#the way they use it to tell a story and build a character without it being obvious

[aroaessidhe]

2023 reads // twitter thread

The Sun and The Void

Venezuelan inspired high fantasy

follows a young outcast swordswoman taken in by her grandmother, the dark sorceress for a noble family, who relies on the magic to keep her alive after being attacked by monstrous creatures

and a young noblewoman who’s the shame of her family because of her mixed heritage and desire to use magic

both are manipulated by those with more power than them into a plot to free an ancient evil god

mineral based magic, politics, nonhuman MCs

[imastoryteller]

Writing Angry Scenes: Tips to Avoid Melodrama and Make It Real

Anger can be one of the most intense, relatable emotions to read—and one of the trickiest to write. When handled well, an angry scene can pull readers deep into the emotional world of a character, building tension and driving the story forward. But when handled poorly, anger can easily slip into melodrama, making the character’s feelings seem overblown, forced, or even cringe-worthy.

So how can you avoid these pitfalls and write anger that feels real and compelling? Here are some tips to make angry scenes powerful without overdoing it.

1. Understand What Fuels Your Character’s Anger

To write anger authentically, you need to understand its roots. People get angry for complex reasons—fear, frustration, betrayal, grief, and even love. Ask yourself what’s truly driving your character’s anger. Are they afraid of losing control? Do they feel abandoned or misunderstood? Are they hurt by someone they trusted? Anger rarely exists in isolation, so dig into the deeper emotions fueling it.

When you understand the core reasons behind a character’s anger, you can weave those nuances into the scene, making the anger more relatable and layered. Readers will feel the depth of the character's rage, not just the surface heat of it.

2. Show, Don’t Tell—But Don’t Overdo It

“Show, don’t tell” is classic writing advice, but it’s especially crucial in angry scenes. Don’t rely on generic phrases like “She was furious” or “He clenched his fists in anger.” Instead, look for unique ways to convey how this specific character experiences anger. Maybe their voice drops to a deadly calm, or their eyes narrow in a way that makes everyone around them uncomfortable.

That said, showing too much can backfire, especially with exaggerated descriptions. Over-the-top body language, excessive shouting, or too many “flaring nostrils” can tip the scene into melodrama. Use body language and physical cues sparingly and mix them with subtler reactions for a more realistic portrayal.

3. Use Dialogue to Reveal Hidden Layers

People rarely say exactly what they feel, especially when they’re angry. Angry dialogue isn’t just about yelling or throwing out insults; it’s an opportunity to show the character’s deeper thoughts and vulnerabilities.

Consider using controlled, icy responses or unexpected silences. Maybe your character says something hurtful in a low voice rather than screaming. They might express sarcasm, avoidance, or even laugh at the wrong moment. Anger often carries hidden layers, and using these nuances can help your character’s dialogue feel genuine, even haunting, without falling into dramatic clichés.

4. Control the Pacing of the Scene

The pacing of an angry scene can be the difference between a powerful moment and a melodramatic one. In real life, anger doesn’t always erupt instantly; it can simmer, spike, or deflate depending on the situation and the character’s personality. Experiment with different pacing techniques to create tension.

You might build the anger slowly, with small signs that something’s brewing. Or maybe the character explodes suddenly, only to calm down just as quickly, leaving a chill in the air. Controlling the pace helps you control the reader’s emotional engagement, drawing them in without overwhelming them.

5. Avoid Clichéd Expressions and Overused Reactions

When writing anger, avoid falling back on clichés like “seeing red,” “boiling with rage,” or “blood boiling.” These phrases have been overused to the point that they lose their impact. Instead, get creative and think about how your character’s anger might feel specifically to them.

Maybe their skin feels prickly, or their jaw aches from clenching it. Think about details that are unique to the character and to the moment. By focusing on small, unique sensory details, you’ll help readers feel the anger rather than just reading about it.

6. Let the Setting Reflect the Emotion

The setting can be an effective tool to amplify a character’s anger without overstating it. Small details in the environment—such as the hum of a refrigerator, the slow ticking of a clock, or the distant sounds of laughter—can create a sense of contrast or isolation that heightens the character’s rage.

For example, imagine a character seething in a peaceful park or a quiet library. The calm of the surroundings can make their anger feel more potent. Or maybe they’re in a crowded, noisy room where they feel unseen and unheard, which fuels their frustration further. This use of setting can add depth to the scene without the need for dramatic gestures.

7. Let Consequences Speak for Themselves

An effective way to avoid melodrama is to let the consequences of the anger show its intensity. Characters don’t always have to yell or physically react; sometimes, a single choice can convey more than any outburst.

Perhaps your character cuts off a close friend or says something they can’t take back. Maybe they throw away a meaningful object or walk out in silence. By focusing on the consequences of their anger, you can reveal the impact without over-explaining it.

8. Let the Emotion Simmer After the Scene Ends

Anger is rarely resolved in a single moment, and its effects often linger. When writing an angry scene, think about how it will affect your character moving forward. Are they holding onto grudges? Do they feel guilty or exhausted afterward? Does their anger transform into something else, like sadness or regret?

Allowing the anger to simmer in your character’s mind even after the scene ends creates a more authentic and layered portrayal. It shows that anger is complex and doesn’t just disappear the moment the scene is over, adding emotional weight to both the character and the story.

[dollgxtz]

Ok a fic where reader and sylus are at a business meeting, she “offers” herself as payment (maybe as a joke or just to rile sylus idk) and he makes sure to remind her who she belongs to? Please???

Kindred Spirits

Word Count: 5.1k

Tags: sylus x fem!reader, possessiveness, ownership, spanking, hitting, slight blood mention, pet names like kitten & sweetie, creampie, rough sex, crying, slight fluff at the end :3

AN: Anon ur a literal genius. This has Sylus written all over it. Im so happy to be back posting another story for you all! Also happy to announce my masterlist is now complete and can be found in my pinned! Ty all! Enjoy and remember, my asks are open for any character, Sylus is just my husband LOL. Remember to read my pinned before requesting please! This is a bit tamer than my other stories but trust I am cooking up some deviant content as soon as I publish this one :33

“Finally…”

You nearly collapse near your front door. A whole week of your life. Gone. To what you ask? Dealing with wanderers on a special aid mission. Sure sure, the job paid well but it had been weeks since your last off day. Every time it seemed like one was around the corner here they go with some emergency call and a spill about how some rich politician needed help or something.

You were starting to get tired of cleaning up other people’s mistakes.

You fumbled with your keys, fingers numb from the biting cold. The wind whipped around you, making you shiver as you tried to fit the right key into the lock. Your breath came out in visible puffs, and you could feel the frustration building with each failed attempt. Finally, with a relieved sigh, you heard the click of the lock turning.

The still warm air is such a welcoming contrast to the wind and biting cold outside. You quickly shut your door and melt to the floor, your feet aching with relief as the pressure you had been putting on them subsided. Peace at last. Time for a hot shower an-

Your peace was cut short with the distinct tone of your phone ringing. And not just any ring tone. The one you had set specifically for a certain white haired man that only ever brought trouble. Wondering if you should even pick up, you bring the phone to your face, knowing that you were going to answer regardless.

“Sylus…I’m really tired. Can we talk lat-"

“Long time no see kitten. You should stop by for a bit, hm?”

You roll your eyes, suppressing the urge to scoff out loud. Arrogant prick, you think, irritated by his inability to let you finish a sentence without interrupting. How did he even know you were home now?

You sigh deeply, feeling the tension building, and rub your temples to alleviate the mounting frustration. No, you tell yourself firmly. You wouldn’t put up with this today. Maybe another day, but definitely not today.

"Actually, no. I just returned from a week-long aid mission. Not today," you say firmly, aiming to be clear and resolute in your decision to stay put. Sylus however, seems to sense the cracks in your resolve and only responds with a chuckle.

“I want to see you. I’ll have Luke and Kieran come get you since you’re so tired”.

“Hu-”

“See you soon. They’re en route. Ciao”

The phone clicks, signaling the end of the call. For whatever reason, your ever growing frustration simply dissipates, defeat taking its place. You should be used to this by now. Sylus always gets what he wants. And you always let him. It goes without saying that it’s the same way for you as well. At least, Sylus always gives you what you want if it doesn’t interfere with his need to lay his eyes on you at least once in awhile. He knew that you wouldn’t push this though. You both knew.

Deep down, you wanted to see him too.

You asked Luke and Kieran to wait outside for a bit while you took a brisk shower and freshened up. Those two had always been very patient and understanding. You felt bad “bossing” them around, and yet they always insisted that you could. Though Luke had admitted on one occasion that he never expected to be helping a girl find hair ties or carrying shopping bags while working for Onychinus.

The statement had made you laugh a bit. You finally finish dressing in some plain sweats and rush to the car. Luke and Kieran are waiting outside of a dark colored jeep. Not too flashy as to not draw attention, but it was still clearly very expensive.

“Actually miss, Boss wanted you to wear these” Luke says, holding out an expensive looking dress. Clearly designed by hand and tailored to your measurements. Kieran follows his lead, holding out a box containing a pair of earrings and a lavish looking necklace.

“Huh? What’s this for? A date?”

“Business. That’s all he said” Kieran chimed in. Although you couldn’t see their faces, you knew they had no reason to lie to you about this.

“Ah. Dragging me into more trouble. Got it”.

When the three of you finally arrived to the location, the sun had already set for the day. You darted your eyes back and forth, squinting above at the bright neon sign of the establishment.

“We’re not going to the N109 Zone? This is a nightclub…” you mutter, taken aback by the unfamiliar surroundings. When did this even get here? There were plenty of clubs in Linkon of course, but you never seemed to notice this one. Not that you knew much about the night life to begin with. People were lined up at the entrance, chatting, fixing makeup, or texting.

“Boss wants you here. He’s waiting inside. Enjoy your time miss” Luke said, amusement written all over his tone. He gets out of the passenger seat to open the door and lend you a hand. You rolled your eyes, not wanting to appear shaken up by the situation. Sylus was always full of surprises. This was no different, act confident.

At least, that’s what you tried to tell yourself. After getting almost immediate entrance into the club with just a simple nod from the guard, you enter. As you walk inside the club, Luke and Kieran not far behind you, you can tell this was no ordinary night club. Everyone here was dressed lavishly and sharp, clearly possessing power and ulterior motives. A few eyes lay on you as you walk in, and you feel your hands start to sweat.

Keep cool. This isn’t the first time you’ve been around high ranking individuals. This is probably some test he set up…right? Or some kind of joke to get a laugh?

Clenching your fists, your eyes dart and search for a tall figure with white hair, feeling more nervous by the second that you don’t see him. You’re about to turn around and ask one of the twins, but at last your gaze settles on him, sipping on a glass of Gin Fizz. He’s sitting in a velvety booth by himself, people watching. He’s wearing his black button up with red streaks across it, coat hanging on his shoulders per usual. As if he felt you staring, his eyes shift to meet yours. He sets down his glass, giving you you a small smirk. His eyes narrow, sending a very clear message.

Come here.

As if you were suddenly possessed, your feet seem to start moving on their own. You weren’t sure if you were relieved to see him or if it was just the relief of seeing a familiar face in an unfamiliar place. You take a few deep breaths as you approach, readying your witful replies to any of his attempts to make fun of you. Without making any sound or looking at him, you quietly slide in next to him.

“You look nice. Seems I was right about this look on you” Sylus says, taking another sip of his drink. His eyes wander up and down behind the glass, seemingly devouring you. You squirm under his gaze.

“Hm. Thanks. This gift is the least you can do after dragging me to do whatever you want on a whim once again” you scoff, eyeing the full glass that sits on the table. It’s another glass of Gin Fizz, probably for Sylus. There’s three other very empty glasses on the table.

This man can definitely hold his alcohol.

He chuckles, taking a finger and pushing the glass of Gin closer to you.

“Don’t be like that sweetie. Loosen up a bit, you’ll need it”

“For what exactly? Business?” you mock, picking up the Gin. You didn’t exactly like the taste of this particular alcohol of choice but Sylus was right about one thing. Some liquid courage was definitely needed for whatever shenanigans he was dragging you into tonight.

“Yeah. Figured I could use Linkon’s darling Miss Hunter as backup” Sylus chuckles, watching you nearly choke as you take three big gulps of the drink. You squeeze your eyes in disgust as you finish the rest of the glass, shooting a death glare in his direction as you set it down.

“You’re perfectly capable. Don’t mock me Sylus”. You grit your teeth in irritation, almost ready to rip him to shreds with your words. Clearly your tone has no effect on him though, as all you get in return is a soft smile. Sylus places a hand on your upper leg, slowing sliding his fingers under your dress. You gasp, the coldness of his fingers making you twitch a bit. The warmness of your skin mixed with his cold touch makes the sensation feel like icy fire.

“Or what? You’ll use this on me?” he smirks, tugging on the concealed gun strapped under your dress. “I’m all for it honestly”

You slap his hand away, the woozy feeling from the Gin Fizz starting to kick in. What was in this drink? It was strong. Too strong.

“Pervert. Always touching me, making fun of me. Maybe I will shoot you. Again.” you growl, turning your head away from him. You attempt to scoot away as well, but are met with a strong grip around your waist as you’re pulled into closer proximity with him. Sylus grabs your chin and lifts it towards his face. He leans down a bit, the smell of alcohol and his bourbon vanilla cologne making you feel even more dizzy.

“You can put your claws away now kitten. Don’t make me have to melt your little tantrum away” he coos, gently caressing your face with his thumb.

You stare at him, dumbfounded, desperately searching your sluggish brain for a comeback but finding yourself too flustered to form any words. The look in Sylus’s eyes shifts from a smug expression to a much softer, almost tender gaze, and you wonder what his next move will be. Your face starts to burn as you feel heat rising in your core, your heart pounding in your chest. Panic sets in as you consider the possibilities, your mind racing with the fear of what might come next.

Don’t tell me he’s going to…?!

"You're so...confusing" you mutter.

You’re just about to try and squirm from his grip, when Luke and Kieran tap on the table, catching yalls attention.

“Boss man, Val says he’s ready for ya” Luke says, nonchalantly ignoring the scene that’s displayed in front of him. Sylus releases your face, his face going serious again. He gets up, reaching out a hand to help you out of the booth.

“Time for business, sweetie”

You’re guided by the twins and Sylus past the sweaty bodies on the dance floor to a somewhat hidden room located downstairs. The area the stairs led to was blocked off by a singular rope, clearly only meant for a select crowd.

In the room there’s a long black table, cards and chips all over it. There’s a few prominent figures already seated, along with a few bodyguards standing near the door. Sylus pulls a seat out for you, before taking his own. You study the figure that’s sitting at the head of the table as you sit. He’s short, a bit chubby, dark hair, smoking a cigar. A scar sits angrily on his forehead and you wonder what kinda grudges led to such an injury. He notices you looking at him, and gives you a devilish grin. Some of his teeth are crooked or missing.

All that money and he can't fix his smile?

You shudder. Sylus looks over at you, and back to the man at the head of the table. He’s reading you, clearly sensing your nervousness. He says nothing, simply reaching a hand over to rest on your thigh.

“Was starting to think you were going to keep me waiting Sylus. Seems you didn’t run after all” he laughs, wheezing a bit as he takes another puff of his cigar. You wrinkle your nose a bit as the potent smell hits your senses.

“I couldn’t turn down a game of cards with my dear old friend” Sylus says, irritation coating the last word. “Let’s keep things civil this time, hm Valentino?”

