#vomit draft

[prozac-shaped-urn]

I feel like a lot of newer writers seem to be under the impression that experienced writers churn out beautiful work with no effort in no time and with no forethought. That just… IS NOT true.

Does writing get easier with practice? Yes. Everything does. You learn what your strengths are and how to least painfully vomit out the first draft.

But it’s never an immediate thing. You don’t have a polished draft on your first draft. It’s called a draft for that reason. You’re drafting something onto a page. You’re creating a framework. You’re building a foundation you can add to.

Does it suck to be in that very steep learning curve when you’re just starting out? FUCK YES IT DOES!!! But it’s a requirement if you’re gonna get better. It sucks, but it’s required. It’s on the job training, baby. Buckle in and hang on.

That being said—and to demystify this concept of a writer who’s been writing prose for 20+ years having a first draft that remotely resembles anything decent to publish—do y’all wanna see my vomit draft? I’ll fucken post it. I’m dead serious. I’ve had it with newer writers being hard on themselves for not writing a Pulitzer Prize-winning first draft, ok?

[a-curious-studyblr]

Essay/dissertation writing tip: just sit down a type up a vomit draft of a section of anything! First drafts are made to be messy. Write informally, write with spelling mistakes, just keep typing! Don't worry about writing the finished piece and writing it perfectly, just write something for now

[slavhew]

jakey + dirkjake sandwiched between my organic chem notes. a poem in there somewhere

[shorthaltsjester]

endlessly thinking thoughts about cr characters, morality, and selfishness (likely place for me to be, given that my day job includes endlessly researching ethics and meaning of life) but in light of bell’s hells most recent illustration of their insularity and individualism, I’ve been really like. Trying to unpack why I find it particularly egregious in this party when obviously mighty nein were notoriously self-interested, especially at the beginning, and when vox machina had quite a few moments where their horses were far higher than they had any reason to be. And again, I really want to make it clear her that I don’t hold self-interest or selfishness to be some abhorrent and unforgivable thing, in fact I think its incredibly normal especially given the context of main characters in a story told through game mechanics that flourish on the interest of the individuals making the choices. I’ve written before about how one of the throughlines that I’ve seen in laura’s pcs (since I’m someone who particularly enjoys looking at the moral outlooks characters develop) is a common thread of morality that’s highly dependent on their own interests. And like, this is a positive throughline to me! Without getting into my own views on morality, it is particularly compelling to me for characters with isolated upbringing (which applies to vex, jester, and imogen, each in different ways) to develop a moral code informed by that isolation, and in vex we see her moral code is ‘anything goes if it protects those I hold dear’, in jester we see a moral code that doesn’t care about morality as much as it cares about the chance to care and be cared for, and in imogen we see a moral code developed in response to her very unique experience of hearing the darkest parts of people and judging them on those (which to be clear, i am not judging her for that fact, I think it makes extreme sense for someone who hears the thoughts the people have to be horrified by those things, but it does mean her moral system is almost completely backwards, where intention holds more weight than action, which perhaps makes sense of the popularity of defending all of her ideas and choices and the Right Ones by certain parts of the fandom that insist leftism is hidden in the dnd real play). And that’s all to say that, out of the cr parties we’ve seen, I don’t think any single member of bell’s hells is uniquely more or less selfish or more or less of an asshole than previous characters. And in fact, I tend to be quite fond of selfish characters, I have a well documented history of cherishing them well beyond the cr fandom. But the point is that my calling something or someone self-interested is not a value judgement in this context, it's a descriptive claim about the traits a character exhibited.

