#the script was so cohesive

[ennaih]

Every Film I Watch In 2023:

185. Gulmohar (2023)

[beneathsilverstars]

been thinking about the differences between SASASAP and ISAT lately. because looking just at ISAT and the two hats ending, you'd think loop went through the exact same house as our siffrin, but looking at SASASAP, it's different. it's mixed up. it's obviously a condensed prototype.

but. that doesn't have to mean it's a different universe entirely.

maybe that's just what happens after a thousand loops.

the house warped in act 5. siffrin lost their shit and the house got changed and corrupted, far past its baseline king uncanniness. so it wouldn't be too out-of-the-question for it to be able to warp in more subtle ways as well, due to a more subtle breakdown.

like a jpeg uploaded and downloaded a thousand times, siffrin changed, and the loops changed. over a thousand loops of efficiency, the house got more efficient. rooms combining. items moving. data compressing. and of course, run in a changed house, the script changed as well. it did so slowly, one bit at a time, over a thousand loops of zoned-out half-listening – and by the time siffrin would have noticed each difference, they were already used to it. (and in the moments that they did look at a room that was less familiar than it should be and realize that they had no idea where to find the key, well. that's just classic siffrin, isn't it.)

through sheer repetition, siffrin was corrupted, and the loops and the house along with them. all purpose lost, all signals distorted, until finally they couldn't recognize the meaning in any of it. it was all noise and despair.

so they made a wish. and the loop restarted. not just a reboot, but something more complete.

the data was backed up onto a star – a guide, a warning, a reference – and the loops were factory reset. and for the first time in a thousand loops, siffrin woke up to a clear mind and the crisp sound of birdsong.

[arwenkenobi48]

Wish Upon A Star: Plot Breakdown (Wish Rewrite Project)

It starts out practically the same as the original, except Asha is telling the origin story of Rosas to Valentino, who is her familiar, as she’s already Magnifico’s apprentice. (Asha has the rare ability to talk to animals.)

Welcome To Rosas is sung from the citizens’ POV and is generally very upbeat, with them all singing the praises of Magnifico and Amaya. It becomes a little sad towards the end, as Asha gets her own verse about how she feels like her magical powers make her an outcast and even though she has the privilege of being Magnifico’s successor, she still longs to fit in with everyone else.

Magnifico is introduced, rushing about and getting everything ready for the ceremony, with a number of well-meaning but clumsy servants providing a little comic relief.

When Amaya is introduced, along with her pet Sphinx cat (haven’t thought of a name for him yet), she’s shown to be a vain and jealous woman, envious of all the positive attention her husband receives from the kingdom. She always pretends to be innocent whenever Magnifico or Asha is around, although Valentino can sense something off about her, frequently getting into scuffles with the cat. (Haven’t figured out what sort of animal familiar Magnifico will have yet.)

Asha is incredibly excited, as this is the first time she’ll be partaking in the wish-granting ceremony. Magnifico also lets her see the wishes for the very first time, reminding her that she’ll soon be responsible for all of them.

Much like in the original, Asha and Magnifico argue about their different viewpoints on granting all of the wishes vs only granting some of them.

Asha, in an act of defiance, decides to grant a wish that Magnifico didn’t approve of at the ceremony and it predictably ends in disaster. Asha feels deeply ashamed of what she’s done and the fact that she let down her mentor and her future kingdom.

She runs away in the middle of the night, with Valentino by her side. Singing This Wish, Asha looks up at the stars, recalling the days when she was younger, when Magnifico used to tell her all sorts of wonderful stories about them and the ancient magic they hold. She basically prays for guidance, for someone to understand her and to help make amends.

In a blaze of light, a star descends from the sky. The people of Rosas are amazed and excited. Magnifico, on the other hand, is terrified of the blinding light, as it triggers a flashback to when his home was destroyed. Even in such a vulnerable state, he still worries about Asha.

Asha finds herself face to face with a handsome young man with bright eyes and glowing golden hair. They’re both fascinated by one another and when Asha asks him who he is, he explains that he’s a star. Both Asha and Star are, well, starstruck, even more so when Asha finds out that Star can understand Valentino. She thought she was the only one and as they travel through the forest, Asha feels comforted, knowing that she’s not alone.

Meanwhile, Queen Amaya is secretly delighting in all the chaos that’s been happening. She sees this as the perfect opportunity to steal the limelight from both Magnifico and Asha. She conspires to essentially poison Magnifico against his apprentice, wanting all his attention to be on her and nobody else, even though it’s already been established that Magnifico loves her deeply and hasn’t been neglecting her at all.