Valentino bursts into laughter, clearly amused. Despite his laughter, you couldn’t ignore the murderous tension in the air. Something tells you this isn’t any regular game of cards. You gulp, trying to force yourself to look at everyone at the table and smile.

“Well hello little lady. Sylus, you didn’t tell me you kept such gorgeous company…” Val says, his eyes snaking all over your body. You feel Sylus squeeze your thigh, clearly irritated. He pulls out a coin from his coat pocket, seemingly trying to channel his frustrations into something else.

“You know I’m not really the type to share, Val. She’s all mine. Down to every single strand of hair”. Sylus ends, catching the coin and shooting a glare in the man’s direction. It was plain, but conveyed a message very well.

You feel your palms start to sweat. Was he being serious right now?? You side eye him, trying to piece out whether or not this was some kind of facade you’re supposed to play into. Valentino clearly takes Sylus’s words as a challenge.

“I’ll give you twenty million for her. Maybe fifty million if you make her give us a little strip show. What do ya say? She looks so soft. Probably makes cute noises too…~” he chuckles, likely enjoying the look of surprise that washes across your face.

Sylus remains quiet, his face unmoving, frozen in a pissed glare. You don’t know if it was the alcohol you drank earlier, or if it was some inkling of an attempt to dissipate the tension, but you clear your throat and begin to speak.

“Well Sylus? You can share can’t you? It’s quite the generous offer Mr. Valentino. I’m quite flattered actually.” you express, putting on your best smug look. Sylus stiffens, a somewhat shocked expression washing over him. Valentino erupts into yet another fit of laughter, seemingly unable to contain himself. Turning to look back at Sylus, you see it in his face briefly. An uncaged look of rage before it quickly dissipates.

Shit. Shouldn’t have said that.

Far too late to stop now though.

“You heard the lady Sylus. Why don’t you try sharing just this once? What I would give to taste that sweet little body of he-”

Sylus slams a revolver on the table, then calmly starts picking up cards from the deck.

"I'd suggest you stop talking and start playing the game, Mr. Valentino," Sylus snarls, his words dripping with venom. The fury in his voice is palpable, and it's clear he's reached the end of his patience.

You give Val a sly look, feigning pity. “Ah, sorry Valentino. Seems this one can’t quite let me go yet”. You don’t know what you were trying to achieve, but it’s certainly not working to dissipate any tension. Val doesn’t respond to you though, all his focus on Sylus now.

“My dear friend. You should know me by now. There’s something I’m much more interested in now than some money. Now I want the girl, or nothing”.

Valentino wears a shit eating grin on his face, soaking in the fact that he thinks he’s gained some control of the situation, unaffected by the gun on the table. Sylus simply sighs, rubbing his fingers against the temple of his forehead.

“I see where this is going then”.

You barely process what’s happening before everything and everyone starts moving. As soon as Sylus begins to stand, Valentinos guards start shooting. Sylus wastes no time flipping the large table, sending the cards and game chips flying everywhere. You yelp as he yanks you towards him using his body and the table to shield the oncoming attack of bullets. You hear Luke and Kieran joining in the frenzy, yelling obscenities as they begin shooting their own hidden weapons.

You swiftly reach for the weapon concealed beneath your dress, your fingers brushing against the cool metal as you draw it out. Turning to face Sylus, you ready yourself for his instructions, your body tense with anticipation. Instead of giving you orders, he locks eyes with you, his gaze piercing through you with an intensity that feels like it's reaching into your very soul. The silence is heavy, charged with unspoken tension as bullets whip past the both of you, and you can feel your heartbeat quicken in response.

“I need you alive for what’s coming sweetie. Pay attention, stay close”

You blink. Twice. Unable to process his words before he yanks you both up, one hand using his evol to send the table crashing into several bodyguards. The four of you fight your way through the onslaught of people coming into the door, before eventually dashing up the stairs. People are running in all directions, seemingly caught up in the chaos of everything. You all manage to make it out the door and into the brisk cold air, the twins quickly hopping into the car to whisk you away.

“Go on, I’ll catch up soon” Sylus states, hurriedly pushing you into the car and slamming the door before you could protest. He signals Kieran to drive off, and that he does.

“He’s…going to level the building. Isn’t he?” you sigh, sighing at the fact that Sylus seemed to conveniently forget that this was in fact not the lawless land of the N109 Zone. No doubt the Hunter’s Association would have to investigate for potential wanderer activity, and that would be a lot of paperwork.

"It's fine. He owned that place anyway. He'll just build another," Luke says, his voice calm and unbothered. Just as the words leave his mouth, a deafening boom erupts behind the car, shaking the ground beneath yall. The explosion's shockwave rattles the windows, and the sky lights up with a fiery glow, cutting off Luke's next sentence mid-breath.

You groan.

The twins did drive you to the N109 this time, swiftly helping you out the car and into Sylus’s private villa. When you entered the front door, a nightgown and lacy underwear were laid neatly out for you in his room, your arrival clearly anticipated.

It wasn’t more than an hour before Sylus waltzed in the front door, eyeing your slouching figure on the couch. You sit up as soon as you see him, still somewhat annoyed.

“What took you so damn long? Also do you have to level every building you come across?” you spat, glaring at him. He says nothing though, walking straight past you and into his room.

“Huh? Sylus?? What the hell…”

Not liking the feeling of being ignored, you hurriedly chased after him. You had never really been uncomfortable barging into his room. You had done it plenty of times at this point, the first time being when he had challenged you to steal the brooch from him. No point in being shy now. He’s fumbling with something in his drawer when you reach up to tap his shoulder.

“Sylus! Don’t ignore me, I know you ca-”

He swiftly turns around, grabbing your wrist before you can touch him. His gaze is unreadable, cold even. You start to sweat, trying to take your arm back. But he only squeezes tighter.

"I was hoping you'd leave me be so I could calm down. But of course you're as petulant as ever" he says.

"Let go! What's wrong with you!?" You attempt to remove his hand from your wrist but he doesn't budge.

“Go to the bed. Place your hands on it” he says, face unchanging.

“Huh??”

“I don’t like to repeat myself”.

You freeze for only a moment before quickly moving to the bed. You meticulously put your hands where instructed, something deep in your core telling you that it’s likely best to listen for now. However, you can’t help to look over your should to quip at Sylus. You’re slightly bent at an angle, trying your best to keep your balance.

“What’s this about? I’m not that upset that you reduced the building to rubble”

Sylus snakes his way behind you, quietly, as if thinking of what to say. He reaches out a hand, grabbing the ends of your nightgown and moving the soft fabric around in his fingers. You feel the heat rise to your face, the skin of your ass feeling a slight gush of cold air.

“You like playing games with me, don’t you? Testing me” he says coldly, fingers trailing up the back of your legs slowly. You shiver, attempting to squirm away. His evol appears around you, its tight grip making you cry out.

Oh. This was about that.

“Huh?? No, I was just playing along. Just friendly banter yknow?” you say, voice wavering. You’ve clearly pissed him off. A part of you knows it’s a slight lie. You didn’t want to admit it out loud but it was kind of amusing to see Sylus get so riled up over something. Over you especially. But you hadn’t exactly done it fully on purpose. It was the alcohol.

But you knew he wasn’t buying it, as observant as he was.

“Sure. You were just pretending to act like a stray kitten trying to find a new owner?” he smirks, his fingers beginning to trace circles over the cloth of your panties. You let out a small whine, his touch just barely grazing your already wet cunt.

“Owner? I don’t belong to you. Or anyone” you scoff, the resolve in your voice wavering with every little circle he completes on your skin. You almost whine in disappointment when he pulls away.

“And yet…” Sylus trails off, leaving you with aching curiosity before you’re met with stinging pain on your ass. You cry out, unable to move with his evol still snaked around you. “You did exactly what I told you to do just now, wear the clothes I leave out for you, and practically melt everytime I even barely touch you”.

“Sylus?! What the hell was that…?!” you exclaim, trying your hardest to process his words and the situation at hand. He doesn’t respond, proceeding to gently caress the spot where he smacked you. The stinging pain gently eases away, and you feel yourself relaxing with his touch once again. He once again trails his fingers down to your clothed pussy, rubbing slow and meticulous circles around it. You start to whine, attempting to push yourself into his fingers for more friction. He pulls his hand away, making a disapproving sigh.

“Acting like you’re in heat per usual” he chuckles, watching as you wiggle around under the grip of his evol. “This is a punishment”.

“For what? Cause I let some sick and ugly looking crime boss think he had a chance with me?”

Sylus wastes no time bringing his hand to your ass again, earning another painful whine out of you. You feel tears forming in your eyes that you can’t wipe away. He’s certainly not holding back his strength, and yet you know this isn’t even a third of the force he could use on you.

“For entertaining him” he says plainly.

Another smack.

“Another for stupidly handing over your life, body and soul for a measly twenty million”

An even harder hit, this one fueled by rage.

“And lastly…”

You nearly choke as he delivers the final blow, your ass definitely bruising by now. Sylus offers no comfort this time, instead leaning down next to your crying face, breath hot against your ear.

“For forgetting that you belong to me, just as much as I belong to you. Kindred spirits remember?”

You have no chance to respond before he’s flipping you on your back, your nightgown flying up to reveal your wet panties.

“I-im sorry, Sy” you choke, tears blurring your vision.

“Show me then, sweetie. Spread your legs. Wide” he instructs, reaching up to brush your tears away. This isn’t done lovingly, more like calculated and cold.

This is far from over.

You silently but shakingly open your legs, your ass still painfully aching from his assault. You’re surprised when he doesn’t rip your underwear in two, choosing to rather peel them off your legs slowly. You notice the hunger in his eyes as he does so, as if savoring the view of your cunt at his fingertips. A small drop of arousal pools down your ass, and Sylus scoops it up with one finger.

You watch as he puts his finger in his mouth, savoring the drop of you with swiftness. His piercing gaze never leaves yours though, and you want to suddenly run away and hide. This is beyond thrilling, but you try your best to remain as still as possible, scared that he’ll think you’re enjoying it too much and punish you accordingly.

You suddenly can’t take the tension anymore, and close your eyes. You hear the sound of Sylus removing his belt from its loops, then the loud clang as it hits the floor. You feel the bed shift as he lowers himself over you, his face stopping just inches over yours, indicated by the sudden feel and warmth of his breath. He grabs your face in his hand and squeezes your jaw. Hard.

“Look at me kitten” he commands, his tone filled with unkempt rage and anger. Your eyes fly open, terrified.

“I’m the only one that will ever taste you. Repeat it” he says. Before you can get a word out, he’s pushing the fat tip of his cock in your entrance. You cry out in agony, nowhere near ready to have been penetrated. But he doesn’t stop filling you.

“Repeat it. Or I’ll hit you again. Do you want that?”

“You’re t-the…ah!” you whine, his cock halfway inside you at this point. Your poor cunt feels like it’s being impaled, splitting pain soaring through your core.

“Try again”

You let out a whimper, trying your best to push through the pain and put thoughts into words.

“You’re the oh-only one that gets to taste me” you choke out, voice wavering and your eyes teary. Sylus gives a hard thrust, pushing the rest of his length inside you. You cry out again, feeling like you’re on the verge of passing out. Sylus seems unmoved by your outbursts though.

“And?”

You stare at him, barely able to see his face through the tears. What? What does he mean and? He didn’t say anything else did he?

“Hu-what?”

You hear him sigh with disapproval, giving you yet another hard thrust. And another. And another. You’re clinging onto his back now, nails digging into his skin as the sound of the bed creaking and your pants fill the room. Blood has probably been drawn on his back, not that he’d even notice. You can hear him grunting in your ear, clearly enjoying the feeling of you tightening around him when you tense from the pain. Although it still hurts, you can feel yourself accumulating to the shape and size of his length, and the pain lessons a bit more with each thrust. He stops once again, tilting your face in his grip.

“What did I say you forgot? Or is this kitten filled with too much cock to think straight now?” he mocks. You can hear the smile on his face despite not being able to see him clearly. Heat creeps up on your cheeks as you wrack your brain for answers.

“I-you…we’re kindred spirits?”

“Before that sweetie”

You blink the tears on your face away, your vision becoming a bit more clear. Although he’s still gazing down at you, his expression is not as angry as before. Seems he’s gotten a bit of his pent up anger out now.

“I belong to you, Sylus” you say, voice small and whiny from crying. That’s definitely what he wanted to hear, as he began to pepper kisses on your neck, on your cheek, and eventually resting on your lips. You greedily return his affection, leaning into this feverish kiss, the both of you only periodically stopping to pant for air between kisses. He stops, resting his forehead with yours, gazing into your eyes once more.

“And I belong to you. What’s mine is yours. All of it”

You don’t get a chance to respond before he’s thrusting again, this time with a continuous and steady pace. You cling onto him, the exchange of flowery words and rigorous thrusting already bringing you on the verge of ecstasy. Sylus already noticed long before you did though, as he brought his hand between the two of you, circling your clit further your stimulation.

“Go ahead, come undone for me” he whispers, voice strained for nearly being at his end too. Your body obeys, unraveling and writhing with pleasure as Sylus continues to pound into you. You ride your orgasm to its end, till the touching of your clit becomes too much and you whine from overstimulation.

“Sylus…!” you moan, and he stops, already at the start of his own climax. You shudder as you feel him spill into you, his seed immediately beginning to pool down your cunt and to your ass. He pulls his heavy cock out of you, a feeling of emptiness taking its place. For a moment nothing is said, just the sound of the both of you catching your breath.

You decide to break the silence.

“Sylus…I’m really sorry” you start, looking up at him. He simply chuckles, placing a kiss on your cheek before getting up to grab a rag from the bathroom.

“You’ve taken your punishment quite well, why are you apologizing again sweetie?” he says from the bathroom, coming back to wipe you clean. You scoff, slightly tensing from the coldness of the cloth.

“Hmph. Fine, I take it back then. I’m holding a grudge anyways for how hard you hit me”

He simply sighs as he finishes wiping you up. “Back with the infamous wit already? Can’t a man catch a break?”

You sit up, feeling emboldened once more.

“Nope. Maybe don’t hit me with the strength of a thousand suns next time and we’ll see”

Sylus tosses the rag in a laundry basket, making his way back to your side. He pulls you into his arms, embracing you in his warmth. You can’t help but smile against his chest.

“Well, good thing I have all night to make it up to you”

You lightly pinch his side, giggling into his embrace. A question crosses your mind.

"Did you mean it Sylus? We belong to each other?"

Sylus took your face in his hand, giving you a slight smile.

"I don't say stuff I don't mean. You know this"

That's the furthest he was willing to explain it. At least for now. Who knows what kind of power trip would ensue if you truly knew how much you had the big bad leader of Onychinus wrapped around your finger.

[xypheris]

Writer Jargon 101 ✨

Show, Don’t Tell – The golden rule! Instead of flatly stating emotions, reveal them through actions, dialogue, and sensory details. Like, don’t say, “She was angry.” Show her slamming a door or clenching her fists.

Head-hopping – When you switch POVs in the middle of a scene without clear demarcation. It's confusing and jarring, like taking a sudden detour while driving.

Purple Prose – Over-the-top, flowery writing that can come off as trying too hard. A little flair is fine, but don’t smother your reader with excess.

In Medias Res – Starting a story in the middle of the action. No boring build-up, just bang—we’re already in the heat of things.

