#making a tag in case I come up with more ideas

[jaypelt]

Normally I'm the sorta person that puts things in the tags, but it's difficult to deliver the thoughts I want without it just running on too long. I'm personally not in the position to make sweeping judgements of how *audiences* prefer shows, as I've kinda tapped out of that whole thing and pay less attention to takes on media. Although expecting instant trauma and emotion sounds ridiculous. - In the Fullmetal Alchemist manga they don't even show the big Human Transmutation Moment until like... 23 chapters in. It's just dripfed up to that point. - You don't understand all of the specifics as to why Mr. Harrier Du Bois drunk himself into amnesia until you piece it all together from experience throughout the whole game. Culminating in Dolores Dei on the last day. - Kurapika's ice cold demeanor is as disturbing as it is because you've seen how much kinder he can be, and how far he's fallen since earlier in the story. It's not simply the things that happen to him either, but the actions he DECIDES to take. All of these examples present characters who clearly wear some kind of Big Shit on their sleeves, yet it isn't all given to you immediately. And with proper leadup to their emotional moments. Granted, they come from media outside of strictly western TV shows, but I think the lack of patience from both writers and the audience can represent themselves in any media. The goal is to make you *feel bad*, or feel at least feel *something*. And the idea is that this makes a story or character more compelling. How do you hook an audience? You hit em where it hurts. And sometimes it feels as if there's a certain gut punch feeling they're looking for. But there needs to be something of substance to actually CARE about. You need to build up your characters, your world, your story, before you start making people feel something. Especially in the case of characters, you need to establish who they actually ARE and what they care about. It doesn't always have to be the trauma. And trauma can take many, many forms. Negligence, despondence, listlessness, etc. The way they respond to it is often informed by the kind of person they are, even if that part of them may irrevocably change afterwards. Some may not even realize they've experienced it to begin with and are unaware of how it has shaped them. Characters are the beating heart of any story. Any good one is more than just all the trauma you can load them up with. Your plot can be mid as fuck, yet people cherish it anyway because the characters are good. Which, by god, can take form in more ways placing them in cold drop dramatic moments or delving into their backstory from the get-go. And every story needs a little time to breathe. Space out the big moments, build up to them when appropriate. Too much is emotionally exhausting at best, and feels insulting or manipulative at worst.

Man is it just me or are a lot of TV shows nowadays are written to have big emotional episodes in scenes with very little build up.

[evansbuck-ley]

so this fic idea came to me late last night and I’m obsessed with it already. it’s the not so smooth adventures of the 118 babysitting lil henry. here’s a sneak peak of uncle eddie’s chapter.

also please let me know if you wanna be tagged when this or any future fics are posted, need to start making a tagged listed

“Henry?” Eddie said, his voice slightly raised but not too loud to alarm anyone. He looked around the touchpool for a few minutes but he was nowhere to be seen. He then turned and walked towards the soft play area that was beside where he had been previously sat and scanned for Henry’s blonde curls but still nothing.

The feeling of panic started to fill Eddie's chest. Being a first responder all he could think about was the worst case scenario, oh my god someone has taken him. How am I going to explain this to his dads? They are going to kill me. Though those thoughts were cut short by the sound of sobbing coming from behind him. Eddie spun around and there he was, in the corner just out of sight. He was sitting on the floor with his knees pulled to his chest, his blue eyes were wide with fear and he was sobbing uncontrollably.

“Oh thank god,” in an instant Eddie was beside him, throwing himself to his knees and sat on his heels as he reached out for him.

“I’m sorry Uncle Eddie! I-I moved to the other side to see more starfish and when I looked up I couldn’t see you. I got so scared!” Henry rambled, tears were streaming down his face and his bottom lip was trembling as he pouted slightly. God, he really was Buck’s double.

[cicaklah]

get ready for my thoughts on yaoi UBI

So I’ve kvetched about UBI in the tags for long enough someone finally asked me what I was going on about so here we go! 

I will start with some caveats: 

I am British, and so I can only speak about the British specifics.

I have for the past twelve years worked as a professional health economist, and health economics is based on social welfare theory (specifically growing out of Arrow’s work in the 1960s and Sen’s work in the 80s/90s). I literally could talk forever about this, but I won’t. If you want to know more, read the pretty good wikipedia article on welfare economics.

But fundamental to welfare economics is two things: if we make a great big change, do the benefits outweigh the costs? And does the change make a fundamental change for good? (aka cost-benefit analysis and pareto efficiency).

The other thing you need to know about me is that I don’t like activists very much, because they never have to show their working, and my entire professional life is showing my working, and critiquing other people’s working. We all have ideas mate, show me the plan! I love a plan! and this isn't coming from anything but personal experience; I have been to talks by UBI activists before, including ones by economists, but I have never had the case made to me that UBI would be either cost-beneficial OR approach pareto efficient. In fact, it usually reminds me of arguments that are based on some other imaginary world, and then I get so annoyed I want to scream. 

In the early 2010s when I was first starting working as an economist, I was asked to build a model to see whether switching a disability benefit from government administered to individual administration would be cost-effective. Essentially, if you were newly in a wheelchair and you needed a ramp building up to your house, would it be better for the government to organise a contractor, or for you to be given a cash transfer and organise it yourself? The answer was that it wasn’t, but anyone who has ever had to hire a builder could have told you that, and the government didn’t have to pay my firm £30,000 to make that decision. But that is what UBI essentially is; a cash transfer where you get cash and the government gets to enjoy less responsibility.

There are 37.5 million people of working age in England. (Nearly) every single working person gets what's called a tax free allowance, where the government doesn’t claim income tax on the first £12,570. (Once you make over £120k, your allowance starts to decrease, and you lose it entirely at I think £150k)

Let’s assume that instead of just not claiming tax on this amount, the government switched to making that £12,570 your UBI. That is £471,375,000,000 just for England - just under half a trillion pounds. In cash, or nearest as in our modern economy. And not one off - Every year. 

Okay, let's say that the country does have a spare half a trillion a year (in cash) lying around. What is the benefit to switching from tax free allowance to UBI? Well, let's assume that no one stops working, so there would be the tax receipts from the 20% income tax on the £12,570, and that’s just a shade under £100 million. Not bad.

But if you’ve seen a UBI post, you will know that people like the idea because they will be able to work less. Which probably means that UBI will need to be paid for in some other way. Perhaps by cutting existing benefits. The universal credit cost is around £100 billion. So we’re still £300 billion short, and honestly, you wouldn’t cut all of universal credit anyway, probably only the unemployment benefits, but I’m not digging into the maths on that tonight. 

But, look, I am sympathetic. I am a welfarist. I genuinely believe that the economy is not just money, that welfare is happiness, it is utility, it is all the stuff that makes life worth living, and it is the responsibility of the government to maximise the welfare/happiness/utility/quality of life of the country through efficient use of taxation and other sources of money. So people give the government money and it spends it on goods and services and then people get utility, and then they spend their own money to get more utility, and ultimately we can gain intangible things that are incredibly valuable. 

But the problem is that cash is cash, cold and hard and very real. I don’t know how unlimited spare time translates into half a trillion real pound coins. I wouldn’t know how to build a model that complex and uncertain, especially as this all assumes that you can live on 12k a year, and that whatever replaces progressive taxation is equally progressive. I haven’t even touched on how having a convoluted welfare state insures it somewhat against being entirely destroyed after a change in political opinions, aka what I call the daily mail test. You think the narrative about people on welfare is bad now? But also, how would you deal with people who didn’t manage their UBI money well? What happens if there is a personal crisis?

