#developing unique

[randomness-is-my-order]

another thing that is simply amazing about wei wuxian is that he doesn’t give a fuck about hoarding the knowledge he attains. in the cultivation world where clans jealously hold their resources close and have techniques unique to their families because progress is meant for them and theirs–wei wuxian utterly breaks the mould with his inventions. the products of his genius are spread far and wide and his way of doing things is disseminated within the cultivation society as crucial pieces of information. the spirit attraction flag and the compass are used not only by the clans but also the rogues–the bottom most people in their hierarchy. all of them benefit from wei wuxian’s knowlege in a way that the clans are simply incapable of replicating because they would never allow their own methods to leave the boundaries of their clans. and when wei wuxian is back, he takes to teaching instantly and has no qualms against sharing both his experiences and hard-earned wisdom with the juniors and i think it’s important to note that he has literally no affiliation to them prior to meeting them, except jin ling. he doesn’t know sizhui is a-yuan, he just knows they’re lans and later the boys he leads at yi city belong to several different clans–clans that were responsible for his own death and the death of the wen remnants, mind you. but wei wuxian would never make the children bear the sins of their forefathers, of course, just that painting the background helps in understanding how open and willing wei wuxian is about sharing his knowledge with others. it’s very lovely, really. the cultivation society only took from wei wuxian but he only ever gave them back.

[quadrantadvisor]

Even after learning their secret identities, the hero community always insisted that there was something inhuman about the bats. No one doubted that their intensive training had a lot to do with it, but it never quite explained how they could evade a Kryptonian's super senses, how they could melt into shadows, how they could function so long with little food, little rest, little oxygen if need be. Most people dismissed their uneasy feelings, but there was something strange about the bats, something uncanny, something that made them different from the arrows and other vanilla human members. And, slowly enough that no one really noticed, it was getting stronger.

Until one day, during a diplomatic meeting with the ruler of the Infinite Realms, when High King Phantom turned to Batman and his brood and literally brightened. "Oh! I didn't know you had liminal members!"

Or: through a variety of factors (proximity to death, their own death/near death experiences, exposure to the Lazarus Pits, the favor of Lady Gotham, immersion in Gotham's own cursed ambient ectoplasm, being a close knit group who continued to expose eachother, etc.) the batfamily have been becoming liminal/ecto-contaminated without noticing. The powers they're developing have been subtle, and align with the skills they expect to have, so no one brought it up when they started being able to hold their breath beyond human limitations, or got so sneaky that they literally seemed invisible, or had a lucky miss when they expected a bullet to go right through them. And they always exuded an unsettling aura of fear, so no one else thought anything was out of the ordinary either. By the time they meet Danny, Gotham counts as one of the most fiercely defended ghost haunts on the planet, with so many territorial liminals patrolling the streets.

[ajastu]

have some sympathy, Davrin, a tragedy has occurred 😔

HOWEVER, I think they would be repressing so much stress during veilguard that stepping on a snail in that moment would become kind of the last straw. not talking from personal experience at all

yayy oc rambling

anyway, i think Zea normally wouldn't like. cry about accidentally killing a little creature like a snail. Like, they would be sad, but you know, cest la vie, the mere fact of existing brings with it many small accidental deaths that we just have to come to terms with, if we notice them at all.

[10001gecs]

one 100 word email written with ai costs roughly one bottle of water to produce. the discussion of whether or not using ai for work is lazy becomes a non issue when you understand there is no ethical way to use it regardless of your intentions or your personal capabilities for the task at hand

with all due respect, this isnt true. *training* generative ai takes a ton of power, but actually using it takes about as much energy as a google search (with image generation being slightly more expensive). we can talk about resource costs when averaged over the amount of work that any model does, but its unhelpful to put a smokescreen over that fact. when you approach it like an issue of scale (i.e. "training ai is bad for the environment, we should think better about where we deploy it/boycott it/otherwise organize abt this) it has power as a movement. but otherwise it becomes a personal choice, moralizing "you personally are harming the environment by using chatgpt" which is not really effective messaging. and that in turn drives the sort of "you are stupid/evil for using ai" rhetoric that i hate. my point is not whether or not using ai is immoral (i mean, i dont think it is, but beyond that). its that the most common arguments against it from ostensible progressives end up just being reactionary

i like this quote a little more- its perfectly fine to have reservations about the current state of gen ai, but its not just going to go away.

