#someone who has established that they are a narrator

[tennessoui]

anakin should just cry on obi wan so that the old man can go through 7 stages of guilt for being such a fucking dumbass

to be fair to obiwan lmao anakin was literally married and supposedly in love with his literal wife like five minutes ago - that’s a pretty solid basis for assuming someone doesn’t love you back

[silverwhittlingknife]

did nobody ask you for red letter day? absurd! *I* wanna know about red letter day!

hello captain and friend anon!!! I KNOW I HAVEN'T UPDATED THIS IN SIX MILLION YEARS SO THANK YOU FOR THESE ASKS <333

okay SO the first thing is, you have to understand, my list of documents for this fic looks like this:

anyway i do love this fic even though it FIGHTS ME; it's supposed to have both Fights and Mysteries and both are hard to write 😅

anyway hmmm i'm going to cheat by including a Dick POV section that I am probably gonna end up cutting, because i like it but i also worry that it slows down the dialogue?

excerpt below the cut! the only context that you need is that Dick and Tim have been having the "should Tim call if there's danger in Gotham" argument again (Tim's position is "no"), partly because they both have genuine positions on this argument, but also because it enables them to sublimate an emotional conflict into a work conflict and thus avoid talking or thinking about their feelings, which is a shared pathology goal:

Dick would bet Tim never mouthed off to Bruce like this.  One of the many things that suck about being the knock-off Batman is that none of Dick’s orders really stick.  All of the responsibility without the authority to back it up.  At least when Dick was leading the Titans, they did what he freaking told them. …Mostly. …Okay, sometimes. The awful truth is—and he tries not to dwell on it because it’s pointless and doesn’t achieve anything, but—everything with Tim, sometimes it reminds him of the worst times with the Titans.  The same uneasy feeling of dread, like he’s grabbing for someone who’s slipping through his fingers.  Roy’s crossed arms.  The clock creeping toward midnight, staring at the champagne, knowing in his heart that Kory wasn’t coming.  After Tartarus: watching Roy walk out of the room, watching Donna follow him, staring at Vic’s back, Kory’s back, all of them walking out, and no one left but the newcomers.  When the personal is so fucked up that all you can do is double-down on the professional, and even that doesn’t help, and then— (Get a grip, Grayson.) And anyway, this isn’t like the Titans, is it?  Dick was out-of-line, there, in retrospect. He’s never been good at losing people gracefully.  Pushing Kory for marriage when she was already pulling away, trying to cling to her instead of letting her go.  Giving ultimatums after Tartarus, when he knew the team already resented his orders.  Making decisions behind Vic’s back, trying to force him to stay.  It’s an ugly bad habit, picked up from Bruce: things are slipping, and your people are mad at you, so you get scared, and then you get authoritative and controlling so you can hang onto them, except you can’t control them, so then they get even angrier and you lose them anyway.   It’s easy to see in Bruce, hard to see in himself, but he knows it’s there.  He barely managed to catch himself in time, with the Titans.   Is he doing the same thing to Tim?  Does he need to back off? But Gotham is risky.  Tim’s always been capable, obviously, but…it’s okay to be a bit authoritative, isn’t it?  Tim should call if there’s someone who looks unusually dangerous.  That’s just common sense.  Dick’s not asking for miracles, here.

[hoothootmotherf-ckers]

can people please stop filming the entire fucking world around them for public consumption? and especially random fucking strangers who you did not ask???

I work at a park and man the front desk. and I'm photographed and filmed a lot. I'm talking easily 20+ times per day. most of the times, it's parents filming me swearing in their kids as junior rangers. which. they're intending to film their kids. what they get is me and the back of their kids' heads.

there's this recurring problem that like. people forget we're real people? like yeah you're filming your kid, but you're filming me interacting with your kid. I could count the amount of times someone has asked me permission to do this in the past year on one hand. and sometimes that's after they already start filming.

Like, I'm not an actor. I did not agree to this. You could be a dick and make the argument that I'm a public figure, but I'm not. This is not a persona and my uniform is not a costume. I'm a person trying to do my job and help people and teach them about science and history. And you know what makes it harder to do that? The knowledge that anything I say or do could end up shared with thousands of people. The fact that if I fuck up the wording of this kid's junior ranger pledge, or I sneeze, or make some basic mistake, it's not just a funny or embarrassing moment for me and this one family. It could end up on tiktok.

And okay, those are the people intending to film their own kids and not thinking or caring about the collateral. What's worse is the people who film everything. A few times a week some guy walks into the visitor center, phone already horizontal in front of their face, narrating what they're doing and seeing. They come up to the desk and ask me questions, phone in my face. They take wide establishing shots of the visitor center and every visitor in it. None of us agreed to this! None of these people consented to be in your youtube video! We are not the fucking set dressing of whatever travel instagram story you're making!

I don't know where I'm going with this. This is really only the tip of the iceberg. Sometimes people ask us to repeat what we just did - swear in their kid, or explain a detail, or hand them a fucking map - so they can get a second take, and they're already filming so if we say no we look like the asshole. Sometimes we're asked innocuous things like to point out a landmark, and next week there's a photo of us in the 15,000 member Rangers Pointing at Things facebook group (yep, real thing). One time my entire 45 minute evening program was filmed without my permission and I was informed after the fact. This happens all the time, and I'm giving park ranger examples, but this happens to so many people in service work or public positions every single fucking day.

I guess just, next time you go to film in a public space, take a second. Think about who you're about to film, if they agreed to that, what might happen if a video of them went viral. there's a reason I'm not out as trans at work. And then, maybe. don't. or at least fucking ask.

[thewriteadviceforwriters]

Master Dialogue Writing Techniques for Engaging Fiction (For Writers)

(Beware, long post!)

As fiction writers, we all know that effective dialogue is essential for bringing our stories and characters to life. After all, the way our protagonists, antagonists, and supporting players speak to one another is one of the primary ways readers get to know them on a deep, intimate level. Dialogue reveals personality, uncovers motivation, and propels the narrative forward in a way that felt narration simply can't match.

But nailing natural, compelling dialogue is easier said than done. It's a craft that takes serious skill to master, requiring writers to have a keen ear for authentic speech patterns, a nimble handle on subtext and implication, and the ability to strike that delicate balance between being true to real-world conversation while also keeping things snappy, dynamic, and laser-focused on the story at hand.

If you're someone who struggles with crafting dialogue that truly sings, never fear. In this in-depth guide, I'm going to dive deep into the techniques and best practices that will help you elevate your dialogue writing to new heights. By the end, you'll have a toolbox full of strategies to ensure that every exchange between your characters is as gripping, revealing, and unforgettable as possible.

The Fundamentals of Effective Dialogue

Before we get into the more advanced nuances of dialogue writing, let's start by covering some of the foundational principles that all great fictional conversations are built upon:

Reveal Character One of the primary functions of dialogue is to give readers a window into who your characters are as people. The way they speak — their word choices, their tone, their body language, their turns of phrase — should provide vivid insight into their personalities, backgrounds, values, quirks, and emotional states.

Think about how much you can glean about someone just from how they communicate in real life. Do they use a lot of slang and shorthand? Are they verbose and flowery with their language? Do they struggle to make eye contact or fail to respond directly to questions? All of these subtle linguistic cues are powerful tools for crafting multi-dimensional characters.

Drive the Plot Forward While revelations about character are crucial, you also want to ensure that your dialogue is constantly pushing the story itself forward. Each exchange should feel purposeful, moving the narrative along by introducing new information, triggering plot points, creating conflict, or prompting characters to make pivotal decisions.

Dialogue that feels aimless or extraneous will ultimately bore readers and detract from the forward momentum of your story. Every line should have a clear intent or function, whether it's uncovering a hidden truth, setting up a future complication, or escalating the tension in a high-stakes moment.

Establish Distinct Voices In a story featuring multiple characters, it's crucial that each person has a clearly defined and differentiated way of speaking. Readers should be able to tell who's talking just from the rhythm, diction, and personality of the dialogue, without any additional context clues.

This doesn't mean every character has to have an over-the-top, hyper-stylized way of communicating. In fact, the most effective character voices often feel grounded and natural. But there should still be distinct markers — whether it's word choice, sentence structure, tone, or speech patterns — that make each person's voice instantly recognizable.

Convey Subtext While the literal words being spoken are important, great dialogue also traffics heavily in subtext — the unspoken emotional undercurrents, power dynamics, and hidden agendas that simmer beneath the surface of a conversation.

The most compelling exchanges happen when characters are communicating on multiple levels simultaneously. Perhaps they're saying one thing out loud while their body language and tone convey a completely different sentiment. Or maybe they're engaged in a subtle war of wits, trading verbal jabs that reveal deeper wells of resentment, attraction, or vulnerability.

Mastering the art of subtext is key to creating dialogue that feels layered, lifelike, and imbued with dramatic tension.

Strategies for Writing Snappy, Realistic Dialogue

Now that we've covered the foundational principles, let's dive into some specific techniques and best practices that will take your dialogue writing to the next level:

Omit Unnecessary Details One of the biggest mistakes many writers make with dialogue is bogging it down with too much extraneous information. In real life, people rarely speak in perfectly composed, grammatically correct full sentences. We stumble over our words, interrupt each other, trail off mid-thought, and pack our speech with filler words like "um," "uh," and "you know."

While you don't want to go overboard with mimicking that messiness, you should aim to strip your dialogue of any overly formal or expository language. Stick to the essentials — the core thoughts, feelings, and information being exchanged — and let the subtext and character voices do the heavy lifting. Your readers will fill in the gaps and appreciate the authenticity.

