#not really fleshed out

[buwheal]

For me, I'm one of the ones who knows some of the things that shouldn't be done (don't mention his appearance, don't make references to stardom, washed up celebrities, religious imagery, puppets, loss, fortune, loss of fortune) and I still slip up.

My running theory is that I'm not used to seeing an askbox that isn't just a race to see who can get the largest emotional reaction (and the cool dramatic art that comes with it). There isn't a lot of experience to draw off of that isn't going to extremes.

Ahhgh,, yeah, i think thats whats happening for /everyone/,, me included... I kinda have to hold back on doing those all the time even though theyre so fun... womp.. You CAN mention some of those things, though!! Puppets/his appearance obv not, losing everything..also /maybe/ not.. but i think depending on what is said/how its said the others may work n be interesting. (except for a whole lot of religious imagery,,* ill add stuff in my tags i dont want this part to be long lol) I think also its just a different way of using the askbox compared to regular which also throws everyone off.

[jayemadeablog]

if your ocs were featured in a horror movie, what would they do and how well could they survive? goes for any ocs ya want

Tw: casual mentions of graphic deaths

Later me here, this devolves into me doing the beginnings of just writing sci fi. Some context i feel is needed: the sci fi i wrote had my characters battling an evil corporation. It ended with all of the main cast left on the space station literally getting gassed to death after declining the main villain's offer to join him. Most of the characters here are canonically dead already. All of this is also under the assumption that there is just 1 monster, and not an abstract concept or a zombie plague, said monster is described about halfway through. I also accidentally started a new (very short lived) oc within this. Oops.

Imma be real i forget their names/gender identities, all of them were for some sci fi i wrote for highschool english 1, and i forgot to keep a copy.

All but the idiot savant would die, because he has plot armour by virtue of always accidentally being in the right place at the right time. hell he would probably never notice the monster, and just continue bopping around the space station as normal. He would be tripping on things making stuff fall on the monster, Just barely saving him. It would be fun to write.

Main character would almost survive, but die in the final confrontation with the monster. They would have figured out its weakness, and gotten everything together to find and kill it just to get ambushed and die. The whole time it would be obvious that they would rather be anywhere else doing any other thing, but they would wind up believing that only their group could manage the situation. This would be false. They would assume the lead, shot-calling role to decent success.

Old main villain would die first at the hand of his own creation, probably a robot coded by one of his employees to go on a rampage. Not like an accidental evil AI but rather a cold, emotionless computer designed to strangle everyone in sight. He would be speaking at a keynote or smn showing off the robot, and when he switches it on after a short, subtly evil, speech he would just get killed in the most gruesome way i could think of at the time. Maybe ripped apart joint by joint, depending on just how much the rogue employee hates his boss.

The rogue employee would escape right as his boss' speech starts, and probably die from a faulty escape pod. Maybe just like a really unfortunate landing, like getting impaled on a fence post or a skyscraper, specifically so that he can no longer remotely disable the killer robot shortly after killing his boss. Maybe he would have been inspired by the main cast so that the whole situation winds up being blamed on the main cast after the fact.

Mc's love interest would die in a gut wrenching scene about halfway through, maybe they would have dropped something while hiding from the murderbot, down in the depths of the station. they would go retrieve it against the advice of everyone else, and then just barely fail to escape. They would not be dumb, the thing that was dropped would have genuinely been pivotal to the story had it not been lost. The mc would spend the last act of the story retrieving it, though it was too little too late.

Cyber security specialist would start out on the planet the station is orbiting, providing support from afar until he gets fed up with the main character's technological illiteracy. They would then arrive on the station, realise there is only one way to beat the bot, pass on the information, and then drop their guard at just the wrong moment and die after somehow managing to leave a solid dent on the bot. Relying on raw strength when their brains failed to do the heavy lifting.

I have like 4 more i could do but its 2:17 and i need to be at work by 8:00.

[carolinanadeau]

"this female character is underdeveloped" TO YOU. I can read subtext and I know all about her backstory and her rich inner life. also she told me personally

[noodles-and-tea]

For the twins in time AU, I genuinely wonder what kind of people the young twins grow up into because of Stan’s/Ford’s influence. Especially if it takes years for the portal to get fixed.