[molinaesque]

"Better were the days when mastery of seas came not from bargains struck with eldritch creatures, but- by the sweat of our brows and the strength of our backs and the courage of our hearts!" (Extended from these: x, x)

[imbecominggayer]

Giving Your Characters A Unique, Distinct Voice (With Examples)

What does "unique voice" mean? Basically, every single person has their own manner of speaking. This difference can be from politeness, the volume or "loudness", confidence, emotional quality, maturity, accents, cultural slang, and other variables that can be shown in a character's voice.

This can also be shown through "prioritization". Prioritization is what a character or narrator decides is worth focusing on for any given scene.

For example, Tree of Heaven is a cynical cinematographer whose inner life is primarily eclipsed by beautiful landscapes and settings. However, Jukka is a highly dedicated actor who neglects the trees for the people, whether they be strangers or loved ones. While Jukka and Tree of Heaven could be walking through the same park, they would be focused on entirely different things. Heaven would be focused on the way the sunlight scatters through the autumn-coated, gold-platted leaves while Jukka is people-watching!

Sometimes, I use other stories and their tones as inspiration for my characters!

For Haun, their inspiration for tone came from "I Have No Mouth and I Must Scream". Specfically, AM's monologues like the "and I began to hate" or the bee monologue describing AM's thoughts on bees radio play! The reasoning behind this was the fact that Haun Anatemori, my character, is someone with deep-seated resentment. Rage and hatred born out of a feeling of injustice, self-loathing, and a feeling of deep-seated betrayal. However, Haun confines their emotions to logical actions and long-term planning meaning there is no outward way to express these emotions. Leading to his entire inner voice being coated in hatred.

Education and social standing often has the most outward influence on a character's external voice. That's the unique thing about protagonists and narrators. Because narrators don't have to worry about social standing and protagonists can have visible inner life, protagonists often have "two" voices. Their "outside" voice, aka the voice they use to speak to others, and their inner voices they use for their own feelings.

Haun's inner voice is resentful with metaphors and analogies of disgusting things such as bodily fluid used to provide an artful crassness to his voice that shows Haun's education and anger but his outer voice is far more innocent and self-contained with less verbosity as Haun is attempting to portray an innocent, less literate farmer type in order to trick others as he rises the social ladder.

Another highly influencial factor is maturity! If a character is emotionally mature, then they often have a more composed tone of voice with simple, yet profound metaphors that often express clear motivation and clear emotion. They often have accurate ideas about others and themselves. This is different from how emotional a character is! A mature character can be emotional but they have a clearer understanding of their emotions. Not the mood swing type!

Nonkosi Tyali is the most compassionate yet mature character I have with their inner voice and outward voice both having a sense of "refinement". Nonkosi understands what they want, why they want it, and how to get it. Despite their cheerful tone, it's obvious they aren't naive or out of control. Nonkosi also has remarkable observational skills as they are deeply intune to the thoughts and emotions of others which allows them to have accurate and insightful observations about other characters.

Verne Lawless, in contrast, is highly immature with a tendency for rapid mood swings, ranting, and catastrophizing. They rarely compose their emotions with them having to spend far more time detailing and failing to "accurate" translate their emotions for the audience. They rarely focus on the emotional lives of others. While Verne can use flowering, verbose words and nostalgia, this fails to counteract the obvious desperation and run-around Verne has in their thoughts.

Finally, just think about what their emotions are. This doesn't have to be something as simple as "happy" or "sad".

Verne is a nostalgic person who constantly references old classics like Jules Verne with long, verbose poetry. This is influenced by Verne's obvious intellect and his emotional center of love. However, whenever they are emotionally in a tailspin, they often resort to manic, modern slang with firey self-hatred and self-deprecation. This is due to the fact that Verne adores love but he believes that he will never find love. This desperation often leads him to be more psychologically "fragile" with his ability to contain his emotions constantly threatened.

Emotions: Mania, nostalgia, desperation, and love

Nonkosi is an optimistic person which can sometimes veer into surpressing negative emotions and experiences. They maintain the belief that they can be eternally strong and compassionate as they act more like a force of nature then the human they actually are.

