#this medium is still a little tricky for me but I’m having fun

[wanderinghedgehog]

Newest video editing project. 1925 Valjean paired with the song Time Will Change You by The Crane Wives. Hope y’all like this one.

[richincolor]

Interview with Hanna Alkaf

Today we're excited to hear from author Hanna Alkaf whose latest release THE HYSTERICAL GIRLS OF ST. BERNADETTE'S fits in with the creepy vibe that's often happening in general at this time of year. If you want to know more about the hysterical girls, you can hop over to our recent review. 

I'm not generally someone who reads horror stories, but I really loved QUEEN OF THE TILES [Audrey's review here] and THE WEIGHT OF OUR SKY [Crystal's review here] so this was one I had to pick up. I read THE HYSTERICAL GIRLS OF ST. BERNADETTE'S at a rapid clip. It was fabulous and I'm so glad I moved out of my comfort zone. Thanks to you though I am having to look over my shoulder when I hear dry leaves moving around. ;) It's fall here so that is happening often. Does that sound bother you at all?

The sound of dry leaves doesn’t particularly bother me, but at the risk of sounding totally cruel, I love that it now bothers you! One of the things I love most about horror is its ability to take something completely innocuous and mundane and turn it into something ominous and dread-inducing. A kind of dark magic, if you will.

You have several works that lean toward or are classified as straight up horror. Have you been a horror reader/watcher/writer for a long time?

I absolutely love horror as a genre, whatever the medium — I think it stems from my friends and I whispering scary stories to each other as kids. Ours was a mission school very much like St. Bernadette’s in the book: Old, gothic in design, full of shadowy corners and unnervingly quiet spaces, and rife with rumours about the atrocities Japanese soldiers had committed on school soil during the occupation. It was fertile ground for young imaginations to populate with all manner of ghosts.

I really appreciated your caring note at the beginning of the book. It truly did help to be prepared for what was coming, but also let me know that the author was mindful of the fact that readers come to books with a lot of different backgrounds and experiences. That said, what was it like to research for a book about ghosts and monsters be they human or another form? It seems like some of that could also be challenging to process.

Unfortunately — or perhaps fortunately, depending on your perspective! — I’ve had a lot of experience in writing the darkness, whether it’s natural or supernatural, and have learned what I need to do to cope with diving into that abyss. That includes building in breaks and days off where I immerse myself in spending time with my kids, sketching, or binge-watching romantic K-dramas (the fluffier the better). It also means having a safety net in the form of a husband who knows to watch for signs that I’m having trouble pulling myself out of that darkness, and steps in when necessary.

What led to your choice of having two perspectives? Were there complications or surprises to using that format?

I wanted to contrast two very different perspectives and experiences of the same situation, and two very different ways of processing trauma, while hopefully showing readers that both of those voices were still true and valid and deserved support and belief. Multiple perspectives is such a tricky thing to pull off — you do have to make sure those voices don’t start blurring together, making them as distinct as possible from each other. But I was very surprised by how much I enjoyed being in each character’s head, and how fun it was to weave their stories together.

Do you write with a set schedule each day or are you a writer that fits it in all throughout the day in smaller chunks of time?

When my kids were very little, I had to utilize whatever time I had to get writing done, and it was often in small chunks — 20 mins here, half an hour there, at least one blessed hour during nap time. Nowadays, thankfully, they’re much older and I’m able to carve out time in the day to write while they’re in school — though I often also snatch some writing time in the midst of shuttling them to various after-school activities.

Are you one to manage multiple writing projects at a time or do you like to just focus on thing?

I prefer to focus on one thing at a time — though sometimes, that really isn’t possible!

And what is it that keeps you writing?

The idea that my kids, and kids like them, won’t have to look far to find themselves within the pages of a book.

Are you allowed to tell us about your current and future writing?

Next year, I have a middle grade anthology coming out that I edited called THE BEASTS BENEATH THE WINDS! It’s an illustrated collection of short stories about mythical creatures from Southeast Asia, each written by some of the most brilliant SEA and diaspora kidlit authors; truly, it’s been such an honor and a dream that they agreed to be part of it. I also have another middle grade book in the works, though I can’t tell you too much about that yet. And eventually, when I have some breathing room, I’d like to start working on my first novel for adults.

Do you also read young adult books and if so, are there some newer or forthcoming books you've enjoyed and would recommend for us and our readers?

I loved Wen-Yi Lee’s THE DARK WE KNOW, and I’m excited to dive into THE SCARLET THRONE by fellow Malaysian author Amy Leow!

We always appreciate when authors take time to chat with us. Thanks so much and we look forward to reading more of your work in the future!

[tren-fraszka]

Yuletide 2024

Dear creator,

Thank you for taking your time to check my requests. I know my requests can sound a bit tricky, but please don’t be discouraged. I wish you will have good time writing first and foremost!

My AO3 is Tren, if you wish to check it out. I’m open to treats.

Likes: comedy, angst, casefics, canon compliants, canon divergences, AUs, time loops, bodyswaps, roleswaps, “being hoisted by your own petard” plotlines, snark, pettiness, rivals, enemies to friends to lovers, pining, bed sharing, violence, friendships, and character bonding,

DNW: explicit sex (makeouts and fade to black is okay), A/B/O, mpreg, rape depicted as positive (so no “it’s okay, because the other person enjoyed it/it was what they truly wanted”), trans headcanons, soulmate AUs, stories ending with surrender to fate/destiny, fourth wall breaking in canons where that doesn’t occur, character has cancer or other real-life terminal disease AU, word “queerplatonic”.

Also, I included what ships I’m okay with in each fandom. Please do not include any ships that aren’t canon and I have not allowed in those sections (if you feel really strongly about a ship I haven’t mentioned, you can always ask through mods just in case).

On a separate, but similar note, I’m okay with OCs as long as they don’t overshadow the characters I requested.

Additionally, while I almost never request fanart as possible medium, because I prefer my main gift to be fic, I would be very okay with receiving fanart treats. Also, feel free to peruse my old letters if you get your hands on them. I almost never stop being interested in fandoms, and if I requested something once I will likely still want it in the future.

REQUESTS

IRUMA-KUN: IF EPISODE OF MAFIA

I’m up to date with manga. I'm also up to date with the original so feel free to integrate characters from original that haven't appeared yet in Mafia If

Asmodeus Alice

Suzuki Iruma

Not only do I get cool mafia AU of one of my favorite manga, but it also decides to give me Alice as a traitor and double agent? Boy, am I eating well

I love Alice's internal conflict between following the path of "justice" as a member of police and more personal "justice" that Iruma follows. He's just a ball of conflicting emotions between his caring side and the ruthlesness he cultivated. And then there's Iruma who despite being the next head of a mafia family is one of the most wholesome people you can meet.

I'm fine with both platonic and romantic take on this relationship. I'm also up for both some slice of life mafia moments and exploring more serious repercusion of Alice's betrayal. I know manga just gave us that reveal, but I'm very interested in alternate reveal scenarios. Maybe Iruma discovers the truth, but keeps it secret from everybody else. Or maybe Alice suspects Iruma learned his secret because he misspoke or made some other small mistake, so he tries to sound out Iruma

AUs and ships

This is already an AU so I wouldn't want a setting change, but I would be very open to a crossover with original. Maybe Iruma is infiltrating a cult for some reason and one thing leads to another and he ends up accidentally summoning the demon Alice. It would be hilarious to see the two versions of Alice interact. A roleswap AU could also be fun where it's Iruma infiltrating an Asmodeus mafia family.

I also enjoy Ameri/Iruma ship, though I would prefer to not have both ships in one fic

AKANE-BANASHI

I’m up to date with manga, feel free to include new development

Akane Ousaki

Hikaru Kouragi

Finally, classic shounen rivals - female version. I’m so glad we are finally here.

I’d love to see more of their competition. Maybe another clash at an event. Or maybe they both end up performing at the same event and use it as opportunity to set up a little competition. It’d also be cool to see them interact in a more casual setting. Maybe they accidentally run into each other while shopping and decide to stick together. Or they bond over seeing a particularly bad movie.

I’d love to see them becoming closer with every rakugo event that they meet at. Going together to rakugo events to watch other performers or maybe visiting places connected to the stories they’re working for inspiration. Would they try to help each other if either of them ran into trouble?

However, I’d also be very much into rivalry slowly turning into romance! How would a confession look like? Would it be something open, or would one of them slip it between the lines. Would there be pushback about them dating given how traditional rakugo it? I won’t be surprised if there had already been some gay relationships the rakugo community that were an open secret, but what if Akane and Hikaru decide to come in the open about their relationship

AUs and ships

I think a setting change could be pretty fun as long as the element of rivalry stays intact. Different time periods, fantasy AUs, or such could be really interesting for them. Maybe they’re singers now, or bards. I would also be very up for a fastforward to when they’re adults and their rakugo career is in full bloom. How had relationship between them changed? Or has it stayed pretty much the same?

Please don’t ship Akane and Hikaru with anybody else.

ICHI THE WITCH

I'm current with the manga

Ichi

I love how much his passion for hunting shaped Ichi's worldview. I would be okay with both some his pre-canon adventures or him trying to adjust to being a mage, or him actively hunting majiks

It would be fun to explore Ichi's unusual childhood. What did his first interactions with locals look like? What if meet a friendly majik when he was young and befriended it?

Are there witch customs that prove challenging for Ichi due to him being different gender? Or maybe he finds some unexpected similarities that make him bond with other witches?

I would also be interested in exploring how other people react to the appearance of a male witch. We know that other witches are very curious about Ichi, but how would regular people react? Would young boys feel hopeful that maybe they can also become a witch one day now that Ichi became the first exception?

AUs and ships

I prefer no setting changes for this story. I would be interested in a divergence where Ichi contracting a different majik as his first one and having interactions with a different majik as a result.

I prefer no ships for this canon

MACHIKADO MAZOKU (ANIME)

I watched both anime seasons, but haven’t read the manga yet. Please don’t spoil developments that weren’t yet in anime.

All three characters don’t have to be included, but I want the story to focus on at least two of them. I like the relationships both as platonic and romantic and would be equally happy for genfic or shipfic

Chiyoda Momo & Yoshida “Shamiko” Yuuko

Do I even need to explain? Those two are just perfect together - a depressed magical girl finding love and acceptance with very clumsy demon who makes the dark side look way more tempting than it ever should have been.

I’m definitely here for both Shamiko trying to pull Momo out of depression through her “evil” schemes and for some more serious plot. Whether it be cute moments of bonding or Shamiko proving her worth when her friends or family are in danger, I’m here for it.

I would be up to more outings of those two. Maybe they go to aquarium or movies? Or maybe Momo requires more mental support and has Shamiko dive into her dreams (this time consensually) to help her deal with some sort of bad memory or recurring nightmare. What if some rouge demon or magical girl came into town and started causing trouble? How would our duo resolve it? Are there more secrets left behind by Momo’s sister than need to be solved?

Chiyoda Momo & Lico 

I love that despite all the animositiy Lico has towards magical girls she’s still clearly willing to help Momo, even if she does prank her in the process. I’d love to see the process of Lico slowly warming up to her. Obviously, she only helps her at first, because of Shamiko, but I feel like she does start to appreciate Momo on her own, even if it mostly manifest through pranks and attempts at making Momo eat weird things.

I’d love any scenario where Shamiko is busy/sick/indisposed and Momo and Lico have to join forces to deal with whatever weird thing is happening in town, because they feel indebted to Shamiko. I’d love all the banter they’d get up to. Or maybe they just try to throw a surprise party for Shamiko, but keep trying to one up each other which results in a whole lot of shenanigans.

Yoshida “Shamiko” Yuuko & Lico

I would love some work shenanigans and maybe a more extended look on Shamiko’s newfound career. How much Lico helps her and how much does she leave Shamiko to struggle on her own? How do they handle more problematic guests? Are there regulars that Shamiko had to interact more regularly with? Are there times when Lico’s culinary experiments cause some unintended side effects for clients?

Yoshida “Shamiko” Yuuko & Chiyoda Momo & Lico

I really loved the addition of Lico to the cast. She’s such an chaos element, because at one moment she’s extremly useful and the second she’ll be trying to spike your food with suspicious herbs. Just 100% trickster fox and I love her for that.

I found her relationship with both Shamiko and Momo extremely compelling. She’s a bit of a cunning senpai for Shamiko, obviously happy to teach her, but definitely not above a harmless prank here and there. On the other hand, there’s Momo, who visibly reminds Lico of her bad experiencess in the past, but at the same time she’s very willing to help Momo, but not without being very snarky about it and pranking her like there’s no tomorrow. I feel like that complex relationship between the characters is so good.

I would be curious to explore Lico’s point of view when it comes to Momo’s descent to the dark side. Is that the reason why she warmed up to Momo despite her bad experiences? Does she have some specific hangups that she needs to work through before she can truly accept her? Does Lico want to influence Shamiko’s development as a demon in some way, or is she satisfied helping her along on the path Shamiko choose herself? Does she try to teach Shamiko some of her magic? What if Lico engaged in some pranking that got out of hand and now is desperately trying to hide the truth from Shamiko and Momo by creating a fake villain?

AUs and ships

I don’t want any setting changes, but would very much enjoy other AU shenanigans. What if Sakura was still around and trying to play a matchmaker? What if something goes wrong when Shamiko dives into Momo’s dream and they end up bodyswapping? What if Momo also started working in the cafe? Time loop could be very fun for this fandom.

TOTAL FANTASY KNOCKOUT

I’m fine with story based on either anime or manga, I’m caught up with both.

Jinguuji Tsukasa

Tachibana Hinata

Childhood friends who are practically inseparable and strongly dependent on each other? That’s already perfect, but now throw into it a crazy goddess who isekais both of them, turns one of them into a girl, throws an unspecified curse, and forces those two to confront the fact that their feelings for each other might go beyond friendship? That’s beyond perfect. That’s galaxy brain and I want more of that mishmash of tropes.

I’m all about everyday interactions and weird rpg shenanigans they get into, so you can never go wrong with leaning into it. But for something else: What if at some point one of them got returned back to their original world? How would the other cope? Would they be able to establish communication between the two worlds? How would they go about reuniting?

I would love to see them taking their relationship a step further. I crave all the awkwardness that’s going to come with those two idiots trying to figure out how to admit their feelings to each other. And the inevitable defeat of any villains who get in the way of them having a moment. Will Jinguuji and Tachibana try to go on a date with a disasterous results? Will Jinguuji desperately try to find a dating manual in another world? And will they be able to enjoy a romantic moment without “CHARMED” status ruining it?

Feel free to include any other characters, they are a colorful bunch. Though if you want a suggestion, I’m very partial to Schwartz and Shen

AUs and ships

I don’t want setting changes, though I would enjoy seeing a different spin on how those two dorks get isekaied and under what circumstances they end up inflicting the wrath of Goddess of Love. Or I would love an AU where the goddess doesn’t succeed in her first killing attempt, so she keeps trying to isekai Tachibana and Jinguuji keeps foiling her plans every time (or maybe he fails at some point?). What if the curse placed by the goddess manifests in some other ridiculous ways? What if Shwartz wormed his way into the protagonists’ party and third-wheeled like only he can?

Feel free to include any one-sided crushes from canon.

WORLD TRIGGER

I’m caught up with the manga, feel free to incorporate new developments. I love the wide scoop of this series and that it really feels like a realized world.

All three characters don’t have to be included, but I want the story to focus on at least two of them. I'm fine with both platonic and romantic relationships for all characters I requested (yes, all of them, if you want to creat something of a nebulous threesome out of those idiots go for it). The relationships don’t have to end happily, especially if the story is set on Aftokrator.

I don't have prompts for all three of them at once, because I honestly used most of my ideas for duo prompts

Hyuse&Jin Yuuichi

I love that Jin’s endearment towards Hyuse is equally proportional to Hyuse’s grudge towards him. However, at the same time they are extremely alike in their whole-hearted dedication to their respective homeplanets. Due to that any sort of deeper relationship between them would require them to compromise the values they hold dear.

Jin as Aftokrator’s prisoner of war, because the idea of a scenario opposite to what happned in the canon is really fascinating to me. How would Hyuse treat his captive? Would Jin be able to manipulate Aftokrator’s politics to his advantage through Hyuse?

For something closer to Earth, I would love to see any shenanigans connected to Hyuse having to tolerate Jin’s presence. Does he act petty in small ways? Does Jin use his foresight to sabotage Hyuse, escalating their conflict into a full out prank war? How badly do Jin’s attempt at teaching Hyuse chores or human culture go?

Jin Yuuichi&Miwa Shuuji

Their relationship is so fascinating, given how differently they chose to deal with their trauma regarding losing someone important to them to Neighbors. I’d be fine with both a look into their relationship when Miwa was still very against Neighbors or now futher into the story when he has mellowed down a bit about it.

