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nyttedryst · 2 months

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You had one job.

It's to deliver Kento's lunch without being seen by him or talk with him since your ass thinks it's much convenient rather than arguing again. After all you turn silent whenever in front of a confrontation which Kento would always do like the mature man he is.

You had one job.

Literary one job, so why are you on his office's couch writhing with his head in between your thighs and a couple of bullet vibrators he managed to tape on your sensitive nipples

"still not gonna talk ha? Stubborn brat."

He muffled, sloppily sucking onto your clit that makes your back arched and your hips bucking up to his face practically humping his tongue. You huffed throwing your head back as you bit onto your fingers when he paused in the middle of you being on the edge. Completely denying you of your climax for the nth time, your cunt desperately clenching around nothing.

Kento is not the type of man to be physically affectionate in public, that's just not him but apparently he's the type to secretly fuck you on his office in the middle of the day the moment he saw how one of his employee eyed you down with that sundress.

"Nami- wait- Can't-" you can barely form coherent words when a knock on the door interrupted. Loud squelching remaining echoing through the room.

"oh so now you wanna talk? Too late doll. Come in." You push the edge of your sundress down, covering his head which causes him to chuckle. His hand sneakily grabs another bullet vibrator which he entered in your soaked walls. Your mind although fogged up from the ecstasy managed to glance as the door opened, his secretary shock and flustered immediately turn back.

"I said come in." With hesitation, his secretary entered, their gaze avoiding yours. Kento keeps his pace on your clit, together with the vibrations of the toys attached to you bringing you to pure ecstasy. You're crying, whimpering as you grip his hair pulling it which he didn't really care about, you just taste so divine..so addictive to think this is all his.

"sir- I uhh have gathered the papers that need your signature..I..have also contacted Mr. Yue from the.. Acnoba company and they agreed on testing and improving our new product with their help they wish to have a meeting with you tomorrow should I add it to your schedule?" His secretary's words blurred in with your noises, he so professionally pulled away keeping his thumb on your clit. His gaze never wavered from your poor quivering body, hungrily taking in the sight that intoxicates his mind.

"leave the papers on my desk, add the meeting with Mr. Yue to my schedule. Inform them that I am looking forward to collaborating with Acnoba and exploring the possibilities of improving our new product-" His words got cut off as you let out a whine when he swiftly took out the bullet vibrator from your cunt to your clit. His digits replace the toy relishing in on how you deliciously spasm around it relentlessly hitting that spot that makes your eyes roll back.

"also prepare the contract for the collaboration of the- oh." He turned silent as you arched your back hiding your face as you squirt all over him. From his fingers to his face... A second of silence passed, his secretary not being able to handle the situation excuse themselves.

"mmm, bad move doll."

#jjk x reader #jjk smut #nanami smut #nanami kento #nanami x reader #kento nanami #jujutsu kaisen x reader #jujutsu kaisen smut #kento x reader #i'm too lazy to proofread this

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inkskinned · 1 year

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"the curtains weren't blue on purpose. why should we care?"

my love! let me ask you this - did you eat breakfast today? this tiny moment in your life. just think about it. did you?

for some of you, the answer is yes and for some of you it is technically and for some of you it is does coffee count. some of you reached for cereal or gmo-free overnight oats or frozen waffles or 3-day-old pizza. sometimes we eat the same thing, every day, for weeks. i get tired of eggs randomly, only to go back to craving them desperately. i'm cuban; i take my coffee like my father showed me, very milky and sweet.

some of us ate in a hurry. some of us hate eating breakfast but if we don't we will get nauseous later. some of us took our meds first or took our meds after. some of us have a kitchen 5 feet wide and sometimes it's the biggest room in the house. some of us are confident there will be food in the pantry and some of us flinch and say well, the paycheck is coming. some of us turn on a podcast while we eat or we scroll our phones or write in our diaries.

some of us are choosing, specifically, not to eat breakfast. some of us are too busy. some of us are pretending we "just forgot," but we are ignoring the warning signs that everything feels too-heavy. some of us are so consumed with anxiety or grief that we can't eat. some of us can't stand up long enough to make our coffee. some of us have no table to sit down and eat.