The more I look at it, the more the existing system is actually remarkably good value for money. Individualism is expensive. Collective decision making and spending is just cheaper. 

Ultimately I don’t see the additional benefit of UBI, requiring a pie in the sky change, when it is far, far, far more cost effective to strengthen the existing regime across the board; taxation law, social safety net, childcare, working laws, education and health - all systems that are already in place, and have a thousand times higher likelihood to be pareto optimal and cost effective than trying to find half a trillion pounds of cash round the back of the sofa, while torching 150 years of progress so middle class people can write their book without having to have a job. If I was conspiracy minded I would say that UBI feels like a psy-op, trying to shut down old fashioned progress in favour of ripping it all out and starting again.

Ultimately, that is my real annoyance. It is far, far, far cheaper for the government to provide you with your new ramp for your house, and that is done through politics, but not fun moonshot politics, the hard shit that isn’t sexy.

[animalsalvationassociation]

“Offical” Octonauts — The A.S.A. Au Crossover List:

(Please keep in mind these may be smaller crossovers. They may not always feature in large parts of the story but they will be considered apart of the AU with tweaks that best fit the Octonauts universe/narrative.)

Creature Cases

Zootopia

Sing (1 & 2)

The Koala Brothers

Puffin Rock

The Mysteries of Alfred the Hedgehog

Other Possible Mentions: (Status: Pending)

Wild Kratts

The Bad Guys

Geronimo Stilton

Special Agent Osso

Notes:

Tbh I had to go through quite a few programs/companies/lists just to find these names. And this post is the broken down version of it. I will say there are a LOT of different anthro based shows/movies (that I ENJOY -sob-), but unfortunately a lot of them also had human interaction, magic, some kind of mythological phenomenon, etc, etc — woven into their stories. Not saying that’s bad, it’s just not what I’m looking for in this Au.

(As enamored as I am with the Au idea of having Kwazii’s sea monster tales be real — I mean come ON!!!!! We’re ALL thinking about it! I was immediately taken by that idea the moment Kwazii first started telling those stories in the show!!! (The source material for this series is literally fighting me tooth and nail)— I may only end up making a spin off series just for the A.S.A. so I can embrace the full fantasy of my usual (creative/art/writing) style. With the A.S.A. I’ve really been trying to put my foot down and make myself go a more scientific route rather than modern fantasy. But, knowing me, I may end up crossing that line day one of actually writing the story.)

Although, if there’s something I missed or something that you (my beautiful and wonderful audience) would like to see, let me know in the comments! Keep in mind I do have a certain image in my head so not everything is going to make it on the roster (I promise I’m not trying to hurt anyone’s feelings). BUT—but—but—that doesn’t mean you guys can’t make it yourselves!

Ya’ll if you want Kung Fu Panda and the Octonauts to interact, by ALL means you create that story! I certainly won’t stop you and I’d very much enjoy seeing it! (KFP was literally the first fanfic I ever wrote so I’m cheering you on bro—take my ideas—✨flourish✨—I’m begging you) And I give you full permission to tag me it whatever you create! It would absolutely make my day (and it would be such an honor) to see it! (You don’t have to take that seriously, there are so many other fandoms besides KFP I just needed and example)

All and all, if I listed something that you were already thinking about or only found interest through me mentioning it, DON’T let me stop you. I’m completely serious.

At the end of the day we’re all just creatives trying to have fun. The human race is literally coded to be inspired by the things around them, including other humans. Don’t even START to think that my ideas are better than yours or that anyone else’s work is so much more precious/important than what you make. We’re all meant to create, but it’s an individual’s job to make it unique and special to themselves. Please remember that my loves. Have a wonderful day and make sure you’re taking care of yourselves!

(Sorry for the rant, my heart’s been hurting the last little while and I figured someone out there might need some love just like I do. ~ 💙🍪)

[meraki-yao]

RWRB Movie: Sequel Series?

Hear me out.

A while back I mentioned that although I desperately want more Firstprince and more of the RWRB universe, I don’t really straight up want a sequel movie because of how complete the movie’s “fairy-tale” ending is and because I can’t think of, and don’t really want a full-on dramatic plot for their future. I kind of just wanna see them live their lives. I said I didn’t really know what’s the compromise between my two thoughts.

It hit me recently:

a series/ mini-series

The thing is, a series doesn’t need to be a continuous storyline. It can and most of the time it is, but it doesn’t need to be. May not be the best comparison but the Disney Junior shows I watched as a kid, while having some sort of overall continuity, aren’t always continuous. Each episode can serve as an independent story: sometimes it’s a flashback episode, sometimes it’s an alternate universe episode etc.

So when it comes to RWRB sequel, the benefit of doing a series instead of a movie is that it doesn’t need to be strictly set in the future, and it doesn’t have to have a dramatic over-arching plot, which leads to two big things we can work with.

One, we can jump around with the timeline, and give enough time to explore events that could only be mentioned in passing in the movie due to time constraints and pacing

@pippin-katz wrote a post about seeing a flashback to their first meeting in the sequel, and yes, absolutely, but with a series, a whole episode can be dedicated to their first meeting, which would be enough time to explore the whole event (i.e. Alex’s nervousness and Henry’s discomfort being at the conference, what happened after) and both Henry and Alex’s perspective. We can see everything from that day.

We could also fill in the gaps, moments that occurred during the movie but wasn’t fully presented. I don’t know if Wimbleton still works with the difference in dynamic and character on Henry’s part, but if it does it would be fun to see. One of the things that was in the book that I wish could have been in the movie was a moment of Alex’s showing his vulnerability and Henry understanding him immediately when they were just friends, so the Christmas phone call in Chapter 3, that can be in the series. Maybe the thing with kid Alex and the magazine photo of 12-year-old Henry. Things like Henry’s meeting with the King during his 18th birthday. Henry’s perspective of the Alex POV events and vice versa.

And of course we could have moments of their future, living together or working out a long-distance relationship, celebrating anniversaries, going on dates, doing public events as a couple, maybe even proposal, engagements, wedding, adoption, all the good stuff.

Two, we can focus on characters and relationships that aren’t Firstprince

Now don’t get me wrong, I love my boys and could never get enough of them

But one critic I’ve heard and sort of agree with is that a lot of supporting characters, and subsequently their actors, were underused. While I completely understand that again, it’s due to the limitations of movie storytelling, it’s still a pity.

With a series though? We can have episodes focusing on certain relationships, past, present and future.

We can have Henry’s relationship with his father, how the whole family fell apart for a few years because of losing Arthur and how much Henry’s grief affected him. (I think Nick would absolutely kill it)

We can have Alex learning more about Henry from Bea and Percy, and forming some sort of unspoken “Henry protection squad” bond.

We can have Henry reconciling with his grandfather and mother, and him introducing Alex to his mother.

And while we’ve seen Henry bond with Oscar, it’d be nice to see more of that, as well as see Henry bond with Ellen.