Master the Art of Subtext As mentioned earlier, crafting dialogue that's rich in subtext is one of the keys to making it feel gripping and lifelike. Think about how much is often left unsaid in real-world conversations, with people dancing around sensitive topics, conveying hidden agendas, or engaging in subtle power struggles.

To layer that sense of unspoken tension into your own dialogue, consider techniques like:

• Having characters contradict themselves or say one thing while their body language says another

• Utilizing loaded pauses, interruptions, and moments of uncomfortable silence

• Injecting subtle sarcasm, skepticism, or implication into a character's word choices

• Allowing characters to talk past each other, missing the unspoken point of what the other person is really saying

The more you can imbue your dialogue with that layered, emotionally-charged subtext, the more it will resonate with readers on a deeper level.

Establish Distinct Voices As mentioned earlier, ensuring that each of your characters has a clearly defined and differentiated speaking voice is crucial for great dialogue. But how exactly do you go about accomplishing that?

One effective strategy is to give each person a unique set of verbal tics, idioms, or speech patterns. Maybe one character is prone to long-winded, flowery metaphors, while another speaks in clipped, efficiency-minded sentences. Perhaps your protagonist has a habit of ending statements with questioning upticks, while the sarcastic best friend always punctuates their barbs with an eye roll.

You can also play with differences in diction, syntax, and even accent/dialect to further distinguish how your characters communicate. The key is to really get to know the unique personality, background, and psychology of each person — then let those elements shine through in how they express themselves.

Lean Into Conflict and Confrontation When it comes to crafting gripping dialogue, conflict is your friend. The most compelling exchanges often arise from characters butting heads, engaging in verbal sparring matches, or working through deep-seated tensions and disagreements.

Conflict allows you to showcase the high stakes, unresolved needs, and deeper emotional currents that are driving your characters. It forces them to make bold choices, reveals aspects of their personalities that might not otherwise surface, and generates the kind of dramatic tension that will really hook your readers.

Of course, you'll want to avoid making every single dialogue scene a full-blown argument. But learning to sprinkle in well-placed moments of friction, confrontation, and clashing agendas is a surefire way to elevate the energy and impact of your character interactions.

Read Your Dialogue Out Loud One of the most valuable tricks for ensuring your dialogue sounds natural and lifelike is to read it aloud as you're writing. Hearing the words out loud will quickly expose any clunky phrasing, overly formal grammar, or inauthentic rhythms that would otherwise go unnoticed on the page.

Pay close attention to how the dialogue rolls off your tongue. Does it have a smooth, conversational flow? Or does it feel stilted and unnatural? Are your characters' unique voices shining through clearly? Are there any spots where the back-and-forth starts to drag or feel repetitive?

Actively listening to your dialogue — and making adjustments based on how it sounds in the real world — is an essential part of the writing process. It's one of the best ways to refine and polish those character interactions until they feel truly alive.

Hopefully, this can help you all!

The key is to always keep your focus on authenticity. Ask yourself: how would real people actually speak?

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!

[nostalgebraist]

I feel like I've had the same experience several times now: someone does a new translation of a non-English literary classic, and all the critics praise it to the moon, so I go and try to read it, and it's turns out it's just . . . bad? Like, really bad? And weirdly bad?

A while back, I wrote about the case of Pevear and Volokhonsky. Here's another example, which I encountered while doing background research for my novel Almost Nowhere.

----

One of my novel's major characters is a literary translator, famous for his rendition of the Persian epic poem Shahnameh ("Book of Kings").

To help me write this character, I tried to read the Shahnameh myself. I started out – where else? – with the translation that seemed to be the gold standard, and which was certainly the most critically lauded.

Namely, the 2006 translation by Dick Davis, in prose with occasional shifts into verse.

Here's how the Shahnameh begins, in Davis' translation:

What does the Persian poet say about the first man to seek the crown of world sovereignty? No one has any knowledge of those first days, unless he has heard tales passed down from father to son. This is what those tales tell: The first man to be king, and to establish the ceremonies associated with the crown and throne, was Kayumars. When he became lord of the world, he lived first in the mountains, where he established his throne, and he and his people dressed in leopard skins. It was he who first taught men about the preparation of food and clothing, which were new in the world at that time. Seated on his throne, as splendid as the sun, he reigned for thirty years. He was like a tall cypress tree topped by the full moon, and the royal farr shone from him. All the animals of the world, wild and tame alike, reverently paid homage to him, bowing down before his throne, and their obedience increased his glory and good fortune.

And here is the same opening, in the 1905 translation by Arthur and Edmond Warner (which I only discovered much later in the process of writing Almost Nowhere):

What saith the rustic bard? Who first designed To gain the crown of power among mankind? Who placed the diadem upon his brow? The record of those days hath perished now Unless one, having borne in memory Tales told by sire to son, declare to thee Who was the first to use the royal style And stood the head of all the mighty file. He who compiled the ancient legendary, And tales of paladins, saith Gaiúmart Invented crown and throne, and was a Sháh. This order, Grace, and lustre came to earth When Sol was dominant in Aries And shone so brightly that the world grew young. Its lord was Gaiúmart, who dwelt at first Upon a mountain; thence his throne and fortune Rose. He and all his troop wore leopard-skins, And under him the arts of life began, For food and dress were in their infancy. He reigned o'er all the earth for thirty years, In goodness like a sun upon the throne, And as a full moon o'er a lofty cypress So shone he from the seat of king of kings. The cattle and the divers beasts of prey Grew tame before him; men stood not erect Before his throne but bent, as though in prayer, Awed by the splendour of his high estate, And thence received their Faith.

Now, I can't speak at all about the source text. I have no idea how faithful or unfaithful these two translations are, and in what ways, in which places.

Still, though. I mean like, come on.

This is an epic poem about ancient kings and larger-than-life heroes.

This is a national epic, half myth and half history, narrating the proud folkloric lineage claimed by a real-world empire.

There is a way that such things are supposed to sound, in English. And it sure as hell isn't this:

What does the Persian poet say about the first man to seek the crown of world sovereignty?

Excuse me? That's your opening line? I thought I was reading a poem, here, not taking a fucking AP World Literature exam!

----

Postscript

Some of the critical praise for the Davis translation, quoted on the back cover of my copy (emphasis mine):

"A poet himself, Davis brings to his translation a nuanced awareness of Ferdowsi's subtle rhythms and cadences. His "Shahnameh" is rendered in an exquisite blend of poetry and prose, with none of the antiquated flourishes that so often mar translations of epic poetry." (Reza Aslan, The New York Times Book Review) "Thanks to Davis's magnificent translation, Ferdowsi and the Shahnameh live again in English.” (Michael Dirda, Washington Post) "A magnificent accomplishment . . . [Davis’s translation] is not only the fullest representation of Ferdowsi’s masterpiece in English but the best." (The New York Sun)

[gladiatorcunt]

🪺 - # WINTERGREEN CANDY CANE !!

cw: canon typical mind games, baby trapping/pregnancy, manipulation, reader’s emotionally constipated, tashi’s injury, cunnilingus, cockwarming, tit fucking, established tashi & patrick (there’s no feelings between them but they stay together for reader in the beginning), lactation, not rlly smut focused despite the tags, DEAD DOVE: DO NOT EAT, ambiguous baby daddy (even though the ending can be read a certain way), one mention of patrick x art, afab reader, there’s a thought about you being injured but it’s not serious, small time skip (?) type thing and implied future pregnancies, purposefully vague/unreliable narrator vibes

patrick and art’s descriptions are heavily insp. by these posts

consider commissioning me or leaving me a tip if you enjoyed!

They never tell you that Tashi got injured on purpose. She’s too good to fall victim to what plagues so many athletes, but you don’t know that. You, her assumed rival and yet also the poster child of sportsmanship. Rivalry can bring out affection in people, it can highlight the need for someone who can understand you better than anyone else possibly could. You’ve never been anything but soft and sweet, but you can still summon the lightning streaking across the sky in your eyes when the game begins. There’s a glow around you that Tashi craves like a moth craves the shadow behind the light they fly into.

Tashi’s fall from her pedestal was painful and the hardest decision she’s ever made, but for the first time she made it for love. The set up was the easiest part, but now she has to actually make the serve. And she can’t do it alone, she’d be stupid to be blind to how her boyfriend and his best friend’s stares linger. What she and Patrick shared fizzled out a while ago, but if she lets him go, then that signs her up for a battle she’d rather avoid. Sometimes pleasure can be derived from depriving an animal of the chance to kill rather than setting it free and giving it an opportunity to go after you first.

Who knows, maybe someday you and her can share matching injuries.

Luckily, Patrick shares the same sentiment, quickly agreeing to the arrangement and plan when he visited prior to the injury. Art’s good at downplaying his toxicity, so Tashi wasn’t concerned about if he could play the part of a “worried friend”. You’ll bust into the office while she’s getting checked out to see Art there, and the infatuation you've been harboring for him will keep you in place. The queen on the chessboard who can’t really move however they please at all. Patrick will return in a “rush to see his girlfriend”, and you’ll be too intrinscingly intertwined in their web to cut yourself loose.

You weren’t the one she was playing against, but because of your “friendship” you’re there in the audience when it all goes down. The shock of something career ending happening to someone who had the most potential of anyone you’d ever seen is staggering.

You practically run to see if Tashi’s okay, and the disappointment that you might never play with her again is palpable. But she’ll be fine, you tell yourself, she has to be.

Art has already left by the time you get to the room she’s in, doing one of his parts of the plan and allowing Tashi to put everything into motion. He’s waiting nearby, running his hands through his hair as he imagines all the ways he can comfort you. Because you will need comforting later, and your future husband knows the best remedies for your incoming sadness.