i cannot tell you what an artist "meant" by their choices. but they did have to make a choice, conscious or otherwise, to give you information. to give you a little bit more light. each of these choices are little stars of data; connecting speckles for you to weave through, drawing a line.

you cannot use a mirror in a dark room. for some of us; we will not care that the curtains are blue, because that will just be a data point and not enough light to see by. for some of us, the blue curtains will be the same as our childhood bedroom. it will make us seasick. for some of us, blue will be the color of frostbite. it might look like a pixel up close; but from a distance, oh! the picture blooms.

i cannot tell you what will stick out for you. what will carry meaning. some of you will read the sentence "i didn't have breakfast today" and say "this means nothing." some of you will read that and say "oh, me neither." some of you will say "this means the character is probably a little grouchy." some of you will say "oh, i wonder if they're okay. why didn't they eat anything?" ... art is a mirror. i am holding hands with you, over space and time, and asking you to feel something with me.

i want you to read my work and find a blue pair of curtains. i want you to read my work and find things in it that i never imagined placing. i have no way of knowing what will resonate with you, that's true. and maybe i just was hungry while i wrote this, and thinking about the eggs in my fridge. but if you found meaning, that meaning is yours. it cannot be erased just because i didn't "intend" it. you created a different world by interpreting my work. it's collaborative! that's beautiful! that's stunning!

just! imagine looking at the night sky and saying - it's stupid to have a favorite constellation or a favorite star. they're just there.

because here's the thing - across centuries and cultures, we look up. we still find meaning in the stars. these beautiful, lovely scattered accidents. are you looking? they call. and we look back and say oh! of course we are!

#this got away from me #but like #u know #reading is a form of creation #and sometimes the choice that the author makes might SEEM random #but it's like. bro that's telling u something.#also hate the vibe where authors/artists mock their audience for finding meaning in something #nahhhh #if u make art u need to be okay with people finding their own reflection in it

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justpollux · 3 months

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"@/dillonGoo:

Given the latest developments, I'm seriously interested in acquiring @/OfficialRWBY from @/RoosterTeeth. Who should I talk to?

Much of our team worked on the original volumes and collaborated directly with Monty. We'd be honored to bring the series back and carry the torch #RWBY"

Please god, Dillon worked on V3 and animated some incredible, iconic scenes (Velvet's big moment and Cinder VS Pyrrha, for example), and his animation studio now has some incredible work. Please please please put RWBY into the hands of someone who really truly cares for it 🙏🙏🙏

#rwby #rooster teeth #pollux posts #i know wb probably won't make it easy but PLEASE

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fuckyeahgoodomens · 3 months

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Oooh! A great Gavin Finney (Good Omens Director of Photography) interview with Helen Parkinson for the British Cinematographer! :)

HEAVEN SENT

Gifted a vast creative landscape from two of fantasy’s foremost authors to play with, Gavin Finney BSC reveals how he crafted the otherworldly visuals for Good Omens 2.

It started with a letter from beyond the grave. Following fantasy maestro Sir Terry Pratchett’s untimely death in 2015, Neil Gaiman decided he wouldn’t adapt their co-authored 1990 novel, Good Omens, without his collaborator. That was, until he was presented with a posthumous missive from Pratchett asking him to do just that.

For Gaiman, it was a request that proved impossible to decline: he brought Good Omens season one to the screen in 2019, a careful homage to its source material. His writing, complemented by some inspired casting – David Tennant plays the irrepressible demon Crowley, alongside Michael Sheen as angel-slash-bookseller Aziraphale – and award-nominated visuals from Gavin Finney BSC, proved a potent combination for Prime Video viewers.

Aziraphale’s bookshop was a set design triumph.