Amaya’s evil monologue is interrupted by Magnifico, who confides in her about how worried he is and how he feels like he’s losing control of the situation. “I can’t find an answer in any of my books!” “Well, there is one you haven’t tried…yet.” Amaya refers to the grimoire. Magnifico is horrified at the prospect of using it, but Amaya just laughs it off as a joke, pretending that she’d never consider using it. Magnifico decides to take his best knights with him to the forest to find out what’s going on and bring Asha home.

Meanwhile, in the forest. Asha and Star are learning more about one another, with Star being incredibly curious about the human world in the same way that Ariel is in The Little Mermaid. When Asha speaks so highly of Rosas, Star wants to travel to the kingdom and see it for himself, but Asha sadly explains how she messed things up at the ceremony and how she feels like she can’t go back. Star comforts her and assures her that everyone makes mistakes and the important thing is that she learned from it. They dance around the forest and sing At All Costs. Their magic combines and spreads throughout the forest, making everything beautifully vibrant and colourful and giving humans and animals the ability to understand each other.

Magnifico and his knights come across the beams of magic and are initially frightened, with Magnifico trying not to panic, but the talking animals assure him that they won’t hurt him. They can tell he’s got a lot weighing on his mind and sing I’m A Star to cheer him up. Magnifico calms down and feels safe, realising that he doesn’t need to be afraid of something he doesn’t understand.

Meanwhile, back at Rosas, trouble is stirring. Queen Amaya, after going through her villainous plan with her cat and Dahlia (who has been her long-suffering maid for most of the story) in the form of This Is The Thanks I Get?, has decided to address the people and is using the dark magic from her grimoire to corrupt the citizens, turning them against Magnifico and Asha.

Admittedly I got a bit stuck here, but essentially Magnifico is forced to return to Rosas, only to find the people up in arms and determined to dethrone him. He turns to Amaya for help and she lies to him, telling him that Asha was the cause of the anarchy, that the people never loved or trusted him. When he asks her if she does, the evil queen simply laughs in his face, breaking his heart. Magnifico tries to stand his ground, but Amaya targets all of his insecurities, including the fact that he never had his wish granted (his wish for a child). Magnifico falls into despair and Amaya has him possessed by the grimoire.

Asha, Star and Valentino return to Rosas, determined to set things right, only to be greeted with a sight of ruin and despair. Dahlia, who has managed to sneak away from Amaya, hides the trio in a secret room, where she explains what’s happening and they all resolve to save Magnifico and the citizens from Amaya, while singing Knowing What I Know Now.

Dahlia briefly mentions that the evil spell Magnifico’s trapped in can only be broken by true love. At first, all seems to be lost, but then Asha realises something; it doesn’t have to be romantics love that breaks the spell. It can be familial love, too. She basically has an epiphany, realising that not only is Magnifico the father she always needed, but that she’s also basically his daughter. In other words, his wish was granted without him even realising it. This revelation gives her and her companions a new burst of courage.

Star uses his shapeshifting abilities to confuse/distract the castle guards as the heroes try to locate Magnifico and Amaya. They are unfortunately captured and taken to the tower, where the final battle takes place.

The possessed Magnifico attacks Asha, who fends him off with Star’s help and tries to get through to him. Amaya traps Star inside the mirror-topped magic staff. Just when all seems to be lost, Asha sings a reprise of This Wish, as she explains to Magnifico that his wish was granted. Amaya’s arrogance crumbles as she sees the spell weakening. Magnifico breaks free from Amaya’s control, Star is released from the mirror and Amaya is pulled into it, vanishing forever.

The people of Rosas are freed and everyone rejoices. Magnifico and Asha reconcile, admitting they were wrong and accepting that they’ve both still got a lot to learn from one another. Asha and Star embrace, while Magnifico has a proud dad moment.

At the very end, Star is asked what he could possibly wish for and he replies that he wishes to be human. He’d rather spend a finite life with Asha than be immortal and alone. Magnifico grants Star’s wish, then passes the mantle of Wish Granter to Asha. Star and Asha kiss and Magnifico concludes the narration that opened the film, saying: “And we all lived happily, ever after.”

[emi1y]

and one thing i always always wonder about people who write shitty fanfiction is how can you be so obsessed with something that you want to write about the characters making out and yet somehow not obsessed enough to realistically emulate any of the characters voices. what are you doing while you're watching the source material? how did you manage to not internalize ANY of it? how is it satisfying to write something that doesn't sound anything like the characters you're writing for? DIDN'T YOU PAY ATTENTION WHEN YOU WERE LEARNING CRITICAL ANALYSIS IN HIGH SCHOOL??? btw i hate letting people enjoy things

[doesnotloveyou]

dj, ily but why do none of your movies make sense??

[baronessofmischief]

From a storytelling standpoint, I think the animated Tarzan movie is technically perfect.

