#the story needs major structural overhauls. like MAJOR ones

[lichensings]

every late february to early april i get obsessed with the same ocs. i could just feel the switch happen in my brain 🙄happy early birthday to some gay bitches i guess

[dailyadventureprompts]

Monsters Reimagined: Yeenoghu, Demon Lord of Insatiable Hunger

It's been some years since I did my overhaul on the lore of the gnolls and how they embody the weird de/humanization that goes on with various monsters over d&d's history. Ever since I've had more than a few folks write in asking about how I would handle the default Gnoll God Yeenoghu, who exists in a similar state of "Kill everything that ever existed" to Orcus and a good portion of the game's other late game threats, thematically flat and not really useful for building stories around.

For a while I've avoided doing this post because I thought it might skew a little too close to my personal philosophy, and risk going from simply being influenced by my views to an outright soapbox. I personally hold that despite being part of our nature hunger is the source of the majority of human cruelty, and if society and cooperation are the tools we developed to best fight against the threat of famine, it is fear of that famine that allows the powerful to control society and secure their positions of privilege.

I've also dealt with disordered eating in a prior period of my life, alternating between neglecting my body's needs and punishing myself for needing in the first place. I'm well acquainted with hunger and the hollowing effect it can have, though I'd never claim to know it so well as someone who went hungry by anything other than choice and self hatred.

Learning to love food again saved saved my life. The joy of eating, of feeling whole and nourished, yes, but there was also the joy of making: of experimenting, improving, providing, being connected to a great tradition of cultivation which has guided our entire species.

If I was going to talk about an evil god of hunger, I was going to have to touch on all of that, and now that it's out in the open I can continue with a more thematic and narrative discussion on the beast of butchery below the cut.

What's wrong: Going by the default lore, there's not much that really separates Yeenoghu from any other chaotic evil mega-boss. He wants to kill everything in vicious ways, and encourages his followers to do the same. He's there so that the evil clerics can have someone to pray to because the objectively good gods are on the party's side and wouldn't help a bunch of cannibalistic slavers.

This is boring, we've done this song and dance before, and the only reason that there are so many demon lords/evil gods/archdevils like this is because the bioessentialism baked into the older editions of the game's lore was also a theological essentialism, and that every group had to have their own gods which perfectly embodied their ethos and there was no crossover whatsoever, themes be damned.

Normally I'd do a whole section about "what can be salvaged" from an old concept, but we're scraping the bottom of the barrel right from the inset. Likewise my trick of combining multiple bits of underwritten d&d mythology to make a sturdier concept isn't going to work as most of d&d's other gods of hunger or famine are similar levels of paper thin.

How do we fix it: I want Yeenoghu to be the opposite of the path I found myself on, a hunger so great and so painful that it percludes happiness, cooperation, or even rational thought. Hunger not as a sumptuous hedonistic gluttony but a hollowing emptiness that compels violence and desperation. More than just psychopathic slaughter and gore, it is becalmed sailors drinking seawater to quench their thirst, the urban poor mixing sawdust and plaster into their food because their wages are not enough to afford grain.

This is where we get the idea of Yeenoghu as an enemy of society, not because violence is antithical to society ( I think we've learned by now how structured violence can really be) but because society fundamentally breaks down when it can't take care of the people who provide its foundations. Contrast the Beast of Butchery with one of my other favourite villainous famine spirits: Caracalla the grim trader, who embodies scarcity as a form of profit and control in to Yeenoghu's scarcity as suffering.

Into this we can also add the idea of the hungry dead, ghouls yes but also vampires, anything cursed with an eternal existence and appetites it no longer has the ability to sate. A large number of cultures across the world share the idea that the dead cannot rest while they are starving, which is why we leave offerings of food by their graves or pour out a glass to the ones we lost along the way.

On that topic, there's also a scrap of lore involving Doresain god of ghouls, who has been depicted as an on and off servant of Yeenoghu. Since I'm already remaking the mythology, I'd have Doresain act as a sort of saint or herald for the demon lord, the wicked but still partially reasonable entity who can villain monolog before the feral and all consuming demon god shows up.

Summing it all up: Yeenoghu isn't a demon you wittingly worship, it's a demon that claims you, marks you as its mouthpiece and through you seeks to consume more of the world. It gives you just enough strength to keep on living, keep on suffering, keep on filling that hole in your belly and feed it in turn.

The greatest of these mouthpieces is Doresain, an elf of ancient times who's unearthly hungers elevated him to demigod status. Known as the knawbone king, he dwells within a dread domain of the shadowfell, and is sought out only for his ability to intercede with the maw-fiend's rampages.

Signs: Unnaturally persistent hunger pangs, excessive drool and gurgling stomach noises, the growth of extra teeth in the mouth, stomachs splitting open into mouths.

Symbols: An animal with three jaws, a three tailed flail or spiked whip. A crown of knawed bones (Doresain)

Titles: Beast of butchery, the maw fiend, the knawing god

Artist

[gaymer-hag-stan]

Happy 28th anniversary to Tomb Raider!

On the 25th of October, twenty eight years ago, the original Tomb Raider game was released and the world was introduced to the most successful woman to ever hit video games.

A British archaeologist and adventurer, Lara Croft became one of the most recognizable and influential characters in video game history. The original game was groundbreaking for its 3D graphics, which allowed players to explore vast, open environments, and for its mix of platforming, puzzle-solving, and combat. Players guided Lara as she explored ancient tombs, solved environmental puzzles, and battled both wildlife and human enemies in search of lost artifacts. The original game’s success led to a series of sequels, each expanding on the formula with new locations, enemies, and mechanics, though they largely followed the same structure of action-adventure gameplay.

Between 1997 and 2003, the series saw regular releases, with Core Design developing five mainline games. Tomb Raider II took the series to more varied locations, like Venice and Tibet, introducing new mechanics like vehicles. Tomb Raider III brought an expanded move set for Lara and more non-linear level design, while Tomb Raider: The Last Revelation focused heavily on Egyptian mythology, with a more dramatic story where Lara was presumed dead at the end. Tomb Raider: Chronicles followed, acting as a collection of flashback stories told by Lara's friends, after her supposed death. However, by this time, the series was beginning to show signs of fatigue, with critics citing repetitive gameplay and a lack of innovation.

In 2003, Tomb Raider: The Angel of Darkness was released as the sixth main entry and represented a major shift for the series. This game had a darker tone, with more complex storytelling, focusing on murder mystery and conspiracies involving ancient powers. It also introduced RPG-like elements, where players could upgrade Lara's abilities. Unfortunately, the game was plagued by development issues, rushed production, and clunky controls, leading to a poor reception from both critics and fans. This was a low point for the series, and Core Design was eventually removed from the franchise.

