#relevant to previous drawing

[clanborn]

ImposterBrambleThrowsSquilfFromHighledge.mov

[xryosakeyx]

Trying to get used to sharpies so I drew mostly Shirley :P (gonna take a hiatus during the summer months before any vamp comics pop up tho but that's alright bc I'll be back with new material!)

[ghoulodont]

adam neely posted a really interesting video yesterday about "fake" musical performances and how the reaction to them varies by context and specifically also genre which i thought was quite relevant to the way we talk about using artificial intelligence in fandom space. its long but if youre the kind of person who watches longish videos here it is

[gender-euphowrya]

blue prince is gonna make me set up a conspiracy theory corkboard with red string wall

[thydungeongal]

Ultimately an RPG that uses playing cards as a randomizer but doesn't actually utilize the cards for. You know. The things that cards can do. Is just using them as a fancy, weirdly shaped die.

A few things that cards can do that dice can't:

You know that dice superstition that people have about how if they roll enough low numbers they're bound to get a high one? That sort of actually works with cards provided cards aren't immediately returned to the deck and the deck reshuffled. Because there's a limited number of each "roll," good or bad.

You can hold them in your hand. It's basically like pre-rolling a bunch of numbers and then getting to spend those numbers as they become relevant. Maybe you only get to draw more cards by playing all your cards, meaning that if you don't conserve your good cards your character's luck is eventually bound to run out.

You can make poker hands with them. Added to the previous point, maybe you will be forced to play a worse hand and have your character flub a non-critical roll because you're hoping for that better hand that'll turn the tide.

There's suits as an added bit of information that can be utilized for some mechanics. Maybe matching suit with an action type results in an extra benefit?

[deception-united]

Let's talk about misdirection.

(Requested by @voiceless9000. Hope this is helpful!)

Misdirection in storytelling, through foreshadowing and other techniques, is a powerful tool that can enhance suspense, surprise, and engagement in your narrative and make plot twists more unexpected.

Remember to maintain coherence and avoid contrivances that may undermine the integrity of your storytelling.

Here are some techniques you can use to effectively misdirect readers:

Red herrings: Introduce elements or clues that suggest a certain outcome or plot direction, only to later reveal that they were misleading. These false leads can divert readers' attention away from the true resolution.

Selective detailing: Highlight certain details or events in a way that implies their significance, while downplaying or omitting others that might be more relevant to the actual outcome. By controlling what information readers focus on, you can steer their expectations.

Character misdirection: Use characterisation to mislead readers about characters' true intentions, motivations, or identities. Create multi-dimensional characters who may behave ambiguously or inconsistently, leaving readers unsure of their true allegiances, motivations, or goals.

Foreshadowing: Employ foreshadowing to hint at future events or outcomes, but do so in a way that misleads interpretation. Provide clues that could be interpreted in multiple ways or that lead readers to expect one outcome while delivering another. (See my previous post about foreshadowing for more!)

Misleading narration: Utilise an unreliable narrator or perspective to present events in a biased or distorted manner. Readers may trust the narrator's account implicitly, only to discover later that their perceptions were flawed or intentionally deceptive.

Subverting tropes: Set up situations or scenarios that seem to follow familiar narrative tropes or conventions, only to subvert them in unexpected ways. This can keep readers guessing and prevent them from accurately predicting the story's trajectory.

Parallel storylines: Introduce secondary storylines or subplots that appear unrelated to the main narrative but eventually intersect or influence the primary plot in unexpected ways. This can distract readers from anticipating the main storyline's developments.

Setting: Manipulate the setting or environment to create false impressions about the direction of the plot. For example, presenting a seemingly idyllic setting that harbors dark secrets or dangers.

Timing and pacing: Control the pacing of your story to strategically reveal information or developments at opportune moments, leading readers to draw premature conclusions or overlook important details. (See my post on pacing for more tips!)

Twists and reversals: Incorporate sudden plot twists or reversals that upend readers' expectations and challenge their assumptions about the story's direction. Ensure that these twists are logically consistent but sufficiently surprising to catch readers off guard.

Happy writing!

Previous | Next

[cursio-neptune]

Dance Bug

<< First < Previous ~*~ Next >

Last time Eclipse messed with a Glamrock via the cameras was in Glitch.