Season two departs from the faithful literary adaptation of its predecessor, instead imagining what comes next for Crowley and Aziraphale. Its storyline is built off a conversation that Pratchett and Gaiman shared during a jetlagged stay in Seattle for the 1989 World Fantasy Convention. Gaiman remembers: “The idea was always that we would tell the story that Terry and I came up with in 1989 in Seattle, but that we would do that in our own time and in our own way. So, once Good Omens (S1) was done, all I knew was that I really, really wanted to tell the rest of the story.”

Telling that story visually may sound daunting, but cinematographer Finney is no stranger to the wonderfully idiosyncratic world of Pratchett and co. As well as lensing Good Omens’ first outing, he’s also shot three other Pratchett stories – TV mini series Hogfather (2006), and TV mini-series The Colour of Magic (2008) and Going Postal (2010).

He relishes how the authors provide a vast creative landscape for him to riff off. “The great thing about Pratchett and Gaiman is that there’s no limit to what you can do creatively – everything is up for grabs,” he muses. “When we did the first Pratchett films and the first Good Omens, you couldn’t start by saying, ‘Okay, what should this look like?’, because nothing looks like Pratchett’s world. So, you’re starting from scratch, with no references, and that starting point can be anything you want it to be.”

Season two saw the introduction of inside-outside sets for key locations including Aziraphale’s bookshop.

From start to finish

The sole DP on the six-episode season, Finney was pleased to team up again with returning director Douglas Mackinnon for the “immensely complicated” shoot, and the pair began eight weeks of prep in summer 2021. A big change was the production shifting the main soho set from Bovington airfield, near London, up to Edinburgh’s Pyramids Studio. Much of the action in Good Omens takes place on the Soho street that’s home to Aziraphale’s bookshop, which was built as an exterior set on the former airfield for season one. Season two, however, saw the introduction of inside-outside sets for key locations including the bookshop, record store and pub, to minimise reliance on green screen.

Finney brought over many elements of his season one lensing, especially Mackinnon’s emphasis on keeping the camera moving, which involved lots of prep and testing. “We had a full-time Scorpio 45’ for the whole shoot (run by key grip Tim Critchell and his team), two Steadicam operators (A camera – Ed Clark and B camera Martin Newstead) all the way through, and in any one day we’d often go from Steadicam, to crane, to dolly and back again,” he says. “The camera is moving all the time, but it’s always driven by the story.”

One key difference for season two, however, was the move to large-format visuals. Finney tested three large-format cameras and the winner was the Alexa LF (assisted by the Mini LF where conditions required), thanks to its look and flexibility.

The minisodes were shot on Cooke anamorphics, giving Finney the ideal balance of anamorphic-style glares and characteristics without too much veiling flare.

A more complex decision was finding the right lenses for the job. “You hear about all these whizzy new lenses that are re-barrelled ancient Russian glass, but I needed at least two full sets for the main unit, then another set for the second unit, then maybe another set again for the VFX unit,” Finney explains. “If you only have one set of this exotic glass, it’s no good for the show.”

He tested a vast array of lenses before settling on Zeiss Supremes, supplied by rental house Media Dog. These ticked all the boxes for the project: “They had a really nice look – they’re a modern design but not over sharp, which can look a bit electronic and a bit much, especially with faces. When you’re dealing with a lot of wigs and prosthetics, we didn’t want to go that sharp. The Supremes had a very nice colour palette and nice roll-off. They’re also much smaller than a lot of large-format glass, so that made it easy for Steadicam and remote cranes. They also provided additional metadata, which was very useful for the VFX department (VFX services were provided by Milk VFX).”

The Supremes were paired with a selection of filters to characterise the show’s varied locations and characters. For example, Tiffen Bronze Glimmerglass were paired with bookshop scenes; Black Pro-Mist was used for Hell; and Black Diffusion FX for Crowley’s present-day storyline.

Finney worked closely with the show’s DIT, Donald MacSween, and colourist, Gareth Spensley, to develop the look for the minisode.

Maximising minisodes

Episodes two, three and four of season two each contain a ‘minisode’ – an extended flashback set in Biblical times, 1820s Edinburgh and wartime London respectively. “Douglas wanted the minisodes to have very strong identities and look as different from the present day as possible, so we’d instantly know we were in a minisode and not the present day,” Finney explains.