After the failure of The Angel of Darkness, development of the series was handed over to Crystal Dynamics, a different studio, which soft rebooted the series with Tomb Raider: Legend in 2006. This introduced a new perspective for Lara Croft and the series as a whole. The gameplay was more fluid, with modernized controls, better graphics, and a more cinematic approach to storytelling. Legend was well-received, breathing new life into the franchise. This success was followed by Tomb Raider: Anniversary in 2007, a remake of the original game, which reimagined the classic experience using modern technology and the gameplay mechanics introduced in Legend.

In 2008, Tomb Raider: Underworld was released as a direct sequel to Legend, continuing the story and building on the gameplay mechanics of its predecessors. This game featured more expansive environments, underwater exploration, and advanced platforming mechanics, while also concluding the trilogy that began with Legend. However, despite these improvements, the series was beginning to face stiff competition from other action-adventure games like Uncharted, and it became clear that Tomb Raider needed another significant overhaul to stay relevant.

This overhaul came in 2013, when Crystal Dynamics fully rebooted the franchise with Tomb Raider, a reimagining of Lara Croft’s origin story. The 2013 game was a gritty, survival-focused adventure that depicted a young, inexperienced Lara as she became the hardened explorer fans knew from the earlier games. The reboot was heavily inspired by modern action-adventure games, incorporating a more emotional and character-driven narrative, with Lara growing from a scared young woman into a resourceful survivor. The game featured more realistic graphics, fluid combat, and an open-world design that emphasized exploration and crafting. The reboot was a huge success, both commercially and critically, and is credited with revitalizing the series for a new generation.

Following the success of the 2013 reboot, Crystal Dynamics released Rise of the Tomb Raider in 2015. This game expanded on the survival mechanics, exploration, and storytelling of the reboot, placing more emphasis on open-world exploration and crafting. Lara’s character development was deepened, as she now had to confront the legacy of her father’s obsession with immortality and lost secrets. Rise of the Tomb Raider was also praised for its stunning environments, ranging from the frozen wilderness of Siberia to ancient ruins hidden deep in forests.

In 2018, Shadow of the Tomb Raider was released as the final entry in the rebooted trilogy, developed by Eidos Montreal. This game explored darker themes, as Lara grappled with the consequences of her actions and faced the moral ambiguities of her quest for ancient relics. Set primarily in Central and South America, the game’s environments were rich with detail, and the puzzles were more intricate than in previous entries. While Shadow of the Tomb Raider was generally well-received, some critics noted that it didn’t innovate as much as its predecessors, though it still provided a satisfying conclusion to Lara’s character arc.

Beyond the mainline games, the Tomb Raider series has expanded into other media, including two film adaptations starring Angelina Jolie as Lara Croft, released in 2001 and 2003. These films helped solidify Lara’s status as a pop culture icon, though they were met with mixed critical reception. A more recent film adaptation, released in 2018 and starring Alicia Vikander, was based on the 2013 game and attempted to reboot the film series with a more grounded take on the character. There have also been comic book series, novels, and animated series that expand on Lara Croft’s adventures.

Throughout its long history, the Tomb Raider series has been known for its evolution in gameplay, its combination of exploration, puzzle-solving, and combat, and its focus on a strong, iconic female protagonist. The series has had its highs and lows, but it has remained a major force in the action-adventure genre, consistently influencing the direction of video games and maintaining a lasting legacy in popular culture.

With the Netflix series just out, the remasters of the last three CORE games on the horizon and the possibility of the LAU Trilogy following as well as a brand new game being currently in development, the future is looking bright for the series.

Over 100 million copies of the games have been sold worldwide.

[blindrapture]

july 4.

the last section of this log was entirely rewritten, from the moment Jordan and Donnie step onto American soil. when I began my rewrite of Act 2, I wanted to start with that part. there were two reasons for this. 1) in all the earlier drafts, touchdown in Atlantic City is where we met a major character. for this complete Act 2 overhaul, I wanted to overhaul the characters as well, and the dynamics of the protagonist 'party.' so we won't be meeting This Character for a while yet. 2) I was rewriting a decade-old story at a much different time of my life, with a lot more lessons learned. I knew, even if I successfully put myself in the old-school teenage Rapture headspace, there was going to be discrepancy between the parts that were Overhauled and the parts that were simply Touched Up. I had to allow for that, I had to allow for the possibility of a jarring transition. having this align with a geographical shift.. felt right.

England in this story is how I saw it at age 16, and I'm totally okay with that. but America is a very different "character." America is where I wanted to go, even then, and frankly I never lost that part of me. America is where I had been brought up to live. and America's a much bigger place, with.. frankly, much more distinct areas, much more distinct boundaries between town and countryside. ("wait, jordan, I am from England and I can tell the difference between town and countryside," yeah well what about up north? what about Yorkshire? that's where my family's from. it's not so much that I'm saying the towns look like countrysides, more that the towns are so close together that sometimes a drive between them just feels like a brief trip on a motorway and then you're back into a town that looks identical. no real transition. and have you also spent half your life in America? there are differences in how everything feels.) so okay, maybe it's not so much some brilliant real-life insight I'm bringing to the table here, maybe it's more of... y'know, those words I love so much: Poetry. Art. Expressionism. Symbolism. maybe these observations say more about Jordan than about England. but I mean, it's also not a revelation to point out America is a different scale of country. there's more room for things to happen. and more media to pull sources from. the point is. we're in America now. we're in Rapture's America. and the writer at this point is now 29 years old. you are allowed to feel some serious excitement. ;3

//////

so this whole serial, "Rael's Exodus," had a simple enough structure: I gave you a boatful of people to gradually get picked off while the Rake and the Massacrer acted as two small-time distractions until it was time to learn about EAT and Indisen. I think it worked for that, I think any claustrophobic horror story needs the ensemble cast and the misdirection plot. it's not quite a mystery story, it's suspense. you can't really predict how the twists will go, though it is entirely possible to see through the misdirection. the goal here was to feed you information about EAT, even with all the Indisen stuff. the Indisen are an important force too, absolutely, but their explanation won't come for a long time. (it was also important to introduce you to the Masked Massacrer, and to kill off the fourth and final Rake. this serial was written with functional purposes in mind, and that actually helped the tone. nobody likes to be trapped in an enclosed space with the unspoken Plot making decisions for you.)

the real point here was EAT.

you needed to meet EAT. and EAT needed to meet Jordan.