(Sorry if it seems like I already sent this question, I don’t know if it got sent the first time I asked)

I haven’t fully fleshed out how Ford grows up in the past but I do have thoughts on Stan presently

[socvincjpeg]

Some concepts for a comic I’m planning from an AU of mine called metal to flesh!

[keystrokecascade]

character idea: girl mecha pilot who gets dysphoria from being human and spends as much time neural-linked into the mech as possible because that body feels more like her than the flesh does.

mechs are expensive so maybe the only way she can possibly get regular access to one is to put herself in debt to a mercenary corps, running disposable missions until she can pay her junk-tier mech off.

sleeping in her mech to spend as little time out of it until she starts dreaming of static. wearing long sleeves to try and stop herself from picking at the squishy human flesh on her arms. it doesnt work.

maybe neural-links are dangerous for the feedback they provide to the pilot, with few risking to install them. maybe they dont usually provide sensation, but she disables the safety measures because its the only way she can feel alive.

[padfootastic]

can’t help but think of how, if we choose to go by sirius’ characterisation as a private, arrogant teen who only lets a select few into his circle, sirius’ post-azkaban life just have been such an utterly humiliating experience for him.

especially OoTP. when he has all these near strangers in his childhood house, that he hated and loved and ran away from and couldn’t ever escape. if he spent his entire pre-azkaban existence building a cold and aloof persona, not letting people know what his home life had been like, then to have all of these people get a front row seat to it because of kreacher and portrait walburga’s shenanigans must have been near unbearable. to have the entire order, including snape whom he disliked and mistrusted, hear the kinds of names he’s being called.

not only does he have to deal with the retraumatisation of his childhood, but also the fact that he’s flayed open for everyone to see. it’s not only his freedom, innocence, dignity that has been snatched from him but his privacy also. it’s such a cruel thing to experience, on top of everything else.

to have literal children, his godson who he has been kept away from all this while, whom he presumably wants to be able to look up to him, to have him see into the deepest parts of his soul. to have to be so weak in front of him. not only is he subjected to such vileness but he also cannot do anything about it.

sirius has not had a moment of peace in all the time we knew him. it is indignity upon indignity that is heaped onto him. every other character has gotten a moment of respite but him. it fully breaks my heart.

[maskofnova]

You weren't invited to this party but theyre gonna do a cool pose at you anyway until you leave the room.

[roorreer]

Something something. Making Solas a liar in Veilguard actively brings back a problem they fixed working on Inquisition.

On December 20 2019 VGS posted an interview with Trick Weekes about their work on Solas. This whole sentence is a link so its large enough for mobile but also disclaimer this is before they changed their name so deadname warning.

Here's a transcription I found here which is where i took the screenshots above. Since I know not everyone has 40 minutes to listen to an online radio interview.

I however highlighted the main point since most of you are not reading the screenshots anyway but skimming through. Rant under Read-more. Also bc i try to not be too negative on people's dashs but also i wanna ramble some more.

"But he lied a lot more. And it really weakened his character."

You can tell this happened during the game. Solas lies only once within Inquisition. He says something he can't be vague about and you push him so he lies, badly. He usually tells the truth vaguely. Typically Solas lies no more than Blackwall.

I fully believe that if in Inquisition your inquisitor figured out that Solas was Fen’harel and asked him bluntly to his face he'd confess. He might even be impressed. But why would you ever start to think that. No one assumes that their coworker is actually Poseidon regardless of how much they love the beach and ocean.

He hides in your expectations.

You can't ask him about being an ancient elf or being Fen'harel of myth because those aren't very probable. They're astronomically low to be truth within that universe. And outside, no one finished DA2 and went i wonder if one of our next companions is the Dread Wolf. Sera said, impossible things can't be surprises. He doesn't have to lie so when the truth comes out it's becomes obvious on a second playthrough.

They then actively bring back a problem they fixed in Inquisitions development. That they were open about fixing. That having a character that outright lies to you makes you have no intention of even hearing out the character. It retroactively undercuts Inquisition bc i see people trying to find Solas' lies in it when they aren't going to find any beyond the court intrigue.