One of my favorite things they do seamlessly is set up Tarzan’s ability to mimic sounds (which is how he can reasonably communicate with the animals, which in turn sets up how quickly he’s able to pick up on human speech and understanding/communication), in addition to showing us he can imitate the sound of a gunshot.

At the beginning Jane sort of offhandedly says he associates the actual sound of a gunshot with the word ‘Clayton,’ but we can see how he comes to recognize that Clayton is the one responsible for that sound, and he comes to understand that that sound means danger, justly equating Clayton with said danger. It means the audience gets the environmental storytelling of hearing the gunshot -> knowing Clayton is responsible -> knowing something is wrong, simply by the sound. We as the audience know guns are dangerous, but because Tarzan is the audience’s proxy for understanding in the story, it’s almost new for us to feel the weight in the pit of our stomach realizing when Tarzan does at the end that something is very, very wrong when it’s heard far off into the jungle. Environmental storytelling is often more effective at evoking those feelings and giving exposition; it’s the epitome of “show, don’t tell.”

It comes to a head during the climax when he has the gun pointed at Clayton, who taunts him with “Go ahead. Be a man.” And Clayton laughs because he doesn’t think Tarzan could pull the trigger.

And then we hear the sound of a gunshot.

It’s Tarzan mimicking the sound (and metaphorically, showing how he could mimic the action). It tells Clayton (and the audience) that Tarzan very well could have pulled the trigger if he chose to. Tarzan is not incapable of killing— He killed Sabor in the beginning, and gorillas aren’t the only sentient creatures in the jungle.

Immediately after he intimidates Clayton, he destroys the gun and declares “Not a man like you.” The biggest overarching theme of the movie is the question “What does it mean to be a man?” It’s not just the idea of man in the masculine sense, but it’s the question what does it mean to be human?

It’s the fact Tarzan didn’t kill Clayton that shows us he IS human, capable of restraint, compassion, and mercy; it’s that which makes him different than a mindless animal AND different than the man who kills without regard to the life he’s taking.

[eryanlainfa]

What do you MEAN I have to put time and effort on drawing fanart of my own AUs and OCs? Isn't making up the lore more than enough already ??? 😩

[circus-clown-calvary]

Omg so I’m re watching the tangled movie to help me write my mockingjay tangled Au (which iv already started and I’m done with the first little chunk of the prologue eeeeeee) and honestly I’m really excited to write the chase scene between Flynn and Max with Chip and Gill! Especially because it’ll be partially on water so it’s just Chip in a little dingy/row boat and full just plowing through the water.

Also I may or may not be adding an extra mini chapter (or just making one of the chapters extra long) [which makes sense since it’s the climax of the main story both in the movie and in the fic] focusing on Ava and her story because I genuinely like the ideas for her and I think it could really add to the world building and character arcs for both her and Jay if the readers can see what happens to her

[shioaoi]

Rundown of the more interesting parts from the Necrits live stream with Christian Linke (Creative Director and Co-Creator of Arcane) :

There was a longer version of the Caitvi sex scene but they got bonked by the ratings people, and because it would have raised Leagues rating to mature, it got brought down to what we got.

The entire Caitvi sex scene was directed and animated by Fortiche with zero input by Riot. Christian says, "That was French people being French."

Riot making Arcane canon didn't change where they were taking characters or the story, it just made them more aware of how it would affect other Riot projects.

Christian refused to confirm exactly when the events of Arcane take place in the existing timeline.

The Arcane doesn't originate from Hextech. It is just one - in universe - interpretation of magic.

Christian doesn't view Viktor and Jayce's love as romantic, and that romance wasn't the intention when writing their relationship. However, by the way he talks, it doesn't seem he's against people shipping them romantically - just as a creative team, they were more interested in exploring a close, complex male friendship / brotherhood.

The 250-million dollar show budget number is not accurate as marketing is included in that fund. Fortiche's goal from the beginning was to bring the level of animation found in feature animated films to serialised content. While the show was very expensive for an animated series, it was way cheaper than an animated feature film because they try and work efficiently. As an example, Christian says how often in Hollywood, it's not uncommon for sometimes 40-50% of what is animated to end up on the cutting room floor while with Fortiche they try and keep it around 5%

Ekko's hair was changed from a mohawk to dreads because the artist who worked on him told them that black hair doesn't work like that (in reference to the mohwak), and here's how it would actually work.

Legends of Runterra affected Arcane in terms of giving the team inspiration for how the everyday street life is for people in the regions.

Caitlyn's LOR Tactical design (2021) and Warwicks VGU Voicelines (2017) were made to reflect what was going to happen in Arcane - production of Arcane just took a long amount of time.