Foreshadowing – Dropping subtle hints about what’s coming next. A small detail now could be a huge reveal later. It’s like dropping breadcrumbs leading your readers to an epic twist.

Chekhov’s Gun – If you introduce an object or detail, it better serve a purpose later. No random things just hanging around. Everything matters.

Canon vs. Fanon – Canon refers to the original source material, while Fanon is the fan-created version. You can take liberties with Fanon, but Canon needs to stick close to its roots.

Saturation Point – That place in your writing where things become too repetitive, too familiar. You’ve got to find a way to push beyond it to keep your writing fresh and engaging.

Bait and Switch – Leading your reader to expect one thing, then suddenly giving them something unexpected. It’s like pulling the rug out from under them.

Plot Device – Any element (object, event, or person) that drives the plot forward or allows the resolution of the story. It’s the item or moment that has to exist for the plot to make sense.

Vignette – A brief, evocative scene that focuses on one moment or idea, often without a formal plot. It's about capturing a snapshot of a bigger picture. Think of it like a small, poetic portrait within a larger narrative.

Mise-en-Scène – A French term used to describe the setting or visual elements within a scene, especially in film and theater. It refers to how everything is placed or designed to create a specific atmosphere.

Framing Device – A structure or technique used to tell a story within a story. It's like having a character tell their experiences through flashbacks or letters, giving the plot a layered, nested feel.

Endowment Effect – When writers unintentionally overvalue a character or plot point simply because they created it. It’s the I’m so proud of this, it’s got to stay! mindset. Sometimes less is more, so watch out for this.

Conflict (Internal/External) – Internal conflict is the emotional struggle within a character (e.g., wanting something but being afraid of it), while external conflict comes from forces outside of the character (e.g., fighting an enemy or dealing with societal pressures).

Pacing Breathers – Moments in the story where the action slows down to allow the characters to breathe and reflect. These help balance the high-energy scenes and give readers time to process.

Symbolism – Using objects, actions, or settings to represent larger ideas. Think of a wilting flower symbolizing the decay of a relationship. It’s subtle but adds layers to your story.

Subtext – The hidden or underlying meaning in a scene or dialogue. What isn’t said, what’s implied but not directly stated. Like that tension between two characters that’s so obvious but never spoken aloud.

Red Herrings – Misdirection! These are the details or clues that seem significant but lead readers down the wrong path. It’s like planting a fake trail to keep your reader guessing.

Narrative Whiplash – When you suddenly change tones or perspectives, jerking the reader’s expectations. It’s like riding a bike and then suddenly taking a sharp, unexpected turn. Used well, it adds suspense, but too much can feel disorienting.

To those readers who became writers ✍🏻, we instinctively and intuitively know what works and what doesn’t, but just in case I’m putting it out here so writing becomes easier. The more you write, the more these little tricks and tools become second nature. Keep going, trust yourself, and keep honing your craft. ✨

[the-knight-of-the-stars]

Are we gonna talk about how that finale entirely erased any conversation about class divisions or are we too focused on ships?

Are we gonna talk about how Caitlyn for a good chunk of the season willingly enforces violence and opression against the lowest class, no doubt directly causing more deaths and suffering, and she is forgiven by the narrative without any meaningful reflecting?

Her great moment getting together with Vi is right after she JUST had a conversation with Jinx where we see she STILL doesn't recognize any class bias she clearly has, insted making it about HER.

Her and the other enforcers are treated like noble heroes in the final battle, all the blame put on Ambesa. Vi's happy ending is getting into a relationship with the exact type of person who perpetuated all the suffering she endured as a child.

Are we gonna talk about how Jayce never leaves his privilege pedestal, never actually reflects on how he was also enforcing violence to the people of the undercity and living on his bliss of progress at THEIR expense?

Jayce, who got help on every step of the way to get to where he is, who wasn't disabled, who never lived the kind of poverty or class obstacles Viktor did, who never recognized the harm he enabled and was complicit to, HE was the one to tell Viktor "People build their own destiny." and "There is beauty in imperfection" ?????

Not to mention the whole bit where he implies Viktor did all that because he wanted to "eradicate what he thought was weakness"??? Didn't we stablished Viktor wanted to HELP THE PEOPLE FROM THE UNDERCITY TO HAVE BETTER LIFE CONDITIONS?? don't try to gaslight me.

I know this is just a TV show, but I need to remind everyone that what perpetuates opressive, discriminatory and violent systems as long and as deeply as they do is indiference. Is turning your head and enabling others to stay ignorant.

Edit: You guys are misunderstanding me. And I admit it is probably my fault, I wrote this high with emotion I wasn't as eloquent.

Jayce's exact choice of words or his time living in the alternate world is nowhere near my point.

My point is, that the narrative is establishing that the privileged character, is the one that has to show (and is quite literally, textually, always the one to show) the underprivileged character that "he was looking at life the wrong way." Forgetting that Viktor's journey of feeling powerless was greatly influenced by the fact he was poor and from the undercity.

That's what I meant by it erasing the part of the plot about class systems. In the end, the story only requires Jayce to understand Viktor's struggle on a superficial level, but the text never recognizes that it as the product of a deeply rooted SYSTEMIC ISSUE. One Jayce and even Viktor on some level, benefited from and perpetuated.

Understanding Viktor still doesn't give him any moral ground, and nobody ever challenges him on that because the story isn't interested in that anymore.

And the same with Caitlyn. She knows what she did what's wrong, fine, she feels bad. Like I said, she still has a class bias, and no character challenges her on it again because the story derails to magic and fighting and whatnot.

The plot just forgets (or ignores) that layer of the story despite it being so prominent up until now.

And ignoring the class discussion does a disservice to every single character because they were initially built on it. You can see it in how they lose the essence they had on s1.

I know y'all love the characters and want to empathize with all their motivations, okay? But the fundamental issue is that characters also represent things, and more so in a story as political as this one. We also have the right to point out that the show told us they represented something and then abandoned that narrative.

What do I think they could have done differently? If I tell you scene by scene we could be here for an entire year. The gist of it is: I think they should have stuck to the character themes they already had established.

Vi as someone fiercely loyal to the undercity beyond her relationship with Powder/Jinx, and being "cursed" by the role of the older sister. Jayce as someone with good intentions but who is ultimately limited by his blind idealism. Mel as a cunning politician who thinks she is on the right path because she isn't violent like her mother, not realizing she is still perpetuating it. Caitlyn as someone kind and compassionate who realizes the institutions she believed in are fundamentally flawed, and because of the way they are built will never be on the side of kindness. Etc, etc.

None of that gets any meaningful resolution.

I am glad if you liked it, or got something from it, you are entitled to your opinion.

I wanted to say this because I was angry, and still am. Because there was so much incredible potential, and honestly, to me, it feels like the writers chickened out on actually saying something in the end.

That's all I have to say about that.

[space-blue]

Fixing Vander and Silco's story (a bit)

Using canon events! Sadly we can't actually fix it, but I hope this makes it a little better. I make my own edit proposal at the end that changes the bar scene to include Felicia without issues.

They meet in the mines, and meet Felicia and her partner there too. They end up together somehow (I think we can put the brotherly allegations to rest now, eh?) and one of them (or both) inherit/buy a bar.

Although Vander is the barman, there is no indication Silco doesn't own or co-own the place. After all he comes to take it eventually as his own, and he's still not bartending. That's just not his gig.

It's implied that Vander and Silco made it, as in, got away from the mines, while Felicia clearly didn't, as she comes home to both her daughters with mining gear and gloves.

So despite Vander and Silco building the Lanes together, the mines aren't closed, and the work "isn't done".

Felicia says they've done it, and Vander is happy to celebrate their success. Meanwhile, Silco has his "NoZ" Nation of Zaun book in which he's scribbling, still planning.

Vander's first memory that Viktor sees even has Silco holding that book.

Later, in season 1 episode 3, we see that Vander tells Silco that he had Vander's respect, the Lanes' respect, but it "was never enough".

There's also this fakeout moment in the memory at the bar, where Vander says they're done, and Silco replies with "You're gravely mistaken". And I thought he was going to go all zealous and say "We'll only be done when we have the Nation of Zaun", but no, he claims he's Bozo 1.

And imo, he is probably right. He calls out Vander in act 1 saying "I trusted you and you betrayed me", and Vander does not contest this. It makes the most in character sense as well that Silco is the brains of the operation while Vander is the brawn.

And we can conclude that Silco's goals were always "bigger" and that the Lanes were indeed not enough.

Years pass, during which we can only assume Silco keeps building his Nation of Zaun and Vander happily bartends and manages the Lanes with Silco. Felicia keeps working the mines and raises Vi, then Powder.

Vi is at least 11, if not more, by the time she's on the bridge. This is just consistent with her model, but also to make her 18+ by the time of act 2.

It's a long ass time for Vander and Silco to be running a bar and the Lanes together. Even assuming Vi is more 8 or 9yo, Vander and Silco spend all that time being together.

Sadly, their models aren't aged very well.

We are also forced here to make some unfortunate assumptions.

It's not a problem, IMO, for Silco to know Felicia and be close to her. It's a problem for him to not be close to Vi and Powder too. Close enough to recognise them at least.

It's easy to say, "Well, Felicia went back to the mines and raised her kids and wasn't super involved with Vander and Silco, who lived much higher up in their bar." Adult friendships and all that.

IT MAKES SENSE, but then it makes zero sense that Vander would murder his life's partner, a man he's been with 10 years at MINIMUM (fuck knows how long they were together while in the mines), over the death of a friend in a revolt they allegedly BOTH participated in.

The memories also imply that Silco is responsible somehow, for throwing a molotov. And yet the molotov doesn't kill the enforcer.

But Vander is shown in the opening of Act 1 season 1 pummeling one to death himself, long after the rest of the revolt has died down. That enforcer wasn't getting back up lol

So whatever we pick, because the writers made Felicia and Silco close, they create a plot hole either way.

Either Vander is whacko and murders his husband over a dead friend at a revolt he set up (since he repeatedly apologises for what he did, and claims he "lost his head after she died" and had that guilt on his hands too)

Or Silco and Vi and Powder spend ALL of season 1 acting like they don't know each other at all. Then Silco takes in Powder and somehow never comments on the fact he was friends with her mom.

Everything being triggered by Felicia's death also means that Vander's emotional thematic moment dropping the gauntlets after seeing what his violence led to is then followed up by a horrible attempted murder on the love of his life, which is... you know. Bad writing.

So I propose that they indeed drift apart. Silco knows of Felicia's kids, and they hangout a bit, but they aren't that close. She's busy mining and being a mom, and Silco is busy making the safe Zaun he promised to deliver.

The creation of that Zaun leads them to act out revolts and uprisings. Vander is happy to follow. He's angry, like he tells Vi. And this manifests in violence. Silco points his violence. It's how they create the Lanes and the moniker of Hound of the Underground. A hound usually has a master, after all.

Vander is Silco's hound, and I think, in Vander's mind this absolves him of some of the consequences of his actions.

So when his friend dies on the Bridge, even if they haven't been that close in a while, well, it's easy to put the blame on Silco.

Since we're following the new canon timeline... we'll have to have him go back with the girls, ready to turn a new leaf.

I think the best way here is to have him either dropping them at an orphanage, or back at their home (trusting Vi to look after Powder for a while) or with friends.

That way, Vi and Powder aren't immediately in Silco's legs back at the drop.

Then Vander and Silco take part in the "clean up" at the bridge. They go get bodies, and since they have no real estate in the fissures, they commit them to the sea (we have canon monsters in there, so I'm sure it all gets gobbled up).

That way, we explain why Vander is weirdly shaved, and why Silco and him are at in the Pilt: they just commited the bodies of the fallen to the waters.

There may have been many others, but Silco and Vander stay there, in the shallows, as they talk.

Vander is done. He doesn't want more of this. He thinks Silco went too far with pushing this one to the bridge. Piltover got defensive and they lost too many people.

Silco doesn't get it. Where he goes, so does Vander, but Vander is his own man, he decided to come too, and he killed enforcers too. Felicia's death is tragic, but as he later will tell Renni about the death of her son: at least she died fighting for the cause, and not some petty infighting, or worse, an accident at the shitty mines.

Vander, the Hound, is not only mad with grief, he refuses to carry the blame of his own actions. It's a character flaw and that's fine! The angry man channels that anger with violence, the only way he knows how.

Silco is probably shocked, and may not say the right things to calm Vander down.

Silco is under the assumption that Vander BELIEVES IN HIS DREAM. That he's a true believer of the Nation of Zaun, like Sevika turns out to be. A true believer would understand sacrifice. A true believer would understand too, that stopping now, after Felicia's death, would make THAT VERY DEATH POINTLESS.

So maybe he screams at Vander! What do you MEAN abandoning the fight? What do you mean, being content with the Lanes? How dare you? You'd make her sacrifice meaningless! You'd make Felicia die a pointless death!

And Vander would bellow that it's over. No more death. No more bloodshed. He rescued her kids from that bridge, and they don't deserve to die too, they don't deserve to see more death.

And Silco screams back that it's their job to create Zaun so these children won't have to see more death. Vander is just delaying the struggle.

And then, perhaps, Silco may even mock him. Say that Vander can't change like that. That he's not that sort of person, to just hang up his gauntlets and go peaceful. That Felicia's blood is on his hands too, and that the only way out is through more blood, more sacrifice.

It would be a horrible point to make, if then Vander truly loses it. Silco runs, and Vander's hound comes out, just grabbing Silco and trying to drown him.

It would be poetic, because then Vander goes home in shame. Gets his arm patched up, hides the scar under a brace, collects the kids and tries to pretend like HE CAN BE THAT MAN. Even though he surrendered his gauntlets and metaphorical violence, and tries to lean into the bartender chill persona, there's what he did to Silco.

And later he'll tell Vander "I'll show you what you really are". Because Silco knows that Vander's promises of being a peaceful good dad are flimsy at best.

Anyway, Vander goes home, and eventually the impact of what he's done really hits him. He's single now, and with kids, and the Lanes to run, and nobody knows where Silco is.

Vander slowly realises Silco was right about one thing. Just because Vander followed, doesn't mean he wasn't behind that event on the bridge. Becoming the solo leader of the Lanes has to have hammered that home for him. Suddenly so much responsibility thrust on him.

So Felicia's death was on him too, and his actions against Silco are the proof that he is indeed the sort of man Silco said he was. At any rate, surrendering violence as his first reaction to any trigger will take a lot of work.

He goes to their old hideout and leaves a letter for Silco.

In the happy AU, Silco finds it, and returns to Vander BEFORE ever meeting Singed. There is no glowing eye, no shimmer, and no cannery.

In our AU, Silco never finds the letter. He finds Singed instead. Starts helping him develop shimmer.

I've been thinking that since the goal of shimmer is a form of "keeping alive" and also "bringing back to life", then it's possible that Silco's glowing eye is a byproduct of shimmer experimentation.

And that the only way to keep it alive and function is more shimmer injections. It would otherwise be grey and dead like in the Nice AU.

So Singed is also a factor here. He gives our Silco a real way to deal scary violence to Piltover. And this changes our Silco. He's more radicalised, and more opposed to Vander, having discovered that Vander works with Grayson to keep Zaun under Piltover's boot (basically making sure the boot stays, but doesn't press down too hard).

Vander is, as always, the enforcer of the status quo.

And though this works for them timeline wise, it sadly doesn't change the fact that Silco should know who Vander's kids are.