Imogen, who has insisted time and time again re: the values of the accord that she would not be swayed by the temptation of predathos because she recognizes the importance of this fight, only to turn around and pretty immediately open herself up to predathos to fulfil the most threatening part of ludinus’ plan is self-interested. I cannot conceive of any other way to describe her choices. And her being self-interested doesn’t mean she can’t also be altruistic at times, but I will be clear that I don’t think her risking killing herself as she attempts to bring down the god-eater that she released is particularly selfless. In my best faith interpretation I’d say she’s pretty middle of the road in that choice. But I bring all this up because a comparison I’ve been seeing is that bell’s hells aren’t as mean as the mighty nein or even vox machina in certain moments and that it doesn’t make sense for the fandom to view bell’s hells as likely to be villains when the same wasn’t true of the previous two campaigns, and I think I have to pretty emphatically disagree, and not because I don’t think there aren’t moments in both campaigns that feature extremely high levels of assholery and villainry from pcs – I mean, some of my favourite cr characters are percy and jester, both of whom i’d say are ‘good guys’ due to the pure luck of the found familys they fell in with and both of whom often suggested plans that were. Not okay. To say the least. But ignoring the difference between suggesting fucked up plans and walking your god-eater infused bestie back towards the troops sent to support you in keeping that entity contained, the other big difference I’ve noticed in my own introspection on how I react to bh vs mn and vm, as well as which things i cherish about previous campaigns that were really missing from c3 to what I think is the story and the character’s detriment (staying away from the shape of the narrative, just because others have made posts that put words together better about that than I can) is that while members of vm and mn remained self-interest to the end of their campaigns and have reasserted those habits in appearances since, the parties as entities working in exandria had both, to echo ashton’s apt suggestion to ludinus, grown up.

Like one moment I think of is beau and fjord’s convo in the nein hells episode, because beau is being her asshole self and fjord is being his ‘I care about My People and I’ll think about the rest later’ self (i say affectionately but certain parts of the fandom I recognize would view derogatorily) – clearly they’re not the kindest people as they discuss bell’s hells, but two notable things are (a) they still treat the hells with the respect and use their means to help them prepare for the battle coming, even when they hear the horrifying thought that the hells aren’t certain they’ll choose to save the gods, all the nein request is that they choose the kind option (b) they say none of their doubts to the hells themselves – likely because they have the empathy to realizes that its a high stress situation that won’t be made better by a reminding the hells how small and likely ineffectual in the universe they are – and their comments about cannon fodder are ones made in jest to each other. Even taking that in the worst faith interpretation, the jokes that beau and fjord make in a private conversation has absolutely zero influence on bh. This is quite different than bells hells, after like. as clearly betraying the accord they promised to assist (even if their intentions are ‘good’) as is possible, belittling the religious armies sent to support their endeavor to keep predathos sealed as they all feel the weight of an irrevocable change occurring in exandria, one bells hells has first account knowledge now that it IS incredibly willing to eat mortals, and laudna and ashton, the members of bells hells most often cited by certain fandom spaces as characters who have gone through so much and it only made them kind and strong, look into the faces of people facing literally existential threat and laugh and mock them. That is, mighty nein as individuals is comprised of some of the, perhaps, most asshole pcs, but The Mighty Nein as a party is committed to treating others the best they can, to leaving things better than they found them (a quote that I think is particularly exemplary of the dynamics of self-interest at play in the mighty nein, since it originated as a blatant illustration of molly’s notion of self-importance but developed to become a kind of commandment that the nein became committed to fulfilling). The opposite is true of bell’s hells, where orym and dorian at least both seem to have motivation beyond themselves, imogen’s changes but has shown she is capable of letting go of her ‘intention reigns’ requisitely individualistic perspective, and chetney plays up his selfishness but has shown himself to care quite a bit for people beyond their party but bell’s hells as an entity is uh, pretty self-interested.