You’re standing gobsmacked in front of her bandaged knee, a confirmation that this is really it. You shrug off your bag and let it slide down your arm to the cold floor. Your mouth opens but the words don’t come out. You struggle to know what to say as Tashi’s eyes meet yours.

“What am I supposed to do now, huh? My top competitors gone up and left me hanging.” You sigh, trying to keep the kicked puppy look out of your eyes.

She’s in pain and you’re making this about you. But if you and Tashi aren’t bound by Tennis, then what are you bound by. Your friendship doesn’t go beyond the court, so what do you even share now?

There’s no big declarations, no babbling where you word vomit about glad you are that she’s okay. Neither of you are those kinds of people. The energy in the air is dead, but the situation is too serious for awkward small talk. All you two can focus on is what’s ruined, but only one of you can also acknowledge what stands to be gained.

“Take a break, then.” She says plainly, a touch too proud to beg. “For me, I mean who else am I gonna let see me like this?”

That last is an attempt to lighten the mood, to use humor to point out how you’re truly the only person she’d let see her in tatters. Your eyes widen and you freeze, but then you take a seat next to the cot and take her hand. Your smile could destroy the sun, she thinks, and even if the earth was plunged into darkness you’d make it feel like there was nothing to be worried about at all.

“Okay, just for a little bit.” You chuckle and rub her shoulder delicately.

You don’t know what on earth possesses you to say it, but you realize that the absence of a challenge would drive you insane. There’s other reasons for it, ones you’re aware and ones you’re not. But you and Tashi have a way of saying just enough without ever needing to be raw and reveal what you really mean. If there’s a coherent meaning to be found.

“A little bit” ends up being forever, your pregnancies see to that.

Tashi makes Patrick and Art hinge a match solely on who’d get first crack at it; they play so savagely that you’d think they were stray dogs fighting over moldy scraps of food. She’s there when you get morning sickness and she sends the boys out with a list of what you’re currently craving at that moment. She’ll brush your hair and do your skincare for you, rubbing your belly while everyone’s asleep and telling you’re baby that she’d better be their favorite (after you of course).

Tashi takes pride in how she pleases your pussy when you’re too swollen to put in any of the work. She licks broad stripes up your soaked cunt, nipping at your clit and getting you to cream into her mouth in no time at all. She presses sweet little kisses up and down your folds, wishing you could see her love on your pussy properly. They’ve had competitions on who can make you squirt the fastest, and Tashi will never fail to mention that she’s never lost once.

Patrick gets really into cockwarming, getting you nice and settled in his lap. He has to take deep breaths so he doesn’t immediately start thrusting, he knows he has to think about the baby. But the pregnancy has made you impossibly tight, and your hormones make you go crazy for his sweat and natural musk. You’ll whine at him to hover over your head so you suck on his heavy balls. You nag about how he needs to take better care of himself, but you’ve grown to love swallowing his tangy load while you’re suffocating in his pubes.

When that happens depends on how long either of you can hold out, Patrick will tease you about how slutty you’ve been lately and squeeze your face with one hand. His cock will twitch inside of you, snug and strangled. He'll suck Art off till both of their lips are bleeding and you’ll motorboat Tashi’s tits to pass the time. You’ll start swiveling your hips somewhere along the way and his resolve will crumble like it never existed in the first place.

That’s for later though. He fastens the ugly neon cartoonish headphones over your belly and turns on the attached mic, doing storytime with the softest grin on his face.

Art on other hand likes fucking your leaking tits, he loves when drops of milk lube up the slide of his dick in the valley between them. He’ll thumb at your sensitive nipples and flick them, cooing at you when you moan and lap at his cockhead during the split second it reaches your mouths. He’ll look after your breasts outside of the bedroom. He’ll massage them and drain them for you if they’re feeling particularly sore, two of them will be latching on either tit while the third will be sucking on your tongue. His pecs bounce with every languid roll of his hips through the pocket his hands create, and he brings your hands up to them so you’ll grab on and leave scratches.

Art gives you more cum, his literal breeder balls are too big and full, and he’ll bet that he’ll give you more children. His thrusts have a certain punchy rhyme and rhythm to them while Patrick’s are sloppily enthusiastic and feral.

Art picks out supplies for the nursery with you, supporting your vision wholeheartedly and agreeing with every color and stuffed animal you choose. He and Patrick continue with their careers, and Tashi finds a way to coach them both, they need to support you and the new member of their slightly dysfunctional family. Tashi writes up the speech you give when you announce your early and extremely unexpected retirement, and she massages your feet when you collapse on the couch from the sheer emotional exhaustion. Art pecks each of your toes as she does so. Patrick plays tic tac toe against himself in the hollow of your throat.

And when the baby’s born and they can finally see who actually got you knocked up, Tashi says that maybe Patrick will get to be happy that he’s finally won something.

- faetreides 2024. do not repost, translate, or give my works to ai

[blacktabbygames]

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

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

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

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

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

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

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

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

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

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

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

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

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

[bridge-arsonist]

This has probably been talked about before, but I love how Cold doesn't represent logic.

Normally, when you see a cold, uncaring sort of character in media, someone who just doesn't care, they're associated with logic or power. The stoic detective, the ice queen, the snarky assistant, you know the deal.

But not The Voice of the Cold. You want a logical character? That's Skeptic! But Skeptic isn't cold by any means: he's, well, skeptical, of the things that people tell him. He has the goal of finding out as much information as possible about this situation, and getting out of the hostage situation the Narrator has set up. He's not super expressive or anything, but he's actually pretty approachable/friendly with anyone not named 'The 'Narrator'.

And it makes sense. Skeptic is the voice you get by taking the most logical course of action. Take the blade just in case, but hear the Princess out and ultimately realize she's as much of a victim in this as you are before freeing her, and doubling down when the Narrator tries to control you.

Cold, on the other hand, is about apathy. The closest things to a 'goal' he has are:

1. Don't be bored.

2. Get revenge on the Narrator somehow.

And so, he really can't be logical, at least, not 'logical' in the way we perceive it. Our goal is to get out as unharmed as possible, and many of his suggestions directly contradict this goal.

But the Cold doesn't care about death. After all, it's already been established it's already temporary. His sheer apathy towards any and all harm that comes towards him fundamentally contradicts conventional logic, because conventional logic dictates taking the course of action that minimizes harm.

Now, that's not to say Cold doesn't care about anything. In his own way, he genuinely is trying to look out for the other voices when he urges them to numb themselves to pain, because it's easier that way, isn't it? He's clearly frustrated when they can't do that, urging the Player to just ignore them and listen to him instead during Moment of Clarity.

But at the same time, because of Cold's apathy, his typical 'logic' is just "whatever seems interesting". He's fundamentally a very impulsive character, not in spite of his apathy, but because of it.

Honestly... It's more like Contrarian than anything. I mean, think about it. An impulsive character who does whatever seems interesting and strives to make the Narrator as miserable as they can? The difference is in how that apathy presents itself, which makes sense, because they pretty much manifested in opposite ways.

That aside, though... The Cold acts based on a bestie to feel. Specifically, a desire to feel entertained. And, it makes sense, considering he's what you get from killing yourself due to agonizing numbness and boredom. Of course he's going to be apathetic, uncaring of his wellbeing, and impulsive. That's what you manifested.

Apathy, taken to its logical conclusion, is very impulsive. And I love just how well Cold represents that.

[hajimesh]

𓂃⊹ ִֶָ ‐skyfall. geto suguru

part one. sunrise (her)

⥅ word c. 4,411

⥅ warnings. fem!reader, non sorcerer au (suguru is a grad student), established relationship (suguru and reader live together), mentions of drinking and smoking, domestic fluff, unreliable narrator

𝄢♭bloom ‐ the paper kites / not about angels ‐ birdy / beautiful baby ‐ elizabeth

Before meeting Suguru, you never understood the hype behind sunsets. People often label them as 'majestic' and take endless pictures of the same orange sky when it should be general knowledge that the real beauty resides within the quiet mornings, the world stirring awake and the sky tinting itself in soft hues of blue and pink like a Monet painting. No sunset could ever compare to the crisp and refreshing air that comes with the break of dawn. 

So, if someone were to ask you, you’d pick sunrises in a heartbeat.

Perhaps what makes sunrises better is that you get to see him and his dark hair —that puts the night sky itself to shame— as soon as you wake up, walking down the street with his characteristic hunched over frame as he kicks the rocks standing in his way. He hasn't seen you (which is rare, he's always trying to catch your attention as soon as he rounds the corner of your street), sitting by the open window just two floors above him. But when he finally does, purple eyes stare blankly at you.

"Who–" You watch him squint his eyes, stopping abruptly, and your grin only grows. It takes him two ragged breaths and a gasp to finally address you by your name, "what are you doing up there?"

You wave at him as you lean over the windowsill. He can't be serious, you think to yourself, "I live here, Suguru."

He seems tired, rubbing at his eyes before rushing to the building’s entrance and disappearing from your sight. It wouldn't be a surprise if he had a rough night, suddenly making you feel bad for not making sure you had a warm cup of coffee to welcome him back.

The apartment door opens and Suguru's silhouette slips through, his keys hitting loudly the porcelain bowl by the entrance. You don't even have to think twice, standing up from your spot by the window and meeting him halfway in what has to be the tightest hug you have ever gotten from him.

“Fuck, I missed you.”

He's nuzzling his face against your neck, breathing in the fresh scent of your body wash and leaving a kiss on your skin. His hold on you is so tight yet comforting, just as the silence of the world at six in the morning.

“I know,” your fingers thread through his hair, realizing it's longer than you remembered, “would you like to sleep now or have breakfast first?”

“Cuddles.”

You roll your eyes and tug the hairs at the nape of his head softly, “That wasn’t an option.”