Vi and Jinx can be excused for not recognising him, what with him being one of their mom's adult friends, and scarred. But Silco doesn't have that luxury. His great friend Felicia had two very distinctive kids, ONE OF WHICH VANDER FUCKING NAMED! And her death triggered his husband so badly he tried to kill Silco over it. If anything, Silco would be hyper-aware of Felicia's kids.

And no amount of alternate fix-its changes that. It's permanent damage to season 1's Silco.

I feel like we can fix Vander's side of things by inventing an entire scene at the Pilt as I did above, but we can't fix 10 years of knowing your friend's kids and then a lifetime of acting like you don't know them.

I think it also cheapens the found family aspect of both Vander and Silco's adoption. You're left to wonder if they took in the girls only because they were friends with the mom.

Silco's adoption of Jinx and co-dependence with her was great because it spoke of the similar shape of their traumas, and how unexpected their bond seemed.

But now it's redolent of friendly obligation. And lies.

How would I fix it by keeping Felicia in the picture?

I would fully remove Felicia's one-on-one with the boys. That night at the bar? It's a party. Young Sevika is here too!

Felicia and many others are there, all congratulating Vander and Silco over the creation of the Lanes. Eventually Silco tires of the social niceties and goes to write in his notebook at the bar. Or maybe there's a montage of the night as the crowds thin.

In the end, Silco is writing, and Vander is still socialising. He talks to 3 people--Felicia, her husband, and a random person. They thank him for all his work. They've done it! And the conditions in the mines are so much better now thanks to XYZ!

Vander is beaming, he's just so pleased. It's clear for him this is the end goal. Felicia asks him, pointing to Silco, if he's okay.

Vander laughs, says Silco is fine, but he's already got his head back in the clouds. You see, Silco doesn't just want the Lanes, he dreams of a free Nation of Zaun.

The other 2 laugh, but Felicia sobers up. She rubs her belly, thoughtful. Then she says "Sounds like a dream worth fighting for."

I don't think she even needs to say anything about being pregnant, but she could go on with something like "I'm expecting. A girl, I think. I know. And I would love if she could grow in a safe city. I'm so scared she'll have to live the way I did, growing up.'

And Vander smiles sadly and tells her, 'We've gotten this far, and we're not going back. We'll make Zaun safe for your kiddo, I promise you that.'

And that's it.

Vander knows OF Felicia. She is a community member. He knows her enough, maybe from Lanes meetings, that eventually he can recognise her children. But they're not friends, and SILCO definitely isn't friends.

And the disagreement after the bridge is fully about where to go from then on, and Vander deciding he wants to run the Lanes and keep them safe, that what they have now is good enough, while Silco wants "more".

That disagreement can turn nasty, and the fact Vander tried to drown Silco becomes a statement about how violent and temperamental he is as "The Hound of the Underground". Something he'll regret soon enough and spend the next few years working hard to try and change.

What do you think?

[fixyourwritinghabits]

How to Tell If That Post of Advice Is AI Bullshit

Right, I wasn't going to write more on this, but every time I block an obvious AI-driven blog, five more clutter up the tags. So this is my current (April 2024) advice on how to spot AI posts passing themselves off as useful writing advice.

No Personality - Look up a long-running writing blog, you'll notice most people try to make their posts engaging and coming from a personal perspective. We do this because we're writers and, well, we want to convey a sense of ourselves to our readers. A lot of AI posts are straight-forward - no sense of an actual person writing them, no variation in tone or text.

No Examples - No attempts to show how pieces of advice would work in a story, or cite a work where you could see it in action. An AI post might tell you to describe a person by highlighting two or three features, and that's great, but it's hard to figure out how that works without an example.

Short, Unhelpful Definitions - A lot of what I've seen amount to two or three-sentence listicles. 'When you want to write foreshadowing, include a hint of what you want foreshadowed in an earlier chapter.' Cool beans, could've figured that out myself.

SEO/AI Prompt Language Included - I've seen way too many posts start with "this post is about..." or "now we will discuss..." or "in this post we will..." in every single blog. This language is meant to catch a search engine or is ChatGPT reframing the prompt question. It's not a natural way of writing a post for the average tumblr user.

Oddly Clinical Language - Right, I'm calling out that post that tried to give advice on writing gay characters that called us "homosexuals" the entire time. That's a generative machine trying to stay within certain parameters, not an actual person who knows that's not a word you'd use unless you were trying to be insulting or dunking on your own gay ass in the funniest way possible.

Too Perfect - Most generative AI does not make mistakes (this is how many a student gets caught trying to use it to cheat). You can find ways to make it sound more natural and have it make mistakes, but that takes time and effort, and neither of those are really a factor in these posts. They also tend to have really polished graphics and use the same format every time.

Maximized Tags (That Are Pointless) - Anyone who uses more than 10 one-word tags is a cop. Okay, fine, I'm joking, but there's a minimal amount of tags that are actually useful when promoting a post. More tags are not going to get a post noticed by the algorithm, there is no algorithm. Not everyone has to use their tags to make snarky comments, but if your tags look like a spambot, I'm gonna assume you're a spambot.

No Reblogs From The Rest of Writblr - I'm always finding new Writblr folks who have been around for awhile, but every real person I've seen reblogs posts from other people. We've all got other stuff to do, I'm writing this blog to help others and so are they, the whole point of tumblr is to pass along something you think is great.

While you'll probably see some variation in the future - as people get wise to obviously generated text, they'll try to make it look less generated - but overall, there's still going to be tells to when something is fake.

I don't have any real advice for what to do about this (other than block those blogs, which is what I do). Like most AI bullshit, I suspect most of these blogs are just another grift, attempting to build large follower counts to leverage or sell something to in the future. They may progress past these tattletale features, but I'm still going to block them when I see them. I don't see any value in writing advice compiled from the work of better writers who put the effort in when I can just go find those writers myself.

[ur-local-wizard]

Eye of the Storm

Your desk partner leaves his notebook after class, and you’re struck by the beauty of its contents.

This is part 1! Purely build up in this, so not much fluff and no smut.

characters are college age, mattheo riddle x fem!reader, theo nott being a little oblivious, use of y/n, i think that's it

w/c: 627

masterlist part 2 part 3

a/n: was this supposed to be a oneshot? yes. did it turn into a multiple part story? also yes. (Shout out to an irl friend for helping come up with the title!! ily A)

Divination has never been your favorite class. Not because you’re bad at it, you’re actually quite an accomplished student, but because your desk partner was a nuisance.

Mattheo Riddle was the epitome of chaos. And the fact that nobody took Trelawney’s class seriously definitely didn’t help. He wouldn’t even show up half of the time. But when he did, he barely worked. He would just be scribbling in that notebook of his – the one he’s so protective of. “What’s in that notebook? It looks so beat up,” you asked once, leaning forward to get a better look. He immediately snapped the pages shut, “none of your business,” he told you. You haven’t mentioned it since.

But strangely enough, he’s been coming to class pretty consistently this past week. Not like he pays attention, though. And today was no different. His nose was stuck in his notebook, his hand gripping a pencil tight as he scribbled madly. He rarely looked up, but when he did, it was at you. 

You brushed it off, however, telling yourself that he's just making sure you're not trying to sneak another peak at whatever it is he's so wrapped up in. Why would he be looking at you anyway? Or maybe you had something in your teeth.

By the time class ended, Mattheo had already rushed out. But strangely enough, he forgot his notebook. That was a first. He usually never goes anywhere without it. So, being the good person you are, you stuffed it in your bag and walked out the door – deciding that you would give it to him when you see him next. 

The day passed by, and Mattheo was nowhere to be seen. Classes finally ended, and you strolled the halls looking for the Slytherin. After half an hour of looking, you gave up, deciding to wander the halls aimlessly. However, you were broken out of your reverie when you crashed into someone. You stumbled back, apologizing profusely. 

“Shit- sorry,” a deep voice says. It had a hint of an Italian accent – was it Theo? 

You looked up, and sure enough, your hunch was right. The tall European stood in front of you, looking down at the books that fell from your bag. Among them was Mattheo’s notebook. And it fell open to a page full of drawings, one of which caught your attention. It was an eye, drawn in exquisite detail. It was beautiful; the shading, delicate pencil strokes, the way he somehow was able to capture such raw emotion in such a little piece of art. It was truly mesmerizing. 

You quickly dropped down and began to pick up the books sprawled out on the floor, putting Mattheo’s notebook away first. He never let you see what was inside, so you might as well try not to let Theo look at it any longer. 

“Was… that your eye?” Theo asked, startling you. You didn’t even realize it was yours. All you could focus on was the sheer talent radiating from the page. You stood back up, slinging the bag back over your shoulder. 

“I don’t know,” you admitted. Deciding to change the subject, you asked, “Anyway, sorry for bumping into you.” 

“It’s quite alright, bella. You didn’t get hurt, did you?”

“No, no. I’m perfectly okay. Um… have you seen Mattheo? He left something of his in class,” you questioned.

“Left something in class? Are you sure you’re alright, y/n? The man never attends lectures. You should know that,” he chided, but the look on his face was one of concern.

“Okay, well, forget I said anything,” you blurted. And with that, you hurried away to your dorm, your quick footsteps ringing off the stone floors – a storm of mortification and curiosity warring within you. 

This was an extremely short fic, but I hope you enjoyed it!! Let me know what you think! And as always, let me know if you want to be added to the tag list!

©ur-local-wizard translating, republishing, copying, or claiming my work as yours is not permitted. all my work belongs to me and me only. thank you!

[kikyoupdates]

Girlfriend-For-Hire ⭑˚🦋⭑ 𝟶𝟷

yandere!ocs x f!reader

yandere, reverse harem, yandere reverse harem, original characters x fem!reader, slowburn, slowburn yandere

Hoping to try something new and earn a bit of money on the side, you join an app that lets people hire you for your dating services. The idea is pretty straightforward — you pose as the client's girlfriend for a brief period of time, and in turn, you receive payment. But you didn't foresee everyone getting so attached to you, and suddenly, they're no longer satisfied with a fabricated relationship.

story masterlist | next

“...you can do what now?”

“Hire someone to date you,” your friend, Ava, repeats. She chuckles and waves you off dismissively. “Come on, [Name]. It’s the modern age. People are always coming up with new things these days. I’m willing to bet there’s an app or website out there for practically anything.”

You blink in disbelief. Granted, there is all kinds of crazy shit going on in the world, and you’ve heard of companionship services before—like escorts or sugar baby arrangements—but to hear that something like this is trending nowadays is still undeniably a shock. 

“Here, look,” Ava gestures, pulling out her phone. “I was curious, so I downloaded the app the other day just to check out.” 

“Uh, don’t you already have a boyfriend?”

“He knows I was just browsing. I showed him too, and we scrolled through some stuff together. A lot of the profiles on here are wild,” she laughs. “It’s crazy what people advertise they’re willing to do. Get a load of this guy. He says he’s down to meet your family and make a total ass out of himself just so that he lowers your parents’ standards and the next real boyfriend you get will look way better by comparison.”

“Fucking hell,” you mutter. “I can’t tell if this is actually real, or just some new meme template.” 

“Of course it’s real! I think you’re underestimating how lonely people these days are. There’s definitely a lot of money to be made in this industry. Just look at how much people are willing to blow on their favorite streamer, even though they’ve never met them a day in their life. Dating’s gotten a lot more complicated lately, so I guess some people just want to skip past the troublesome parts and experience what it’s like to be with someone.” 

You furrow your brows. The whole thing sounds incredibly sad when you think of it that way. People would rather pay for a fabricated relationship than put in the time and effort towards building something real? Loneliness is starting to sound like an actual epidemic nowadays. 

“Well, I guess I shouldn’t judge people without understanding where they’re coming from,” you acknowledge. “It’s not like I know what they’ve been through. Times are changing and all. It sounds like this is actually starting to become pretty mainstream.” 

Ava nods chipperly. “Yep! I mean, I love my boyfriend, so I’m definitely not the target audience, but maybe it’s what some people need to gain a little boost of confidence and get back into the dating scene. I doubt everyone uses it in a romantic sense too. There are people out there that just want a bit of company every now and then. Isn’t it nice that they have someone to spend time with this way?” 

“Yeah… I guess that’s true.” 

Honestly, you’re still struggling to fully wrap your head around this. You understand the premise well enough, but you can’t really get past the part about accepting payment just to provide someone with a fabricated experience. Then again, you suppose that’s the case for most things nowadays. People are willing to spend the brunt of their earnings on in-game purchases for video games and other things that aren’t tangible in the real world, because even though they aren’t necessarily organic, it still provides them with some satisfaction. 

Long story short, it’s not up to you to decide what does or doesn’t make someone else happy, and you suppose as long as it’s executed in a professional manner, there’s nothing wrong with meeting new people this way. 

“Hey, I’ve got a great idea,” Ava suddenly perks up. “You should join this app! You’re super pretty, smart, and nice. I bet you’d have loads of guys lining up to hire you as their girlfriend!”

“Me?” You blink repeatedly, shuffling backwards the closer she leans in. “I mean, I just don’t think I’m the right person for the job. If it makes people happy, then I support it, but deep down, I worry I’d feel like I’m exploiting someone’s feelings just for a few extra bucks. Morally speaking, I’m not so sure I like the idea…” 

“It’s not exploitation,” she insists. “People know what they’re signing up for. At the end of the day, it’s a buyer-seller relationship. Someone pays for the service being advertised, and they receive it. As long as you’re not ambiguous about what you’re willing to do for the amount that you’re charging, people know what to expect. Of course, I’m sure there might be the occasional asshole here and there, but if they do anything inappropriate or violate the terms, you can report them through the app and they’ll be banned from using it.” 

You’re not quite sure how to respond to that. Some extra money would be nice. You’re a university student with all sorts of loans, so it’s not like you’ve got excess cash lying around. And it’s also true that you’ve been looking to apply for a new job lately, since your old manager was a total ass and you ended up quitting. 

Still. A girlfriend-for-hire? Someone like you? It’s just really difficult to imagine. 

“I actually think it’d be a good experience,” Ava goes on. “You’ve never really put yourself out there before. I know everyone dates at their own pace and stuff, but you shouldn’t have to be afraid. Who knows? Maybe you’ll meet some cool people and want to date them for real. And even if you don’t end up going for them, you still make some money, so either way, you’ve got nothing to lose.”

You chuckle weakly. “Yeah, I just don’t know. I feel like I’m better suited for traditional jobs. But thanks for the vote of confidence. I’m glad you think people would actually be willing to pay to date me.” 

“Girl, you seriously need to believe in yourself more,” Ava sighs. “I’m telling you, you’re a catch. But at the end of the day, it’s your call. You shouldn’t force yourself into anything if you feel uncomfortable.”

You smile and nod in agreement, and sensing your discomfort, Ava decides to change the topic.

But for some reason, you feel a twinge in your chest, and it’s hard to keep your mind from wandering.

Later that same day, you’re lounging on the couch, mouth agape, having just downloaded the app on your own phone. 

“What the hell am I doing…?” 

You tell yourself that it’s just simple curiosity. Yeah. That’s all it is. Ava piqued your interest earlier, and now you just want to scroll through in more detail to get a better sense of what kind of people use this platform. 

The app is called ‘Partner For Hire’. The name isn’t particularly inspired, you have to admit, but you suppose it communicates its point rather effectively and leaves no room for ambiguity. Ultimately, this is a transactional relationship, and it’s probably for the best that clients know what to expect. 