Also, not directly relevant but the last time Eclipse and Moon hung out like this was in in the comic GWCII.

Here's a close-up of Sun's drawing.

[roguerambles]

I understand the disappointment, I really do, but I think people might be blowing the whole world state thing a bit out of proportion. "This is SPITTING IN THE FACE of long-time fans" no it's not Steve, calm down.

The series has always had to compromise when it comes to the state of the world because so many of the choices (especially from the end of Origins) were so wildly different that trying to build a sequel from so many conflicting factors would be more or less impossible. It's why we've never seen the Architect again, because him being alive or dead has HUGE ripple effects that are damn near impossible to write around.

Heck, it was entirely possible for Anders to die at the end of Awakening, but the writers wrote around it by saying "oh no he actually faked his death" even though logically that made very little sense because at that point he'd have absolutely no reason to do that? But Anders was in the sequel so that had to come up with something.

Basically nothing from Dragon Age 2 was important in Inquisition - Hawke siding with Mages or Templars made no difference, Anders being alive or dead made no difference, whether Carver or Bethany were dead or Wardens or whatever made no difference. We got some flavour text and that was literally it, everything else played out exactly the same.

Hell, the Temple of Sacred Ashes gets blown to bits at the beginning of Inquisition, rendering everything to do with that quest from Origins basically moot. And we've never gone back to Orzammar, and everything we have heard from it has been kept super vague, because depending on who the King is and if Branka is still alive things would look WILDLY different. Crafting a new story there would be borderline impossible because the dozen different possible world states make the foundation shaky at best.

It's why I highly doubt we'll be able to side with Solas and help him tear down the Veil because that would result in basically a whole new world being created. Imagine them trying to make Dragon Age 5 and being like "okay 50% sided with Solas and tore the Veil down and 50% kept the Veil intact....wtf now what do we do--?"

Again, I understand the disappointment, but I just hope once the dust has settled and people calm down a bit they'll see that, realistically, very little has changed. Your saves are still there, your experiences and enjoyment of the games and the characters and the story are still there, but they were always gonna have to draw the line SOMEWHERE.

And that's not to say none of our previous choices will come back - if we get another game, or a spin off or something they'll probably do what they're doing with the Inquisitor now. They're just taking what's relevant to the story they are trying to tell, and leaving what they aren’t going to use presently ambiguous.

[broomsick]

Low energy land spirit work

Please note that I would recommend properly greeting land spirits before talking to them, or making offerings to them. If you're intrested in reading about my thoughts and experiences with land spirits, give this previous post a look!

Open the window and let the outside air in. If your window is equipped with a screen against bugs, you can place a drink at the window for a few hours to serve as an offering

Taking a walk around the block, spotting the nearby trees, gardens, flowerbeds, rock formations...

Journal about your personal relationship with local natural spots, indigenous plants, wildlife...

Become interested in local birds! Birds are among the most common types of wildlife to be observed in urban areas, which makes it all the more relevant to do so. Setting up birdhouses also makes for a great offering!

Limit the amount of processed foods in your diet

Read up on plant identification in your area

Engage in artistic activities in order to depict nature! It might seem silly, but it's a good visualization exercise, and any time spent meditating upon the land spirits may be considered devotional. Drawing, painting, writing... no matter your activity of choice!

Reflect on what local issues might affect them, especially concerning environmental protection

Leave a bowl of clear water outside as an offering

Do your part to respect nature: composting, recycling, saving water and the like make perfect devotionals

Talk to them regularly, if only once a week. Spend a moment outside to tell them of your appreciation for their presence and protection

Use natural elements to decorate the house: get flowers when available, pick up the acorns or fallen leaves that strike your fancy...

[genshin-scenarios]

across the spiderverse!

Summary: We’re back with more guys in the Spiderverse AU! For more like this but different characters, check out my previous Spiderverse parts one and two! My pinned post also has more about Lyney’s route if that’s your thing.

Characters: Childe, Albedo, Scaramouche, Dahlia

Warnings: Reference to details of Scaramouche and Albedo’s lore, but otherwise no large spoilers! Very brief mentions of injuries, kidnapping, human experimentation, blood drinking (vampires) and surgeries. (It sounds bad but this post is safe for general/teen audiences I promise.)