EAT is... important. of course it was gonna be, as it's my Fear, EAT is my horror creation. as soon as Rapture introduced the Wooden Girl and opened the door for a Fear narrative, it was only a matter of time before I'd include her too. I'd only created EAT a few months prior by that point, and only included her in one story (Jordan Eats Normally Now, which I was starting to feel limited by), I wanted to show her from more angles, let her grow, and maybe even find a way to make her as frightening as I had always wanted. as a work of function in this story of moving parts, EAT's role in Act 1 doubles as the foil for the Harlequin. Act 1 has quite a few Fears in it, but most of them had bit parts (and Thoth as a deuter-narrator); the major Fears were Harly and EAT. these were the Fears that Jordan spent the most time with and had actual back-and-forth conversations with. they are meant to be compared and contrasted. they are both characters.

the Indisen exist to show you EAT's limits. you won't exactly understand those limits yet, but you are supposed to know that EAT is being thwarted by something. is it a good thing for us? you can use some reason and figure out what the story has already communicated to you, you will hit a wall of "we simply don't know that part yet," but it helps to delineate that wall for yourself.

the Masked Massacrer is. god, it's weird. no matter how many edits I do, no matter how stupid I think that name is, and no matter how many times I forget what the point of the Massacrer was and assume it's just a random little human threat, I always... leave it there. because I also always remember how the Massacrer exists to turn a lot of wheels that need turning. the Massacrer keeps a lot of moving parts moving. and I'm talking about large-scale moving parts here! the Masked Massacrer is a tiny little lever that does a lot of things! that's all just to say, I keep it there for a reason. but, it's an iteration on the classic Slender Man trope of The Proxy. it's a Proxy for something else. even wears a mask. it's a Masky. it's absolutely a Masky. that's all you gotta know right now.

what else should I say here. I think I've covered a lot. I also mentioned some things that I could say a little more about but that I just instead... opened the door for you to interpret. because this ogtrib bonus series is like book club. or also omake, Reala made that comment a while ago, this is like omake.

but tell you what. I'll do one more paragraph, this time talking about Act 1 as a whole, in retrospect. and then I'll leave you with some bonus Rapture Art.

you've now read the complete Act 1, "The Coming of the Four Rakes." it lasted from May 23rd until July 4th, making it the Act with the most days in it. but amusingly enough, despite having the most days, at 62,000 words it's by far the shortest Act. I wrote it over the course of about two months when I was 16, in preparation for the time I would run away from a home I was scared of. I lived in fear a lot back then. I also wrote it because people were reading it. that's really big for me. little Jordan had an audience, there were people who cared about him (!!!) and people who just wanted to see what the Fear Mythos could do, and Jordan was in some real sense a spokesperson for the Fear Mythos. the mythos had only started in February/March 2011, so we hadn't been going for that long, but we had numbers and we had ambition. I was having a little fun writing a Fictional Blog, it was a new style for me, but everyone was doing one of those, and we were doing them after the Slender Man Mythos had already done a literally countless amount of them. there was untapped potential in breaking away from the blog format. so Rapture was Internet Fiction instead. it was allowed to loom out of our expectations, mine included. the only boundaries were My Abilities and The Website It Was On. Act 1 represents the earliest stage of all this. my abilities were little tiny baby abilities by that point. and while I go back and forth now on whether the later stages of the story, written when I was 17 and 18, were even all that different from the baby-ness of Act 1 (just with different tools), I can't deny that the creative spark I followed was in fact leading me to a story the world needed to see. (the fact that I have been so isolated that I have not been able to show the world this story, well, that's just circumstance. once it's out there, Rapture's here forever. it will be read. it's only a matter of time.) there were serious ambitions. even in Act 1. Rapture was the story that made me believe in it as I wrote it. and god, do I believe in it now.

/////////

here's that art I promised.

This is my digitization (and coloring) of one of Rappu's final sketches done for Rapture. It's Salmacis/EAT, with a bunch of Camper. I don't think I ever actually showed this one, not even the original sketch, on this tumblr.

Of course, there is no One Big Lady that controls all the Camper. That's Rappu's artistic license, it's symbolic.

But, look at that thing. You're with me on this, right? That's a beautiful picture.

This is a good note to end Act 1 on.

See you tomorrow for Act 2. :) God, I'm so excited.

[queenofthursday6599-blog]

So apparently they (I'm assuming the government, but it could be a movement of parents, I'm not too sure I haven't looked into it that much) are trying to get rid of special ed classes, along with gifted and talented classes, to just have all kids in one classroom.

Why.

What purpose would that serve?

If the kid is struggling in class due to their disability why would you insist on them not being in a special ed class? Where they can better have their needs met by a specifically trained special ed teacher?

There's no point to it that I can think of, other than wanting to shove as many kids in one class as possible under a single teacher.

Same with getting rid of gifted and talented programs (though I do think like the vast majority of those programs are structured really poorly, and are in need of overhauling anyways).

Schools just don't want to pay for extra teachers, and parents don't want to hear that their kid isn't smart enough for certain classes. Be it the mainline classes, or the gifted classes.

Like even I, as just a child growing up with just ADHD on a 504 plan, struggled to the point of leaving public school and switching to homeschooling in high school.

In middle school there were times were I would spend weeks at a time spending my lunch in ISS (in school suspension) desperately trying to get caught up with my peers on assignments.

And I preferred that.

At that point I was so desperate to try and keep up with my peers that I preferred having to spend my lunch and recess in the detention hall, sitting at a desk where the dividers are set up so you can't see any other students, where it was quiet and there was nothing to distract me because talking was forbidden.

I went through years of parent teacher conferences hearing my teachers tell my mother that I was "really bright, but if she could just focus/pay attention, and remember to do xyz".

Like I wasn't medically diagnosed with a neurological difference that made doing those things extremely difficult in the framework the school was set up in.

The main thing I remember about junior high, is me nearly sprinting through the two stories of the school desperately trying to figure out where the hell I was supposed to be going.

Because every day had a different set of classes I was supposed to go to, and the schedule changed with the semester. So by the time I finally managed to memorize the pattern, it would change and I had to start from zero again.

Not to mention teachers are already hella over worked, and now they want to also have mainline teachers have to try and teach students who would probably be better in a special ed class (which have a max of 15* students).

Along with the kids who fly through mainline coursework in half the time as the rest of the kids and are then left to screw around for the rest of class, distracting their classmates.

[*Which is about half the size of the biggest mainline class I was ever in. A class that I in fact flunked out of and had to take remedial classes for, because so many other students distracted me to high hell.

Remedial classes, which I flew through in less than a month because you did it at your own pace on the computer, so there was nothing to distract me.

After which I got bumped to the only remaining Sci class that fit into my schedule, which had only 12 students including me, which I then mysteriously flourished in.]

I don't understand it. I don't. I just can't help but feel like this is setting up a number of kids, disabled and not, up for failure in an already shitty school system.