Firstprince will always be present, but with a series, it doesn’t always need to be the focus, and we can explore other relationships as well! And it’d give the other character a bigger chance to shine

And it can even be independent character studies: we can get a closer look into Henry’s depression and Alex’s ADHD/imposter syndrome (I’m not sure if movie Alex still reads ADHD, someone help me out here please, but if he does it’d be nice to see)

I love the movie so much and I understand that not everything can be translated on screen for it, but if the next related project is something more like “fill in the gaps” instead of “start a new thing” we can adapt certain things in the book that couldn’t be in the movie. Like colouring and adding things in the blank space of a painting instead of starting a new painting. Think about it, even Henry’s bonus chapter is a collection of miscellaneous moments that happen after the events of the book: it doesn’t have a plot.

I literally don’t know if this is a practical idea, and I’m aware this literally sounds like a collection of cannon compilate one-shot fanfics but on screen, but this is the best way to extend the RWRB universe I can think of

It’s more domestic fun and maybe fan service than making a statement/sending a message like the movie did, but the movie already did that, and it would just be nice to watch smaller moments of their lives

(and well, I got myself excited writing this, so please please please please please)

[toddtakefive]

thinking about todd and his resolve toward… not quite isolation, but being alone in a room full of people again. he goes along to the study room to sit on his own and do his homework, he sits at the poets table and follows along with what’s being said while keeping quiet, he goes to the meetings at all but doesn’t necessarily contribute (in fact, if you watch him when cameron is telling the story ‘from camp in sixth grade’, you can see that he recognizes it before any of the other poets but doesn’t voice it until they all have). he’s not alone, necessarily, if you want to get technical about it, he’s just lonely, and he’s generally okay with that. he doesn’t have friends and that’s fine, he doesn’t participate in class and that’s fine, he doesn’t have a relationship with his family and that’s fine—he could live without any real connection and he’d have been, more or less, fine.

the thing about when he says “i can take care of myself just fine!” is that he isn’t really wrong, you can infer that he’s been doing it his entire life anyway, it’s that ‘taking care of yourself’ isn’t the same thing as really living or being happy. todd’s an introvert, certainly, and even as he gets closer to the group he defaults to sitting quietly in the background, but he’s also denying himself community out of fear not introversion. todd isn’t friendless because he’s an introvert, although that definitely plays a part, he’s friendless because he pushes anyone that might want his company away. if anyone has every wanted for his attention in the first place. (neil’s unwavering interest in him is unique (even when it comes to the rest of the poets, who are fine with todd coming along and joining the group, but aren’t really hellbent on him being there in the beginning) and his refusal to accept it is a direct result of being so lonely growing up.)

there’s obviously something to be said about the implications of his parents neglect, and the more than likely fact that he grew up friendless, and how those both play a part in in him being so skilled at dodging social interaction/being so avoidant of it, but by the time we see him in the movie he’s all but accepted his fate as being alone his entire life. he’s already accepted being the family disappointment, and he’s already accepted he’ll never amount to anything, and he obviously doesn’t like it, but he’d have managed living with that knowledge without the confirmation that it was all wrong. would he have been miserable? almost certainly. but he’d have managed. he’d done it for that long already, anyhow.

[victorluvsalice]

AU Thursday: Valicer In The Dark -- More Score & Story Ideas!

Because, uh, I have a lot of ideas for stuff I want to do in this verse, and the original list from a year ago has expanded quite a fair bit:

-->While I haven't gotten all of my stories into a proper timeline yet, I do have the first five sorted:

A) "Start At The Beginning...Sort Of" -- the story currently in progress, where the trio all meet, solve Victor's ghost problem and Ghost!Emily's Barkis problem, get wrongly accused of murder, run from the police (showing off their special starting scoundrel abilities along the way), and eventually end up in Elder Gutknecht's old place in Six Towers. This is sort of the "prologue" to the whole mess, putting all of them in the right position to start on a life of crime. XD

B) "A Murder Shared Is A Murder Thirded" -- yes, I did have Gale of Baldur's Gate III's line about how "a parasite shared is a parasite halved" when I came up with that title. XD As you might imagine, this is the trio first "unofficial" score, with them going to murder Bumby, because the fucker needs murdering. Of course, it's only after they kill him that they meet up with Smiler's parents and learn they were exonerated of the original "murder" by the Spirit Wardens. XD Still no regrets, though.

C) "The Van Dort Vacancy" -- came up with that title while looking at old Oxventure Presents: Blades In The Dark episode titles and being inspired by "The Cab-Con Caper's" alliteration. This story focuses on Alice and Smiler returning Victor to the Van Dort mansion...only to discover the Van Dorts hosting a party. Victor quickly learns that his parents never even considered the idea that he might be in danger when he vanished, only caring about the fact that Victoria Everglot married someone else (and is now due to wed Imperial Guardsman Christopher White after her first husband's death and disgrace) -- and after overhearing his mother declare "what ghost would marry our Victor?" decides fuck them, he's taking his stuff, stealing what money he can, and going to live with Alice and Smiler in Six Towers. Features special guests Barnaby "The Butcher" Fortescue III and Kasimir Jones from Oxventure Presents: Blades In The Dark, because it tickled me to imagine them doing a score to steal some of the Van Dorts' money at the same time -- only for Victor to catch on to what they're doing when he meets Barnaby at the party and go "if you wait five minutes for me to get my things, I will open the safe for you and give you a good chunk of the money inside." XD

D) The currently-untitled story detailing the gang's first "official" job as a crew, picked up when they go to dinner at the Ball & Socket Pub and Smiler overhears two workers from Coalridge discussing needing to get something back from their boss -- the "something" is a list of potential union representatives that the boss stole in order to call assassins on the people listed. The workers need it back to keep their nascent union safe. Notably, the score involves the workers saying they can't give the trio much in Coin, but they'll do what they can -- and then one of them jokingly saying, "Unless you want to be paid in furniture."

Cue Victor, Alice, and Smiler, who currently live in Elder Gutknecht's-not-exactly-comfortable house, going "what kind of furniture?" XD (A couch and a proper dining table, specifically -- old furniture one of the workers was trying to shift after inheriting some stuff from a late relative.)

E) "Who You Gonna Call?" -- As you might guess from the Ghostbusters quote for a title, this story involves the gang busting some ghosts. XD Specifically, it involves Bonejangles -- here a Whisper who does entertainment work for the Ball & Socket on the side -- deciding to school Victor in the art of ghost-catching by taking him on a job to catch a few Echoes (non-sapient ghosts who continually do the same thing over and over again in a loop), with Alice and Smiler tagging along for moral support. However, as it turns out, one of those "Echoes" is actually a Specter (a sapient, feral ghost who attacks people and possesses them to feed on their life force) who was biding its time... I felt a little bad that none of the previous stories really had any Whisper-y stuff for Victor to do, and decided he needed a "day in the limelight" score -- as a bonus, this score is how he gets his ghost-hunting equipment for later!

-->I also have plans for two possible prequel stories -- one showcasing the three times Alice and Smiler talked before the events of "Start At The Beginning...Sort Of" (I have the first bit, Smiler giving Alice the money for lunch, actually written already), and one showcasing some of Smiler's life even before that (I have a rough draft of the scene where they wake up the "morning" after inventing Joy Serum and go "bwuh?" over their newly-glowing yellow eyes). Good for filling in gaps and writing more stuff from Smiler's POV!