One way to shape their distinctive look was through using Cooke anamorphic lenses. As Finney notes: “The Cookes had the right balance of controllable, anamorphic-style flares and characteristics without having so much veiling flare that they would be hard to use on green screens. They just struck the right balance of aesthetics, VFX requirements and availability.” The show adopted the anamorphic aspect ratio (2:39.1), an unusual move for a comedy, but one which offered them more interesting framing opportunities.

Good Omens 2 was shot on the Alexa LF, paired with Zeiss Supremes for the present-day scenes.

The minisodes were also given various levels of film grain to set them apart from the present-day scenes. Finney first experimented with this with the show’s DIT Donald MacSween using the DaVinci Resolve plugin FilmConvert. Taking that as a starting point, the show’s colourist, Company 3’s Gareth Spensley, then crafted his own film emulation inspired by two-strip Technicolor. “There was a lot of testing in the grade to find the look for these minisodes, with different amounts of grain and different types of either Technicolor three-strip or two-strip,” Finney recalls. “Then we’d add grain and film weave on that, then on top we added film flares. In the Biblical scenes we added more dust and motes in the air.”

Establishing the show’s lighting was a key part of Finney’s testing process, working closely with gaffer Scott Napier and drawing upon PKE Lighting’s inventory. Good Omens’ new Scottish location posed an initial challenge: as the studio was in an old warehouse rather than being purpose-built for filming, its ceilings weren’t as high as one would normally expect. This meant Finney and Napier had to work out a low-profile way of putting in a lot of fixtures.

Inside Crowley’s treasured Bentley.

Their first task was to test various textiles, LED wash lights and different weight loadings, to establish what they were working with for the street exteriors. “We worked out that what was needed were 12 SkyPanels per 20’x20’ silk, so each one was a block of 20’x20’, then we scaled that up,” Finney recalls. “I wanted a very seamless sky, so I used full grid cloth which made it very, very smooth. That was important because we’ve got lots of cars constantly driving around the set and the sloped windscreens reflect the ceiling. So we had to have seamless textiles – PKE had to source around 12,000 feet of textiles so that we could put them together, so the reflections in the windscreens of the cars just showed white gridcloth rather than lots of stage lights. We then drove the car around the set to test it from different angles.”

On the floor, they mostly worked with LEDs, providing huge energy and cost savings for the production. Astera’s Titan Tubes came in handy for a fun flashback scene with John Hamm’s character Gabriel. The DP remembers: “[Gabriel] was travelling down a 30-foot feather tunnel. We built a feather tunnel on the stage and wrapped it in a ring of Astera tubes, which were then programmed by dimmer op Jon Towler to animate, pulse and change different colours. Each part of Gabriel’s journey through his consciousness has a different colour to it.”

Among the rigs built was a 20-strong Creamsource Vortex setup for the graveyard scene in the “Body Snatchers” minisode, shot in Stirling. “We took all the yokes off each light then put them on a custom-made aluminium rig so we could have them very close. We put them up on a big telehandler on a hill that gave me a soft mood light, which was very adjustable, windproof and rainproof.”

Shooting on the VP stage for the birth of the universe scenes in episode one.

Sky’s the limit

A lot of weather effects were done in camera – including lightning effects pulsed in that allowed both direct fork lightning and sheet lightning to spread down the streets. In the grade, colourist Spensley was also able to work his creative magic on the show’s skies. “Gareth is a very artistic colourist – he’s a genius at changing skies,” Finney says. “Often in the UK you get these very boring, flat skies, but he’s got a library of dramatic skies that you can drop in. That would usually be done by VFX, but he’s got the ability to do it in Baselight, so a flat sky suddenly becomes a glorious sunset.”

Finney emphasises that the grade is a very involved process for a series like Good Omens, especially with its VFX-heavy nature. “This means VFX sequences often need extra work when it comes back into the timeline,” says the DP. “So, we often add camera movement or camera shake to crank the image up a bit. Having a colourist like Gareth is central to a big show like Good Omens, to bring all the different visual elements together and to make it seamless. It’s quite a long grade process but it’s worth its weight in gold.”