Some sort of mission goes wrong and they end up having to work together. Or maybe something happens deepening the divide between the Border’s factions making it more difficult for Jin and Miwa to reconcile their feelings for each other with what they believe in. Or Jin gets hurt/kidnapped and Miwa has to struggle with both his feelings and how difficult it is to protect people without Jin’s support

Hyuse&Miwa Shuuji

Two idiots coming from the opposite sides of conflict, having to overcome their strong nationalistic tendencies to meet somewhere in the middle (and maybe kiss).

I love the idea of Miwa monitoring Hyuse when he sees him in the Border, because he’s an enemy. What if Jin roped Miwa into helping mantain Hyuse’s cover story. What if they bonded over their shared dislike of Jin. I’d also love a scenario where Miwa squad didn’t know that Hyuse is a Neighbor and interacted with him normally (while Hyuse was under assumption that they obviously know and are just helping maintain his cover). What if Miwa was taking part in the away mission alongside Hyuse?

AUs and ships

I don’t want any setting changes, but I would be okay with any roleswaps. What if Jin was an Aftokrator’s Neighbor and Hyuse was an actual Canadian? Or maybe Hyuse was the friendly Neighbor that Mikumo meet at the beginning of the story. It would also be fun if teams were different. Or different characters’ having different side effects. Someone being caught in a timeloop during the Aftokrator’s invansion would be extremely interesting (or other interesting point in canon).

If you want go with a love triangle I would prefer if there was no serious drama. Like, I would be okay with for example Hyuse and Miwa having duels in simulator as a bit of immature rivalization over Jin or having very unflattering thoughts about each other, but I wouldn't want either of them to seriously try to hurt each other or say truly hateful stuff due to jealousy. I'm very fine with animosity due to their backgrounds, but I don't want the animosity to be caused by romantic feelings

[world-smitten]

2022 Kdrama End of Year Roundup

I wasn't going to do an end of year round up because I didn't finish anything this year (🙃), but reading everyone's 2022 roundups was so fun and inspiring that I thought I'd throw my hat in the ring. This is less a review of anything and more a series of rambling thoughts about the different dramas I bounced around this year.

My Name is Kim Sam Soon (2005): Kim Sun-ah is one of my favourite actresses and after watching her amazing turn in Children of Nobody, I hopped onto her starmaking drama, My Name is Kim Sam Soon. The first episode is perfect - razor sharp writing and comedic performances, and the most endearing heroine in Sam Soon. She's a hot mess but a very adult hot mess, with a strange dignity about her even as she rushes from one humiliating situation to another. Her chemistry with Hyun Bin is charming, although the character himself was not quite as nice. Kim Sam Soon is a character who still feels novel, but pairing her with Hyun Bin's grouchy, aloof, grabby love interest felt regressive, like the writers wanted to have their cake and eat it. I dropped it not just because I was lazy, but because the relationship didn't seem like a fun journey. But man, that first episode really is so good.

2521: Kim Tae-ri's performance as Na Hee-do has to be seen to be believed. Na hee-do is an animated character and I mean this in every complimentary sense of the word. Animation is a medium where the artist has exacting control over every image the audience sees, and so the best pieces of character animation will transform even the act of walking - from one imaginary point to another - into something transcendent; Kim Tae-ri's physicality is so finetuned and precise that every gesture she makes feels like something whole and wonderful in itself - she's so good that she elevates every scene into a more vivid, exciting reality. She really didn't need to carry this drama - the cast is solid - but somehow it ended up being that way. She's so good in this that everytime it jumped to the present, I felt lost and even upset at how little of her I could see in Kim So-hyun's Hee-do. Maybe that was the point, but it still hurt lol. I liked looking at Nam Joo-hyuk - he's very pretty and has nice arms. That's really all I can say about him here. I dropped the drama before he and Hee-do got together, but to be honest, watching Hee-do and Yu-rim finally become "friends" felt more rewarding. It's always fun to see Kim Hye-eun - she brings a certain malicious edge to even the most innocuous characters. And the show's art direction was gorgeous. Can't see myself going back to it but I had a great time.

My Liberation Notes: before I knew about kdrama screenwriters and their creative powers, and that it was possible to learn these writers' names and follow their works and idiosyncracies, I knew of Park Hae-young from her terrifying Another Miss Oh which made me wish desperately to never fall in love if being in love meant endless humiliation. I've already talked about how painful it is to watch PHY's shows and My Liberation Notes was no different. I'm sure it's a show that rewards patience; I'm sadly a deeply impatient person. Another Miss Oh had some very good humour to keep me going for 7 episodes; My Mister propelled me through all 16 episodes with its tight storyline and captivating interpersonal drama. My Liberation Notes didn't have any sugar to help the bitter pill go down easier - the pill being a claustrophobic, feverish depiction of adulthood. Setting the story in an autumn where summer has lingered too long meant I could feel the humidity in the back of my throat. I guess I dropped it because it was a little too good. But I might go back to it - all those gifs of Kim Ji-Won and Son Suk-ku look very tantalising.

Extraordinary Attorney Woo: this one is tricky to talk about because I was certain I was going to finish it and love it forever. Episode 1-9 of EAW are practically perfect. I can't speak for the accuracy of its representation, but it's wonderful to hear that Park Eun-bin's performance hit the right chord with many autistic viewers. This really was an excellent ensemble cast - seeing Kang Ki-young in such a measured performance after watching him all these years in comedic supporting, then second lead roles was oddly touching (and this is also the last time I'll ever compliment him, since he might be doing brownface in his next movie in the year of our lord 2023, hope he's proud of himself). Favourite moments: the “Children’s Liberation Army”; "Spring Sunshine" Soo-yeon; Young-woo eating breakfast with Geurami after running away from home; Young-woo's meeting with her mother, played by the immensely gifted Jin Kyung. The series was poised to become my new favourite thing, but episode 11 happened and was so embarassing I dropped the show off the face of the earth. Episode 11 is so baffling, so unexpected, so utterly juvenile compared to what had come before. Listen to this - Young-woo takes on a case of a couple contesting lottery winnings with the husband's friends. She wins but the husband might be a crook. But - uh oh! - he's also abusive. But - uh oh! - he's also cheating on his wife. But - uh oh! - he gets run over by a truck before anyone can bring him to any kind of justice. Even typing this out I'm laughing because it’s just so strange. After previously thoughtful, organic writing, to see the show suddenly fall back into what was comfortable and safe was disappointing to say the least. And the worst part was that it no longer felt like Young-woo's story - as if the narrative had been wrenched out of her hands, which had been carrying the story beautifully all this time. But I think it was unfair of me to judge an episodic show so harshly for one dud, which is why I plan on finishing it. I think 2022 was the year I discovered that I'm a very judgemental viewer.

Little Women: a gothic modern day retelling of Little Women was the last thing I expected to watch this year. Starting the story post-mortem was an interesting choice - "Beth" is already dead and her memory haunts her sisters who can't even remember her name. And her death distorts the characters, as if to challenge the original novel's thesis, to say that poverty breaks rather than builds character. "Marmee" does not pull herself together, but is permanently damaged from the loss and abandons her surviving daughters at the first instance. There's a sense of disturbed girlhood - I'll forever be struck by the image of a corpse wearing a pair of red shoes, and hidden in the wardrobe of a girl's dollhouse. This combination of gothicism with otherwise hardnosed suspense made for a very thrilling, heady watch in places. Ms Go beating up In-joo was easily one of the best things I've seen all year. This woman wears clean sharp lines with her hair in a neat bun, and the moment a vulnerable, desperate young woman offers herself up for punishment, the facade flakes away to reveal an obscene love of cruelty. I was terrified for In-joo, delighted to see a woman who actually delivered on her promise of violence. Park Bo-kyung is a star. If I see another comment talking about how "oh, In-joo and Do-il should've gotten together, they had such great chemistry," I'm going to scream. I'm sure Wi Ha-joon has been wonderful elsewhere, but here, next to Kim Go-eun, who was acting, he was painfully flat. I will finish this one, partly because I’m really intrigued to see how it resolves itself, but also to get another glimpse of my favourite violent woman Ms Go. 

Into the Ring (2020): checked this one out at the very tail end of 2022, and honestly, best decision I made last year. This drama is, on a scene to scene, frame to frame level, the funniest show I've ever watched. It’s full of delightful little quirks from its eccentric cast of characters that it mines for every giggle. Our heroine Goo Se-ra isn’t weird in a cute way, not weird in a quirky way, not weird in a sexy way - just weird. She’s unhinged but also scarily competent, as if all those short-term jobs have accumulated into latent superpowers. Her and Gong-myung are the rare drama couple that actually delight in each other’s company - there were brief moments of intimacy where I was taken aback by how completely I believed in this fictional relationship. It’s a show that needs its brevity and its indestructible heroine, because its world of local politics can be incredibly defeatist. The underdog rarely wins - she’s at least 15 years too late, without connections, wealth or the time to build a strong base within the system. I appreciated the narrative’s bluntness about what it meant to be an effective politician, and at some point, even though she really vexed me in places, I came to understand councilwoman Yoon Hee-soo’s world-weary pragmatism (played by Yoo Da-in who I’ve not seen since Weightlfting Fairy, and who, in hindsight, was wasted there). Also Ahn Nae-sang was hot in this. Yeah, I don’t know either. I’ve only got 2 episodes left and I can’t wait to get back once I’ve finished all my essays.

Offhand, I checked out episode 1 of Why Her? while doing schoolwork, and I love me a morally ambiguous girlboss but when that morally ambiguous girlboss physically assaults a worker - who is both significantly younger than her AND her student - and the show carries on as if nothing is wrong (and even ensures that the student is already emotionally attached to her, meaning that he is never appropriately angry at her for assault...), eyebrows start to rise. Of course there’s an interesting story in there about power imbalances and how powerful women uphold abusive power structures, but I don’t think Why Her? is that story. Oh well. Seo Hyun-jin’s hair is beautiful in this though, the stylists should get a raise.

And that’s it for 2022! Wishing you guys a belated, but very happy new year, and good things in 2023! 🥰🥰

[leqclerc]

I know sebchal is your main ship but have any others that you like?

Hello! 👋🏻

This is always a tricky question because I’m the type of person that gets ride or die invested in one particular thing that becomes a hyperfixation and then it consumes me and it’s all I think about day and night. And that’s Sebchal for me (still, even with how everything’s changed and how little content there is and how it’s probably heading towards a natural decline in terms of their product life cycle.)

The only F1 pairing that came close to that feeling for me was Brocedes between like 2015-2017. They were my first ship in this fandom, my gateway into RPF, and generally my biggest hyperfixation (until Sebchal). These days it kind of feels like that chapter is closed, like their story has sort of arrived at an organic conclusion (at least until there’s another Significant Moment that can be woven into the Tapestry of Lore) and that there’s not really anything new to add or explore through writing for example. But I do like to revisit old fics sometimes, especially the ones that were really significant for me (both my own writing as well as beloved fics by other authors). A lot of them stuck with me through the years, to the point where I will vaguely remember the plot or a very specific line from the fic or something. It was a time in this fandom that I look back on fondly. ❤️ Also shout-out to Hulkenrez 😭😭😭 This one feels very retro, most people probably don’t even remember their teammate days anymore, but that was a fun one!

Then there’s the “I like them but not necessarily romantically/not as an endgame pairing” tier. That would be Charles and Alex, Charles and Daniel, Sebastian and Daniel, and Charles and Pierre. Pretty self-explanatory, they’re intriguing options to explore but I don’t have it in me to be a multishipper (as in, shipping one character/driver with more than one person as an OTP) so to me they’re kind of interesting side options but not what I want in the long-term. If that makes sense? They’re not my first option but for example I wouldn’t mind getting gifted a fic/gifset/edit centered around them if someone really wasn’t vibing with Sebchal. That’s kind of where I’m at with these.

Followed by “I don’t ship really them but I totally get the appeal and will occasionally read fics about them if the writing floors me (affectionate)” and this tier features some surprises, including Carlos and Lando and Max and Daniel. I’m not up to date with the lore, I don’t necessarily go down rabbit holes, I probably can’t name Significant Moments off the top of my head, but I’m like, I get it. I’ve read fics about them and probably enjoyed them. It’s about as close to shipping as I can get ajsdkf

Honestly, most of the pairings for me fit into this category of like “no strong opinions either way.” They exist, I don’t really think about them all that often, maybe I will read a fic here or there if it’s really hitting for me, but they don’t rock my world, I probably don’t go looking for content/fics about them on purpose, but I won’t like die if I do come across them/engage with them.

No official tier for this one but I love a good rarepair!! Like if you wrote a Charles/Xavi fic (that doesn’t bash the other party obviously) I would be 👀 Mia/Britta?? Sure, why not!! Charles/Robert Lewandowski?? They do have reverse flags and this mf has been to F1 races in the past. I know Charles/Joris has been tentatively on the rise. Again, why not. Maurizio/Toto??? Hell I have written about them before, we love old men in love. 😤 They’re like fun little side quests or spin-offs from the main story. In conclusion: ✨Rarepairs✨

I started typing out this reply last night actually, but then you inspired me to actually try and coherently explain this via a visual medium, so I made a tier list absolutely no one asked for 😭🙈

TL;DR:

~check under the cut for the stuff I don’t like~

And finally. The lowest tier. The stuff I just can’t get on board with at all and probably have their tags filtered. And currently the main NOTP for me is Charles and Carlos.

I wasn’t really sure where to place Charles and Max, because they’re not quite on a Charles/Carlos level for me, but at the same time I don’t really vibe with it either? Although over the past year or so I’ve found one-sided unrequited Charles/Max (from Max’s side) might be my guilty pleasure. So they’re going a tier up because I can kind of work with it, while the NOTP is giving me nothing but negative feelings ajsdkfg

[utilitycaster]

Actual Play: How it works

This is a collection of how I think of actual play as a medium, because TTRPG actual play is a unique one - a combination of improvisation, a rule set, and randomizing elements. This isn’t fully comprehensive, and I may add to it in the future as I come up with more ideas. I’m also thinking of providing some examples/more in-depth stuff for the items in separate posts, so please let me know if that’s something you would want.

Most of the observations here heavily skew towards D&D and Pathfinder actual play, as they are what I know best. Other systems I’ve listened to (PbtA, Cortex, Savage Worlds) fit in here as well, but this may not apply to all actual play, particularly GM-less games or games that are primarily played as one-shots.

Finally, and I say this only because it is a recurring problem on the social media that I happen to find incredibly irritating: you are also welcome and encouraged to have other opinions, disagree with me, dislike all of this, etc. If you have things to say, my inbox is the best place; this is too long for multiple reblogs and this is a sideblog so replies are tricky. However, if you are the kind of person who is inclined to say things like “Actually, there was an exception to this rule! It’s in the backmasked audio at 06:59:32 in the outtakes of episode 192c of Dungeons and Discotheques! :)” I would like to provide you with this actual play line quote from Adaine Abernant in Fantasy High: I think that you feel like you have a lot to offer, and please take this the right way... you don't.

Onto the thoughts, below the jump!

On narrative devices and rules and the random element:

Foreshadowing is possible, but limited to specific circumstances. A GM can (and should) foreshadow! The point of foreshadowing is to set expectations, and GMs should have hints that indicate things about the world that the party may encounter later, provide potential plot hooks, or otherwise provide the party with information. Similarly, players can do things that nod towards as of yet unrevealed elements of their backstories. However, it is impossible to deliberately foreshadow plot resolutions, because it is unknown what they will be. That doesn’t mean that in retrospect things may happen that echo back to earlier events, but the intent to foreshadow was not there - it’s a happy accident.

I don’t want to say normal narrative rules don’t apply because what are the normal narrative rules, really? However, I think an important thing to emphasize is that narrative satisfaction is not guaranteed. This is especially true if the cast has agreed character death is an option, but even beyond that, an unlucky or lucky roll can seemingly cut an arc short or take things in a weird and unforeseen direction. Because there is an element of randomness, randomness will occur. This, along with the character agency I discuss later, is one of my favorite things about actual play. It strips out the need for a moral or message or specific beats - not that those can’t arise, but they can’t be forced - and as such it can make for unusual, creative, and very true-to-life stories even in a fantasy setting.

On character role, viewpoint and agency:

Actual play stories have an ensemble of viewpoint characters (the PCs). This is perhaps the clearest restriction that exists, at least in all of the game systems I’ve mentioned. There is no good way to depict NPCs acting on their own unless the PCs have a way to observe them, unseen (magical or mundane). It is extremely difficult to have one player play multiple PCs, and if a player leaves there is not a good way to recast their PC. This doesn’t mean NPCs can’t do things with each other offscreen that have implications for the story, nor that PCs can’t come and go or become NPCs, but it does mean a good GM is very careful about NPC interactions because it gets very boring and non-collaborative very quickly to watch someone talk with themselves.

The PCs hold a level of agency that characters in other media do not. Statements about how the characters have a mind of their own in original fiction aside (sidebar: I am team ‘they don’t, you just didn’t realize that the way you wrote their personality and the way you wrote your plot conflicted until you actually started writing it out, which is very understandable’) PCs do in fact have a mind of their own separate from the GM and from each other.