What else could be the appeal to having all these kids of different learning ability all stuffed into one class room be? Other than not wanting to pay for the special classes and extra teachers (be they special ed or gifted and talented), or parents not wanting to admit that their kid is disabled and just needs extra help with some things.

Like this is either a money issue, or this is an abileist parents issue, and I don't know which.

[sapphire-weapon]

Isn't the 'break up' in re4r caused by external physical circumstances rather than the characters choices? I'd say the reason i have trouble accepting the 'romance novel outline.' is that while Leon and Ashley's relationship is important to the story, the source of the conflict doesn't exactly come from their interactions and relationship. The relationship is part of the story, not the driving force behind the conflict or overall plot.

I feel like the whole thing would hold up better IF interactions with the other character weren't also significant in Leon's emotional journey. While Ashley is a big part of it as she does tie into his desire for 'things to be different this time' it isn't entirely centered on who she is as a person, but rather what she represents.

You're right that that it doesn't line up perfectly with the classic hero's journey outline, but the only source for the romance novel outline i can find is this: https://diymfa.com/writing/structure-romance-writing/

To quote that post: "The hero’s journey plot structure almost works for the relationship arc — just replace “the quest” with “the relationship.”" It seems like this outline was created from modifying the hero's journey, but i don't see it as being particularly universal for romance stories either.

Just because something follows the Hero's journey doesn't mean that there can't be a focus of the progression of a character emotional state and worldview. And i'd say that Re4r has quite the physical journey included as well.

The approach to the inner sanctum seems to be that moment with saddler before he undergoes the ordeal of walking through the hallucinations (ghosts of his past as i see them). Also there's that costume called 'hero' which is pretty on the nose imo. I'd even say that Leon relationship with Luis aligns far better with the 'refusal of the relationship' than his and Ashley, but ofc it was intended by the devs to have specific 'romantic' undertones.

Saying that the entire structure of the game aligns with that if a romance novel ignore the role the other characters play in the story and minimize their importance. I'm sure you could say that Leon and Ashley relationship progression has some elements of classic romances mixed in and alluded to, which makes sense since capcom loves to hint and tease things, but it is by no means the main focus of the game or plot (even though the kidnapping of ashley is what kickstarts the whole thing).

Additional as I think you've said before, Resident Evil games are mainly gameplay focused as that is what the majority of the spending audience cares for. This means that a more 'physical' focused journey would make more sense. The remake does focus much more on the characters emotions and feelings overall, not just Leon but also Luis, Krauser, and to some extent Ada.

They didn't overhaul the structure to fit a romance format, focusing on rounding out the characters led to deeper and more meaningful relationships between them. The romantic vibes of the castle don't have to mean romance like a 'love story', they could be a call back to the romanticism movement in art, literature, design or music (which seem plausible given the time they seem to be trying to make the village and castle look like).

To summarize, saying the game was structured specifically is a stretch and only focuses in on a select parts of it rather than the story and characters as a whole.

i'm not trying to come off as an ass hole, I just saw that you mentioned that you'd like to discuss things and i'm honestly here for that lol

i read this whole thing and i need to ask one very simple question:

what exactly do you think the plot of RE4make is?

The relationship is part of the story, not the driving force behind the conflict or overall plot.

this seems to be your thesis statement, and it's patently untrue.

without leon and ashley's relationship, there is no story. period.

leon and ashley and the relationship they have with each other -- romantic or not -- is the driving force behind the plot.

it is the reason why leon's there. it is the reason why he continues to move forward. it is because she is the goal that he is trying to attain.

i don't even mean that in a romantic sense. she is literally what he is trying to retrieve and bring home. she is his mission objective.

even removing the romantic aspect entirely, the entire story is about leon and ashley building up trust between each other so that they can make it out of there alive and go home.

like

what

and my second question is:

do you think romance novels only have two characters in them?

because it feels like a large part of this argument is "you're ignoring other characters" -- as though romance novels don't have secondary characters that influence and affect change in the two main protagonists that the story revolves around.

do you think that romance novels have nothing else going on in the plot other than the romance? do you think that there is no other external conflict providing an overall structure to the events of the romance? do you think that romance novels have nothing to say or make no social commentary or exist in a vacuum?

like

if you haven't read a romance novel before, maybe this isn't an argument you should pick. because you don't seem to know how they work. and i'm not judging you for that. romance novels aren't everyone's cup of tea, and that's fine. but if you've never read one before and you don't know how they're written or how they work, it's really hard to have this argument because you don't have a base knowledge to build a case off of.

but not only that

you don't even seem to know what the steps of the hero's journey actually are or what purpose they're meant to serve.

The approach to the inner sanctum seems to be that moment with saddler before he undergoes the ordeal of walking through the hallucinations (ghosts of his past as i see them).

no. like i said in my first response to you, that moment would be "the resurrection." because that is THE CLIMAX of the story, and "the resurrection" is meant to be the climax.

"approaching the innermost cave" is supposed to be the planning stage for the big showdown. that moment doesn't exist in RE4make. leon gets thrown into the middle of it and never has a moment where he pulls back and assesses what's happening and comes up with a plan and questions whether or not he should be doing what he's doing and makes sure that he's ready for the next stage of the journey. that never happens.

like

if you've never read a romance novel and you don't really know what the stages of the hero's journey are

this will not be a productive conversation. it's not, currently.

[1358456]

"Upcoming"

So here's a bunch of "upcoming stuff" that I am "planning to make" in regards to banter, short, excerpt, and short story on this Tumblr. I put those in quotes because there is a high probability that some, if not most, of these plans would get sacked and/or forgotten about as the days go by.

1: Sapphire's team overhaul. The overhaul theme itself has been set for a while. Now I just have to go through with it and make a showcase short story afterwards. I remember not doing Sapphire's team overhaul when I did the others because at the time, she had the best team among the girls. But now that I've overhauled effectively everyone else's, she now has the worst. Blaziken, Gallade, Aggron, Tropius, Donphan, Wailord, Relicanth (sometimes)... Obviously I won't touch Blaziken, Gallade, or Aggron, but Tropius sucks ass, Donphan is super random and also sucks ass, Wailord is too damn big to be used anywhere other than ocean travel, and Relicanth... also sucks. So... overhaul is in order. Overhaul theme: All-Terrain Proficiency. Which then leads to...

2: Short Story - Field Work Sapphire shows Platinum how to do field research. And Platinum is not prepared. "Hey, wait a minute. You think you're going to do field work while in your fancy clothes, with all that makeup and perfume and jewelry? No, no, no. Here's how we're doing this. ... Strip."

3: Assassination Excerpt - The Bodyguard Blue and Silver (and Gold) confront Platinum's ex-convict bodyguard... who may or may not have a certain Legendary Dragon's influence. ... Hehehe...

