And so you fall in love with the boy.
Not because you’re looking for it, or because you want to. Not even because it’s easy.
Because suddenly you wake up, and it’s him. Because one day it all starts making sense. Because one day you look at him and see everything that once was and what could be, and still want to know what is in between.
You forget any and every reservation you had about love, about life, and throw it in the wind.
Because suddenly he’s there, and it all makes sense.
Because suddenly, it’s him. 🤍
- October 2022
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[images ID: three images of a comic titled "one must imagine sisyphus happy" by druid-for-hire. it is a visual narrative beginning with someone with wrist pain (depicted by bright orange nerves) working at a drafting table. the reader is shown the same wrist as the person uses it for many everyday tasks such as carrying a grocery basket, pushing elevator buttons, typing, and doing dishes, until the pain dissolves all the panels into chaos. the person then performs several physical therapy exercises until the pain subsides. they sit back down at a desk with their laptop, sigh, and begin typing. a small spark of pain reappears. end id]
a fun little piece i made during the semester and submitted into our school comic anthology! (which you can buy at the Static Fish table at MoCCAFest in NYC ;] ). it's about artists and injury
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Writing Tips Master Post
Character writing/development:
Character Arcs
Making Character Profiles
Character Development
Comic Relief Arc
Internal Conflict
Creating Distinct Characters
Suicidal Urges/Martyr Complex
Creating Likeable Characters
Writing Strong Female Characters
Writing POC Characters
Character Voices
Plot devices/development:
Intrigue in Storytelling
Enemies to Lovers
Alternatives to Killing Characters
Worldbuilding
Misdirection
Consider Before Killing Characters
Foreshadowing
Narrative:
Emphasising the Stakes
Avoid Info-Dumping
Writing Without Dialogue
1st vs. 2nd vs. 3rd Perspective
Fight Scenes (More)
Transitions
Pacing
Dialogue Tips
Book writing:
Connected vs. Stand-Alone Series
A & B Stories
Writer resources:
Writing YouTube Channels, Podcasts, & Blogs
Outlining/Writing/Editing Software
Miscellaneous:
Overcoming Writer's Block
1000 Follower Special
Writing Fantasy
Character Ask Game
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thinking about how the extra area added on to a pacifist run of undertale, the true lab, is about alphys's past mistakes. how it ends with the story reaffirming that, despite the pain she's caused, the thing that matters is that she has now made the choice to do the right thing. she's still worthy of her friends' love.
thinking about how undertale doesn't expect the player to get a pacifist ending for the first time. how it's more likely than not that the player will kill toriel the first time they battle her, how lots of players don't initially figure out how to end undyne's fight without killing her, etc. what it expects — not even expects, really, but hopes — is that the player, if they care enough, will use their canonically acknowledged power over time to make up for those mistakes.
no matter how many neutral runs a player has done before committing to the pacifist run, the thing that matters to the characters, to the story, is that you've chosen, now, to do the right thing.
compared to alphys, the player honestly gets off lightly, in that you're the only one (other than flowey) who really remembers any harm you might have caused. and any direct guilting the game could have done about it is long past at this point.
instead, as undertale often does, it makes its point via parallels: alphys caused harm, and she knows it. she has committed to being better. in doing so, she has unlocked for herself a better ending to her story. and she deserves it. she's forgiven.
those structural narrative parallels are all over undertale, if you know where to look. and that's one of the things that makes it so fuckin' good.
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“They finally made this theme more blatant-" Why does it need to be blatant. What's wrong with subtlety? Concepts can be underused but subtlety is not neglect.
Blaring all your concepts and themes is not good writing. It's so disruptive to a story's flow when the characters look off the screen to be like "See? This is the concept. The idea. The theme."
If you can feel the hand of the author becoming too heavy that's bad.