To clarify some of my thoughts here in the spirit of the wicked renaissance happening rn, I’ve always felt that for good was an incredibly apt song for the mighty nein, because it really nails that feeling that perhaps they didn’t change each other as individuals to become better people on the grand scale, maybe they’ve just changed each other permanently, but they (and I would agree with this) view each other as having changed each other for the better (e.g., I don’t know if I could say whether jester is a morally better Individual at the end of the campaign, but I can say with certainty that she fulfils and makes moral choices in her work as a member of the mighty nein). And I don’t know if this can be said about bell’s hells – I think they have certainly influenced each other and changed how alone many of those characters felt, and that is not a slight on the story, it can be a great centre for a story to focus on how a relinquishment of the feeling that one is alone in the world can change them. But for the most part, that hasn’t been bh’s story, their story instead has been about validating their refusal to become anything beyond what they insist was out of their control. And not to get to annoying philosophy student about it but bell’s hells are maybe some of the most explicit examples of sartrian bad faith I’ve seen in fiction in a hot minute, because their insistence that they treat their wounds as incurable and entirely out of their hands has led to them limiting their own potential because many of them ignore their responsibility as people to make choices in their own lives. In contrast, at the end of the campaign, mighty nein are still assholes as we all like to refer to them as, but in the context of an apocalypse, I think I’d prefer the assholes like fjord – who is certainly being truthful when he says he doesn’t care about what harm comes to 200 people when jester is at risk but who also, as they traverse into aeor, is insistent that their group won’t be running away from whatever apocalyptic threat awaits them, even if that means dying in the fight – than I would an asshole like ashton – who promises to fight for the little guys but who then turns around and acts upon a philosophy that says the strongest will survive. When you look at the mighty nein, it is incredibly easy to see the fingerprints of change they’ve left upon one another, and even to see the boundaries they place on one another’s asocial behaviours through their presence in one another’s lives (more recently the group chastising jester’s fond words about ludinus is a good example, but others are yasha’s pressuring caleb and essek to move on from their wizard talks as they collect paper in aeor instead of venturing further toward the battle they have to fight, or fjord and jester’s frustrated conversation in the ukotoa reunion about how fjord made a stupid decision and he doesn’t regret but he feels dejected and jester checking him on the fact that they still need to figure out a solution). It takes some extrapolation to see how bells hells have changed each other in more than aesthetic ways, if they have at all. Because the catalyst for change is pressure to do so, and aside from moments where it was truly change or be left behind, bh doesn’t challenge each other unless forced to by morri’s trials or delilah’s interruption and on the very odd occasion an interesting game of rollies-spin-the-bottle. 

And it’s interesting because the asshole behaviour of the mighty nein, like bell’s hells, stems from being left on the outskirts of society and the mistreatment that comes with that, so seemingly the change from being alone to being with others is one that actually insists upon being challenged to grow and change. I mean, just looking at the starting points of the characters, there’s an intriguing amount of stark similarities between their pasts; jester and fearne were both people loved dearly by the family they grew up with but who were loved within the confines of a gilded cage, ashton and beau both have an glaring self awareness that their anger at the world has a very particular source (their parents) but use that as justification rather than a means of self reflection, yasha and orym are trying to navigate a world in the wake of an incomprehensible loss and a sense of duty, fjord and imogen are both seeking out knowledge of their own powers and unknowingly retreading the paths of their missing and presumed dead parental figures. The idea that bell’s hells are uniquely mistreated by society in the history of cr player characters is, politely, laughable. Absolutely they’re mistreated, and I think it could be fair to say these characters are more defined by their isolation than others but I think that has more to do with the lack of downtime rp than it has to do with the context of their suffering.

What I have loved about the mighty nein is that in their realization that the bonds they forge with each other are undermining the truths most of them had taken to be true – that they were alone and without a place in the world – they are also forced to realize that no longer being alone and isolated comes with the weight of social responsibility. And this was born out of a willingness the mighty nein had to call each other out and that the players had to allow their characters to be wrong and get called on it. Because that’s the friction of living with other people on the small party scale and the large world scale – in the mighty nein’s ability to survive as a people who cared for each other even when they didn’t agree or when they made decisions that they couldn’t understand, they were constantly developing their ability to care for the very same world that left them alone. Because in campaign two, the world as a whole had the role that the gods have in campaign 3 – why should a party of nobodies, treated like shit by the world and the people in it go through the effort of saving it?