Emotions: Awkward optimism, gentle melancholic, and confidence

Jukka is mostly possessed with a quiet melancholy for most of life with pretentious verbosity surrounding the nature of society in a similar vein of "No Longer Human" by Osamu Dazai. However, whenever Jukka is bound up in the passion of acting, Jukka can often dance with mania, emotional highs, and life coated in fandom and acting. Jukka's language is primarily references to media such as Main Character Syndrome, tropes, rivalry, found family, and some not really 4th Wall Breaks because Jukka believes he lives in a series but he doesn't know he is actually a written character.

Emotions: melancholy, sentimentality, and minor resentment.

[casscainmainly]

The Evolution of Cassandra Cain's Dialogue

Since Batgirl #1 is out and thriving, I thought it'd be fun to dive into the history of Cass' dialogue throughout different writers/runs. This is not comprehensive - I'll miss some writers, but I'll be covering her generally most known runs in mainline continuity (so no DCeased, Shadow of the Batgirl, etc.). Not a linguist by any means, so linguists on here feel free to chime in! (I'll also give opinions on which interpretations I personally prefer at the end).

Without further ado, we'll start at the beginning:

Kelley Puckett - Batgirl (2000)

Pre-issue 4, Cass speaks minimally in one-word sentences and doesn't have internal narration. Post-issue 4 (when a metahuman changes Cass' brain), she develops an internal monologue and begins to speak longer sentences. I'm splitting Puckett's Cass dialogue into 3 stages: early, middle, and late.

Early (#4 - #12): Cass speaks short, fragmented sentences. Each word has an ellipses between them (panel 1 above, from #7).

Middle (#13 - #24): Cass continues to speak incomplete sentences (often missing a subject or pronouns), but without ellipses (panel 2, from #13).

Late (#25 onwards): Cass begins to speak complete, simple sentences, punctuated by a few ellipses (panel 3, from #33). She continues to speak grammatically (though slowly) throughout the final part of Puckett's run.

Dylan Horrocks - Batgirl (2000)

Horrocks writes very similarly to late-Puckett, with Cass speaking in full, simple sentences, punctuated by the occasional ellipses. Horrocks introduces two new elements to her dialogue:

Cass stutters, sometimes repeating a word or phrase at the beginning of a sentence (panel 1 above, from #39). This is mostly used in the earlier parts of Horrocks' run.

She quotes reality TV (panel 2, from #51).

Maybe because of the reality TV, Cass also speaks more colloquially here than in Puckett's run, using phrases like "come 'n' get it" (from #57).

Andersen Gabrych - Batgirl (2000)

Gabrych's run focuses heavily on Cass' dialogue. Panel 1 above, from #58, suggests her narration boxes are another form of dialogue - Cass is speaking into a recorder. Several features of Gabrych's Cass dialogue are:

Ellipses: Even more than his predecessors, Gabrych scatters ellipses throughout Cass' speech (panel 1).

Fillers: Cass extensively uses filler words such as 'uh', 'um', and 'like' (panel 1, panel 2 from #61).

Longer sentences: Cass is more talkative and speaks longer sentences (panel 1, which is basically more words per panel than Puckett and Horrocks combined).

Wordplay: Cass often ponders definitions and word structures (panel 1, 2).

Adam Beechen - Batgirl (2008)

After evil Cass (that dialogue is not worth discussing), Beechen gets another chance with Cass in this miniseries. More than any other writer, Beechen differentiates Cass' internal monologue from her dialogue - her narration boxes are much wordier than her speech.

Her dialogue is a more loquacious version of late-Puckett or Horrocks: full sentences interspersed with ellipses (panel 1, from #1). The ellipses drop off towards the end of the series.

Her narration boxes use a variety of sentence structures and vocabulary. They read more or less as fluent English (panel 2, from #4).

Scott Snyder - Gates of Gotham (2011)

Snyder's Cass somewhat resembles mid-Puckett, using short sentences without ellipses (panel 1, from #2). She speaks a fair amount, but is more taciturn here than in any previous run. This is partially due to her not having narration boxes.

A unique feature of Snyder's Cass is preferring formal to informal speech. Though she uses contractions (panel 1), she goes large stretches without them (panel 2, from #3). She also omits the subject of a sentence only once in 5 issues, whereas native speakers (like Dick) drop the subject all the time ('have you ever been to Paris?' vs. 'ever been to Paris?'; Snyder's Cass would always say the former instead of the latter).