Something I like about this is that unless you are coming up with conspiracy theories regarding the interpersonal dynamics of the players themselves (in which case I think you’re both a creep and a weirdo (derogatory)) or if the GM is not respecting player agency (which I feel is usually very easy to see; see below for more on that) you do not get cases of “these characters are together simply because the author felt like pairing them off” as can happen in scripted media. Any romantic relationship is, inherently, a mutually agreed choice between the originators of these characters, and more generally any plot or relationship necessarily needs to have something that appeals to all characters involved. It may be as simple as “these are my friends and I want to keep hanging out”, but, despite this being improv, it’s a medium where saying “no” is always an option.

With that said there is still room for players to be uncooperative or selfish. It’s rare, but it does exist, and I’m personally of the opinion that it’s in part the GM’s responsibility to have a conversation with that player and to not play into their attention grabbing. That said, with one notable exception, all the accusations I’ve seen about this have seemed to me to be more “I don’t like this player/character/ship/arc and I am going to claim they are stealing focus, despite it being justified,” and not genuinely about a player being obnoxious.

Agency separate from the person who creates the world is perhaps the most unique element of actual play and at this point I’m going to talk a little about how a good GM fosters that.

I’ve said before that when a GM has things happen that are not at least mostly a direct response to character actions, they are typically either world-building or a hook, and can be both. I think of this sort of as a variant on Chekhov’s gun, actually; the gun doesn’t have to go off, ultimately, in actual play, but it is saying the following:

This is a world where there are guns hung on the wall sometimes.

Someone else might do something with this gun.

You can attempt to do something with this gun before they do.

And then the players decide how they want to interpret it and what they want to do, and the dice indicate the level of success in doing so.

A good GM should encourage the players to explore and be creative, and more than anything, reward agency. This doesn’t mean rewarding it with success; rather, it means if someone explicitly indicates they want to interact with an element of the world, you should give them the tools such that eventually, they can try to do so. You can also give them reasons in-game why they should change their mind, or make it so that it’s almost certain to fail if that is reasonable, but if you are trying to flat-out shut it down without providing an in-world reason why, the cracks will almost certainly show.

One important thing to remember about GM-ing: GMs will probably come into the game with some ideas of what’s going on in the world, and some level of understanding of what the world looks like. That will be influenced by the players, both in terms of the consequences of their actions and choices, and also by what the players are interested in. Which is to say: even if there is a session zero, and the GM states a specific premise, that can change! Characters develop, player interests change, dice rolls do weird things, and so a good GM absolutely must if not kill their darlings at least remove, recycle, and adapt them based on the direction of the game and motivations of the characters. Even in a plot-driven campaign, the players and GM and what makes them happy needs to drive the story, because fundamentally, this is a game that should be fun. Which brings us to...

On the Watsonian and the Doylist in actual play:

Stepping back for a second: the context in which people are creating fiction influences them. End of sentence. It’s ridiculous to think it doesn’t. This means everything from political events and worldwide trends, to the media the creator is consuming or has consumed, to personal life events. There are always going to be in- and out-of-universe explanations for choices in fiction.

In actual play, the players and GM know the underlying rules of the world, and it’s difficult to truly split the party and have everyone not involved leave in a way that feels fun, so everyone always has information that they can’t really use in-game. Also it’s a fully improvised medium that is primarily theater of the mind, so unconscious choices, misunderstandings, and accidents are frequently not edited out, and people are human. Which is to say I think it’s important to take this into consideration in one’s analysis; it’s not that you can’t incorporate a Watsonian reason for something that happened, but Doylist reasons are given a weight that they may not have in an edited work.

Three of the Doylist reasons beyond the misunderstandings and accidents I wanted to cover are metagaming, awareness that this is for an audience, and character knowledge.

Metagaming exists in many TTRPGs, and it’s not actually inherently bad. When a DM in D&D says “that just hits” you get an idea of the AC of the creature, and you know your own attack rolls, and you can make decisions based on that, when, in a ‘real’ fantasy battle scenario, you probably wouldn’t gain all that insight from a single hit. The rules of the TTRPG are considered part of normal acceptable metagaming. There’s also the more general one; if you start the first session in a tavern, there is an unspoken expectation that the PCs will interact and form an impromptu group and not just quietly drink their ale and leave - basically, the rules of improv still apply. This is a good thing. And finally, there’s the acknowledgement that you are people with feelings and this is a game and so if someone is upset you stop, or you have discussions about consent between sessions that inform actions in-game. Metagaming just gets obnoxious when someone rolls a nat 1 and then argues that this is obvious information and they should know, or looks up every monster in the manual when you encounter it instead of playing true to the character’s knowledge.

In actual play, the ‘hey fellow tavern-goers, would you like to be a group’ form of metagaming, the “oh right this is a story and we should move the story forward,” is even more important than in home D&D games. This is where I recommend listening or reading some Q&As or watching some after shows, because you’ll hear players talk about this. A 5-hour shopping episode or extensive foraging can get boring to watch or listen to (and unlike accidentally boring or frustrating things, are pretty easy to predict and avoid). On the flip side, a risky choice might seem more appealing when you know there’s an audience who would love the payoff.

I am personally, perhaps unsurprisingly given what I said about player dynamic conspiracy theories and randomness (or, outside of this post, my strong dislike of certain popular fan theories), not a big fan of creators catering to audiences’ every whim...but it’s unavoidable that they will take the audience experience in mind.

Finally, character knowledge, which is the opposite of metagaming - when a character knows something the player doesn’t. This is sometimes covered with, for example, GM statements like “you would know, as a person with history proficiency, that this country is actually in a regency period.” If the character had, in improv, before the GM had a chance to say that, mentioned the king, that’s just because the player did not know that and had made an assumption.

Personally I find going deep down the rabbit hole with things like this - “why doesn’t this character, who CLAIMS to be from this country, not know this?”, or clearly OOC statements - tends not to actually spark any interesting theories, but that is, ultimately, an opinion.

A few final thoughts on different formats of actual play

True livestream/live-to-tape (Critical Role, Into the Motherlands, and the second season of Fantasy High): the main thing to keep in mind is Doylist explanations are even more important because there is quite literally no editing. Also, there will possibly be some of those more boring stretches or even a little OOC metagaming discussions within the structure of the game, because there’s no way around it.

Editing, but primarily just to remove long explanations/math and doing soundscaping (NADDPod, Rusty Quill Gaming): Pretty similar; a lot of them even make the choice to leave in OOC metagaming discussions, so it’s mostly that there are fewer cases of people slowly adding numbers.

More extensive editing and possibly some predefined other elements (TAZ, most Dimension 20 shows): this may fall into a more traditional story structure. It’s not to say that there won’t be surprises, because the players do still have agency, but the ‘rails’ might be a little more apparent; there might be some DM monologuing done after the fact (beyond just cleaning up the audio) or choices that were not scripted per se, but not exactly improvised either (think how D20 tends to have pre-set battle maps and earlier seasons had a pretty strict RP/Battle structure.

Somewhat relatedly there are broad story structures, which is more of a spectrum, ranging from sandbox (Critical Role) to very clearly GM-driven missions (TAZ Balance and, to an extent, Amnesty); nearly all of the other shows here fall into a structure of “here is your overall goal, how precisely you get there is up to you although, like any GM, I will provide in-story information on where it may make sense to go that will often funnel you towards specific places.”

I do have a theory that since TAZ Balance in particular was an entry point for so many people, it takes them time to adjust to the more sprawling, unpredictable, and difficult-to-organize stories other actual play can have, but ultimately it is a matter of personal preference and all of these still fall into the category of actual play.

[haus-seeblick]

Suptober Day 6: “Who Brings a Gun to a Cemetery?”

For Day 6: Cemetery Boys

Rating: General Audiences; Ship: Pre-Destiel; WC: 3,219

POV Outsider (Original Male Character); full tags on AO3 or below the cut.

Summary: Jerry Wallace has seen a lot of satanic rituals. A lot. Candles and daggers, pentagrams, hoods and chanting; you name it, he’s seen it. As the head of security — and only guard — of Sullivan Cemetery, he’s bound to have run into the occasional devil worshipper. It doesn’t even faze him anymore. There’s not much Jerry Wallace hasn’t seen.

In which: Jerry Wallace encounters Dean Winchester, supposed Satanist.

On AO3 Here (or read under the cut!)

Full Tags: POV Outsider, This poor cemetery guard doesn't know what to do about Dean Winchester, Dean seems insane, BAMF Castiel, Early Seasons Dean and Cas, Pre-Relationship Dean and Cas, Pre-Friendship Dean and Cas, somehow they still manage to flirt though, POV Character is briefly threatened by Dean Winchester but it all ends OK,Humor

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

Jerry Wallace has seen a lot of satanic rituals. A Iot. Candles and daggers, pentagrams, hoods and chanting; you name it, he’s seen it. As the head of security — and only guard — of Sullivan Cemetery, he’s bound to have run into the occasional devil worshipper (and worse. People dig up graves for really unsavory reasons). It doesn’t even faze him anymore. There’s not much Jerry Wallace hasn’t seen.

But tonight, as he sweeps his flashlight back and forth across the dewy grass, making his rounds and sipping on his steaming coffee, something stops him short. He narrows his eyes and cocks his head to listen. There’s a scuffling sound up ahead, from just outside the Bennett mausoleum. It sounds too big to be any of the usual animals. Humans, then. Jerry sighs. He was hoping for a quiet night, so he could make himself comfortable under the lamp at the cemetery entrance and read the book his teenage son, Andrew, had lent him. Cemetery Boys, it’s called. Jerry finds it fitting.

A man’s rough voice rings out from around the corner of the mausoleum. “Dammit, Sam, you can’t give me any hints?”

Jerry blinks at the audacity. Who sneaks into a cemetery at night and doesn’t even try to be quiet about it? He decides to give these particular satanists a little scare, just to teach them a lesson. He switches off his flashlight and gently sets his precious cup of coffee on top of the nearest headstone. Time to have some fun.

He sneaks on silent feet across the grass, clutching his flashlight tight in hand and deciding which tactic he wants to use. The reliable old jump scare? Flashlight beam to the face and an earsplitting yell — it’s worked well on thrill-seeking teenagers in the past. Or the more tricky option, creeping around and making ghostly sounds to unnerve the trespassers so thoroughly that they leave? More time investment, but also more amusing in the long run — Jerry decides on Option Two.

The wall of the mausoleum gives him excellent cover to start his performance. He sidles up along it, to the very edge. The intruders are just around the corner, and it sounds like one of them’s rummaging around in a bag of some sort. Jerry rolls his eyes. Probably some weirdos with spray paint, here to deface the walls of the mausoleum with symbols that take ages to wash off. Jerry opens his mouth and is about to emit his first long, ghostly moan, when the same voice as before pipes up again.

“Picking the lock didn’t work, Sam, I’m telling you, it’s gonna take longer. You gotta hold her off.”

The other person — Sam — doesn’t reply, though. Jerry furrows his brow. Who’s being held off? He decides to get a better picture of the scene before initiating his plan. Very slowly, he pokes just the right side of his face around the corner. The front of the small white building is washed in moonlight, the nearest lamp a ways down the path.

There’s a man crouched outside the mausoleum, maybe in his late twenties, from what Jerry can tell in the low light. He’s wearing an oversized leather jacket over a patterned shirt, with jeans and sturdy-looking boots. His short hair is spiked a bit in the front.

He doesn’t look like a satanist. Jerry stays very still, breathing shallowly and watching.

The man has both hands in a medium-sized duffel bag, rooting around. The contents of the bag are clanging and thudding. With a triumphant exhale, the man stands up, crowbar in hand. Jerry balks. This is already a step beyond chanting and spray paint. Again, nothing he hasn’t seen before, though.

What Jerry couldn’t see while the man was crouched, that now makes itself clear, is that he has a mobile phone pressed between his shoulder and ear. As the man advances on the door with the crowbar, he barks into the phone, “Update, Sammy. You still kicking?”

Jerry can’t make out Sam’s muffled response, but it obviously displeases the man, because he whacks the crowbar against the mausoleum door with a frustrated growl. “Watch your back. Figure out what the hell I’m supposed to burn!” He flips the phone shut and stuffs it into his jacket pocket.

This is getting stranger and stranger. Jerry watches as the man goes to town on the mausoleum door, an offense that Jerry would usually be more inclined to stop from happening. Something about this man, though, about the way he carries himself and the way he talks, is holding Jerry back.

He’s very glad about his decision to stay put about ten seconds later, when the man drops the crowbar to the ground with a clang and pulls a gun out of his jacket. Jerry doesn’t even carry a gun. His heart starts beating and his palms prickle with sweat. He didn’t sign up for this. Who brings a gun to a cemetery?

The man steps back a couple feet, points the handgun at the lock, hunches his shoulders, and fires. Jerry barely has the wherewithal to throw himself back around the corner and press his hands over his ears before the shot goes off. He feels it reverberate through the wall, twice, as the man fires again. Fully out of sight now, Jerry gingerly lowers the zipper on his jacket and reaches into his chest pocket for his radio. He needs to call this in. This is way above his pay grade.

“Dammit!” the man yells. The gun must’ve been ineffective. Jerry mentally pats himself on the shoulder. He requested upgrades to all mausoleum locks after a series of break ins last year, and it looks like the security company came through.

Jerry hears the keypad of the mobile phone beeping as the man punches in a number, then there’s muffled ringing. Jerry uses the sound as cover to pull his radio out and to inch his face around the corner again so he has a visual of the scene.

The man’s phone rings and rings. With another frustrated yell, the man slaps it shut and paces back and forth in front of the door, one hand running through his hair, the other still holding his gun. After a few moments, he stops in his tracks. He’s facing Jerry’s direction, silvery moonlight throwing his cheekbones in sharp relief. He looks like a respectable young man, really. Jerry wonders where he lost his way.

There’s a set of complicated emotions working their way across the man’s face. His eyebrows are pinched in concentration, eyes squeezed shut, lips moving as if he’s talking to himself. This lasts about ten seconds before he throws up his hands and glares at the sky.

“Oh, come on!” he shouts. “Get your harp-toting ass down here! Castiel!”

Jerry, who prides himself on never swearing, thinks: What the fuck.

The man is obviously disturbed. He needs a doctor. Jerry glances down at the radio in his hand, and presses the emergency button. He can’t afford a conversation with dispatch; the man will overhear. This will at least get someone out here.

When Jerry looks back up, he twitches. There are now two men in front of the mausoleum. The newcomer is wearing a long trenchcoat and standing stiffly. He’s facing away from Jerry, looking at the gunman, sensible shoes planted hip-width apart. His messy dark hair blends into the shadows.

Where on earth did he come from? Jerry darts his eyes around. The mausoleum is on a slightly raised part of the cemetery, visibility clear in all directions. Even if the trenchcoat man had approached from the opposite side of the building, Jerry would have seen him.

“Cas,” the gunman says, voice heavy with something like — relief, perhaps? His tense posture relaxes slightly and he claps the trenchcoat man on the shoulder. “You took your time,” he accuses. “Can you open those doors?”

The trenchcoat man, Cas — is this Castiel? Jerry cannot keep up — turns slightly to regard the doors.

“This is why you prayed to me?” Cas’ voice is deeper than the gunman’s, rougher. He speaks like a robot. “Heaven is at war, Dean. You call me to help you break down a door?”

Jerry’s brain is spinning. Are these… actors? Cosplayers? He learned about cosplayers from Andrew. Some of them do have very elaborate costumes. Jerry squints at Cas’ back. This doesn’t look like a costume, though. Cas looks like a tax accountant. Like he should be at home with his family at this time of night.

“Sam’s in trouble,” Dean’s saying, an ever-so-slight pleading edge to the words. “I gotta get in here, Cas, or he’s gonna meet a real bad end. I know you’ve got the mojo, come on!”

“I do not exist to do your bidding,” Cas replies. He strides over to the doors, though, trenchcoat flapping around his calves. “I do not serve you.”

“Yeah, yeah, I know. You’re a warrior.” Dean’s hovering at Cas’ shoulder. “Can you blast ‘em?”

Cas lays a hand on the doors, long fingers splayed against the metal. Jerry glances down at his radio again. The red button is flashing, indicating that he’d called for help, but he can’t hear any sirens yet. He hopes they send enough officers for two grave-desecrating weirdos.

“Stand back,” Cas says. “And tell the man behind the wall to stand back, too.”

“What?” Dean’s head whips around.

Jerry hastily pulls his head out of sight, heart racing. Oh, no. He’s seen enough. He can ID these two for the cops later. He doesn’t need to be on the scene.

He turns heel to run, but makes it only two steps before a hand grabs his collar and yanks him back. The air is knocked out of him and he yelps, feet scrabbling on the pavement as a strong arm drags him around the corner. He lands on his butt in front of the doors, palms scraping on the ground. He quickly raises one over his head in surrender.

“Please— please, I have a family!” He keeps his eyes averted. Dean’s boots are inches away from his legs. “Don’t hurt me, I won’t say a word, I promise!”

“You the guard?” Dean crouches down in front of him. Oh, lord, the gun is trained on Jerry’s face. He whimpers and nods.

