#will add more eventually. maybe

[sans-theskele-oof]

The Traffic Life Series And Their Parallels *note: limited life just started. this will not remain accurate*

Third Life- 14 players. Three life system. Five different alliances. Scarian is prominent. Jimmy Solidarity is in a gay relationship. *author’s note. I have not seen 3L. And I never will.*

Last Life- 17 players. Multi-life system. Five different alliances. Team BEST. Southlands (British boys + impulse) doing a bit at the end of the first ep. *author’s note. the best life series. argue with the wall.*

Double Life- 14 players. Three life system. Seven different duos. Scarian returns. Jimmy Solidarity is back in a gay relationship. *author’s note. was a good series, however i don’t remember much*

Limited Life- 14 players. Timed life system. Five different alliances. Team TIES. Bad Boys (British boys) doing a bit at the end of the first ep.  *author’s note. the series should probably be finished before i actually continue*

Third Life and Double Life for too many parallels to be a coincidence. Would it be a safe assumption to make that Last Life and Limited Life will have many parallels?

[alicornze7]

Silly guys goin' on silly adventures:]

@rorydrawsandwrites's puppeteer au but the only difference is that jax gives consent

My contribution to this wonderful au has been long overdue:')

Rambling in tags ehe (cw: ribbun:p)

Well maybe it's not the only difference

[swamp-teeth]

*starts collecting them like marbles*

[ohgreat-moretapes]

Tim I noticed a lot of indigenous patches on your jacket, are you Native?

Idk what my dad was 'cause I never knew him, but yeah my mom is (or... Was.. I guess..) Muscogee, the tribe native to the part of Alabama I'm in.

If I remember correctly she came to Alabama from Oklahoma (where a lot of Natives were displaced to in the 1800s) to "get back to her roots."

But yknow, I was separated from her in childhood (which tbh is upsettingly common for Native families) and I was raised in a very white very Catholic asylum so I'm not as connected to the culture as I'd like to be.

-Tim

[byanyan]

okay. okay. it is done.

lmk if you see anything weird or think something should be written better!! also blanket content warning on the bio bc there's a lot of heavy fuckin stuff in there, though it is all marked (i think. hmu if i missed smth). same goes for the timeline but that's all written more matter-of-fact and less detailed so i just slapped a cw at the very top of the page

[fyngrot]

ever wanted to know what guardians of ga'hoole character you most connect with? ever been extremely into this series and bothered that most of the existing quizzes only have the band as results and not [insert minor character of choice]? well boy did i make a quiz for you

[nikolas-ghostbusters-fixation]

Something I've been thinking a lot about lately is how everyone thought Egon had gone insane. What Happened that made them think that. They've fought a gigantic Stay Puft Marshmellow Man TWICE (counting the 2009 video game because iirc it's canon? Correct me if I'm wrong), fought an interdimensional god, fought a blood thirsty ruler that killed thousands and was hated by all that was trapped in a painting (and managed to get in to beat him by making THE STATUE OF LIBERTY start walking down the street with slime that reacted purely based on vibes), found an underground abandoned transit system full of the moodslime, had a bathtub try to eat Dana and her baby, fought a giant murderous black widow lady, fought the fisherman ghost who turned an entire hotel floor into the bottom of a ocean, and that's not even mentioning them getting trapped on an island that randomly raised up from underwater that had been abandoned for decades created by Ivor Shandor who worshipped Gozer. So what did he do or say that made everyone else think he'd gone insane?? All I can think is maybe he was acting strange / eratic before, but he's always been like that to some degree.

I don't know. It's something that I've been thinking about. The correct answer is 'it's not that deep and they needed a reason that the others weren't together anymore and weren't aware of Egons death or know what was going on,' but also. What Was He Saying that prompted everyone, including Ray, to think he lost his mind when he'd been right almost every time before that.

I'm genuinely so curious as to what he was up to before this. What was he doing. What insane idea was working on prior to this or was he even working on anything at all??

Also want to clarify this post isn't negative 😭 I really love the newer movies and their lore / the newer storyline / characters, I just like thinking about small stupid things like this. Gives me something to think about / speculate about / figure out an answer to.