And the mighty nein answered, in their own imperfection and assholery, that nothing is ever just one thing – one of the things I cherish most about campaign 2 is its commitment to ambiguity, allowing the complexity of the world to go unsolved because there is no solution to the fact that life is immense and sometimes incoherent. I don’t think its a coincidence that I’ve seen some of the people lamenting the idiocy of fandom members like me who think that it actually isnt a leftist win to destroy the world in the hopes of spontaneous justice arising in c3 are the same people who criticised c2’s conclusion with the cerberus assembly for not being leftist (a word which for them means . the aesthetic image of a rebellion sparked and not the unending commitment to doing what you practically can to make life more just for those around you – whether they’re particularly kind to you or not) enough. The conclusion of c2 emphasizes that the choice to make the world a better place isn’t something that can be achieved in one single sweeping action that will wipe the boards clean – there is no murder of all the members of the cerberus assembly that would’ve solved the problems that caused the assembly’s power. There is no forcing of the god’s out of exandria that will deal with the actual issue undergirding both bh and their blorbo-moralized fans' criticism of the gods, which is that mortals are cursed with the burden of free will, and being mistreated by other mortals means constantly having to try and make sense of the fact that someone chose to do something cruel to you (and, sometimes, that you made a choice that allowed that cruelty to occur) – a burden made much heavier when the person who hurt you is your cult-indoctrinated mother, or your cult leader father, or the person in the mirror. The mighty nein take up this fight, and the complexities of their individual identities begin to heal in the light of a commitment in their relationship as friends and as a team to improve the world, even on the small scale. Bell’s hells remain gridlocked and stagnant and unwilling to change in an unspoken turf war of self-interest because they’ve insisted (influenced in part by the context of the campaign 3 narrative but, as others have aptly pointed out, that narrative was much more influenced by bh’s lack of curiosity regarding anything except their own minds) upon finding a solution to a problem they’ve decided is earth-shatteringly (quite literally, to the people of ruidus) unjust based on, aside from encounters where fellow mortals were the primary oppressors, their own testimony of the god’s not listening to them and the obvious villain’s parallel testimony. Something I’ve really been chewing on lately is caduceus words to fjord about his role as a paladin of the wildmother – that maybe it just means that someday, someone will pray for a miracle, and there fjord’ll be and the weight that has given that fjord’s bond to ukotoa came from his desperation not to die and his willingness to accept whatever help would be offered, that fjord could now be the person that reaches out to someone in need, and that the hand he offers won’t come with a curse.  And I think that’s really the poignant difference between bh and mn for me, that for bh, their experiences of injustice, though did make them personally bitter, did not make them morally misanthropic.

Comparatively, Bell’s Hells chose to ensure that, because the gods never answered their prayers, they shouldn’t be permitted to answer anyone else’s. Is this an understandable position? Sure, for the walls of a preschool, not really for a group of characters that I will ever be in any way inclined to view as something close to heroes. While it’s true that there are parts of life that are beyond our control – somethings happen to us that we have no say in, and they cause injuries both physical and mental that we are left to heal without any rhyme or reason, it is still our responsibility to heal them. And if you choose not to, well, then you’ve chosen not to, and are responsible for the consequences and judgements that choice might amount to.

Anyway, sorry this is all over the place but TLDR: calling bell’s hells as a party self-interested is actually just descriptively correct – they can save members of the party made up of their close friends and still be self-interested – and while the individual members of bell’s hells actually aren’t all that uniquely self-interested in the history of cr pcs, the party is uniquely self-interested in how they’ve chosen to navigate the world an their responsibility to the people in it.

[lostagoodcigar]

Brought to you by a tiktok where this guy was talking abt a girl he was seeing and how every time they had sex she’d give him a little treat afterwards (like a lil candy bar)

Like it starts when you jokingly toss Johnny one of the chocolates you had sitting on your nightstand after he ate you out like his life depended on it- he eats the candy immediately obviously as he laughs

Then you end up with a little candy dish on the nightstand, or in the drawer, any time you and Johnny have sex you give him a piece of candy, throw him a bone so to speak. Not on purpose but you think it’s cute- the way his face lights up when given the candy

You find yourself fucking somewhere in the house that isn’t the bedroom? Johnnys right behind you as you make your way to your shared room for his treat, not even realizing he’s doing it.

Whether you forget on purpose or on accident one day he just kinda stands in the kitchen like a kicked puppy and, “didn’t do somethin’ to upset ya did I hen?” His head tilted to the side slightly.

“What? No- what do you mean?” You are genuinely confused until he mumbles a “didn’t get my treat- ya know-“

You have to stop yourself from laughing as you ruffle his slightly overgrown mohawk before you’re off to the bedroom to toss him his little candy.