Childe

Your life as Spiderman is pretty uneventful until the masked villain Tartaglia shows up in town — around the same time a new cutie is enrolled in your highschool (completely coincidental, you’re sure)

Childe’s villain persona, Tartaglia, is basically his Foul Legacy form (and a version of the ‘Green Goblin’ in your world, flying around and causing explosions). ‘Tartaglia’ kind of takes over Childe’s mind and he isn’t completely in control of it — leading to wreckage in the city and general chaos that the regular him probably wouldn’t like. 

On the bright side, even Tartaglia draws the line at harming children! One time, you see a mix of headlines on the news: ‘Tartaglia attacks’ to ‘Supervillain protects kids?’ 

Childe fell into the abyss during his childhood (yes, it exists even in this modern AU) and gained an unknown power that turns him into Tartaglia! After some time he gets a hold on his persona, though, so your villain x hero fights slowly grow into something he’s more conscious for.

Anyways! Childe is also your new classmate who’s taken a liking to you from day one (call it instinct or whatever, but he could feel that you were something special.) 

Later on, your bond is less determined by your superhero and supervillain statuses, but more on how you’re both not quite human. Childe feels less alone and dangerous around you — and what can be better than having the love of his life beat his other self into submission keep his alter ego in check? The main thing he worries about is doing irreversible damage, so technically speaking this is a very romantic and ideal life you’ve got!

Ah, but backtracking to how you reveal your identities: …Well, Tartaglia kidnapped you once, for the purposes of a date. (Do not try this at home.) During which you found out that it was Childe behind that mask and was so surprised that you called him by his legal name (“Wait, don’t scream! It’s just me!” “Ajax?!”) 

At this point, he has a handle over ‘Tartaglia’ enough that he’s just acting like his usual self (save for his freakish strength and agility). Childe explains that he wasn’t planning on kidnapping you (just daydreaming about it) but sensed something dangerous was around → turns out he wasn’t being delusional and it was a Doc-Oc spying on you situation (Dottore), which will become more relevant in Season 2 (stay tuned!) 

During this impromptu kidnapping-date you have an entire crisis because sure you had a crush on Childe but this is crazy! Are you supposed to just pretend this never happened the next time you’re Spiderman?

A few weeks later Childe gets injured really badly from a fight (abyss creatures came out of some rifts and Tartaglia unexpectedly cleared them out before you) — so you end up taking him in for medical treatment because, well, the police would otherwise unmask him, and even though Tartaglia was annoying he never did anything unforgivable. And you’d still like the chance of potentially dating him if this works out.

There’s a whole arc of you bonding throughout his recovery, resting in your room and hiding him from your family and friends (his injuries are too severe to make excuses for.) But now that both your identities are revealed Childe feels like a fool because damn, he really did just reveal his identity to his ‘rival’ all because of a crush (to be fair, he didn’t care for the secret identity thing too much in the first place.) 

You learn that Tartaglia was a type of self-defense mechanism that developed from when he fell into the Abyss. When placed in a regular modern world however, his instincts to fight for survival still linger.

—Yet all things considered, this could’ve ended really differently if you just decided to turn him in: ‘You must’ve found me really cute, huh? Was it my boyish charm?’ ‘No, it was your cyclops mask’ ‘...Now I see that spider-snark.’

Tartaglia would still cause trouble on occasion and you’d be the one to reel him in (just a little less violently than usual, though Childe does request for you to ‘treat him rougher’ at times. And you don’t know how to respond because whacking him on the head is just giving him what he wants.)

Sometimes you have encounters that are more akin to playfights, and whenever Childe does get the upper hand and cages you in, leaning close… you realise that maybe sparring is one of your love languages too — not that you’d ever admit it. You’re still in disbelief over the last time you arrested him as a joke:

’Oh? What’ll you do with me now that my hands are tied?’ 

…Next time, you’ll throw him off the building. There’s no way this ginger has that much of a grip on you!

Albedo

You were bitten by a radioactive spider that escaped from Rhinedottir’s lab! Rhinedottir is a super-genius scientist who specializes in creating synthetic life, who only realized the connection after Albedo did a sweep of their lab and found a test-subject missing.