“Great. Give me the keys to the doors. Stat.” A palm appears in front of Jerry’s chest, held out in expectation. He hesitates. Isn’t that aiding and abetting?

No way. He’s at gunpoint. He nods again, fervently, and fumbles in his pocket for his ring of keys. His hand shakes violently as he drops them onto Dean’s outstretched palm. He sneaks a peek up at the men.

“Cas,” Dean says, tossing the keys to the trenchcoat man. “Figure out which one it is. I’ll deal with him.”

Cas catches the keys. “So, you do not want me to break the doors?”

“No— just—” Dean closes his eyes and takes a deep breath, lips pressed together. “Just unlock them.” Cas scowls, but begins slotting the various keys into the mausoleum lock.

Dean turns back to Jerry and waves a hand in front of his face. “Hey,” he snaps. Jerry meets his eyes, conscious that he must look utterly terrified. He hopes it’ll appeal to any sense of humanity in this gun-toting lunatic.

“Whatever you think I am, I’m not,” Dean says, quickly and gruffly. “I’m not some pervert tryin’ to get my rocks off with Sleeping Beauty in there. I haven’t got time to ease you in slow, so here it is: ghosts are real. There’s one after my brother. I can gank it, but I gotta burn some hair or somethin’, something keepin’ it here. That’s all. Once Cas opens the doors, I’ll be in and out. We don’t have to get nasty. I’m even saving your doors from gettin’ blasted, as a favor. ”

Jerry picks and chooses what to process of that. “You have a gun pointed at me.”

Dean glances at the gun, like he’s just now realizing he still has it trained on Jerry. He lowers it. “Sorry. Had to let you know I’m serious. You gonna let me do my thing, or we gonna have a problem?”

The police will be here soon, Jerry thinks. It’s not my responsibility to stop this maniac.

“No problem,” he says. Dean nods once, satisfied, and in that moment, the lock clicks. The doors swing open heavily. Dean springs to his feet and races toward the mausoleum.

“Awesome, Cas!” he shouts, slapping a palm against Cas’ chest as he passes. Cas looks after him, a bemused expression on his face.

“I don’t know what to burn!” Dean hollers from inside.

Jerry is so far past trying to understand any of this. He nurses his scraped palms, huddling on the cold pavement and thinking of the book Andrew gave him. He wanted to finish a few chapters tonight so they could talk about them over breakfast tomorrow. He hopes he gets the chance.

Jerry is tough, but his eyes sting a little as he thinks about it.

“Dean is a good man,” Cas suddenly says, in that mechanical way of his. “Righteous. He won’t harm a human.”

Jerry stares at him in disbelief. There’s nothing he can say to that, beyond “Okay.” Cas just nods, and turns to gaze into the darkness of the mausoleum. There’s a lot of scraping and clattering echoing from the room inside, as if Dean is dismantling the place. He probably is, Jerry thinks miserably as the sound of breaking glass reaches his ears.

Dean comes storming back out of the room, assorted items piled in his arms. Jerry recognizes the doll that’s usually propped up behind the glass of the Bennett daughter’s crypt, and a locket that hangs behind the mother’s. A whole array of other personal effects that Jerry spends his nights guarding also end up on the pavement at Dean’s feet. Dean dives into his duffel bag, pulling out a can of gasoline. He douses the whole pile in the acrid-smelling stuff — Jerry’s nostrils sting and he coughs, scrabbling a little farther away. Dean pulls a lighter out of pocket and flicks it several times, cursing when it doesn’t ignite.

“Allow me,” Cas says, stepping forward. He pauses. “Close your eyes.”

Jerry throws an arm over his eyes without a second thought, just catching sight of Dean doing the same. His jacket sleeve does very little, though, to shield his eyes from the brilliant blue-white light that rips through the darkness. It feels like a bonfire, there one moment and gone the next, leaving the tips of Jerry’s hair singed. He cowers, eyes pressed shut, heaving huge breaths.

“Damn, Cas,” Dean says, voice tinged with awe. “Thanks for the assist.”

Jerry lowers his (slightly smoking) arm and peers at where the pile of belongings once lay. It’s completely gone, reduced to ash, just smoldering dust on the pavement. How on Earth—

In that moment, Dean’s mobile phone rings. He frantically plunges a hand into his jacket and rips it out, flipping it open.

“Sammy?” he asks sharply, pressing the phone to his ear. The voice on the other end mumbles something and Dean sags in relief, dragging a hand over his face. “Close call, huh? Yeah, glad it worked.”

Jerry tunes out the rest of Dean and Sam’s conversation. His eyes travel from the smoking pile of dust, to Cas (who’s standing motionless, staring at Dean), to the open mausoleum door, to his own hands, trembling in his lap. A light catches his eye off to the side and he follows it, realizing it’s his radio, abandoned on the pavement, red emergency light still blinking steadily. He gazes at it like a lifeline.

“Is that— Did you—” Dean’s voice is suddenly closer, right next to Jerry, and he quickly looks up. Dean’s looking at the radio, too. His phone is closed in his hand; he must be done talking to his brother.

“The cops coming?” Dean demands, gesturing at the radio. Jerry doesn’t want to let on, he doesn’t, but faced with this strange, complicated, definitely violent person, he can’t hold out. He nods.

“Dammit,” Dean mutters. Just then, the first siren wails in the distance, growing louder by the second.

Finally.

Dean groans and rushes over to his duffel bag, throwing the can of gasoline back in and grabbing the crowbar off the ground to toss that in, too. “Leave the keys, Cas,” he snaps at the trenchcoat man, who still has Jerry’s key ring dangling from his fingers. Cas drops the keys on the ground.

“Can you zap me to my car?” Dean hoists the duffel over his shoulder and faces Cas. “I won’t make it if I run.”

Cas steps closer to Dean, until he’s right in front of him. Their noses are just a few inches apart. Jerry, with nothing else to do but wait for his rescuers, watches them. Dean takes what looks like a shaky breath. His eyes flick down to Cas’ mouth. “You gonna stare, or you gonna help?” he asks, but it comes out small, a weak attempt at bravado.

Cas reaches out and places his hand over Dean’s left shoulder. “I’ll go with you,” he says, deep and measured, and in the next second, they’re gone. Just gone.

Jerry could swear he heard the flapping of wings. He sits there, numb, staring at the spot where they vanished.

Eventually, the yellow beams of flashlights dart across the front of the mausoleum and voices break through the fog in Jerry’s brain. A hand lands on his shoulder. “Sir, are you all right?”

He’s saved.

There’s a lot of questions from the responding officers, a lot of Jerry having to recount what he saw, picking and choosing details — which of course renders his story utterly implausible — and a lot of nobody believing him; there’s a breathalizer test — humiliating — that of course comes back clean (whether that’s better or worse for him, Jerry’s not so sure), and a round of paperwork, and finally, finally, Jerry is allowed to go.

He stumbles down the cemetery path in a daze, passing his long-cold cup of coffee, still perched on its headstone. He snags it and throws it away in the trash can at the cemetery gates. The officers said they would lock the mausoleum and the security station; Jerry was supposed to go home. He stops briefly at his station, though, to grab Andrew’s book.

He’s not quite ready to go home yet. He’s not sure what to say.

Jerry makes himself comfortable in the front seat of his car, overhead light on, and cracks open his book. He starts to read.

[365days365movies]

May 1, 2021: The Prestige (2006) (Recap: Part One)

What’s that old Arthur C. Clarke quote again?

Not that one, although that’s...that’s fantastic, and I need to know more context to that conversation. But no, no, not that. The other one.

Not that one, although that’s...horrifying. Let me explain something first, then. Clarke was the author of the classic science-fiction novel 2001: A Space Odyssey, which definitely didn’t go on to become one of the most widely regarded films of all time. Anyway, he was a big-shot in science fiction, and was even knighted for his prominence in pop culture in the UK and across the world.

Fellow famous sci-fi author Isaac Asimov is well known for three rules of robotics, but Clarke has three rules of his own. A futurist, his laws describe conjecture about scientific development in the future of out societies. Those laws are:

When a distinguished but elderly scientist states that something is possible, he is almost certainly right. When he states that something is impossible, he is very probably wrong.

The only way of discovering the limits of the possible is to venture a little way past them into the impossible.

Any sufficiently advanced technology is indistinguishable from magic.

Magic, huh?

God, I love Weird Al. Anyway, as a child of the ‘90s, I am well-acquainted with the boom of stage magicians that appeared during that time, and during the early 2000s. David Copperfield made the Statue of Liberty disappear, David Blaine coughed up a live frog, Criss Angel freaked minds; lot of stuff back then.

And yet, despite other recent magicians like Penn and Teller or Dynamo, the greatest age of stage magic isn’t even CLOSE to the 90′s. No, no, to really see magic in its heyday, we need to go back to the late 1800s and early 1900s, to the days of the stage illusionist. 

Obviously, the first person that comes to mind is Harry Houdini, a man whose feats have lasted the test of time, and may have led to his death. Not only did he get buried alive, not only did he escape from a straitjacket in chains underwater, NOT ONLY did he hold his breath inside a water-filled milk can inside of a wooden chest repeatedly for FOUR YEARS, but he was also the greatest enemy of spiritualists and mediums everywhere!

Yeah, despite being a stage magician, Houdini was OBSESSED with exposing those who claimed to be actually supernatural. After all, as a showman, he was interesting in exposing tricks that were meant to defraud the innocent public. Dude was awesome, is what I’m saying. He died from a burst appendix, which miiiiight have been caused by a student who punched him in the stomach after asking if he was actually resistant to abdominal damage. Yeah, not a great death. And he wasn’t the only illusionist to die of tragic circumstances, but that’s a discussion for another day. Because of this is sci-fi month...why am I talking about magic? Well...imagine a lighter.

Now image that you went back 5,000 years, to any civilization, and showed them a lighter. The ability to create fire with seemingly nothing but your bare hands? You’re basically a wizard! Fire from no visible fuel? TEACH ME YOUR WAYS, O SORCERER OF THE FLAME!!! And that’s just a goddamn lighter. 

What about a light bulb? Light from energy you’ve harnessed from metals and from the air itself? Jujube! A camera? With the ability to capture a moment in time in the form of a tangible image? WITCHCRAFT!!! A smartphone? A FUCKING SMARTPHONE???

And so, in celebration of the blurring of magic and science...why not start this month with an unconventional form of science fiction, huh? Something that blurs magic and science in a way that’s indistinguishable. And so, I can FINALLY watch a movie that I’ve wanted to watch for YEARS!

I am so excited, and this is a hell of a way to kick off the month! Why this? Well, I’ll explain that later. But for now...LET’S DO THIS.

SPOILER ALERT!!!

Recap (1/2)

There are three acts of magic.

First is “the pledge”, where the magician shows something normal. Then, there’s “the turn”, which is when the ordinary becomes extraordinary. And finally, there’s the act of bringing the show full-circle; bringing back a disappeared object, in a new way and with a new technique. That final act, the showmanship, the establishment of the mystery, is called “the prestige”.

So is told to us by John Cutter (Michael Caine), keeper of canaries and stage engineer to magicians, via narration abut magic. Intercut with that narration, and with a disappearing canary trick, is the presentation of an act being performed by Robert Angier (Hugh Jackman). In it, he turns on a machine using electricity, with lightning bolts flying freely. He steps inside of it, and disappears.

Meanwhile, coming from the audience, a man pretends to be part of the act, and goes backstage and underneath the machine. There, he witnesses Angier fall through a trap door into a water tank, unable to get out, panicking and drowning. Which is just super fun to watch, lemme tell you! And that is where the story starts.

The man from the audience was Alfred Borden (Christian Bale), who is quickly put on trial for the murder of Angier. A rival of his during the 1890s and early 1900s, Borden is sent to jail, and sent to death by hanging. This is as his young daughter watches on. In court, Alfred testifies against Bruce Wayne on how he murdered Wolverine, because this is all I could think of the entire time. Anyway, the court asks for more details on the trick that killed Angier, called “the Transported Man”. He refuses to divulge it publicly, but agrees to tell it to one of the judges in secret.

In prison, Borden’s visited by a representative of a wealthy collector of items, Lord Caldlow. He asks if he will sell him his most prominent trick, the “Transported Man”. But Borden also refuses, as it’s HIS trick. Still, in response, the man gives Borden a journal of Angier’s’, and asks him to think about selling the secret. And from there: flashback!

Angier is on a train, heading to Colorado Springs, where he’s surprised to see that the whole town has electricity. His plan is to go up the mountain, which is closed for scientific experimentation. Which isn’t ominous at all! That completely banal revelation is followed by a walk up the mountain in the fog, past a fence that says no trespassing and LITERAL WARNING SIGNS.

There, he’s greeted by Alley (Andy Serkis), the assistant of the estate’s owner. Apparently, said owner made a machine for Borden, and Angier wants to learn the secrets. Another flashback, and we learn that Borden and Angier, rival magicians now, met a long time ago at the show of another magician, both volunteering to tie up the female assistant, Julia (Piper Perabo). Which would be creepy out of context, and then is creepy IN context when Angier kisses her thigh. Ew.

Anyway, they drop her into a tank, with a pretty stereotypical trick. After the show, we also learn that these two men are actually working for the magician, Milton (Ricky Jay), which makes that thigh kiss less creepy. Talking to Cutter and Julia, Borden mocks Milton’s trick, noting that the old magician won’t even try something like a bullet catch. Cutter mocks this idea, and asks if Borden has any better ideas. It’s around this time that Cutter suggests seeing Chung Ling Soo. Huh. I won’t say anything about that until later.

Or right now! And, uh...oh shit, this is extraordinarily awkward. Here’s the thing: this is NOT Chung Ling Soo. I know this for two reasons. One, Soo didn’t really pretend to be crippled, as Borden and Angier suggest. Wasn’t really his bag. But something that IS interesting about the guy is how he died! BULLET CATCH TRICK!! Yup! He tried the bullet catch trick, and he died when the bullet actually fired at him! Yeah, awkward.

And you know what else is awkward, and really different from this story? Chung Ling Soo was...not Chinese. Even a little bit. His real name was William Ellsworth Robinson, he married his assistant, cheated on her with another assistant, never divorced and still married his new assistant illegally, etc. He was an interesting guy. Ignoring, y’know, the whole disgustingly shitty yellow-face thing. Different times, unfortunately.

Borden’s frustration with an act he considers boring and obsolete erupts during one of Milton’s shows, where we see him KILL A BIRD, FUCK ME MAN. Yeah, I get it, Borden, this is terrible! This coincides with meeting a young woman and her nephew, who is also upset to see a bird die in front of him. The woman is Sarah (Rebecca Hall), and the two start a romance. Meanwhile, the romance between Angier and Julia is a straight-up marriage, making that thigh kiss fare more understandable. And, the two are about to have a baby, to both of their delight! Nothing bad will happen now!

We flash forward to the future, where Cutter is showing the judge what’s what with the device. He claims that a wizard built it, and that the machine can actually do what magicians have only pretended to do for years. They also look at a tank, and Cutter reveals that the tank has a terrible history, especially for the two magicians.

Flashback again, to a night of yet another show. That night, Milton and the group go through with their trick, as per usual. However, Borden decides to make it a little tougher and more exciting by tying a different knot this time. And unfortunately...Julia can’t untie it. They try to get her out in time, but alas...it’s too late.

Julia dies, and Angier blames Borden, who isn’t even entirely sure if he tied the knot that killed Julia...allegedly. Not a big fan of Borden right now. The act is over, and Borden decides to split off and do his own act, calling himself “the Professor”. Now having a child of his own with Sarah, he decides to do a bullet trick, with the help of new stage engineer, Fallon. But this is a tricky trick to perform. And the understandable mental breakdown of Angier causes its own problems.

See, during one of Borden’s shows (which is going TERRIBLY), a disguised Angiers shows up and loads a REAL bullet into the gun for the trick, and BLOWS OFF TWO OF HIS FINGERS FUCK ME!!! Borden’s not exactly happy about this, but he recovers quickly. Shortly after, Cutter finds Angier at a bar, and offers him the opportunity to make a new show of his own. Reluctantly, he accepts, and takes up the moniker “the Great Danton”, a name that his late wife suggested.

With a new bird/cage trick, one that lets the bird LIVE (THANK YOU), they’re almost set. But they also add a new assistant, in the form of...Black Widow. I mean, sorry, Olivia Wenscombe (Scarlett Johansson). Yeah, um...Wolver, Alfred Pennyworth, and Black Widow are working together in competition against Batman. Also, Gollum is in the movie, too. God, what’s next, David Bowie?

Anyway, the show is on once again, and Angier asks for some volunteers in the audience. But, uh oh! One of them is Borden in disguise, and he sabotages the trick in front of EVERYBODY, breaking an audience member’s fingers, and killing the bird, completely fucking up Angier’s career, in revenge for his fingers. Oh, also, MOTHERFUCKER YOU KILLED HIS WIFE (maybe)!!! Doesn’t justify Angier shooting off your fingers, but you could’ve just let bygones be! No wonder you’re rivals in the future! Batman’s a dick (which, given Christian Bale, isn’t that surprising).