4: Assassination Excerpt - For Her Sake Moon will do whatever it takes to ensure that Platinum will be protected. No matter the cost.

5: New recurring theme: Gold's random friends Not exactly something major, but will be recurring nonetheless. The granddaughter of the old daycare couple, Prof. Elm's new research assistant, random bartenders, random shopkeepers, etc. Which then leads to...

6: Banter - Blind Date ... I can't really describe much more, given the nature of a banter post.

7: Legacy Excerpt - The Decision The branching point that determines if Legacy ends up in the good ending or the bad ending. What happens if I write that now, when I'm genuinely happy all around? Will I follow my mood and go with the good ending, or will I go with the bad ending to make things interesting? Hehehe...

8: NG+ Excerpt - Fading Away Red tried real hard to befriend Blue and make her happy much earlier than in the previous timeline. But his attempts only succeeded in scaring her and making her super wary of him instead. And now, with the chances of reconciliation slipping away and loneliness bearing down on him hard, Red decides to tell Blue everything he knows. Influenced by "I'm Fading Away" from Yakuza 7 Gaiden. "Even I don't belong to you, those days are far behind. But I pray you're happy now, serenity in your mind, I'm leaving right now..."

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I'll leave it at here for now. ... And we'll see just how many of these I actually do this month. Hehe...

While the current modding stuff has taken a lot of my attention, most of that has gone in my futile attempts at extracting sound files, which I have given up on. I don't know why it's so hard to extract data from a file that's right here, but... technology. I don't care about recompiling or the structure of the audio data table. I just need the f*cking sound files! I see them! They're right there! I just can't do anything with them! The "Extract package" button literally does nothing, so until that's fixed... Anyways. I'm not spending much time on that anymore, and with ASL Season 17 finished and GSL 2024 Season 2 only happening one day per week, I actually have spare time to spend on Tumblr story stuff if I feel like it.

[dyad-of-fate]

the links in your pinned are broken! (unless tumblrs glitching for me or smth lol)

Oh shoot, they're all broken on my end too-

Well... I guess we were hoping to make updated posts about the story. Keep an eye out for an updated master post, but here's the relevant posts I could track down in the mean time.

The World of Ithiir - Mostly how the world/planet the story takes place on works. There are some changes we have made, but this still gets the idea across nicely~

The Wall: The Name - More on the setting of the actual story, though looking back on this post we could have written more haha. We'll probably remake this post entirely in the future.

The Different Taurs: Pawed vs Hooved - This post is mostly about the social differences of taurs rather than anatomy. It's also more focused on the Wall's social structure, and doesn't account for elementals. We still need to make more detailed posts about the jobs, history of the two types of taurs....... We have a lot written, just not compiled all in one spot. Small edit: We made a post about the evolution of taurs not too long ago, and that info needs a MAJOR update lol. I'll link it if I find it, but it will definitely get a massive overhaul.

We made a series about the different kinds of elementals and how their magic and bodies work as well. Part 1: Elementals: The First Sapient Species Part 2: Fluid Part 3: Fauna 2nd post for fauna elementals (it says I goofed, but honestly it works really well with canon...) Part 4: Mineral Part 5: Energy

As for character references and the story, those have major updates we're working on. And as mentioned the main characters especially may just always be tweeked and edited as we continue writing. We'll probably make a few "references" for most of the cast eventually... but if you'd like to see the original designs here's a link to the tag #character reference.

Thank you so much for sending in the ask! :'D

[marypsue]

18 and 30!

18. The character that gave you the most trouble writing this year?

I wrote Murray Bauman. Somewhat sympathetically. I’m going to avoid ever doing that again, if at all possible. 

(I also had to go back through the draft of the road goes ever on after completing my season two rewatch and completely overhaul the voice I’d given Sam Owens, because in my memory, it was too highfalutin’ and not trying nearly hard enough to be friendly and down-to-earth. And I had to try to recognisably update Bram Stoker’s attempt at Van Helsing’s broken British-English-with-a-supposedly-Dutch-accent to 1983 America for the light of all lights. That was a fun one.)

30. Biggest surprise while writing this year?

Honestly, just how easy it felt to sit down and hash out a plot, from start to finish, including instead of ‘ehhh I’ll get to that later’-ing major waypoints in the Dreaded Middle and the general directions to get to them, after finishing up the road goes ever on. How making the major structural edits to the second draft of the road goes ever on felt so achievable and invigorating, instead of daunting and impossible and despair-inducing. How those major edits actually made the thing immediately, noticeably better. How I managed to take the hot stinking mess that was the first draft of the final chapter and actually find the bits of that mess that were worth cleaning up and salvaging, and make something that I’m mostly satisfied with out of it, instead of having to start from scratch like I was afraid I was going to have to. 

Every single story-construction, editing, technical-side thing I was afraid of before the road goes ever on, every Good Writing Practice I’ve been struggling with up until that point, all of it was what it took to make that fic happen. I’m still frankly just astonished that I got it done and posted at all, let alone posted before the deadline (which I set and I could have changed, but also had an element of external pressure, because I decided I wanted it out before season four). I’m still just kind of staggered that hey, I actually did that. And it has made the whole business of writing feel so much more achievable and doable and given me the concrete tools I needed and didn’t have the first times I attempted to draft an original novel. 

And all it took was a global pandemic, a handful of characters I cared deeply about, some loose ends that got under my skin, and the audacity to bite off more than I could chew. And then chew it. 

[ask me about my year in fic!]

[drywallsolutions]

The Importance of Professional Drywall Repair for Your Columbia Home

When your walls start to show signs of damage—whether it’s cracks, holes, or unsightly dents—it’s easy to consider a DIY fix. After all, how hard could it be to patch a wall? But here's the thing: drywall repair is far more intricate than it seems. If you’re looking to preserve the value and aesthetics of your Columbia, SC home, professional drywall repair is not just a smart choice—it’s a necessity.

### Why DIY May Not Cut It

Sure, there are plenty of tutorials online that show you how to fix a hole in drywall in under 10 minutes. But those tutorials rarely show the long-term results of amateur repairs. The truth is, drywall has a delicate balance. Too much compound can make it bulge, while too little will leave a visible depression. Sanding? That’s a whole other beast. Without the right touch, you could end up with uneven textures that stick out like a sore thumb. Plus, if the damage is extensive, you might run into underlying issues that only professionals can identify. 

That’s why hiring drywall contractors near me in Columbia, SC** can save you from a lot of headaches. They have the expertise to assess the damage, address underlying problems, and deliver a flawless finish. What’s more, professionals have access to the right tools and materials, ensuring the repair blends seamlessly with the rest of your home.

