#why must we live in interesting times

[tunneldweller]

[image description: "you just die #fear is the mind killer, boomers have... a lot of fear #a lot of fear and hurt that they don't examine or know how to examine and it bleeds through #something something 'it all traces back to trauma' #it... we talk about this a lot" end ID]

I mean, we knew, but it's nice to hear so succinctly

[hanzajesthanza]

~a vampire at dawn~

excuse the quick sketch, for this post is less about the art and more about the idea behind it... i have this headcanon from when geralt's company was trekking with the beekeepers through the wilderness:

although they were initially very grateful to have three meals a day prepared for them, they quickly got sick of having honeyed porridge served for all three of them. "Everything was sticky from the honey, even the young women." milva began to get nauseous at mealtimes, and cahir, usually ravenous at mealtimes as befits a strapping young lad such as he, even turned down a few bowls.

regis, however, was quite happy with it.

because, as is mentioned later in the book, about saovine traditions: "The spirits of the dead (...) should be given honey and groats, all sprinkled with vodka…" i imagine some confusing night where he went into a villager's hut to drink blood, but, it was around saovine, so they were even expecting someone like him to arrive and to even be looking for such a thing. prepared for such a situation, they handed him some kasza with honey. he didn't really know what to do with it, but they instructed him on how to eat... it was surprisingly pretty good, so he started pulling this on all the other villages, like hey i;m "undead" (whatever that means) do you have any "porridge" with "honey." yeah also put a little vodka on it while you're at it.

so honeyed groats turned out to be the first human food he ate, and over time, became like a comfort food to him. now he has it without the vodka though

[sskk-manifesto]

Ep 5!!!

[pokeology]

I’m terribly sorry but you can not seriously think that Magcargo is hotter than the sun

I really should just burn my degree now that everyone is an expert all of the sudden.

[novelconcepts]

I'm so bewildered by any time loop media where the protagonist doesn't at least try to tell someone what's going on. Literally anyone. Just once. You're gonna live it again, dude! They won't remember! Who cares if they think you're mental, you're just gonna fast-forward to your do-over point anyway!

[steakout-05]

for months now i have had this little story idea bouncing around in my head for an AU of Jetpack Joyride where Barry is stuck inside a big expermental time loop conducted by Legitimate Research to create an army of randomly selected time-travelling soldiers. the idea is very much still rough and i dunno if and when i'll develop it into a bigger thing, but it's a pretty cool idea and it's a twist on the JJ game that i've never really seen much exploration on.

basically, it focuses on Barry, who is the sort of Patient Zero of an experimental concentrated time-fuckery technology LR is working on. every single day, at exactly the same time, Barry goes out to work his salesman job, discovers the jetpack, breaks into the laboratory, takes it for a joyride, eventually gets hit by an obstacle and dies. the next day, Barry goes out to work his salesman job, discovers the jetpack, breaks into the lab, takes it for a joyride and dies. and he does the same exact thing the next day, and the next day, and the next day, and the next day... he's pretty much stuck in a loop of the exact same events happening repeatedly every single day, and he has absolutely no idea about it. that is, until there's a glitch in the system, and Barry progressively becomes a lot more suspicious and paranoid about the situation he's in. the rest of this post is gonna be REALLY spoilery (like i literally just explain big important chunks of the story for several paragraphs) if i ever make this into a full-fledged fanfic, so i'm gonna put it under a keep reading thingy. also it is... quite long and convoluted lol.

as the story goes on, it focuses more on the mental degredation of Barry as he starts uncovering all these weird clues, slowly trying to piece together what's going on and driving himself insane, because every time a reset occurs, his memory of the previous loop ever happening is completely wiped and everything he did that day goes all the way back to square one. since the malfunctioning of LR's technology though, Barry has been getting little nuggets of deja vu and half-remembered fragments of dying before a reset. this eventually becomes him repeating things to himself, little phrases and codes over and over and over in hopes that it will persist into the next reset. this eventually becomes symbols stuck up on the walls of his room and then progresses to entire rituals to help him remember and little behaviourisms like tics and stims to let him know he's in another loop. he becomes more and more panicked and unsettled, paranoid that someone - or something - is watching him closely. additionally, he keeps having disturbing dreams in the early hours of the morning before he gets up to go to work, ones that are symbolic and prophetic, as if they're trying to warn him about something. i've had concepts of him waking up on top of a pile of millions of mangled carcasses that all look exactly like Barry, and having on them them forcefully grab onto his leg and pull him down with the rest of them. it's kinda like the nightmare Woody has in Toy Story 2, but like, dead guys everywhere, lol.

the backstory of this whole thing is kinda insane. basically, Legitimate Research is a sketchy government funded facility that's doing secret time experiments to create the strongest beings for a purpose that's somewhat similar to Brains' Zomb Bomb plan from AOZ (i haven't fully decided yet). Barry is someone who has been randomly selected for their newest version of the concentrated time loop experiment, where patients will be put under looping tests to extract data about their strength, agility and performance and decide what they need to supplement them with in order to create the perfect soldier.

Barry was 22 years old when he was selected. he was actually a relatively normal local Fish N' Chips vendor living in New South Wales, but one day, when he recieved an exciting letter in the mail about a new ambitious job opportunity, he completely disappeared without a trace and seemed to have been entirely erased from the minds of everyone he had ever known. Barry had actually been kidnapped and ensnared into a mind-experiments facility of the laboratory, where they proceeded to wipe his mind, proof of his existence and his entire personhood up to this point, and replaced all of it with fake memories to fill in the gaps. he was then placed in stasis and to be injected with high doses of strength drugs as they crafted a new life for him behind the scenes. a new house, in a new state, all with new stories and memorabilia meant to be lived out by new person. now, he was Barry Steakfries in Queensland, a rough-around-the-edges guy with a passion for action movies and destruction. he was a revel with a thirst for chaos and freedom, but he just didn't have the means to achieve it yet. it was all according to plan.

a big part of the story i want to tell that involves him is that at some point, Barry tries to break free from the time loop by doing something different. this takes a lot of pre-planning, memory rituals and repeating details to himself, but after he wakes up from a reset and gets out of bed, he hesitates, choosing to go to a different place to sell his gramophones that day. he deliberately tries his best to avoid Legitimate Research's headquarters as much as he can, and while he doesn't completely remember why he's doing it, he has a deep gut feeling that he should stay away from them at all costs. so he does. and at first, it goes well. the day is different, his choices seem to actually matter and for once, the feeling of deja vu isn't tearing him apart... until a crazy freak accident happens that forces Barry to die and reset the time loop again, wiping away everything he had done that day. Legitimate Research is now forcefully trying to stop him from knowing what the hell is going on by forcing him to die with each now discovery he makes, and Barry has to figure out more and more creative solutions to averting their surveillance and trying to get the hell out of the loop.

Craig will also be involved with the story too!! i'm not exactly sure what exactly the events leading up to Barry discovering and meeting him would be, but it'd be kinda halfway-late-ish into the story where Barry manages to cut off LR's surveillance of him, breaks into the laboratory and searches through its archives for anything relating to time. during this raid, he accidentally discovers the true Patient Zero to this time experiment: a broken, decrepit shell of a man who has been hooked up to a set of wires and locked away deep into the laboratory, never meant to be discovered by anyone, only known simply as #000 'Craig'. Craig was the very first human they used to run an early prototype of these experiments, but through malfunctions in the threads of LR's technology, he ended up knowing too much and tried to break free from his time loop, which resulted in him being dragged out of reality and becoming completely detached from his own time, stopping his aging process completely and practically allowing him to exist forever and persistently through every reset unaffected. LR relocated him and considered him a catastrophic failure, locking him away in a cell deep in the bowels of the laboratory before destroying and erasing every archive of him ever having existed in any point in time. and now, the same thing is about to happen to Barry if he doesn't figure out a way to stop what's happening quickly. Barry, outisde of LR, is the only one who is aware of Craig's existence in this timeline. Barry makes a vow to make sure that he will never ever forget Craig, no matter what happens to him, no matter how many times his timeline gets reset, because he is the only other person on the whole world who truly understands what he's going through.

at the very end of the story, when Barry finally escapes the time loop and is about to enter into a new reality where none of this ever happened, he reaches out a hand to Craig and offers he come with him to live. Craig, however, rejects the offer, sadly confessing to Barry that because of his disconect from the threads of time progression itself, Craig must stay behind and be erased along with everything inside this one and let Barry live his life. Barry protests, insisting that his life wouldn't be complete without him and that they've already gone through so much together, but Craig assures him that this is the best for the both of them, and that Barry must leave him soon before the window to escape closes. Barry gives Craig once last goodbye, holding him close and basking in his presence for the final time. he closes his eyes, presses his head against Craig's and whispers "I promise I'll never forget you." before he slowly lets him go, not breaking their locked gaze on each other for even a second as he steps into the portal and ventures into an entirely new reality, never to return.

i want there to be an epilogue part where Barry starts his new life and goes looking for a place to stay, and he comes across the place where LR used to be, which is instead occupied with a big square fence plot and a sign that says "UNDER CONSTRUCTION: NEW RESTAURANT TO BE BUILT". Barry stares at it for a moment and reflects on everything that has happened. all the hellish experiments that were once held inside this very plot of land, all the trauma he went through to get to this point, Craig's sacrifice, everything has lead up to him standing here, in the right place, at the right time, to finally live the life he should've had to begin with. eventually, he turns away, continuing to walk down the street. he should go check that place out sometime.

(insert "what a fucked up dream for a baby to have" ending from 'then what' here)

[archaeren]

How I learned to write smarter, not harder

(aka, how to write when you're hella ADHD lol)

A reader commented on my current long fic asking how I write so well. I replied with an essay of my honestly pretty non-standard writing advice (that they probably didn't actually want lol) Now I'm gonna share it with you guys and hopefully there's a few of you out there who will benefit from my past mistakes and find some useful advice in here. XD Since I started doing this stuff, which are all pretty easy changes to absorb into your process if you want to try them, I now almost never get writer's block.

The text of the original reply is indented, and I've added some additional commentary to expand upon and clarify some of the concepts.

As for writing well, I usually attribute it to the fact that I spent roughly four years in my late teens/early 20s writing text roleplay with a friend for hours every single day. Aside from the constant practice that provided, having a live audience immediately reacting to everything I wrote made me think a lot about how to make as many sentences as possible have maximum impact so that I could get that kind of fun reaction. (Which is another reason why comments like yours are so valuable to fanfic writers! <3) The other factors that have improved my writing are thus: 1. Writing nonlinearly. I used to write a whole story in order, from the first sentence onward. If there was a part I was excited to write, I slogged through everything to get there, thinking that it would be my reward once I finished everything that led up to that. It never worked. XD It was miserable. By the time I got to the part I wanted to write, I had beaten the scene to death in my head imagining all the ways I could write it, and it a) no longer interested me and b) could not live up to my expectations because I couldn't remember all my ideas I'd had for writing it. The scene came out mediocre and so did everything leading up to it. Since then, I learned through working on VN writing (I co-own a game studio and we have some visual novels that I write for) that I don't have to write linearly. If I'm inspired to write a scene, I just write it immediately. It usually comes out pretty good even in a first draft! But then I also have it for if I get more ideas for that scene later, and I can just edit them in. The scenes come out MUCH stronger because of this. And you know what else I discovered? Those scenes I slogged through before weren't scenes I had no inspiration for, I just didn't have any inspiration for them in that moment! I can't tell you how many times there was a scene I had no interest in writing, and then a week later I'd get struck by the perfect inspiration for it! Those are scenes I would have done a very mediocre job on, and now they can be some of the most powerful scenes because I gave them time to marinate. Inspiration isn't always linear, so writing doesn't have to be either!