Well, since his trick, Angier’s fucked. They’re kicked out of the theater, and in need of a new act. Cutter suggests that Angier goes to the upcoming science exposition for ideas. And yes...that’s where the science fiction angle starts in. See, like Clarke said, any science that’s sophisticated enough LOOKS like magic to audiences who don’t understand it. And Borden has the same idea, as he also heads to the expo. 

It’s there that a presentation of a massive electrical generator is being held, with the machine having been invented by...Nicola Tesla! YO!

I don’t think I need to tell anybody about Tesla at this point, but he was a brilliant physicist and inventor from the early 1900s. His legendary Current War with Thomas Alva Edison for the current to be used by the United States (Tesla’s DC vs. Edison’s AC) is the stuff of science legend...and is a conflict that the far less charismatic Tesla lost. Still, his mastery of electricity (such as the above Tesla coil) is remembered today. If you want to go sightseeing, check out New York! In Niagara Falls, he’s got a massive statue overlooking the falls; and in Bryant Park in NYC, you can sit on the bench where he fed his beloved pigeons. Yeah, he loved pigeons, which I respect.

Anyway, the expo’s shut down due to presumed danger of the exhibit, possibly spurred on by Thomas Edison and his PR team. Which is pretty accurate, not gonna lie. Still, the experiment interests both Angier and Borden. Still, Angier doesn’t do much with this information. Right now, anyway.

Flash forward to Angier in Colorado Springs, and a group of men from Edison’s employ are there for some reason. But undeterred, Angier heads back to Tesla’s lab, where Alley shows him a gorgeous sight: lightbulbs dotting a field, making a gorgeous grid of light. He reveals that the source of the electricity is 15 miles away, as a testament to Tesla’s scientific genius. Stellar.

A great place to pause. See you in Part Two of this Recap!

[missmaxime]

how do you feel about the show making rio so unlikable? is the backstory a fix it?

Let me start of with that I don’t think the show is making Rio more unlikable. I don’t know if you mean that they are visibly showing him committing more violence and crime. But I’m assuming this is an ask in response to the wire-scene from Sunday’s episode.  Watch me under the cut go through the past three seasons and a little some season 4 to tell you how I see Rio’s character progression. I’m not really sure if this is what you’re asking an answer to, but if it’s not tell me! * Rio’s (non) POV * Escalation in violence * Different views on S3 * More into the wire-scene * Prediction for 4x06 / Backstory

Rio has always been shown to be a ruthless and violent criminal. In the beginning of S1 he had no problem murdering the girls, and has made death threats ever since. He shot Dean, killed Eddie, had Turner assassinated and murdered Lucy in front of the girls. I don’t know how people can see him any other way, it’s not something that was ever hidden by the show. He’ll go through every length to protect himself and his business.  We know Beth has been a soft spot for him since Season 1 too. In the beginning because it was a fun and interesting business opportunity, but we’ve seen their relationship develop for better and worse across seasons. I think we have to keep in mind that Rio is a character we’ve seen almost exclusively through POV that aren’t his own, and mostly through Beth’s. And we as viewers see a limited amount of information about him, that we translate in our own ways. I’ve seen people interpreted the 2x01 scene where Rio shows Marcus to Beth through such rose-colored glasses for example. I can see how a viewer, and Beth, could see it as a scene that would frame him as more likeable. But I also see how that was exactly Rio’s point; He wanted Beth to see that it’s not just her who has kids on the line with her crime-life, as a way to invalidate her constant argument of ‘being a mom’ and ‘having a family’ as if that would make her special or something. She’s a drug dealer and counterfeiter like him, not a criminal with a heart of gold because they happen to have a child. Season 2 really started unpacking Rio’s character more. In Season 1, if the whole Rio/Beth – CH/MM chemistry hadn’t existed, I could definitely see the character of Rio being done late Season 1/early Season 2. But that’s not what happened, so now Rio had to become a person with connections and feelings and deeper motivations – but it’s still a character that’s in the base there to drive Beth forward as a character and deeper into crime. Which is a tricky balance, and I don’t think the show always made that work. Obviously the most clear example of that is the loft scene in 2x13. Now there’s more than one thing to be said about that scene, but I’m focusing now Rio himself. It’s the big finale, a lot of things needed to come together here and explode. Overall I don’t think the build-up was executed well, but it doesn’t help that we have no Rio POV here. His decision to kidnap Beth, confront her with her lack of taking responsibility and lying about her rotten eggs, and his complete oversight of her response to being pinned his fall guy really dropped out of – maybe not completely thin, but at least barely medium thick – air for me. Concerning the racial element I think THIS POST by @septiembrre explains this much better than white, non-American me ever will.  Regardless of the fact if the racial element of 2x13 affects a viewer, this poorly executed finale left lots of people unsatisfied at best. When Season 3 started we did start to see more Rio POV, or parts of his story told through Rhea, even though it was limited. I know there’s a lot of critique on the S3 we got, that I personally don’t understand – I loved it, it was so amazingly angsty, especially the Beth and Rio interactions were so loaded and simmering with guilt and anger and sadness and desperation – but if you’re searching for catharsis in a way of Rio coming back with a vengeance with guns ablaze, then that’s really not what you got. What Season 3 did do was putting the violence and cruelty Rio is capable of more on the forefront, and making us feel the weight of it more (I don’t know about the rest of you, but in the previous seasons I felt they really underplayed a lot of it). Rio had competing gangs taken out through Turner, has Turner assassinated along with a lot of other FBI agents, he fully intended on killing Beth before the pregnancy lie, kills innocent Lucy through Mick and disposes her body gruesomely, has the girls deliver Boomer with all intention of harming him (if not murder) and full on frames Beth for Lucy’s murder with her prints on the gun. I don’t think these kind of actions weren’t going on in the previous seasons, but now it’s more on display because Rio made Beth a part of this side of crime (and with that, us the viewers). In the beginning of Season 4 I feel like we’re making a bit of a jump when it comes to Beth and Rio’s relationship, maybe one that’s a little too big compared to the distance we ended on in Season 3 (even if they seemed friendly in their last Boland Bubbles scene). Lucy’s body is found and we learn that said gun was also used to taking out some gang member of an opposing gang of Rio’s, so after Turner’s sweep he apparently wasn’t done. That gun now becomes a much bigger thing to hold over Beth (and I’m speculating because we don’t know for sure, but we can guess that now Annie’s prints are on it – which is an ever bigger press on Beth because she won’t let her little sister take the fall, while she would do so herself. And I think she’s up for a rude awakening that while she’s under the impression that Rio has always employed the three of them, what was actually going on is that Rio employs Beth, and he sees Annie and Ruby as Beth’s employees and thereby offers them zero protection). So her counter with his print doesn’t come a moment too soon. I feel like Beth asking him to murder ‘Dave’, albeit with a lie about his identity and not as straightforward as Rio might wish, is a positive shift for him. She might not pick up a gun herself to do the deed, but much like Rio has Mick shoot Lucy, she very deliberately gives a killing order through him. And with a very drama heaux set-up we see him personally – and he has no reason to not have Mick do it – shoot Fitzpatrick. Aside from the fact that I have no doubt Rio may not have knew the specifics but he knew Beth had something orchestrated, the fact that some sniper dude was the target has it really drive home to him that it’s something else than Secret Service, and that they are still active around Beth. So we’re finally here, 4x05 The Banker – which I’m gonna guess was the reason you send this ask in the first place. In particular the wire-scene. In the first scene we learn that Rio has found the tracker on his car, and he turns it off or breaks it – so he knows he’s still being watched. It makes the most sense that even if he takes the leap that he put down a Secret Service agent, that they just replaced them and Beth is likely still working for them. He meets her in her kitchen – which isn’t that common at this point, last we know he was there is after the failed hit on him. And she doesn’t even jump when she sees him, just accepts it. He motions for her to be quiet before slowly stepping into her space, and she very logically responds with a ‘what are you doing?’, and he stares back long and hard to say that he means business. He has all the reason to suspect her wearing a wire, even if this wasn’t a planned meeting, and it wouldn’t be the first time she lied to his face. It’s clear to me (but I’ve seen this interpreted differently) that Beth fast finds a solid stance in this powerplay. Rio doesn’t seem happy about the fact it has come to this, and neither does she. I’m not sure if you send me this ask because you have negative feelings about this scene, but I can tell you I can’t answer those. This scenario could have been portrayed so wrong with any other actors or the way they shot it, but I feel like they delivered superbly on it. It’s in no way sexual or intimidating like I’ve seen some posts suggest, I just see two brokenhearted people who see the little trust they rebuilt fall apart in in thirty seconds. At the end Beth ends up winning, a bitter win maybe, this confrontation. Rio’s obviously still suspicion, but she also gained some trust with her asking him to kill ‘Dave’, so setting her up as The Banker is some sort of twisted reward and punishment and test at the same time. It’s not explained, but I think ‘The Banker’ might have been a hidden figure before Beth stepped up to show her face (before her flunky’s came to collect in name of The Banker) – making this an even better set-up if it’s so because that takes Rio out of the equation altogether even. We end the episode on the note where Rio tells Beth he has people he answers to, and that they want to meet her. Which, again, sound like both a reward and a punishment and a test. We’ll have to see next Sunday what it really means. IN this episode we’ll meet some of Rio’s family, likely his boss(es) and get backstory on him. I don’t see that as a fix-it, but mostly because I don’t see anything needed of fixing. I’m glad we’re getting an insight into Rio’s past, and I love that it likely will broaden his backstory and motivations more. But I feel like the way Rio’s character and the amount and the way of it seems very fitting to the story and the perspective it’s told through. I’m not sure if this is an answer to your question, so feel free to send me a more specific one if you want to!

[spritewrites]

never fucking change

Fandom: The Umbrella Academy

Characters: Five & Klaus

Word Count: 1976

Divorcing the idea of a 58-year-old apocalypse-surviving time-traveling assassin from his skinny adolescent brother was something that Klaus was finding… tricky. As much as he respected Five and his efforts to save the world (and, more importantly, his family – and, most importantly, him), it was tough not to find him… well, kind of adorable. The sight of his brother sitting at the kitchen table at 8 a.m. in his schoolboy uniform drinking a whiskey on the rocks was pretty disturbing. In almost a funny way.

Klaus could easily flash back to their Academy days, when Five had been somebody he’d looked up to. When you’re a scrawny, hyperactive medium-in-training who’s afraid of ghosts, a brother who’s smarter, more confident, and more powerful than you are seems like a hero. And in some ways, Klaus could still see that know-it-all, snarky teenager when he looked at Five. In more ways than one, he hadn’t really changed much.

“He hasn’t changed at all.”

Klaus spun to see Ben leaning against the kitchen counter, grinning. More than a decade with no one else to talk to, and Klaus wasn’t that surprised that Ben could practically read his mind on his face.

Ben tilted his head toward where Five was stirring his drink. “Same kid who would cheat at sparring when we were little and then make fun of us for losing.”

Klaus choked back a laugh at the memory, causing Five to glance up from his drink.

“Something funny?” Five asked, clearly more out of politeness than curiosity.

Klaus had to bite his lip to fight his smile. God, same bored tone, too. “Nothing, just… remembering.”

Five took another sip. “Remembering? Really? Bad form, Klaus. I expected better of you.”

Klaus rolled his eyes and grabbed a bagel off the counter, twisting it apart like an Oreo. “You sound like dear old Dad.”

Five smirked. He always smirked, never smiled. “Do I? Sorry, must be the old man in me talking.”

Klaus giggled airily. “Remembering’s not so bad. This old house…” He gestured vaguely around the kitchen. “Well, it’s not what it used to be, but we had some okay times in here.”

Five snorted. “Yeah? Were they all after I left?”

“Oh, come on, you wouldn’t have tried so hard to come back if you hadn’t missed us at least a little bit. Can’t be all apocalypse, all the time, can it?”

Five fixed him with a stare. “When you’re living in the apocalypse? Uh, yeah, it can.”

“Okay, okay, fine. But you never missed the times we used to have? Going on missions? Bedtime stories with Mom? Sparring practices?”

Five rolled his eyes. “I missed winning, yes.”

Klaus crossed his arms, holding the bagel in his teeth. “Onfy becauv you sheeded.”

“Excuse me? And are you just going to eat a plain, untoasted bagel for breakfast?”

The bagel was removed. “Only because you cheated, asshole. And yes, I need my carbs.”

“It’s not cheating if I’m stronger than you,” Five grinned, leaning back in his seat. “Powers were totally legal.”

“Yeah, but it’s not fair if my powers don’t exactly help in hand-to-hand combat, Five and Dime,” Klaus pointed out, ripping his bagel into smaller pieces and putting some in his pocket. He winked at Five. “For later.”

Five wrinkled his nose, half at the bagel and half at the stupid nickname. “I could’ve done it without powers too, you know.”

Klaus raised his eyebrows. “Oh really?”

“Yes, really.”

“Prove it. Spar with me.”

“Jesus, Klaus,” Ben sighed, fixing his brother with his patented Ben look of utter annoyance, the one he’d perfected when they were still kids. Klaus ignored him. This was just getting fun.

“Unless you’re scared.”

He was baiting him. Five knew, and Klaus knew that he knew. But Klaus also knew that brotherly competition – especially in the Hargreeves family – always won out over logic.

Five rolled his eyes. “I’m not scared of you. That’s not the issue here.”

‘Just getting fun’ was Klaus for ‘getting out of hand’, but if there was one thing Klaus was good at, it was digging his own grave. He giggled again.

“You think I’m scared of you? You look like a discount Oliver Twist.”

For a moment, Klaus held his brother’s eyes, watching the cogs in Five’s head move in directions that he didn’t totally understand, but he had a bad feeling about. Then, Five downed the rest of his drink in one gulp and slammed the empty glass down on the table, a sadistic smirk on his face. “Fine. You want to spar, kid? Let’s spar.”

Klaus gulped. You know, when the idea crossed his mind, he’d kind of forgotten the whole assassin… thing. Maybe this wasn’t such a good idea.

But before he could backpedal himself out of this one (another Klaus skill), he was on his back on the kitchen floor, fighting for his life – or, more accurately, his limbs. Seventeen years on, Klaus was much bigger than his brother, so it would be difficult for Five to adequately pin him. Difficult, but not impossible.

Five had been rigorously trained by Hargreeves in hand-to-hand combat, because his powers made it easy for him to get up close and personal with criminals. He had skill, technique, and years and years of experience, way more than Klaus had.

But Klaus? Klaus could fight dirty.

Five had both of his knees firmly around Klaus’ thighs and was fighting for his wrists when Klaus leaned in close and licked his ear. The former assassin let out a disgusted noise and recoiled, not much, but it was enough give for Klaus to roll them both to the side and spin so he was on Five’s back, half pinning him to the ground.

Five growled and rolled back over to face Klaus, taking one of his arms and shoving it behind his back, but Klaus simply grinned and planted a kiss on his adorable brother’s nose. Five spluttered, clearly flustered but not willing to give up. He got his knee around Klaus’ waist, then flipped them so that Klaus was being pressed face first into the kitchen floor, one arm still tucked behind his back.

“Give up, Klaus, you know you can’t win!”

Klaus groaned, a huge smile on his face. “Daddy said I can do whatever I set my mind to!”

He wrenched the elbow that was pinned behind his back, but he didn’t move it forward, like Five was expecting. He moved it back even further, just far enough to grab onto Five’s leg just above the knee and give a firm squeeze. Five yelped, jerking back his leg and toppling off of his brother. In an instant, Klaus was on top of him, pinning his arms to his sides. His devious grin would have been deliciously contagious for anyone but Five.

“You know, you didn’t always win at sparring, Saturday Night Five. Sometimes I’d manage to end up on top.”

“You’d cheat, is what you mean,” Five shot back, struggling against Klaus’ weight. Klaus feigned shock.

“Cheating, dear brother? You dare accuse me of cheating? Why, I don’t think it’s cheating to use my opponent’s weaknesses against them!” He orchestrated his point with a deliberate poke to Five’s lowest rib, eliciting a sharp intake of breath from his brother. Klaus’ smile grew, and Five turned bright red.

“Still ticklish, old man?”

“Cheating,” Five choked out, struggling harder. He couldn’t jump if he couldn’t focus, and he couldn’t focus if Klaus was gonna… He didn’t even want to think about what Klaus was gonna.

Klaus tilted his head. “You know, if I recall correctly—”

“Stop recalling,” Five interrupted, but Klaus soldiered on.

“—then I believe that you were weak here…” He traced his fingers over Five’s lowest rib. Five’s jaw snapped shut, and he closed his eyes and breathed hard through his nose with the effort of trying not to laugh.

“K-Klaus…”

“…but not as weak as here…” He skittered his blunt nails under Five’s chin, who scrunched up his shoulders and let out an uncharacteristic whine through clenched teeth.

“Bastard, I swear I’m gonna – NO!”

Klaus let out a delighted giggle. Using his brother’s distraction, he had snuck his other hand to rest threateningly on Five’s kneecap.