Still in his arms, he guides you towards the bed placed at the corner of the apartment, and once you're under the covers, it's you who now hides your face in his neck.

“Why are you still up?” he asks with his lips against the crown of your hair.

For a moment, you choose to focus on his warm breath caressing your skin. If you tell him you were waiting for him, it's very likely that you’ll end up being scolded.

Shrugging, you nuzzle closer to his chest, seeking more of his warmth, “couldn’t sleep without you.”

“Is your insomnia back?”

“Think so,” you mumble, “but I got to greet you back, so I don't mind.”

It's silent for a while, the only sounds coming from your breaths and the noise of cars driving down the street. The world is slowly waking up, clouds that resemble cotton candy floating in the sky and a light, chill breeze coming through the open window.

“Sugu, you should sleep.”

“I will,” he breathes out, his hold on you tightening for a moment, “now that I have you in my arms.”

“Oh my god, that was so cheesy!”

His chest reverberates with his laugh, lips tugging upwards as he sweeps his tongue across his teeth in a cheeky way. There's no way your heart can watch and not melt as he does that. 

“You never complained before," he tries to defend himself, his smirk coming back as he leans closer to whisper in your ear, "and I know you love it.”

You look up at him, eyes gleaming under the sunlight, and you swear you haven't felt this happy in weeks, “I love you.”

A mix of emotions seems to swirl in his eyes, staring back at yours weirdly. It's hard to pinpoint what's going through his mind, but you can tell that whatever it is, it's troubling him.

“I love you so much more.”

—

It's almost eight pm, and Suguru hasn't woken up.

“Sugu,” you whisper, leaning closer to his face as you search for a sign of consciousness, “you’ll be late.”

“Babe, c’mon… five more minutes?” he groans, voice throaty and laced with sleep.

“We've been sleeping all day!”

His arms circle your waist, pulling you on top of him, “s’all your fault, I was dreaming of you,” he mumbles with his eyes still closed.

“How is that my fault?” you bite back, but when you don't hear a reply from him, you lift your head and rest your chin on his chest.

He fell asleep again.

Removing yourself from his hold, you crawl on top of him until you're so close that your lips brush against his. 

“You'll be late for work,” you start littering kisses all over his jaw and watch as his brows furrow slightly, “I shouldn’t have let you nap after we had lunch.”

Still half asleep, he cups your face between his hands and pulls you down for a kiss. It's lazy and a bit clumsy, you blame it on the fact that he just woke up. But after getting a taste of him, you're tempted to ask him to stay.

With his hands still at the sides of your face, he pulls your mouths apart and gazes lovingly at your face, brushing a few strands of hair away from it. Suguru's eyes always make your knees falter, and your heart tremble, especially when they focus on yours.

“How did you sleep?” he asks before squinting his eyes at you, “wait– did you even sleep?”

“Yeah, yeah, I did. No need to start nagging at me.”

He yawns, stretching his arms above his head while you climb off of him, “I need to shower.”

“Yeah, you stink,” you fake a gag only to squeal a second later when he pinches your sides.

Finally, he gets on his feet, and you watch your boyfriend get closer to you. Sometimes you forget how imposing his presence can be, his height and large frame suddenly making you feel small under his stare.

“Shower with me,” he rasps out in your ear, hands grabbing you by your hips as he begins to nip at your neck. 

“O-Oh?” with a raised eyebrow and warm cheeks, you nod bashfully and wrap your arms around his broad shoulders, “lead the way.”

The sound of your giggles fills the small apartment as he carries you bridal style towards the bathroom, his own laugh joining yours.

—

“Don’t forget your wallet!”

He's running late, just as you predicted. 

With his hair still damp from the shower, he runs from one side to the other collecting his stuff, “what would I do without you?”

Shaking your head, you watch as he finally makes his way to the door and picks up his coat.

“Work hard! I'll be waiting for you.”

Suguru stops abruptly, his hand already on the doorknob as he grimaces, “I should probably tell you not to, but… ugh fuck it, I’ll be selfish.”

He leans forward to kiss you, his free hand holding you by the back of your neck as the other remains on the door knob. Unfortunately, the kiss ends as quickly as it began.

In your daze, you barely have a chance to smile back at him as he waves goodbye.

“See you at sunrise!”

“Again? ”

You grimace when Suguru’s loud voice disrupts the peaceful morning. It’s still pretty early, the streets empty and void of other souls besides nature blooming around you, waking up to another spring morning. 

But besides the white cat climbing down the roof and the trail of ants on the wall, it’s just you and him.

Your heart warms up in familiar delight, and you wonder if there will ever be a day in which your chest won’t feel like expanding and shrinking at the same time just at the sight of his handsome smile. A small fit of giggles escapes you as you shake your head disapprovingly, a finger placed on your lips signaling him to be quiet.

“Again.”

Blowing him a kiss from your spot, you snicker as you watch his grin widen, his long legs moving faster towards the building. Good thing he seems as eager as you are, you’ve always hated how long it takes him to reach the front door of your apartment.

As soon as he gets inside, he comes face to face with you and immediately goes for your lips, both mouths meeting in a soft kiss as you stand at the door.

Your surroundings seem to blur around you, his scent invading your mind and his touch melting your skin. The emotions stirring in you are so strong that almost have you in tears. It’s becoming too much, and yet you refuse to part from his lips, knowing that it would only make room for the emptiness again.

A soft sigh escapes your lips, eyelashes fluttering as you slowly open your eyes and gaze at him, his tender gaze already fixed on you.

“I smell food,” he murmurs against your lips, pecking your nose afterward, “waffles?”

Humming, you bury your face in his chest, allowing his warmth to envelop you, “you probably haven’t had a decent meal in weeks.”

His hand rubs circles on your back as he chuckles. You really don’t want to let go of him, but the food’s growing cold. So, against your will, you squirm away from his grasp and start dragging him by his hand.

The kitchen is just a few steps away, a small white table sitting in the center with a fake succulent on it, and two plates full of freshly cooked food. It took you a quick trip to the grocery store since there only seemed to be pizza leftovers in the fridge (quite unusual of him, you’re actually planning on asking him about it later).

“What do you think?”

His eyebrows raise slightly and his mouth parts in quiet awe, his purple irises shining with hues of amber thanks to the sunlight filtering through the window. Those same eyes suddenly switch from the food to your face, and your knees falter, there’s a glee in them that you haven’t seen in a long time, and it fills your insides with butterflies until they threaten to spill out of your mouth.

“I fucking love you. You know that, right?” he says after cupping your face in his hands, his gaze unwavering and refusing to look away from you.

The laugh that bubbles in your chest only makes his grin widen, raw adoration and happiness emanating from the both of you. You leave a light peck of affection on his jaw and then push him toward his seat.

“You’re gonna love me even more once you taste it.”

“Impossible.”

The dumb smile refuses to leave your lips, your cheeks hurting and muscles cramping, but that’s Suguru’s effect on you: his mere presence is enough to make you smile in a love struck daze.

He groans after taking the first bite, “this,” he says after swallowing, pointing at the half-eaten waffle with his fork, “tastes heavenly. I missed your cooking so much, baby.”

Taking the compliment with a bashful smile, you choose to focus on your food and begin to eat as well. 

“I noticed you’re walking to work now. Did something happen to your car?” you ask trying to start some small talk and at the same time, it was one of the many questions you have sitting at the back of your mind.

“I'm trying this new thing called being eco-friendly.”

A loud gasp leaves your throat, “You’re such a hypocrite! If you cared about that, you wouldn’t ask for straws at restaurants!”

“Hey,” he points a finger at you, “that’s for the turtles, not the planet.”

“Huh? Even worse?!”

The amusement in his features only enhances his attractive looks, even if it’s so early in the morning and right after having a night shift, he always manages to remind you what a handsome man he is. You huff and pout involuntarily, it truly isn’t fair.

“Relax, I use the metal straws you gave me,” he reaches out across the table to pinch your cheek, “I'm not that evil.”

Still with a slight pout on your lips, you stand up and go to the fridge in order to fill your drinks. 

“Could you pass me a Red Bull?” he calls from behind you, and you frown.

“Suguru, it’s seven in the morning.”

He hums, “Yeah, and I don’t want to fall asleep during my 9 am lecture.”

“Then drink cold water,” you offer, closing the door of the fridge after fetching the jar of juice for you and filling his glass with water, “you’ll get an arrhythmia one of these days.”

You see him sigh once he sees you return with no sight of a Red Bull in your hands, but you aren’t backing down. With a pointed look, you silently stand your ground until he seems to give up.

“Fine, no energy drinks.” 

You nod, relieved that he’s finally listening to you. God, when did he become that stubborn? 

He takes a sip of his water, a tiny smirk stretching his lips around the rim of the glass as he stares at you, “I’ll just buy a coffee on my way to class, then.”

“Suguru!”

“What?”

—

Watching Suguru sleep has always comforted you. A dreamy sigh leaves your lips as you observe the way his dark eyelashes rest above his cheekbones, hiding those beautiful eyes you fell in love with just a few years ago.

It hasn’t been long since you woke up, the room dark and barely illuminated by the setting sun. The shadows of the trees dance all over the walls as they sway thanks to the wind, a low whistle coming from the windows as the wind picks on its strength and clashes against the glass.

You don’t think it can get any more peaceful than that.

In a matter of minutes, the sky begins to turn darker, which means he has to be up soon so he can make it to work on time. Moving closer to his side, you peck his cheek and whisper a soft ‘hi’ once you feel his arm drape over your waist.

“Hello, pretty girl,” his voice is hoarse and heavy with sleep, a lazy smirk gracing his lips. That is until he notices the pendant hanging from your neck, “where did you find that?” 