You can use the app as either a buyer or seller. Meaning that you can create your profile and advertise your services, or simply list yourself as a prospective client and what your hobbies and interests are. In that sense, it’s kind of similar to most dating apps, since you have to take a flattering photo to go along with whatever blurb you’re providing. Of course, just because you try to solicit someone’s services doesn’t mean there’s any guarantee they’ll accept. This is an app where you can run everything yourself, and of course the company takes a cut of your profits, rather than an agency that matches you with a client regardless of whether you want to accept the job or not. 

There’s definitely a lot of flexibility, and you can easily choose who you want to pretend to date. If someone is interested in hiring you, they submit a request to be able to contact you, and once you accept, you can message them directly and establish the terms of the dating contract, such as the length and what particular services will be provided. 

You scroll through the list of boyfriends/girlfriends being advertised on the app, and honestly, it seems like there’s a decent amount of money to be made. Of course, a lot of that comes with building a good reputation and improving your ratings and visibility so more people will want to hire you, but it actually seems like a decent amount of people are able to make a living off this sort of thing. 

You bite down on your lower lip. Should you really go ahead and just do it? Like Ava said, there’s probably not much to lose. All the transactions are managed on the app, so you can easily report people who try to skip out on paying. Clients have to link their banking and personal info, so they’d be taking on a big risk by trying to scam people. You’re sure it might happen from time to time, but based on the reviews you’ve read, the company is really good at enforcing their policies and making sure everyone gets paid.

The money seems good, and it would definitely help take some pressure off your student loans, but ultimately, the biggest thing you’re struggling with is your moral compass.

People are willing to spend money for this kind of thing, and that’s entirely their choice to make, so it’s not like you’re extorting them or anything. Still… you wonder if it’s actually okay to profit off of someone else’s loneliness. You’ve never worked the kind of job that requires you to cater directly to another person’s emotions, and it kind of freaks you out.

But maybe Ava is right. There are all sorts of people in this world. Maybe some of them are just curious to try the app out. Maybe others just want to get their families off their back by pretending like they’re dating someone for a little while. There’s no way to discern everyone’s motivations, so perhaps there’s really no point in thinking about it at all. 

Most importantly, this could be a good thing for you. Life has been stagnant recently, and it’s true that you usually hesitate to put yourself out there. You’ll never learn what you do or don’t like if you keep on avoiding everything. This could be a chance to learn a lot about other people, but also, to learn more about yourself. 

Yeah. It’s time to stop overthinking for a change and just try something new. 

Thus, feeling unusually determined, you spend the rest of the day setting up your profile (finding nice selfies was the longest part of the whole ordeal), and with a resolved huff, you post it and officially go live on the app. 

You’re not really sure what you were expecting, but needless to say, there isn’t any immediate feedback. It probably takes a while for people to stumble across your profile, and even then, there’s no guarantee they’ll want to go out with you. 

I guess I was getting worked up for no reason. Certain people might find success with this kind of thing, but it’s probably not as easy as it looks. 

You scratch your cheek, suddenly sheepish over how needlessly excited you got earlier. You’re not used to stepping out of your comfort zone, so you must have gotten a bit carried away. 

For the rest of the evening, you set your phone aside and come back to reality. You get some homework done, make dinner, and by the time you’re ready for bed, you’ve pretty much forgotten about the whole thing altogether. 

That is, until you check and see that you’ve missed a notification.

“Huh? Someone viewed my profile and wants to message me?”

You’re undeniably taken aback. Not just because it’s happening a lot sooner than you expected, but also because it means that contrary to what you first thought, people are interested in you. 

Having minimal experience when it comes to dating and romance in general, you have to admit, the thought of being viewed as desirable is immensely flattering. 

Curious to see who wants to hire your services, you click on the user’s profile.

His name is Isaac, and he’s twenty-one years old, set to complete his undergraduate studies at the end of the year. He goes to a different university than yours, thankfully, because you can’t help but feel like it would be incredibly awkward to bump into him on campus after pretending to be his girlfriend. He’s studying to become a doctor, which means he’s still got a lot of school ahead of him, but you’ve always had a lot of admiration for people who are willing to commit to their goals and work hard. 

Also, even though you don’t want to sound shallow or anything… he’s really, really attractive. 

You frown. Granted, there’s more to a person than their appearance, but based on how he comes across in his profile and what his future career is, he doesn’t strike you as the type of person who would struggle to date someone.

But again, you can never know what’s going on in a stranger’s life. And there’s no real way to find out why he decided to join the app.

Apart from speaking to him directly, of course. 

[𝐃𝐨 𝐲𝐨𝐮 𝐰𝐢𝐬𝐡 𝐭𝐨 𝐯𝐢𝐞𝐰 𝐭𝐡𝐢𝐬 𝐮𝐬𝐞𝐫’𝐬 𝐦𝐞𝐬𝐬𝐚𝐠𝐞𝐬?]

>>[𝐘𝐄𝐒]

After a momentary delay, the screen loads into a messaging interface, allowing you to see what Isaac sent you and respond to him directly.  

You stare at the messages without blinking, just taking it all in. So, there really are people like him out there, who use these apps for reasons other than seeking companionship. It sounds like he’s not too interested in dating for real, but his parents are putting a lot of pressure on him, so he just wants an escape. Honestly, you can’t blame him for it. Your parents were overbearing for the better portion of your life—even now, as an adult—so you can understand just how suffocating it gets at times.

All of a sudden, you don’t feel too bad about accepting the job. It doesn’t feel like exploitation in the slightest. In fact, you’d be helping someone resolve a frustration situation, while getting paid in the process. It actually sounds like it could be rather fulfilling. 

More importantly, you decided to be more confident and try something new. You refuse to back out now. 

You stare at the messages without blinking, just taking it all in. So, there really are people like him out there, who use these apps for reasons other than seeking companionship. It sounds like he’s not too interested in dating for real, but his parents are putting a lot of pressure on him, so he just wants an escape. Honestly, you can’t blame him for it. Your parents were overbearing for the better portion of your life—even now, as an adult—so you can understand just how suffocating it gets at times. 

All of a sudden, you don’t feel too bad about accepting the job. It doesn’t feel like exploitation in the slightest. In fact, you’d be helping someone resolve a frustration situation, while getting paid in the process. It actually sounds like it could be rather fulfilling. 

More importantly, you decided to be more confident and try something new. You refuse to back out now. 

[𝐍𝐚𝐦𝐞]:

You’re admittedly a bit nervous, especially since you want to do a good job and avoid letting him down, but mostly, you’re feeling excited. All of this is uncharted territory for you, after all. Never in a million years would you have imagined taking on a job like this. 

And you really shouldn’t have.

You don’t know it yet, but this will be the cause of many, many regrets. 

Shit. I’m starting to have second thoughts. 

Even now, you still can’t believe you’re really going through with this. After talking to Isaac and ironing out the finer details, you agreed to join him for a family gathering and pose as his girlfriend. You expected for him to have quite a few requests, but luckily, he seems pretty laid back about the whole thing. The better portion of your conversation was spent on getting your stories straight so as not to incur any suspicion, and since you’ve always been a good student and a hard worker, you promptly memorized everything there was to know. 

And now, it’s finally time to put this plan in motion. 

“Hey,” Isaac greets. “[Name], right?”

It’s the evening, since his parents are hosting a dinner party. The event is supposed to be pretty casual, but you still dressed up semi-formal in the hopes of making a good impression. He never explicitly mentioned how strict his parents are, but since they’ve been on his case about getting a girlfriend, it never hurts to go the extra mile. 

"Hi, Isaac,” you smile. “It’s so nice to meet you.” 

“You, too,” he nods. He’s considerably taller than you, and every bit as handsome as his picture suggested. Unless his personality is god-awful (which you probably would’ve picked up on after messaging him for so long), you’ve got a good feeling that most girls would be interested in him.

Still, everyone is different. He might have really high standards, or maybe he wants to focus on his studies, or perhaps it’s just a case of having never met the right person. Whatever the reason may be, his parents shouldn’t be pressuring him to date someone, and if you have the means to help him out, you’ll happily do it. 

“You look really nice,” Isaac says. He tilts his head to the side. “I hope you didn’t feel like you had to dress up to impress anyone. The most important part is that they believe I’m seeing someone so that they finally ease up a bit.” 

“Oh, I just did this for my own peace of mind,” you reassure. “I made sure to memorize everything you told me in advance, so I’m confident I can convince them that we’re the real deal. Even though this is technically my first day on the job… I promise not to let you down.” 

You blush, feeling rather flustered. The idea of being someone’s hired girlfriend is still a lot to wrap your head around, and you certainly don’t want to make empty promises, but you have every intention of giving it your best shot. Isaac is in a stressful situation, and you’re resolved to do whatever you can to fix it. 

“Can’t wait to get this over with,” Isaac sighs. He opens the passenger door and gestures for you to step inside the car. “Don’t worry. I know you might be feeling a bit uneasy, but I promise I’m not a serial killer or anything like that. I won’t hold it against you if you have 911 ready on speed dial until we get to my parents’ house.” 

“I trust you,” you insist. “I’ve heard good things about this app, and it sounds like they take safety seriously. They’ve got your information in their system, after all. Plus, I can tell that you’re a nice guy. It’s just a gut feeling.”

“I appreciate it,” he smiles. “Anyways… I guess I’ve stalled for long enough. You can probably tell that I really don’t feel like going. But the sooner I get them off my back, the better.” 

“I’ll be the best girlfriend you can ask for,” you beam. 

It’s a promise to him, but also to yourself. You are committed to taking this new job seriously, and for the rest of the evening, you will do whatever it takes to blend into the role that’s been thrust upon you. There’s no reason to get worked up. At the end of the day, all of this is pretend. It won’t be anywhere near as complicated as a real relationship.

Right?

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[krossan]

A Brief AU Explanation

I noticed that there are a lot of new followers that do know Danny Phantom, and others that the know very little. I am also aware that I haven't fully explained - maybe NOT in too much detail - the "story" and plots of my AU. You only have the ideas that I've been telling of this story through illustrations.

This AU is all about reconnecting with one self, with Jazz and Dan as the main two of this particular game.

Jazz remains as the same character that is portrayed through the OG show. She has always been the psychology enthusiast of the group, the one that cares for others and help with whatever she can. For her, others come first. First being her family.

On the other hand, we have Dan, an alternate entity of Danny’s ghost half and Vlad’s. A new form of entity that lost his humanity. For him to show any form of emotion is null.

Jazz involvement in this has to do with her putting everyone else first and then herself, and being keen to the study of the human-psyche, and now ghost-psyche, she secretly partakes to the role of Dan’s therapist. This was kept in secret from the rest of her friends and Danny until she can gain more control over Dan.

This, of course, prove to be a VERY difficult task. With her having to hide her constant fears when facing that “particular someone”: he could go on a rampage, have uncontrollable outbursts, cause havoc, and that he could turn against her any day/time without any remorse. She knows this, but she also knows that deep down, her little brother is still there. She’s looking to rekindle that part of him again. Of course, never knowing at what extent this could go.

And this, apparently started to bear fruit, although at a slow pace. As Jazz stood closer and closer to him, she understood that he stayed alone his entire life, and after losing everyone he cared, his violent actions were his significance of showing the world "hurting". The hurt he have been caring so many years. Now he has that second chance. To “live” a new life and Jazz wants to help him out.

With this new information, each time Jazz got close to him, Dan, instead of seeing her as an obnoxious-human-parasite, he slowly starts bonding with her. His interest increasing each day he is with her and grows more comfortable being around her (something Dan originally despised).

***

Part of this AU, enrolls on a particular context that the ghost of a halfa is sentient. The original show as proven this*. When Danny’s ghost has been separated, his ghost has a mind of his own, but when staying together, human-ghost, the consciousness of the halfa acts as one. *Episodes in question: What You Want, Identity Crisis, The Ultimate Enemy

This part that the ghost plays on the known halfas is a mayor plot point from this AU. Let me explain my concept briefly:

This roll that the ghost is part of the halfa is the one that caries the power of the wielder (human). The human can transform into the ghost and vice versa. The ghost powers remain within the ghost half. The human half acts as a vessel/host to the ghost half.

All living things have the instinct of survival. And on this case, the ghosts would do ANYTHING to keep their host safe as they are the means of a linked connection human-ghost. Not unlike the rest of non-halfa- ghosts that their link/host relies on the Ghost Zone -since they no longer have a corporeal body, the vessel for their survival is ectoplasmic energy, the one that emanates from the GZ.

***

Since Dan is no longer connected to a human, he became a full-ghost. An entity that merged from two ghost halfas. He can sustain himself alone, but strangely enough, he building a bond with Jazz, it rekindled what Jazz intended, but in an unusual way. Jazz intention was to try and reconnect Dan with his long-lost humanity. Even if he didn’t have a human half, both his ghosts may have some little information stored deep within of what that used to feel like. And even though that started to give results, the ghost also retained that of his original purpose: Protect the host.

And as the bond Dan and Jazz grew more and more, unknown to them, it caused a physical manifestation: a white streak formed in Jazz’s hair. And even if this came up as a surprise to Jazz, she later discovered that this manifestation was much more than just physical.

Dan rekindled his humanity but he, unknowingly, intertwined Jasmine’s humanity to his. Her humanity is part of him. Jasmine’s emotions have an impact on him. Whatever she feels, he can sense it, let them be good or bad ones.

They both are this new form of halfa, both human and ghost are separate life forms, but from the ghost side -Dan’s perspective- Jazz is acting as his human half. His host. That’s is why his instincts respond to protect her at all costs.

No. This new form of a halfa representation doesn't mean Jazz has ghost powers. The one with that power is Dan. This bond is more of a psychic link.

 (i.e. In European folklore, you “could” say Dan is Jasmine’s "familiar", although Jazz is not considered to be a witch, but imagine the possibilities of this small plot causing people or ghosts to think Jazz is a witch… idk… random ideas)

This is why Dan is more sympathetic towards Jazz and why their bond is very important.

______________

It's worth pointing out that I don't have a specific name for this AU, like many people do when they create these stories. And NO. Please refrain from saying this is a romantic relationship. It is a sibling/platonic relationship.

[novantinuum]

Steven's Breakdown Was Inevitable From the Very Beginning

I feel like the thing that fucks me up the most about Steven Q. Universe and how well conceived he is as a character is that the fundamental building blocks of why he reached his breaking point in SU: Future were laid out as clear as day in the span of legit only the first four episodes of the original show. The writing was literally always on the wall that future him would struggle with matters of self worth and identity in relationship to the others around him.

Let's take a look:

Gem Glow

"Awesome! What are these things?"

Foundational Trauma #1: Steven's home is always either under threat or actively being wrecked by antagonistic forces/beings, and he constantly copes with this by pushing down his fear in favor of a curiosity and silver linings based mindset.

Look at his initial shock when he opens the door and gets tackled by one of these things, and then his response when one of them spits acid:

The kid's freaked the hell out about all this, and while I do think there's a part of Steven that genuinely IS curious about what these lil critters are, I think he's subconsciously using that curiosity as a way to distract himself from his own fears and anxieties. This is Steven actively learning how to ignore the deeper problems in favor of emoting a facade to the others in his life that he can totally handle himself in scary situations like these.

The underlying reason why is incredibly apparent, when you look at the example from the next episode-

Laser Light Canon

"I don't know what a magic lady like her ever saw in a plain old dope like me..."