-->I mentioned Victor wanting to make a community greenhouse very briefly in the very first post I made about the AU -- this has expanded into a whole little arc about him finding an abandoned conservatory while wandering Six Towers and the gang fixing it up into a place where they and the other residents can grow food. In order, the stories would cover:

1) Getting enough money to pay a glazier to fix all the broken window panes (or doing something for the glazier in trade)

2) Acquiring the initial plants (which involves a trip to Barrowcleft and probably doing a job for someone there in trade)

3) Victor researching ways to infuse butterflies and moths with electroplasm to create radiant energy insects to help the plants grow; my idea is that he eventually tries mixing it with some of Smiler's Joy Serum -- and gets REALLY BIG bright yellow glowing moths, to his and Smiler's delight and Alice's concern

4) And then, once the place is just about ready to "open to the public," Lord Rowan, the only lord who maintains a permanent residence in Six Towers, rocks up, claims the greenhouse is his, and demands an absolutely ASTRONOMICAL rent from the trio to use it. Fortunately he proves to be a man who likes games when Smiler asks to negotiate, and tells them if they can break into his house and get the deed to the land from the safe in his bedroom, it's theirs (the trio smartly get this written down and notarized by someone in Charterhall first; Rowan is PIIIIISSED when he realizes he'll have to honor the deal)

-->A related idea would be for the gang to encounter some of the people in Charterhall (the neighborhood mostly made up of one big university) who are working on an alternative power source to help replace leviathan blood (which is refined into the electroplasm that powers everything electric in the setting) and need a place to test it. The trio decides that the alternative energy group can try to get the streetlights back on in Six Towers, and there's a score all around helping them get there safely, and keeping Lord Rowan's nose out of it until they're done. Not sure what exactly it will entail yet, but I'm eager to find out!

-->As stated in previous posts, the gang eventually has to go after Dr. Kelman when he puts out a notice saying he wants the three captured so he can submit them to his special "social compliance therapy" (aka do horrific brain surgeries on them and/or Hollow them by ripping out their souls). This is how Victor and Alice learn Smiler's birth name, and the whole trip proves to be a rather dark look at Smiler's childhood pre-running away and joining the Advocates. In fact, I already have one specific scene in mind of Victor finding a photograph of a young Smiler and noting that their smile in the picture looks incredibly strained, as if they're desperately trying to see the bright side. Also, Miles Cedars is definitely going to show up, and possibly get to murder Kelman. Because I like giving him the chance to murder Kelman. :)

-->Speaking of Smiler angst, I also have in mind a story where, on a particularly chilly night in winter, Smiler, Victor, and Alice are wandering the streets together when Smiler somehow falls into one of the local canals. Victor and Alice fish them out as fast as possible, fortunately, but the rest of the story proves a race against time to get Smiler home and warmed before they succumb to hypothermia. Featuring half-naked cuddling when they learn that skin-to-skin contact can be an excellent way to warm a chilled person (fortunately this is after they get together as a polycule, so the partial nudity isn't as awkward as it could be)...and Smiler crying in front of Victor and Alice for the first time when they can't stop thinking about the fact that, if they'd been walking with their fellow Advocates, said Advocates would have believed them when they said they felt okay...and they probably would have died. :( It is a story of many feels, is what I am saying.

-->So, when does my OT3 actually become an OT3 in the actual stories? Shortly after the Kelman score, in a story entitled "And There Was Only One Bed" (a play on the fic trope, and the fact that the house only has one good bed -- at the time the story starts, the three are taking turns using it, with the other two sleeping on cots borrowed from The Advocates). The story involves Smiler (who has been trying to subtly push Victor and Alice together, having noticed they seem to like each other) finally revealing to Victor and Alice that they're a pretty accomplished hypnotist, and offering to use their skills to help Victor with a nasty bout of insomnia. Victor agrees, with Alice wanting to watch for her own peace of mind -- cue Smiler hypnotizing Victor the next time the three of them are going to bed...

And a deep-in-trance Victor asking to be held as he falls asleep. Prompting both Smiler and Alice to cuddle him...and fall asleep against him because neither wants to get up and possibly disturb him after he does drift off. Meaning when everyone wakes up the "morning" afterward, they're all really awkward -- Alice because she's like "wtf why did I find that hot;" Victor because he's like "oh no I liked that too much and I have to process the fact that I'm in love with both of them now;" Smiler because "damn it I think I just decreased total happiness in this household should have kept my stupid mouth shut." They do their best to push through and complete the latest job they have though (a random "steal something from this rich fucker's house" deal, it's not actually important), which ends up with them having to clamber up onto the roof at some point --

And then Victor nearly falls off said roof. Prompting both Alice and Smiler to nearly have a heart attack and have their feelings toward him thrown into STARK RELIEF. Meaning they all finally have a chat once they complete the job and get back home, which allows them to finally discover that a) they're all willing to get into a polycule and b) that they actually have quite compatible kinks. Story ends with Smiler delightedly returning one of the cots to their parents (Alice insisted on keeping one in case one of them does want or need to sleep alone) and the three of them regularly sharing the bed. :)

-->I also want to do at least one follow-up concerning them starting to play around with hypnosis, and Alice insisting she wants to do something that will help keep Victor Victor no matter what they do to his head -- cue her and Smiler coming up with a safety suggestion that involves Victor picturing the core of his personality as a glowing tree, and then having him encase it in unbreakable glass so his personality can shine out, but nothing can get in. :) It's just a sweet scene that's been rattling around in my head for a while, and I'd like to put it to virtual paper.

-->I mentioned a "Lord E.A. Bethesda" in my Duskwall Slang post a while back, as a guy who gets labeled with the very-dangerous-in-Duskwall title "Welcher" (someone who hires someone for a job, but then decides to try and kill them instead of pay them; people who do this generally end up dead themselves). How does he get saddled with this label? By hiring the Three Pillars to steal a golden beetle statue from a rival (Lord Bethesda is a bug collector, you see), plying them with a hefty reward if they pull it off (which he can afford as the "Gambling King" of Duskwall -- his fortune was built off of getting lots of people to pay him small amounts of money in hopes of great reward). They do indeed pull it off --

And Lord Bethesda happily orders them killed by his guards, forcing them to escape his house in Brightstone. However, Bethesda (who has done this before) employs Plan B and has his guards herd them toward his garden and through a gap in the lightning barrier around his home --

Before turning said barrier back ON and stranding them in the HEAVILY ghost-and-horror-riddled Deathlands just beyond (specifically, they're in the Lost District, a formerly rich neighborhood that was abandoned once the lightning barriers went up). This leads into the sequel story, where the trio have to find a way back into the city while navigating the horrors of the Deathlands...which results in them discovering that Alice's Wonderland Jabberwock, inspired by an illustrated poem she read as a child, is actually based on a REAL CREATURE. Which has the horrible eye beam and wants very much to kill them. (And which may have the voice of Christopher Lee because I might as well throw in the nod to Tim Burton's Wonderland -- Victor is VERY CONFUSED as to why it sounds like Pastor Galswells.) They manage to kill IT instead by strapping Alice's Vorpal Blade (now a real thing, Victor bought it for her as a present) to Victor's ghost-catching kit while Smiler whacks together a sort of motorized skateboard thing for them to ride on and then using the electroplasmically-charged Blade to slice the damn thing's unprotected belly open. Alice claims one of the eyes as a trophy, and shortly thereafter they're found by the Spirit Wardens, who look at the corpse and go "let's just get you back inside the barriers, shall we?" Cue the the trio tromping back to the Ball & Socket and telling the clientele about their experience...leading to Lampblack gang leader Bazso Baz declaring Bethesda a Welcher, and the guy soon afterward getting killed.