### The Hidden Cost of Poor Drywall Repairs

It might seem like saving a few bucks by doing it yourself is the way to go. But poor drywall repairs can cost you more in the long run. Imagine trying to sell your home and potential buyers spot uneven walls or poorly patched holes. These imperfections suggest neglect and can drive down the value of your property. Worse still, hidden damage left untreated—such as moisture behind the drywall—can lead to costly repairs later on, or even mold issues.

In contrast, investing in **professional drywall repair in Columbia, SC** ensures your walls are strong, smooth, and structurally sound. The peace of mind that comes with knowing the job was done right the first time is invaluable.

### Why Local Expertise Matters

Columbia, SC has its own set of environmental challenges. The heat, humidity, and even seasonal shifts can take a toll on your home’s walls. Local drywall contractors understand these specific issues and can recommend the best solutions. They know the most durable materials for the area and have experience with the unique problems homeowners face. This local expertise is critical for ensuring that repairs not only look good but last longer.

### The Value of a Seamless Finish

The difference between a DIY repair and a professional one often comes down to the finish. Anyone can slap on a patch and some paint, but can they make it look like the damage was never there? Professional **drywall contractors in Columbia, SC** have the skill to deliver that seamless look. They match textures, handle complex corner repairs, and ensure that the final result is flawless. Your home deserves nothing less.

### Conclusion: Don’t Settle for Less

When it comes to maintaining your Columbia home, drywall repair is not a corner to cut. Professional repair ensures that your walls remain durable, smooth, and beautiful, whether you're fixing a small hole or dealing with more significant damage. With the expertise of local drywall contractors, you can trust that your home is in good hands.

Remember, your walls are the canvas of your home—make sure they tell the right story. Whether you need a small repair or a major overhaul, investing in **drywall repair in Columbia, SC** will pay off, not just in aesthetics but in the long-term value of your property. Don’t risk it—call in the pros today.

[hero-dwelling]

Responses to submissions soon.

But for now, as an underdeveloped thought:

Trying to make sense of Shigaraki's character, philosophy, goals, and progression is a real pain. (This is more so my problem, not necessarily a problem with the text.)

It still doesn't come across as natural to me how Shigaraki went from trying to kill Toga and Dabi, to accepting all members of the League as people he wants to live free. Maybe I'm missing something, but it never struck me as there being a major moment that forced Shigaraki to change his perspective and realize he had to accept these people. If it was just what Kurogiri said, that Shigaraki needed large numbers to achieve his goals, that'd be enough; to read that right before the fight against the MLA as a "found family" is lacking; actually having them be a found family right before Shigaraki and Toga died works but is underbaked.

It could also have worked if it was simply that we in the audience didn't know Shigaraki's back story--but none of that back story really sold me on this seeming change of behavior on his part when it instead just came across as a random development to force a found family structure that really has been lacking. As with the problems for Class 1A not feeling as close as they really should, at least Class 1A had the films, OVAs, light novels, and spinoff manga to make the students feel like they are really close. The League just never had had those moments. (That Magne gets forgotten doesn't help. I get not caring about Mustard given how limited a presence he has and a seemingly unlikable personality--but that's not saying much amongst a group of capital-V Villains, even with how sympathetic or even "correct" they may be in their philosophies and actions.)

Granted, I hated the very early remarks by the UA staff that Shigaraki was a "man-child," even as I now see why that comment was thrown in: to communicate how far Shigaraki had to go so that we accepted that he moved beyond his instincts. But even that part still bothers me, as Shigaraki suddenly revealing he was actually a chessmaster against Overhaul all along is bizarre when he never showed that skill set when dealing with the USJ attack, Stain, or Bakugo. Again, this can work easily enough: All For One is gone, Shigaraki has to step up, and he shows he always had that in himself. I just wish the progression felt more believable.

[dynamicmobilemechanic]

The Ultimate Guide to Mobile Mechanic Blacktown

Introduction to Mobile Mechanics

Mobile Mechanic Blacktown are professionals who offer automotive repair services at the location of the customer's choice, be it at their home, workplace, or roadside. This innovative approach to car maintenance provides unparalleled convenience and flexibility for vehicle owners.

The Need for Mobile Mechanics in Blacktown

In bustling urban areas like Blacktown, traditional mechanic shops often struggle to keep up with the demands of vehicle owners. Long wait times, limited appointment availability, and the inconvenience of arranging transportation to and from the workshop are common challenges faced by residents.

Services Offered by Mobile Mechanics

Mobile mechanics offer a wide range of services, including routine maintenance tasks such as oil changes and brake repairs, as well as more complex diagnostic and troubleshooting procedures. Whether you need a quick fix or an extensive repair, a mobile mechanic can handle it all.

Choosing the Right Mobile Mechanic in Blacktown

When selecting a mobile mechanic in Blacktown, it's essential to consider factors such as their qualifications, reputation, and pricing structure. Look for professionals who are certified, have positive reviews from past customers, and are transparent about their pricing.

How Mobile Mechanics Operate

Booking a service with a mobile mechanic is simple and straightforward. Most companies offer online booking platforms or convenient phone-in options. Once booked, the mechanic will arrive at the designated location at the scheduled time, equipped with all the necessary tools and equipment.

Advantages of Mobile Mechanics Over Traditional Workshops

The benefits of using a mobile mechanic service are manifold. Not only does it save time and hassle, but it also eliminates the need for towing in case of breakdowns. Additionally, mobile mechanics often provide a more personalized and attentive service, as they focus solely on one customer at a time.

Customer Satisfaction and Testimonials

Numerous satisfied customers in Blacktown have praised the efficiency and professionalism of mobile mechanics. From minor repairs to major overhauls, mobile mechanics have consistently delivered top-notch service, earning the trust and loyalty of the community.

Safety and Reliability

Safety is paramount when it comes to vehicle repairs, and mobile mechanics adhere to the highest safety standards in the industry. Furthermore, their reliability and punctuality ensure that customers can rely on them, even in emergency situations.

Environmental Impact

In an era where environmental consciousness is on the rise, mobile mechanics offer a sustainable alternative to traditional workshops. By eliminating the need for customers to drive to a physical location, mobile mechanics help reduce carbon emissions and promote eco-friendly practices.

Future Trends in Mobile Mechanic Services

As technology continues to advance, mobile mechanic services are expected to evolve as well. From the integration of smart diagnostics tools to the expansion of service offerings beyond traditional repairs, the future looks bright for mobile mechanics in Blacktown.

Case Studies

Numerous success stories abound in Blacktown, where mobile mechanics have come to the rescue of stranded motorists and provided timely and effective solutions to their vehicle woes. These real-life examples serve as a testament to the value of mobile mechanic services.

Common Misconceptions About Mobile Mechanics

Despite their many advantages, mobile mechanics are sometimes met with skepticism and doubt. Addressing common misconceptions, such as concerns about reliability and quality of service, is essential in building trust and credibility within the community.