So of course, Rhinedottir assigns him to investigate who you are. This is a great opportunity to study how the spider’s changed your biology, after all! 

It takes about a month for Albedo to figure out that Spiderman is none other than his own classmate in high school — he may be a synthetic human, but has been living more or less like a regular person since his body functions the same (needing to eat, breathe, and age). 

With his heightened intelligence and senses, Albedo does act a little inhuman sometimes — but that’s mostly because Rhinedottir was his main parent figure and less to do with his genetic makeup.

You guys never interacted before because of how big the school cohort is, but this year you were sorted into the same class! Shortly after Albedo sussed you out, you started to sense that eyes were on you via your spidey-sense, but couldn’t figure out who it was. Eventually, Rhinedottir formally invites you to her lab and an agreement is struck: you’d visit biweekly for check-ups and tests, while Albedo will assist you if anything unusual happens due to your spider traits.

Said tests range from sitting in a scanner to doing crazy stunts, but at least Albedo is there as a cute lab assistant! 

He’s generally kind and understanding to you (which you later realize is only directed to those he’s interested in, due to his aloofness at school despite his delicate looks,) and you both build a rapport through mutual secret-knowing (you find out about his synthetic makeup, too, after Rhinedottir explains that this lab is top secret and that no one should know it exists.)

Albedo didn’t immediately try to hang out with you outside of the lab, but eventually you grow close enough to admit that being a superhero makes it hard for you to maintain friendships. You have to bail if a villain appears, and can’t really explain where you disappear to — which makes Albedo suggest:

’In that case, I could keep you company.’ ‘Wait— Really?’ ‘Of course. But I must warn that my hobbies aren’t as exciting as your usual work.’

Despite this, you learn that genius scientists aren’t also dubbed as crazy for nothing. During missions or lazy afternoons where you declare your boredom, Albedo suggestions on what you could do always manages to surprise you. ‘...Hm, too much?’ ‘I’m starting to wonder if I’ll have to arrest you one day.’ ‘If that day comes, I’d look forward to our fight.’

You went from thinking Albedo would be just a cool, calculated friend into wondering if you’re the only thing keeping him from running morally-questionable experiments. On the other hand, this makes him very objective when you’re struggling on what to do during a fight — and your values of saving the most people possible pushes Albedo to consider other ways to resolve situations. Sometimes he’d handle the rescuing, so that you can pursue the villain who’s getting away.

However— his quiet, ethereal charm is very much still there. And there’s just something disarming about spending golden afternoons with someone that knows the biggest secret in your life; sketching flowers and working on assignments as if you’re just human. 

Albedo also does a bit of research based on his own curiosities; such as… to what extent do your senses try to protect you from harm? Does it register flusteredness as a state of vulnerability, like when he gains a sudden boldness and traces his fingers over your skin?

Sometimes, you can’t process how he plays both sides of himself so well; an effortless student with a thoughtful smile and clever glint in his eyes, then a lab assistant who coyly asks about your day, knowing full-well that he spent the entirety of it testing your reflexes. But the biggest debuff you have is how you feel some part of you melt, or shrink, or burn whenever Albedo fixes his gaze on you like that. As if he’s drinking in every little detail and cares for nothing else but you.

You tell yourself it’s for science, but even Rhinedottir knows Albedo’s invested much further than that. He’s never had this much pursuing a line of enquiry, before. Maybe it helps that he has a cute partner?

On a regular day where you’re testing out a new gadget Albedo’s designed (he appreciates how tools of potential destruction become acceptably used in your hands), your world is thrown off-kilter when a lookalike appears on the street. An earlier product of Rhinedottir’s research, who now goes by the name Rubedo, or Ruby for short.

Scaramouche

The spider-hero Scaramouche is otherwise known as Kuni in his civilian form, known for his sharp tongue but otherwise perfect track record as Inazuma’s local hero. He has a somewhat strained relationship with Ei (his mother who owns a giant tech company, that everyone expects him to inherit) and tries to keep people behind a ten feet pole. But of course, being a hero makes him soften up a little bit, swallowing his pride to help a lost tourist or explain an assignment to a peer.