[danketsuround]

First name basis - regarding Kuwana's one-sided relationship with Mitsuru through a cultural and linguistic lens

I haven't seen anyone else point this out so I wanted to mention it because I think it provides some insight to Kuwana and Mitsuru's relationship to each other despite them never having the opportunity to interact in game.

Has anyone else noticed that Kuwana refers to all of his former students by their last names? (Yui) Mamiya, (Yasushi) Akaike, (Shinya) Kawai, (Yoko) Sawa - then, Mitsuru (Kusumoto).

It could be argued that Kuwana refers to Mitsuru by his first name in order for players to be able to immediately distinguish between "Kusumoto" (Reiko) and "Kusumoto" (Mitsuru), but I also read it as how Kitakata unintentionally ostracized Mitsuru from his peers: how, in turn, Kuwana treats Mitsuru more preciously than others.

Tellingly, Kuwana refers to Mamiya and Sawa with the -kun honorific. Most people who have a rudimentary understanding of Japanese know that -kun is often used for young(er) boys. However, using -kun for adult women is more of a formality. In Sawa's case, I believe -kun is used for her out of mutual respect. -kun can also be used by male teachers to refer to their female students.

Despite never seeing Kitakata interact with any of his students in the past, we can infer from the above information that his way of addressing his former students, at least, has not changed.

Kuwana does not refer to Kawai with any honorifics because he is dead and they clearly do not have a close relationship. He uses -san with Akaike or none at all.

However, Kuwana also occasionally uses -kun with Mitsuru - not out of formality like Mamiya, or respect like Sawa, but rather, because Kuwana still views Mitsuru-kun as a child, or the schoolboy he knew long ago.

**** It's worth noting that Kuwana sometimes does not use honorifics with Mitsuru at all. Similar to Akaike, this is more closely related to how Kuwana used to be his teacher (you may drop honorifics of those who are socially inferior, like teachers with students) and not how Reiko NEVER uses honorifics with Mitsuru because they are family members.

To me, this is why -kun popping up occasionally is rather important. It demonstrates that Kuwana believes in a close relationship or kinship with Mitsuru that he never had.

This presents itself in other ways. Firstly, I'd like to note how he speaks to Kusumoto Reiko. Reiko is the only person Kuwana uses honorific language with (です・ます specifically, keigo, but not full seppuku zarei 許してください type of keigo, just a more formal/distant way of speaking, she mostly returns the formality - Kuwana seems to lower himself when speaking to her. Literally and figuratively, lol).

He also uses the fairly distant-yet-respectful sounding 「あなた」 with her. It's no question that he respects her undyingly ("virtuous and capable"!), yet I believe it is very interesting he refers to Mitsuru using -kun when speaking to her as well! He speaks about Mitsuru with her as if they all know each other well.

Take this line from the finale, while speaking to Reiko on the phone after Ehara's trial ended:

"Enough is enough. You and your son have been through enough hell. I want to protect Mitsuru-kun too. Almost as much as his mother."

(This is my favorite line. It's darling.)

Here, Kuwana is recognizing Reiko's struggles while veeeeeery preciously reminding her that he deeply cares for Mitsuru-kun - comparing himself, almost (and boldly so) to that of a maternal/parental figure.

While I don't think that Kuwana actually views himself as a parental figure to Mitsuru, it is important to note that Mitsuru is quite literally the figurehead and motivation to Kuwana's vigilantism:

"If it means I can prevent another Mitsuru Kusumoto, yes, I will keep killing." (Chapter 10)

"Mitsuru and all those kids... For them to have justice, this is what I had to become!" (Chapter 11)

"The day Mitsuru leapt from the roof, I vowed to atone for the rest of my life." (Chapter 11)

"Do you have any idea what [Mitsuru] was like thirteen years ago? Then you have no right to speak to me that way!" (Chapter 11)

This might be a good place to note that Kitakata's name change is referential to the date Mitsuru attempted suicide (September 17th): Kuwana, Ku (9) + wa (1) + na (7) - it's goroawase! Plus 仁 (Jin) meaning humanity, virtue, goodness.

I'd like to use all of this to talk about a much broader and darker theme. As I wrote in the beginning of this post, I believe Kitakata referring to Mitsuru by his first name - unlike the rest of his classmates - had unforeseen consequences. Being called by your first name by teachers is the choice of that teacher, and it is a very deliberate choice in high school. Kitakata "othered" Mitsuru, unintentionally showing him that he was not deserving of the same respect as his classmates.