Customer Education and Empowerment

Empowering customers with knowledge about vehicle maintenance is a key aspect of mobile mechanic services. By offering tips and advice on how to keep their vehicles in top condition, mobile mechanics help customers make informed decisions about their automotive needs.

Conclusion

In conclusion, Mobile Mechanic Parramatta offer a convenient, reliable, and customer-centric approach to car maintenance in Blacktown. By bringing the workshop to the customer, they eliminate the hassle and inconvenience associated with traditional mechanic shops, providing a seamless experience from start to finish.

[ultraheydudemestuff]

Body Block

1692-1696 E. 55th St.

Cleveland, OH

     The Body Block, also known as the Charles Body Block and as the Old Smith Arcade, is a historic mixed-use building located on the northwest corner of the major intersection of Payne Avenue and E. 55th Street, anchoring the Goodrich–Kirtland Park neighborhood of Cleveland, Ohio.  This block of apartments has an interior arcade and ground-floor retail.  Begun in 1892, and completed in 1893, the Queen Anne style structure was built for Charles Body, a businessman who owned a local wallpaper store. Although it is not known for certain, the architect was likely George H. Smith, a local architect of note who designed the 1888 Cleveland Arcade.

     The three-story structure has a 220-foot  frontage on Payne Avenue and a 60-foot frontage on E. 55th Street. The structure was built of brick with a wood frame, with the interior walls coated with asbestos and mineral wool for fireproofing. The building's ground floor contained space for roughly 10 retail stores, while the upper two floors contained 44 apartments. An arcade ran through the center of the building lit from above by a skylight with 0.25-inch-thick glass. Walkways connected the two sides of the building on the second floor. The total cost of the structure was $30,000.  The block was constructed in the middle of the 20-year period that marked the neighborhood's swiftest growth and height (in terms of population).

     The Body Block suffered a severe fire on January 30, 1897, when chemicals in the basement of a ground-floor pharmacy spontaneously combusted. The major three-alarm fire caused $4,000 in damages, but no one was injured or killed. The Goodrich–Kirtland Park area began to lose housing after 1920 as it increasingly industrialized.  The Body Block lost its middle-class respectability, and became home to less wealthy working class families and widows. After 1950, the neighborhood became overwhelmingly black and poor.  The crack cocaine epidemic of the 1980s drove large numbers of people out of the neighborhood.  The building's decline continued into the early 1990s, by which time it was primarily empty and decrepit. Homeless individuals used it as a refuge, and extensive drug trafficking occurred there.

     In 1991, the Nouvelle Espoir Development Corp. purchased the Body Block with the intention of renovating it. The company received a 10-year, $210,000 federal low-income housing tax credit in 1992. The following year, the company received a 30-year, $466,000 state historic tax credit; a $300,000loan from the Cleveland Housing Trust Fund; a $400,000 loan from the Ohio Housing Trust Fund; and a $50,000 grant from the Cleveland weatherization fund. In 1994, 11 banks agreed to lend the remaining $1.5 million needed for the $2.8 million renovation project. 

     Construction began in April 1994, and was set for completion in February 1995. Zelina-Sandvick Architects designed the renovation, which completely overhauled the building's electrical, heating, and plumbing systems and added a playground to the rear of the building. The restoration and renovation of the Body Block left it with 49 one- and two-bedroom apartments on the second and third floors, and retail space on the first floor. All units were available for rent only to low-income individuals and families who were participating in employment programs run by the city.  After it underwent this major historic preservation and renovation from 1994 to 1995, it was added to the National Register of Historic Places on September 18, 1998.  In April 2017, the building was purchased by real estate company Smartland11, LLC, which has its headquarters based in Cleveland.

[turabafghan]

Hello, This is a guide to my main comic

I also post drawings and comic updates on Instagram, a lot more is posted there as of yet, the link is here

The name is tentatively set to “Beast Within”. It started out as a horror, mystery thriller story, but has since evolved to an adventure epic with themes around war, discipline and hope with aspects of horror still present.

Blurb/synopsis:

In this world, a significant amount of humans are born with an organ that is useless in most cases, but using stress, anger or fear as a trigger it can bring the host to the physical peak of a human as a survival mechanism. Lief "Mukhtar" Adelierre is a 17 year old boy intrigued by the origins of this "manifestation" who finds himself intimately connected to these origins as the wielder of the "Dragon" gene. Alongside others he seeks to find the unwritten history of his world for answers to his many questions but also to form a plan of action regarding the future of this world as he and others like him, good or evil, are certain to shake the foundations of society as their presence is brought to the forefront.

Initial stage development:

The story was first conceived in 2015-16 as a 16 page one-shot for an international manga competition, I would have been submitting it to the Japanese embassy in Islamabad, Pakistan. Initially I wanted to submit an urban fantasy horror comic I had been working on, but after seeing the submissions from the previous years contest. I started from scratch so I could submit a piece with better art, but stayed on the template of horror. My inspirations consisted of Tokyo Ghoul, Majora's Mask and a number of horror films. I ran through at least 2 if not 3 different drafts and was 11-12 pages in when the deadline passed and I never submitted. I kept drawing and my art improved in that summer and I returned to the project when my first semester of High School started. I had new ideas to bring to the project and wanted to give everything a huge overhaul, from story themes, structure, lore, worldbuilding etc. I worked on the story throughout my time at school whenever I could squeeze it in and it has become what it has today. Milestones have been reached and Chapter 6 is in development.

Upload pattern:

I will be uploading things bit by bit, with rough drafts, character design work I did (for the current version of the story and its precursors) and uploading pages of the cancelled precursor comics since I want to show them.

The current draft is 5 chapters long with chapter 6 in development. I will upload the entirety of chapter 1 for viewing first, afterwards about 2-3 pages at a time. I will try to post one of these each week on Fridays. Please understand that when the posts catch up to where the story is currently, I will not be able to post pages at this rate per week. It may change to a post every 2 weeks or a post each month with a specific date (such as the 10th or the 14th of each month), I will notify in advance when this happens.

I will also not likely be posting everyday as I have other responsibilities to attend to but will notify if there are any major hiatuses that need to be taken. A hiatus from the comic also does not necessarily mean I will stop posting entirely. Not every post I make will be drawings as well, it may be snippets of scenes from the scripting as well but I will keep that rare as the main point is to post art. The comic will have a dedicated section in the archive list and not everything I post will be related to it though a lot will be. Sometimes I may post fanart or other drawings I think were done well.