“Using my opponent’s weakness against him wins the day again, huh, Five-Alarm Fire?” He drummed his fingers casually on Five’s knee. Five arched his back and cursed quietly through his gritted teeth. Klaus leaned in, lifting his hand from Five’s leg for a moment. “What was that?”

“I said, I’m gonna slit your throat in your sleep, you deranged—”

Klaus never found out what kind of deranged thing he was, because immediately he was scribbling tickling fingers over Five’s kneecap and Five shrieked, dissolving into embarrassing high-pitched giggles.

Klaus hummed happily, frustratingly casual as Five writhed frantically beneath him. “Whoops, I remembered your weakest spot. Guess you’re right, I really should stop remembering.” He grinned down at his brother, who was currently red-in-the-face and cackling. “But you know what I think, Five-nal Destination? I think I’m the best at sparring! What do you say to that, hm?”

Five tried to say something that was probably going to be cutting and snarky, but he choked on his words as Klaus moved to tickle the back of his knee, making him tip his head back and squeal.

“Tell ya what, Five O’clock Shadow, if you say I’m better than you at sparring, I’ll let you go. Capeesh?” (Klaus was delighted to find that when he shut Five up for a minute, he got to use all the funny nicknames he wanted with none of the rude eye-rolling.)

“F-fihihine!” Five spluttered through his hysterical laughter, sounding a delightful mix of furious and desperate.

Klaus generously eased off his brother to let him speak, limiting himself to the occasional knee squeeze as Five fought to catch his breath. There was a murderous gleam in his eye, but his dimpled smile ruined the effect.

“I – AH!” Squeeze. “Y-you’re better! You’re better at – AIE!” Another squeeze. “At sparring! You’re better at sparring! Now let me go, you motherfucker!”

Klaus grinned. “Hey now, Grace is a lovely woman and I respect her boundaries,” he replied, climbing off his brother. For a moment, Five lay back on the kitchen floor, clutching his knees to his chest and catching his breath. He looked so peaceful that, when he spoke, it took a second for Klaus to hear him properly.

“…gonna get you back so goddamn hard,” he threatened, the ghost of a smile still etched on his face. Klaus gave him a gentle shove.

“Oh, come on, admit it, you had fun.”

Five fixed him with an indecipherable look, and for a second Klaus feared for his life. But then the corners of Five’s mouth tugged upward, just enough to show his dimples, and he was gone in a flash of blue light.

“You’re an asshole.”

Klaus spun to see Ben sitting at the kitchen table, a huge smile on his face despite his mean words.

Klaus pointed threateningly at him. “You’re lucky it wasn’t you. You were always even worse than him, and if anyone could stand to have a little fun, it’s you. Once I get strong enough to manifest you, it’s over—”

Ben held up his hands in defense, fighting back laughter. “Okay, okay! No need, I already know that you’re the best at sparring.”

“Damn straight,” Klaus replied, pulling a squished piece of bagel out of his pocket and taking a bite.

With a flash of blue, Five was behind him, digging his thumbs into Klaus’ waist. Klaus yelped, nearly choking on his bagel as he spun around to catch the culprit, but his brother was already gone. From a few floors above, he heard victorious laughter.

Some things never change.

[secret-diary-of-an-fa]

God of War (PS4) Review: Kratos’ Postal Grief Beard Versus Norse Mythology

Once upon a time, a man was born by the name of Cory Barlog and thus a coin was flipped. Would he become a videogame developer or would he take up guarding the Mines of Moria by pulling wizards into a precipice? Those really are the only two options with a name like Barlog. Anyway, apparently the Mines of Moria were a bit of a commute, so the world gained a talented Auteur developer with a unique vision for a game series about going postal in ancient Greece. Fast-foward a number of years specifically calculated to make you feel old and ancient Greece is a distant memory. Norse mythology is where all the cool kids hang out nowadays, and that’s where we’re going in today’s review.

As you might have guessed, I’ve just finished playing God of War (PS4), which is fun to say because it rhymes. It’s a very good game that should be a very bad game. When considering modern media artefacts, I’m often prompted to ask the question ‘what went so wrong?’, but this may be the first time I’ve had to ask the question ‘what went so right?’.

Let me explain: God of War 4 (I don’t care that they don’t put the number on the box art, that’s what it fucking is) makes a single, monumentally stupid creative decision that should ruin the entire enterprise, but doesn’t. And that creative decision was- wait for it- a stab at maturity.

The last time we saw Kratos- the world’s angriest mythical being- he was finishing his battle with the Greek gods in God of War 3. There was a moment in that game which, to me, typified what was so great about the series. If I recall the sequence of events correctly, you kill your way through an ocean of expendable goons and critters who are just trying to defend their home on Mount Olympus, dripping with blood and screaming furiously, then wander into the bedroom of one of ancient Greece’s sauciest goddesses and play a sex minigame that you win by fucking her so well that her handmaids orgasm too. Then you toddle outside again and, head cleared, solve an incredibly complex and cerebral puzzle involving non-Euclidean geometry and perspective manipulation that takes bloody ages. That, in a nutshell, was the core identity of the original God of War: a gleefully unrestrained and immature approach to sex and violence coupled with a grouchy willingness to make unsuspecting players feel like fucking idiots for no reason whatsoever. It was awesome. In contrast, God of War 4 picks up many, many years later with Kratos hiding out in Midgard of the Norse mythos and, for once, he hasn’t got a nark on and he’s not trying to stick his cock in someone with cartoonishly huge knockers. He’s just sad because his missus has passed away, leaving him and their young, impressionable son alone in a big, scary world full of trolls and ginger psychopaths. ‘Sad’ isn’t a completely new emotion for Kratos, but, up until this point, he was usually sad in a way that resulted in five hundred people getting their spines broken in a very colourful manner. Now he just wants to cremate the remains of the woman he loved and carry her ashes to the tallest peak in the nine realms so he can scatter her in accordance with her final wishes. And that’s what he does, with son- Atreus- in tow. It’s a twenty-plus hour game in which the objective is very simply to honour someone’s preferred funeral rites- nothing more, nothing less. It’s very modest by Kratos usual standards. Remember that his stated goal in the previous game was to punch freakin’ Zeus so hard that his face would go all concave and then repeatedly stamp on his corpse.

We never actually find out much about what Kratos was up to between games or how he met his wife. However, he’s a bit thiccer than in previous instalments and seems to have lost the use of the ‘jump’ button outside of context-sensitive environments. On that evidence, I choose to believe he’s been running a small but successful family restaurant called ‘Kratos’ Potatoes’ and enjoying it all a bit much. And why not? He beat up Zeus- if he just wants to create and sample homely yet exotic Greco-Norse fusion cuisine while growing a ridiculous straggly dad-beard, I say let him crack on. Actually, is it a ‘dad beard’ or is it a ‘grief beard’? I think they send them to videogame characters in the post whenever a loved one dies so they can signal to the world how sad they are through the medium of angsty facial hair. But where was? Oh yeah: cracking on with it.

Y���see this is where the plot comes in: the Norse gods won’t let Kratos crack on. They’re determined to make him bow before Odin- especially Baldur, who is way too invested in having a fight with Kratos for reasons that won’t become apparent until very late in the game. They just keep turning up and trying to break Kratos and his increasingly like-him-but-not-as-good-at-it son Atreus. This time around, our heroes commit heinous acts of violence to defend themselves, not enact revenge, as they travel, inexorably, to the top of a lonely mountain through landscapes of stunning natural beauty and many, many hostile creatures.

Of course, Kratos taking his son on a hiking holiday with added troll-murder and the occasional slap-fight with Norse mythology’s biggest killjoys doesn’t sound as interesting as the original games. After all, those were basically a production of Kill Bill in which the part of Bill was played by a guy with the power to summon lightning bolts and access to a seemingly unstoppable army of monsters and demigods. The ‘fun factor’ even seems to have taken another downgrade, in that Kratos no longer operates with the entertainingly demented passion of the insane: he has been tempered by time and love and managed to turn himself into a paragon of serious self control. So why is God of War 4 so bloody good? Partly, I suspect, the answer lies in the constantly evolving relationship between Kratos and Atreus, which gives the story an unbelievable amount of heart and always manages to feel very organic. Kratos never learned how to be a parent, and we essentially watch him do it in real time, forming a bond with his son that seems impossible at the start of the game and inevitable by the end. Partly, the games greatness lies in the characters you meet along the way, who range from bickering dwarves to talking, decapitated heads who prattle on like laid-back tour-guides. Partly, it’s in the beautiful, epic landscapes that make the journey across the Realms to the highest peak feel epic and significant, even while it is small and personal.

But a videogame is nothing without gameplay, and it is here that God of War 4 really shines. I loved the original God of War trilogy (especially the third instalment), but I rarely felt like I was playing as, y’know, a god of war. Kratos might not be an uncontrollable whirlwind of fury any more, but he feels truly powerful for the first time in the ongoing series. In fights, every punch feels like it could crack stone; every axe-throw like it could rend the sky; every chain-whip like it could legitimately start a forest-fire. Out of combat, Kratos moves around the environment with the stolid grace of a man who knows his movements are inevitable; irresistible; an imposition on the environment that can’t be denied. You climb and complete elaborate, complex traversals knowing that the satisfaction you feel isn’t just the satisfaction of finding the correct route or solving an obstacle, but the satisfaction of a being forcing his way through a landscape that resists him at every turn but cannot stop him. The puzzles- of which there are many- strike the perfect balance between conceptual trickiness and ease of execution to remind you that Kratos is smart as well as determined; that his mind is as indomitable as his body. Then there are the little touches involving heaving huge stone pillars and similar unnecessarily over-the-top efforts. In short, the gameplay is interwoven with who Kratos is- with what he is in way that seems completely unprecedented. Even the RPG elements feel  appropriate: they reflect the protagonist’s growing confidence in a skillet he hasn’t used in a long, long time.

Do I miss the uniquely juvenile, over the top identity of the old games? Absolutely: I’m a great fan of gratuitous gore and scantily clad women with big fuck-off swords. Usually, I find the desire for maturity in games to be a silly, pretentious trend that foolishly eschews anything obviously ‘fun’ for no reason other than courting the respect of people whose respect isn’t worth having. But I don’t think that’s what’s going on here- at least, not entirely. The developers of the God of War games are clearly artisans and craftsmen of extreme talent: their attention to detail is superb and their ability to weave a good tale from a simple premise is actually a little daunting for someone who considers himself a bloody good story-teller. It’s worth remembering that the de facto head of the studio, Barlog, became a father himself before commencing work on this game about a father learning to bond with his son. It feels personal and meant because it is. Other games might reach for superficially mature themes like family and redemption for altogether cynical reasons. God of War 4 does it because such thoughts are clearly much on the developer’s mind. I asked already ‘Do I miss the identity of the old games?’ and the answer is still yes. But that question deserves a follow-up: am I willing to embrace the identity of this new, quieter God of War anyway? And yes, yes I am.

But if we could have a few more women with enormous knockers and Kratos going properly batshit just once or twice in the next sequel, that would also be welcome. I mean, let’s try to strike a balance here, people, for pity’s sake.

[rissynicole]

Any suggestions for writing dialogues? I mean, when it comes to punctuations and actions the characters perform.

Okay, this ask has been in my inbox for months at this point, and I've been saving it because 1) I wanted to write something meaningful and 2) I didn't know what I could write that hasn't already been said ad nauseam by other writers. I still don't know if anything I say will be particularly groundbreaking, but I'll try to be helpful. Keep in mind, I'm a young writer, myself. I'm still learning new things every day, and I'm far from a guru in the field.

This got long, so I’m going to put it under the cut:

The first thing I did was ask my mother this question, because I was interested in hearing her answer. She doesn't write fiction, herself, but she has been in the editing game for 30 some-odd years. She edits fiction for Harper Collins Publishing and has an eye for these things. However, her answer to this was very plain and simple. 

She said, "All editing and punctuation exists to serve one key purpose: to not confuse the reader."

As far as grammar goes, that's the main goal. I was looking for something a little more hard and fast--some sort of rule in a style guide--and y'know, I'm sure there is a rule out there. But in a fairly fluid world of fiction writing and "rules are meant to be broken" mentalities, the most important thing to heed is the comprehension of your reader. As soon as you’ve confused your reader, you’ve made a mistake. Not a failure--but a mistake that needs to be fixed. I’ve made them; I’ve fixed them. Dialogue can be a particularly tricky area, because it’s like a minefield for these mistakes. 

I’ll add an example of my dialogue and break it down a little bit:

‘“Soldier?’ Red said, interrupting the beginning of another gushing tirade.

Larb's grin faded a bit around the edges as he glanced up. ‘…Yes?’

‘Just remember: you're walking a very thin line.’

His eyes dropped back down to the controls. ‘Yes, my Tallest… It won't happen again.’”

First and foremost, it should be clear who is speaking. I help this along by making sure the characters’ actions are in the same paragraph as their speech. It keeps it more comprehensive. Otherwise, it would read like this: 

‘“Soldier?’ Red said, interrupting the beginning of another gushing tirade.

Larb's grin faded a bit around the edges as he glanced up. 

‘…Yes?’

‘Just remember: you're walking a very thin line.’

His eyes dropped back down to the controls. 

‘Yes, my Tallest… It won't happen again.’”

Not completely indecipherable, but distracting enough to make the reader re-read it a few times. As far as formatting goes, it’s also not very pretty. Now, I’m not perfect with this. In fact, I still need to go through Parade and reformat some sections that might read like the above. However, it is a readability rule that I’m trying to follow more closely. 

Another difficulty with ensuring you’re making it clear who’s speaking can be the use of pronouns. I’ll be the first to admit, writing with multiple characters who all use the same pronouns can be incredibly difficult. You can’t always just use “he said” as a tag. It’s too easy to hit a snag where the reader gets confused and doesn’t know who “he” is. 

‘“Soldier?’ he said, interrupting the beginning of another gushing tirade.

His grin faded a bit around the edges as he glanced up. ‘…Yes?’

‘Just remember: you're walking a very thin line.’

His eyes dropped back down to the controls. ‘Yes, my Tallest… It won't happen again.’”

Sure, maybe this short passage isn’t so bad; It’s still fairly clear who’s speaking. But imagine if the entire book was that way: three, maybe four characters in the same room who all use he/his pronouns speaking without any further identification. It would get confusing and distracting. Lots of reading passages over again to try to decipher who is saying what and lots of frustration on the reader’s part. At the same time, always using the characters’ names can be tedious and unnecessary. Finding a good balance isn’t always easy, but it is worth it. 

The golden rule, for me, is exactly as my mother said: “Do not confuse the reader.”

Below, I’ll add some additional dialogue tips I have picked up:

Constantly adding a tag can get tedious. 

‘“Soldier?’ Red interrupted, cutting off the beginning of another gushing tirade.

Larb's grin faded a bit around the edges as he glanced up. ‘…Yes?’ he inquired.

‘Just remember: you're walking a very thin line,” Red replied.

His eyes dropped back down to the controls. ‘Yes, my Tallest… It won't happen again,’” he muttered. 

Sure, this makes sense. It’s clear who’s speaking. But it also doesn’t read as smoothly. Not to mention, the overabundance of different transitive verbs (interrupted, inquired, muttered), is stilted and almost mechanical in how the dialogue reads. Oftentimes, “said” is perfectly fine. Fun words like “muttered” and “interrupted” are great, too, but in moderation. Finding a happy medium can make all the difference. 

Sometimes, a tag isn’t necessary at all. 

This segues into my next piece of advice: it’s important to write dialogue in a way that still allows the reader to use their imagination. This is where I’ll go off on a bit of a rabbit trail, because this is something I’ve had to learn for myself recently. 

Put trust in your reader to make up their own mind on how dialogue is spoken

I recently finished reading On Writing: A Memoir of the Craft by Stephen King (which, regardless of your opinions on King, was a very helpful book. I enjoyed it a lot). In one passage, he tells the reader to imagine an orange sitting on a table. Just that. He doesn’t give any further details. There is a 100% chance that we are all going to see something different in our minds. We are going to imagine a different table, a different room, and maybe even a different orange.

Sometime, description helps. Sometimes, a carefully placed lack of description lets the reader make up their own mind and encourages imagination. This advice has served me well in writing dialogue. I know it’s a tired old saying in any writer’s workshop: “never use adverbs in dialogue!” And to be honest, I still believe there can be a time and a place. But relying heavily on adverbs doesn’t do anything for the reader, except maybe shoehorn them into a state where they have to re-read dialogue with the new inflection. 

‘“Soldier?’ Red said solemnly, interrupting the beginning of another gushing tirade.

Larb's grin faded a bit around the edges as he glanced up. ‘…Yes?’ he asked weakly. 

‘Just remember: you're walking a very thin line,” he replied sternly, in a flat monotone. 

His eyes dropped back down to the controls. ‘Yes, my Tallest… It won't happen again,’ he said lowly, almost inaudibly. 

Again, this feels stilted, and doesn’t really leave anything to the imagination. 