Some people are the type that joyfully write linearly. I have a friend like this--she picks up the characters and just continues playing out the next scene. Her story progresses through the entire day-by-day lives of the characters; it never timeskips more than a few hours. She started writing and posting just eight months ago, she's about an eighth of the way through her planned fic timeline, and the content she has so far posted to AO3 for it is already 450,000 words long. But most of us are normal humans. We're not, for the most part, wired to create linearly. We consume linearly, we experience linearly, so we assume we must also create linearly. But actually, a lot of us really suffer from trying to force ourselves to create this way, and we might not even realize it. If you're the kind of person who thinks you need to carrot-on-a-stick yourself into writing by saving the fun part for when you finally write everything that happens before it: Stop. You're probably not a linear writer. You're making yourself suffer for no reason and your writing is probably suffering for it. At least give nonlinear writing a try before you assume you can't write if you're not baiting or forcing yourself into it!! Remember: Writing is fun. You do this because it's fun, because it's your hobby. If you're miserable 80% of the time you're doing it, you're probably doing it wrong!

2. Rereading my own work. I used to hate reading my own work. I wouldn't even edit it usually. I would write it and slap it online and try not to look at it again. XD Writing nonlinearly forced me to start rereading because I needed to make sure scenes connected together naturally and it also made it easier to get into the headspace of the story to keep writing and fill in the blanks and get new inspiration. Doing this built the editing process into my writing process--I would read a scene to get back in the headspace, dislike what I had written, and just clean it up on the fly. I still never ever sit down to 'edit' my work. I just reread it to prep for writing and it ends up editing itself. Many many scenes in this fic I have read probably a dozen times or more! (And now, I can actually reread my own work for enjoyment!) Another thing I found from doing this that it became easy to see patterns and themes in my work and strengthen them. Foreshadowing became easy. Setting up for jokes or plot points became easy. I didn't have to plan out my story in advance or write an outline, because the scenes themselves because a sort of living outline on their own. (Yes, despite all the foreshadowing and recurring thematic elements and secret hidden meanings sprinkled throughout this story, it actually never had an outline or a plan for any of that. It's all a natural byproduct of writing nonlinearly and rereading.)

Unpopular writing opinion time: You don't need to make a detailed outline.

Some people thrive on having an outline and planning out every detail before they sit down to write. But I know for a lot of us, we don't know how to write an outline or how to use it once we've written it. The idea of making one is daunting, and the advice that it's the only way to write or beat writer's block is demoralizing. So let me explain how I approach "outlining" which isn't really outlining at all.

I write in a Notion table, where every scene is a separate table entry and the scene is written in the page inside that entry. I do this because it makes writing nonlinearly VASTLY more intuitive and straightforward than writing in a single document. (If you're familiar with Notion, this probably makes perfect sense to you. If you're not, imagine something a little like a more contained Google Sheets, but every row has a title cell that opens into a unique Google Doc when you click on it. And it's not as slow and clunky as the Google suite lol) (Edit from the future: I answered an ask with more explanation on how I use Notion for non-linear writing here.) When I sit down to begin a new fic idea, I make a quick entry in the table for every scene I already know I'll want or need, with the entries titled with a couple words or a sentence that describes what will be in that scene so I'll remember it later. Basically, it's the most absolute bare-bones skeleton of what I vaguely know will probably happen in the story.

Then I start writing, wherever I want in the list. As I write, ideas for new scenes and new connections and themes will emerge over time, and I'll just slot them in between the original entries wherever they naturally fit, rearranging as necessary, so that I won't forget about them later when I'm ready to write them. As an example, my current long fic started with a list of roughly 35 scenes that I knew I wanted or needed, for a fic that will probably be around 100k words (which I didn't know at the time haha). As of this writing, it has expanded to 129 scenes. And since I write them directly in the page entries for the table, the fic is actually its own outline, without any additional effort on my part. As I said in the comment reply--a living outline!

This also made it easier to let go of the notion that I had to write something exactly right the first time. (People always say you should do this, but how many of us do? It's harder than it sounds! I didn't want to commit to editing later! I didn't want to reread my work! XD) I know I'm going to edit it naturally anyway, so I can feel okay giving myself permission to just write it approximately right and I can fix it later. And what I found from that was that sometimes what I believed was kind of meh when I wrote it was actually totally fine when I read it later! Sometimes the internal critic is actually wrong. 3. Marinating in the headspace of the story. For the first two months I worked on [fic], I did not consume any media other than [fandom the fic is in]. I didn't watch, read, or play anything else. Not even mobile games. (And there wasn't really much fan content for [fandom] to consume either. Still isn't, really. XD) This basically forced me to treat writing my story as my only source of entertainment, and kept me from getting distracted or inspired to write other ideas and abandon this one.

As an aside, I don't think this is a necessary step for writing, but if you really want to be productive in a short burst, I do highly recommend going on a media consumption hiatus. Not forever, obviously! Consuming media is a valuable tool for new inspiration, and reading other's work (both good and bad, as long as you think critically to identify the differences!) is an invaluable resource for improving your writing.

When I write, I usually lay down, close my eyes, and play the scene I'm interested in writing in my head. I even take a ten-minute nap now and then during this process. (I find being in a state of partial drowsiness, but not outright sleepiness, makes writing easier and better. Sleep helps the brain process and make connections!) Then I roll over to the laptop next to me and type up whatever I felt like worked for the scene. This may mean I write half a sentence at a time between intervals of closed-eye-time XD

People always say if you're stuck, you need to outline.

What they actually mean by that (whether they realize it or not) is that if you're stuck, you need to brainstorm. You need to marinate. You don't need to plan what you're doing, you just need to give yourself time to think about it!

What's another framing for brainstorming for your fic? Fantasizing about it! Planning is work, but fantasizing isn't.

You're already fantasizing about it, right? That's why you're writing it. Just direct that effort toward the scenes you're trying to write next! Close your eyes, lay back, and fantasize what the characters do and how they react.

And then quickly note down your inspirations so you don't forget, haha.

And if a scene is so boring to you that even fantasizing about it sucks--it's probably a bad scene.

If it's boring to write, it's going to be boring to read. Ask yourself why you wanted that scene. Is it even necessary? Can you cut it? Can you replace it with a different scene that serves the same purpose but approaches the problem from a different angle? If you can't remove the troublesome scene, what can you change about it that would make it interesting or exciting for you to write?

And I can't write sitting up to save my damn life. It's like my brain just stops working if I have to sit in a chair and stare at a computer screen. I need to be able to lie down, even if I don't use it! Talking walks and swinging in a hammock are also fantastic places to get scene ideas worked out, because the rhythmic motion also helps our brain process. It's just a little harder to work on a laptop in those scenarios. XD

In conclusion: Writing nonlinearly is an amazing tool for kicking writer's block to the curb. There's almost always some scene you'll want to write. If there isn't, you need to re-read or marinate.

Or you need to use the bathroom, eat something, or sleep. XD Seriously, if you're that stuck, assess your current physical condition. You might just be unable to focus because you're uncomfortable and you haven't realized it yet.

Anyway! I hope that was helpful, or at least interesting! XD Sorry again for the text wall. (I think this is the longest comment reply I've ever written!)

And same to you guys on tumblr--I hope this was helpful or at least interesting. XD Reblogs appreciated if so! (Maybe it'll help someone else!)

[saritawolff]

Phew. This one took, uh… a bit longer than expected due to other projects both irl and art-wise, but it’s finally here. The long-awaited domestic animal infographic! Unfortunately, I didn’t have enough space to cover every single domestic animal (I’m so sorry, reindeer and koi, my beloveds) but I tried to include as many of the “major ones” as possible.

I made this chart in response to a lot of the misunderstandings I hear concerning domestic animals, so I hope it’s helpful!

Further information I didn’t have any room to add or expand on:

🐈 “Breed” and “species” are not synonyms! Breeds are specific to domesticated animals. A Bengal Tiger is a species of tiger. A Siamese is a breed of domestic cat.

🐀 Different colors are also not what makes a breed. A breed is determined by having genetics that are unique to that breed. So a “bluenose pitbull” is not a different breed from a “rednose pitbull”, but an American Pitbull Terrier is a different breed from an American Bully! Animals that have been domesticated for longer tend to have more seperate breeds as these differing genetics have had time to develop.

🐕 It takes hundreds of generations for an animal to become domesticated. While the “domesticated fox experiment” had interesting results, there were not enough generations involved for the foxes to become truly domesticated and their differences from wild foxes were more due to epigenetics (heritable traits that do not change the DNA sequence but rather activate or deactivate parts of it; owed to the specific circumstances of its parents’ behavior and environment.)

🐎 Wild animals that are raised in human care are not domesticated, but they can be considered “tamed.” This means that they still have all their wild instincts, but are less inclined to attack or be frightened of humans. A wild animal that lives in the wild but near human settlements and is less afraid of humans is considered “habituated.” Tamed and habituated animals are not any less dangerous than wild animals, and should still be treated with the same respect. Foxes, otters, raccoons, servals, caracals, bush babies, opossums, owls, monkeys, alligators, and other wild animals can be tamed or habituated, but they have not undergone hundreds of generations of domestication, so they are not domesticated animals.

🐄 Also, as seen above, these animals have all been domesticated for a reason, be it food, transport, pest control, or otherwise, at a time when less practical options existed. There is no benefit to domesticating other species in the modern day, so if you’ve got a hankering for keeping a wild animal as a pet, instead try to find the domestic equivalent of that wild animal! There are several dog breeds that look and behave like wolves or foxes, pigeons and chickens can make great pet birds and have hundreds of colorful fancy breeds, rats can be just as intelligent and social as a small monkey (and less expensive and dangerous to boot,) and ferrets are pretty darn close to minks and otters! There’s no need to keep a wolf in a house when our ancestors have already spent 20,000+ years to make them house-compatible.

🐖 This was stated in the infographic, but I feel like I must again reiterate that domestic animals do not belong in the wild, and often become invasive when feral. Their genetics have been specifically altered in such a way that they depend on humans for optimal health. We are their habitat. This is why you only really see feral pigeons in cities, and feral cats around settlements. They are specifically adapted to live with humans, so they stay even when unwanted. However, this does not mean they should live in a way that doesn’t put their health and comfort as a top priority! If we are their world, it is our duty to make it as good as possible. Please research any pet you get before bringing them home!

[tossawary]

One of my personal nitpicks for historical fantasy is a lack of servants, staff, subordinates, and... idk... subjects? Like, their absence is not... a total dealbreaker for me, depending on the situations the characters are in and whether or not I can just assume that other people are there in the background... but so many of the protagonists in historical fantasy stuff are higher-ranking (very often royalty), and/or have busy jobs, and/or have enormous houses that would necessitate having at least part-time staff.

Like, girl, you should have a maid! WHERE is your chaperone?! WHO is driving this carriage?! Where are your footmen? Are you trying to imply that a WEALTHY DUCHESS is taking a CAB?! You know that you probably have tenants, right? Where is your steward?! Where is your lawyer? Your accountant?! (Like, yeah, you're not going to have your lawyer living in your house, but you HAVE one, right???)

Or, man, you're supposed to be a military commander and you don't even have a single secretary?! Where is your SQUIRE?! (In the spirit of historical fiction, I am jumping wildly across time periods with every sentence here.) Man, I know you aren't looking after your own boots. Where are your GUARDS?! Who set up this tent for you?! Who is looking after your horse?! Who is making and carrying the incredibly valuable maps people are recklessly stabbing daggers into?!

SOMEONE has to be scrubbing these floors and delivering the mail and cooking the meals and doing laundry, and they're probably all DIFFERENT people! My dentist has at least three different receptionists and we can't even get ONE for our court wizard here? A sorcerer's apprentice to take notes? Someone like Sherlock Holmes could get away with just having a housekeeper and taking taxis, sure, but your character is supposed to be a KING?! Why is he answering his own front door? He's going to get assassinated. His SERVANTS should have SERVANTS.

Like, yes, I understand that a lot of servants in certain places at certain times were supposed to make their labor invisible, but there have always been servants who still had to interact directly with the masters of the house?! Yeah, there are potentially really messy ethics here, class divisions are bullshit, but I don't think that completely ignoring the reality that humans have ALWAYS been doing work for other humans is better than just including some well-paid and well-treated servants and employees? Because a complete absence of them, especially where logically for the worldbuilding there MUST be servants (and probably exploited servants, or worse, for some particular worldbuilds to work), often makes me think that your main characters just don't care enough to notice the "lower class" people or know their names.