They've said from the beginning that the only person who could ever defeat Viktor at the height of his power was Viktor himself. His story is about the glorious evolution, the pursuit of that, and what it actually means to remove these human elements until there is nothing left.

All projects Riot is working on - whether the MMO, Games, Written or Animated projects - are in talks with one another at all times.

Christian comments on how very few games have remain in service as long as League has, and because of its ever growing and evolving story, it's hard to bring everything together cohesively since everything was made at different times, in different era's, by a multitude of different people. So, while many things may be very cool creatively, it makes it impossible to successfully bring it all together more often than not. So for new projects, they are more focused on making something good and successful with the team and talent they have, even if it retcons or replaces content made in the past.

Christian pitched singing Heimerdinger.

Arcane's scripts for S2 were locked in before S1 was released, so they were not impacted by fandoms or online reactions. Christian thinks maybe some animation choices were influenced by things the animators saw online, but not the story.

When watching the premier of the final arcane episodes in LA - the entire 4000 seat theatre cheered when Maddie died.

The butterfly motif shared between Jayce and Viktor specifically was used to represent transformation.

Christian talked about how they don't think about really whether people will like something or not, but whether it's the right consequence for the story (this is in discussion to Caitlyn losing an eye). What makes a character likeable to an audience in his eyes is their decisions in the story; the choices that they make.

Continuing on from this, he comments on how the choices Caitlyn makes now are so different now compared to the beginning of the show. She is now willing to take risks and sacrifice parts of herself for people, for Piltover and for what is right.

When asked about Caitlyn's signature hat, Christian says that the team saw it as somthing that didn't really fit this version of Caitlyn they were writing and the person she becomes and that's why it was never incorporated into her designs.

Back in the beginning, when they were first working on Arcane, Christian would constantly going back to Jinx and Vi's original design artists & Riot August who was their champion designer to make sure they weren't messing anything up with these characters.

Christian goes on to tell an anecdote of when Paul 'Zeronis' Kwon was drawing the first concepts for Vi. This was back when Christian was in music. She didn't have a name at the time, but when Christian looked over Paul's shoulder at the art, he comments "she kinda looks like a Violet to me." They never spoke about it, but months later, when she became a serious character concept internally, she was gifted the name Vi. To this day, Christian doesn't know if his comment resulted in her name or if it was just a coincidence, but Violet became stuck in Christian's brain as Vi's true name. Riot August (who was in chat) then confirms that her name came from her tattoo, which came from one of her key design elements, being that she had the number 6 on her face. So, just a happy coincidence.

Talking about the tattoo. The tattoo was shrunken in size so, from a distance, it would look more like a beauty mark and the brain can more easily disregard it. One of the many things that they had to think about when translating the designs over as, is animation, you would be looking at a characters face a lot more than you do in league where the camera is situated top down.

As they were wrapping up the stream, Christian talks about how there always needs to be a bit of space between what content creators / content consumers do (pointing at Necrit) and what Riot does. He thinks it's good that there is space for criticism and a critical view of the things Riot does. In order to succeed, he believes they need to listen to their audience but also that they need to have their own vision, take risks, and be bold. It's a delicate balance in his eyes, and projects tend to fail when these two sides are too in cahoots.

He iterates that they are not trying to shove anything down anyone's throats. They are just trying to find what makes these characters cool, tell their stories, and be true to the regions they come from. With taking the characters from League to Arcane, it was important that they translate these stories and characters so they can hold up with the best storytelling in the world.

This circles back to the earlier point about retconning things and replacing past stories and content. He comments on how some characters are very outdated or too archetypal, but they still have an essence that people love about them.

Arcane was something Christian worked on for 9 years, and he was getting clearly emotional near the end. He also adds they're just getting started and he wants to make sure they do a good job with this IP and the characters we really love.

To those who are not happy with certain decisions, he's sorry they didn't hit what you personally wanted, but there is simply no way they can please everybody. While they are trying to make as many of the Riot / Arcane audience happy, they as the creators and artists need to follow their own compass, be the shepherds of this IP; that being creative is hard. They will keep doing that even if they sometimes have to ruffle some feathers.

He closes the stream by confirming that they are investing quite a bit in Noxas, Ionia, and Demacia for the next regions they explore.

[spoolesofthread]

i think people should be. less weird about actual play shows. and also some of them should put more thought into their own home games

[fxrheisenn]

Andrus Laansalu talked about making Disco Elysium at EKA (Estonian Academy of Arts)

"Initially, the church wasn't a focal point. There were certain characters that needed to visit this location, and I asked, "Seriously, what do we have in our church?" The others replied, "Nothing at all. Our church is completely bare—just a wheel, really. It's quite basic."