Shooting in the VR cube for the blitz scenes .

Finney took advantage of virtual production (VP) technology for the driving scenes in Crowley’s classic Bentley. The volume was built on their Scottish set: a 4x7m cube with a roof that could go up and down on motorised winches as needed. “We pulled the cars in and out on skates – they went up on little jacks, which you could then rotate and move the car around within the volume,” he explains. “We had two floating screens that we could move around to fill in and use as additional source lighting. Then we had generated plates – either CGI or real location plates –projected 360º around the car. Sometimes we used the volume in-camera but if we needed to do more work downstream; we’d use a green screen frustum.” Universal Pixels collaborated with Finney to supply in-camera VFX expertise, crew and technical equipment for the in-vehicle driving sequences and rear projection for the crucial car shots.

John Hamm was suspended in the middle of this lighting rig and superimposed into the feather tunnel.

Interestingly, while shooting at a VP stage in Leith, the team also used the volume as a huge, animated light source in its own right – a new technique for Finney. “We had the camera pointing away from [the volume] so the screen provided this massive, IMAX-sized light effect for the actors. We had a simple animation of the expanding universe projected onto the screen so the actors could actually see it, and it gave me the animated light back on the actors.”

Bringing such esteemed authors’ imaginations to the screen is no small task, but Finney was proud to helped bring Crowley and Aziraphale’s adventures to life once again. He adds: “What’s nice about Good Omens, especially when there’s so much bad news in the world, is that it’s a good news show. It’s a very funny show. It’s also about good and evil, love and doing the right thing, people getting together irrespective of backgrounds. It’s a hopeful message, and I think that that’s what we all need.”

Finney is no stranger to the idiosyncratic world of Sir Terry Pratchett and Neil Gaiman.

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vamptastic · 1 year

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been starting to realize that ive been doing Real Bad for a Real Long time and it's a bit scary. ive upped my antidepressants which should help in a couple weeks (and them starting to wear off is probably what caused the depressive spiral, tbh). and honestly just knowing what's going on and being able to take active steps to fix it instead of feeling like ive just suddenly lost my ability to be a whole human person is helpful.

but god it's so scary that i was like that for months and didn't really notice. i mean, obviously i knew things were bad, but i was really attributing it to a personal inability to keep up with the expectations around me and not realizing i was mostly struggling so much because my mental health had tanked. i managed to scrape my way out of this one without crazy longterm damage, beyond worrying some teachers, missing the early application deadlines for a couple schools, and overall reinforcing the idea that i am unwell and not to be trusted with my parents, but it's very demoralizing to know that even though i work very hard when i'm able to there will probably always be periods in my life when my depression impedes me from amount of work expected of a normal human being.

i mean, i'm still in high school, and i couldn't keep up with just coming to school every day and keeping up with classwork. i'm not saying this makes me a terrible person, contributing to society isn't what gives someone worth, but i know i'm capable of more without this setback and it's frustrating.

just, i don't know what i'm going to do once i live on my own. having people around me who can look at me and say 'hey man you are clearly going through some shit take it easy' is the only way i can snap out of episodes like these thus far. ive been looking forward to college and feeling like my life and time is going towards a meaningful purpose for so long and i am going to be so, so upset if i fuck it up.

it just hurts having high expectations put on me, i guess. i don't want go on a litany of gifted kid woes or whatever but i am very intellectually intelligent and adults have looked at that and assumed i must succeed and if i'm not i'm not trying hard enough. it's great when i do achieve something big and i get to fulfill those expectations but i just don't know if i can, in the long term.

i struggle with such basic parts of being a functional adult. and i know my parents and teachers do just want me to be happy and don't care if i don't end up where they thought i would, but it just always feels like there's this better version of me out there if i could just stop missing school and stop procrastinating and really apply myself. but when i DO apply myself i quickly burn out and enter another destructive spiral.

there's not really a point to this, i guess. just that i want to succeed and i don't want to fuck it all up for myself because my brain tells me it doesn't matter for a few months. it does, when i'm not depressed i do care, so so so much, and i hate having to fight myself for what i want.