Genuinely- from the bottom of my heart- I think the above quote from Greg is a moment where his own insecurities around the Gems actually rubbed off on Steven.

At this point in time, Steven may be living with the Gems... but he hasn't started to harness any of his powers at all, so in his own head he might as well be the same as his dad- another human, just one who happens to have a gem! But the way Greg talks about himself... given Steven was living with him in the van for years before moving in to the beach house, he had to have heard negative self-talk from his dad like this before.

And then there's the rest of the Crystal Gems... always speaking of Rose with such reverence as if she were an all-powerful goddess... and Steven can't help but look back at himself, and his gem that won't work... the gem that the others still identify as Rose's...

"Your gem-! You have Rose's gem!"

And maybe he starts to wonder if- without any working powers- he's just a plain ol' dope like his Dad, too.

"Please work... Unlock! Activate! Go! Please-!! Everyone's counting on you, you can't just be useless!"

Foundational Trauma #2: Steven has Rose's gem, and as such, is constantly living under the silent expectation to live up to a standard that he simply cannot ever hope to achieve, because he doesn't KNOW her and he never will.

I want to highlight one of Steven's expressions while his dad is talking about Rose- look at that sad look. My god, I just wanna hug him. This is the expression of a child who has already come to terms with the fact that his only relationship with his mom is through the rose tinted stories that other people tell him about her.

Cheeseburger Backpack

So. Steven has learned so far that he needs to push down his feelings and emote a false veneer of cheer and bravery even when he's afraid, because the rest of the people in his life have expectations and hopes for him due to the legacy of his parentage and he can't bear the thought of letting them down. (And in a sad way, at this point "letting them down" literally just means... being an ordinary human boy. I believe Steven at this stage of the show is flat out scared to be human, because to be human is to fail at being a Gem, and no amount of love and sacrifice in the name of humanity in the seasons to come could've ever saved him from the fundamental fact that the wedge between him and this whole half of his being was already drawn long before the events of season 1 even started. But I digress.)

Let's see where we go from there. Let's check out Steven's first "mission." Or as Pearl puts it about 35 episodes later, his first "test."

"Yeah... they can't all be winners."

This episode is tinted with a little bit of tragedy for me on rewatch, because I genuinely do think the Gems handled the situation as well as they could've. They were supportive of Steven's successful ploys, and (for the most part) responded with grace when he majorly blundered and left the Goddess Statue at home. The main problem, however, is that Steven has already developed a bit of a complex about impressing the three of them-

Foundational Trauma #3: Even when they claim otherwise, Steven has convinced himself that affection from the Gems is transactional, and that when he messes up he's not truly a part of the Crystal Gems.

Of course we the audience know this isn't true- I mean, hell, Amethyst even said as much in episode one after her slip-up ("and you're fun to have around, even if your gem IS useless!")... that the Crystal Gems wouldn't be the same without him. But Steven... the poor kid is a complicated little guy living a complicated life, and whether they intended it or not, the language used they've used around him thus far has not backed up their attempts at fully embracing him, human parentage and all.

Thus, Steven just spends the entire episode wracked with anxiety trying to find creative non-power using ways to make the mission easier so he can convince them he's useful to have around.

Look how nervous he gets even when all three of them are visibly and vocally supportive of his presence here:

This is the face of a boy who feels like he's under constant judgement and scrutiny from those around him.

Blessedly, viewing this episode in isolation, he experiences a brief moment of mental respite where he finally accepts the Gems' encouragement and agrees that his ideas 'can't all be winners,' but this lesson does not stick for him moving forward. A shame, really.

Together Breakfast

"What's the matter, Steven?" "I wanted us all to have breakfast together, so I made Together Breakfast! But everyone keeps leaving..." "Oh, that's nice..."

Taken in context with what we've learned already in the last three episodes, Steven's desperation to spend quality time with the Gems here and his sadness that they keep leaving him alone doesn't just exist within a vacuum. He spends the whole morning watching them shuffle in and out of the temple, or come back from missions he wasn't invited on, and with the disastrous result of the LAST mission he went on probably fresh in his mind it's not hard to understand why this bothers him.

Foundational Trauma #4: Steven internalizes that the price of "not being useful" is that the Gems actively ignore him, meaning that the only way to guarantee their attention is to work as hard as he can to become a stronger member of the team.

I know this screenshot is usually used as a lighthearted meme, but I wanted to include it because I think it's a good example of how Steven's intense desire to impress permeates every facet of his personality at times. Just LOOK at how desperate he is to make Garnet laugh at his joke, to be the one that's at very least "fun to have around," as Amethyst put it in episode one.

The Gems do eventually drop what they're doing to spend time with Steven by the conclusion of this episode, but this only comes after Steven shows his growing strength and "proves" himself by saving their butts from the breakfast monster.

If he successfully gained their attention in literally any other way he might've come away from this episode with a different lesson, but no. Instead, his fears were proven true- the Gems value strength and utility, and if he's not exhibiting that, then what use is he to them?

These fears of his can be seen weaving throughout the foundational fabric of the entire show, but I think Steven lays out what he sees as his "stakes" in the clearest way possible in the episode 'An Indirect Kiss.'

"But- if I don't have powers, then I can't hang out with Amethyst, or Garnet, o-or Pearl, and- I-I can't go on missions!"

And these same insecurities even rear their ugly head as late as the movie.

"I can't believe this... for the first time in years, everyone's in danger, everybody needs me, and- I'm useless!"

Powers = Utility = Worth = Other's love, for Steven. Everything is transactional to the end, which is a hilarious double standard he's set for himself when he's made his reputation as the kid who always listens and encourages and gives others a chance to change, no matter their messy history with him.

__

So let's recap and restate those foundational traumas from Steven's perspective.

One: The only way to cope when your life is constantly under threat is to bury the damage and pretend to be fine.

Two: Everyone expects you to live up to the standards of someone you're not.

Three: The Gems only love you when you're of use to them.

Four: If you ever stop being useful, the Gems won't want anything more to do with you.

In sum, Steven's habit of burying his feelings for the benefit of others was there from the very beginning, not just since 'The Test.'

Those unreachable standards he felt so daunted and intimidated by all his life were the ones set by Rose, at first... but over the course of the series, the dynamic of this shifted. As Rose's influence fell into the background, Steven's rose into the front. And so it's with great irony that- by the time of Steven Universe: Future, the expectations this exhausted, worn down teenager is fighting to once again achieve are the ones HE set for himself. Many of young Steven's selfless actions during the war are quite admirable when analyzed in isolation, but almost none of them are sustainable. He set himself on fire just to save the world, but teen Steven is genuinely unable to see this for what it is yet- as a tragic sacrifice of his own childhood. You can't burn your own ends for others forever, not at all. His breakdown was simply inevitable.

When it comes to the interconnected beliefs three and four, these are exactly why the ultimate confrontation at the end of I Am My Monster HAD to be one fueled by selfless love. Steven is at his absolute lowest at this point- he's everything he fears he's become, trapped in a form that's nearly incapable of reason. He's big and angry and spiky because that's a part of the facade- because a part of him WANTS to scare the Gems away, wants to be left alone forever, believing this the fate he deserves as price for his misdeeds.

In this form, by his own definitions he is NOT useful to the Crystal Gems at all.

But they don't care.

Because it never WAS about Steven's 'usefulness' to them, they simply love him for being Steven.

With this in mind, the conclusion of Steven Universe: Future wasn't just a salve to teen Steven's immediate struggles, it was a salve to the foundational insecurities that have been plaguing him his entire life.

And hopefully... from this point on... his family's shows of love and encouragement will be enough to finally convince Steven that he's more than worth their time...

No matter what path the future leads him on, and no matter what form he takes.

[felassan]

Dragon Age: The Veilguard info compilation Post 4

[Part 1] [Part 2] [Part 3] [another post]

Post is under a cut due to length.

There is a lot of information coming out right now about DA:TV from many different sources. This post is just an effort to compile as much as I can in one place, in case that helps anyone. Sources for where the information came from have been included. Where I am linking to a social media user’s post, the person is either a dev, a Dragon Age community council member or other person who has had a sneak peek at and played the game. nb, this post is more of a ‘info that came out in snippets from articles and social media posts’ collection rather than a ‘regurgitating the information on the official website or writing out what happened in the trailer/gameplay reveal’ post. The post is broken down into headings on various topics. A few points are repeated under multiple headings where relevant. Where I am speculating without a source, I have clearly demarcated this. if you notice any mistakes in this post, please tell me.

Character Creation

BioWare confirmed that even if you make your Rook a short king, the team has done work to ensure animations fit any character build [source]

"Dragon Age's character creator has seen a massive glow-up" [source]. "The volume of choices you get here are frankly insane. As Epler noted, “you could spend forever here,” and he’s not kidding." [source] The art and graphics teams spent a lot of time trying to make hair look amazing [source: the Discord]

In CC we can customise our "bulge size" [source]

Some more detail on the new lighting options to see how Rook looks like in CC when you make them: you can view them in "blazing forest sunshine versus the glare of an underground temple" [source]

"newly mobile, extra-hairy hair" [source]

Faction choice has statistical boons. For example, Shadow Dragon Rook deals extra damage to Venatori blood cultists [source]

Faction choice basically determines why Rook has been called to help in the fight against Solas [source]

All pre-determined character models in CC can be adjusted [source]

You can make a really tall dwarf if you want [source]

"Setting your previous world state is fully integrated into the character creator for Veilguard" [source: the Discord]

Inquisitor appearance will be re-created, there is no way to carry their appearance from DA:I into the game [source: the Discord]

Classes for Rook are not restricted in the sense that you can play any almost class, lineage and faction combination that you want. For example, a mage Rook can be a Crow [source: the Discord] (Fel note: it sounded like Rook cannot be a magic-wielding dwarf, even though the exception of Harding now exists) (Fel note: there is a mage Crow in one of the books)

Story and lore

Here is another article which refers to Rook as "the Rook" [source]

The story is set "9-10 years from DA:I and about 8 years from Trespasser" [source: the Discord]

They have been tracking Solas for "a while. Something else you’re gonna learn about…" [source]

The game does not use the Keep [source]

Shadow Dragon is the faction background with the most in-game reactivity (e.g. from other characters' dialogue) during the prologue section of the game, due to the fact that the prologue is in Minrathous and the Shadow Dragons are a Tevinter-based faction [source]

"I also saw a big moment after the gameplay trailer ends that I can't talk about" [source]

During the more narrative-heavy dialogue choices, "the game will also give a bit of context on what you're about to choose, but doesn't go as far as explaining the exact consequences or precisely what will happen thereafter" [source] "the game shows you how you’ll go about the choice, but it doesn’t tell you the consequence of that choice". [source]

"The game is bringing back Dragon Age 2s dialogue system, which was tone-based and resulted in its protagonist Hawke falling into one of three different personality states. You have three general tones in a conversation: kind, humorous, or aggressive, with slight variations depending on the situation" [source]

"Venatori blood cultists" [source]

"The whole game has the makings of another Suicide Mission [ME2], given that you are up against a god with the ability to collapse dimensions" [source]

"Choices and consequences". "Now, it seems you can see the effects of your choices like never before, and this time, they marry that choice with incredible visuals" [source]

In the bar when you're trying to get information in the opening, if you choose to fight it out and the barbrawl ensues, you then have to run from the pursuers in the bar [source]

A key concern of the developers when creating the environments was to make “a world worth saving" [source]

The prologue is quite linear but there are additional paths you can follow to find additional loot [source]

In the opening section of the game there is a dock which has been attacked and the soldiers that were there have been killed, "but rather than seeing this passively, we walked through the aftermath and had to interact with the scene to piece it all together" [source]

The tone of the gameplay video is a good indicator of the tone of the rest of the game [source]. On the tone: "dark fantasy" [source]. horror & gore is back along with DA's classic dark elements [source]

Tevinter Nights is a better tone indicator for the game than the original reveal/character trailer. Ghil Dirthalen: "Tevinter Nights has felt the most 'DAV' to me" [source]. The gameplay reveal video is the best indicator for the tone of the game (vs the character one) [source]. there is still messy dark shit in the game [source]

Tonally the game is closest to Tevinter Nights and DA:O [source]

Ghil Dirthalen: "[as] one of those unfortunate souls who has latched onto a media world so hard: This game is for me. For the hardcore DA lore nerds, I've been secretly screaming about things I saw for MONTHS now" [source]

The game is true to the DA stories we know and love [source]

Characters, companions, romance

You can choose to engage in companions' own storylines as you progress or ignore them entirely [source]

You will often have to make dialogue choices that will affect how your various companions treat you [source]

Neve is quick-witted [source], measured and elegant [source]

In the opening, you interact with the companions as you move through Minrathous. "your choices during these interactions will determine who goes on portions of the mission with you, along with how “pleased” they are with the answers." [source]

On Varric and Harding: "Instantly the two felt like they’d never been away and avoided the trap of being parodies or fanfiction versions of themselves" [source]

Solas' eyes were always purple hh [source] (yes!)

Gameplay, presentation, performance etc

Some enemies have additional shields that are weak to ranged attacks [source]

When asked about if the war table from DA:I returned, John Epler said "There is a table. Now, whether it works the same way as the table in the previous game..." [source]

Once you get passed a certain point in the game, it opens up dramatically, however it is not an openworld game and they wanted to make sure that all the content mattered and was a more structured, sculpted experience for the player. There is some exploration, some opportunities to get off the beaten path, and some spaces that are fairly wide [source]

The button to press to bring up the skill wheel is RB or R1 (depending on what controller you're using) [source]

"You'll also have access to two skills or spells for each of your two companions that you can command. For a more seamless, uninterrupted combat experience, you can also assign these skills to shortcuts (such as holding the left trigger and hitting the X button) to quickly use them" [source]

"The game is bringing back Dragon Age 2s dialogue system, which was tone-based and resulted in its protagonist Hawke falling into one of three different personality states. You have three general tones in a conversation: kind, humorous, or aggressive, with slight variations depending on the situation" [source]

"booting Fade demons into pits" [source]

"BioWare have revised Dragon Age's art direction to make character models a little more consistent with the series' lovely Tarot-inspired menu art. Flesh is ruddy to the point of painterly; facial features and bodily proportions are thicker and more striking, as though the characters had been cut from clay" [source]

The 3 specs for Warrior are Reaper (has lifesteal/stealing health from enemies, and other freaky powers, does big damage), Slayer (can wield the biggest blade, big swords, big damage) or Champion, which is tanky, shield-using and Paladin like [source] [source]

There are quick-recover prompts [source]

You can roll through puddles of incoming AOE [source]

There are ziplines between some levels levels [source] (Fel note: just like in As We Fly... )

There are also slidey hills to slide down between some sections [source]

There are still some Hinterland-type areas designed for exploration [source]

We can do some home base management to our home base [source] (Fel note: this refers to The Lighthouse, detail in a previous post)

Camera placement is quite zoomed out [source]

Where Rogues have 'momentum', Warriors have 'rage' and Mages 'mana'. When a warrior spends rage in the ability wheel it triggers more powerful attacks. this has been referred to as a build-and-spend mechanic. this system resource gates your use of more powerful skills and is built by getting stuck in [source]. Momentum for Rogues is built by landing hits without taking any [source]

There are big glowing environmental cues for picking up loot or replenishing health potions [source]

"Epler noted that The Veilguard will not be an open-world experience like Inquisition, and instead will have large spaces to explore with quests littered throughout. This allayed my early concerns that they would course correct too hard from the oft-maligned open areas of Inquisition" [source]

Melee and ranged attacks can be charged up [source]

It sounds like there is an option to have greater guidance on when enemies are attacking [source]

The community council gave a lot of notes on the game's art direction to BioWare (gave feedback to the devs) that they were told and shown were changed from the first reveal/character trailer, these made it into the gameplay trailer [source]

The community council asked about having an arachnophobia mode, though they can't guarantee this was implemented [source]

"You’re encouraged to explore and grind for stronger weapons and gear, so your stats and cosmetics improve the further you get into the game" (in the sense that you’ll be rewarded for hard work) [source, two]

Follower information such as cooldowns and health will be visible on the HUD [source: the Discord]

There is a "quick cast" option if you prefer not to use the wheel, should be a chorded action using a controller [source: the Discord]

On PC you can play with keyboard and mouse or controller [source: the Discord]

An accessibility option is the ability to make auto-targeting stronger or weaker depending on your preference [source: the Discord]

The game will have DLSS support at launch [source: the Discord]

Re: hard drives, the game can be played using an HDD, they would recommend an SSD though for the optimal experience [source: the Discord]

There are lots of different interface options you can play with, e.g. combat text size, opacity, when to display health bars [source: the Discord]

Other

The leak from last year or whenever it was (the one that leaked screenshots and a gif from the game) was mainly a lot of outdated stuff and didn't really represent even the early version some community council members had played [source, two]. It was not leaked by a member of the community council, but by a member of another focus group [source]

The community council were given the chance to play the game twice, once in Fall 2022 and a year later in 2023 [source]

There is no information as yet regarding when pre-orders will be open [source: the Discord]

BioWare are hoping to at the very least have the very "best of" the Discord dev Q&A featured on social media and potentially in a blog [source: the Discord]

[☕ found this post or blog interesting or useful? my ko-fi is here if you feel inclined. thank you 🙏]

[legendaryvermin]

So my home ttrpg group is between longform games right now, and I have been planning to bring a bunch of games to them this weekend as options for what we might play next. However, I have been trying to figure out how to talk about the games in a way that doesn't rely as much on me explaining the vibes to them.