His canon event was losing Niwa, which he blames himself for (if only he’d decided to be a superhero earlier, he may have been able to save his friend.) However, he does find the strength to persevere after he saves a young boy from an accident, who then requested to be swung around the city a little more so that he can experience what it’s like to fly (Scaramouche tells the kid that he can’t fly. But the kid is not picky about specifics.)

The young boy has an unknown illness, and isn’t expected to live past adulthood — but is somewhat doing fine while Kuni visits him on occasion (normally as Scaramouche, to cheer him up.)

Kuni’s also put some of his savings into being an anonymous sponsor for the illness’ research, which did catch Ei’s eye but she knows better than to pry. There’s a little moment of connection where she pats his head and tells him the funding will go to good use, and he huffs before leaving to sketch out new gadget designs in his room.

Being flawless for most of his life (skills come easy to him), Kuni does fear deep down that when there’s something he finally cares for — something big — he may fail in a manner that is unsalvageable to him. 

That’s why being a hero has helped a little, as even saving a person from a road accident helps him realize that that’s a life saved, regardless of the scope. His suit and powers are electro themed, with the ability to collect static and store it in his body, enough to prompt lightning-fast dashes mid air or shock an unconscious person back to life. 

You attend the same school as Kuni and caught his eye because of your big aspirations! The thing is, you’ve never been vocal about that and always chased them quietly (what aspiration/hobby is up to you) — working on your projects during your spare time, sometimes in the less frequented spots on campus or the library. Both of which Kuni is familiar with

There’s just something about the focused pinch in your brow and little smiles — it’s cute, and endearing, and maybe he’s projecting a little but whatever — you’ve just charmed him without even realising he’s been crushing on you. And eventually, Kuni takes some chances to interact with you more, both as a student and Scaramouche.

He’s often reading, listening to music, or sketching tech ideas in his notebook (it has a lock on it courtesy of his paranoia) — borrowing you his pen whenever yours runs out of ink or offering to show you a quieter corner when the noisy kids have taken over the main hall. Then as a hero, he’s saved you a couple of times from normal-human nuisances and swinging you to campus when you’re late and frazzled!

Scaramouche is more mellowed out around you because the mask helps him be less self conscious, while Kuni is reluctantly nice (still prickly). But once you find out about his identity, you'll be one of the only people that know of just how much good he's done for the world. He’ll start to openly shift between ‘both sides’ of his personality, which is kinda hilarious whenever his civilian sassiness comes through during his patrols (he’s very much a smart-mouthed spiderman). 

Your romance does develop, but there's sort of an odd love triangle before you found out his secret (his fault for approaching you in both forms). The breaking point is when you’re gazing out of your bedroom window (can’t sleep) and Scaramouche knocks on the glass. A short late-night rendezvous occurs, where you vent (without too much detail) to the stars.) And that’s when Kuni realizes that he really can’t screw this up.

Once you’re official, you’ll start to see parts of Scaramouche in Kuni and vice versa. LIke when he rescued Childe once and you could tell he really didn’t like the idea of bridal carrying the guy to the infirmary, so you volunteered to make sure Childe survives, instead. Or when a stray baseball almost hits you and Kuni effortlessly pulls you out of the way without a flinch. 

People say you've changed him but really you just made him comfortable enough to reveal the other sides of himself. The upside-down kiss trope also happened during one of your night-time escapes (yes it’s an ongoing theme) and it still lives rent free in his head!! He's a romantic deep down and now spends part of his time thinking of other date activities (he finds a match in you)

You’ve helped him on missions a few times (desperate moments where he can’t do everything alone), but the fact that you’re the first person he goes to for help — not Ei, not the police, not even Aether — is very telling of how much trust he places in you. All that echoes in his mind is the thought of you: resulting in ‘I need your help’ and your prompt ‘Just tell me what you need.’ (Yes you’re a little reverse of that Anna/Kristoff moment!) 

In the past, this may have been a moment where he feels his vulnerability threatened… but the idea of that isn’t even on his mind. He knows you — that just shows how far you’ve both grown!