-->Not that Baz is actually a friend to the trio -- for another future story has the trio invited to one of his fancy parties, supposedly to recognize how rapidly they've made a name for themselves in the Duskwall underworld. The three go, figuring it's a good way to keep relations good with their fellow criminals -- but are quickly rather disgusted by the party itself, as it feels pretty much like any party Nell Van Dort would throw (overly ostentatious and making it clear he's only in it for the power). They resolve to get through the shindig and head home...

And then Baz reveals that the actual reason they were invited was because they've collected a variety of bounties on their heads (including a big one from the Van Dorts, specifying Alice and Smiler have to die but Victor be brought home alive, and a huge one from Lord Rowan, wanting them ALL dead) and the other criminals want to claim them. Cue the Three Pillars having to try and find a way to escape from the house as the other criminals hunt them. Fortunately for them, they have unexpected allies in Baz's staff, with one guy in particular having a sister and nephew in Six Towers whom they've helped a lot (probably both in general with the greenhouse, and specifically by helping the kid when he got sick once). They eventually manage to get out with the staff's help, and limp their way back to Six Towers...

Just in time to see Lord Rowan trying to make a big speech to the citizens about "how your heroes are dead" and blah blah blah. He is gobsmacked to see the trio still alive, leading to, of all people, Smiler strolling up to him and clocking him in the face. XD Gaining the Three Pillars a reputation as, frankly, unkillable...

Aaaand I should probably cut it there because this post is getting long enough. XD And I haven't even touched upon all the stories I have in mind that are based off of other properties I like! Guess that would be a good follow-up post to this one, huh? :p

[reminiscentrainclouds]

You guys ever feel trapped? Yea I'm well-acquainted with the feeling of being trapped.

[cuteniaarts]

Behold, my latest and most enamouring new obsession:

Malina, Lady of the Chief of the Northern Water Tribe. As if Red Lotus child OCs weren’t niche enough

[elegyofthemoon]

ok but do i want to actually sit and read through all the clockie animation stuff so i have better foundation for what i want to say? i guess

[235uranium]

back from the barbie movie and I certainly have Thoughts on what the movie was doing but overall I do think it's worth seeing! it's fun

[todayisafridaynight]

I wanted to write in about my thoughts on Jo as a CSA survivor separately for a couple of reasons:

I already more or less have what I have to say on the topic in order thanks to talks with @starssystem and another friend [<3]

This is a massive tonal shift from anything else I could be discussing

This Is Massive In General For The Love Of God PLEASE Help Me

Obvious CSA CW for anyone else reading; I only discuss statistics, psychology, and the aftereffects seen in survivors here, but it's worth a warning.

With the disclaimers out of the way… I'd mentioned before I've only ever added one thing to Jo's background, and you were right: this is it! To me, there's so much thematic overlap in Jo's narrative with the experience of surviving CSA it's worth it to examine his character through the lens of that being the case. Of course, there are clearly-stated reasons for it all that Aren't That, but…

It's the pervasive guilt and shame, the lifelong secret that becomes too unbearable not to tell, the faulty coping mechanisms aimed at burying the trauma without having to face it, the reluctance to be sincere [vulnerable] and the lies and half-truths used to maintain the facade of invulnerability, the pursuit of power and control and the knee-jerk anger response when it's threatened, the pursuit of mastery over his body and the indifference to what happens to it. And the way a lot of it really does stem from a deeply traumatic childhood sexual experience from before either he or Ikumi understood what they were getting into, from before they could give informed consent.

Statistically, the further below the average age someone is for their first time, the likelihood of [at best] having been introduced to sex inappropriately and [at worst] having been abused at the time or earlier rises exponentially. Jo was 15 when Masato was conceived--possibly 14, since he was saying he "met" Arakawa at 15, and by then Masato was already born. To put this into perspective, since what ages register as concerning is largely cultural, the average age in the US and UK is 16-18. But in Japan, it's over 19.

To a Westerner [or even a heavily Westernized non-Westerner], having a kid at 15 is unfortunate, but not untenable; you've seen it on TV, you might know people like that, you might even be that kid or that parent. But in Jo's case, with him being 4 or 5 years younger than average, it's like if someone told you they had their first time--had a /kid/--at 13 or under. That's the equivalent discrepancy. That /is/ concerning, to me.

It's also something that's linked to negative outcomes in adulthood, partly because of the likelihood of forming bonds with poorly-adjusted peers. Jo specifically states he and Ikumi were only together because others who came from backgrounds like his own were all he had back then. [As an aside, it's interesting to see him instinctively seek out a relationship where his pain would be understood without having to say anything--or one where he could assume it would, at any rate.]

When it comes to his relationship with Ikumi, I've always felt there was this "adult dynamic" between them--in the sense it feels like one that'd be more fitting for adults to get into than a couple of teens. It was, based on his wording, a primarily physical relationship neither of them expected to last even if they were living together. To me, it's one thing if you're fully convinced you're in love or you're experimenting or whatever and that results in an unplanned pregnancy, but it's another thing entirely to have such a bleak yet objective outlook on your relationship so young.

And it didn't have to be that way. He could've been just like Arakawa, head-over-heels in love with this girl who was The Only Good Thing He Had Going, or something like that. But the sheer contrast between how Arakawa was crazy about Akane and never forgot about her for the rest of his life, while Jo more-or-less-clearly didn't have feelings for Ikumi and can't bring himself to remember her name after living with her for at least a year and experiencing life-changing events with her…

It's notable to me that Arakawa maintains an interest in women while nearly every in-character interpretation I've seen makes Jo averse to women. Obviously, we don't really know that; it's probably just based on his general attitudes, his contrast with Arakawa, and maybe his immunity to Charm. But I think there's a reason a lot of people pick up on it and tie it to trauma rather than/in addition to a lack of interest in women.

I've talked about this through the lens of comphet already [and Jo being gay or ace or both would present other difficulties], but I can't overstate how notable it is on its own. We see Jo's response to traumatic events, and it's to become preoccupied with them, to investigate further if he has any leads. That's why he remembers every minute detail of the night Masato was born and the time he saw Arakawa attempt to comfort Masato when he was crying and hitting himself. I think it's also why he gets as far as he does when looking into Arakawa's death, and why he entrusts the search to Ichi. He never seems to manage to block them out, even if that's what he'd rather do--even if that's what he thinks he's doing.

So if he "[doesn't] even remember" the name of the mother of his child, I get the feeling there's something more going on. Like I've [probably] said in the past, Jo genuinely sounds traumatized by the relationship as a whole. More than anything else he's been through, and he's been through a lot. It's often the case that CSA survivors who are also survivors of other trauma view it as worse than anything else that happened to them.

And that's not to implicate Ikumi at all, I don't think it's a case of COCSA--everything I've said holds just as true for her, and she had to suffer the additional trauma of an unwanted pregnancy and childbirth, at that. Rather, I think it would make sense for something like CSA, which often incontrovertibly reconfigures one's relationship with sex and love, to be a factor in why they rushed into a something physical before they were mature enough to handle it.