It undercuts any lore we do get from Solas bc people dismiss it outright as being a lie from Mr "I abhor blood magic". I feel like shaking people's shoulders like no, dont do it.

They retconned him guys i have proof from 2019.

And its like if you hate Solas is this even satisfying? Like that's not Solas. His motivations are gone (that's a whole other post) and so is his core personality trait. It's like they went here's the Dreadwolf but during the ten years they replaced the smug asshole who was insufferably right with a 20 yo senior chihuahua that doesnt have any teeth.

My favorite villains are those that tell the truth. Because nothing hurts more than the truth. Can you imagine if he told you the truth. If he told you horrible things that you dismissed as lies to only be true. Wouldn't Varric’s death have more weight if he told you Varric was dead only for you - for everyone - to see him in the Lighthouse. If it was a spirit who took his shape to help you or even because it saw something worth reflecting in your memories.

So you dismiss him until it's revealed near the end oh he was telling the truth and you have an oh shit maybe he was right about other things but its too late to try and stop any of the truths he told you which could be from allies/companions betraying to stuff about Ghilan'nain and Elgarnan.

Like the only way to redeem Solas was to listen to him and by going out of your way to address problems he sees and you can find the alternative to tearing down the Veil by a series a little puzzle pieces throughout the game.

Have it be he will only listen to you if you listen to him. That he'll reject your other solution bc why the hell would he trust you if you couldnt extend the same.

Like Solas couldve been a great villian and he should've been great for both the haters and those that liked him. Not only the romance but for those who became his friend. Like i keep coming back to if i hated Solas would i be satisfied with Veilguard.

And the answer is no because that isnt Solas.

Tricking him has no weight bc he's an idiot in Veilguard like not even in the ending bc doesn't notice you switch the dagger around like right in front of him but none of his actions make sense. Ppl have mentioned the regret prison makes no sense for Elgarnan and Ghilan'nain bc they don't have regrets.

Attacking Solas has no weight because he literally needs the shit kicked out of him by a dragon for it to even begin to work. They literally need him to be at deaths door before its realistic that Rook could take him in a fight.

Redeem has no weight bc of the massive retcons to his motivations. They had to retcon the post credits scene bc even if Flemythal went hey i don't want you to do this Dai Solas wouldve went okay but that doesnt solve my other problems with the veil including the corruption of spirits and the fact its in literal shambles so i guess is still coming down.

I'm just disappointed. By the end of Trespasser they had a great villian and they just tossed it to the side and reverted him and people are arguing about a character who's sole defining trait in Veilguard is a problem they solved before Inquisition launched.

Basically we can sum it up with a screenshot.

[blacktabbygames]

We're thrilled to announce that we've wrapped principal development work on Slay the Princess — The Pristine Cut. We'll be releasing it this Fall (date TBD) so we can simultaneous ship the update with both the game's console release (surprise!) as well as official subtitling support for 11 new languages, all with the help of our wonderful new partners at Serenity Forge (who you might know from their publishing work on Doki Doki Literature Club Plus!)

There's a lot for us to share about The Pristine Cut, but before we get into the details, please check out our new trailer!

Here's what we've got coming for you: Content

For those of you who are just now hearing about The Pristine Cut, it's an entirely free director's cut of the game that adds about 35% more content on top of the initial release.

This includes massive expansions to The Den, The Apotheosis, and The Fury routes, each of which is over three times bigger than their release versions, with tons of variations to discover across multiple playthroughs.

On top of this, we're adding three brand new chapter three routes that will add even more depth to your stories with The Damsel, The Prisoner, and The Spectre.

And we're adding a new ending.

All in all, these additions come to over 2,500 new voice lines, over 1,200 new hand-drawn illustrations, and over 15 new tracks of music.

We're also adding an extensive CG gallery with over 400 unlocks to help all you completionists track your progress, complete with cryptic hints to help you discover some of the game's more obscure and buried interactions.

Languages

And all of this is coming with a giant wave of localization support, covering the following languages: Simplified and Traditional Chinese, Korean, Japanese, French, German, Russian, Spanish (Latin American), Brazilian Portuguese, Italian, and Polish. These localizations are just going to cover subtitles, so we can be as thorough as possible about maintaining the quality of Jonny and Nichole's performances.