#txt #i know there's like a lot of internalized abelism here #i mean idk that im disabled per se but #its easy for me to look at someone else and say that just living is all that is required and ability to work doesn't give you worth #but i can't really apply it to myself #kinda for commie reasons. i believe strongly in the power of my ideals i guess. that everyone should want to help other people.#that a good life is spent fighting for others rights. that that's a virtue. but i mean.#that's kind of contradictory cos like who is fighting for my life and happiness? why does other ppls wellbeing matter but not mine?#and i guess i need to learn to see life as more collaborative. each to his own ability yk?#like every person should help others as much as they can. but if they can't at all? it's okay.#even if they can't do as much as others think they would bc of their mental health. also okay.#it is just hard to actually believe that when so few ppl actually believe their life should be dedicated towards smth useful to society #that their personal wealth and comfort while still valuable is not more valuable than others. t that they should care abt those worth off #guess there is value to the idea that you should get to do what you want with your life too. suppose that is the primary issue w communism #i mean every job is valuable to society nvm. anyway I'm sort of off the rails here uhm #depression sux im sick of it i want to be an environmental engineer and i don't want this to hold me back.

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kathaynesart · 6 months

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Frankly Sir, the whole procedure was a joke. For all their power they’re just a bunch of undisciplined runts. The leader was the only one halfway decent at lying to my face and he broke upon seeing the Key.

Were you able to gather any further information in regards to the Key’s whereabouts?

None yet. However, it’s obvious that these mutants were involved somehow…

…Do you suspect they had a hand in acquiring the Key for the enemy?

I… can’t say for certain yet. However, I doubt any sort of intentional collaboration occurred.

And what of their origin?

Obviously falsified. But to what degree I can’t say. The DNA samples however have been far more enlightening.

How so?

They’re different from other mutants, human or animal. They’re completely free of the usual abnormalities. It’s almost as if… they were designed to be what they are. Instead of just some freak accident.

…Your final assessment, then? Given the information you’ve gathered it appears they should be immobilized and transported for further testing.

With all due respect, Sir, I wouldn’t dare hand them over to the labs. I’m not about to let those coats dissect the only edge we now have against the Krang. Frankly I don’t care if they’re turtles or humans or even more aliens. They’re the best chance we have at winning this war. Given the state of things I feel they will side with our cause.

…Then, so long as they prove useful, I shall defer to you, Agent Bishop. Keep in mind that it is EPF‘s job not only to protect the people of Earth from threats such as the Krang but from those within our own walls. It will be your job to keep them under constant surveillance. And should they step out of line in the slightest…