Honorable mention: I’d like to think Johnnys somehow ended up explaining this to the others, maybe just Ghost at first. And Ghost immediately understands it and is thankful his smile is covered by his balaclava- leave it to Johnny to get himself trained like a good dog

Basically what im trying to say is doing this to Soap would have him so down bad I think

[kettlefire]

High Speed Chase (DcxDp)

Johnny 13 didn't know what happened. One moment he was revving his bike through the Ghost Zone. Performing tricks between each slab of floating rock he drove through.

He had left Shadow with Kitty. His girl was having some kind of girls' night with a few other specters. Johnny was enjoying a bit of alone time, letting his mind wander and his body go on autopilot.

That was until he felt a strange force pulling him, trying to drag him and his bike in a different direction. Johnny tried to fight it, he really did.

With a flash of light, a vacuuming feeling, and moment of disorientation, Johnny was suddenly on a road. A real road. A solid road from the living world.

His wheels jostled and stuttered over the sudden texture change, and Johnny had quickly gotten his bike back under control.

It wasn't Amity. That was the first thought that crossed his mind as Johnny doubled down. His bike roared with life, and he made no move to stop. Not until Johnny knew what the hellw as going on.

In the first few moments, Johnny let his eyes wonder. Taking in the space around him. There was a strange machine that was quickly getting smaller behind him.

Something made of metal and wires, a ball of red energy suspended between a circle. There were cars around, and many of them seemed to have been abandoned.

Then there was the vehicles not so abandoned.

A large black car that seemed close to a modernized tank. Two bikes speeding down the street beside Johnny. He couldn't see through the window of the car, but Johnny could guess what would be in the driver seat.

Someone dressed up in a costume just like the two men on the bikes. The dipstick flashed through Johnny's mind, but he was too distracted to make any connections.

He had no clue where he was or why he was suddenly spit out into this world. He didn't know why he was being chased down by these three masked vigilantes.

So Johnny did the only thing he could think to do, he sped up. He slightly regretted leaving Shadow with Kitty, knowing just how much his friend could help right about now.

Johnny didn't know what these living people wanted with him, but he wasn't about to find out. Humans never wanted anything good from ghosts. The dipstick's friends were an exception. An exception that doesn't happen.

Johnny locked in, speeding up as he weaved through the streets. He wasn't going to get caught, he refused to let himself.

He needed to get back to the Zone. Back to Kitty and Shadow. He needed to tell the counsel about this. About the way he had been suddenly forced out of the Zone.

This could be dangerous, extremely dangerous. Amity Park was one thing, a town the ghosts were the safest to explore. Anywhere else was like a mine field, safety was an unlikely thing to find.

Especially if Phantom wasn't in this city.

It was a chase that Johnny hadn't felt since he was alive. Weaving in and out of traffic, phasing through obstacles, and even going invisible at some points.

Yet everywhere Johnny looked, one of them was hot on his tail. It was getting harder and harder for Johnny to keep his cool.

He didn't know these streets, these buildings, this traffic. How was Johnny supposed to lose these guys if he was in their home terrif?

Johnny didn't even have the chance to think over a solid escape plan when he found himself skidding straight into an 18-wheeler.

It happened too fast for him to even think of going intangible. One moment, he was speeding down an empty road. The next thing he was staring up at the night sky.

Out of all the things Johnny had expected, he didn't expect the sudden appearance of a man beside him. Concern radiating off the masked man as the vigilante searched him for any wounds.

[yuri-is-online]

May peepaw enjoyers be peepaw havers, whenever that banner drops, amen (ㅅ˘˘)

[robiinurheart33]

Ghost is starting to realise something.

It started off slow at first- pinpointing where soap was first in a room before the others, coincidentally spacing off in the same direction as soap, starting to follow soap wherever he went.

It’s nothing, really.

It’s nothing.

Nothing at all.

But it was really starting to bother him, the way Johnny started to get under his skin.