Sidenote: Batman & Robin: Eternal (2015)

Quick note about B&R:E: Cass is reintroduced into canon after being erased by the New 52, which means she's back to having very limited language ability. The series is scripted by multiple people, so it's hard to analyse. Suffice it to say she speaks in monosyllabic words, at most a short, incomplete sentence, but is mostly silent.

James Tynion IV - Detective Comics (2016)

Because Cass' language ability has been reset, Tynion develops her speech along the lines of Batgirl (2000).

Early Tynion has Cass speaking single word sentences (panel 1, from #938). Very similar to pre-metahuman touch Cass in BG (2000).

During the League of Shadows arc, Cass begins to speak a few words at a time, often separated by an ellipsis (panel 2, from #956).

Afterwards, Cass' friendship with Basil Karlo blossoms, leading to this run's most distinctive language feature - Cass improves her speech via studying and quoting Shakespeare (panel 3, from #958). Her improvement is reflected in the rest of the run through speaking longer and more frequent sentences.

Bryan Hill - Batman & The Outsiders (2019)

Like other writers, Hill's Cass generally uses short, simple sentences. She frequently drops the subject or pronoun in a sentence (panel 1, from #1). Hill doesn't use ellipses to separate the sentences, opting for periods most of the time.

Cass sometimes omits other words from her sentences too, dropping articles like 'a' and 'the' (panel 2, from #4), prepositions like 'to', and verbs like 'is' (panel 3, from #9). This peters out in the second half of the run.

Becky Cloonan and Michael W. Conrad - Batgirls (2022)

Similar to mid-Puckett, Batgirls has Cass speak mostly in short, 1-2 word sentences (panel 1, from #2). Cloonan and Conrad occasionally use ellipses as well, though mostly for emphasis/natural hesitation rather than indicating a unique speech pattern (panel 2, from #7).

Cass also has a habit of repeating/echoing a phrase Stephanie says (panel 3, from #16). This might be more of a friendship thing than a speech thing, though.

Alyssa Wong - Spirit World (2023)

Wong's Cass uses short sentences sometimes interrupted by ellipses, like late-Puckett and Horrocks (panel 1, from #1). Generally, if the sentence is three words or less, there won't be an ellipsis (panel 2, from #5).

Kelly Thompson - Birds of Prey (2023)

Thompson's Cass draws on a lot of previous iterations, but is somewhat unique as a whole. Some elements of BoP Cass include:

She speaks in sentences of varying lengths, but rarely with more than one clause (panel 1, from #1). Thompson is more strict about not using commas with Cass than most other writers.

Cass is a little more talkative (panel 2, from #5). Her sentences are fairly lengthy compared to most other runs, and she doesn't always opt for the shortest way to say things ('where is it?' instead of 'do you know where it is?'). Thompson also doesn't use ellipses, which adds to the sentences feeling longer/more complete.

BoP is ongoing so Thompson may add more to her speech.

Sidenote: Ram V - Detective Comics (2023)

Putting this in a sidenote since there's not much to say, but Ram V takes after mid-Puckett, with Cass using shorter, incomplete sentences. Cass almost always omits the subject of a sentence; her dialogue is as short as possible while retaining clarity.

Thoughts

Because Cass' language disability is a core part of her character, but learning to speak is also a core part of her character, I prefer writers who emphasize her unique speech patterns without reducing her range of expression. My favourites are:

Gabrych - by far the person who put the most effort into his dialogue, Gabrych-Cass has such a vibrant, distinctive style of speaking. The narration boxes, Cass' wordplay, and the use of fillers and ellipses all combine for a speech style that highlights her disability without reducing her to it.

Puckett/Horrocks - combining because they are really very similar. Puckett and Horrocks both use ellipses to great effect, and is a great style to emulate for Cass in an earlier stage of life. Horrocks' use of reality TV is severely underutilised. Puckett, of course, is the gold standard for typical Cass dialogue - if Gabrych's style is a little too much, Puckett and Horrocks are the way to go.

Tynion - mostly because of the Shakespeare thing. It's such a beautiful and clever way of showing her progress, and the amount of symbolism you could do with Cass quoting Shakespeare is unmatched.

I don't super enjoy the more talkative Casses (Beechen, Thompson to an extent), though I kind of like Snyder's take because there's a sense of Cass being very careful with her speech there. If you're writing Cass for a fanfic or something, I would avoid Hill's Outsiders; the run is great, but Cass' ungrammatical speech is unusual and doesn't jibe with the rest of her depictions. Ram V and Wong are relatively good depictions to draw from though.