For example: I see people saying Azula's abuse in ATLA is more blatant in the live action and it's good because "it's being discussed more". It already was discussed at length. The show made it clear she was a victim at every turn, every behavior, every reaction, it came from a place of trauma. It was made clear that she was scared of ending up like Zuko because Zuko was an example of what would happen to her if she failed. When she says she's better than Zuko it wasn't just because she was raised to think hersef superior to him but because Zuko failed and failures get mutilated and exiled, failures are abandoned. In that final Agni Kai the music is morose and somber because this isnt some epic battle its a fucking tragedy, the burning out of "Ozai's brightest light" and Azula finally succumbing to her terror and trauma she was repressing now that her worst fears are realized. How can you see a fourteen year old girl chained to a sewer grate wailing and writhing and breathing fire desperately as unsympathetic? Even Katara and Zuko are horrified as to what has become of her.
The writers weren't looking us in the eye and saying "See? She's a victim too" when they wrote this, they weaved it in. They weaved it into her obsesison with symmetry, her extreme perfectionism, the way she talks about Ozai, the ways she calls herself a monster, her isolation from those with healthy home lives, all the ways she held herself together and ultimately all the cracks and seams that she shattered down when she fell apart. It did not need to be blatant to be clear.
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Learning that fans hated Applejack and called her "boring" is crazyyy to me because I genuinely, unironically believe AJ's the most complex character in the main six.
Backstory-wise, she was born into a family of famers/blue collar workers who helped found the town she lives in. She grew up a habitual liar until she had the bad habit traumatized outta her. She lost both her parents and was orphaned at a young age, having to step up as her baby sister's mother figure. She's the only person in the main gang who's experienced this level of loss and grief (A Royal Problem reveals that AJ dreams about memories of being held by her parents as a baby). She moved to Manhattan to live with her wealthy family members, only to realize she'll never fit in or be accepted, even amongst her own family. The earlier seasons imply she and her family had money problems too (In The Ticket Master, AJ wants to go to the gala to earn money to buy new farm equipment and afford hip surgery for her grandma).
Personality-wise, she's a total people-pleaser/steamroller (with an occasional savior complex) who places her self worth on her independence and usefulness for other people, causing her to become a complete workaholic. In Applebuck Season, AJ stops taking care of herself because of her obsessive responsibilities for others and becomes completely dysfunctional. In Apple Family Reunion, AJ has a tearful breakdown because in she thinks she dishonored her family and tarnished her reputation as a potential leader –– an expectation and anxiety that's directly tied to her deceased parents, as shown in the episode's ending scene. In The Last Roundup, AJ abandons her family and friends out of shame because believes she failed them by not earning 1st place in a rodeo competition. She completely spirals emotionally when she isn't able to fulfill her duties toward others. Her need to be the best manifests in intense pride and competitiveness when others challenge her. And when her pride's broken, she cowers and physically hides herself.
Moreover, it's strongly implied that AJ has a deep-seated anger. The comics explore her ranting outbursts more. EQG also obviously has AJ yelling at and insulting Rarity in a jealous fit just to hurt her feelings (with a line that I could write a whole dissection on). And I'm certain I read in a post somewhere that in a Gameloft event, AJ's negative traits are listed as anger.
Subtextually, a lot of these flaws and anxieties can be (retroactively) linked to her parents' death, forcing her to grow up too quickly to become the adult/caregiver of the family (especially after her big brother becomes semiverbal). Notice how throughout the series, she's constantly acting as the "mom friend" of the group (despite everything, she manages to be the most emotionally mature of the bunch). Notice how AJ'll switch to a quieter, calmer tone when her friends are panicking and use soothing prompts and questions to talk them through their emotions/problems; something she'd definitely pick up while raising a child. Same with her stoicism and reluctance at crying or releasing emotions (something Pinkie explicitly points out). She also had a childhood relationship with Rara (which, if you were to give a queer reading, could easy be interpreted as her first 'aha' crush), who eventually left her life. (Interestingly enough, AJ also has an angry outburst with Rara for the same exact reasons as with EQG Rarity; jealous, upset that someone else is using and changing her). It's not hard to imagine an AJ with separation anxiety stemming from her mother and childhood friend/crush leaving. I'm also not above reading into AJ's relationship with her little sister (Y'all ever think about how AB never got to know her parents, even though she shares her father's colors and her mother's curly hair?).