Dahlia

Note: very brief biblical and church themes used, mentions of you as a type of monster/demon as perceived by the public. Feel free to skip Dahlia’s entire part if you aren't comfortable with these!

In a gothic medieval city without much tech and a strong Cathedral vibe… You're a vigilante hero who solves crimes in morally questionable ways (by the public's strict standards, at least). 

You're a vampire-spider with the ability to paralyse people with your venom! No other side effects exist, for now, but you do have an increased appetite for foods high in iron, and the change in your physical features (fangs and unnatural color of your eyes) are becoming harder to hide. 

At first, they’d only appear whenever you were using your powers. But as you get used to swinging around and climbing on walls, they’ve been appearing whenever your spidey-senses kicked in. And you have a bad feeling that if nothing is done, they may be on display forever.

You haven't committed any actual crimes, but the nature of your vigilantism and blatant disregard for the local police puts you on a general ‘wanted’ list. Open-minded folk thank you for your help while others call you a monster that needs to be caught by the Church. Deacon Dahlia is an important person in said Church but he doesn't really think there's a need to start a hunt; true to Barbatos’ ideals, he’s one of the more carefree and understanding figures amongst his peers, well-liked for his graceful demeanor and ability to keep calm under any and all pressures.

…That is, until you break into the Cathedral’s gardens and kidnap him one day, out of desperation when your spidey-traits don’t seem to be turning back like they should. Your fangs and eyes won’t be possible to hide from your friends and family — which will either land them in a tight spot as they try to keep your secret or land you immediately behind bars! 

Your intent was to ask for his help in a way that hopefully keeps your identity secret. Dahlia and the other deacons and deaconess’ have the ability to heal people from illnesses (small miracles enabled by Barbatos through their prayer), so surely he can do something! Fix your features, or take away your ‘curse’ altogether — anything works! (At this point you’ve been trying to do good as a hero, but it was mostly prompted by just horrible things happening in front of you that you couldn’t ignore. You’re still very early into your career.)

But, of course, Dahlia accesses your strange demeanor, request, and mode of approach (next time don’t commit borderline blasphemy by kidnapping Barbatos’ Herald) and finally tells you that he doesn’t have the answers you’re looking for. Blessings are for regular, small sicknesses — not exorcisms or curses like you described.

It’s not anger or frustration that fills you, but instead a hollow sense of helplessness. ‘...What am I going to do?’

Dahlia was just going to leave, now that you don’t seem intent on keeping him on the Cathedral’s rooftop — but pauses. He looks at the way you’ve lowered yourself onto the ground and buried your face against your knees, and asks:

‘What did you need my healing for?’

The dam breaks. You tell him everything — the day you got turned, poisoned by some animal in the woods, to the first time you used your powers to this morning, when your features transitioned fully. It all spills out without mentions of your personal background, but Dahlia gets the idea and decides to help you.

You look at him warily, your surprise strong enough for him to sense even with your disguise. ‘Really?’

‘Yes. So long as you help me with a matter of my own…’

Thus begins an odd dynamic of you using a spare room in Dahlia’s private quarters (being Barbatos’ Herald does have its perks of extra living space), in an almost beauty and the beast type of way (except the only thing making you the beast is your spider-powers, and Dahlia is only a little surprised — mostly intrigued — by how your eyes have turned into an unnatural variant of its original color, while your fangs seem to be made for delivering venom, but not exactly for eating meat like carnivores do.) 

He’s a lot more laid back about this than you expected, helping you get basic necessities and food without letting any of the others in the Church know. It helps that you can hide and crawl outside pretty easily if needed, to hide — and you start to grow curious about Dahlia yourself when he finally gives you your mission brief — to investigate some small crimes around the city that he suspects are connected, based on Rosaria’s reports. 

The mystery quickly proves to be bigger than either of you imagined, and it becomes a battle to keep the peace in Mondstadt while nefarious forces linger in the shadows. Meanwhile: What will the public think when they find out Deacon Dahlia has enlisted the help of a monster, of all things? A person whose powers (in a world with only blessings from gods or curses from demons) is most likely from a dangerous, nefarious source? 

Because of how close you’re working together, you discover sides of Dahlia that even the longest term Sisters haven't seen before (mostly because he works with them in a professional setting).