I understand, Sir.

~~~

I wasn't going to post this, but I have been receiving a number of questions in regards to the interview / interrogation. While I don't think this scene is necessary reading material, it does shed some light on what to expect for the Holiday Special and the boys' place within the Central Park Colony. I have way too much stuff in my head that will never see the light of day, so here, have a snippet.

NOTE: also... I may have realized that I accidentally put the wrong colony name in the interview comic >_< It should be the CENTRAL PARK COLONY that's interviewing them, NOT the LIBERTY COLONY (which is the better, less racist one that they create years later). 5,000 likes and reblogs later and it has now been corrected, oops. Ehehe I apologize for any confusion this may have caused.

#should I put this in the comic archive?#i don't know since it's more heavy reading material than the usual comic #Holiday Special coming soon #hopefully #I am taking way too long on this but I think people will like it #rottmnt replica #replica #rottmnt #kathaynesart #save rottmnt #rise of the teenage mutant ninja turtles #unpause rise of the tmnt #unpause rottmnt

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prokopetz · 9 months

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The Gremlin Game Designer's Creed

Rules are toys, and the process of rules-mediated play consists of smashing their faces together like little girls making their Barbies make out. Unless a rules module is explicitly intended to be enacted solo, it should present a generous surface area for other rules to bite into. The most elegantly self-contained piece of rules design is, collaboratively speaking, also the most useless.

The principal function of "player characters" as discrete collections of mechanical traits is to furnish each player with an assemblage of shiny things to show off to other players. Mechanical abstraction is well and good, but if you abstract away the act of curating one's collection of shinies, player engagement will suffer.

The GM, if present, is a fellow player. Ensure that they have their own toys and shinies to play with. The failure of a game to provide these is often a major contributor to why nobody wants to run it!

The most effective way of encouraging players to do what you want is to make a number go up. This applies to both to rewards and to misfortunes; a number counting up to disaster a much more visceral motivator than a number counting down to zero.

Crunch is good. The defining feature of tabletop roleplaying is that rules produce stories. The act of interpreting the outputs of the rules and the act of telling the game's story are the same activity. Be mindful of what kinds of stories your rules want to tell; you may find that their opinion on the matter differs from your own!

Actually assembling your game's rules is as much a process of discovery as it is of invention. In the course of designing and playtesting, you may find that your own game has rules that you didn't know about. Where did they come from? It is a mystery.

Randomised outcomes should be made mandatory with care and restraint; randomised outcomes should be made available with delirious abandon. As far as is practicable, players should always have the option of asking the dice what unhinged bullshit should happen next. Corollary: lookup tables are your friend.

Players don't need your permission to depart from the rules as written; granting it is arrogant. By the same token, however, it should never be unclear to players whether they're departing from the rules as written. Let the thought process behind what you're writing hang out for all the world to see; folks will be rummaging in the game's guts anyway, so give them easy access.

If your game has a default setting, explain it as little as possible, but always let the rules and presentation reflect it. Seeing an entry for "poorly made dwarf" in a table of player character backgrounds will fire a group's imagination more strongly in three words than a chapter stuffed with worldbuilding lore could in ten thousand.

You don't need to be good at naming things as long as you're good at puns. Wordplay, alliteration and rhyme may also serve in this capacity, as, in a pinch, may a well placed dick joke.

#gaming #tabletop roleplaying #tabletop rpgs #game design #penis mention #swearing

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ew-selfish-art · 8 months

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Dp x DC AU: Danny didn't want to rely on his rogues, but Tucker's computer skills only got them so far and if the media black out continues... Danny knows it's not going to be pretty for them. Nightmares begin to plague the Justice League.

---

Danny gets back from a shitty conversation with Clockwork and in his frustration, accidentally sets off one of the new GIW sensors that his parents allowed to be installed in the lab. Their collaboration seemed to be going no where but when Danny had new holes blasted through him... it must be going somewhere. Damn it.

The commotion is loud enough that Jazz hears it from her room above the lab (he knows she listens to more than just the lab... it's cause she cares, even if it is a bit invasive.) and rushes in to play the distraction while Danny gets away. This time it works- the Drs. Fenton might have the worst aim in the city but they demand all shots cease if a civilian is nearby- Next time his mom might be aiming her gun at him and not the ground. Danny decides he'll buy Jazz a coffee on his way home.

But first, new holes. Yikes. That like, needs medical attention- He heads to Tucker's place and he's pretty sure Sam is already there.