Of course these are my opinions! I may have gotten some things wrong/overgeneralised stuff, so take all this with a grain of salt. All you need to know is you should read Batgirl (2000) :).

[a-path-by-the-moon]

[chirrups]

I feel like I have nothing to ask, I simply would love to hear more about them fucked up mermaid and murderer

And I would absolutely love to tell you about them, Tin.

This AU takes place somewhere vaguely in the Pacific Northwest (circa. 1970s-80s) in an isolated fishing town along a storm-wracked coast.

Fisheries in and around the bay have collapsed due to extreme winter weather patterns + overfishing + an oil spill from a tanker run aground down the coast, leaving most of the bay's inhabitants to live pretty much hand-to-mouth off contaminated fish in recent years.

get ready for LORE (and more drawings but mostly the LORE)

general warning: this is pretty long

The "story" as it were, kicks off when Gem finally gets fed up with another fisherman in the area, Grian, over continued conflict about ownership of fishing grounds in the mouth of the bay.

She orchestrates his death (with the eager assistance of Scott and Impulse) out at sea and passes it off as a tragic accident in the winter swells with her being the unfortunate finder of his remains.

And it works.

See the thing is: Gem has a history of causing disappearances. It started with some accidents with out-of-town poachers. She would chase these people off and one or two would just slip overboard and happen to drown. It wasn’t her fault and besides they deserve it. But things start to escalate from there. Poachers become outsiders become fellow townspeople. Grian is someone Gem’s known for years, whose friends are tangentially her friends or acquaintances. His death is a cold-blooded murder driven by hatred and frustration. This time something is different about what she's done and Gem knows it.

But Gem is a reputable and well-known person. Her prices are fair, she drives poachers out of the bay and maintains order around the pragmatic fishing ground policy that undoubtedly helps everyone to survive.

She is the type of person to look to for guidance when things get difficult because she can make those hard choices. So how on earth could it be her fault?

No one is wiser until Grian's funeral brings an old friend into town who is more than a little suspicious about the circumstances of his death.

Scar was one of Grian's crewmates when they did trawling much further south. They split when Scar took up (illegal) whaling and Grian moved into the bay.

As an outsider, Scar isn't so swayed by the goodwill the town has around Gem's name. He's no detective but for the sake of an old friend, he might as well try.

In this AU, mermaids are social mammals part of the Hominidae family that went back into the ocean similar to Cetaceans. They live in matrilineal family groups or in any other female-led organization of pods and have a very "survival-oriented" global culture (with regional variation).

Pearl is a lone mermaid whose pod lived in the bay until they were starved out by the collapsing fisheries. PNW mermaids are more territorial than other ecotypes and value strength over anything else. Pearl's inability (read: unwillingness) to oust other pods for better fishing grounds and the loss of one of her pod members summarily lead the other two to abandon her.

Without a pod to help her, hunting enough in her dwindling territory has been difficult and lonely, leading her to slowly starve just as the humans in the bay have begun to.

She took to trailing fishing boats to steal from their catch, which is how she met Gem who was mid-throwing some unfortunate soul overboard.

They have an interesting relationship.

Gem is enamored with Pearl at the halfway point between a person and a large apex predator. She loves the way Pearl needs her to live and the way Pearl, as a social creature with no pod, craves her attention. It's thrilling to have a predator at her beck and call like this and, in turn, to be so desperately needed. She also loves the way Pearl doesn't look at her like she's dangerous (the way Scott and Impulse have begun to when they think she doesn't see them). Her interest in Pearl seems to be leaching into something more than just wildlife admiration. She's begun to learn the mermaid language just to talk to her. For what? Who really knows. Meanwhile, Pearl is hungry enough to eat just about anything Gem throws her (including human bodies) and desperate enough that she lets Gem get much closer than many humans in this area have ever been to a mermaid. (They even touch, scandalous for mermaids.)

It's skewed for sure. From Gem's perspective, they've got something special going on. From Pearl's... not so much.

This being Secret-Life based, you can imagine how this story ends...

Bonus piece: Pearl and her old pod.