To better emphasize what I mean by this, I want to use a real example of it in action. (I hope you don’t mind, @sunnymelonpan!) Shortly after I read this advice and starting cutting down on over-describing dialogue and using adverbs, I wrote some IZ sickfic prompts. A friend of mine decided to draw up a comic based on one of them. This was not only incredibly flattering, but unexpectedly enlightening. I was able to see firsthand how other readers interpreted my dialogue. And lemme tell you, it wasn’t always exactly how I had envisioned it. 

Here’s some dialogue I wrote for the prompt in question:

“Dib swiped the thermometer from him and pushed his glasses up his nose while he read it. ‘That’s because it isn’t going down. Huh.’

‘S-some help y-y-you are,’ Zim sneered.

‘Hey, give me a break. I’m doing my best. This isn’t exactly how I wanted to spend my weekend.’

Dib’s outline rose to its full height in Zim’s dimmed living room. He disappeared into the kitchen with the thermometer, then returned with something else in his hands. Without any warning, he placed it onto Zim’s forehead, scowling at the death glare he received in return.”

When I wrote this, I personally imagined Dib acting and speaking in a sort of annoyed, deflated way. Like he wasn’t really taking Zim’s harsh words seriously. Just a sort of eye-roll “yeah, whatever, Zim,” demeanor.  That’s how I saw it. 

This is how Sunny saw it: 

In Sunny’s comic, Dib is genuinely angry. He gets annoyed, stands up, and actually berates Zim with these words. 

I never made it clear how Dib spoke this line. Some people might look at this and say I failed as a writer because I didn’t explicitly say that Dib’s line was more casual than angry. I disagree. I left it up to the reader to interpret it as they chose. And Sunny surprised me by interpreting it in a way that was different. Not wrong! Just different. I positively loved seeing Sunny’s interpretation of my prompt. It let me see my writing in the eyes of others; it showed me that I was able to describe scenes while still allowing my readers to use their imaginations. 

As a fiction writer, it is not my job to be a stagehand and tell the reader every minute detail of the scene I’m writing. Instead, it is my job to guide them through the story and allow them to envision parts of the story as they see fit. This is especially true with dialogue. 

So let’s go back to the original excerpt from Parade that I was using as an example: 

‘“Soldier?’ Red said, interrupting the beginning of another gushing tirade.

Larb's grin faded a bit around the edges as he glanced up. ‘…Yes?’

‘Just remember: you're walking a very thin line.’

His eyes dropped back down to the controls. ‘Yes, my Tallest… It won't happen again.’”

In this passage, I tried to apply all these rules: 

Make it clear who’s speaking.

Use tags sparingly. Sometimes, “said” works just fine.

Use adverbs sparingly and don’t fall over yourself trying to describe everything. 

The dialogue flows smoothly, it is clear who is speaking, and the reader can decide how it’s being spoken. Is Red angry? Impatient? Completely void of emotion in his words? Is Larb scared out of his wits? Trying to keep up a facade of bravery? Who knows! I sure don’t! I’m just the writer! It’s up to YOU to decide.

So... yeah! I know my advice wasn’t particularly groundbreaking, but I hope it was an interesting read, nonetheless. 

[rpgmgames]

November’s Featured Game: Grimm's Hollow

DEVELOPER(S): ghosthunter ENGINE: RPG Maker 2003 GENRE: Indie RPG, Adventure WARNINGS: Discussions of death, losing a loved one, grief SUMMARY: Grimm’s Hollow is a spooky, freeware RPG where you search the afterlife for your brother. Reap ghosts with your scythe, explore haunted caves, and eat ghostly treats on your journey through death.

Download the game here! Our Interview With The Dev Team Below The Cut!

Introduce yourself! *BB: My name's Bruno and I did some of the music along with Nat! I’m super happy to have participated in this game! *NW: I’m Nat Wesley, a.k.a. Natbird! I’m a composer available for hire with a few projects in the works. I’m honored to have had the chance to work on the soundtrack to Grimm’s Hollow! *GH: Hello! I go by ghosthunter online; I started developing RPGs with a friend in school when we found out that we both enjoyed RPG Horror. I enjoy art, webcomics, cartoons and narrative-driven indie games a lot. I bought RM2K3 on sale and started pouring pixel art into it, before learning how to do things like chase scenes, cutscenes, etc. I used to fantasize about making my own game, drawing dungeons and ghosts in the back of my sketchbooks, before I finally started Grimm’s Hollow. Now I’m near the end of high-school, and I’m hoping the best for uni!

What is your project about? What inspired you to create this game initially? *GH: Grimm’s Hollow, originally, wasn’t as ambitious or personal. It was simply just going to be “my first game”, something that I could finally put my doodles and RM2K3 skills to. I wanted a game that a younger me would have enjoyed, back when I first discovered the classic RPGMaker games and replayed them constantly for those endings. That was my initial inspiration. It eventually evolved into an action turn-based RPG that relies on timing, yet it’s mostly narrative-driven. You traverse death in search of your sibling, and try to make an escape. There are unexpected pieces of me that ended up in this game, some of which I’m still noticing even now.

How long have you been working on your project? *GH: Since the summer of June 2018.

Did any other games or media influence aspects of your project? *GH: Standstill Girl, OFF by Mortis Ghost, Undertale, Over The Garden Wall, and the animation medium in general.

Have you come across any challenges during development? How have you overcome or worked around them? *GH: Many! Making your first game is such a giant learning curve, that the list of challenges goes on. I would say that the most difficult issue I encountered (and that, in some ways, I am still facing after release) is working around the limitations of the game engine I am using. I wanted to see whether creating an engaging but simple 1-party RPG in RM2K3 (without going completely custom) was feasible, and I experimented with quick time events as part of that. I worked around the engine’s built-in formulae so players could see progress when they upgraded their stats - although the game might display as defence as “10”, in reality the game stores it as 40 since the engine splits defence by 4. Since I did not want to create an RPG which was too complex for my first game, I also scrapped traditional staples such as armour or weapons. There were also issues such as having an appropriate “game over” handling event which wouldn’t shoot you back to the title screen after you lost a battle; getting RM2K3 to play a small cutscene where you faint and respawn somewhere else was tricky. I felt that if the player had to reload after a loss, it would disrupt the game flow.

Have any aspects of your project changed over time? How does your current project differ from your initial concept? *GH: Like I mentioned before, the game started off impersonal. I just had a soft spot for a spooky cute aesthetic, and I wanted to indulge in that. It was (and in its essence, still is) meant to be a short story, to keep the player invested for the short game length - nothing grandiose. The original draft did not have Baker play a role in the narrative - he was just an ordinary shopkeeper NPC. For a long time during development, Lavender did not even have a name. In the very first draft, she was a silent protagonist the player could name and customize. But she played a very active role in the final outline, so it was hard not to give her own unique voice when one emerged from the narrative naturally. I am glad I did; she grew on me quite quickly! Grimm was virtually unchanged from beginning to end. The only difference was that a close friend suggested that he seemed like he would be into drinking Oolong tea - so that’s what he offers you when you meet him. Timmy also did not go under massive overhauls like Lavender and Baker did, but his relationship with Lavender became much more fleshed out as I wrote the narrative. In other facets of the game’s design, there were not many changes to the original prototype.

What was your team like at the beginning? How did people join the team? If you don’t have a team, do you wish you had one or do you prefer working alone? *GH: It was just myself, doing the art, writing, programming, etc. But halfway through creating the second cave, I realised I would need a very specific sound for Grimm’s Hollow. So, I contacted Nat for music, but I also created a post on tumblr calling for a composer since there were many tracks to make. I met Bruno as a result! I am very happy with their work and I am so grateful I’ve got to work with them! (Some players are asking for an OST release, which is in the works).

What is the best part of developing a game? *GH: I really enjoyed the early stages of development: creating new tilesets, sprites and maps and piecing them together in the editor, then taking a small screenshot and sharing it with my friend over summer vacation … It was nice to see the game’s world slowly come together. I think that’s what I enjoyed the most from beginning to end: that sense of world-building, that sense of relaxation from making a small cosy game. The latter started to disappear as work and other responsibilities started to intrude, and pressure began to seep into development time - but I never stopped loving making the world and characters. I also want to say that, by lucky chance, I have met a lot of kind people from making my first game. I’m very grateful for that, so thank you to everyone.

Do you find yourself playing other RPG Maker games to see what you can do with the engine, or do you prefer to do your own thing? *GH: All the time! Other RPG Maker 2003 projects are great inspirations for pixel art tilesets, as well as how to code harder features such as custom menus. They’re also just fun to play.

Which character in your game do you relate to the most and why? (Alternatively: Who is your favorite character and why?) *GH: Lavender and Timmy are relatable to me in multiple ways. I can’t elaborate on Timmy since that would go into spoiler territory, but I somewhat relate to Lavender’s insistence on managing her life on her own - sometimes to her own detriment. I’d say the most fun character to write for was Grimm. He can be unintentionally silly while speaking in the most formal way, but also very caring too. Everything he does and says was easy to write, whereas I had to think harder for the interactions between everyone else - especially for very crucial scenes regarding their development. That being said, my favourite is still the game’s central two siblings. I can not pick between them for the life of me.

Looking back now, is there anything that regret/wish you had done differently? *GH: I wish I started testing even earlier! Not only does it give you a good sense of what’s missing, but seeing people enjoy what you’ve made yet get hindered by bugs is a very strong incentive to fix your game immediately. When I was lacking motivation or was stuck, I found that good feedback and support made me motivated again. I also wish that I could have pushed the deadline a little further, or perhaps released the game on Early Access since it will take me a while to refine post-release bugs - but as it is, the 31st of October really was the deadline for my game due to external circumstances (no, that deadline wasn’t just because it was Halloween!). Other than that, I wonder if using an updated version of RPG Maker would have produced the same game …? It’s hard to tell, but I hope people enjoy it for what it is - I will be working on that post-release patch soon!

Do you plan to explore the game’s universe and characters further in subsequent projects, or leave it as-is? *GH: There are no current plans, but I would be happy to have the opportunity to improve and expand on the game. As it is, the game’s released for free and done as a hobby, so I would struggle to do that by myself.

What do you most look forward to now that you have finished the game? *GH: Earlier on, I was really looking forward to players’ reactions. Games are made to be fun, and I would have felt distraught if my game didn’t achieve what it was set out to do. Yet it was not just about the gameplay; it was about the narrative. I hoped that what I found funny, the player would too; what was heartfelt to me, was heartfelt to the player as well. Like sharing a laugh, or just a good experience together. I hoped they would enjoy the feeling that went into it, despite the struggle of making it against circumstance and limitations. Now, I look forward to resting and sleeping once this over. I want to explore my other interests, improve, and explore new media. I want to relax, and refocus again like I was before the heat of development.

Is there something you’re afraid of concerning the development or the release of your game? *GH: Bugs! Some are easy to fix, but others are harder due to the limitations of the engine (e.g an error in one ending is caused by an overflow error).

Do you have any advice for upcoming devs? *GH: Show your game as early as possible, to as many people as possible. As soon as you have something playable, it’s ready for feedback. You’ll see if that game mechanic you spent hours refining works, or if it doesn’t work and why. You’ll understand what players enjoy and what they want more of, but also what they don’t like or don’t enjoy. And you will definitely encounter bugs. You’ll be able to pinpoint and fix minor problems early on that can easily become a larger issue later. You’ll be able to fine-tune your game so its best bits shine, and the difficulty is just right.

Question from last month's featured dev @dead-dreams-dev: Is there anything you’ve added to your game for no other reason than because you’re hoping fans will get a kick out of it? Fanservice, fourth wall breakage, references to other games, jokes, abilities that are just ridiculously overpowered and badass, etc? *GH: It’s hard to say; game design is trying to find the intersection between what’s good for the player, what the developer enjoys, and what’s feasible to implement. Every decision made should be conscious of that … I think a lot of the game’s early light-hearted jokes was not only made because I enjoyed it, but I hoped the player would “get a kick out of it” too. But more so, I think it’s because I would struggle to write a story which is serious and bleak from beginning to end. The game is a little self-indulgent in the narrative that way.

We mods would like to thank ghosthunter & team for agreeing to our interview! We believe that featuring the developer and their creative process is just as important as featuring the final product. Hopefully this Q&A segment has been an entertaining and insightful experience for everyone involved!

Remember to check out Grimm's Hollow if you haven’t already! See you next month! 

- Mods Gold & Platinum

[captainclickycat]

Cabin Pressure for the ask game (since I know you’ve seen that, you made a post about bantering with Douglas).

Thanks! This may be tricky since I’m not a dedicated shipper for this one, but by god I’ll give it my best shot!

o The first character I ever fell in love with: 

Arthur! Out of all of them he was the one who made me laugh the most, but was also the most endearing. 

o A character that I used to love/like, but now do not: 

None of them, really. The closest is probably Martin, for whom his more irritating qualities do stand out slightly more for me on subsequent listens. 

o A ship that I used to love/like, but now do not: 

None of them, really, but inversely Carolyn/Herc did grow on me over time. 

o My ultimate favourite character[tm]:

It’s a tie between Arthur and Douglas, but for very different reasons (obviously.) Douglas is the best in terms of snark and Batman gambits, but has that extra layer of Sad Backstory to make him more likeable, particularly in how stoic he is about it. He never gets whiny or uses it as an excuse to be unpleasant. And Arthur’s just fun. Plus he made us all a video series for lockdown, so what’s not to like? 

o Prettiest character:

Not really applicable this, given the medium!

o My most hated character: 

Hmm either Ruth or Gordon. Keiran’s a horrible little bugger, but he’s still just a kid. Gordon really twists the knife with the way he manipulates and belittles his son, but his schemes are at least sort of compelling. It doesn’t make him better, just somewhat more interesting. Ruth is just generally awful. Might have to be another tie. In any case it’s gorgeously satisfying to see both of them get their comeuppance. 

o My OTP:

Don’t really have one! It’s a bit of a free-for-all franchise where that’s concerned. 

o My NOTP: 

It doesn’t reach anywhere near NOTP levels, but I was never all that sold on Martin and Theresa. The whole “he gets with an actual princess!!” thing felt a bit too wish-fulfilling. I do love that Theresa’s a bit of an aviation geek though. 

Or Carolyn/Gordon, I suppose. yeesh. 

o Favourite episode: 

God, now you’re asking. 

Boston’s definitely a contender, it was the episode that got me properly interested. But then there’s Helsinki and St Petersburg... aargh!

I’m going with St Petersburg. The whole foiled theft and the straight-up gleeful way they all lord it over Gordon (particularly in the way they throw his treatment of Arthur back in his face) takes home the gold. “I know it’s his, because it’s got his name on it. Have you decided you like it after all, Mr Shappey?” might be the best line in the series. 

o Saddest Death: 

...Have there actually been any deaths, besides Mr Leeman? 

I suppose Mr Leeman might actually have to win this one by virtue of being the sole candidate, despite the fact that his death wasn’t actually very sad. 

o Favourite season/least favourite season:

I’m skipping these, because I listened to it all at once and can never get it straight in my head which episodes are in which series. 

o Character that everyone else in the fandom loves, but I hate: 

Nobody, really. I suppose maybe I don’t like Martin quite as much as some people liked him? Like I don’t have that “he’s beautiful and I must protect him!!” thing going. Although that said Yverdon les Bains did help me through a job interview once, so I feel a bit bad now. 

o My ‘you’re a piece of trash, but you’re still my fave’ fave:

My first thought was Douglas, but I’m not sure he’s really trashy enough for this. (Sketchy, sure, but not bad bad.) Mr Birling, on the other hand...

Look, I know I’m not supposed to like him. But he’s just so delightfully awful and he owns it. Also his performance in Edinburgh made me laugh so much I nearly pulled a stomach muscle. 

o My ‘beautiful cinnamon roll who deserves better than this’ fave:

Arthur, although he’d probably disagree about deserving better. He seems pretty genuinely content. 

o My ‘they’re kind of cute, and I lowkey ship them, but I’m not too invested’ ship:

Just about any involving the main four. Or at least martin with Arthur or Douglas, and Douglas/Carolyn. All can be fun and compelling in the hands of a good fic writer, but I’m not particularly invested in any. 

[thesquishywizard]

How to make a Grimoire!

This took me a week to compile so if you enjoy it and want to support me, this a link to my ko-fi!

Hey there, I’m Ismo the Squishy Wizard, and today I want to talk about how you could go about making a grimoire for yourself. Grimoires are very personal despite being for information and reference, so it is understandable that some of my advice just won’t fit your way of doing things. The following advice is based on my experiences and the experiences of other magical practitioners and witches I have spoken to or watched on youtube, so hopefully you can avoid some problems we have ran into.

What is the difference between a grimoire and a book of shadows (BoS)?

A grimoire is often only a magical reference book while a book of shadows is not only a magical reference book, but also a diary, record of magical activities and ultimately, whatever you make of it. The reason why you might want one more than the other is purely down to personal taste.

A grimoire will detail what things mean, their origins, uses and personal associations. It is in an order that will help the witch easily find what they’re looking for, whether that is in alphabetical order, simplicity to complexity, importance to you or some other personal order. Grimoires tend to be quite formal, being written in highly decorated documents on a computer, high quality notebooks, scrapbooks or sketchbooks.