Some victims end up having perfectly healthy experiences, some victims end up avoiding them, some victims end up re-victimized, and some victims end up with a mixed bag--there's a lot of variation. But some victims do end up having relationships like this and making mistakes like this, because that's all they know, or because they want to heal but don't [or don't know how to] go about it in a healthy way, at a healthy pace. And I definitely think if you recognize that's what the basis of your relationship was, that it all comes back to something you'd rather forget, it'd make sense to want to forget the relationship as a whole.

To that end, it's possible to come away from a relationship traumatized even if no one did anything wrong. I've [probably] talked about how the way Jo comforts her at the station feels like he's doing it for her sake and pushing his own feelings down, but neither of them is really buying it. If that's a pattern in their relationship, perhaps he wouldn't have been able to communicate if maybe what they were doing was dredging up bad memories, if he wanted to stop but didn't think she did. So to go through with it, then get the news months later…

Either way, the fact Ikumi couldn't bring herself to tell him she was pregnant until nothing could be done would, for Jo, invariably cement the feeling he has no control over what happens around him. I think the sense of powerlessness he felt is why he blew up at her when she told him, because it's really the only time we see him lash out like that at her. At the park, he objects to going back for Masato, sure, but he's passive. And I think that unbroken pattern of powerlessness in his life [which CSA would only compound on] is why he's so reactionary, why he's so emotionally dysregulated, why he expresses his rage through what basically amounts to power-tripping.

But I do think Jo does have a great deal of awareness. A lot of his wording when he's telling Ichi about it borders on poetic, or at the very least candid and effective. That requires both prior reflection and a command of language. I think there's a lot he understands deep down, at least after sitting with it for long enough, but he isn't capable of voicing--or doesn't know how to voice--what's on his mind, most of the time.

So when he joins the Arakawa Family, when he rises the ranks and has that control back, his control has to be near-absolute. If it's undermined in any way--such as, for example, a certain someone failing to answer a call within two rings--he loses it. On the other side of the coin, I do feel a lot of why his devotion and gratitude towards Arakawa goes to the extent it does, why he's so comfortable with him, is because Arakawa gave him the safety of the Arakawa Family, gave him back his autonomy, gave him the environment--and treated him with enough humanity to give him the reason--to learn to regulate himself, to better himself.

And Arakawa /gets/ trauma. He really does. Aside from his own abusive background, literally the only time the word trauma comes out of any character's mouth in this series, it's Arakawa's. It comes back to Jo saying others who came from backgrounds like his own were all he had; that never changed, did it?

Lastly, For Funsies [<- LIE. COMPLETE LIE. TURN BACK NOW] I wanted to go through the items on this [CSA] Survivors' Aftereffects Checklist I could check off with near-certainty. 19/34, by the way, give or take. Now, as I said at the beginning, there are existing concrete reasons for why he has many of these experiences… but it's like the trans allegory with Masato, To Me… If I can check off over half the list based on a very limited backstory and an hour of screen time total, that's indicative of a notable overlap… TO ME…

Note that the book this list is from was published in 1990 and focuses on women's experiences. It was a huge step forward in giving survivors a voice back when a lot of existing research indicated CSA had neutral or even positive effects on children, but it's definitely a product of its time. With that out of the way…

Wearing a lot of clothing, even in summer […]

To be fair, most male characters in RGG are fully-covered and have near-unchanging designs, and it's winter in both 2000/2001 and presumably 2019, but… when it comes to Jo, it feels a little different.

He does have Some Heavage in his twenties [although the necklace takes the attention off of his actual chest], but as time goes on, he shows less and less skin and adds more and more layers. When he has the gloves on, it leaves no skin exposed at all, and there's this direct symbolic correlation with secrecy that isn't there for other characters. And if you're wearing three layers of leather [or even one], you can neither feel what you're touching nor feel anything touch you.

Pure Speculation, but I just can't really see him underdressed for any occasion… That's why his fit in Day with the Sun is funny as hell but also… yeah…

As a behavior, if it's rooted in anything, it's probably rooted in having to hide signs of physical abuse, of course--but then he kind of already had an excuse, with how he was constantly getting into fights. I guess it depends on the specifics, but I think it's interesting to consider this as one way CSA victims attempt to regain control of their bodies, avoiding emotional discomfort at the cost of physical discomfort.

Self-destructiveness

It's nothing super overt, but I see this most clearly represented in his second boss fight in particular; his willingness to wield a blade bare-handed while using enough force he could very well render his hand useless. I think it's potentially also evident in how he has severe cataracts he chooses to ignore and allow to worsen, despite having the reasons and resources to undergo surgery to restore his vision. In doing so, he literally and figuratively blinds himself to so much.

I also kind of think the assassination of Hoshino/the anonymous call and The Eye Scene are examples of self-sabotage. I mean, he literally was sabotaging himself in the former, but it's also the specific way he feels the need to be physically taken down in order to be stopped--possibly a holdover from RGGJo, who's only too happy to be beaten into a coma.

I don't know… It's hard to pinpoint, but I feel like he would be averse to most of the more "obvious" self-destructive behaviors--especially when he has people in his life who might notice and worry, like Ikumi and Arakawa. That and because many of them are addictive. He's seen what that's done to his father, and he's also developed this incredibly rigid sense of discipline he can't maintain if he doesn't have a clear head.

From how he talks about himself [as having lost his humanity and lived a half-assed life], I definitely think he's at the very least unkind to himself, but I also think he does externalize it by provoking others to harm him [in the case of physical fights] and reject him. Like he needs some kind of proxy perpetrator. For some abuse victims, this specific manifestation of self-destructive behavior is a way to regain control--whether or not you "deserved it" back then, you do now, as a direct, logical result of your actions.

Need to be invisible, perfect, or perfectly bad

I think each of these needs manifests in different ways for Jo. The need to be invisible can be seen with authority figures (mainly Aoki, but also Arakawa in The Yubitsume Scene, a little; how drastically he pulls back and tries to act "normal")--this relates to what you were talking about with being reluctant to intrude or take up space. If you fall under the radar, maybe you won't get hurt.

The need to be perfect can be seen in his seemingly "impossible" standards, I would say. Of course, because we see things from Ichiban's perspective, we tend to see them as unfair and often arbitrary demands. But they aren't arbitrary to Jo, are they? They're standards he holds himself to through and through. If you're good, maybe you won't get hurt.

The need to be perfectly bad can be seen in and relates to much of what I discussed under self-destructiveness [The Eye Scene and the way he antagonizes Ichiban specifically by making himself out to be worse than he is]. If you must get hurt, it can at least "make sense"--be "deserved."

Suicidal thoughts, attempts, obsession (including "passive suicide")

Obviously he's not like… Mine Levels Of Overtly And Consistently Suicidal, and he doesn't attempt suicide himself, but at the same time, I have to note his total ambivalence towards Aoki seeing him as a "bullet" (a kind of hitman sent on suicide missions). He agreed to what he himself viewed as a suicide mission and he didn't care what would happen to him afterward, as he says to Joon-gi, Zhao, and Adachi.

Aside from that, I certainly feel he's at least had passive thoughts like wanting to disappear or wishing he'd never been born. Y'know. Nothing concrete, but reflective of his mental state, and just as detrimental to dwell on long-term.

I think there's a sort of childishness [for lack of a better word] to thoughts like these [in that they're impossible], but also a level of maturity in that it probably doesn't escalate to something more actionable because he understands he has responsibilities he can't abandon. I think if he was ever seriously suicidal, it would be at the points of his life where he really didn't have any responsibility to anyone, like between Ikumi leaving and him joining the family, or after he was arrested.