“You're less pious than I thought you'd be.” “Well, no point doing that in front of the person who decimated Barbatos’ statue.” “...Touché.” “You’re helping with the repairs, by the way.” “How many jobs are you having one person do?!”

And the first time you hear a genuine, happy laugh fall off his lips? You know that deep down, even if Dahlia was to turn against you someday… You may never be able to truly cut yourself off from the friendship you’ve built. Even if it was only you visiting the remnants of it, chasing after phantoms in the courtyard where bloody flowers bloomed — you’d stand there and wait, eyes angled away from the shadows swarming beneath your steps. 

[onlycosmere]

WaitUntilTheHighway: Why did Sanderson just get rid of this great character? 

I feel like Rock was one of the best characters in Kaladin's world, and it seems like he was 'sent off' for literally no plot-relevant reason. It's like it's a TV show and the actor died so they had to get rid of the character. I'm bummed because I'm almost done with RoW now and there's just no more fun camaraderie among bridge four, largely thanks to Rock being gone. He was one of my faves.

Brandon Sanderson: As others have said, Rock will get his own novella--but that's not why I sent him off. Even if there had been no time for a novella, or no plot-relevant things for him to do, he would have left.

I need Bridge Four to be alive. Their time together, as a cohesive unit, was a powerful moment in time--and you can always reread the first few books to experience it again. However, in life, nothing remains the same, and time draws people apart. Rock has a family, a people, and responsibilities. He has to be about those, now that he's free from Alethi slavery.

Bridge Four, as it stood in books one and two, had to eventually evolve, and some members had to go their own way. That's life. For all Kaladin wanted to grasp for it, hold it together by force, he couldn't--just as we can't keep rigidly hold of the friends and family we love. Time inevitably divides us.

Each book of the Stormlight Archive must be something new. New tone, new feeling, evolved from the previous volume. They are too big, too weighty, to be allowed to repeat the same plot cycles, same emotional beats, or to allow the characters to stagnate into repetitive playacting of the people they were in the first few volumes. As readers travel through the series, I intend for them to realize this, though it may take a while for it to really click.

Anyway, I'm glad to see your post, /u/WaitUntilTheHighway ! If you miss Rock, I did something right in this specific case. Please don't see my response here as a recrimination, merely an explanation of my philosophy for the series. I hope that the insight helps a little.

Cherish what you have--even if that includes memories of a once warm relationship, now become embers cooled by time or distance. Try not to be sorrowful for the parting, but grateful for the experience while it lasted. Journey before Destination can apply even after that destination has been reached, so long as it doesn't cause us to fixate so much on the past that we overlook the new journeys ever opening before us.

Thanks for reading.

[cosmereplay]

Brandon's answer:

As others have said, Rock will get his own novella--but that's not why I sent him off. Even if there had been no time for a novella, or no plot-relevant things for him to do, he would have left.

I need Bridge Four to be alive. Their time together, as a cohesive unit, was a powerful moment in time--and you can always reread the first few books to experience it again. However, in life, nothing remains the same, and time draws people apart. Rock has a family, a people, and responsibilities. He has to be about those, now that he's free from Alethi slavery.

Bridge Four, as it stood in books one and two, had to eventually evolve, and some members had to go their own way. That's life. For all Kaladin wanted to grasp for it, hold it together by force, he couldn't--just as we can't keep rigidly hold of the friends and family we love. Time inevitably divides us.

Each book of the Stormlight Archive must be something new. New tone, new feeling, evolved from the previous volume. They are too big, too weighty, to be allowed to repeat the same plot cycles, same emotional beats, or to allow the characters to stagnate into repetitive playacting of the people they were in the first few volumes. As readers travel through the series, I intend for them to realize this, though it may take a while for it to really click.

Anyway, I'm glad to see your post, /u/WaitUntilTheHighway! If you miss Rock, I did something right in this specific case. Please don't see my response here as a recrimination, merely an explanation of my philosophy for the series. I hope that the insight helps a little.

Cherish what you have--even if that includes memories of a once warm relationship, now become embers cooled by time or distance. Try not to be sorrowful for the parting, but grateful for the experience while it lasted. Journey before Destination can apply even after that destination has been reached, so long as it doesn't cause us to fixate so much on the past that we overlook the new journeys ever opening before us. Thanks for reading.