Also, even Frodo Baggins had a gardener and Samwise Gamgee might be the best damn character in the story?! Sam saved the world?! Servants are PEOPLE. Servants are often the funniest and most interesting characters, tbh, with the most to say about a society and its workings (yes, Discworld is a very good book series, highly recommend), and also the joke of some romantic scene being carefully orchestrated by a stage crew of servants frantically diving into bushes to stay out of sight never gets old to me. Teamwork makes the dream work!

I don't want to gatekeep historical fiction, especially not historical fantasy, because the worlds don't necessarily have to conform to our own and may have magic and characters are often in very unique circumstances, but... sometimes I pick up a story and it's like... "Author, please tell me that you know there is a difference between a butler and a valet?!"

[rafeandonlyrafe]

gold ring

words: 1.3k

warnings: brief suspicion of cheating, established relationship, soft!rafe, proposal, fluffy

“rafe!” you groan out, tired of hearing his phone constantly dinging for the past ten minutes. 

when rafe doesn't answer, you slap your laptop closed, frown on your face as you head up the stairs, muttering to yourself about him interrupting your work that he KNOWS is important.

“rafe!” you shout, entering his bedroom. you can finally hear the spray of the shower, explaining why he was letting his phone go off.

you grab it from his bedside table, yanking the charger free as you go to silence it, but upon trying to stop the dinging, you skim over the notifications.

you don't believe it at first. it must be some kind of mistake, you're sure.

you click on the name of rafes ex girlfriend, opening up the text message thread.

rafe: when can we meet?

ex: whenever works for you 🥺

ex: i miss you a lot btw

ex: this friday at 6pm? we can meet at the country club like we always used to. maybe get dinner? can't wait to see you xxx

you frown at the messages, quickly locking the phone and setting it down when you hear the shower turn off.

rafe steps out with just a towel wrapped around his waist.

“hey princess.” he smiles. “how's the essay going?”

“fine.” your tone is cold, surprising rafe. “your phone was ringing so i silenced it.”

you walk out of the room without another word, needing to return to your homework, but when you sit back down at what has become your desk, you can't concentrate on the words on the screen, your anger bubbling over.

you want to confront rafe, but you need time to breathe otherwise the entire conversation will be unintelligible as you simply sob.

you head upstairs, grabbing your backpack and slinging it over your shoulder as rafe emerges from the closet, fully dressed.

“where you going babe? got study group?” he questions, glancing at the clock on the wall, realizing there's no way study group would be meeting this late.

“going home.” you mumble, making sure everything you usually leave at rafes is stuffed in your bag.

“you are home?” rafe questions, his expression turning sad when he sees you're not joking.

“no, im not rafe.” you sigh. “i want to sleep in my own bed tonight.”

truth is, you've practically moved into tanneyhill since you started dating rafe, but technically you still live at your parents house, only a few doors down from rafes.

“is everything alright?” rafe asks, trying to reach out for you. “what did i do wrong?”

you can't help it anymore, his obvious disrespect for your relationship, something you put years of work into only for him to go back to his ex girlfriend.

“how about you ask your ex?” you question, tears streaming down your cheeks.

“my ex? what are you talking about?” rafe asks, again trying to hold you by your shoulders, but you take a step back before his palms can land on you.

rafe: ive asked you a million times to give that ring back. you never should have taken it in the first place. it was my grandmother's and now it belongs to y/n, not you.

“i saw your texts, rafe. when can we meet? are you fucking kidding me!?” you shout the last sentence.

“baby, wait.” he says softly, grabbing his phone. he opens up the messages, scrolling up so you can see the full context.

ex: i don't know where it is 

rafe: bullshit. give it back or ill call the cops

ex: fine. 

rafe: when can we meet?

“see, baby?” rafe places a soft hand on your shoulder. “i was just trying to get my shit back. i have no interest in my ex at all. i love you.”

“oh, rafe!” you coo out, throwing your arms around his shoulders. “im so sorry i doubted you.”

“it's okay, id also be pissed if you were texting your ex. i didn't tell you just because i wanted to keep it a surprise.”

“keep what a surprise?” you furrow your brows together.

“what do you?- ohhh.” rafe finally catches on, letting out a chuckle. “i see what you're doing.”

you giggle, rising to your tiptoes to press a kiss to rafes soft lips. 

“now let's get back to work on that essay, yeah?” rafe says. “i can help you.”

“and what do you know about microbiology that could possibly help me?” you snicker.

rafe rolls his eyes dramatically. “fine, but i can at least be there for moral support.”

--

you've been expecting it for months now, wondering when rafe will pop the question. you know he got the ring back, and while he's taken you on romantic dates and moonlit walks on the beach, you're not sure when he will actually drop to one knee.

“what are you thinking for your nails this week?” your girlfriend asks.

originally, you were doing all white and plain, but recently for summer you've been branching out to bright colors again.

“why, is there a certain color i should get?” you raise your eyebrow at her. 

“well i was gonna get a sparkly white, maybe we could match.” she shrugs. it's no discredit to your friend, but her acting isn't good enough to fool you, and you're sure that rafe asked her to make sure you get something appropriate and properly bridal.

you of course get simple nails that you hope will compliment a silver ring on your finger.

you look at the calendar hanging on the wall, reading through your events for the upcoming week, trying to figure out when rafe may ask the question.

you ultimately give up on trying to figure it out as you head further into the house, calling out for rafe. 

“baby? where are you?” you shout, surprised when you don't get a response. you head up to your bedroom, figuring he must be in the shower, but the bathroom door is wide open when you enter.

you almost miss it, so set on finding rafe, but the dress laying on the edge of the bed ends up catching your attention.

put this on and meet me outside.

you recognize rafes handwriting instantly. you set the paper to the side and look at the dress. its a soft light pink material, nearly white.

you are quick to undress and put on the flowy dress, admiring yourself in the mirror before touching up your hair and makeup next. rafe knows how you like to prepare for big events in your life.

your steps are slow, or at least you attempt to keep them slow, as you want to cherish this moment. your eyes light up with the glow of the backyard, string lights hanging from every tree, and on the edge of the sand, is rafe.

“oh.” you cover your mouth, feeling tears well up in your eyes. this has to be the moment. you run to him, arms wrapping around his shoulders as he spins you.

“baby, i haven’t even asked yet.” rafe chuckles, setting you down.

“and i’m already saying yes.” you giggle, although it’s no secret to rafe what your answer would be.

“still-” rafe places his hands on your hips, stilling you before he drops down onto one knee, pulling a box out of his pocket. he flips open the lid to reveal the most stunning ring you’ve ever seen, it’s exactly what you envisioned and somehow so much more.

“you’ve made me happier than i ever thought possible. you fixed all my broken pieces and made me whole again. there’s no one else i’d rather spend forever with.”

rafe looks up at you, tears brimming in his eyes, overwhelmed with the emotion of the moment. “will you marry me?”

“yes!” you squeal, falling to your knees alongside rafe and pressing your lips against his. “yes, yes. a million times yes.”

sfw tags: @winterrrnight @cameronswiftie @ladyinbl00d @ethanthequeefqueen @drewsephrry @wearemadeofstardust0

[comicaurora]

So uhh. If you feel like talking about it. As someone who lives in the US, how are you being kind to yourself on this upsetting morning <3

Checked in with my loved ones first and foremost.

It's interesting. The vibe I've been getting from my circle is very different from 2016. Much less… dread and horror at a realignment of the understanding of what can and can't happen here, now, in this place and day and age. More "fuck, guys. again? whatever. enjoy your consequences, maybe you'll manage to learn something this time."

Frustration and anger is not the most positive feeling, or even the most fair one to express, but it is a protective one. It hurts a lot less than most alternatives.

And it's quite a shift. It was earthshattering back then. How could this have been allowed to happen? Why couldn't it be stopped? Why couldn't we stop it? Why couldn't I stop it? Why couldn't everyone see what this meant? Why couldn't I make them understand? Did they really not care? What did that mean about humanity as a whole? Were we so thoughtless? How could anyone be trusted?

It seems… much less earthshattering to see it happen twice. Disappointing, sure. Frustrating. But nowhere near as devastating as the first time I saw it unfold. We already knew it could happen. I've already had time to digest the implications. Now I'm just freshly disappointed.

It also feels less indicative of Crushing Truths Of Reality this time. We've seen shit get bad. We've also seen shit get better from here! We know both outcomes are possible, even inevitable. We know hoping for a better future is always worthwhile. This isn't the apocalypse. It's an unremarkably bad turn of events brought on by unremarkably self-centered well-documented human impulses. It's utterly mundane in its unpleasantness. It doesn't need to be dignified with despair.

A democratic election, no matter the outcome or the side we're on, makes us all acutely aware of how outnumbered we are by people whose worldviews and priorities are demonstrably incomprehensible to us. And the first time you get outnumbered, it's a shock. Defeat is haunting. It didn't matter how badly you wanted it; by the very function of democracy, you do not have the power to override greater numbers. (insert electoral college caveat here)

The second time through, I find myself focusing on a different facet that has dramatically reduced the amount of spiralling I'm doing. I don't expect this to work for everyone, but for me specifically, it helped to crystallize a few thoughts:

You don't have the power to control anyone else. You don't. You can't share your worldview and your revelations with them. You can't make them think or understand anything. You can lay it all out for them, but you can't make them listen, and you can't make it click. A mentor can't make their student learn a lesson; that's why teaching is so complicated and hard. An active choice must be made by the person to enable themselves to understand, and they must put the pieces together in their own mind before it makes sense to them, and the pieces must have been presented in a way that makes sense to them in the first place. Lead a horse to water, can't make them drink.

These elections highlight a disconnect in what different groups of people care about; and no matter how clearly you explain yourself or how passionately you perform, caring cannot be forced on someone. Understanding and connection cannot be forced. You cannot make anything or anyone matter to someone. They have to choose to see how it matters in order to internalize it. If they choose not to, that is not your failing. You couldn't have made them do it by just Explaining Better. They are not your responsibility. They make their own choices. You can't reach inside their head and connect the dots for them.

I'm a storyteller. I make stories and put them out into the world. I hope people get something good out of them, but I have no control over what that something is. I want people to be thoughtful and kind and compassionate and hopeful and see themselves reflected in stranges, no matter their differences. I can craft stories that I hope encourage this. But that is the extent of my ability and the extent of my responsibility. I control no-one's actions but my own, and so while I am not having the best day, I am at least content that I am doing what I can, and I am not shattering myself against impossibilities trying to control the things I can't.

Sometimes, people make decisions that I think are really bad. I can't make that not happen. All I can do is try to make decisions that will result in things I think are good. Today, that means checking in on people, and not assigning too much dramatic narrative weight to an ultimately mundane set of unremarkable bad decisions outside of my control. We'll take life as it comes and help each other out when and how we can. Everything else is out of our hands.

[haveihitanerve]

Four Times the Batkids Forget They're Adopted, and The One Time Damian Forgets He Isn't

It had started off as a joke, as most things do, and Dick meant nothing behind it, really. It was amusing to him, actually, to tell his coworkers things about Batman and pass it off as his father. “Oh my dad? Yeah hes not big on talking. He loves showing me he cares though.” (this was, of course, in reference to Batman doing three back flips and a kick split when Nightwing had patrolled with him the other day, a classic Nightwing move) But it soon…went deeper. Dick stopped making jokes out of it, and actually began listing things about Bruce. About his Dad. It didn't help that his police friends were actually interested. “So did you and the old man do anything fun over the weekend?” Dick thought back to how he had wanted to surprise Bruce by stopping by for dinner and instead had ended up in the sewer eating granola bars on a stakeout for killer croc, who had escaped. Again. “Oh yeah we had a picnic.” Dick nodded, smiling at Randy. “Yeah. He’s, he’s kinda bad at remembering when to eat a meal on time and all that.” Dick laughed. “Its something I share too. Must be genetics.” He rolled his eyes. Randy laughed, clapping a hand on his shoulder. “I hear you. My old man smoked all the live long day. I try to keep it down, but that addiction gene is just strong eh?” Dick chuckled. “Yeah I guess.” His phone buzzed in his pocket and he waved to Randy, turning to tug it out. It was one, simple message from Babs. “Ur adopted genius. What genes.” 