It pissed him off. Ghost always needs to be in his top condition during missions because one mistake could cost everything. How could he do that when before taking off soap would pat his shoulder and it felt like his ribs were caving in on him? How could anyone blame him when their thighs are pressed together, touching from ankle to shoulder and his heart would claw at his skin, begging to get out?

Or when soap would squeeze the nape of his neck as a friendly gesture and suddenly he was flushed and hot under the collar? Why was this happening to him? What is happening? Because all of a sudden Johnny’s summer, and he sinks into ghost’s bones and his skin, renders his muscles useless and his brain fuzzy and-

There’s something horribly wrong with him.

Johnny’s laughter makes his breathing pick up, it makes his fingers tremble and he wants to take that laughter and keep it in a locket to hang around his neck. Johnny makes ghost want to throw him against a wall and also cradle his face like it’s the most precious thing in the world. Johnny’s summer because he makes Ghost’s cold heart feel warmth again, makes him think of flip flops, missing teeth, shiny skin and a non stop itchiness. That’s what it is. It burrows under his skin, it makes his fingertips tingle and his heart ache and his ribs melt and his throat close up. This is soap’s fault. Ghost needs to kill soap.

That’s not quite right.

Because something in Ghost, in Simon wants to keep him away too, that terrorises his mind whenever he sees Johnny hurt. That he should steal him away and live in domestic paradise on the other side of the galaxy, because Simon knows better than to think that he can chase his past away that easily.

But then Ghost gets hurt, and it’s not that bad, really, he’s had worse. But now Soap’s tearing apart the place, face flushed and panicked. Panicked over Ghost. It might just be the most wonderful thing he’s ever seen. So when he grabs Soap by the shoulders and orders him to calm the fuck down, his brain suddenly surges forward for things to say.

I love it when you get concerned for me.

I love it when you touch me.

I love it when you remember things about me

I love it that you let me double check your gear because I can’t lose you.

I love the stretch marks on your hips that I accidentally saw when you came out of the shower.

I love your fucked up accent.

I love the way you say “canny” it’s so dumb

I love your face

I love you,

I love you,

I love you.

And it comes to a point where Ghost has to actively hold himself back because he accidentally held soap’s face in his hands and he cherished all 0.7 seconds of it before he violently ripped his hands away and walked off without a word.

It felt like all his ribs had broken in half and punctured his lungs and heart, and he was slowly bleeding out and suffocating. Johnny makes him feel like summer. Ghost starts to look forward to tomorrow, he starts to get excited at the new promise of physical touch, at the chance to casual love. He’s warm and gooey and Johnny’s melted his skeleton down and what’s left is Simon.

It was like nothing to Soap, and it drives Ghost crazy how it happened so fast. Johnny’s cradled Simon’s corpse in his warm hands and decided that he would love again, simple as that. And if he could do it like it was as simple as breathing, then maybe Ghost could love him the same way.

[seepingfrommyskin]

rip your heart out.

[comatosebunny09]

you're good at this—playing all coy and social as if you aren't a clump of nerves ready to burst.

like your legs aren't bouncing beneath the table, and you haven't knocked your knees against its underside a few times, almost spilling your wine.

like you haven't bitten your lips to hell, and your teeth aren't stained with the pretty rouge of your lipstick because of it.

no one's the wiser to your plight. to the quiet war waging in your head and the anxiety spilling like lava into your extremities.

you'll never get used to this things, no matter how many you attend—these parties, these galas, these socialites, this acting.

none of it is you.

not the form-fitting gowns, the kohl clumped to your lashes, the facsimile of a smile you've worn all evening until your cheeks ached.

but through the chaos, one thing remains a constant: him.

him and the hand he has clasped around your thigh to tether you. anchor you back to earth. all big and warm and reassuring, and he's angling himself a little closer until your nostrils fill with the scent of cured leather and peeled mandarin. and, fuck all, he’s warm even from this proximity. so hot, you feel the pressure of his body slowly seeping into your own.

his eyes gleam like the sunset in your peripheral. silently, they ask if you're alright beneath a slightly raised brow, above a customary smirk—a mask he dons during these gatherings if only to make the time fly by. not meant to tease you, he promises. he reserves something genuine for you.

he knows you're not alright, which is why he rubs all gently at the notch of your knee—an attempt to bring you back when you feel your mind slowly disconnecting from your body.