That's when I decided to unleash my creativity in the design. For example, they chose to install a glass structure at the top of the church to create a reflective surface. It was like placing an optical clock up there. Therefore, one of the most crucial aspects of designing the church was ensuring the lighting was just right to create the desired atmosphere."

"Let me show you an example of Baroque architecture, which is rich in detail. We're also designing the interior of the church based on large cathedrals. However, the foundation you use might not yield the expected results, because the church itself doesn't require such intricate details. Sometimes, it's about simplifying the design."

"I used Articy for the initial scriptwriting of Disco Elysium. The image only represents a tiny fraction of the text and choice variables involved. This system was also the reason I eventually abandoned the project after a year of outlining the script and shifted my focus to becoming a sound designer. My mind struggled to keep up with the dynamic graphic rules, but fortunately, a more talented writer took over afterward."

"In terms of sound design, it's essential to develop different layers to bring out the charm of the church as a cohesive space. Although this represents only a small portion of the overall design, each layer actually requires a significant amount of time to compose the whole....... Whenever there's a shift or a change due to the dialogue itself, you need to adjust the background sounds. Each time you modify the details in the dialogue, I have to refine the background audio, ensuring that these elements build upon each other like an intricate layer of work."

"It's funny how many scenes involve characters getting smacked in the face. My job was to recreate those, so I locked myself in the bathroom with a recorder and hit my forehead until it turned red.

As a sound designer, I really dig those unsettling, drill-like sounds. So, I mixed in creepy lectures, metal scraping, moans, and cries of pain—because I just love that stuff! (laughs)

Players will be moving through all kinds of areas, so it's super important to make the sound transitions feel natural, trying to create a more immersive vibe in certain spaces.

With all the scenes featuring big cranes, you can hear them from far away, and I wanted to capture that eerie ringing in your ears. That's going to be a thing throughout most of the game. I've found ways to really mess with players while they're playing!"

"I've come across a lot of old objects (like phones and radios) that I needed to perfectly replicate the sounds. I started to become a bit of a hoarder, buying up different models of old phones whenever I found one to add to my collection. The sound effects I can simulate from them are really impressive."

"Some of the devices don't actually exist in real life—just a mix of architecture and tech. When I need to create sound effects, I first look for something similar that exists in our world, then I try to simulate what the sound and appearance of that thing might have been like a century ago.

Towards the end of the game, there's a character carrying a fuel canister. We needed the sound of the canister, so we dug one up from our garage—it had been sitting there since it was five! I realized this would make the sound perfect. So, it had been there for 50 years, and after 40 years, it finally found its purpose.

In some places, I needed unique sound waves, and recreating them was a real headache until one day I happened to walk by a swimming pool and stumbled upon an old wartime torpedo. You can rotate the torpedo's probe, and it slowly rises up, like a proud zombie head. The sounds it made were exactly what I needed!"

🙋How did you manage to get funding?

"Well, since we're in Estonia, you just need to know a wealthy person. You don't need five people—just two who can network, hang out together, and convince them to keep investing! (laughs) Back then, we constantly ran out of money and would tell them, 'Oops, looks like we spent it all! Can you invest a bit more?' That's how we made it through!"

🙋How did you all come together to make the game?

"Luck. It usually doesn't happen this way, and that's the key difference. It has to be. If not, you couldn't create a game of this scale - well, I mean in terms of budget. But creatively, Estonia definitely has writers and artists who can pull it off. With such a small population, there are a lot of quirky folks who are good friends. We were really lucky, though - lots of fortunate circumstances came together. It brought the right people together, allowing those talented fools to collaborate with us. They had experience but hadn't tackled projects of this magnitude before. So yeah, luck is pretty important!"

Lecture experience shared by 白兔YIYANG SUN on 小红书, reposted & translated by me with her permission.

[mekatrio]

cleaning my computer and god the number of apps i have installed for autism

[cq-studios]

Got possessed by some demons and made graphics based on two of the image IDs from this chapter

(Combination of digital art and some pictures of tables in my house)

'It is impossible to truly understand Keyblade wielders without understanding the world that birthed them—and so, we must begin with a time long before they were even a concept.'

[spurbleu]

lassitude ✩︎‧︎⁎︎

[ken sato x afab reader]

S. the first time you are vulnerable with Ken Sato, you are half asleep. and for the first time, he is willing.

warnings: none, split pov

a/n: sorry for my lengthy absence, it got extremely busy for me lmao. i dont really like this- but i feel like i cant do much to make it better so here it is

word count: 1.7k

࿓༚︎︎‧⁎︎✳︎⁎︎‧︎༚︎࿓︎

The mumble of the morning stirred you from the pockets of your mattress. It was barely noticeable- the shift of the comforter- cool early air pooling between the hairs on your arm. The faint creak of the floorboards, (never good at keeping secrets) the spruce mumbling an Irish goodbye.