Consoles, Physical Release and New Merch

With the help of Serenity Forge, we’re bringing Slay the Princess — The Pristine Cut to every major current console — Nintendo Switch, PS4 + 5, and Xbox.

And these won’t just be available as digital downloads. You’ll also be able to pick up a physical edition for the Switch and PS5, with an exclusive sticker sheet and a download code for the game’s soundtrack.

And if that’s not enough we’re also doing a Collector’s Edition, complete with a 7 inch statue of the Princess, a mirror with a lenticular lens, an acrylic standee, and more.

And finally (for now), we’re launching the first wave of new line of sticker sheets, featuring chibi art of the Princesses as seen in The Pristine Cut’s new gallery. Pre-order them now at Topatoco!

Alongside these developments, we've also launched a new website for the game: check out slaytheprincess.com where you can order the physical editions, check out merch, and more!

Thank you so much for your patience while we've worked to make The Pristine Cut the definitive version of Slay the Princess. We can't wait to share all of the game's new stories with you this Fall.

Until then, we're back to working full-time on the next Episode of Scarlet Hollow (and have been for about a few weeks now!)

Best, Abby and Tony

[bluegiragi]

monster au intros - team 141 feat. Price, Ghost, Soap and Gaz!

[bonefall]

Anyway. Bi and Mspec Lesbians aren't a hotly "debated" topic or even new to queer culture, it's just the newest thing that bullies who REALLY want to be homophobic and even racist use to justify harassing gay people they don't like.

It's the thinnest possible veneer of progressive language wrapped around TERF and reactionary rhetoric so that they can feel righteous for forming an angry mob against vulnerable targets. If you're gullible enough to fall for the newest wave of bigotry within the queer community, and turn on your allies because they're "confusing" or "invading your spaces," the SAME way they turned on bi/pan labels, trans people, xenogenders, neopronouns, and aroace people before this, then get lost.

[tartarusknight]

Time Loop where it's Eddie stuck. He wakes up after dying by the bats and thinks it's just deja vu. Only during the third, he thinks maybe he's in hell. That he's forced to repeat the worst moment of his life for the rest of eternity. That maybe his dad was right and heaven and hell was real. That being gay was a sin and that now he's paying for it.

Yet by the fifth repeat, he tries something new. He thinks fuck it and does what he wants. He first with Steve Harrington who blushes easily and freezes like a rabbit in a headlight. He doesn't make Eddie feel like an abomination, in fact, it seemed to Eddie that he got flustered by the attention.

Which well, if this was hell, why give him a moment of light in the dark? So it isn't the only thing he does differently. No. When the bats come swarming in Eddie takes out a can of hair spray stolen from the camper and lights the fuckers on fire. He laughs even as one attacks him from behind.

He messes around during the next loop and the one after that and the one after that. But on the 10 or maybe 12th loop, he thinks that maybe it's not hell. How could it be when he gets moments with his friends and can flirt with a boy that might like him back.

So he starts to change more after that. The first thing he does is save himself. Being sick of his painful end, he gets him and Dustin out of the Upside Down the moment they get into the trailer. Then through the trailer and hidden a little ways down.

That's when he learns that not only does he die, but they still loose in the end. He's forced to accept that he had been dying for nothing. That they needed him alive and they needed a better plan.

So in the next loop he tells the group when he wakes up in Max's trailer. He explains it all and no one believes him. No one but Steve. Steve who tried to ignore Nancy's vision and repeated told Eddie through the loops that everyone would work out. Steve who raised a bitchy eyebrow at Dustin when the kid talked about electromagnetic fields and shit.

And as he tries again and again, he knows another constant. Steve trusts him readily.

[thefandomenchantress]

So I watched Hazbin Hotel, (or at least the episodes out so far). And I wasn’t that attached to Vox in the pilot because he was only there for two seconds but he’s now my favorite. I can’t help it he’s so pathetic.