Depression (sometimes paralyzing) […]

I'm trying not to over explain going forward because I Have BEEN Overexplaining It Is SUCH A Disaster… he's depressed If You Have Eyes And/Or Ears… I'll leave it at that…

Anger issues; inability to recognize, own, or express anger; constant anger […]

Lol

Rigid control of one's thought process; humorlessness or extreme solemnity

Relates back to what I was saying about how disciplined he is [and expects everyone else to be], but in general, he's incredibly, incredibly serious and focused. I don't think he's /entirely/ humorless [but then again, very few people are]; I just think his specific sense of humor is. Like. What Is Your Problem [I Know What Your Problem Is I Have Been Discussing It In EXCRUCIATING Detail But What The Fuck Is Your Problem]

Trust issues; inability to trust (trust is not safe); total trust; trusting indiscriminately

That's why he was planning on taking his secret to the grave, isn't it? It was only when faced with the realization it would soon be too late to say anything that he was able to tell Ichiban. He could've trusted Arakawa, should've been able to, but… in his mind he never could.

This book [and this checklist] is about "incest" actually, but it redefines "incest" to mean any instance of CSA perpetrated by any individual the victim trusts or has an expectation of being able to implicitly trust. Which… is most CSA as we understand it today, so I've edited some parts to just say that.

Anyway, I've never given much thought to the specifics of what Jo might've experienced--who did it, what happened, how long it went on, etc.--so there's no conclusion I can draw here [and elsewhere, I'm sure]… but even without that, to grow up unable to trust the one person who should be in his corner, his father, and to have his trust betrayed by Ikumi, it's no surprise Jo ended up like this either way. So… I'm happy he had the courage to tell Ichi, in the end.

High risk taking ("daring the fates"); inability to take risks

I think these are supposed to be mutually exclusive, but to me, Hoshino's assassination and Arakawa's assassination represent both sides of the coin, although they're not the only examples. There are risks Jo won't think twice about taking and risks that paralyze him.

Boundary issues; control, power, territoriality issues; fear of losing control; obsessive/compulsive behaviors (attempts to control things that don't matter, just to control something)

Lol…

Guilt, shame; low self-esteem, feeling worthless; high appreciation of small favors by others

Lmao Even…

Feeling demand to "produce and be loved"; instinctively knowing and doing what the other person needs or wants; relationships mean big tradeoffs (love was taken, not given)

I actually think this encapsulates a lot of what I've been saying about his work ethic, his ideas of discipline, and his relationship with Ikumi, but I also think it's why Masato took a liking to him. His attentiveness. It ties back into wanting to be perfect; when you're abused--especially long-term--you become attuned to observing and responding to any shifts in mood or tone. This is another area where I can't draw any conclusions relevant to my point, but it does certainly relate to his father's abuse, at any rate.

Abandonment issues

Kind of contentious… The anticipation of being abandoned by or losing someone he cares about appears to be worse than the actual experience. He's fine with Ikumi leaving him, and he's… not Fine With, but able to come to terms with Arakawa's death and Aoki's abandonment of him. At the same time, he really does try to make Ikumi's stay in his life comfortable, and he spends almost forty years doing his damnedest to keep his family together, whatever the cost. If I were to extrapolate from RGGJo, though, /he/ does have an obsessive, unhealthy attachment to Arakawa.

Blocking out some period of early years (especially 1–12); or a specific person or place

Ikumiiiiii that's what I'm SAYINGGGG

Feeling of carrying an awful secret; urge to tell, fear of its being revealed; certainty no one will listen; being generally secretive […]

Rofl Perhaps…

Denial; […] repression of memories; pretending; minimizing ("it wasn't that bad") […]

He admits to it himself. Not much else to say. Though I don't think he necessarily minimizes what he's been through by dismissing how bad it was; rather, he tends to overestimate his ability to move past it.

Pattern of ambivalent or intensely conflictive relationships (intimacy is a problem; also focus shifted from [CSA] issues)

Also kind of contentious… we don't see a pattern of romantic relationships, as I assume the author meant here, but at the same time, the romantic relationship and non-romantic relationships we do see fit this pattern. I guess I'd say I definitely think intimacy /would/ be a problem, and he /wouldn't/ be ready to address his issues.

Limited tolerance for happiness; active withdrawal from happiness, reluctance to trust happiness ("ice=thin")

The quote that prompted this ask in the first place. It's sort of connected to the point about humorlessness and extreme solemnity; if that was the "what," this is the "why." He doesn't know how to relax ["holidays don't exist" and all], he doesn't have much to be happy about, but even rarer is the occasion where he doesn't feel too conflicted in the moment to be able to enjoy himself. That's just how I see him.

[…] verbal hypervigilance (careful monitoring of one's words); quiet-voiced, especially when needing to be heard

EXACTLY what I was talking about in this ask, so I'm leaving that one up to past me…

......

... That's It That's The Essay I'm going to hibernate until Infinite Wealth comes out and somehow refutes my points but UNTIL THEN. Farewell, take care, and once more, don't worry too much about matching my energy… Like I Said if I were the one receiving this ask I'd just delete my blog, so… I'll just be happy to know you read it :] If That lmao

ok i read it :) 👁️👁️ READMYTAGSTHERESMORETHEREIPROMISE

[swagging-back-to]

started outlining that one angsty fic ive had floating in my head for like a year now.

[krenenbaker]

Okay, after reading it last night, then again this morning, I can say with absolute certainty that

a. I'm definitely not entirely certain of the culprit... yet.

b. I should have expected that Crowley would be the one in that role, haha!

c. THIS IS SUCH A COOL CONCEPT :D

Ooh, I'm excited to learn more information and learn just what happened on this dark and stormy night in the halls of Night Raven College!!

One of Us is Guilty; Prologue

Eight people, nine rooms, seven weapons. One person is guilty, and until they are found, no one is safe; from the perpetrator of the crime, or of being accused.

Characters; Vil Schoenheit, Divus Crewel, Rook Hunt, Azul Ashengroto, Silver, Jade Leech, Cater Diamond

Content; Gender-neutral reader, unreliable narrators

Content Warning; Death (not described), murder (not described)

Word Count; 1.3 K (includes guide on how to participate at the end)

Find this content triggering but still want to participate? Go to this Google Form!

As a reminder, do not put my work — or others for that matter — into AI as it steals. Link to Masterlist

| Prologue |

You were making your way down the main flight of stairs, ready to go crawl into your bed after the long day.

“Attention! Attention!” Crowley’s voice echoed over the PA system, still annoyingly chipper despite the late hour. What was he even still doing here? “Due to the weather, all remaining staff and students are under orders to stay inside the building until morning!” And the PA system cut out.

You groaned, “Seriously? It can’t be that bad–” A loud crack of thunder sounded directly above the building, causing the chandelier to shake. “Okay then,” you huffed, plopping down on the stairs, “I get the message.”

Of course, you would get stuck here for the night, guess that’s what happens when you stay back to study and work on assignments.

But you weren’t the only person stuck in the desolate halls of Night Raven College; seven others were in the same boat as you.

…

Vil was in the lecture theatre, reviewing his notes for the upcoming performance that the Film Research Club would be putting on next week. He too heard Crowley’s announcement and pushed his hair back, massaging his temple. He would not be getting a good night’s rest tonight.