Your hand automatically wraps around it, smiling to yourself as you look down to examine it, “Oh! It was in your drawer. So weird because I thought I had it with me.”

“You must’ve left it.”

His tone turns dry, which makes you look up from your chest and notice the distant look in his eyes, immediately confusing you. Weird, he seemed fine just seconds ago?

“Do you remember when you gave it to me?” you shuffle closer, wanting to keep at bay whatever thoughts he’s having since it’s clear they aren’t pleasant, “honestly, I still had my doubts about you… back then, I mean.”

“Why?” His lips turn into the cutest pout you’ve ever seen, and it almost makes you lose your train of thought.

How is he so cute? You think to yourself. Even after three years since you met, all it takes is a smile from him, and you’re putty in his hands.

“I never thought you’d like me back, and I was waiting for someone to tell me it was a bet or a dream.”

And it had truly felt like one. As silly as it sounded, it all seemed too good to be true, which meant you were bound to have your doubts. The good morning texts, walking to class together, and spending hours in his dorm studying for your exams; Suguru behaved like a true gentleman, through and through.

Falling in love with him has to be the easiest thing you've ever done. He captured your heart in a matter of weeks, and a year later, on your first anniversary, clasped a necklace around your neck—giving you a piece of him to carry with you.

He caresses your cheek lovingly, bringing you back from the lovely memories before speaking, “I know I was a broke college student, but I wasn't that broke to make our relationship a bet.”

You quickly stand up to pick up a pillow and throw it at him, laughing as he scrunches up his face before he receives the hit. 

“Asshole.”

Suguru laughs and watches you walk away once he removes the pillow from his head, answering back with that sweet voice of his, “sweetheart.”

“We should do something special,” you say as you turn your head over your shoulder to look at him, the last rays of sun hitting your body and casting an ethereal glow around you, “our anniversary is coming up.”

He seems to be in a daze for a second, his stare fixed on you and an emotion you had yet to see from him brimming from his eyes.

“Yeah, we should.”

“Alright,” Suguru looks so funny with his hands on his hips while standing in the middle of the empty street, “as much as I love coming home to you waiting for me, you need to get some sleep.”

You dismiss his comment with a wave of your hand, focusing instead on the hues of blue shining behind him.

“Whatever.”

Less than two minutes later, he’s finally in your arms, his embrace tight as he rocks your bodies softly to the tune of your morning playlist.

“If I'm asleep, I can't give you your good morning kiss, y’know?”

He’s getting tired of your excuses, and it’s so easy to tell by the way he no longer fights you. However, that doesn't stop him from punishing you for it. 

Your vision turns upside down as he throws you over his shoulder and carries you to bed, blatantly ignoring your complaints.

“I think it’s time I tell you the story of a woman that refused to sleep at night,” he settles you under the covers, his arm resting under your neck while the other pinches your cheek, “so the devil himself came to visit her.”

“Suguru…” you trail off, a sense of dread quickly creeping over you, “don’t.”

Ignoring you, he continues, “she liked to sit by the window–”

“Noooo, stop! I'll sleep, I promise!”

“Don’t be rude and stop interrupting me,” he squishes your cheeks together and stares at you with fake anger, “also, I don't believe you anymore.”

There's nothing else for you to do but pout, knowing he's going to use your fear of ghosts to his advantage.

“As I was saying, she sat by the window until one night a group of people stopped by. They gave her a box and told her to keep it, and that they’d come back for it the next day.”

By now, you have your face tucked against his arm, hiding half of it, while the blanket covers your ears.

“However, in the morning, she opened the box and found a dead cat,” he doesn’t even need a dramatic pause to have you gasping in surprise, a cold chill running all over your body, “a priest told her that the dead were trying to curse her since she was disrupting their time to roam the living world, so he advised her to get a living cat in the box and return it.”

Where does Suguru get all his crazy stories? You have no idea. But this one took the ball out of the park.

His face is still serious as he finishes the story, “they showed up that night, three in the morning sharp, and asked for the box. She returned it with the cat inside, and luckily they left her alone.” his tone quickly switches to a chirpy one and smiles, “that’s why you should sleep at night!”

“Suguru, you’re so mean,” you whine, “what if they show up? You know I like staying up at night!

“Not my problem.”

A slap to his shoulder with your hand comes as an immediate response.

“Ow! Who’s being mean now?” he rubs the spot you hit, but he’s so close to losing it, his eyes crinkling as he tries not to laugh.

“You asked for it,” you reply in a low mumble, and he finally gives in to the hilariousness of the situation.

“C’mere, baby. Let’s sleep,” he sees your cheeks squished against the pillow and pinches them, cooing at you at the same time, “so cute.”

Like a spell, you feel your eyelids become heavy, and you find yourself wrapped in his arms, his scent lulling you to a state of calmness.

“Sweet dreams, princess.”

—

Suguru's hoodie sits on the bed as he gets ready for another shift. You’ve been watching him get ready for the past ten minutes, and you don't think you'll ever get tired of it.

“How’s 'toru?” you ask, not remembering when was the last time you saw your boyfriend’s best friend. Just like him, he also worked the night shifts at the bar while balancing his last year in grad school, “I don’t think I've seen him around.”

Satoru practically lived in your apartment, loving how you always spoil him and side with him. To this day, Suguru says he regrets introducing him to you.

He leans down to your level and whispers, “you know how he gets during finals,” his fingers grasp a few strands of your hair to play with and doesn't say anything else.

“Well, tell him to come visit, so he can rest a bit. Also, he promised to watch a romcom every Saturday with me.”

This finally gets his attention, his eyebrows raising in interest, “why can’t you watch it with me?”

“You said you didn’t want to,” you shrug, “too cheesy for your liking or some shit like that.”

Suguru stands up to his full height again and grabs his hoodie, almost ready to go to the bar, “I'll bring popcorn when I get back, how’s that sound?”

You follow him to the door, watching as he slips his shoes on before turning around to face you, “are you sure? I know it's not the kind of genre you usually like to watch.” 

“I won't let a movie stop me from spending time with my girlfriend,” he smiles and kisses your lips with a long and noisy peck that makes your heart happy, “and we are playing Mario Kart after.”

“But I suck at Mario Kart!” 

“Exactly.”

—

It’s almost time for Suguru to come home and since the last few days have felt like the honeymoon phase when you moved in together, you decide you should spoil him with warm tea and a few of his favorite pastries. 

As you make sure to turn off the stove and place the kettle safely on top of it, you hear the familiar jiggle of keys at the door. He steps in with his shoulders slumped and his eyes red, a very unusual sight that, truthfully, scares you a bit.

You walk up to him with the intent of helping him get rid of his clothes, to comfort him, but a particular smell catches your attention.

“You smoked,” it wasn’t a question.

He grimaces in return, “I'll go brush my teeth.”

You follow him to the bathroom, observing him splash water on his face before picking up his toothbrush.

“Rough night?”

He looks at you through the mirror and stares at your reflection for what feels like an eternity, but then he just shrugs, places his toothbrush back next to yours, and exits the bathroom.

“You could say so.”

“Can you believe you’re almost done with your master's? You're graduating this semester, right?”

As soon as you see him nod, you beam and clap your hands together.

“We should celebrate! Is the bottle of white wine still in the fridge?” but with a shake of his head, you have your answer, “then let’s go to the store, my treat! I'll get you your favorite beers too.”

“Isn’t it too early?” he takes a look at his watch and indeed it is early, barely past seven in the morning, “and I don't drink.”

Your smile falters a bit, confused at his last statement, “since when?”

“A few months ago,” he kisses the top of your head before pouring the boiling water in a cup.

You drop the subject and choose to focus on something else, excited to see his new future approaching, “what's the plan, then? Moving to a bigger place?”

His smile turns into a sad one and shakes his head, “I want us to stay here.”

It feels like someone just threw a bucket of cold water at you, your senses sharper than ever and your mind free of the fog that clouded it. It's unsettling how it's all laced with a hint of dread, no longer being able to smile until you make sure he faces your reality.

“You can’t.”

The answer is immediate, his body turning rigid and the defensiveness radiating off of him almost palpable.

“Why not?” he retaliates, his tone harsh and cold, “we’ve been living here since we graduated, you like this place.”

So that was the reason? A fond smile settles on your lips, and a bittersweet feeling takes over you. Pushing his cup aside, you move closer to him, your hands cupping his cheeks and making him look at you.

Like a switch, Suguru’s eyes fill with tears, glistening like the prettiest amethyst, even though the sight breaks your heart. You have never seen him so broken, your own heart aching at the sight of your boyfriend on the verge of breaking down in your arms. 

But you can’t drag this on and keep fooling yourselves.

“It's time to let go, Suguru.”

End of part one.

[lurkingshan]

Japanese QL Corner

We are back in the flood, with three (!) new Japanese QLs starting this week (we will be patiently waiting for @isaksbestpillow’s excellent subs on the new GL, so I’ll cover that next week), on top of our three ongoing shows. Three of these are streaming weekly on Gaga, with two provided via fansub (feel free to ask if you don’t know where to find them).

Love in the Air Koi

The much anticipated Japanese remake of Love in the Air is here, and it's off to a strong start! I'm a fan of the Thai original despite its flaws, and I am hopeful that a remake can elevate the core of the story while shedding some of the sillier plot aspects and filler. This first episode did exactly that, executing all the important beats of the original first episode in half the time, and establishing our core characters and their dynamics quite well. The casting is good all around, but Nagumo Shoma is perfect as Arashi, and he and Rei have good chemistry. I will look forward to this one every week.