A book of shadows may do all that too but also include records of daily practice, experiences with deities or spirits, personal reflection and introspection, thoughts and questions about the craft, results of spells and maybe dreams too. It generally is in order of learning and experiencing so can be slightly harder to navigate for reference for some people. Books of shadows tend to be more casual and some people write them in old school books and notebooks. Some people separate things further and put dreams and personal reflection and introspection in a book of mirrors, so that might be a good thing to think about.

Other people don’t define grimoires and BoS in this way and see it as two terms for the same concept and use “BoS” and “grimoire” interchangeably, so this may still be useful advice for those making a BoS. Neither a BoS or a grimoire is better universally, it is about what is best for you and the way you practice.

I personally have a grimoire and a magical diary as two seperate books!

Why might you want a grimoire?

Grimoires are useful for compiling knowledge all in one place, in a language you understand and work well with. With a grimoire, you might not feel the need to get several books out, just your grimoire because you will have used your knowledge and experience and the authors of those other books experiences when writing information in your grimoire. It also allows you to remove any jargon you don’t understand or add useful diagrams and pictures if you are a visual learner. A grimoire still shouldn’t be your only book, always continue learning and researching with others’ insights, grimoires are just more compact and quick for when you quickly need to find something out or need a bit of help. However, you don’t need a grimoire, if you think a book of shadows, a magical diary or just using pre-existing books is more useful to you, don’t make a grimoire. Grimoires can be an awful lot of work, only make one if you feel like you need it and are going to use it.

Don’t instantly begin making a grimoire, wait at least three months

A grimoire holds all the information that is important to your craft and though the beautiful, awe inspiring pictures of grimoires get a new witch raring to go, it is probably not best to make a grimoire yet. Making a book of shadows or a simple diary would probably be more useful and less overwhelming to begin with and you can still record new knowledge you come across, it is still important to learn and research as this is what will get you ready to make a grimoire.

Trying to make an organised, informative grimoire when you are still new to the craft can be very hard and may cause you to include misinformation or elements of witchcraft that are simply not relevant to your life soon after looking into them, as a witch’s practice changes a lot drastically in the first year or two, and their path will still change, but often just slighter, through their whole life.

This might mean that whole sections of your grimoire are never used, putting your hard work to waste. Some witches don’t start making their grimoire until they are years into their path, as they are now more sure of their beliefs, the way they practice and their thoughts on things so they can guarantee everything is of use to them, and should be for a long time.

I started my first grimoire five months into my path but I honestly should have done it later, as my path underwent some drastic changes only six months later (so eleven months into my path), but I’ve had a very stable path for about a year now so I’m currently making a new grimoire. Now I’m learning additional things, so I feel more comfortable starting my grimoire again. I’ve not learnt things that reshape my whole way of thinking and practice for quite a bit, though this can still happen at any point in your journey and it should be welcomed with open arms, but just a warning, that sort of thing is more likely to happen early on in your path.

Research and meditate on your findings!

To work out what path you want to take and how that may inform what goes into your grimoire, you need to research. You’ve probably heard before that the first step to anything in witchcraft is research which is very true and the sooner you start researching the quicker you’ll be able to understand and confidently start your grimoire. Bookmark websites, stick post-it notes and bookmarks in your books, or even begin collating your information into a computer document or writing it down in your diary or BoS. 

Experience being a witch before beginning to write your grimoire, try out those spells, try out those ideas, you may find that they simply don’t work for you or mesh right with your personal experiences or you may find that you’re a lot more into that area than you first thought you would be and you need to do deeper research and learn even more! Explore the world around you and record it in your diary, BoS, phone or elsewhere. Get to know the plants common in your area and therefore useful in your practice, the constellations in the sky, the food you can make, anything, just get to know what you like. Also make sure you fully understand a subject before deciding to put it in your grimoire, I’ve known witches who have written about things such as chakras, only to later find the western model of chakras is very warped from their Hindu and Tantric Buddhism origins and I myself have written about plants that are native to the Americas, despite me being British and having no way to access them because I didn’t properly research. 

When researching information, always think about whether it is relevant to you and whether you enjoy it. It can be tempting to research anything and everything but you might get burnt out and find the craft overwhelming that way and also some things are from closed practices. You should always check if something is from a closed practice, even if it seems to be commonly used.

Always use multiple resources even when it comes down to something as simple as latin names. The book I was using for British plants and wildflowers was written in the 1910s, which meant some latin names had changed so I crossed referenced every one with both British wildflower websites and wikipedia.

Drafting and planning your grimoire

Once you’ve collected some reliable resources and you feel comfortable in your understanding of the subjects that you’re interested in, you could start planning out your grimoire.

I recommend planning your grimoire so you don’t get overwhelmed by all of the things you want to put into it and how you want to present it.

First, think about what medium you want to construct your grimoire in, do you want it to be a digital grimoire? Or maybe in an actual book? Both? Next, think about the order you want everything in, though it isn’t yet made, plan it out something like a contents page. Make sure the order of things makes sense to your brain. Also, maybe have a little think about the future, maybe you could futureproof your book if you know there are areas that you want to look into one day or look into further and take into account the extra room you might need.

If you choose to make a physical grimoire, consider making a first draft before the finished project. You can do this in an old notebook or digitally. Mistakes are made and you don’t want to fumble your words so you could write it in full before writing it in your book, but many just plan a series of points they wish to cover. I planned mine in full in google docs, just without pictures. This meant I had all my knowledge and research already compiled and worded in a way I was happy with, I can often mess up my wording on the fly.

If you choose to make a digital grimoire you don’t have to worry as much about drafting, but it’s still important to make a structured plan for how you will organize things within your grimoire. Moving sections about can be a bit tricky! It’s also a good idea to choose which program you want to make your grimoire in, make sure it’s one you know how to use well so you don’t get frustrated, making a grimoire is meant to be fun. Some people enjoy using an art program to digitally draw and write their information, then they print them out! Some people instead use something like a google doc or document program, adding information in the form of text, pictures or charts but keeping it digital.

Tips for actually making your grimoire!

If you’ve planned a physical grimoire, it might be a good idea to get a larger book than you expect to actually need! You will keep using this book in the future, and continue to add information to it. You don’t want to run out of space when you have something really cool to talk about! As previously said, you could also futureproof it by leaving spaces or whole pages blank for extra information or new subjects.

A digital grimoire doesn’t mean a dull grimoire! Download some free fonts, lots of free witchy fonts exist and can really inject more of you into your document. There’s also lots of free photo websites or you could take your own photos and put them in your document. It doesn’t have to be all text in times new roman. I really like ‘Adalind’! https://www.fontspace.com/category/witch 

Some people find it is a good idea to source their information, especially when they are using their experiences and the experiences of several other people. This means that things can be checked later, years into the future if you are confused as to why something might be so.

You don’t have to know how to draw well to make a physical grimoire! You can print out pictures, you can take pictures out of magazines or books, or you can use something like postcards, tea cards, trading cards, lots of things! Don’t just restrict yourself to photos and drawings you’ve done.

Pressing flowers and leaves can be a wonderful idea for a physical grimoire, especially if you don’t have access to a printer or you feel like your art skills aren’t there. It can also give your grimoire that field journal feel! However, pressing flowers and leaves can mean some colour loss. To retain the most colour, keep the plants pressed for two or three weeks in a warm room. Most small flowers or leaves in a warm room will be pressed after just under a week. Never press a plant for more than a year, you don’t need to wait that long and also you run the risk of making your sample brittle. You could also laminate leaves (but not flowers, the heat seems to mess them up) and this seems to retain the colour better.

When making a physical grimoire, if using a book, make sure the book has a thick, sturdy cover, the book might get damaged with a soft cover, so a hard card, leather or even cork cover is a good idea to look out for when selecting your book. When selecting a book, never go for a type of binding known as ‘perfect binding’, as it uses glue to bind the pages to the cover. With the nature of grimoires, they tend to puff out quite a bit with all the flaps, pictures and pressed samples, which can break the inflexible glue binding. A good binding is wire or spiral bound, this means you can completely fold the pages over, reducing the total spread of the book on a work surface at any given time. Another good type of book is screwpost binding, here screws that can be easily screwed in and out hold the book together or alternatively bits of string to bind the book instead of the screws (this is my book’s binding). You can take the bits out and punch holes in your paper to increase the total amount of canvas you have to work with, it’s a lot like a ring binder, except it’s a book! Lastly, another common type of grimoire binding is section sewn, this is usually found in handmade leather grimoires. It’s virtually impossible to add paper to these, but they’re very sturdy and look quite magical. You can also bind your own books this way!

If you choose to make a ring binder grimoire, try to get a sturdy, high quality one. Many ring binders rings can’t actually match up, which can shred your paper as they pass over these sharp points. Also keep in mind a sturdy cover, some ring binders have a thin flexible plastic sheet, but cardboard or even wooden covers are out there and are a bit better at protecting your work.

If you plan to use multi-media methods of creating your grimoire, or heavy types of ink, I suggest you go for a heavyweight type of paper, something like a high quality notebook or sketchbook will be good. Handbound artisan books tend to come with heavyweight thick paper, so you don’t have to worry about those too much. Loose leaves of heavy paper can be bought from art shops if you are making a ring binder grimoire or need to add pages to a screwpost binding style book and are also using heavy inks, paints or making it scrapbook style.

Through all this, remember that the grimoire is primarily meant for you, you aren’t making it for other people, so don’t beat yourself up if it isn’t the most aesthetic and gorgeously professional thing ever. There’s a lot of pretty grimoires online for inspiration, but try not to just completely copy their work, or constantly compare your own creation to other peoples. They likely have been making grimoires for a very long time. As long as it gets the job done and makes you happy, that’s all that matters. It should be a little piece of yourself that looks and feels like you. 

Things to possibly include in your grimoire

Witches never have to do all of these, it is your path so pick and choose what inspires you!

Most grimoires have a title page including the date it was started and your magical name if you have one.

Some people include an invisibility sigil to prevent prying eyes, a curse that punishes them for looking or a warning that this book isn’t for them. Others bless their book!

Many people have a contents page so they can remember where to find the information they need.

A lot of witches include a personal introduction, explaining what brought them to the craft, a bit about who they are, favourite things like herbs, crystals and colours, any familiars they work with or any magical abilities they have. Some people almost make a little correspondence page about themselves, including key herbs, a natal chart, their birth tarot card and personal sigil.

Not all magical practitioners work with deities in their craft or are religious at all, but if you are, having a section about your deity or whole pantheon is a good idea. Write about what your deity acts like, what they are the deity of/over, things they enjoy as offerings or how you came to first begin working with them.

If you follow a wheel of the year or have celebrations, a page on these is a good idea. What does the celebration represent? What are some ideas for activities to do then? What does it mean to you?

Some people have a series of morals or tenants they follow and believe in. Maybe write down yours for your path.

The main chunk of the grimoire should be about what you work with. This could be plants, food, crystals, animals, colours, astrology, planetary magic, fair folk, magical creatures and much more! For each entry, explain the concept’s or item’s correspondences and uses, whether that be the common use or your personal uses and associations, what the item is like, where to find it, folklore about it, non-magical and mundane uses and maybe how to make it if it is something like food.

Another big chunk is often common spells, potions, practices or rituals you do and how to do them. Spells such as banishing, protecting, removing curses are all popular spells to record in a grimoire and meditation, grounding and centering methods are some non-spell things that are still important for many witches to know.

You might also want to talk about different types of spells in general, how to create one and what the differences are between them.

Some people talk about the tools they use, especially in practices like traditional Wicca, where there are important tools like chalices and athames. More universal tools like taglocks are another good thing to cover.

It's a good idea to talk about the divination methods there are or just the ones you personally use if you use any. Also cover any layouts, spreads or boards you might use. Witches don’t have to do divination, so if you don’t, you don’t have to include it! 

Some people include a section on magical theory, how they believe magic works. You could also do a section on how divination works for you. Some people think it helps introspection and decisions while others think it helps peer into possible futures.

You might want to include different alphabets relevant to your practice. If your practice is norse based, different futharks might be useful, whereas for hellenic practices, ancient greek alphabets will probably be of more use. The theban or witches’ alphabet is a common alphabet to be found in modern grimoires. Alphabets can help you code things from prying eyes or make sigils.

If you do ancestor or spirit work, you could talk about your ancestors or the spirits you work with. What they were/are like, wisdom they have passed on to you and other information you think is important.

Talk about how to work with spirits if you work with them. How to call them, how to respect them and how to banish them are important things to know.

If your path is a pre-existing one, talk about the history and origin of your type of witchcraft. If religion is heavily important to your path, talk about the history and how it has changed over time too. If your path is unique to you, talk about how you discovered and formed it!

Most witches include folktales, superstition or local wisdom and customs from their area. This could be ghost tales, how to keep crops safe, or even local magical goings on, anything that connects you to the land of your area.

Some people have people in their family who did things that could be considered magical. Many people used to do divination, herbalism (herbalism isn’t inherently witchcraft, it is using plants for healing and health and may or may not have a magical element to it) or use country wisdom and did not consider themselves witches or magical practitioners. Maybe talk about your relative or if you are an open witch and they are still around, ask their opinions and thoughts on matters and include a section on them.

If you are a hereditary witch, you could talk about what you’ve learnt from your family too! Though I feel you probably don’t need my advice on making a grimoire if you are one XD

Some people talk about places that feel magical to them. Explain exactly how the area makes you feel, maybe the reason why or what you have found in that place.

Always remember, your grimoire will never truly be finished, you’ll get it to catch up with your current knowledge at points and may not add new stuff for a bit, but part of being a witch is always learning, so there’ll be more to add soon! It is also important to keep in mind, there is no shame in remaking your grimoire or having to get another volume, it is the collection of your knowledge and it's actually quite common for experienced witches to have multiple volumes of their grimoire or old ones they don’t really refer to anymore, I know grimoires are often talked about in a singular way but it really is common to have multiple.

Most of all, have fun with it. Make your grimoire! I wish you a pleasant journey on your long and winding path <3

Resources!

How to press flowers: https://www.nhm.ac.uk/discover/how-to-press-flowers.html 

Types of binding: https://www.studentbookbinding.co.uk/blog/types-of-binding 

Magical alphabets and historical alphabets: https://www.omniglot.com/ 

British plant, fungi and animal species: https://www.wildlifetrusts.org/wildlife-explorer 

British plant and fungi species: https://www.plantlife.org.uk/uk/discover-wild-plants-nature/plant-fungi-species 

British plant, fungi and animal species: https://www.woodlandtrust.org.uk/

(I’m British so these are the resources I know are good for the UK)

[rivers-tell-stories]

5 works tag game

Rules: it’s time to love yourselves! choose your 5 (ish) favorite works you created in the past year (fics, art, edits, etc.) and link them below to reflect on the amazing things you brought into the world in 2020. tag as many writers/artists/etc. as you want (fan or original) so we can spread the love and link each other to awesome works!

Tagged by @clydethistles, @thegirl20 and @myannaburing. You guys... I don’t deserve you ;-; thank you so much, you incredible talented people ❤️

I’ve been lacking motivation to do anything creative these past weeks so this was a very welcome (and needed) exercise even if I hesitated forever to do it. So here you go, in no particular order, some of my faves from 2020

1. Kassandra from AC Odyssey

I had been wanting to do a full-size drawing of Kassandra for a while. I fell back in love with the ac franchise with Odyssey and playing it with my best friend is my favorite memory from lockdown. This one was tricky to make and definitely a first for me in many ways, but I like how it turned out (and my friend loved it haha which is the most important thing!) :)

2. Tissaia Gwent Card 

ok hear me out lmao she deserves it! It’s one of the first ones I did and far from perfect, but I think it turned out cool haha 

3. My friend, the rose

This was the drawing that got me into drawing again. I love it! it’s very much inspired by Bouguereau’s art and style and the title is from a song by Françoise Hardy

4. Tissaia de Vries for “Witcher Appreciation Week”

I have a thing for Tissaia’s winter cape and I won’t apologize for it lmao. This was a fun one to draw and to colour. I’ve been trying to challenge myself to make more detailed backgrounds so I went all out with autumn colors 

5. Craving roses

I started experimenting with watercolor earlier this year and made 4 or 5 little paintings like this one. I love the colors and really fell in love with this medium, although I still have a lot to learn :)

(adding a 6th just becoz)

6. Fanart for “Into that world inverted” , story by @clydethistles

I couldn’t leave this one out. Not only this was the first time someone actually asked me to draw something for them, but it was also what started mine and ClydeThistles’ ramblings - may them continue forever more! 

I’m so happy to have started drawing again in 2020! It brought me so many good things and allowed me to meet so many awesome new people! Here’s to being even more creative in 2021 :D 

Tagging: @gayllamafromspace, @kapuahiwahiwa, @brazenedminstrel, @greypaws6896, @little-merigold, @mindmypensieve, @eileniessa, @let-your-chaos-explode @xemilylhx , @novak-fan @tiredthinkbucket and whoever else would like to participate!!