Kuwana mentions that he thought he was well-liked by his students, even going as far as to not believe that that level of violence, abuse, and bullying could be happening right under his nose. While I don't believe Kitakata ever willingly participated in bullying Mitsuru, Mitsuru still remained outcasted in his own homeroom until the day he fell into a coma. In part, thanks to the way Kitakata singled him out.

By taking this to heart, Kuwana developed this idea that he and Mitsuru are foiled - that his selfish vigilantism is all for "Mitsuru's sake". In Chapter 11, Kuwana says "Mitsuru and all those kids..." - this shows an inability to recognize Mitsuru as anything other than a victim and a child. Mitsuru is not "Kusumoto-kun" or "Mitsuru-san", he is: Mitsuru-kun. An innocent young boy.

Kitakata may have unintentionally put a target on Mitsuru in class, but Kuwana singles Mitsuru out intentionally - by feeling so indebted to him that Kuwana, frankly, develops a parasocial relationship to Mitsuru's tragedy. And in a way, Mitsuru had become his unintended victim twice.

Moreover, the child he failed to protect, and the one he hurt the most.

[icehearts]

EXPERIMENTS.

The wooden door settles into its frame, iron lock clicking as the mechanism slides into place. Esca’s shoulders slump as she leans against the closed door, sighing. Gods, she’s tired. Relieved.

Confused.

Not once has she ever encountered a hired blade — no, anyone who would so stubbornly refuse extra gil. As if her coin were tainted somehow. Or was his loyalty already bought by whoever hired the Brass Blades — an informant, spying on her perhaps? No, that didn’t seem likely. Perplexing as it may be, Osric’s sincerity was, at least, undeniable.

So could it be that he truly meant what he said? But that would run counter to everything Esca has ever known about conducting business in Ul’dah. Not even offering to buy the silence of a hireling is considered impolite. Insulting, even, as it implies they don’t have any worthwhile connections within the city. It’s more than mere courtesy — it’s simply another cost of doing business. Especially if that business involves seizing property from Brass Blades.

Not that it was theirs to begin with.

She turns her attention to the earthy-smelling crate sitting on the countertop across the room. Its contents are uncomplicated: various botanical ingredients along with some simple medicinal concoctions meant for the refugees settled outside the city gates. Esca’s father understood that many of those displaced were slow to trust unfamiliar medicines offered by strangers, though they could still fashion their own curatives from the proper components. Ensuring that the most vulnerable could still care for themselves in their own ways was important to him. To think that someone would want to exploit that desire to help as a means to punish him—

Anger, blinding and numbing, was too much like a venom, and there's work to do. She can't afford to dwell on that for now.

Fetching and donning a pair of work gloves from a supply drawer, Esca rifles through the contents of the crate, organizing and separating each item by its intended application. Gnarled roots still dusted with soil, plant cuttings and twisted vines, vials of dried leaves, clinking bottles filled with translucent liquids and sticky oils, cork-stoppered jars of rock salt, bags of various elemental crystal shards. Too easily did this array of ingredients rearrange itself in her mind. Plants and reagents reduced to powders and alchemical compounds, recipes and ratios, dosages that could divide a cure from a casualty. For all his genius, that was the sort of thing Esca’s father wouldn’t understand. Or perhaps he chose not to understand. Refused to think of his life’s work as a potential weapon. Esca scoffs. Another frustratingly honest man.

Perhaps it’s her own reasoning that’s to blame. But if it was honesty — her father’s own refusal to be bought — that caused this mess, then perhaps dishonesty was needed to clean it up.

So there, she announces to an invisible audience, hands balled into defiant fists on her hips. Esca would stand by her decision, even if Osric took offense to it. He was right about at least one other thing, though. Esca has been in this city too long. But she can’t leave. Not yet. Not while the refugees are still at risk of whatever scheme is at play, not while her mother’s would-be assassin goes unmasked. The two must be connected somehow. They have to be. And if she could only find out how, then maybe the pain her father was feeling — maybe Esca’s pain, too — would transmute into something smaller. Something more manageable.

[ featuring @osric-giroux-ffxiv as a mention! ]

[jiggleb0ners]

My Kulve Taroth, courtesy of @monarobot ! Done about a year and a half ago, the photo is from shortly after she finally stopped peeling so plz forgive the shiny-ness.