Jason didn't even know how they had gotten on the topic. But here they were. “Yes. I got my mothers hair, of course, but I get my temper from my father.” Artemis was saying. “I have parents.” Bizarro grunted. Roy laughed, smacking him on the shoulder. “Well you certainly didn't get Kal’s looks buddy. But you do have his killer hair.” Starfire laughed. “That is true. I, for one, share my parents hair and have my fathers powers. But truly the best gene I was given were my mothers eyes.” They all turned to Jason. “What about you?” Roy asked. Jason scratched the back of his neck. “Uh, I used to have my dads eyes but um after the pit y'know,” He waved to his now green eyes. “And actually I have my dads dark black hair, and he’s graying early too, which might be why my white streak is so prominent.” They nodded in agreement. “But yeah, hes actually a little taller than me so maybe I’ll still grow a few inches but uh yeah. I don't… remember my mother enough to talk about her.” “Dang man. I wish we could meet your dad.” Roy murmured, laying a comforting hand on Jason’s shoulder. “Then we could really compare. I mean-” He laughed. “You sound like his carbon copy.” Jason frowned at his friend. “What do you mean? You’ve met Bruce?” They stared at him. “Jason,” Artemis began slowly. “Aren't you adopted?” 

Tim hunched over the information form, eyes straining to read the small print. His hand reached up to stifle a yawn and he settled for a sigh instead. It was late, but Tim needed to get the form done before he went to bed, otherwise everything would be far too stressful in the morning. He reached over and grabbed his coffee mug, a dark black cup that had a red R painted on it poorly. Bruce had made it for him a few years ago when he had first become Red Robin. He sipped it, staring down at the medical form. “Gods I hate having to do this.” He muttered, but reluctantly grabbed the thick medical binder Alfred had obligingly gotten for him when he had asked for medical records of the family. Tim did not under any circumstances, want to have to sit at the doctors office the next day and somehow lie his way through all the medical questions relating to his family history. He didn't have the time nor patience for it, and it was crucial he was given proper medical advice what with his missing spleen. “Any history of heart issues Bruce?” Tim muttered, flipping back past Martha and Thomas to Bruce’s great great great grandfather. “Nope, guess not.” Tim was halfway through the form when he realized the blood coursing through his veins wasn't Bruce’s. 

Steph rubbed a hand across her belly, staring at the monitor. “Your baby looks good Ms. Brown. They’re at the proper stage. Due in about two months. We’ll see you back here for your next check up.” “thank you doctor.” Steph murmured, sliding off the bed and dressing quickly before hurrying out to her car. The car door slammed shut behind her and she breathed, pressing her forehead to the steering wheel. Her phone buzzed. She lifted it and pressed it to her ear, hitting accept. “Hello?” “hey Steph.” Bruce’s voice vibrated through the phone. “How was your doctors appointment?” Steph gave a bitter laugh. “Everything looks good. The baby will come in about two months.” “Thats good. Thats real good.” Steph nodded, eyes closed. “You doing okay Stephanie?” Bruce asked, voice soft. “I don't know.” her voice broke and she squeezed her eyes shut, fighting tears. “I just- I’m so scared Bruce. So scared.” Bruce hummed comfortingly through the phone. “I know Steph. Its scary. And parenting, its hard.” Steph coughed out a watery chuckle. “Was that a hit?” She muttered, rubbing a hand over her face. Bruce chuckled. “No. Baby it wasn't. And just think, you’ll get to see all the firsts I didn't get with you. Their first steps. Their first wave. You might even get to hear them say mama before i kidnap- i mean adopt him or her.” Steph laughed again, and it sounded less watery. “Yeah. Well, when do kids start walking?” She asked in interest, sniffing and sitting up straight again. Bruce hummed. “Well i started walking almost immediately, but Im special.” Steph laughed. “Of course.” “alfred said i first started talking when I was around thirteen months old, and Talia said Damian was walking by ten, but she could have been lying.” Steph nodded. “Tell me more.” She whispered. Bruce obliged, happy to distract her. “Oh and whats probably going to be your favorite, babies, or at least I did, start laughing at around four months.” “laughing?” Steph gasped. “Oh Brucie!!! Thats too funny! Little chubby baby you, the future batman, laughing!” She cooed. She could almost feel his eye roll through the phone and stifled her laugh. “So yeah..” Bruce finished. “You should expect your kiddo to start walking around then. And laughing probably sooner. I would have if you'd be in my life at that time.” Steph was quiet. “Thank you B.” He hummed. “Anytime Steph. I’ll always be here to help you.” “Wait wait wait-” a new voice joined in the background of Bruce. “Are you guys serious right now?” Steph identified it as Jason. “What?” Bruce asked puzzled. “B, Stephs adopted. Her kid is as likely to walk at the same time you did as when she did!” 

“Damian?” “Go away Drake.” Damian called back, riffling through the papers. “Dami?” Tim poked his head into his younger brothers room. “Oh hey kiddo. Whatcha doing?” “I am busy Timothy.” Damian countered in annoyance, shoving the box back under his bed and moving to his desk. “What are you looking for?” Tim asked puzzled. Damian ignored him. “Dami.” “Go away Timothy.” Tim crossed his arms, leaning against the doorframe. “Come on Baby Bird. Tell me.” Damian shook his head, covering the blush on his cheeks by poking behind the desk. “Damian.” Tim’s hand was suddenly on his back. Damian jumped. Tim held up his hands in surrender. “Just tell me. I’m sure I can help you find it.” Damian sighed in acceptance, cheeks pink. “I have.. Lost my adoption papers.” He muttered, staring at the floor. But Tim didn't laugh or ridicule him. In fact, when he looked up, his brother seemed thoughtful. “Well i know me and dick and jason have them hung over our beds…” His gaze drifted to the very clearly empty space above Damians bed. “I know.” Damian jerked his head in a nod. “That is why I wished to find it.” Tim nodded in understanding. “Well, lets go look in the den. Thats where Alfred keeps all the legal stuff.” Damian trailed after his brother to the living room and watched as he opened the cabinet and pulled out three boxes. “You look through this one, I’ll search these two.” Tim ordered. Damian nodded, accepting the box. It was where Alfred found them, two hours later, broom in hand. “My dear sirs, what are you doing?” The butler asked in bafflement. “Looking for Damians adoption record.” Tim answered, nose still in some papers. Alfred looked at them. “Master Tim. Master Damian.” The two boys looked up. “Yes Alfred?” Tim asked. Alfred's face was fond and utterly confused. “Master Damian is not adopted. He is Master Bruce’s blood son.” 

@nonepizzawithleftglitter @zombiewithaflowercrown

you asked and you shall recieve!

[devil-in-hiding]

On The Run

pt 4

Ghost was silent as you disinfected his hand, watching with interest as you dab the cotton against the wounds. “You really don’t have to do this, I deserved it for being so rough with ya.” He mutters after some time, and you wave him off.

“You did deserve it, but I still don’t want it getting infected and you don’t seem the type to take care of it.” You huff, grabbing the bandage off the bathroom counter.

He watches you, tracking your movements as you gingerly wrap his hand. “There. We can check on that in a day or two.” You announce, patting his cheek and you bite back a smile at the indignant scoff he makes, batting your hand away.

“Oh so you and Price can grab me but I can’t touch?” You roll your eyes, cleaning up the small mess you made as Ghost flexes his hand, looking at the bandage with an unreadable look in his eye.

“Did I wrap it too tight? I’m sorry, let me-“

“It’s fine little bird, thank you.” His voice is soft, his eyes locked on the white wrap. He blinks when you gently slip your palm into his, squeezing gently.

“Why don’t you get some sleep? I can tell you need it.” Your voice is barely a whisper, and you smile when you feel him squeeze your hand ever so slightly in return, but makes no move to stand. His eyes are tired, and there’s a strand of hair sticking out from the eye hole and you pause.

“Would you… would you be more comfortable with that off? I can wash it for you.” You offer, wincing only slightly when his grip tightens.

“Don’t wanna scare ya anymore than I have.” He states bluntly, making you frown. “How is your face going to scare me?” You ask, raising a brow as you cautiously reach for the edge of the ski mask. You anticipate him grabbing your wrist, but not the flicker of panic that flashes in his eyes and you back off, guilt settling low in your stomach.

“I’m sorry. You don’t have to, I just thought you’d be more comfortable with it off…” You apologize, lowering your gaze. You go to pull your hand back, clearly having overstepped, but he stops you, pulling your hand back to his lap and he glares at the ground.

“It ain’t pretty.” Is all he offers after a moment, and you tilt your head. “Doesn’t mean you’re gonna scare me Ghost.” You soothe, trying to get him to look at you. A few hours ago you would have laughed seeing this guy acting so small, but now you just want to help them feel… safe. How funny.

As though he’s reading your thoughts, his eyes lift to meet yours, and you can see a million different questions dancing there. “You ever looked into the face of a monster?” He asks, and that takes you back, and he watches the way your eyebrows furrow.

“I don’t-“

“I have done some awful fuckin things little bird. Monsterous things. Things that keep me awake at night, I’m a-“

“That doesn’t make you a monster.” You hiss, and he narrows his eyes, ready to bark back but you cut him off. “Do you view your team as monsters? Do you deem them any less human because of the lives they’ve taken? Is Price a monster?” You snap, and his mouth slams shut, teeth clacking and you see his nostrils flare. Price must be a sensitive nerve.

“He told me. He told me what the four of you have done. He told me all the awful fucking things you four had to witness first hand. The things you did to keep those who needed protecting safe and I want to do that for you!”

His eyes widen behind the mask, and the silence hangs heavy in the air.

You search his eyes for a moment, before slowly reaching back towards the hem of the mask.

“You don’t scare me Ghost. Maybe a few hours ago but not now.”

“How can you be so sure?” He whispers, gripping your wrists but his touch is gentle, hands shaking.

“Do you feel bad about holding that knife to my throat?” You ask, and his eyes flash, and he tugs you closer by your wrists. “More than anything. We… I was just… scared.” His voice is small, eyes shining with unshed tears as you slowly pull the ski mask up and off, and he shrinks back as you look over his features.

He’s waiting for it, waiting for the gasp, the look of disgust.

But you only hum, brushing a strand of hair away from his eyes before gently tracing one of the scars littered along his cheek.

“Now where is that monster you were telling me about, hm?” You tease softly, and his lip trembles as you softly cup his cheek.

“I don’t see any monsters here, just a man who desperately needs some sleep.” He tries to fight back the tears, but his cheeks are hot and sticky and he struggles to suck in a breath.

He freezes when he feels you tug him forward, just for his head to land on your chest, a hand in his hair, grounding.

Comforting.

“You guys are safe here. I promise.” You whisper, the only answer you receive is Ghost fisting the back of your hoodie as he buries his face deeper into your chest to muffle his sobs.

“Absolute fuckin idiot.” He chokes out, and you raise a brow, running a hand through his hair. “Who?”

“Who ever fuckin’ divorces a walkin’ fuckin’ dream.” He spits, yanking at your hoodie like a pouting child, cheeks shining with tears and you can’t help it, you giggle, loud and bright.

“So you’ve said.” You laugh, and he shakes his head. “Should ‘ave his ass kicked.” He mutters, and you have to bite back the sharp reply waiting at the tip of your tongue, instead just tilting his head back so you could meet his gaze.

“You need to rest. Let’s get you to bed.” You order, and he blinks at you, before the hint of a smile tugs at the corner of his lips. “Inviting me to bed already little bird? Cheeky.” He grins, and it’s a little crooked, and it makes your heart stutter, a shy smile fighting its way to your face.

“The hell the two of you doin’ in here?” Price gripes, and you jump, Ghost tugging you closer instinctively. “Bonding.” He mumbles, resting his cheek against your chest and you glance over your shoulder. Price stares at the two of you, brow raised, but when his eyes settle on the man wrapped around you, you can physically see him soften, an easy smile spreading across his face.

“Gonna stop wearing that damn thing then?” He asks, crossing his arms as he leans against the door frame, and Ghost shrugs. “Thinkin’ about it.” He admits softly, propping his chin on your chest so he can gaze up at you. It’s oddly intimate, and it has your heart racing, giving him one last timid smile before tapping his cheek.