IN GENERAL, Biological females are generally larger with a set of rotated tusks protruding from their lower jaw for dominance displays. Biological males are commonly smaller and more agile, with more dexterous hands due to decreased adipose tissue distribution over their bodies. (They actually have 3 biological sexes and tons of social gender variation but that's a talk for another time). Pre-cultural awakening, these pods would form around a biological female and their harem for reproductive purposes. That female would then protect the harem from other females looking to "steal them" or their territories (like horses but reverse-style). In modern times, these pods are often composed of groups of friends/related family members as sort of "platonic life partners" and stealing other pod members is seen as a very archaic sort of thing. Territory stealing, however, is still up for grabs.

[mxwhore]

For some low-effort doodles, I'm dead curious about how the kids interact with their parents as they age. Just mundane stuff they do together. Does amayas or amara have a "favorite" dad? And like, if you wanna get wild with it, do either of them act Too Much Like Their Dad sometimes?

dropping some cute doodles before going into The Lore

[j-em-g]

Aloth and Edér my best friends uwu

[pnfc]

i dont wanna shoot down the idea that perry’s spurs are artificial but i also don’t think that’s necessary when, intersexuality exists. but above that i dont think perry would have gender dysphoria about his platypus body. his gender is ‘human guy’. nobody’s gonna tell perry he’s not enough of a dude because he lacks crural venom spurs, definitely not the humans in his life, and his life is made up of humans and non-platypus animals. anti-animal discrimination is his daily concern, not the one freak who’s made it his life mission to be transphobic to platypuses on the basis of venomous spurs. although like, wow, how high effort, that's almost commendable

[colorful-character]

Deltarune may not be tomorrow but its coming soon!!! :D

[gomzdrawfr]

"call me when the tide turns, you'll see me at the docks."

Meet the OC, Operator B6 Artwork commissioned by Mawvax [tumblr, twitter]

General

Name: Surya Narumi, スルヤ・鳴海 Alias: B6, Susu, Naru Gender: Male Birthday: July 19th (not confirmed) Age: [redacted] (older than Raven) Sexuality: Demisexual Nationality: Indonesian-Japanese Close associate: Eira "Raven" Liu, Kyle Gaz Garrick (potential pairing) Affiliation: [redacted], Kopassus (Indonesian Special Forces), ASEAN SIN (ASEAN Secret Intelligence Network), Cobra PMC, [redacted] Speciality: Intelligence and Digital Espionage, Cyber Operations, Covert Operations, Covert Assassination, Long-Range Shooting Medical record: [redacted], heart surgery with possible implanted pacemaker, [redacted] Status: Alive (stable)

Appearance

Face claim: Takeshi Kaneshiro, with Roman nose and a mole below his left eye corner Hair: Dark Brown, Wavy/WolfCut sometimes tied up in a messy bun Eye color: Dark Green Skin tone: Deep tan Height: 182cm Build: Lean

References and Artwork

Artwork commissioned by Bressynonym [tumblr, twitter]

Associations and Favourites

Nature: oranges, purple Lilac, monstera, shine muscat, sunsets, sea, rain, stars

Color: orange, purple, light blue, sage green

Animals: black cat, Troides helena (Common Birdwing butterfly)

Owns: black munchkin tuxedo cat, snakes (past), bearded dragon (past), chameleon

Drinks: Genmaicha, Sparkling lavender lemonade, Chrysanthemum tea, Java black tea

Food: pisang goreng (fried bananas), cucuk udang (prawn fritters), mochi, meiji apollo strawberry chocolate candy, pocky

Does not smoke or drink alcohol

Relationship with Raven: grew up and worked together, protective and sibling-like, owes his life to Raven when he was saved from an unsanctioned op (despite Raven's insistence not to view the rescue to be that significant)

Behaviour: quiet, gentle, smiles that doesn't reach the eyes, carries himself lightly, polite but distant

Hobby: reads and writes, fishing, driving and exploring on his bike

Quotes and Words

"they called me many names...a survivor, a boy who defied death, mother's golden son, the lucky and the unlucky...but I like whatever the wind and sea calls me"

"My heart died once, fun fact. Well, okay, maybe it's not a fun fact."

"I wonder if there is a reason, that there is something big to all of these. But it's pointless to think about questions with no answers, it is what it is after all."

"I wish you a kinder sea, Python."

"FInd what you love and let it kill you." - Charles Bukowski

"I don't fear my own death, it is scheduled, it will happen...but yours? yours I fear."

"ah...you go by Raven now...? Was it the mat saleh...? I guess it suits you..."

"Can we have one more meaningless chat over oranges?"