Also I love whenever the animators have him make this face:

Why does he look like a cat??? I noticed the soundwave on his hat looks kinda like cat ears and now I can’t unsee it. How am I supposed to take him seriously when he wears that hat and is constantly making a :3 face? /lh

[haveihitanerve]

batman has trouble telling his family how he feels. So he decides he can write it down in a journal or leave them notes. It's easy to write down the words than say them because the words he wants to say always get lost in translation when he opens his mouth. Dickie when he was robin has a whole box filled with notes from Bruce. Turns out batman can be funny when he writes his thoughts down. Jason writes back to Bruce just as sassy.

i love this

With Dick, the first note appeared after the first fight. A nasty fight, where Dick had screamed

"YOU'RE NOT MY DAD, WHY DO YOU EVEN CARE, I DON'T HAVE TO LISTEN TO YOU!!!!"

Bruce had gone quiet after the words, and isolated himself away. Dick had felt crummy afterwards, but there wasn't much to do about it, Bruce wasn't around to apologize to and... well, it was true. The screams had just been... inner thoughts he hadn't voiced.

Bruce knew it too. And, it shouldn't have to be up to Dick to make amends. So he withdrew to his office, locked it tight, so that he wouldn't say words he'd regret and make things worse with Dick.

The first few drafts... were hard. But Bruce found his rhythm, and it was so much better. He could erase and start again, and reword, and clear up any parts that weren't clear. He could be concise, precise, honest and literate, he didn't have to stumble and rip his way through an uncomfortable conversation where he'd make things worse.

Dick found the note later that night, laying on his pillow, three pages worth of words that told him he was loved, whether or not he wanted Bruce to be his dad, he could just remain a friend, a brother if he wanted, and that he cared, even if it wasn't always shown, even if it wasn't as a father.

Bruce established boundaries, and apologized too, because it was needed, and it was so much easier to say what he needed to through written words, instead of admitting them aloud. Maybe it made him a coward, it made him a coward, but the next morning Dick hugged him and apologized back, so it worked.

The notes became frequent from then on, usually after fights, or misunderstandings, and Dick understood the need, knew that Bruce wasn't as able to concisely share his thoughts and formulate them as well on the spot aloud, so he let it happen, but soon they became more commonplace, left on chimneys on patrol for Dick to find, little love notes and encouraging words that Bruce became better at saying aloud too.

Dick kept each one, tucking them safely into his belt, and kept them in a box in his closet, one he had made at school with Bruce during a parent-child fun day, and pulled them out to read every so often, when things between them got hard.

The box moved with him, stuffed in the closet at Bludhaven, and postage was expensive, travel even more so, but Bruce still sent him letters, apologies Dick didn't open, notes taped to his window he tossed away (still into a pile he never threw out, but never read either).

When things got better, Dick would read the notes, but he never touched the letters from before, because for once he needed the words from Bruce's lips, and he had liked Bruce's stumbling, his faltering and chagrin, and did not want to read his well thought out, thorough one instead. He still kept the notes, of course.

With Barbara.... Bruce didn't have a claim to her. She wasn't his daughter. She wasn't looking for a father. She wasn't, quite honestly, even looking for a mentor. But she found one in him anyway, whether either of them liked it or not.

But Bruce still sent her notes. Little letters, facts, information, telling her through a note was easier than in person. Because then he could lay it all out, and maybe she'd see something he'd missed. Because she always did. She completed him, in a way none of the other did. In a way even Dick didn't. But, then again, they all completed him in different ways. Hers was just more noticeable.

After Joker... every day he wrote to her, flooding her phone with messages, her laptop with emails, her room with cards and flowers and notes.

And when she moved to the Clock Tower it didn't stop, maybe slowed a little, became smaller in quantity, but he always sent her something. Let her check over his work, proofread anything and everything. His fresh set of eyes.

She wrote back, sometimes. But she was more like Dick in that regard, choosing to answer his messages verbally rather than write back. She did have the perfect time to do it too, and she always had something to say.

Barbara never struggled with her words the way he did. And he appreciated it. Loved it, even. Even if it usually didn't mean anything good for him...

With Jason... Bruce hadn't done it, originally, because Jason was just so bright, and understood, and didn't need the words because he heard them because Bruce was better, all the mistakes he'd made with Dick cleaned up a bit.

But Jason needed the words, and he had such a spark, so Bruce began writing again, sliding notes under his son's door and leaving them taped around the house, or on patrol. And Jason, Jason wrote back.