“Bed. Now.”

“Oh she’s a bossy one.” Price chuckles, and you shoo him off. “Both of you, bed!” You laugh, cheeks warm as you step away from Ghost, who you swear whines at the loss of you in his arms.

The three of you shuffle out of the bathroom, and you glance around. “Didn’t have the heart to wake ‘em. Gaz is just about crushing the poor lad but they’re both out like a light.” Price explains, and you nod. “Well, I’ll leave some blanket for them.” You decide, grabbing one of the bigger fur blankets from the closet, and when you stand straight, you’re sandwiched between the two of them, and your breath catches.

“What are you two doing?” You squeak, just to feel two pairs of lips brushing your cheeks.

“Thank you pretty. For everything.” Price mutters, voice low and tired.

“Can’t tell you how much it means to us, really. We’ll repay you anyway we can.” Ghost continues, a rough hand caressing your cheek and you swallow down a whimper, nodding.

“Of course. I’m glad I can help.”

“Don’t deserve it. Don’t deserve you.” Ghost whispers, and your heart slams in your chest. “I-I better get to my room.” You stutter, stepping away from them on shaking legs.

“Goodnight pretty.” Price hums, already tugging Ghost towards the large mattress as you close the door, clutching the blanket to your chest as you dash down the hallway.

Ghost allows himself to lead towards the bed, laughing when Price pushes him back, eyes bright.

“You know I love seein’ you out of that damn mask.” He breathes, crawling over his lover as Ghost gazes up at him, brown eyes tired but brighter than Price has seen them in ages.

“You sure this isn’t about you droolin’ all over our host?” He muses, reaching up to card his fingers through Price’s hair, who catches his wrist, pressing a kiss to his palm.

“Like you weren’t in bloody heaven bein’ buried between those tits.” He chuckles, lowering himself next to Ghost, who curls into his side, resting his head on his shoulder. The mattress sinks under the weight, and it’s not lumpy or stabbing his side with springs as he relaxes, sinking against Price and the fresh blankets surrounding him.

“She’s nice.” He murmurs, eyes fluttering as exhaustion sinks into his bones. Price snorts at that, pressing a kiss to Ghost’s temple as he feels his own fatigue winning its war.

“A god damn angel.” He huffs, dropping his head back as he caresses the skin at Ghost’s hip.

“Get some sleep love.” Price hums, letting his eyes drift shut, listening to the way Ghost’s breathing evens out. It’s been a long time since they’ve been able to sleep like this, wrapped around each other and Price swallows the rising lump in his throat as he settles in, tugging his man as close as he can before finally letting exhaustion take over, drifting into a dreamless sleep, finally.

[anarchist-rat-swarm]

Got an interesting take on eldritch horror for all you writers out there. It's a bit of a roundabout schlep to reach the actual idea, but writers tend to be readers so I hold you'll stick with me til we get there.

So, consider a 2D creature. Little flat dude, living on the ground. No concept of "up" or "down." He's 2D, he just doesn't parse the concepts and can't perceive them anyways.

He sees you. What he actually sees is just the 2D cross section of you where you intersect with his 2D world, which is probably your footprints. So, as far as he can tell, you are a pair of footprints that are.... apparently one being? He doesn't get how it works exactly, but it's not too far out there, so he just kind of accepts that, yes, humans are The Two That Are One. Spooky. They always seem to use the singular to refer to the pair of themselves, and only differentiate between themselves as Left or Right. But other paired instances of The Two That Are One are, in fact, separate entities. So they're only in sets of two, unless accompanied by a companion called "Cane," which they are sometimes, or even a pair of companions called "Crutches." When Crutches are present, sometimes one of The Two That Are One will be missing entirely. It's a little confusing.

But wait, what now? They disappear and reappear in sequence, teleporting in turns. He never sees them just move like a 2D being, always the stop-start teleporting. Apparently this strange power is called "walking," and its accomplished by The Two That Are One moving through an unseen dimension called "Up," through a process called "lifting" themselves and re-entering the real world farther away in the direction they wanted to go. He can accept the idea of unseen dimensions, and he vaguely gets the idea that one of The Two That Are One must remain anchored in the real world to prevent something called "falling," which is some kind of uncontrolled movement through the unperceivable dimension of "Down." Which is the same dimension as "Up," but...... backwards? Reversed? He's not really clear, but "Falling Down" is presumably bad, so The Two That Are One keep one of themselves here in the real world to prevent it.

Except if they do something called "jumping." Which consists of gathering up their power to hurl themselves through the Up dimension together to reappear together somewhere else in the real world. He isn't sure why they Walk instead of Jump, since it seems better to take both of The Two That Are One together at the same time, but okay.

Okay, what the hell, they can Walk through impenetrable barriers like the great wall of Sidewalk Chalk? How do they go through that? What? They went "Over?" The hell is "Over?" Like 'around' but through the unseen dimension of Up? But they couldn't Walk through the barrier of Wall. Why could they go "Over" Sidewalk Chalk but not Wall?

And they can't go between the four small obstacles of Refrigerator Feet. The area between them is safe from The Two That Are One, for the four Refrigerator Feet are connected to each other in the strange and eldritch dimension of Up. The barriers are too powerful to be moved by The Two That Are One, and it (they?) cannot enter the real world where it is blocked by such powerful forces.

Got all that?

Okay, now consider a 4 dimensional elder god and how we 3D entities would perceive them.

[room-surprise]

New Ryoko Kui interview dropped!!!

(This is a quick and dirty translation made using machine translation, and which I've lightly edited to add clarity. I'm not fluent in Japanese so I may have gotten things wrong. I'm sure others will do a better job later.

ADDITIONAL CONTEXT: This article is from a Japanese gaming magazine, like the previous interview in Famitsu, so they focus on video games and don't discuss other influences, even though they do get mentioned and are clearly pretty major.)

Kui was able to write "Dungeon Meshi" because she was not good at eating food and participating in human relationships. In this interview, we dig deeper into the influence of games, and how Ryoko Kui focuses on things she likes and dislikes while writing. [Writers of the Gaming Generation]

Dungeon Meshi.

This manga is attractive for its unique theme of "dungeons, defeating monsters in the labyrinth, and cooking them," as well as the unique characters, detailed human relationships, and deep worldview depicted in the labyrinth. It is currently being made into an anime, and adventurers from all over the world are fascinated by the world of "Dungeon Meshi."

So I thought , "I wonder if this work was drawn by someone who loves food and people." The depiction of such delicious-looking food and the construction of delicate human relationships and characters. Surely, it must have been drawn by someone who absolutely loves it.

However, in reality, the author, Kui Ryoko, says that she "is not good at either food or relationships."

So why was he able to continue drawing things she was not good at?

During the roughly 10 years of serialization, Kui has continued to confront "things she dislikes." This interview delves into Kui's unique creative techniques... and at the same time, it also delves into her "favorite things."

That's the "game"!

Those who are familiar with the subject may already know this, but Kui is also a big gamer. And it seems that "Dungeon Meshi" is heavily influenced by RPGs such as "Wizardry."

As a result, this interview turned out to be "I asked Kui a lot about her likes and dislikes." Likes and dislikes. They are the source of all interests and curiosity.

So how do we use this knowledge in our creative endeavors? How does this knowledge manifest itself in Dungeon Meshi?

How were those charming characters and the deep world created? We spoke to the original author, Kui Ryoko, and the editor, Masaru Hiroi, about things they could only talk about after the series was completed.

This is a game with the volume of a great labyrinth. I hope you will explore it all the way to the final floor!

Dungeon food. It's eat or be eaten. There is no superior or inferior, to eat food is simply a privilege of the living. Dungeon food. Ah, dungeon food.

First, I want to ask about how Kui first encountered video games.

--What are some influences from games in Dungeon Meshi? What was your first game, Ms. Kui?

Ryoko Kui (hereinafter referred to as Kui): I played traditional RPGs such as [blank?] and "Final Fantasy."

I think the first game console I ever played was a Famicom, which my parents won in a lottery . So before I knew it, we had a Famicom at home. I think my parents bought me the Super Famicom and PS1 after that...

After that, I took a break from games for a bit around the time of the PS2, but around the time of the PS4, I was finally able to buy games with the money I had earned myself .

--Why were you able to stay away from games around the time of the PS2?

Kui: I was too busy with exams, so I thought, "Well, I shouldn't be playing games," and left. When I started living alone after that, I couldn't play games because I didn't have a TV. My computer was also a Mac. [Macs aren't compatible with many games.]

--What was the trigger that made you think, "I want to play games" again?

Kui: I think the biggest thing was starting the serialization of "Dungeon Meshi."

Fantasy stories all have different settings, but at the same time, there are also things they share in common. For example, if you want to create a fantasy work, but you only know "Dragon Quest," it will end up resembling "Dragon Quest." It's scary to copy the setting of only one work.

So I just wanted to play a ton of different fantasy games and get an idea of ​​what the most common general understanding of fantasy is.

--Did you start playing it while you were still developing the concept for Dungeon Meal?

Kui: That's right. If I'm going to talk about "eating food," I have to play a game that has a system for eating food .

So I was interested in "Dungeon Master." However, at the time there was no easy way to play "Dungeon Master" on a real machine, so I played "Legend of Grimrock", which can also be played on a Mac.

["Dungeon Master," is a computer RPG released in 1987. Time passes each time you take an action in the dungeon, such as moving, fighting, or resting, so its biggest feature is that the game progresses in real time according to the player's actions. "Legend of Grimrock," is an action RPG released in 2012. It has a game design similar to "Dungeon Master."]

Until then, I had felt that overseas games and games played on PC were too difficult, but I felt like I had overcome one obstacle there. I thought, "Oh, this is pretty easy," and started playing a lot of different games.

-- Those two games are quite heavy even among RPGs, I think, so did you actually have that much difficulty with them?

Kui: No...I would say that my impression is more that best-selling games are easy to play (laughs).

I'm not that good at games myself, so I usually play games that allow you to adjust the difficulty on a super easy setting. So, games that allow you to lower the difficulty are always a lifesaver.

-- I've heard that apart from RPGs , you also like games such as "13 Sentinels: Aegis Rim" and "Paranomasite FILE23: The Seven Mysteries of Honjo ." Do you have a favorite genre, Mr. Kui?

Kui: I guess I'm just not very good at games that require you to use your brain through trial and error.

But in RPGs, if you just level up and keep tapping, you can win and progress in the game. Also, in novel-type games, if you read the text, you can progress. By this process of elimination, I quite like RPGs and text-based games .

Personally, I like games like Disco Elysium the most, which are text-heavy, top-down, and have maps to explore.

...Even I think that's a pretty negative reason (laughs).

Everyone: (laughs).

Hiroi Masaru (hereinafter referred to as Hiroi): But, Ms. Kui, you have really played quite a lot of games, haven't you?

Kui: No, the reason I'm able to play so much is because I play in a pretty callous way ...

I often buy a game, play it, and then just don't play it. So there aren't that many games I complete... I only complete a few a year. I play around 40 games, and if I complete 5 or 6, that's good.

When I asked if I could draw at Comitia, I got scolded.

-- Have you had any exposure to fantasy outside of digital RPGs?

Kui: I think it's not just games, but also the fact that I've always loved foreign fantasy novels . I was given books like "The Neverending Story," "The Lord of the Rings," and "The Chronicles of Narnia."

-- Dungeon Meshi gives off an atmosphere of Western fantasy like gamebooks or tabletop RPGs, rather than the typical Japanese fantasy games like Dragon Quest.

Hiroi: I think I went to Kui's house before the series started. At that time, we were discussing the name of a sci-fi manga called "Drawing Inside the Brain," which I had rejected many times.

Ms. Kui said she wanted to serialize this sci-fi manga... and when he was on the fourth draft, he said, "No, this isn't going to work," and when I looked at the scribbled notes next to her desk, she had already drawn the original version of "Dungeon Meshi" ! (laughs)

Kui: ……………No, I don't remember much (laughs).

Everyone: (laughs).