Our Youth

Another strong start right out of the gate! This drama seems to be a second chance romance of sorts. We begin with Minase in present time (narrating about how he and Hirukawa can only communicate via letters, which I suspect may be incarceration-related?) before traveling back six years to high school to see their relationship unfold. Minase is a wealthy but lonely top student who teachers adore, Hirukawa is a poor and abused kid who teachers have already written off as a lost cause, and they are inevitably drawn to each other when Minase witnesses some of the horrible things Hirukawa is dealing with and keeps his mouth shut about it. This drama feels confident about the story it's telling and it's so beautifully shot. Hirukawa already has my heart. I especially like that his characterization feels nuanced and specific rather than archetypal; he is troubled but he's not a bully, and rather than rejecting care, he seeks it out from someone he perceives as trustworthy. I am along for this ride and excited to see where Minase's perspective takes us.

Smells Like Green Spirit

Ow, my heart. This week town gossip spread like wildfire about Mishima and Kirino's supposed romance, and both had a heart to heart with their mothers about it, with wildly different results. While Mishima's wonderful mother affirmed that she knows who he is and wants him to be happy and live his truth, Kirino was shamed and guilted by his homophobic wreck of a mother. We already know how much her grief weighs on him, and her inability to accept him will surely make things hard for him going forward. It was lovely to see he and Mishima escape together to their Shangri-La, however briefly, but I also felt sad that he kept his painful experience to himself rather than confiding in his friend. I just want them both to be okay. Yumeno also had a coming out of sorts, and while I was happy to see another supportive mother, I thought it overcrowded the episode to shove that in, too, especially with lots of time also spent on the villagers. I would have liked the focus to stay more tightly on our besties.

Love is Like a Poison

Welcome to the battle couple era!! Shiba and Haruto are settling into couple life (adorably), and Shiba is defiantly claiming Haruto as his partner for anyone who cares to know. And this week we get what we've been waiting for, as the story sets up the final boss, who appears to be an enemy of both Shiba and Haruto (the former professionally, the latter personally). Haruto is still not telling his Ryo-kun what he's driving after, but we got some helpful hints at the end of this episode about what is ultimately motivating his scamming. I am so excited to see them team up again to take this guy down.

Chaser Game W

I’ll keep this brief. This sequel season had little purpose, with a plot that changed randomly from week to week. They capped it off with a finale that made an insulting mockery of the homophobia real same sex couples in Japan face. This show sticks out like a sore thumb on this list of otherwise excellent Japanese queer media, and I’m very glad it’s over.

[skaruresonic]

The common rebuttal to "this reads like fanfic (derogatory)" is "read better fanfic," which is true in certain cases, but on the other hand, there is some grain of truth to the idea that you can tell when someone's primary mode of literary analysis is fanfic instead of... well... literally anything else. It's okay to like or even prefer fanfic, but if you want to take your craft seriously you also need to read books, dude. Published books will teach you a lot of stuff fanfic doesn't, like proper dialogue formatting and how to introduce your reader to unfamiliar characters. Even the crappiest book (well, if it's not After or 50 Shades, which started off as fanfic to begin with lol) will have been subjected to some sort of editing process to ensure at least the appearance of proper grammar. That's not a guarantee with your average fanfic, and hence why you can't always take all your writing cues from fanfic because it's "so much better" than commercially published original fiction or whatever. Frankly, fic writers tend to peddle some absolutist and downright bad takes sometimes. "Said is dead" is a terrible rule, though not because said is invisible and a perfectly serviceable tag; that's just part of it. Dialogue tags are a garnish, not a main dish that can be swapped out for more ostentatious words. If your characters murmur and mutter instead of simply saying stuff, your readers are going to wonder why nobody speaks up. "'I'm explaining some very plot-important shit right now lol,' she elaborated," likewise, is a form of telling. Instead of letting the reader extrapolate that "she elaborated" via the contents of the dialogue itself, you're telling them what to think about it. And that's why it's distracting: your authorial hand is showing. Writing is an act of camouflage. You, as the writer, need to make your presence as invisible as possible so as to not intrude on the reader's suspension of disbelief. That's the driving reason behind "show, don't tell." And overall, everyone could stand to cut down on the frequency of their dialogue tags anyway. Not every exchange needs "he said" or "she whispered" attached as long as you establish who is doing the talking before the exchange. Some people will complain of confusion if you go on for too long without a dialogue tag, and that definitely is a risk, but at some point you also need to resist the temptation of holding the reader's hand. If they can't follow a conversation between two people, chances are they weren't meeting you halfway and paying that much attention in the first place. In fact, you don't even necessarily need action beats in between every piece of dialogue, as Tumblr writing advice posts will often suggest as a fix. Pruning things often cleans them up just fine.

Another fanfic-influenced trend in writing is, I guess, beige prose? A heavy focus on internal narration with lots of telling. It's not a style I can concretely describe, but every time I click on a non-mutual's writing, I feel like it always has, like. This "samey" voice to it. There's no real attempt to experiment and use unique or provocative language, or even imagery half the time. It's almost a dry recital of narration that doesn't leave much room for subtext. I see this style most often in fanfic where you can meander and wax poetic about how the characters feel without ever really getting around to the plot. And it's like. DO something.

Other tells that the author is taking their cues from fanfic mores rather than books: >>too much minute description of eyes, especially their color and their movement >>doesn't leave much room for subtext (has a character speak their every thought aloud instead of letting the reader infer what they're thinking via action or implication) >>too much stage action ("X looked at Y. Y moved to push their seat in. X took a deep breath and stepped toward Y with a determined look on his face. 'We need to talk,' he said.") >>tells instead of shows, even when the example is about showing instead of telling ("he clenched his teeth in agony" instead of just "he clenched his teeth") >>has improper dialogue tag formatting, especially with putting full stops where there should be commas ("'Lol and lmao.' she said" instead of "'Lol and lmao,' she said." This one drives me up a wall) >>uses too many dialogue tags >>"em dashes, semi-colons and commas, my beloved" - I get the appeal but full stops are your friends. Too much alternate punctuation makes your writing seem stilted and choppy. >>"he's all tousled brown hair and hard muscle" and "she's all smiles and long legs." This turn of phrase is so cliche, it drives me up a wall. Find less trite ways of describing your characters pls. >>"X released a breath he didn't know he'd been holding" >>every fucking Hot Guy ever is described as lean and sinewy >>sobbing. why is everyone sobbing. some restraint, pls >>Tumblr in general tends to think a truism counts as good writing if you make the most melodramatic statement possible (bonus: if it's written in a faux-archaic way), garnish it with a hint of egotism, and toss in allusions to the Christian God, afterlife, or death. ("I will stare God in the face and walk backwards into hell," "What is a god to a nonbeliever?") It's indicative of emotional immaturity imo, that every emotional truth need be expressed That Intensely in order to resonate with people. >>pushes the "Oh." moment as the pinnacle of Romantic Epiphany >>Therapy Speak dialogue. why is this emotionally constipated forty-something man who drinks himself stupid every morning to escape gruesome war memories speaking about his trauma like a clinical psychologist >>"this well-established kuudere should Show More Emoshun. I want him to break down crying on his love interest's shoulder from all his repressed trauma" - I am begging u. stop >>"why don't the characters just talk to each other?" "why can't we have healthy relationships?" I don't know, maybe because fiction is not supposed to be a model for reality and perfect communication makes for boring drama?

>>improperly using actions as dialogue tags ("'Looks like we're going hunting,' he grinned") >>why is everyone muttering and murmuring. speak up >>too many adverbs, especially "weakly" and "shakily." use stronger verbs. ("trembled" instead of "shook weakly") >>too many epithets ("the younger man" or "the brunette detective") >>too many filter words ("he felt," "she thought," "I remembered")

>>no, Tumblr, first-person POV is not the devil; you're just using way too many filter words (see above) and not enough sentence variation to make it flow well enough. First-person POV is an actually pretty good POV (not just for unreliable and self-aware narrators) if you know what you're doing and a lot of fun crafting an engaging character voice. Tumblr's hatred of first-person baffles me, and all I can think is you would only hate it if your only frame of reference was, like, My Immortal. Have you tried reading A Book? First-person POV is just another tool in your toolbox, and like all tools, it can be used properly or improperly. But it's not inherently a marker of bad writing. The disdain surrounding it strikes me as about as sensical as making fun of the concept of characters. Oh, your work has characters in it? Ew, I automatically click off a fic if it has characters in it. like what.

[crushedcoffeecups]

rewatching Saiki K got me thinking again

what if his 'inner thoughts'/narration and commentary to the audience, were actually what he was saying to everyone else?

bear with me i swear i have a point

so we've established that Saiki doesn't speak out loud (aside from the couple exceptions, usually when he's caught off guard), he telepathically sends what he wants to say to whoever he wants to say it to, and creates the illusion that his mouth is moving. seems like more work than actually speak but whatever

i think this is quite often treated in headcanon and fanfic that he doesn't talk to anyone at all (obviously write and headcanon however you want to), but i always went under the assumption he does speak, just doesn't initiate conversation. there are definitely times where he's clearly speaking to someone, not just the audience, mainly when talking to his parents, but also definitely sometimes with friends too.

this then presents my headcanon, that whenever he has his witty commentary to the audience while another person is talking to him, he's talking to them too, and just doesn't care

it takes 'oh Saiki's a quiet kid who's secretly harbouring rage and annoyance at everyone around him' to 'Saiki is openly a jerk to everyone and talks about having powers a lot but they all just think he's joking and don't take notice of what he says'

which makes some of his lines a whole lot funnier if you consider he's deadpan saying it to their face

"are you a first grader?"

"wanna throw down, punk?" (one of my favourite lines)

"Girls are as plentiful as the stars in the sky, and equally as out of reach for you"

"so you're basically a fan blade now?"