It would be a lie to say you didn’t see it coming. The sight of him.

Skin relearning to stretch over shoulder blades, peeking through your lashes in familiar foresight. The way his hands searched for his clothes through the birth of daylight- its first breaths placid against the bedsheets.

It all felt too beautiful- the apathy. Buried in lithe, lifeless blankets rather than the rhythm of his pulse, the plush of his embrace. The sudden emptiness of morning’s coffin, quilt seams ripped by the assumption that a goodbye wasn’t necessary.

Ironic- for how lonely the man seemed to be, he looked lethargic in the act of leaving. Near comfortable as he dressed, relief from the reclusive slump of his posture breaching a harsh breath that left the gaps of his teeth.

You were more awake now- enough to question why you cared.

He made it easy- cleaned up half the mess, took the other half out the door. And when it was time to ruin it again, he did it with kindness- gentleness in his absence. There was nothing you should’ve resented- he was doing you a favor. But you found yourself hating it more.

You knew it wasn’t a superiority complex- you were near equals as you slept next to each other. It wasn’t that he didn’t like you, because you knew within the next 12 hours, he’d be back again, pale in the face of his own affair.

Confounding. The principle that if he knew he was going to come back, why leave at all?

It struck you then- the putrid smell of your own confusion. The anger you held in the bed of your heart, fueled by the weak and needy creature of your own vulnerability. Its chubby hands wringing the veins that curled around your ribs. It spoke for you.

“Ken.”

It was weaker than you thought it would be- no louder than a whisper. At first, I didn’t even sound like his name- only a pathetic mumble that spelled out his silhouette. It became a bit more tangible, louder, when he turned to face you.

“Good morning.”

He slung his bag over the dip of his shoulder, dressed in the clothes from last night. They were wrinkled now, creased in the same shape as your bed, your floor, your home. It was hauntingly poetic- how he seemed to carry you with him in the quietest of ways.

A crease formed under the base of his lips- a smile. Still dry in early hours- complimenting the tanned sections of his jaw- spring kisses breaking the occasional sallow of his face. It was small, but under the shadow of his tousled hair, it looked near blinding.

(But that was Ken for you, wasn’t it? Blinding. Bright in the ways that make the air in your nose cold- fresh. Humane.)

“…Do you…need something?”

Fuck.

You should’ve followed the script. Typewriter font, black indifference, pretending to be asleep when he crept out the door. Feigning casual when reading the ‘text later’ note he’d leave on the counter of your kitchen, next to a day old, crushed protein bar (although, it would always be your favorite flavor).

But instead, you sat curled into the headboard of your bed, sheets protecting your fluttering gut as sleep fogged the more cohesive thoughts. It peeled back, though, the sensitive ones.

You wanted him to stay.

Although it felt like the first time you had admitted it to yourself, you found the blemish of your confession everywhere.

The pucker of your carpet beneath his socks. The indent on the left of your mattress- matching the round of his shoulder. The cool breath that escaped your lungs- collapsing against the rim of your heart.

And in the brevity of nerve, the one that spoke his name with so little foundation before, you answered him.

“Stay.”

࿓༚︎︎‧⁎︎✳︎⁎︎‧︎༚︎࿓︎

It’s the tilt in your voice that curves under his adam’s apple in a slow gulp- dry. The softer tones blooming under your tongue, coloring your bottom lip in a nude pink- stainless and genuine. Your lash line drooping into a word that looked foreign to the valley of your cheekbones.

Please.

He mirrored you. The slow breath that hollowed ribs, the sharper edges of his shoulders bending to the will of your own. Even his smile began to falter into the same wary, desperate line that creased the corners of your cheeks.

The effortless effect you had on him.

He knew it was happening, somewhere in the canyon of his bone. Mind disconnected from the marrow, as the better parts of him seemed to reflect every vice of yours. Although it was maddening, conscious clawing at the cushion of his skull, he had learned to embrace it.

Held it as he cradled you- bow of your spine splitting his chest in two- revealing the plusher parts of him, affection safely shadowed by the midnight and your snore. (He’d never admit it to you, but he sleeps better in your bed than he does his own. Although Mina suggests it’s about the company rather than the mattress).

Similar to your aftertaste, he was familiar with your vulnerability- a lot worse at hiding it than you might think.

The haphazard stack of protein bar wrappers in the trash (ashamed to say he counted, once. You’ve eaten every single one he’s given you). The grip on his sweatshirt when you pull him through your door- flushed fingertips eager on the cool metal of its zipper. Even while you sleep your body betrays, burrowing yourself into him as if somehow, you’ll leave a mark (equally ashamed, but just a bit more hopeful, he wants you to).