Kui: But I had wanted to draw a manga about exploring a dark dungeon, like Wizardry .

Since I was in elementary school, the manga I drew in pencil in my notebooks were all fantasy stories about swords and magic, so I had always wanted to draw a proper fantasy manga. However, there weren't as many fantasy manga in bookstores at the time as there are now, so I wondered, "Maybe fantasy doesn't sell."

Hiroi: At the time, there were a lot of people in their teens and twenties posting fantasy illustrations on online communities for artists, such as pixiv, and Kui was one of them.

I thought, there are so many people who want to write fantasy, so if she writes a fantasy aimed at this generation, it might sell.

And when I saw Kui's notes, I thought to myself, "Let's make a straight-forward fantasy manga, without making it weirdly twisted."

Kui: I originally thought of making this "dungeon exploration manga" as just a hobby... When I asked Hiroi if I could draw it at Comitia first, he got angry.

[Comitia is a comics convention in Japan for original self-published comics.]

Everyone: (laughs).

Hiroi: I said, "If you're going to draw at Comitia, then make sure you draw it as a proper serialization!" (laughs)

However, at that time, Kui had already published two collections of short stories, and they were being reprinted. In other words, she had a certain number of fans even before the serialization began.

So I decided, if Kui creates a pure fantasy for those fans, we can't fail badly. If it doesn't work, we'll just learn that fantasy is difficult to sell after all.

--By the way, were there any discussions between you and Ms. Kui about the fact that fantasy doesn't sell?

Kui: I remember vaguely talking about how fantasy manga doesn't sell well and how difficult it seems. I don't know much about light novels, so that might have been there for a while.

However, since a lot of fantasy manga were coming out around the same time, it was probably a "transitional period ." Maybe it was just when people started to feel more and more like they wanted to draw and read fantasy.

Not everyone is that interested in the things I like

-- I feel that "Dungeon Meshi" is a title that has breathed new life into the fantasy genre. How did you go about creating the setting and world when dealing with fantasy?

Kui: I try to think, "Not everyone is that interested in the things I like."

I like to think about pointless settings endlessly, but there are times when I think , "When this setting is actually made into a manga, people probably won't be interested in this story." So I try to include things that will make people interested, and cut out things that will distract people as much as possible.

For example, in "Dungeon Meshi" I initially wanted everyone to speak various languages. On top of that, I wanted to make the characters "only able to communicate with each other in one language"... but Mr. Hiroi said "Don't do that" (laughs).

Everyone: (laughs).

Kui: Even when I'm drawing it myself, I think, "It takes more than six panels to explain this setting...", and if I explain the setting more than necessary, it slows down the pace of the story.

Moreover, since "Dungeon Meshi" was a monthly serialization, unlike a weekly series, there wasn't much time for extraneous stories. Specifically, I had to draw one episode of about 30 pages per month.

In that case, there was no time to add in settings like "Actually, he was thinking about this behind the scenes" or "Actually, he can speak two languages." So, rather than there being any clear choices, there were quite a few times when "there was no time to do things normally." If it had been a weekly serialization, I might have included more.

--Does the scene where Chilchuck yells insults in his own language feel rather "forced"?

Kui: That's right (laughs).I thought, this only takes one frame...it's my chance [to include information about language]!

--So you haven't thought through all of these "fictional languages" yet?

Kui: If Dungeon Meshi were to be my life's work and I were to spend my whole life creating this world, I think it would be more fun to think about it...but initially, I thought that Dungeon Meshi would end in a few years.

Hiroi: Initially, I said, "It'd be nice if it continued for about five volumes" (laughs).

However, Kui's first draft really had a lot of material... so the editors cut out a lot of it. I understand that it's the parts the readers want to read, but I cut out the parts that deviate from the main story. So it's a battle between the "author who doesn't want to be cut" and the "editor who wants to cut."

--By the way, what kind of discussion took place between the "parts you want to cut" and the "parts you don't want to cut"?

Kui: There were a lot of them every time, but I can't remember them specifically now...it was just small, unimportant details that got cut.

In the scene where the hams made by the Red Dragon go back into the pool of blood, I remember saying, "You don't need these," and they were about to cut them off, but I remember desperately stopping them by saying, "We'll need them later!" I'm glad they weren't cut off.

But once I think of the setting, I want to include things, and then they get cut out, so at first I didn't want to expand the world too much.

I also wanted to complete the story within the dungeon. I didn't want to reveal the name of the country, and I didn't want to give the characters surnames. But in the second half, Hiroi-san told me, "The world is too small, so you should make it bigger," and I was like, "Are you sure?"

--Mr. Hiroi, why did you say that?

Hiroi: As the story progressed, it became clear that "Dungeon Meshi" was no longer just about saving a sister in a dungeon. So I decided that it would be unconvincing if the story had no involvement with the outside world, since what was happening in the dungeon was something that would affect the fate of the whole world.

For example, in real life companies, the more important a decision you make, the higher your superior's rank becomes, right? When I thought about it that way, I felt something was off about the idea of ​​Laios and his friends deciding the fate of the world on their own. "How can they make that decision without anyone knowing about it?"

The fact that the Canary Team was there meant that there must have been a system of reporting, contacting, and consulting here, because that's how "society" and "organizations" work.

In short, I think we were thinking about the situation and asking, "If an organization were to get involved in saving the world, how persuasive could they make it given the society that exists in the story?"

Kui: Well, the plot hasn't changed at all.

From the beginning, I had intended to write a story about saving the world, but I also thought it was possible for the world to be saved by only a select few people in the dungeon who knew the circumstances. Changing it was what Hiroi-san thought would make it more persuasive.

When I was drawing the first half, Hiroi told me, "You don't have to decide anything yet." I was in a hurry to move the story forward and explain the world and story setting, but he told me, "It's better to limit it to introducing the four main characters until about the fourth volume." But in the second half, he said, "Introduce more people and expand the world."

Everyone: (laughs).

Hiroi: Kui-san was like , "That's not what you said originally!" (laughs) But both had meaning...

Kui: I was the one saying, "If we expand the world there, the story will never end, right...?"

After drawing it through to the end, I realized that the balance between holding back and expanding didn't work the way I had expected. I think this is one of the reasons why the serialization of "Dungeon Meshi" took so long.

-- But there are a lot of characters in "Dungeon Meshi," and the relationships between them are complicated. I heard that you also created the relationship diagram for "Taikaishu" [※3] ...

Kui: No, I haven't made one [I didn't do that?]!

[Taikaishu is a full-color web comic by Funako Tsukasa that began serialization on a website in 2005 and is still ongoing. Its unique worldview has earned it a loyal fanbase, especially on the Internet.]

-- Eh? Is that not the case?

Kui: To be precise, I just created an account on the fan wiki.

When I started reading "Taikaishu," I struggled with the complex setting and the large number of characters...and I thought "it would be easier to read if there was an explanation or a list of characters."

So I searched for a bulletin board where readers were sharing their thoughts and asked if there was a summary, but they said there wasn't. So I thought, "Maybe if there was a place where someone with more knowledge could summarize it," and I just made a wiki account.

So I didn't actually edit it. It seems like I've been given credit for someone else's work, and I'm sorry about that...

Dungeon Meshi was created from a sense of guilt about food?

-- "Dungeon Meshi" started off with the catchy theme of "cooking monsters," but little by little the darker aspects and deeper world were revealed. Was the structure of "little by little revealing the darker side" something you had in mind from the beginning?

Kui: I thought I needed a theme to serialize it so I thought I'd try "food education." There were a lot of gourmet manga at the time, but I felt like there weren't many that focused on food education.

-- Considering that the theme is "food education," it makes sense that the nutritional value of the dishes in the story is clearly written down.

Kui: With the theme of "food education," I also thought up a rough outline of the story. Rescue the kidnapped princess, defeat the evil wizard, defeat the final boss, and become king... the framework is pretty simple.

But when I actually tried to proceed with the plan, I realized, "No, this story can't be done so lightly..." At first, I thought I could draw it in a more light-hearted manner.

Hiroi: At first, you were trying to finish the fight against the Red Dragon in one episode, right? I was like, "is that possible?" (laughs).

Everyone: (laughs).

Kui: When I tried to actually tell it in one episode, it ended up feeling like a very brief summary... In order to tell the story I wanted to tell, I had to tell it more thoroughly than I originally thought.

-- Did you have any special thoughts about the theme of "food"?

Kui: No... well... if I had to choose, I'd say I have a strong grudge against food.

Since I was a child, I was a very picky eater, and mealtimes were a pain for me. I hated eating in front of other people, and there was a time when I hated seeing other people eating, so I would look for toilets that were rarely used and eat my meals in the toilet.

When I was doing it, the word "toilet meal" didn't exist, so when the term actually appeared in society I was so happy, thinking "everyone was doing it!"

[Toilet Meals are a social phenomenon in Japan.]

Everyone: (laughs).

Kui: I was thinking, "This is so terrible, right...?" but it was a relief to realize that other people were doing the same thing.

--So what made you choose the theme of "food education"?

Kui: My parents, who were struggling with my picky eating, taught me many things, including the "triple eating" method, but it was no use and I continued to be a picky eater into adulthood. My parents had instilled knowledge about food education in me, but I was not able to put it into practice.

[Kui might be talking about Triangular Eating but I'm not sure.]

So the only thing that remains is that I feel an enormous amount of guilt when it comes to food and eating...

Hiroi: If you think about it objectively, the series starts off on a very negative note.

Kui: But now I've gotten over the habit of eating with other people... or rather, I've come to like it. My editor takes me to lots of delicious places.

--When I was a student, I was trying to leave my udon bowl at school, but my teacher found out and made me eat the packet of udon by myself. There was no soup, and it was really hard to eat the udon by itself.

Kui: It must be tough. I tried to hide it, but my teacher found out and I got really angry.

Hiroi: I've tried to hide it in a drawer before. Then, something dried up came out of the drawer... (laughs bitterly).

How can I draw things I hate?

-- Or rather, is it the fact that you're not good at it that gives you a higher level of insight into the food?

Kui: I think it's because you're interested in it that you either like it or dislike it. Inevitably, you spend a lot of time thinking about it.

Since "Dungeon Meshi" depicts a lot of food, one might think "Do I like eating?", but in fact there are many times when I draw it because I dislike something .

--Aside from food, do you also draw things that you dislike?

Kui: Maybe. For example, human relationships, modern times, fashion...?

-- Perhaps the relationships between the characters in "Dungeon Food" are portrayed so delicately because the author is not good at dealing with human relationships?

Kui: I've always been very curious about things like, "(This person is usually so cold, but has such a charming smile in front of other people)" ...

I feel the same way, but I think people are different in the way they show their true colors. I think it's strange that it stands out to me...

-- I have a simple question. When you draw something you hate, how do you feel? No matter how much you hate something, do you find it fun to draw it?

Kui: The events in the manga don't directly involve me, so I don't dislike the things I'm drawing as much. Also, when I draw while looking for the good parts, it can lead to new discoveries.

Also, I think it's scary to draw only what I like.

In my work, the important thing is "what to capture with the camera," and there's no need to go out of your way to capture filthy things, but at the same time, I think the world will look bigger if you keep in mind that "there are a lot of inconvenient, dirty, and unpleasant things outside the camera." That's the feeling I have when I paint/create manga.

When playing a game, if I have to choose between a game where I only feel like I'm in the world inside the game screen, and a game where I feel like there are lots of people living on the other side of the screen, and that the people in that world could travel anywhere they wanted, I think the latter is more fun to play.

I'm always thinking about how to express that "sense of the vastness of the world" ...and I personally like games that have "a world" to them.

-- Do you ever incorporate elements from the game into your manga?

Kui: On the contrary, I think that is a part that cannot be adopted .

The best thing about games is that each person has a different experience. Games that have lots of endings are also a result screen for what you've done up until that point. When I see something like that, I think, "That's so cool."

Personally, I think that's the game's greatest appeal, and something that could never be replicated in a manga that doesn't have players.

If you're so busy, when do you play games?

-- I'm personally curious, how do you find the time to play games? Even though you're busy with your work as a manga artist, you play quite a lot of games.