"there's a harem cliche for you"

"wait... PURGE ME!"

"i know that butt."

"Are you a god?"

"I'd rather fall to my death than go on a date with you"

there's definitely more lines that refer to his powers and some funnier stuff, feel free to add on your favs!

[infernally-fond]

Orb of Infernal Envisioning - Unused Lines

I hadn't seen this mentioned prior - but there are some (to my knowledge) unused lines for the Orb of Infernal Envisioning in Helsik's shop for any interested.

Disclaimers, disclaimers -- if something doesn't make it into the final text of the published work, it's perfectly reasonable to ignore it for the sake of implications/theories that result from what is explicitly in the text/game itself.

This is just for fun. As is, you know, *all* of this. So.

If Raph's alive:

Narrator: *Your reflection looks back at you, smiling. As the skin burns and peels from its skull, the smile grows wider and wider and wider...*

Narrator: *The ball shows you a vision of yourself so lewd and blasphemous that your soul feels stained.*

Narrator: *Within the crystal, you see the devil Raphael sipping from a goblet of blood-red wine. He smiles as he catches your eye - can he see you?* [[the line we normally encounter]]

Narrator: *The image within the ball drifts through the corridors of an elegant house. Corpses hang from the walls.*

Narrator: *With the clarity of truth, you see an image of yourself laid out on a table like a suckling pig, ready for the carving.*

If you've been a Bad Client (TM):

Narrator: *You see the corridors of the House of Hope. Bloated flies buzz lazily around the corpses of imps and debtors.*

Narrator: *The ball replays the final moments of Raphael's life over and over and over and over...*

Narrator: *Within the ball you see Raphael, broken and bloody, dangling above the maw of the archdevil Mephistopheles who is preparing to devour him.* [[the line we normally encounter]]

Screenshot of the above:

I'm by no means a lore repository - no amount of hyperfixation can make digesting it en masse particularly easy for me. But! I'll tie my thoughts to this nonetheless.

First, we have our canon line: "...He smiles as he catches your eye - can he see you? *denotes: final phrase as incredulous and a little scared"

So we have the writers prompting us to at least entertain the idea that Raphael is placidly aware that you (or someone) is looking in on him - and he smiles! No big deal, favored client! Cheers to you, etc, etc. You're meant to be ill at ease here. I doubt any of us do - but, you're meant to. The average person would.

We'll block these out temporally because it was my first instinct to do so. :)

Past Events -

We have the play-by-play of Raphael's last moments. (GLaDOS voice: "You know, after you murdered me?")

To any player who would have seen this, this is real. Verifiable. The orb is showing you a true thing that happened, and you know because you were there. Doesn't get better than that.

Even if he doesn't ultimately die and there's some grand plot hitherto unseen, the beatdown replayed on the big screen is correct. You'd know if it wasn't.

Premise 1: The orb can show you accurately represented events.

Current 'Events' -

Example: Your reflection has a lab accident moment.

The use of reflection is critical to establish the point in time. You move to the left, it moves to the left. It's right now. And, right now, your skin seems to be melting off your face.

Unless there was an intended accompanied face-melted ending that would have accompanied this dropped line, this was written to be scary and provably false. Tav, touch your face. Exactly.

So:

Premise 2: The orb can show you grotesque illusions not bounded by fact.

Future Events

Ex 1: "*With the clarity of truth, you see an image of yourself laid out on a table like a suckling pig, ready for the carving."

'With the clarity of truth' is an obvious bid to double check any accusations of falsehood, and we're diligent enough to play along.

The only condition to checked to trigger this text is for Raphael to be alive -- regardless if you take his deal, go to his home, etc.

For all roads to lead to Player-Character-buffet seems unreasonable. Impossible, even. Unlawful. I'm calling a lawyer, hang on-

And so we hit a debate on how to interpret the sense of 'truth' you feel from the orb. I think this line reads best from the equivalence of failing some Wisdom check -- you are very sure it's true, but it's an Orb of Infernal Envisioning. Click again. You just saw your reflection melt.

So I think this is a lie.

So we expand Premise 2 a little.

Premise 2, v2: The orb can show you grotesque illusions not bounded by fact. This includes false visions of the future.

Ex. 2: The Blasphemy.

*The ball shows you a vision of yourself so lewd and blasphemous that your soul feels stained.*

Right.

So this has to be the future, because unless you are electing to do some very wild shit while looking into the orb, this is not the current situation.

There is a lot of vagueness here - but, I think that because it is so vague and any variety of Tav/Durge/Origin character can see it and have this response. This is a run-of-the-mill, customized vision of torment meant to get the desired reaction.

It's not about truth, it's not about warning. It's just the infernal variation of a jump scare.

If the content of the vision can be customizable in this fashion, it reveals something else - it's not a specific lie, a specific truth, or any quality of the content itself that 'matters' to the orb. No, what matters is the reaction. Your soul feels stained, doesn't matter how.

Varying Perspectives

Across these, we see the vision in the orb take the perspective of someone following/viewing Raphael (Wine-Snob-Hour, Looped-Death, Saturn-Moment), following/viewing you (Lab-Accident, Dead-Dove-Do-Not-Ohhh Yikes), some unanchored POV that isn't dead-phael ("You see the corridors of the House of Hope. Bloated flies buzz lazily around the corpses of imps and debtors.")

The visions mostly occur in the House of Hope; Cambion dinner is in Mephistar, your reflection is presumably in the Devil's Fee on the Material Plane.

We're not fixed to see any specific time, in any specific realm, to see any specific person. And we're not even guaranteed to see any specific degree of lie.

So what's the point of this fucking thing?

Provable fact is used one time across this set - the first thing we covered. You killed Raphael.

The only time the orb tells you the verifiable truth, it does so "over and over and over and over..."

Because it hurts you. Or, well, it's intended to.

That's it, that's the whole thing. The only time it evokes the (known) truth is when said truth torments you. Otherwise, it's scary what-ifs, cheap jump scares, and the corpses of imps and debtors you had a hand in creating.

All of this can be context to slightly reframe the vision of the moment before filicide with Mephistopheles. All of these visions are brief and so what one selects to provide details of is very revealing.

In this vision you're granted two adjectives:

You see Raphael, broken and bloody, about to die again.

If we stick to the expanded interpretation that the orb shows only what will get the desired reaction, this isn't narrative to resolve a loose thread. It's not closure. It's shown because the orb manifests what is expected to make you suffer - or at least take pause and sort of steep in the disquiet of the consequences for a moment.

Reaching waaaay across the narrative and very out of my lane for this post, so much of the tone in the HoH arc is campy humor, but I don't think this was meant to be.

The specific call out to watching him die 'over and over and over and over', to his 'broken and bloody' form is not flippant language. It's certainly not campy.

I think the tonal shift for this conclusion (while pretty jarring, I gotta admit) is meant to be pretty somber for Raph.

But many players have just bounced down the sequence of "lol he's a bottom" to "Haarlep said that's twice as long as-" to "omg he sings his own song" to victory and, then -- "wtf someone's eating him?"

It's an odd pivot. People have to be primed for sympathy, and I certainly didn't read the writing for the orb as intending to pull at something uncomfortable in the player post-HoH when put in context with the high-score-streak of chamberpot-humor. I can only back into that interpretation when looking at the full set of narration the orb was set to provide at some point.

Kinda wild.

[ode2rin]

home is where you are

pairing. itoshi sae x gn!reader

genre. fluff | a bit of comfort (?) | established relationship | soft!sae (._.) 

content/warnings. 1.4k+ wc | characters are aged up ! | maybe slightly ooc | mentions of sae’s vague past | heavy in narration! | minimal proofread

in which: in the absence of your presence, one silent night compelled itoshi sae to confront his old acquaintance: loneliness.

sae itoshi is no stranger to loneliness. 

years of living alone in spain at such a young age have shaped him into someone gravely familiar with being alone. 

within the confines of his once-called home, sae often found solace in the echoes of his own footsteps. the rooms remained hushed, interrupted only by the distant sounds of the bustling city outside his window. he would spend countless evenings sitting by himself, silently munching on his first meal of the day.

and in those silent hours, sae's thoughts of the past became the loudest.

sae's solitude in spain back then was a self-imposed choice, driven by his unwavering dedication to his craft. loneliness became an inevitable companion, an unintended consequence of his pursuit of greatness. 

after all, to be the greatest demanded sacrifices, and sae willingly paid the price.

he was consumed by an unrelenting passion for soccer, a hunger to prove himself on the grandest stage. but as he poured his heart into training, he unwittingly built walls around himself, protecting his fragile ambitions but also isolating himself from anyone who might see a glimpse of his struggles to chase a dream that he’s yet to learn that wasn’t made for him.

and sae knew he stopped being a kid the moment he stepped foot on that plane to spain. 

what he doesn’t know, however, is that his choices will translate to living with gaps as an adult of what was once lost in the name of chasing a goal.

but he’s been alone for more than half of his living years, so there should be no surprise in how sae got used to this. being alone inside a hotel room in an unfamiliar country, miles away from home — it's a lifestyle he has grown accustomed to. it was all he had ever known since then.

until you came along and filled every gap within him that shared familiarity with loneliness of a love so kind.

now, the familiarity of you and him is the only peace he's ever known.

suddenly, there's nowhere he'd rather be than basking in the depths of your gentle eyes as he lays beside you. trailing his fingers around your cheekbones as you sleep soundly, planting tender kisses on your shoulders while both of you lazily lounge in the living room, making you  your favorite drink as you share the details of your day — it’s a lifestyle he has grown to treasure. it’s all that he’ll ever want to spend his days with. 

and if he could, he’ll be chasing flights just to be with you. 

but he can’t, and that reality stings.