Selfishly, he loved it. How much you made him feel wanted- needed, even. How the cage of your chest opened for him, his nails the shape of a key as he dug into the softer parts of you. Grime dyeing cuticles red, and he’s convinced that if he asked to crawl within you, you’d let him.

Reluctantly, if so. Looking away, pink on your cheeks, spurred by the flash of his teeth. Unwilling to admit he had asked you before you could have offered.

A begrudging devotion.

He swallowed it, syrup sweet against the cast of his teeth.

“You want me to…stay?”

He let his bag drop to the floor, relishing that as he took a step closer, knees to the bed, the center of your throat bobbed. Contrast to your bold request, a shyness in the creases under your eyes and mouth. It reeked of yearning, and made an illness bloom on Ken’s tonsils.

You nodded slowly as he came to lay next to you. If he listened more closely and focused less on the cross of your arms, he would have heard your heart pulsing a morse that sounded dangerously, sweetly, like his name.

“Yes.”

“Why?” Classical, predictable, the way his smirk warmed the edges of his lips.

“Because you never do…” anxious- eyes searching excuses for the lack of a real answer- “…and the protein bars are getting old.”

A genuine laugh furrowed the flesh beneath his collar bone, morning voice still breaking from the aridity of unuse. “What if I left an apple this time?”

You leaned into his chest, pulling the covers to your shoulder. God, did you look good like this. Tucked into him, a little wanting, a little kind. “You’re so boring. If you’re going to leave, at least give me something good.”

Ken placed a hand to his wounded heart. “Boring? Since when is your favorite flavor of healthy boring?”

You sank back onto the mattress, and he followed you, now facing you with his hands folded under his cheek, squishing his dopey smile. Although he didn’t know it- he looked beyond childish- silly in all respects. But that’s what you liked about him, wasn’t it?

“Since the last 200 times.” You exaggerated, imitating him as you leaned on your own hands.

He searched you- not dissimilar to the way he accesses another player. The gate of their shoulder, the click of their jaw- or that slight competitive crinkle that tugged the corners of their lashes- angered by his run before he even hit the ball.

Being in the sport for so long, he had become accustomed to observing others- even from afar. Off the field, he’d find himself looking between the normalcy of strangers under the dark tint of his sunglasses. Envious- to live in blissful ignorance at their own open, bleeding hand.

He supposed that’s why he liked you. Equally as guilty of your own susceptibility- heart on your wrist. But goodness- even this close to you, he couldn’t read the glass over your eyes. As if you were those paintings behind velvet ropes- details clear from a distance, but fogged when you stand too close. Imperfections visible- but never telling.

(did Michelangelo find the Sistine Chapel just as beautiful from the floor as he did from his ladder?)

He hummed, a hand coming to trace the spring freckles that appeared on the plain of your cheek. His heart purred as he watched it bloom, every circle he drew spurring ripples of pink. He was so charmed- to see exactly what he did to you- so closely.

“Alright,” his hand drifted to the strands of hair that covered your ears, tucking it to see just a little more of your blush, “no more protein bars.”

You sighed against his face- and for a moment he was reminded how he had been there- on your lips. The stench of his own fervor- honey sweet between the cracks of its clay.

“Thank god- I was really getting sick of them.”

In his arms, you both dipped into a lullaby of silence, the sunrise cradling the fragile parts of your embrace. Those pockets of insecurity- the questions of why you asked for him to stay, and why he did. The looming assumption that this made you more than what you had been before- made you something, made it different.

You could have spent hours there, steeping in the change- elementary kids too scared to admit they ‘like-liked’ each other. Instead, you both fell asleep again.

࿓༚︎︎‧⁎︎✳︎⁎︎‧︎༚︎࿓︎

When you awoke- you were alone.

Once you slipped out of bed, it was well past 11. Your light feet and sweltering head brought you to the kitchen counter- where you found a plate of eggs, toast, coffee, and a note.

----

Home Soon.

-Ken

ps. hope this is better than the protein bars.

[can-i-use-wisky-please]

As someone who became absolutely obsessed with parkciv and felt inclined to explore Evbo's other content, I feel like it needs to be properly mentioned just how crazy his storytelling skills are.

Getting into Parkciv you'd think its just the most cliche Youtube bait trash for like Gen Alpha but then you watch a clip of it and it's really addicting but not in a brain-rotting way, instead it's more of like a getting-into-a-series way. So what I mean about this is that the story is all cohesive and perfectly simple while the execution is perfectly adapted to the media used which is Minecraft RP cut into shorts.