Kui: I often use the Steam Deck before going to bed or during breaks between writing manuscripts. In fact, I almost only use the Steam Deck now. I keep it by my pillow, so I can take it and play before going to sleep, or during breaks...

--Is Steam Deck really that convenient?

Kui: I recommend it. The screen is small, but it can run Cyberpunk 2077 .

Also, personally, I've gotten tired of having to turn on my PC to start up a game...with Steam Deck, I can just turn it on and it starts up instantly, even when I'm lying down. How do you writers usually play games? There are times when you have to play games for work, aren't there?

--When it comes to work, I calculate backwards how long I'll be playing before I start playing...If it's a game that can be completed in about 60 hours, I usually estimate that I'll play for 3 hours a day and complete it for 20 days in a row.

Hiroi: It's a lot of work!

Kui: That's amazing... You really are a gamer.

I've always thought that I have a talent for playing games ... but I'm not really good at that. If I'm given a game that's a little difficult, I get tired of it right away, and I'm not very good at trial and error. The range of things I can enjoy is very narrow.

I wonder if game developers around the world are also struggling with the question of "Should I make my games accessible to a wide range of people, even those who aren't particularly gamers?" or "Should I make games that are challenging and can be played deeply?" The same problem exists with manga, too.

When there's a game that I can't play well, I feel happy because it means the creator decided that there's no need to pander to people who can't keep up.

-- By the way, when you play games, do you do it as a normal "hobby"? Or do you play more often to find material for your manga?

Kui: Of course, a big part of it is that I play games as a hobby, but it is alleviated by the fact that playing games might be useful for my work (laughs).

Even if I'm not that interested in a game, if I think "it might be useful for work," I'll find the courage to buy it, and no matter how expensive a gaming PC is, I can still buy it if I think of it as a work tool. So the hurdles for many things related to games are lowered for the reason that it's "for work."

--So, when you read manga, do you feel like you're reading it for work?

Kui: In my case, manga has become my job, so when I read it I can't help but think of work.

However, I still enjoy gaming as a hobby . That's why I don't want to lose this hobby... and I don't think I'll be able to enjoy it as much if I get involved in games as a job, so I don't take on any games-related jobs.

Does the depth of the world come from the fact that it is "not decided"?

-- I heard in advance that "Dungeon Meshi" was written with a clear awareness of "what should be explained" and "what shouldn't be explained," so could you tell me more about that?

Kui: Having read a variety of fantasy novels and games, I thought that the "moment of discouragement" was the "repeated use of foreign words." When you write something like "XX of XX of XX," if there are three or more katakana characters, there is a high chance that it will be skipped over by Japanese readers.

That's why I try to refer to town names as "the neighboring town" whenever possible, and refer to characters who appear in flashbacks as "uncle" rather than by their full names, so that readers can understand without having needing exposition.

The magic used during battles in "Dungeon Meshi" is depicted in such a way that you can "understand what kind of magic it is just by looking at the picture."

-- What other aspects of Dungeon Meshi are there that you deliberately left out of its concrete settings?

Kui: Numbers and language are the settings I avoided touching. For example, just by deciding the month of birth, it is first determined that there is a moon in this world. From there, it is also determined that there is gravity.

What's more, just the concept of a "birthday" means that there is a division into a "year" and that the world is determined to have a 365-day cycle. It quickly becomes complicated.

But on the other hand, if I were to set the details and make it something like "This country's currency is 1 gold, which is worth 5 yen," it would be a burden on the reader. When reading the work, the reader would be forced to convert it into "1 gold = 5 yen" in their minds every time. That's why I try to write it with "readability as a priority" as much as possible.

However, if you're creating a "fantasy" in the truest sense of the word, it would be better to create something that corresponds to that world's calendar or metric system in order to really immerse yourself in that world, so it's difficult to get the balance right...

-- I think that style of "deliberately not giving explanations" is quite amazing.

Hiroi: I think that 's definitely partly because "Dungeon Meshi" is a silly title.

The "mindset" of the reader is a little different...I think that from the very beginning, the reader is made to recognize that "this work isn't going to say anything too difficult."

Kui: Also, we had to give a bit of thought to coming up with the character names.

For example, the main characters in Wizardry are given names that correspond to their professions, such as "Warrior" or "Wizard." The "Senshi" in Dungeon Meshi was taken from that ... I named him after thinking, "I want that person to play an active role."

That's why I wanted the overseas version of Senshi's name to be "Fighter", but I was worried that overseas readers would be like, "What does that mean...!?" so I kept it in my head.

--The character names in "Dungeon Meshi" tend to be around 3 or 4 letters long and fit nicely.

Kui: If the name gets too long, it won't fit in the speech bubble...It's generally said that a line in a speech bubble should be about 7 to 8 characters long to be easy to read.

So "Chillchuck" is really long... I actually thought that the abbreviation "Chill" could be used more, so I named it that way, but it didn't work out so well, so in the end I just kept calling it "Chillchuck". Even I was thinking "that's long" while drawing it (laughs).

Everyone: (laughs).

Kui: Anyway, there are quite a few manga-like circumstances where "maybe four characters would be enough."

--By the way, are there any rules for naming the characters in "Dungeon Meshi"?

Kui: It's not detailed, but there are "settings within the story" and "meta-settings that are just for my own enjoyment."

For example, [if Dungeon Meshi was a game] the Shuro party has names that would be given by a certain type of player. When playing a games, some people give their characters themed names that follow self-imposed rules. In that sense, meta-wise, the Shuro party is played by a player who names their characters with a plant-based restriction.

Also, since the player likes girls, the party members are all girls, and so on... (laughs).

Hiroi: Oh, I didn't know that!

Kuon: ...While it's fun for myself, I also create characters by asking questions like, "Why is the party mainly made up of women?" or "Why do they all have similar names?"

However, even if I revealed these settings in the story, it wouldn't have made the story any more interesting, so they are merely "settings that only exist in my own mind."

-- What are some specific examples of "settings that you deliberately didn't reveal"?

Hiroi: I still remember when I said, "I want you to depict the elven kingdom in more detail," Kui replied, "That's going too far."

The dwarven country was depicted quite a bit, so I personally thought it could have been shown a little more...

Kui: I felt that if I depicted that, it would limit the reader's imagination.

There are definitely "lines that suggest something might happen," and when it comes to parts that are better left to the reader's imagination, I often choose not to draw them.

Also, even when we present settings that readers think they can just skim through, they often try hard to remember them...

It all started with the manga "Eating soba through your nose."

--Let's go back to the topic a little. How did Ms. Kui and Mr. Hiroi meet?

Hiroi: I think we scouted her.

I saw a short story that Kui had posted on Pixiv and sent him an email asking if I would like to draw a manga. I remember that he had a really funny four-frame manga called "Eating soba noodles through your nose ." It was about a character eating soba noodles through his nose and crying out in pain... I think I was drawn to his drawing ability, which made me feel like "Wow, that looks painful" when I saw it (laughs).

And from that point on, we have come to this point.

[This may not be the exact comic that Hiroi is talking about, but it's a comic Kui posted on her blog about someone eating soba through their nose.]

Kui: Oh, is that so? Isn't it something like "Shugaku Tenshi" [※4] ?

Hiroi: No, that's not true! The manga about eating soba noodles through the nose was made before "Shingaku Tenshi". By the way, that manga was planned to be published in "Rakugakihon" , but when I asked Kui-san "Can I publish this?", she was very against it...

Kui: No, that's fine, but... I didn't think other people would find it that interesting.

Everyone: (laughs).

Hiroi: But that was more than 10 years ago...

--By the way, was Mr. Hiroi the first publisher to contact you?

Kui: Before that, an editor at East Press had contacted me. I was originally publishing fantasy manga that I had drawn as a hobby on my personal website. I compiled them into a self-published original comic and exhibited it at Comitia, and they asked me, "Would you like to publish this long manga as a book?"

However, after the editor asked around to various people, it seems he was told that "this will be hard to sell"... so the plan was dropped. Instead, it was decided to release a "short story collection" of short manga that had been published at the same time . This is "The Dragon's School is on the Mountain: A Collection of Works by Ryoko Kui" published by East Press.

I was contacted by a few other people as well, but the two people I still keep in contact with are Mr. Hiroi and the editor at East Press.

-- When you went from drawing short stories and web comics to starting a commercial serialization, did you study anything like "how to draw a serialized work"?

Kui: I learned almost everything about how to draw manga from Mr. Hiroi and the editors and writers at Harta .

I had absolutely no understanding of whether panel layout was good or bad, so up until the middle of the serialization, I would rearrange the storyboards one panel at a time, and I would get lectured like "Don't put a panel like this here."

I was also impressed when I was shown original manuscripts by other artists. They look beautiful in print, but the real thing is even more impressive. This is what it means to be good at drawing manga.

It didn't finish as I expected

-- Speaking of "serialization," you mentioned earlier that you initially intended to end it at about volume 5. Did "Dungeon Meshi" continue longer than you had anticipated, Ms. Kui?

Kui: First of all, I didn't really understand what a "serialized" comic meant, so I didn't even know how much of a story I could get done in how many pages. So, I thought I could wrap up the story nicely in about five years, in five volumes.

But I never quite got around to finishing it. It was so hard... (laughs).

Hiroi: To be honest, when I first heard "Volume 5,"I thought to myself, "(Are you kidding me...?)" I didn't say it out loud though (laughs).

--Honestly, even as a reader, around the time of the fight with the Red Dragon in volumes 4 and 5 I was starting to feel like, "Huh? It seems like it's coming to an end soon..."

Kui: From the beginning, my goal was to "defeat the Red Dragon at the halfway point." However, I was supposed to fight the Red Dragon in Volume 4, even though it was supposed to be 5 volumes. So I thought, "Huh? It's not over yet," and I gradually lost interest.

By the time I got to around volume 10, I felt like no matter how much I drew, it would never end. I didn't want to drag it out, but no matter how much I drew, it just never seemed to finish.

Hiroi: Even from an editor's perspective, it seemed like Kui was getting very anxious from around volume 10 onwards.

-- Having finished the long-running serialization of "Dungeon Meshi," did you experience any changes in your mindset?

Kui: I think it was great to have the experience of learning that it would take 10 years to draw a story of this scale. And when I think about my lifespan and how many more works I can draw... it makes me dizzy.

Hiroi: I feel like I'm constantly fainting...

-- Ms. Kui, are there still any works you want to draw in your mind?

Kui: Not that much. But I love drawing manga, so I want to draw a lot. I don't know if I'll have the stamina to continue for another 10 volumes, but I want to continue working as a manga artist somehow.

But maybe... I don't think it will sell that well next time...

Hiroi: Stop! Don't say that!

Everyone: (laughs).

Kui: In that respect, "Dungeon Meshi" sold well, so I was able to draw what I had imagined to the end. Next time, I think it would be better to consider the opposite scenario of "if it doesn't sell" and make it shorter.

That's the next new challenge.

-- In addition to the expectations for your next work, do you feel any pressure?

Kui: In my case, the first collection of short stories I published was fairly well received. For a manga I drew for the first time, that's about it.

That was a relief, but at the same time, I felt that "Ideally, the reputation of my next work will also steadily increase, but there will definitely be ups and downs." If the reputation of the next work is bad, will I be able to continue drawing without getting discouraged? I realized that the "battle with myself" had just begun , and I was terrified when I read the first volume.

What game has cute illustrations, in your opinion?

Kui: This is a completely different topic, but you 've played SaGa Frontier 2 , haven't you? Aren't the pixel art in SaGa Frontier 2 really cute?

--The pixel art in SaGa Frontier 2 is...the best!

Kui: The illustrations in "SaGa Frontier 2" have such exquisite balance... if you try to express that in a picture, you can't reproduce that cuteness. It's like "exquisite head-to-body ratio."

-- In your opinion, Ms. Kui, are there any games that have cute illustrations?

Kui: The first one that comes to mind is definitely SaGa Frontier 2. Also, I still remember how cute the character designs were in Final Fantasy Tactics.

But back in the day, I used to trace characters from FF7 . I thought, "There are so many cool designs in the world..." (laughs).

Hiroi: Nomura (Tetsuya)'s drawings are amazing, aren't they?