"Danny! What the fuck, did Clockwork-" She starts, her meticulous cat eyeliner making her glare all the deeper.

"Nah, it's the stupid GIW sensor, the stupid one I told you guys about that has a spring lose in the back?"

"I thought we decided those weren't a concern?" Tucker looks him over, face covered in undisguised and very blatant concern.

"Yeah well, Clocky pissed me off so I forgot about them when I came back in through the lab portal-"

"you were supposed to be practicing making your own." Sam interrupts.

"-And when I did, the thing got knocked and I was swatted like immediately. Jazz launched herself into the lab so Mom made them stop shooting and it gave me enough time to get out." Danny continued to explain, ignoring his friend's 'i told you so' faces.

"Dude. We're pushing it close this week. Sam already had a confrontation with the lab guys and I already got blacklisted on my new persona accounts. We're like seriously threading the needle for getting caught." Tucker, pulls his glasses down to pinch the bridge of his nose and Danny and Sam both get what he's really saying. They need to lie low.

"What did CW say to piss you off?" Sam asks after a silent moment.

"He said nothing really, just like he always does, but insinuated I should try getting a rogue to help." Danny sighs.

"What, Like getting Ember to announce the GIW invasion on her tour? We already agreed that-" Sam is getting angry as she speaks so Tuck cuts her off- "It's a bad Idea. She is- They are all just as likely to get captured and hurt as you are if you go out of town." He comes to the same conclusion they've agreed on for weeks. No rogue involvement.

"Maybe we just need to sleep on it... Hey... wait." Danny sighs, but then his gears start to turn.

"Nocturn. We need Nocturn to help us. He can get the message out through dreams." Danny comes to the new conclusion and his friends look hesitant but at least like they're considering it.

"Isn't he an ancient? He's not going to help us for free." Tucker, ever the Egyptian god in these moments.

"Most people don't take their dreams literally." Sam, ever the skeptic in these moments.

"Yeah but, if they dream it enough times, and they're the right people to do something... they can look it up and then at least see that there is a problem?" Danny sounds hopeful and its the first time he's sounded that way in months.

"What, you're gunna give Batman nightmares?" Tucker snickers but Sam looks inspired.

"That's exactly what he's going to do. We need to haunt the Justice League. They'll see past the fake facade the GIW put up online and they'll be able to get the right legislation passed." Sam is practically buzzing.

"Okay, so lets get scheming- What do you get the primordial beast of the unconscious? Should I google 'what to get someone who has everything'? " Danny laughs.

_____

Bruce and his children rarely do feelings when they have breakfast in the morning after a night of separate patrols, but it seems as though the room is plagued with unease. Tim looks about as tired as ever, so his unease is probably attributable to WE board meetings, but its unlike the rest of his children to be so... disturbed. For some reason, after Alfred has excused them all from eating more than a few nibbles, they make it to the cave. Bruce is glad for the noise his children bring.

The nightmare's he's been having are following a dark plot. A town, a boy who looks like he was kin, and so, so much death. Bruce has had vivid dreams before in life, but this nightmare is... unreal. He tries to remind himself that it's just a nightmare.

When his JL emergency communicator goes off at the computer desk, he's not expecting it to be Dinah Lance. She and her Birds are typically wary of him in Gotham, even if they work well together in the League. He answers it like he would any Batman call, with silence.

"Bats, we have a problem. Any chance you've been having weird dreams about a kid getting experimented on or a town being burned down? Ghosts? Lazarus portals?" Dinah sounds exhausted, but Bruce snaps to her voice with rapt attention. As do all of his children.

"I-" Bruce takes a look around the room, everyone's heads except for Tim's nodding up and down with distress," We all have."

"Something tells me that they whole JL is. Everyone I've talked to this week has had a variation of the same dream. We either have a telepath trying to tell us something, or something even worse than that."

"I'll call emergency meeting, we need to collect details and try to determine the complete message."

"I'll send you what I've noted down so far, sans personal details of course, it's definitely in a town called Amity Park though. My client this morning saw the sign."

Batman grunts and the call ends. It's time to get to work.

----

When the Justice League finally arrives, the town is glowing, and everything feels like... sleep. smothering. snoring. smoking. smoldering.

And then, despite the exhaustion that echos within them, the trudge onwards. The noise of laser guns certainly wakes them up a bit.

#tim hasn't seen shit cause he never sleeps but he has the same energy level to get shit done #dc x dp crossover #dcxdp #dpxdc #dc x dp #dp x dc #danny phantom #dc crossover #dp crossover #long post #dinah lance #nocturn haunts the JL #its up to you to get angsty with the demand he made in exchange for helping team phantom #nocturn is such a fun villain concept but like he's an information outlet so...#Lots could go right or wrong with this plan #tim drake x sleep is something i'll never ship tho #fentons working with GIW could be as benign or evil as wanted #is jazz in peril after this??? PERHAPS

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