AJ's stubbornness is a symptom of growing up too quickly as well. Who else to play with your baby sister when your brother goes nonverbal (not to discount Big Mac's role in raising AB)? Who else to wake up in the middle of the night to care for your crying baby sister when your grandma needs her rest? When you need to be 100% all the time for your family, you tend to become hard-stuck with a sense of moral superiority. You know what's best because you have to be your best because if you're aren't your best, then everything'll inevitably fall apart and it'll be your fault. And if you don't know what's best –– if you've been wrong the whole time –– that means you haven't been your best, which means you've failed the people who rely on you, which means you can't fulfill your role in the family/society, which makes you worthless . We've seen time and time again how this compulsive need to be right for the sake of others becomes self-destructive (Apple Family Reunion, Sound of Silence, all competitions against RD). We've seen in The Last Roundup how, when no longer at her best, AJ would rather remove herself from her community than confront them because she no longer feels of use to them.
But I guess it is kinda weird that AJ has "masculine" traits and isn't interested in men at all. It's totally justified that an aggressively straight, misogynistic male fandom would characterize her as a "boring background character." /s
At the time of writing this, it's 4:46AM.
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A compiled list of various severe crimes committed by one Mr Scar of the Good Times, exact counts pending.
Cannibalism (Multiple counts)
War profiteering
Trading of Souls
Grave robbing
Fraud of multiple varieties
Racketeering
Arson (Like a lot of it)
Unethical experimentation
Acts of Terror
Spiritual possession
Contract killing
Sale of human remains
Ritual sacrifice
Oathbreaking
Violation of the real life Geneva Convention
Deceptive marketing
Kidnapping
Desecration of a sacred place
Whatever tf Area 77 had going on
Insider trading
Extortion
Patricide
Matricide
Unsafe building practices
Holy war
Desecration of corpses
Market manipulation
Treason
Tax evasion
Murder (Lots and lots)
Large-scale extreme vandalism
Mass enviromental destruction
Political corruption
Identity fraud
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DP x DC Prompt
…
There are no more heroes.
Well, okay. Rewind a bit.
Danny has been doing the hero thing for a while now. He’s had a big reveal; everyone has accepted him (including his parents), the GIW disbanded, the Anti-Ecto acts repealed, and generally, everything is going great. Some of the A-Listers are even training as junior ghost hunters to help give him a break from his rogues! (Being Ghost King makes things hectic sometimes, and he just needs the extra help. Sue him!)
The point is, literally nothing is wrong with Danny Phantom’s afterlife.
And then Valerie Gray, the Red Huntress, disappears in front of his eyes.
Danny is baffled! She’s just…gone! Valerie just popped out of existence, like she was never there. But no matter how hard he searches in the Ghost Zone, he can’t find her soul anywhere. His core isn't broken in grief. So she’s not dead. Which is good. So then, where is she?
Some of the others come forward with ideas on how to find her. A few ghosts volunteer to go out into the mortal realm, an area Danny had declared off-limits, to see if she was out there. Danny approves it. He rounds up some of the friendlier (i.e., discreet) ghosts and Amity Parkers and demolishes the outside travel ban.
So everyone spreads out, looking for their dear frenemy and teammate. But it becomes apparent very quickly that something is wrong with the rest of the world.
There are no more heroes.
Every single living superhero on the face of the Earth has just…vanished. Villains are running amok; the countries are in chaos! Some aliens are invading Earth, mythical deities are trying to take over, and society is crumbling to the ground. Everything is on the brink of collapse.
