mal is like "time to take over again!" and possesses their body for the rest of the score. On the plus side, Mar-Mal automatically succeeds at everything they do while in control of Smiler's body (they are a fucking god, after all); on the minus side, when they leave, Smiler has to deal with Level 2 "Post-Possession Exhaustion" harm (because hosting the power of a god is no joke). Smiler has mixed feelings about this whole situation -- on the one hand, they're super excited that they can host the will of their god and not die, but on the other...they are a little scared that maybe, one day, Mar-Mal won't give their body back...

And there we have it -- three lovely traumas for my characters to suffer with! I don't know yet when they'll come into play during all the various stories I have planned, but they are there when I need them! I'm sure the trio are thrilled. XD

[singsweetmelodies]

Shipping real people is so gross TF get a life

sending anon hate is so gross TF get a life

[mars-ipan]

talking to my mom is such a blast. meeting of the minds

[non-un-topo]

Lord help me I’ve gotten nothing done on my assignments today but I am outlining a fic that’s more like a bloody novel

[cryptidm0ths]

Thisng that are being manifested : kaname changes state (preferably wakes up and maybe joins the cast) during the graduation events very quickly followed by himeru fs2 as they scramble to gather an understanding of themself to project outside of their self imposed role of HiMERU

[carewyncromwell]

“And the big bad man and his big bad clan, Their hands are stained with red... Oh, how quickly they forget... They aren't gonna help us --  Too busy helping themselves! They aren't gonna change this:  We gotta do it ourselves... They think that it's over, but it's just begun!”

~“Only the Young” by Taylor Swift

x~x~x~x

“And so…esteemed members of the Wizengamot…based on the overwhelming evidence – the factually bankrupt, inflammatory anti-Muggle and Muggle-born leaflets sent out by the defendant’s Commission and promoted by the defendant herself; the transcripts of trials overseen by the defendant that spell out blatant corruption and unsanctioned cross-examination techniques, including having Dementors present during all trials and actively refusing to give any defendant proper legal representation; the testimony of over fifty Ministry employees, speaking to the defendant’s close working relationships with known Death Eaters and to her own willingness to overlook Wizarding Law to advance herself and her Commission’s political aims; the countless memos written in the defendant’s own hand condemning nearly a thousand people, including over a hundred children, to unjust captivity; and the defendant’s well-known reputation among her ex-students, her coworkers, and even her own family for enjoying the suffering of others and persecuting fellow wizards and witches not just for their blood, but also for suffering from medical conditions like lycanthropy and blood maledictions – all of which the defense has offered no suitable defense for, aside from incorrectly asserting that the defendant was ‘simply following orders’ from her superiors…I think there is no question as to her guilt, or to what justice would be appropriate.

Although I – as a private citizen of the Wizarding World – agree with Minister Shacklebolt’s measure to remove the Dementors from Azkaban prison…I must acknowledge that if there were ever a case for a criminal from our world deserving the Dementor’s Kiss…it would be Dolores Jane Umbridge. But because we – unlike the defendant – have a code of honor before us that we will not break just to achieve a political objective…I believe it’s our solemn duty to ensure this basilisk in human skin never walks free again.”

~Carewyn Cromwell, prosecutor for the trial of Dolores Umbridge // January 1999

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About two-and-a-half years ago, I drew a concept for Carewyn as a lawyer for the Ministry of Magic, and...yeah, looking back at that concept, I knew I could improve on its visual, if I tried it again! 

Carewyn Cromwell was still a fresh-faced, idealistic young lawyer of twenty-five when she became the Chief Prosecutor behind the Ministry of Magic’s trials of ex-Death Eaters after the end of the Second Wizarding War in 1998. That very same year Carewyn also became the legal guardian of one of the Muggle-born children she defended in court (a drawing of whom is also coming soon!), even while unmarried and only living in a small flat in London. Despite her relatively short time with the Ministry, however, the fashionable young prosecutor left a strong impression, not only taking charge and putting Dolores Umbridge under citizens’ arrest when the Death-Eater-controlled Ministry fell, but also in fiercely advocating for those who had been most hurt during the War. The Daily Prophet was eager to spotlight the young Cromwell in their articles, both flatteringly and otherwise, simply because of how much fascination such a pretty and paragon, and yet stoic and ruthless woman evoked in both reporters and the paper’s readership. There were even several points, both during and after the trials, when Carewyn’s name was floated by the Prophet as some possible future replacement for Minister Shacklebolt, or even just as a permanent member of the Minister for Magic’s support staff -- but Carewyn, thoroughly disinterested in working directly in politics, instead remained steadfast in her pursuit of legal justice. 

[hassiegfrieddoneanythingwrong]

I think the craziest pairing I've seen with him (I wouldn't really call it a pairing but more of a kink), is him/tentacles. Although that...fic...was more of a nonsense way by the author to free the Apocrypha copy of him from Gordes. Don't ask for details, I've scrubbed my brain of it in a hurry.

The second craziest being Siegfried/Sigurd and Siegfried/Siegfried (it's an au fic in Chinese so good luck). I swear I found the former somewhere on AO3, and only recall Siegfried viewing Sigurd as a better version of him from when I skimmed it out of morbid curiosity.

But the other pairings/interactions I've found with him that I do like are with Beowulf and Robin. All general and done by the same author way back in 2016. I would have never thought of such an idea (minus Beowulf because it's fun imagining how much he'd bellyache at him over Siegfried gaining powers with dragon blood while he died to dragon blood).

If you know how Robin handles himself in Extra, having Siegfried for a partner would be another drag for him because oh no another chivalry-soaked partner to deal with. But then also think about Robin in Salem, how he advises Ritsuka that no matter how hard they try, they can't save everyone. He cares in his own way. Bit of a shame Robin isn't the same Robin that had a friendship with Richard the Lionheart - otherwise I'd start making parallels if I wrote this pairing.

But man I do love the fic where Siegfried is dragged into a spice eating contest by Jeanne Alter and they win a vacation for it, in exchange for a stomachache. That one was funny.

Ah, but it is nice to speak about crack pairs involving Siegfried, especially since couple servants tend to make it difficult to talk about them without someone getting mad on behalf of a fictional couple who will never thank them for it. Thanks for that.

I've actually read the tentacle one before (back in '20 or '21, one of those years), and it's... definitely something. 😅 I think I've spent too much of my time on the internet to not be that squicked out on it, or something along those lines.

I'm curious - in a slightly twisted way - on the Siegfried x Sigurd ship, since I haven't seen it pop up before. Siegfried x Brynhild, yes, but not with Sigurd. And since they're counterparts to each other, would this be a variation of selfcest? 🤔 Great now I'm going to think too much on this

I haven't really seen Extra (have seen CCC, just not Extra), but I do know that Robin's deal in that entry is that his Master wishes to play fair and Robin... can't really do that as he is. So these two having an interaction, either as a ship or just in a platonic way sounds fun (Robin understands what Kriemhild and Master goes through on the daily 😔)

Ditto for Beowulf, that sounds like a really funny interaction (reminds me of how during the Apoc rerun I found it wild that in Siegfried's raid battle he would drop poisonous needles, like, "why are you dropping poisonous needles honey, is there something that you're not telling me???" lol).

I don't think I've ever seen the Jalter fic that you're talking about, but that also sounds really funny (they won the vacation, but at what cost?).