[quinn-pop]

shoutout to that one mtdd confession comic i drew last year that i never posted because uhh

it was unscripted so the ideas were pretty disjointed and it showed a lot. anyway:

[thechaotichorselord]

I’m adding color to it WHY AM I DOING THIS

[greetingsfromuranus]

Shrine is going to be EPIC!!!

Still need to add friends to the friend section (where the yellow paper is)

All the art (excluding the random paper cutouts) is by @raveneesimo !! Thank you very much!!!

[paimonial-rage]

The biggest recommendation I can give on writing dialogue that sounds in character for the character to say is, not to read the quests they are in, but to listen to the English dub whenever you get the chance. This may seem difficult especially if you are used to playing it in another language, but listening is key to getting the vibe of a character down. What you pay attention to is, not what they say, but the cadence in which they say it. Pay attention to the emotion in their voice, the speed at which they say things, the volume, etc. Once you get this down, it becomes easier to get an idea of what “sounds” right and what doesn’t. Cadence is an especially powerful thing. By training your ears to a character’s cadence, you can get a better idea of which words they would prefer to use, the lengths of their sentences, and things of the sort.

For example, reader asks Zhongli to dinner and he accepts. How would he respond? “Hmm, I’m not busy this evening, so I accept. Thank you for the invitation.” But that doesn’t sound right, does it? Is Zhongli the type of person that uses many contractions? I don’t think so, so let’s fix it. “Hmm, I am not busy this evening, so I accept. Thank you for the invitation.” But would he say “I accept?” Perhaps, but it still doesn’t sound right. How has he accepted proposals in the past? A bit of research shows he has said “sure.” How can I mix that in? “Hmm, I’m not busy this evening, so sure. Thank you for the invitation.” But hmm… the second sentence doesn’t sound right. What else could he say instead? “Hmm, I’m not busy this evening, so sure. It would be my pleasure.” That sounds a lot better.

Some people may ask why you can’t do these things while listening to another language. Personally, I don’t believe you can. If you are not fluent in those other languages, your ears are not properly trained enough to understand the nuance of the ways they speak. The correct emotion and tone will come through, yes, but you still won’t be able to intuitively know what sounds right and what does not. You only will get this sense by listening to it in the language you choose to write in.

The only downside to this is that your writing will become based upon the English translation of the game. As many people know, the portrayal of characters in English often does not completely match the portrayals in Chinese. This is especially so for characters like Zhongli, Xiao, and Kaeya. A lot is lost in the translation and dubbing process. Characters do not vibe the same. Thus, your portrayals will be more true to English, but not how it technically is “supposed” to be. Personally, I don’t necessarily believe this is a bad thing. However, it is something that can bother people. The only way I can imagine getting around it is by playing the game with the Chinese dub and by following accounts that speak Chinese and can give insight on the literal translations and what they mean and imply.

[beeholyshit]

I never properly said how they met so...

[jeremiahthefroge]

Every appearance of the red-haired menace that is early Laurence forces me to sit here and stew upon how I will fix his introduction in the rewrite. As a coping mechanism. Unfortunately since I can't remember the parts where his character isn't just harassment so I can't cook with the themes the way I'd like to. Like the way he calls Aph "my love" after she very explicitly in the text of the game tells him not to do that... bad vibes. I think I could rock with his character if he'd done the same sort of approach in hitting on Aphmau as heavily, but the moment she lays down an actual boundary, he backs way the hell off. I could even fuck with her trying to be subtle about the boundary and him not getting it and continuing to make her uncomfortable before she snaps at him and he apologizes, saying that he truly didn't mean anything by it, and he respects the boundary she lays like his life depends on it from then on out. It would create some immediate complexity in his need for explicit communication, and backs up the sort of deeper character hinting they seem to try to do when he's talking about Castor and Cadenza, this idea that he deeply cares, if being a bit pushy on accident. It would also make a good detail fueling the conflicts later on with the love triangle that can sort of prevent Laurence from looking like TOO much of a dickhead (him being unaware or misinterpreting situations, and the delicate nature of it making him uncomfortable asking questions, is a compelling reason to see somebody hurting his friends' feelings, and makes him significantly more sympathetic, opening him up for feelings of remorse and guilt).