- at an event with sylus. you're clearly nervous. you always are. so the pair of you bid an irish goodbye, and he'll murder anyone who has the gall to stop you.

- watching him sneer at the partygoers blocking your exit is low-key a turn on.

- the night concludes with you both settled on your couch in your living room.

- and, of course, kissing ensues. because why wouldn't it?

- and he's a little handsy, so deft fingers creep up the expanse of your thigh because, of course, the slit of your dress would beckon such actions.

- and sure, yeah. you're into it as he gently pushes you back against the sofa. slots himself between your split legs as your fingers rake through the riot of his hair.

- and he hums all nice and low into your mouth, very much enjoying the sticky grind of your lips together.

- this is sylus. he's always gentle. always takes care of you, treating you like aged porcelain preserved in a museum.

- so why the fuck are you so nervous?

- you’ve made out a thousand times before.

- sex, however.

- well, fuck.

[7squidgy7]

✧.*Art dump*.✧

These 2 as kids. Narinder was born with a 3rd eye marked as a potential vessal of death as soon as he was born. It was only after he died himself that the crown chose him and revived him.

For a while he just terrorised the villiage he lived next to stealing food and just being a menace. When shamura investigated it they found a feral and traumatised child with a crown and took him home. Where he was predominantly raised by Kallamar.

Lambert lived mostly in ignorance unaware of the culling of their people until it came to their villiage.

Shittens and more art below:

lambert made Narinder a buch of warm clothing when he first joined. he gets very grumpy in the cold and after a few attempts for him to stay outside without the accessories they made him he finally gives up and wears them.

if you saw my post a while ago about cotl fairytails the top right drawings sort of a follow up.

Plus me playing around with Narilambs second child as of now unamed. All i know is shes sleepy and has messy wool.

Plus other random assortment of art:

[sparxyv]

WIP tag game!

thank you @myokk , @syaolaurant and @simpforblindguy for tagging me! i have so many WIPs anyways so this is perfect for me LOL

starting out strong with amit 🙏🙏

this one has been in the works for SO long hahah.. i'm finally working on it

SUPER rough draft right here but i thought it'd be funny to show how messy the sketches i start with are 💀!

no pressure tags (so sorry if anyone i tag has already done this 😅): @dom1re @choccy-milky @the-ozzie @trappezoider @4ever2000lover @keri-mcberry @dwightschrute11 @iatnen

[saaraofthesand]

Okay, the scene where Mami kills Kyouko is actually my single favorite scene in PMMM. I think about it all the time. I love it so much. Which sounds horrible, I know? But I think I love it because of its honest look at the characters in a desperate situation. And how in-character it is for all of them. It’s such a fantastic bit of storytelling from the writers.

Like Mami would absolutely be the first one of them to snap like that. She’s such an emotionally unstable character. Mami, more than any of them, wants to stop witches and save people because that’s how she makes peace with her lifestyle. So, learning that they’ll all turn into witches… of course she’s going to try and eliminate that possibility before it happens, even if it means killing her friends.

But even more so than Mami’s characterization in this scene, I love Madoka’s. I think it would be easy to assume that Homura would be the one to stop Mami, because Homura is seen as the colder character. So, I love that it’s Madoka. Madoka makes the quickest call she can in that moment to save Homura. Maybe they could’ve talked Mami down, and at that point, that would’ve been what Homura tried first. But Madoka couldn’t risk it and needed to react right away.

It shows us that in the main timeline, Homura is giving Madoka the time and space to make her decisions carefully/fully stop her because she knows that Madoka is impulsive when it come to her friends.

Basically it shows their characterization as this: Mami will always try and make the call that she believes will save the most people, Madoka will always try and make the call that saves her friends, and Homura will always try and make the call that saves Madoka. And that’s because for each of them, those are their salvations from the cruelty of being a magic girl.