Little witty notes, marked up Bruce letters with grammar corrections, book recommendations, questions about what they were eating for dinner, or little stories, scrawled in the margins of notebook paper, stuck to Bruce's cape, or on his pillow, or taped to his mirror.

Bruce still wrote the letters, left them in Jason's room, after his death. Red Hood never mentioned it, but after a trip to the manor to "haunt" them, he became a little less violent.

With Tim, Bruce was ashamed to admit, he just didn't care. He didn't care that Tim winced at his words, he didn't care if he was misunderstood, he didn't care if he neglected the boy.

And it hurt, Bruce knew it hurt him, but he just didn't care, couldn't bring himself to, not when Tim was so much like the boy he'd lost, not when Tim was so different.

But Tim started writing letters, originally just for himself, begging for affection, begging for his parents to love him, begging for Bruce to notice him. Then the notes got angry, rants, screaming, slashes across the page, pencil marks that tore paper and dug groves into the table.

He kept them all to himself, waded up in the corner of his room, but Bruce found them, found them all, and he hated himself, hated the Drakes, but he couldn't even fault them because he, oh he was much worse. (no he wasn't the Drakes owed Tim love and affection those were his parents and a child deserves that from his parents Bruce tech didn't owe him anything but shiii he was awful and-)

So Bruce started writing again, answering all of Tim's pleas, cataloging every single movement and jump and case and file and everything Tim had ever done right and congratulating him, giving him pride Bruce wasn't even sure he was allowed to give anymore, and he apologized, begged for forgiveness, for a chance to start over, because he was better now, Tim had made him better, and he wanted... he wanted to be better. For Tim.

In the end the note was twenty three pages long, and ended with the simple phrase, "I love you, you are my Robin, and I'm so sorry"

Tim was at school, so Bruce left it on his bed, and shut himself away in the cave until he got home. He always stopped by his room first, tidying everything up, because he was only a "guest" and all, before heading down to the cave.

Bruce waited for two hours. When Tim finally came into the cave, his eyes were red, tears still falling down his face.

"Oh Timmy," Bruce breathed. "I'm so so sorry." Tim walked to him, and collapsed in his arms.

And from then on, things were better. Not perfect, nothing to do with Bruce's personal life was perfect, but it was better. It was good. And Bruce started sending notes. Slowly, they turned from letters into emails, into texts and shared google docs. So Tim would have evidence in his favored form, of Bruce's love.

With Stephanie... things were different. She didn't live at the manor. She had a father, albeit a bad one, and Bruce didn't want to give her another one of those.

But he still left her notes, information, or clues, things that gave her autonomy for a bit, let her work still "alone" as Spoiler, but kept her connected to him. To Robin. And when she died...

Bruce gave every letter to Leslie. Not because he knew, exactly, but because he knew she was closer to Stephanie, and he couldn't have them at home. Couldn't look at them.

Leslie gave every one to Steph. Who read them. Sometimes. Enough times that when she came back, she wasn't as hard on Bruce. Enough times that she let him hug her. And came over for dinner. And never regretted being Robin. Enough times to admit she loved him too. And that he would never be her father. Because at his core, he was a good person, and Arthur Brown was not that.

With Cassandra, Bruce didn't write letters. Not only because Cass couldn't read, but because she could read him. And no words were necessary. For once, he could love someone in silence.

With Damian, words came easier, somehow. Maybe because Damian needed words, needed the commands to be spoken aloud, needed the reprimand or the praise. He needed the tone, couldn't weed it out of what Bruce had written like the others, needed the verbal confirmation or denial.

Bruce needed the words to. To tell his son it was alright to mess up, to make mistakes. He needed to words to reassure his son that harsh language was the extent of what he was going to get. That punishment wasn't physical in their world. In his home.

He wrote Damian letters too, of course, in the case his youngest might feel excluded, but usually only at special occasions, a card for his birthday, or a quick poem to brighten his day.

And words... words came easier now. After so many. It was easier to tell Damian what he needed, aloud as well as on paper. It was easier to speak, to not stumble over his words, to praise and apologize. A good thing too, because Damian needed it. And maybe... maybe Bruce did too.