I know that people have a bunch of qualitative categories for how they explain games, but I find the idea of saying things like Dark Fantasy OSR, or Lesbian Goofball PBTA less helpful when talking about how games actually play, especially when two games in the same category are like, wildly different in the way they use their frameworks.

So I invented a 6 axis, 1 to 5 star rating scale for TTRPGs that you are free to borrow when talking to groups, or whatever.

TTRPG 5 Star Rating Matrix

Width

What is the scope of this game? Is it narrowly about one thing or does it encompass many types of play? (Credit to friend of the blog @ostermad-blog for this one, they came up with it from my draft)

Weight

How much cognitive load does the player need to bear? Do rules often need to be referenced verbatim? Can those rules fit on a handout?

Wargame

Is the player expected to apply tactical acumen? Is movement tracked tightly or loosely? Does a bad build punish a player?

Writers Room

How much are players expected to make narrative choices and drive the story without the rules scaffolding them? Does this game fall apart without excellent improvisational storytellers?

(Prep)Work

Does this game require a lot of pre-planning by the facilitator? Are there intricate systems to attend to outside of table play? Can I put in the same amount of time as other players and still have everyone leave happy? 

Whimsy

Expected tone of the game. Does this game have difficult thematic elements baked in? Is the core subject or role in the game high or low risk?

Here are some games I know well and how I calibrated them:

I have breakdowns of what each star rating means below the cut if you're curious. Happy Gaming!

Width

⭐ - As written, the game has basically one mode of play, or one thematic core that it meditates on. May have phases, but textural difference is minimal.

⭐⭐ - As written, there are at least two modes of play, but the scope of that play is highly thematically focused or highly dependent on using the game’s own lore. Might have only one kind of character (e.g. Mech Pilot) that it supports. Has limited tools outside of the primary mode of play.

⭐⭐⭐ - Has a variety of modes of play, but may be rigid in their execution. Might encompass multiple kinds of characters (e.g. Doctor, Lawyer, fighter) or character options. The narratives that this game tells within its setting are narrowed, a three word description tells you what kind of stories it can tell with consistency.

⭐⭐⭐⭐ - Loose framework, but with some kind of thematic grounding. Describing the framework in 3 words doesn’t tell you the kind of stories that the game tells (e.g. Dark Fantasy, Star Wars Romp). 

⭐⭐⭐⭐⭐- As written, this game is designed in such a way that it doesn’t put specific limits on what sorts of stories that it is meant to tell. It might ask players to define abilities or stats for themselves. The Facilitator is going to pitch a thematic grounding on top of the rules set.

One Star Examples: For the Queen, Dialect, Honey Heist Five Star Examples: Fate Core, Savage Worlds, GURPS

Weight

⭐ - It is reasonable for a player to be able to recite the rules from memory. The game may be prompt based, or driven by a flow of rules that are read aloud as played.

⭐⭐ - Players can hold most of the most important information about the game in their heads, with a page or less of rules reference needed to play smoothly. This reference could all fit neatly on the character sheet if one is present.

⭐⭐⭐ - Everything a player needs to know about the game is visible on less than 3 sheets of reference. Players are more or less expected to know exactly how their own abilities work in precise detail, and are unlikely to make a mistake in executing them.

⭐⭐⭐⭐ - Players make extensive use of multiple reference sheets to keep rules moving smoothly. No external tools are needed, but players memorizing the details of all of their abilities is taxing. 

⭐⭐⭐⭐⭐- Players and facilitators will prefer to make extensive use of external tools or reference to keep play moving smoothly. Expecting a player to have the exact details of their abilities memorized is not reasonable.

One Star Examples: For the Queen, Stewpot, Mobile Frame Zero: Firebrands Five Star Examples: Dungeons and Dragons 3-5e, Lancer, Edge of the Empire

Wargame

⭐ - As written, this game does not treat combat as mechanically different from any other aspect of play, or does not include narrative violence at all.

⭐⭐ - While players may engage in combat, it is minimally different from regular play. There may be tools or abilities for players to use to conduct a fight, but the texture of those fights is thematic, not mechanical. Narrative and consequence drive the action, not hit points.

⭐⭐⭐ - As written, combat has its own set of rules. This game may have some elements of buildcrafting, but either it is difficult to build something that doesn’t work, or the player may meaningfully invest in other modes of play and still find a commensurate level of satisfaction. If combat occurs, spacing is kept in mind, but is tracked in relative terms (range bands) or highly simplified (zone based combat).

⭐⭐⭐⭐ - This game has buildcrafting that is somewhat mandatory if players wish to survive a fight, but there is still a meaningful choice in choosing a non-combat role. It may use a grid or a spacing system to help players visualize the combat. Fights are driven by mechanics, not by narrative.

⭐⭐⭐⭐⭐- To enjoy this game, players must spend time buildcrafting. If a player’s build is suboptimal, there may be significant parts of the intended experience that will either feel tedious, or that the player will not have meaningful access to. This game is played on a grid.

One Star Examples: Wanderhome, Dialect, Belonging Outside Belonging Five Star Examples: Lancer, Dungeons and Dragons 3-5e, Valor

Writers Room

⭐ - Players in this game are not expected to provide much in the way of narrative substance. Story is something that is driven by external input or tools, and players are there to imagine and react. The player need not separate the self from the character they play in any meaningful way.

⭐⭐ - The mechanics of this game drive most of the narrative, or else the narrative is set for the players by an external source or player. Players are encouraged to play optimally rather than dramatically, but do have room for expressing the identity of their character within the game’s mechanical frameworks.

⭐⭐⭐ - While the game does provide strong scaffolding to tell a story, the players present are expected to drive the story within those frameworks. The game’s systems create and resolve conflict on their own, but works best when the players are willing to choose the dramatically interesting option even if it mechanically non-optimal.

⭐⭐⭐⭐ - The game provides some mechanical tools that create and resolve drama, but there is a significant expectation that the players are buying into and driving the game’s thematic concepts. Players are the ones deciding what the scenes should be and when to end them, but mechanics still help determine outcomes.

⭐⭐⭐⭐⭐- The players are expected to drive the narrative at all times. Tools for deciding what scenes to do and when to end them are limited, optional, or vague. There is no meaningful scaffolding that creates conflict or resolution, it is incumbent on those present to manifest those things.

One Star Examples: Alice is Missing, Ribbon Drive, For the Queen Five Star Examples: Wanderhome, Systemless RP

(Prep)Work

⭐ - Facilitators are not expected to do work outside the time at the table. All rules can be read while the game is played. No memorization is needed.

⭐⭐ - This game expects the facilitator to have read the rules in advance, but the rules are so few that they can be run from a single reference sheet. At times, the facilitator must think about and potentially advance and adjust the narrative of the game behind the scenes. Prep is qualitative; answering questions about where the narrative is going to go, who will be there etc. The game can be run smoothly predominantly as improv.

⭐⭐⭐ - This game expects the facilitator to not only know the rules, but to imagine scenarios where the group must play. However, the scope of the scenario design is limited and qualitative. It takes a bit of pondering and perhaps a sketch and a few words of notes. Alternatively, the facilitator must design simple foes or track a simple background system. The work is trivial, and can be done with a bit of time before session.

⭐⭐⭐⭐ - The facilitator of this game is expected to have run systems between games, or created usable maps or scenarios. Generally, games at this level have some reduced wargaming component. The facilitator might need to engage in enemy design, but the work is limited or imminently reusable. The work is non-trivial, and failing to do it will somewhat impact the quality of play.

⭐⭐⭐⭐⭐- The facilitator of this game puts in significant time between sessions engaging in game design activities. They are expected to plan narratives, write NPCs, draw maps, run significant background systems, and design enemies and combat encounters. The work is significant outside of play, and failing to do it beforehand will result in a worse table experience.

One Star Examples: For the Queen, Alley-Oop, Lasers and Feelings Five Star Examples: Lancer, D&D 3-5e, Stars Without Number, Edge of the Empire

Whimsy

⭐ - This game’s thematic core is considered dark, taboo, or difficult, and separating the game’s mechanical features from this subject matter is next to impossible. Games with horror elements almost certainly fit within this category. These games encourage extensive pre-play safety talks.

⭐⭐ - This game is designed to look at dark subject matter, but doesn’t expect the player to spend all of their time there. Players explore difficult topics, but may get to choose what topics to explore, or when to explore them. Games with political messaging/commentary tend to fit this category. These games encourage pre-play safety talks.

⭐⭐⭐ - This game may have dark aesthetics, but doesn’t enforce them mechanically. Alternatively, there are mechanics that address difficult topics in broad strokes, but players are given leeway in the rules with how any difficult topics are approached. These games may encourage safety talks. 

⭐⭐⭐⭐ - This game may have the option to explore dark topics, but none of the mechanics are tied to such topics. This game may have violence in its aesthetics, but players may choose to adjust the aesthetics at the table to suit their comfort. These games tend not to talk about safety in their text.

⭐⭐⭐⭐⭐- This game is designed to focus on thematic material that is considered to be relatively safe. The game is unlikely to tread into violence or trauma without effort.

One Star Examples: Trophy Dark, Dungeon Bitches, Vampire the Masquerade Five Star Examples: Honey Heist, Princess World, Beach Episode

The system here isn't about what's good or bad, to be clear. I think there are good and bad games at every level of these categories, but when I think about what my game group is good at and comfy with, I don't think we go in for things at like the 5 end of the Writers Room scale. It's too much work, and most of them aren't pro improvisers.

Similarly, if we play another game that is a 4 or 5 on the PrepWork category, I don't have time to run it these days. So this helps me make practical choices about our next game.

[kinda-indecisive]

･˳ . ⋆   .˳⋆ Face Kisses pt. I ⋆ .˳⁺⁎˚ ⋆･˳

Basically how I imagine their reactions to an onslaught of face kisses from you (MC). Fluff.

Part 1: The Xavier and Zayne Edition!

+:★:+* *+:★:+* +:★:+*━━━*+:★:+*━━━*+:★:+* *+:★+:★:+* *+:★

Xavier

Xavier locked himself out of his apartment. Again.

You’re not sure what it was this time, whether he got distracted by the comic he’d been reading as he’d left this morning or if it was something else. But when he returned from the store carrying the two latest releases from that same series, he bumped into you outside the front door of your building and his eyes had widened in horror, then quickly settled into resignation. It was as if you had been a reminder of what he had forgotten and, before he said a thing, you asked, “You locked yourself out again, didn’t you?”

He admitted it with a sheepish nod, half-turning to return to chilly street. But you quickly stopped him by gently grabbing his sleeve.

“You can use the key you gave me. It’s on the kitchen counter. Or…”

“Or…?” He inquired, giving you a small squint and a smile as he tried to read your mood.

“Or you could come over for dinner! I was going to order something tonight, but I don’t have to. I'm sure I have the ingredients to make something simple.”

“Either sounds good to me,” he smiled, resolving to follow you up to your apartment, “And all food usually tastes better in good company.”

Your ingredients ended up being mismatched and a bit embarrassing, but Xavier hardly seemed to notice as the two of you decided on a menu to order from. You chatted over the meal, watched some funny videos on your phones together, cleared the table together, and now Xavier has made himself comfortable on your couch, his brow scrunched ever so slightly as he reads one of the comics that likely got him into this situation.

You pretend to be doing something, though if Xavier looked over he might be very confused by the strange way you wring the dish towel in your hands.

In all truth, you can’t help but watch him as he reads, his expression changing ever so slightly at the events in the story. A tiny frown appearing between his brows before his eyes soften and he lets out a tiny ‘hm’, though you can’t quite tell if it’s a sound of relief or annoyance from the character’s decisions.

He’s so cute. And devastatingly handsome. Sometimes you want to just squish him. And other times you just wanna smooch all over him.

Right now, it’s a bit of both.

You were so deeply into your own thoughts that you hadn’t realized you walked up to him. And now that he’s looking up at you in mild confusion and slight concern, you aren’t quite sure how to explain yourself.

“Is something wrong?” he asks, setting aside the comic and sitting up without taking his eyes off of you.

You shake your head and a little of the worry in his expression dissipates, though the confusion remains.

“Well then… have you come over just to say hi?” He chuckles, averting his eyes a little, his hand finding the back of his neck. When he turns back to you, his eyes widen in surprise when you take his face in between your hands.

“You’re just so… ugh!”

He looks up at you sheepishly while you resist the urge to squeeze his face between your hands. Sometimes your cuteness aggression goes wild around Xavier. Most of the time, you have a good handle on it. But right now, not so much.

His cheeks flush with heat when you start to place kisses all over his face, his eyes closing, his nose scrunching ever so slightly, only making him look even cuter.

Once your task is finished, he finally opens his eyes, his face still flushed, his lips parted slightly as he looks up at you.

“What was that for?”

“Did you really think I was going to let you just wander around after you locked yourself out? Didn’t I already tell you that you can always come here when that happens?” you say, placing your hands on your hips so that he knows you’re being serious.

He smiles faintly, “Okay, then. Besides, I really like it here. The hostess is very… friendly.”

Your own cheeks turn warm as you turn away, “You better not be meeting up with any other friendly hostesses.”

He shakes his head, chucking softly at your subtle jealousy, “Nope. I could never.”