Well, Danny was still there. And so were his people. They were pretty spread out, so could they just…take up the mantles? He also knew where to find the souls of dead heroes in the Zone; surely they wouldn't mind coming out of retirement for a little bit, especially if they couldn't die again. Oh! And that skeleton army leftover from Pariah Dark's reign might be useful in repelling those invading forces.
Honestly, there were more than enough hands to go around! And with the heroes gone, Danny didn't mind letting everyone out for a little break, as long as they followed his rules. They wouldn't stop the search for the other heroes, but hopefully, when they found them, the heroes wouldn't mind Danny's intervention too much. :)
In other words:
Someone fucks up, and all of Earth's living heroes are either wished out of existence or are whisked away to some far-off realm where Danny hasn't checked yet. In the attempt to figure out what's going on, Danny lets the dead run amok over the Earth as they search for clues. The skeleton army repels the invading armies, the souls of dead heroes deal with the world leaders, and his rogues and other Amity Parkers set up shop in place of famous heroes, trying to get the cities under control again.
Basically, they just do their best to keep everything from imploding until the Justice League and others are back.
(And why is it that Danny hasn't disappeared? Well, whatever caused everyone to go poof! only affected living heroes. Anyone heroes that were dead in the first place, or even just half-dead, stayed behind.)
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After a mission
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having to pay for sebastian, the only straight romance option in da2, is still funny on its own but I feel there’s also metatextual humor if we take the “varric is narrating this whole thing” to another level
like it’s no secret varric cannot stand this guy so the thought of cassandra piping up like “wait, wasn’t the champion also friends with the prince of starkhaven? you haven’t mentioned him at all”
and varric rolls his eyes so far back into his head he almost gives himself a migraine, then she insists “no, he is! I know I heard this, stop lying to me dwarf!”
he’s like “andraste’s nutsack, fine, but if you wanna hear about him I’m gonna need some financial incentive to jog my memory. he was so boring I often forget he was even there”
“you can’t be serious, are you saying you’ve completely forgotten everything about him?”
“seven sovereigns for the choir boy, seeker, take it or leave it”
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was it foolishness? (was it fate)
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In another world, we take our lunch breaks together.
In that world, we share a meal or maybe you make mine or I made yours. We sit as close as we can in a professional environment but close enough that it feels like our own bubble. We talk about things that have happened or things we have yet to do. You see my tears before they fall, and I offer you my hand when you need it.
That world is so unremarkably unlike this one. In that world, there’s a perfect balance and harmony to take comfort in. In this one, I cry without you. I force myself to eat the foods I have no interest in. I fill the silence with music that makes me think of you.
In this one, I think only of that one.
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the way the absence of john winchester haunt sam and dean in ways that are more real than any ghost they have ever faced. the way john echoes so loudly in the narrative even in episodes he’s not mentioned, in seasons where he never appears. the way john possesses dean when he’s angry and sam when he’s grieving. the way john is the one true god of the narrative, the absent father who does not answer prayers or phone calls. the righteous man who does not break in hell but breaks down and hands his child a gun. john and the memory of his holy mary. john the prophet and his sacred text. john and his prodigal son that he knows has to die.
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instead of doomed by the narrative like. moderately inconvenienced by the narrative
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anyway the reason shauna could never have been antler queen is because she's too marked by blood at that point. she's the one who bleeds out the victims and prepares them for consumption; she is the slaughterer, seen as too violent. never mind that that's the role they actually gave her themselves. even before what happened with lottie, she was a reminder of everything they'd lost and what they'd DONE with everything they'd lost. but nat ... nat is a sacrificial lamb. nat is the martyr, the one who was SUPPOSED to die but whom the wilderness loved just so much that it killed someone else for her. she's pure. she's clean, and there's no blood on her hands like there is (literally) on shauna's. the thing about these girls is that they cannot acknowledge their own monstrousness. they cannot, cannot, cannot make the butcher their queen.
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