Staring with Parkciv's story specifically, I think that the premise is so perfectly simple and authetic to the style of a Minecraft Youtuber. I mean when you think about the 3 things players can get good at in Minecraft its obviously gonna be: pvp, parkour, or builds. Anything else I feel is just like a subset of those 3. Conceptualizing a series based on parkour and a what-if style of plot is such a clean formula for a hit MC series. Now for autheticity, I have to get into what I realized about Evbo as a content creator. Bcause as I was like getting into his channel, I noticed that he kind of just sticks to what he's more familiar with about Minecraft, and Youtube, and all that. It's very pure. His style of content reminds me of the golden days of Minecraft and personally, very refreshing. Now because of this, he can turn like ridiculous premises into incredible stories that just unfold so naturally while having enough passion to back up these stories and provide layers to them.

Now that I mentioned the natural progression of his stories I have to say that his execution definitley help these ridiculous plots to not become so over saturated. Just for context, I watched a video analysis on Techno's style of content and how he became so viral from it and one of the reasons is due to his like chill tone and demeanor and I think Evbo has like this perfect balance of chillness and Youtuber-content-creator attitude. I mean he's narrating the entirety of Parkciv, he can't be irritating to the audience so he puts on this content creator "accent" but excludes the over the top scream and jokes and has this straight forward, natural script with naturally timed, genuinley funny jokes. All his decisions to the story of Parkciv is so intentional and made with the utmost respect to the story. What I mean by this is his decisions are for the sake of the story, nothing is done to like farm clout, or audiences, or anything else like that.

TLDR; just a long way of saying Evbo is a great story teller and I hope he keeps up this passion for making genuine MC stories and does not become problematic.

P.s. idk why PVPciv is getting so much hate bcs its so enjoyable and I kind of like how it's the antithesis to Parkciv.

[directdogman]

Dogman, how do you write SO WELL!?!? I love all your characters and I need to know what/where you find inspo from...

Ha. Every writer is just someone who apes the creative processes of their inspirations. For video game writing specifically, there's two answers for me.

Toby Fox is always gonna be a huge inspiration for me. I've written plots and characters before and had to abandon ideas after realizing I'd accidentally written part of UT again. Even some of the ideas I used were undeniably inspired by UT in a subconscious way and ofc, I included several explicit references to UT in my last series. Toby's a very clever guy who likely pays very close attention to the art he consumes and tries to figure out how to maximize how much his work connects with his audience. Whatever his process is, it works.

The other answer is a lil funnier: Scott Cawthon, but specifically the legend, not the man. For context: Back in the earlier days of the FNaF fandom, people had a hyper-inflated view of Scott Cawthon's writing skills that largely came from how little of a presence he had back in those days. In the vacuum of Scott actually explaining his own process in detail, people got caught up in his genuinely creative way of hiding exposition in his games using cryptid and (then) unexpected methods, and a narrative formed (one that he's since refuted.)

While he never implied it tmk, fans broadly believed that he constructed these sweeping and complex narratives with tons of cohesive moving parts, with the games essentially acting like the mere tip of his lore iceberg. People even thought he wrote so much that he had whole games worth of lore outlined from the beginning! In the first Dawko interview he gave, he clarified that this wasn't the case and explained roughly what his process was (basically just outlining rough theme ideas + aesthetics for future titles.)

However, that legend made younger-me's mind run wild and any time I wrote a story, it became very difficult for me to not keep writing down ideas while completing the grunt work that followed me finishing my scripts. When I finished DSaF 1, I already had DSaF 2's draft written and by the time 2 was done, I had enough lore for a 3rd game on paper (and a lot more stuff that I didn't use.) By the time three was out, I had pages upon pages of unused concepts/story ideas and more or less just had to decide to call it quits or else I'd be pumping out entries forever!

That's why if you go back to those older games, there's references that directly refer to future plot-points in pretty casual/easy to miss ways. (Like Henry's mention in DSaF 1, Dave being heartless in DSaF 2, Jack being soulless in 1, and even Blackjack being Jack's soul in 2. Most of 3's major plotpoints are implied somewhere in 2 and some of 2's in 1.)

DT is much the same. By the time I finished writing it, I had fairly detailed drafts for arcs for each of the characters, some early material ended up getting completely recontextualized (and even modified in small ways to not conflict with the wider ideas I came up with.)

I get really into writing my stories/characters and I always wonder exactly how things ended up where they are, what characters think about but don't say, etc etc. This is why I have an obscene amount of Crown lore that I have very little to do with rn (since he impacted the whole world so deeply.)

This extra stuff also includes plenty of sequel material ideas, though I didn't think I'd even get a chance to use them since DT performed pretty meagerly before the big release and I was expecting to have to move onto something new. Though it turned out that Scott didn't actually write his games this way (by his own admission), it's the correct answer for what my core writing inspiration for writing game narratives is.

Hope this helps!