A note for the comic:

This is my first comic that I will be uploading online, though I have made smaller projects in the past. So, I do not expect it to blow up, but if fanart or anything is made or done for it, please do share as I would love to see what you do with my characters (nothing NSFW or pornographic please, I do not welcome that). Just leave a reference to me as the creator of the characters (or creator of the setting if it is your OC set in that world, that character is yours then by all means) is all. I also welcome and will consider any criticism and advice done in good faith provided it makes sense for and is within the scope of what I am trying to achieve with this comic.

Do not use MY art in any commercial sense. If it is something you drew, then of course, use it as you will and you do not need my permission for that. However, please refrain from using MY art in particular commercially in any way. Thank you.

[legendtraineremily]

Can’t get to sleep so here’s part two of my Star Wars short story I finished up in time for Star Wars day:

A Moment on Hoth (Part 2)

Commander Hahl was making her way over to him as the other aides and officers rejoined their commanders. Her russet hair was hidden beneath the same standard-issue insulated cap Benovy had grown fond of, but some strands had still found their way onto her face and made her blow and brush futilely at them. Her love aided her in removing the irritant before coming to attention and saluting. Rillian rolled her eyes at Benovy’s routine.

“Really Beno? Is the act that important?”

“What? You may joke, but half of high command still thinks of me as one of the ‘old renegades’ who can’t truly adapt to the ‘rigors of a true, organized rebellion,’ or whatever.” He handed the data-pad over to Rillian who looked over the requests. “By the way, Gav-er-Lieutenant Arlan passed these on for you. And a little note: if we want that assault carrier up and running at full readiness, we’ll need a bit more fuel than what we’d usually be allotted in normal circumstances. The crew we assigned are having troubles figuring out what it’s capable of.”

“I thought we assigned Larnal to train them?”

“We did, but remember: the crew is still used to flying those babies all Imperial-like—stiff and straight. But with our overhauls, it should fly like a Dactillion and race laps around those basic Imp crews.” Benovy’s hands gestured the flying motions with both energy and exasperation.

“This is why I’m in command of the big ships and you supervise the blockade running and ground ops.” Rillian used her open hand to lower Benovy’s flailing arms. “No matter. I’ll see what I can do and if I’ve got any remaining favors to cash in for that extra fuel.”

The pair and their droid companion made their way to the barracks and entered Commander Hahl’s makeshift quarters. The icy furnishings were accented by various metallic structural supports and technological features to make the room mostly habitable and functional. A tray of data-disks sat next to their processor and Rillian’s personal data-pad on a desk carved partially from a block of stabilized ice combined with a metal desk that would have been too small otherwise. A heater and an extra large cot sat in the far corner almost inviting a weary, cold-worn soldier to rest upon seeing them.

“Bwa-doo beep bippity?” D5 rolled in behind the couple and swiveled his head towards the heater.

“Oh, why thank you D5! You can go right ahead and check if it’s working properly.” Rillian leaned into Benovy and held his arm tightly. “I have been a little extra cold lately.” Benovy blushed and smiled bashfully.

“Well, uh, I mean, it’s been awhile since we’ve been able to spend any time off-duty together. What were you thinking?” Benovy asked as he turned and adjusted himself to hug his girlfriend-commander. “A stroll through the caves? Check to see if the weather’s right to view the mountains? Or-“

“Just…hold me,” came the answer. Benovy smiled and brushed a remaining strand of hair from Rillian’s face.

“I can do that.”

D5 had finished cycling through the space heater’s settings and returned to the couple’s side. Rillian, slipped a hand out of the embrace to pat the droid’s head.

“Good work, D5. I really appreciate all your help, little friend.”

“Doo-bwop bwoo-bwee,” he replied, quite pleased with himself.

“Hon, you’re gonna give him a head bigger than a planet one of these days,” Benovy cautioned. D5 buzzed a mechanical purr, not caring about his compatriot’s comment.

“Attention: Commander Hahl and Major Tahn, please report to the command center. Commander Hahl, Major Tahn—to the command center.” Benovy let out a long sigh.

“What did you rope me into now?” he asked suspiciously. Rillian gave an embarrassed smile and loosened her grip.

“I may have mentioned your ability to help make good escape routes in our command meeting and volunteered our skills to help create the base evacuation plan.” She shrugged then exchanged her grasp from Benovy’s side to his hand. “Come on, you old dissident, you’ve got superiors to impress so we can get back to cuddling!”

“As long as you’re the one talking directly to them. I think Major Derlin still doesn’t like me too much after my stunt with the A-wings back on Yavin…,” He paused for a second while Rillian led him on back out the door and into the frozen hallway. “Wait, does this mean you’re not heading back to the fleet?”

End

[writingquestionsanswered]

Hello, I hope you're doing well, and thank you so much for all the help you give the writing community! It's very appreciated~ I was wondering if you have any tips on what to do when you realize you need to make deep structural changes to a story, like changing main plot moments because you need to do major reworking to the story. But specifically, doing these major changes when you're already very attached to the existing plot. A "Kill Your Darlings" kind of thing. Thank you for your time!

When You Have to Kill Your Darlings and Restructure

It's funny you brought this up, because I was just thinking about one of my older stories the other day, and realizing this is what I need to do. And I've done it before, too, so here are some tips...

First and foremost, it's worth taking some time to really think about what has to change and why. Sometimes, when we realize the plot needs an overhaul, it's tempted to feel like you need to go all "scorched earth" on the plot and story elements, but that can be a knee jerk reaction. There may be a way you can keep some of your darlings while getting rid of the ones that truly won't work.

Once you realize what plot elements truly need to go, don't think of it like you're completely pitching them. For one thing, you may think a plot element has to go, but once you're neck deep in the overhaul, you realize something you thought had to go will work after all. Also, you should always, always, always keep a folder of story elements that you cut from your stories, whether that's plot elements, characters, character names, great bits of dialogue, world building details... whatever. Because you never know when you might have a different story where those will work. It can be incredibly reassuring to know those elements are sitting in a folder waiting to be used in another story. It makes it much easier to pull them out of the story because you don't feel like you're "killing" them so much as setting them aside for a story where they'll work better.

After that, you just have to sit down and do the work of re-plotting. If you're like me and you get overwhelmed, feeling like you're looking at a plate of spaghetti, you might try breaking it down into pieces. This is where I find story structure methods really helpful. While I don't like to force my story into any particular structure/method, looking at a particular method (how they break the structure down into parts, like "opening image, theme stated, catalyst," etc. (those are from Save the Cat! Writes a Novel) can help you sort through your plot elements and organize them in a logical way. Another thing that can work well is breaking it down into a scene list. Or, you might find it helpful to write the plot points out on a timeline.

The most important thing of all is not to let yourself get overwhelmed. Take it little by little, and don't focus on what you're cutting out, but on how much more streamlined the story will be once you overhaul it.

Have fun with your story!

•••••••••••••••••••••••••••••••••

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