+:★:+* *+:★:+* +:★:+*━━━*+:★:+*━━━*+:★:+* *+:★+:★:+* *+:★

Zayne

When you wake up, you find the bed otherwise empty. It’s likely he’s already up and working, though it’s supposed to be his day off. That is, if he hasn’t already been called in for an emergency.

Peeking your head from the bedroom, you can’t help but grin at the sight of the dim lamp light and quiet sounds of the keyboard in the living room. He’s still here!

Slinking into the room, you buzz with excitement, but still manage to approach him without making any noise. As per usual, he is so focused on what he’s doing that he doesn’t look up for a second. And when you come up behind him and drape your arms around his neck, he acknowledges you with a tug at the corner of his lips and a small kiss against your forearm.

“G’morning,” you greet him, eyebrow raising when his typing doesn’t cease for a second.

“Good morning. Though it’s still quite early. You should go back to bed,” he says, his voice a mixture of affection and ‘doctor orders’ at the same time.

“But what if I wanna stay up with you?”

He acknowledges your somewhat rhetorical question with a hum, his eyes partially blocked by the light reflecting off the laptop screen as he types out a quick email and sends it off.

“Then you’ll have to keep yourself occupied a little while longer. I can’t provide much entertainment for you for at least three more emails.”

He still hasn’t taken his eyes off the computer once and you find yourself pouting about it, even though you know that most of the time when he does his emails this early it’s so he can give you his undivided attention later in the day, which you really appreciate.

The thought makes you want to squeeze him tighter, but you resist, settling on placing a quick kiss on his cheek. Lifting your head, you lean over his other shoulder to place a kiss on the same spot on his other cheek.

Back and forth you move, showering your good friend, your doctor, (the love of your life?!) with the affection you feel bubbling out of you. You are a little dejected, however, when he still gives you little more than a head tilt in response.

“Wow. Sometimes I’m impressed by how professional Dr. Zayne is. He really gives me no reaction at all when he’s in ‘the zone’,” you tease.

“Are you trying to get a reaction out of me?” he asks, clicking through his tabs before stopping on one with what looks like the results of someone’s EKG. When he is concerned about something he sees, he’ll spend a long while examining these kinds of results, his fingers steepled, his eyebrows furrowed. Today the patient appears to be lucky, as he glances over them briefly before sending it off to Dr. Greyson.

You ignore his question, “Are they having a busy morning without you or something?”

Silence. Then, “I had some trouble sleeping, so I offered to look over a few things before attempting to go back to sleep. However, it’s been about an hour or so since.”

Nightmares. That would explain the reason he still has yet to look at you. The reason he has yet to respond to your kisses. He’s right, however, that you would like a reaction from him.

You resume your playful kisses. This time, however, he sighs softly, slumping into the chair just a bit, placing his hand over your forearm.

“I wish I could fight your nightmares for you,” you murmur and he finally looks up at you, his eyes slightly humored behind his glasses.

“I imagine you would if you could, though the image of your attempt might be sufficient in chasing them away, as well. If nightmares were sentient things, I could easily imagine you putting it in a headlock and bullying it into doing as you wish.”

Heat creeps into your cheeks, “Is that how you see me? As a bully?”

He shakes his head slightly, his hair brushing your cheek, “Not a bully, exactly. But you have a tendency to get passionate about things. For example, you sneak into the room while someone is working and shower them with kisses from behind.”

“Oh? So you think I’m passionate about everything when it comes to you?”

“Certainly. I know that for a fact,” he murmurs, clearing his throat as his ear turns warm against your cheek.

Giggling, you concede that it’s true.

Lowering your head, you place a kiss against his jaw, just below his earlobe, causing the blush in his ears to deepen. You are quite pleased with the reaction you’ve finally gotten out of him.

~~~~~~~~~~~~~~~~

Rafayel and Sylus Edition coming soon!

Will update this post with a link in this section when it is added. Let me know if you wanna be tagged on the next post :)

UPDATE: Here’s the link to Part 2: The Rafayel and Sylus Edition

[olis-inkwell-symposium]

The Taste of the World: Writing Food as Storytelling

Food is never just food. It’s culture, history, survival, and, perhaps most importantly, a language that characters and worlds use to speak when words fail. The way food is grown, prepared, and consumed reveals the structure of a society—its priorities, its fears, and its memory. And in storytelling, the smallest detail about what’s eaten or how it’s shared can carry a world’s worth of meaning.

When used well, food becomes a subtle but powerful tool. It can reflect emotional tension without anyone saying a word, or quietly thread deeper themes through the narrative. It doesn’t have to overwhelm your story with excess description; it works best when it’s an organic part of the world, shaped by the same forces that drive everything else.

Let’s break down how to think about food as more than a detail, crafting it as an integral part of the characters, the setting, and the stakes.

Why Food is Fundamental to Worldbuilding

Culture and Identity

Food defines a culture as much as its language or traditions. The ingredients people rely on are determined by the land they inhabit, the technology they have access to, and the values they hold. It’s not just about what is eaten, but how—and why.

Think About:

What ingredients are unique to this region, and how did they come to rely on them?

How is food served—shared communally or divided by status?

Are there specific rituals tied to preparing or consuming meals?

These questions help frame food not as a decorative detail, but as a way to demonstrate how a culture lives and interacts with its environment.

Food as Survival

Food exists on a spectrum from abundance to scarcity, and its availability often tells the story of who holds power and who doesn’t. This doesn’t need to be stated outright—simple contrasts in what’s on the table (or missing from it) can highlight social divides or tensions.

Consider:

What foods are considered everyday staples, and what are reserved for moments of celebration or mourning?

How do people preserve food in harsh climates or through difficult seasons?

What compromises are made when survival is at stake?

Survival shapes cuisine, and cuisine, in turn, shapes the people. Food that may seem unremarkable to outsiders can carry in-depth meaning for those who rely on it to live.

Food as Memory

Meals are tied to memory in ways that few other experiences can match. They evoke places, people, and moments that might otherwise be forgotten. For characters, food can serve as a reminder of what was lost or what still needs to be protected.

Ask Yourself:

What does this food remind your characters of?

How does this memory shape their present choices?

What foods do they miss, and why can’t they have them anymore?

The emotional weight of food often lies in its connection to something larger—home, family, or an ideal that has slipped unreachable.

Integrating Food Into Your Narrative

The Subtle Art of Symbolism

Food works best as a storytelling element when it doesn’t announce itself. It’s not about drawing attention to the dish for its own sake but letting it naturally reinforce the scene or the character’s state of mind.

Example in Practice: A meal served quickly, with little conversation, could underscore a sense of unease or urgency. Meanwhile, the deliberate preparation of a dish might reflect care, control, or tradition.

It’s less about describing what’s on the plate and more about how the act of eating—or not eating—interacts with the story.

Building Tension Through Meals

Sharing food is inherently social, and like any social act, it can carry undercurrents of conflict or connection. Meals can be settings for negotiation, subtle power plays, or suppressed resentments. What’s not said during a meal can matter more than what’s served.

Think About:

Who prepares the food, and what does that say about their role or status?

What’s the mood at the table? Is the act of eating itself a kind of performance?

Are there unspoken rules about who eats first, how much they take, or what they avoid?

Food as tension is about the surrounding interaction, not the food itself.

Grounding the World in Small Details

Food is a powerful tool for grounding your world in a sense of place. By focusing on how ingredients are sourced, prepared, or consumed, you create an ecosystem that feels real without needing an info dump. A brief reference to a seasonal delicacy or the preparation of a daily staple can communicate volumes about the setting.

Use Sparingly: The best world building happens in glimpses. A short mention of pickling methods during a harsh winter or the fragrance of a common herb can paint a vivid picture without dragging the narrative down.

Applying Food to Character Development

What Food Says About Relationships

Meals are a social construct as much as they are a necessity. Who characters eat with, what they share, and how they interact during a meal reveal their connections—or lack thereof.

Consider:

Do your characters share food equally, or does one person dominate the meal?

Is a meal an act of kindness, a manipulation, or an obligation?

How does the way they eat reflect their personality?

Preferences, Habits, and Rituals

The foods a character gravitates toward can say as much about them as how they speak or dress. Perhaps a soldier instinctively chooses ration-style meals even in peacetime, or a merchant avoids exotic imports as a quiet protest against their origins.

Ask Yourself:

Does your character have a ritual or habit when it comes to food?

How do they react to unfamiliar dishes?

What’s their relationship with food—joy, necessity, or something else?

The Absence of Food

Every so often, what’s missing can be more telling than what’s present. A lack of food could signify poverty, oppression, or desperation. Even in abundance, what isn’t served can carry weight—certain foods might be taboo, seasonal, or too painful to prepare because of their associations.

The absence of food doesn’t need to be highlighted directly. Instead, its weight can be felt through the absence of conversation, the careful rationing of resources, or the visible strain it places on characters.

Final Thoughts: Food as a Storytelling Tool

Food is one of the most powerful yet understated tools in your storytelling arsenal. It connects your world to its people and its people to each other, revealing layers of culture, memory, and emotion without needing to over-explain.

When used thoughtfully, food doesn’t just flavor your story—it deepens it, grounding your world in something tangible and human. Instead of asking, What do my characters eat? ask, Why does it matter? Because when food becomes more than sustenance, it transforms into something far greater—a story in itself.

TAGLIST - dm or reply to be added 🫶🏾

@slenders1ckn3ss @lucistarsfire @fond-illusion @p00lverinecentral

[thebroccolination]

THE EXPERTLY LAYERED WRITING IN THAMEPO'S FIRST EPISODE

My dudes.

The last time I was this jazzed about a series from the very first episode, I was watching Be My Favorite, which went on to become my favorite Thai series. Some of that was because of Krist's talent and charisma as Kawi, some of it was the chemistry between Krist and Gawin, some was the music, some was the production value overall, but most of it was the writing.

SO LET'S TALK ABOUT THE WRITING IN THAMEPO.

While I was watching the premiere of ThamePo yesterday, I messaged @hallowpen to rave about the script. "It has stakes!" I wrote. "A time limit! Character arcs!" Then they asked me who the director was, and when I told them it's Mui (Aticha Tanthanawigrai), they essentially said, "That makes sense."

Because Mui isn't only a director—she's primarily a scriptwriter.

And she definitely seems to know what she's doing.

The first episode has to do so much right to hook an audience and create a solid foundation for subsequent episodes.

It has to introduce the protagonist in their normal circumstances, then quickly endear them to the audience, establish what they want, show the obstacle(s) in their way, and give people a reason to keep watching. Do this while avoiding the traps of info-dumping or weighing down the narrative with too many characters at once. You have to build just enough of a structure to pique curiosity, but not so much that people can guess where the story is going.

ThamePo did all of that, and beautifully.

In the first scene, Po is interviewing for a creative job so he can return to his passion after spending three years helping Earn, his ex-boyfriend, achieve his goals. This interview shows us that Po is earnest and honest to a fault, which is helpful for endearing him to the audience, but a well-written scene is usually doing more than one thing. At the end of his short interview, the interviewers tell Po that his reason for taking a break was off-putting, and they advise him not to be quite so truthful in the future.

I'm curious if Po learning how to use his natural earnestness effectively will be part of his character arc. Because later in the episode, Po decides to embrace a mild level of dishonesty to get the job with ONER. He reluctantly agrees to give them a resume that his friend edited to sound more flattering, and in his interview, he…embellishes the truth.

This is the first time we see a flashback to the one time Po went to a MARS event to take photos for his friend, and it's fairly unremarkable on the surface. Just a quick shot of him in the crowd—one of many—and then a shot of him editing the footage at home.

No sign that this is setting up some fantastic layering in the script.

Now, before I go on, I just want to say that, y'know, stakes and character arcs and obstacles and time limits are all extremely basic facets of a story. The reason I'm excited that ThamePo has them is because a lot of the queer Thai series I've seen throughout the past five years…haven't had them. Especially in the onslaught of hundreds of BL and GL series produced in the past two years, the vast majority of them just seem to have been slapped together. A rough first draft kicked onto a smoking conveyer belt bleeding text and plot points.

But Be My Favorite is as good as it is in part because Waa campaigned for more time to work on the script. And ThamePo was apparently in the works for five years before Mui found the cast she wanted.

Good stories take time to create, so I'm glad that there are a small number of series actually getting that time.

Okay, so!

Let's talk layering.

Thame's first words to Po are, "Are you a sasaeng?"

For the uninitiated, sasaeng fans are an ever-growing concern in celebrity spaces, and given how much leeway GMMTV has given to sasaeng behavior in the past, I'm surprised and glad to see them allowing them to be a negative plot point.*

*Truthfully, I don't think you can tell an authentic story about modern-day celebrities without at least mentioning the horrific effects that sasaeng culture have on them.

Later, we find out that Thame saw Po at the fan meeting, and Thame gives Po the options of quitting on his own or being fired after Thame exposes the footage he's found.

So now we've seen this fan meeting twice: once from Po's perspective as a job he did for a friend, and now from Thame's perspective noticing some guy in the crowd.

We're incrementally getting more information as it becomes relevant.

And then, finally, after Po convinces Thame that he isn't a sasaeng or even a fan, Thame reveals the part that matters most to the story going forward:

The reason he remembered Po is because, in a crowd of people screaming to get his attention for their own sake, Po was the only one trying to help someone else. And I think that's another hint at Po's character arc: Earn took advantage of his earnestness and his selflessness and hurt him deeply, but he shouldn't have to give up that gentle side of himself to be happy.

This third layer shows us the most important detail of this moment and why the episode keeps coming back to it: this brief memory meant something to Thame.

I think the reason Thame was so aggressive to Po in the office when they met for the first time wasn't just that Thame suspected Po was a sasaeng.

Look at Thame's face in that last screencap: it touched his heart to see someone he assumed was a fan helping a younger, smaller fan. In a cut-throat industry where fame is mercurial, the public is vicious, the media poisonous, and fans fickle, little moments of genuine humanity and kindness must be priceless to the celebrities at the center of it all.

So, from Thame's perspective, recognizing that same "fan" at his workplace? Thinking that fan was intentionally filming a vulnerable moment between him and the CEO? It probably spoiled that precious memory. Maybe even introduced the possibility that Po just used an innocent child that day to manipulate Thame's emotions.

How little does Thame have in his life? We don't know yet, but maybe little moments like that are all that's propping him up anymore.

And we can garner all of this from the gradual layering of one scene.

That one fleeting moment from their shared past shapes everything for Thame and Po going forward. For Po, he was doing a favor for a friend and added an offhand gesture to a child. But for Thame, it was a ray of sincerity in a dangerously murky world he seems to feel strangled by.

One of my favorite directing and character choices in this episode is that Thame is soft-spoken in both anger and vulnerability. He's so tightly controlled at all times because of his public-facing job, and he's in such a low place emotionally, but he hasn't lost his kindness, either. Once he knows Po isn't a threat to him or his fellow members, Thame compliments the work Po's done, and he asks Po to continue his documentary work.

Thame isn't Earn. Po projects that onto him and quickly learns he's wrong.

(I really hope earnestness ends up being one of the main motifs in this series, because it suits both characters so well, and the world they're both in now makes living earnestly extremely challenging.)

All in all, the first episode exceeded my high expectations. I loved the teaser, I loved the trailer, and I'm delighted with the first episode. I hope the rest of the series lives up to this level of quality, but I'm not worried.

Judging by the writing, I think this series is in good hands. <3