[shorthaltsjester]

fuuuuck your point about fjorjester fans who constantly compare them to Travis+Laura is something I’ve been trying to articulate why it bothers me for ages. Like yes, they are a very sweet couple and I love the behind-the-scenes shenanigans and discussions around the gradual development, but that’s pretty much confetti to Fjord and Jester themselves

sorry for the delay in responding to this, anon! i frequently forget that this inbox exists and this apps inconsistency w/ actually giving me notifications means it’s an uphill battle but ANYWAY. yeah no it’s truly like, it’s a similar phenomenon to some of the defences of cr3 where the parasocial aspects of cr fandom leads people to make claims about how it’s just a group of friends around a table — or in this case, just a married couple falling in love again. both of which completely dismiss the actual skills, talent, and effort which denote the successes of cr’s storytelling. because obviously the real people inform the characters in a unique way in actual play — i always think of brennan’s metaphor that characters in ttrpgs are like a kind of stained glass over the real person, a completely different and separate entity but an entity nonetheless made compelling and beautiful by the thing behind it — but to say that the success of fjord and jester comes down to the pre-existing relationship that exists between travis and laura, even when used as some kind of compliment or reason to enjoy the relationship rather than the dismissal it is often used as by fjorester dislikers, that (in addition to just, not being plausible) completely undersells how much character work both of them do to create characters who fall for each other in ways that Mean Something for the development of their characters — for example, the fact that jester spends the early campaign hard crushing on fjord but then doesn’t actually realize she capital L loves him until they’re in a relationship and she realizes that rather than the romance novel, huge sweeping romantic gestures (though fjord also gives her those) she’s learned growing up, love is being completely comfortable with the person she’s with is an excellent expression of jester’s ongoing character development with lessening her naivety while maintaining her love and whimsy. similarly, the fact that it’s two sets of Is It Too Late?s that prompt fjord into beginning to realize his feelings and then act on them; where as travis has mentioned at panels & in no longer available talks machina’s (whose number i could find for citations sake it so needed) fjord realized he might be losing something he hadn’t realized was really there during the jellyfish convo & that he was prompted to finally confess to jester and ask to kiss her because her life was at risk and that after vandran, fjord wasn’t about to let another person leave him without ensuring he told them what they mean to him, that’s all extremely important for fjords development as someone who cares for and takes notice of those around him in his role as the groups leader/diplomat/protector as well as his development towards being able to actually go and seek vandran out instead of just accepting that it might simply be the case that he’ll never get to tell him what he meant to him. none of the power of those character choices comes from the fact that laura and travis are actually married. and it’s consistently infuriating to see what is genuinely one of my favourite narrative love stories be reduced to a relationship that, aside from providing context for a crush that is also narratively grounded from the start of the campaign and (as both travis and laura have mentioned) provided travis with a lower barrier to entry re: romance in dnd, really has very little to do with the story that unfolds

anyway sorry for the word vomit op. it is early in the morning & im procrastinating grading at any and all cost. but yeah tldr: real fucking stupid to look at a story as good as fjord & jesters, as characters who develop in such a way that begets an extremely compelling relationship, and think that saying it’s bc of the real marriage of their creators is in any way a compliment.

[rinsfujo]

ok i dont like 431 as much as the next guy but Also it’s kind of interesting to explore other reasons as to why izuku suddenly turns down katsuki’s offer….

especially when it comes to the trauma aspect of it all, imagine almost dying and pushing yourself to the absolute limit to end a war at age 16 and then spending the next however many fucking years knowing that your quirk is fading and that means your dream is too— and spending so long trying to figure out if something else (like teaching) can actually satiate you.

but then the second you’re actually presented with the opportunity to become a hero again you FREEZE. and you don’t know why you freeze because being a hero is what you’ve always wanted,,,, right??? and your friends worked so hard to make this dream a reality for you, KATSUKI worked so hard to make this a reality,,, and now that it’s right in Front of you— you feel scared and you keep having nightmares about their faces again, a scared little boy visits you in your dreams, the same one you saw on the battlefield ,,, and so does the image of your best friends bloody lifeless eyes And now you’re not so sure if you ever healed from Anything in the first place and maybe losing your quirk was the only outcome that ever mattered . or somerhing like that. . i dont know

[etirabys]

three posts exiled to drafts in a row, that means it's time to log off