“Tch, no use lamenting over it,” he sighed to himself. Carefully, he put the notes and suggestions away in their designated folder, and he made his way to the main hall. If anyone was still here with him, they might be there; at least he would have some company for the night, and not be alone in the empty hallways.

…

Professor Crewel was grading papers in the teacher’s lounge, and getting a migraine from it as well. “Have those pups learned nothing from me,” he grumbled.

He would much rather be at home in his finest pyjamas, scratching the chins of his dogs, but no, he was stuck here, and would be stuck until the storm passed or Headmaster Crowley got back on the PA system saying it was safe to leave. But knowing his employer, the man had transported himself home, leaving everyone stuck at the college oblivious.

I ought to wring his neck if he did.

…

Rook was in the library, perusing through various books, just looking for something to pass the time. He knew earlier that day that a storm was brewing, he could tell by the clouds and the faint smell wafting on the breeze. He also knew that Vil would be staying late, and he wasn’t going to leave Roi de Poison alone.

After going down a few aisles, Rook finally found a book to his liking. “Hmm, this is new. Ah, how interesting!” Tucking the book under his arm, Rook made his way to the lecture theatre, as that was where he had last seen Vil.

Perhaps un meurtre mystère would make for a good plot for a future performance?

…

Silver had fallen asleep in the cafeteria, apparently he had slept for most of the day. He had only woken up because of Crowley’s voice echoing loudly in the large, empty room.

Did they not notice? Silver rubbed his eyes and yawned. If he was here, there was a possibility of others also finding themselves stuck in the school for the night. The least he could do was make sure others were staying calm, and staying safe. Even outside of his duties he was ever still the protector, and far too kind.

“Hopefully no one got hurt…” he murmured to himself. There was something off, a dark presence of sorts, and it wasn’t just the dark clouds hurling down rain, hail, and lightning outside.

Something doesn’t feel right…

…

Azul was in the alchemy lab, perfecting the most complicated potion that was in his textbook; he had a reputation to upkeep after all, and didn’t want anyone usurping his rank at the top of the class.

There, I just need to add some belladonna and— the suddenness of Crowley’s overly loud voice coming over the PA system caused Azul to add too much, and the potion evaporated. Azul gritted his teeth, but took a step back. Perhaps a walk would help calm him down… he was going to have to replace all of those ingredients tomorrow…

“So close,” he hissed, and he started making his way down the hall, still muttering to himself.

…

Jade was washing the dirt from his hands, having just come back from checking on his fungi in the botanical gardens. He already knew before Crowley made his little announcement that he would be spending the night, which didn’t bother him all that much. Perhaps he could see what was in the kitchen, since he did have that new dish which looked and sounded to be divine.

But that could wait, Azul was most likely still working on that potion of his, and knowing the house warden, he had fumbled with the ingredients at the sudden noise and probably sulking… and Jade could use some amusement at the moment, and a sulking and slightly peeved Azul would do the trick.

…

Cater was in the kitchen, retrieving something for Trey since they were all out in the Heartslabyul kitchen. Of course it was something sweet, but Cater would rather be here than see the outcome of the freshmans’ antics. Sorry freshies, you’re on your own!

But now he was stuck here for the night, and having nothing better to do, and boredom starting to creep in, Cater brought out his phone and started recording. 

“It’s Cay-kun here!~” He gave a peace sign to the camera and stuck out his tongue. “Let’s see who we can find!” And he started chatting to the camera and walking towards the main hall.

…

…

Eventually, everyone had made their way to the main hall; you, Silver, Vil, Professor Crewel, Rook, Azul, Jade, and Cater. But there was no sign of Headmaster Crowley.

“Have any of you pups seen the Headmaster,” Divus asked, turning up a brow, and looked at his students with suspicion.

Everyone shook their head no. Divus sighed, and turned around the corner, in the direction of the Headmaster’s office, but he stopped in his tracks.

Curious, you looked to where Professor Crewel was staring; lying in the middle of the floor was Crowley, and he wasn’t breathing.

Dire Crowley was dead, murdered. And everyone was a suspect, including you.

About this Event

That's right folks, a classic murder mystery in the style of the board game Clue and some inspiration from the book And Then There Were None by Agatha Christie.

At the beginning and end of each part, I will be including a link to a Google Form where people can vote for who they think is the murderer, what room the murder took place in, and the weapon that was used. There's also an optional question where you can explain your answer, just do know that everything was randomly chosen by a spinner.

The form will be active for at least 72 hours; it may go on for longer if I'm busy. A new form will be added with each part, just with the suspect, room, & weapon that was voted in the last part being removed if they were incorrect... and may take some inspo from the book I mentioned.~

In future parts there will be dark content, as this is a murder mystery; all of the content warnings will be included at the beginning, and also tagged (ie. cw death). Because of this, I will not be tagging people in future parts just as a precaution.

Now, let the investigation begin!

Link to Google Form

Suspects:

- Silver; the kindhearted knight with a mysterious past, is it just for show?  (Plum) - Vil Schoenheit; the actor who is always pigeonholed into the role of a villain (Scarlet) - Divus Crewel; the alchemy teacher with a penchant for fashion, Crowley's co-worker (Peacock) - Rook Hunt; the enigmatic hunter who always has a hunch of what's happening (Mustard) - Azul Ashengrotto; the owner of The Mostro Lounge, a businessman with dubious morals (Green) - Reader; the 'house-keeper', a role that was imposed on them by the late Headmage (White) - Jade Leech; a student enamored by fungi and seems to have a foreboding presence about him (Orchid) - Cater Diamond; the preppy beau of Heartslabyul, but his smile seems forced (Peach)

Rooms:

- Main hall - Teachers' lounge - Cafeteria - Kitchens - Lecture theatre - Botanical garden - Alchemy lab - Library - Crowley's office

Weapons:

- Revolver - Rope - Dagger - Wrench - Candlestick - Lead pipe - Magic

...

Tags; @afunkyfreshblog, @aqua-beam, @azulashengrottospiano, @eynnwwyjth, @hisui-dreamer, @hydra-sea, @identity-theft-101, @inkybloom-luv, @ithseem, @krenenbaker, @leonistic, @lucid-stories, @officialdaydreamer00, @ryker-writes, @savanaclaw1996, @silvers-numberonefan, @twistwonderlanddevotee, @xxoomiii

[kargaroc]

I don't even know exactly how I feel about ascension in rain world, but it drives me up the wall when people equate it to suicide

[4ce160]

Ajfhskfhsfks I'm tired, I made the mistake of going through my procreate app as I used to draw mostly on the iPad before losing my Apple pen, and?? holy shit I drew a ton

It's weird to look back at as I've had this perpetual artblock ever since starting university (it's the caffeine :pensive_: ), and my memory's the worst so some of these I don't actually remember making, but still?? Most of these are from 2019 - 2021-ish??. There are more but I can't be bothered to do multiple posts I'm going to sleep-

The first ones are a bunch of earlier versions of the OC that'd eventually become 4. I think I made them in 2019 - 2020 (???). Definitely heavily inspired by hyper light drifter in hindsight

The next ones are a bunch of older transformers doodles, most of them are inspired by whack dreams I've had (the last two are just me trying to figure out how to draw Highbrow though lmao)