“sae?”

the sound of your voice breaks through the silence of his reminiscence, pulling sae's attention back to the present.

“sae, are you still there?”

“yeah, i’m still here,” he responds, eyes focused on the screen that connects you to him. 

he's supposed to be used to this kind of lifestyle, yet now he finds himself staring at your face on this stupid screen, wondering what he’d give just to be by your side right now.

“is there something wrong?”

you're everywhere but beside him, that's what's wrong. 

and it doesn’t help that being away from you resurrects the same feelings he experienced during his teenage years.

but in true sae itoshi’s nature, he’ll settle with just a few words to let you know how bad he’s longing to be with you.

“i just miss you,” he confessed.

taken aback by his candid admission, you halt your cleaning and settle onto the couch, eager to hear him better.

always so attentive. 

your small gestures never ceased to bewilder sae. how could you love him this gentle when every part of him is devoid of such?

“i’m here. aren’t i, love?”

fuck it all. everything be damned already because he’s booking that flight first thing tomorrow morning.

he needs to see you. he needs to hold you. and the earlier that is fulfilled, the sooner this familiar ache of loneliness will leave the pit of his stomach. he despised it.

sae detests how intimately acquainted he is with this sensation. why wouldn't he? it’s a constant reminder of a youth he lost.

he took a deep breath, drawing strength from the trust you had established between you. you had encouraged him to be vulnerable, assuring him that his emotions were safe in your hands. you would never wield them against him as weapons.

emotions. they never fared well with him. but for you, he would try.

“talk to me. i'm here, sae,” you implore, your voice carrying understanding — a lifeline amidst his relentless yearning.

you’re not here.  

“you're not…” here. his voice quivers, the vulnerability seeping through the cracks of his guarded façade. “at least, not close enough.”

sae was sure of it. 

sure of how four years of being alone in spain will never come close to the madness of being a month away from you.

your face softened, mirroring the tenderness in your heart as his words reached you. 

the depths of sae itoshi's longing were laid bare before you, and you cherished this vulnerable side of him that he rarely showed. the unspoken connection between you spoke volumes, as no one knew him quite like you did.

“i know... just a little bit more. just three more days, right?” you reassured, your voice laced with affection.

his response held a hint of hesitation, a glimpse into the impatience that simmered beneath the surface. sae wasn't simply counting down the days; he was counting every hour, every minute until he could hold you in his arms once again.

“i think so,” he replied, though there was a hint of something unsaid in his voice. and you were right to sense it. to sae, it’s no longer three more days. he will see you the day after tomorrow, pronto.

“i can't wait to see you, sae,” you whispered through the screen of your phone. 

“so do i.” madly so.

a day earlier than his supposed arrival, sae found himself standing before the familiar door of your shared apartment, a large suitcase in hand.

not wasting another second, sae stepped over the threshold, his eyes scanning the familiar space that had become a sanctuary for both of you. the soft glow of the living room lights, the scent of your favorite candle wafting through the air — it all enveloped him in a sense of belonging.

finally, you emerged from the depths of your shared bedroom, your eyes meeting his as he turned to face you. 

a surge of emotions welled up inside you, threatening to spill over. unable to contain yourself any longer, you threw yourself into his waiting embrace.

god, how he longed for this. your presence, your warmth, your very essence — it never fails to chase away the remnants of loneliness that had plagued him for far too long.

as you gradually released your grip on sae's neck, your gaze fixated upon his face. "you're back early," you whispered, your voice barely above a breath.

he remained silent, his eyes locked unwaveringly with yours. in that intense gaze, it felt as if he were immersing himself. 

and he was, for your eyes materialized a home sae never knew could exist in his world.

one that isn’t decided on where the next best game is. one that isn’t filled with echoes of his own footsteps. one that he doesn’t frequently find himself sitting alone.

but a home that stays.

out of all the places sae itoshi had been to, this was where he only belonged, where his heart found its only place.

because perhaps home isn't a four-cornered place at all, but rather just a pair of warm eyes greeting him by the door whenever he announces he’s home. 

“welcome home, sae,” you uttered, your words accompanied by a soft smile.

sae, who had grown accustomed to the bitter company of loneliness, once believed he had found contentment in its embrace. 

yet, as he felt the warmth of your presence pressed against him, he realized that he never truly understood what it meant to belong until this very moment. 

the weight of your touch and the tenderness in your eyes shattered the illusion of solitude, leaving him yearning for a future where he would never again be acquainted with the desolate emptiness of his past.

with you, there was no other path he wished to tread, except to revel in this profound happiness that resided in the curve of your lips and the light in your eyes.

he could only hope to never be familiar with solitude ever again.

“yeah,” he murmured, his lips meeting yours in a sweet, lingering kiss. breaking away with a contented sigh, he smiled against your lips and softly uttered, “i'm finally home.”

note. i wrote this while listening to if these sheets were states by atl hehe | i also rightfully blame user @saetorinrin for sending me sad sae thoughts that compelled me to *cough* comfort him | i’m sorry this is shit but pls take it | this is my first long (well it’s more than 500 wc T_T which i normally do for him) of him bec the one i originally planned is now collecting dust in my drafts &lt;3

[daisukitoo]

I am 15% of the way through Harrow the Ninth. There are no plot spoilers below.

"Second person, past tense" is a really weird choice for a novel's narration, and I will be disappointed if this does not pay off mightily.

Most pieces I see in second person POV are short stories. The goal is to establish intimacy and immediacy, and they are most commonly in the present tense. The notion is that the action is happening to you, right now, and you are finding out about it as you the reader go through the story. Occasionally you see such a story in the future tense, suggesting someone is prophesying to you.

Second person, past tense is someone telling you your own history. This is kind of weird. One assumes a Memento story with an amnesia premise, or similarly Merlin living backwards in time. The second person here raises the question of who is telling you the story. The past tense raise the question of why you need someone to tell you your own story.

That our protagonist is explicitly and demonstrably insane gives us a lot of "why," although the particular "why" depends on the "who." The most obvious "who" is that Harrow is telling herself her own story. We have already seen Harrow telling herself her own story within this story, so adding another layer of recursion seems obvious and later adding multiple seems fun.

But here we reach a fork that we cannot resolve this early in the book. Is Harrow in a moment of lucidity telling herself what she should already know? Is Harrow in a moment of insanity hallucinating a new history? Is Harrow just lying to herself because the ending of Gideon the Ninth was too painful?

Harrow the Ninth is sometimes described as gaslighting the reader about Gideon the Ninth. Someone is not telling the truth about something here. One character seems to have noticed, but it is hard to be sure when our narrator is unreliable and may be hallucinating and/or lying.

Gideon was a somewhat unreliable narrator not in the sense that she lied (except perhaps about her emotions, except perhaps mostly to herself) but in that she was not paying attention, like the meme post in circulation about a movie showing the start of World War I from the perspective of a pet pigeon. You can probably identify all the important plot points of Gideon the Ninth by how boring Gideon finds them.

Harrow is more classically unreliable. She has a skewed perspective, and within that perspective she hallucinates, and on top of those hallucinations she will deceive herself and others. This early in the book, we already have many examples of Harrow seeing things that aren't there. She tends to realize within a page or two that she is hallucinating. The big news at some point should be that those little hallucinations were within the context of a larger hallucination and/or lie.

And now I need to go finish the book so I can check my Tumblr notifications without worrying about spoilers in the notes.

[justletmeon12]

Things I Personally Want to See in Season 2

In no particular order:

Alastor learns what asexuality is and finds a way to be annoying about it

Episode actually focusing on Lucifer's mental state, or at least some scattered references to the idea that one touching song with his daughter wasn't enough to "fix" anything

Valentino dies

Pentious trying to fit into Heaven interspersed with bits about his life in Hell and/or before he died

Vaggie hanging out/bonding with characters other than Charlie

Valentino dies horribly onscreen

Entire episode recounted as an anecdote on Alastor's radio program - most of the show is the events with occasional witty narration and cuts back to the studio, mostly for his commentary but occasionally for silly jokes and off-air moments. We also get to see his lead-in, some pot-shots at the Vees, and how he handles it when a fly gets into the booth (violently).

Sera tries to assassinate Pentious, or at least cover up his presence in Heaven

Emily goes to Hell - not as in falling (maybe as in falling), but at least something showing her reacting to it, possibly with some kind of sinister reprise of "Welcome to Heaven" wherein everyone else is inured to things that terrify her

Angel brings up BDSM again and Charlie actually takes him seriously/challenges her assumptions about sex negativity

Vox explicitly has some kind of Alastor shrine or cork board or something, and he's secretly trying desperately to figure out what happened during the seven-year gap

Nifty dates someone

Rosie visits the hotel

Charlie tries to ban booze in the hotel, and Husk, Angel, and Alastor (mostly because he's amused and nostalgic) create a speakeasy in the basement

Valentino is brutally murdered by one of the main cast - ideally Lucifer, Alastor, Vaggie, or Husk

St. Peter turns out to have a more normal set of facial expressions when he's not at work

Alastor's mom is officially introduced

Lucifer and Lilith have it out and get seriously divorced

One of the new sinners at the hotel is a cannibal who learned about it from the battle preparations

The hotel gets attacked and Alastor and Lucifer argue about who gets to disembowel the attackers until Charlie has to step in and scare them off. Later, once they've worked out their differences a little, they keep doing the "after you" thing until the same thing happens.

Vox does something competent

Vox blurts out that he's in love with Alastor live on-air

Angel Dust establishes that he doesn't have a problem with sex work and is fine continuing to do it post-Valentino. He just doesn't want to be exploited.

Alastor tries to fix his microphone without his full powers and embarrasses himself

Velvette does something significant

Valentino dies