Kui: I traced Cloud and Aerith on tracing paper and quietly said to myself, "So cool..." and got really excited. I noticed something while I was working on the "Dungeon Meshi" anime...basically, games and anime are made by many people, aren't they? So I always thought, "Many people must be giving various opinions to make them."

But when I got involved, I realized that one person's power is quite large. This was quite surprising. I thought that there were multiple people who wrote the script and storyboards, and that each person had their own responsibility, but... the power of one person is quite large.

──No matter how much the work is divided up, it's important to have a director or supervisor who brings it all together.

Kui: Yes, in the end, it depends on the power of the person who takes the lead ...

However, at the same time, I think that the division of labor between scriptwriting and storyboarding is something that would never be possible with manga. In the end, you have to create everything in one person's mind, so "bias" inevitably arises. So personally, I don't like the idea of ​​it becoming a "world created in one person's mind."

Hiroi: However, not only in manga but also in novels, the individual author's personality is strongly expressed. I wouldn't go so far as to say "ideology"... but the person's way of thinking is strongly expressed.

Kui: Speaking of which, people who create games alone, such as indie games, are amazing.

It's often said that manga artists "come up with everything, from the art to the story, all by themselves," but I don't think they can compete with independent game creators who create the music, programming, and art all by themselves.

Moreover, even more than manga, no one can give their opinion until the game is completed. If you think about it that way, making a game by yourself is really a "one-man battle." At the same time, what I like about games is that there are quite a few "works that are not made with much consideration for cost" ... I enjoy it a little bit.

-- Do you ever think, "I want to make a game?"

Kui: I once bought RPG Maker , but it ended up being a complete failure... (laughs).

Everyone: (laughs).

Love for "classic RPGs" was a major influence on "Dungeon Meshi"

-- I'd like to ask you, Ms. Kui, since you play a lot of titles on Steam and other platforms, have you ever had any problems playing a game?

Kui: Simply put, a "game that doesn't work" is a problem (laughs).

This sometimes happens with games made by individuals on Steam... they don't have any reviews, so there's no way to deal with it other than contacting them directly. There have been a few times when I've been stuck and wondered, "What should I do?"

Other times, I'll buy a title that just happens to pop up at the top of Steam's rankings. Sometimes I'll play it thinking, "The graphics are kind of cute, so I'll give it a try," only to find that it's incomplete beyond the framework.

--So now people are playing titles that aren't that major.

Kui: Also, when I played Planescape: Torment, which is said to have influenced Disco Elysium.

While playing, I came across a character who was suffering from a terrible curse that made his whole body smell and become sticky. A quest was triggered to ask the NPC who had cast the curse to lift it, but when I asked them to lift the curse, I ended up being cursed with a curse that made me have constant hiccups ...

So when I was walking around the town, the "hiccup" dialogue started popping up all the time. What's more, every time it happened, I would freeze up for about 0.1 seconds. All the dialogue was filled with "hiccups." Anyway, it was a troubling curse.

I had no idea how to deal with this either, so I decided to just kill the NPC who had put the curse on me. The NPC also challenged me by saying, "Maybe if you kill me, the curse will be lifted?", so I tried killing him, but... it didn't lift the curse at all (laughs).

Everyone: (laughs).

Kui: I thought maybe the quest would progress in other places, so I walked around here and there, but the curse was not lifted after all. I was really curious, so I looked back at overseas information exchange thread online, and I found someone had written a lecture that said "You know what happens if you kill an important NPC without thinking about it, right?"

So I realized that this curse can never be lifted again. Even if I wanted to rewind, it was an auto-save, so I had to go back almost to the beginning... I was really... in trouble!

-- But "Planescape: Torment" hits a pretty impressive spot. Was it something that just happened to catch your eye while you were browsing Steam?

Kui: I originally liked games in the same genre as Baldur's Gate, so I think that's how I got into Planescape.

Also, I saw information that a huge amount of text in Planescape was translated by one person... I'm not very good at English, and games like Planescape have a lot of text to begin with, so I'm at a loss if it's not translated into Japanese .

However, when extraordinary people like those who make Planescape use their precious time from their lives to accomplish great things, I feel very grateful.

-- So, Ms. Kui, do you prefer games that are closer to the classics?

Kui: That's right. The first game I played was The Elder Scrolls V: Skyrim, and it was so much fun that I searched for "games similar to Skyrim" and played a lot of the games that came up.

All of them were completely different games from Skyrim, but they were fun. However, I don't like "old games". I think that newer games are generally more polished and well-made.

-- Wizardry, which influenced Dungeon Meshi, is also a classic work.

Kui: When I was a child, I saw my father playing Wizardry V : The Heart of the Maelstrom. As time passed, I remembered that there was a game called Wizardry. The game I played at that time was Wizardry VI: Forbidden Pencil.

I also played Wizardry V , but it was hard to see the map unless I chanted a spell. I was directionally challenged, so even though I had a guidebook at hand, I couldn't progress.

--By the way, were you more interested in making a manga out of "Wizardry" than the tabletop RPG "D&D" ?

Kui: When I was researching fantasy, "D&D" was often mentioned... but I had never even heard of "TRPG" before. First of all, you can't play it without friends, and I was shocked to find out that lots of people have friends they can play with like this...!?

Everyone: (laughs).

Kui: So when I looked up TRPGs on Wikipedia, I couldn't imagine that people actually played this kind of game. I was more confused and thought, "How can people really role-play in front of other people?"

After that, I watched replay videos on YouTube and it was only then that I understood how games like D&D worked.

Games, manga, novels. What is the purpose of all creative works?

-- What was the last game you played?

Kui: Recently I played a school management game called "Let's School." It's made by a Chinese company that also made "My Time at Sandrock."

Hiroi: You really like that kind of game, don't you? (laughs) Oh? Haven't you played "FF7 Rebirth" ?

Kui: I'm thinking about playing the remake of FF7 once it's completed.

Hiroi: No, no, if we don't do it now, we'll never finish it! It'll be a long time before we do it!

--Honestly, I also thought it would take about 10 years for FF7 Rebirth to be released.

Hiroi: I thought it would take about that long too... I really wanted it to be completed while I could still see. So, please do it!

Kui: Once it's finished...I want to play it all at once (laughs).

--Do you and Ms. Kui often talk about games?

Hiroi: Ms. Kui sometimes says, "I want to talk about this game, so I want you to play it." I played "Red Dead Redemption" because of that. Also, a long time ago, Ms. Kui recommended "13 Sentinels: Aegis Rim."

Kui: Whenever there's a game I want to discuss with someone, I always recommend it to Hiroi.

But maybe I haven't been playing games as much lately. Until now, I've been playing games because I thought of it as "for work," but now that the serialization of Dungeon Meshi has ended, I've been playing less games.

Moreover, I'm not the type of person who gets that into one game...I don't generally play through a game in repeated playthroughs, and I'm usually satisfied once I've finished the story.

Hiroi: Then we have to start [a new ] serialization soon.

Everyone: (laughs).

-- I'd like to ask you personally, do you have any "recommended indie games"?

Kui: I highly recommend "Papers, Please" and "Return of the Obra Dinn."

First of all, "Papers, Please" is a simple "spot the difference" game, so I didn't have high expectations at first. But when I played it, I felt like there was a proper "world" to it . Also, I was curious to see how the story continued.

And "Return of the Obra Dinn" had a great atmosphere. There were hints to solving the puzzles if you looked closely, but there was also a good balance of being able to force your way through, and the music and production were cool.

Hiroi: Come to think of it, you read quite a bit of the novel after the serialization ended, didn't you?

Kui: Ah, you mean "1984" by George Orwell? That was good...

I've always thought that creativity isn't necessary for life... It's entertainment, so it's not essential to life. But after reading "1984," I thought, "I guess creativity is necessary after all."

Humans need stories to experience things that should never come true, to prepare for bad things, and to prepare for understanding other people... You might think, "You should have already learned that when you were younger," but I was deeply moved by this realization.

Anyway, I feel that it would be great if people could learn things they didn't know before through this work.

Hiroi: ...Overall, it just felt like we had a fun time talking about games (laughs).

Kui: We just used the interview as an excuse to talk about the game (laughs).

-- No no, thank you very much for sharing your valuable story! (End)

I think I can understand a little bit about being interested in things you hate.

It's easy to analyze "why do you like something?" when you like it, but it's surprisingly difficult to analyze "why do you dislike something?" When you understand the reason, it seems that "why do you dislike it" is often more meaningful.

Perhaps creative works exist in part to help us understand the things we dislike.

I was able to hear a lot of deep "creation stories" that made me think about such things. Also, Ms. Kui is a huge gamer. Mr. Hiroi also likes games quite a bit. Since serious talk and game discussions alternated, the content may have been emotionally confusing. But I feel like "Dungeon Meshi" has a similar atmosphere.

If you haven't read "Dungeon Meshi," please take this opportunity to read it. It depicts a fun adventure. On top of that, it may help you prepare for difficult things that might happen in your life someday. Of course, it's also extremely interesting as a manga. I think it's definitely one of the best "entertainment" of our time.

Why does the body want to live? What does the mind want?

This is because we have a "desire" to pursue what we like and dislike. In fact, "things we dislike" are just as important as "things we like." By understanding our own "likes and dislikes" through creative works and entertainment, humans can prepare for things that happen in their future lives. Food and creative works are equally important for human growth.

...That said, I'm not sure if it has a nice punchline, or maybe not.

To eat. To experience creative works. These are truly the privileges of life. In order to live, we must continue to eat.

Now it's time to eat. What shall we eat today?

[long-live-astronerd-ghost-king]

DPXDC Prompt. Dead on main with priest Jason: Father Todd brings the Ghost King’s cult into the World of the Living.

So, when Jason dies and returns, the League of Assassins fails to hold him for long because spirits from Far Frozen pick him up after seeing teen through the Lazarus pit.

Jason quickly realizes that, well, they’re kinda obsessed with their cult of the Great One. And yeah the cult of the ruling Ghost King was very popular during the reign of the Pariah Dark but back then the rituals were carried out more out of fear. Now things are different. The population of the Ghost Zone has become interested in the activities of Frostbite and his loyal spirits because of an attempt to understand what kind of ghost the new ruler is and how best to thank and appease him. So Jason had no shortage of stories about the teenager's deeds.

~~~~

Jason to Frostbite: Well, you guys and your lil hobby are nice but I don't understand at all what's so cool about this guy, even if he defeated Pariah Dark and gets along with most of the Ancients…

Danny: *comes to visit Frostbite*, *slips and falls three times, sets the kitchen on fire in an attempt to make coffee then sheepishly smiles at Jason*.

Jason to Frostbite: ... Okay, Understandable, I Hope Danny Has a Nice Day and Some Sleep.

Tucker: Congratulations, you've acquired another Paulina. Great job. Danny: I'd rather he just asked me out instead of worshipping me. What the hell? I'm just a semi-ghost.

Tucker: Maybe things would be easier if you just gave him your phone number, you know? Danny: But he didn't ask. Tucker: Why didn't you ask? Danny: I couldn't! He's Robin himself, you know? Tucker: Well, good luck to you idiots to grow old alone near the altars of each other's name. Danny: Actually lil altar in his honor is not such a bad idea. Maybe this way he'll understand that I like him too.. Tucker: Danny, no!

~~~~

New in Gotham robbers break into Jason's place: Hey, father, God ordered you to share with your neighbors, so bring us some money or we.. Jason, who is talking on the phone with Danny: In fact, he just said that if you don't get out of here now, he will turn a blind eye to the fact that I will use my guns.

Danny*screams internally*: Oh Ancients, he's sooo cool!

Pandora: Honey, we're happy for you but stop flooding us with spam. You have already told 5 times during prayer how good his abs and chest look and how perfect Todd is when he reads aloud. We get it, okay? Clockwork: Well, I actually enjoy it. It's so much more interesting to watch while listening to the internal dialogue. Show must go on~ Danny: ...Get out of my mind! Nocturn: Thou shalt not take the name of the Lords in vain if you don't want to share with us, lil blob. So rude.

~~~Team Song: You Are My Religion · Firehouse~~~~