Link to post

[alikuarso]

To answer your question about Fresh: Fresh is actually a parasite! He dresses in his 90's-themed clothes and speaks in a silly way so that others underestimate him. His main and utmost goal is to Survive, and the way he does that is by infecting other people with his parasites and draining the life from their souls. Being seen as harmless lets him get closer to them and gives him easier access for possession. He hopes to eventually take over the multiverse, spreading his parasites in every corner of it and having absolute control.

He also has no emotions. He is capable of them, but for whatever reason he is unable to feel much, besides the rare instance of anger. He does frequently feel fear, though.

He is a bit sadistic, and he likes seeing others suffer. This is because when he takes over someone he drains their soul of life, which causes them pain. And to him, taking someone's body means safety, it means he can survive a bit longer as long as he's snatched their body. So he's come to associate the pain of others as something good.

And he's also aware of the creators/viewers, thanks to an event called the Loveball, which is canon to his character.

Going to copy and paste my own words for this [I was talking to a friend about Loveball]:

"So, like seven years ago there was a fandom-wide event called the Loveball, where people gathered their OCs and had them all attend an UTMV dancing ball. Fresh went, of course. There, he met a Frisk called Pacifrisk. Even knowing who he really was [90's parasite], they still believed he could be good. Before this, he hadn't ever really felt a connection to anyone, or even positive emotions in general. But Pacifrisk's faith in him made him feel positively towards them. This freaked him out. [No Fr@ns though, don't worry. That wasn't the intention for this plot.]

As a result, not only did he try to kill them, but he also went through with his plans: the Fresh Takeover [I forget what it's actually called]. His true reason for attending the ball. OCs were either possessed by the parasites or tried to fight against them. Apparently, some people used alcohol to ward the virus off, as Fresh hates substances such as that.

Fresh wanted to take over the multiverse, with this Loveball being the first step for his total domination.

But then right in the middle of things, a Sans AU [which I totally forget the name of X,D] grabbed Fresh and basically yeeted him into an alternate state of being. One where he could see the creators, all staring at him. An audience.

The Sans revealed the nature of Fresh's existence: That he was simply a character in a story. And if the creators got bored of him, he could easily be written aside and forgotten. Erased. His conquest didn't matter, in the end.

Predictably, this gave him an existential crisis. I'm not sure what happened after, but he stopped invading and went somewhere to contemplate his existence in a depressed state.

Afterwards, he had a new goal: To entertain. To convince the creators that he was worth keeping around. Similar to his previous goal of survival, but now with more dire stakes."

His creator @loverofpiggies has some posts about the Loveball, tagged under either the 'fresh sans' tag or the 'loveball' tag, which I recommend you check out! ^^

But yeah, to answer your question: The reason Fresh fought Ink was probably 1: because he saw it as a good way to keep himself alive and 2: So that he could be relevant and interesting to the viewers.

Hope this answered any questions you might have about him! ^w^

THANK YOU BECAUSE THERE'S NO WAY I WOULD HAVE FOUND ABOUT ANY OF THIS OTHERWISE😭😭😭 THAT'S A LOT

Now I want to draw fresh existential crisis mood, That's something I never would have imagined existed

Im still a bit confused about fresh not having emotions¿ but I think I got the idea, but still, why does he feel fear?

I think fresh is becoming my favorite now, help, error do something

(Thank you again for your time✨️)

[sexybread-png]

just elaborating on the previous ask

no, it is not because she “has a bush” and no it is not transphobic or misogynist to point out that you specifically drew her hairier than any other character when she is the darkest black women you have drawn or portrayed ESPECIALLY when you are portraying a real cis black actress who does not have the arm hair you are putting into your artwork.

women can and do have hair i am not saying that, but black women in particular have a long history of being forced into a realm of masculinity that is purely because of their skin color, maybe look into that instead of an article on “women and hair” if you are trying to show that you listen to criticism

hello again anon

to reiterate, i do want this to be a conversation, im not trying to shut you down or downplay your concerns by bringing my own. i do feel its relevant to inform you that you bringing up the fact that cynthia is a cis woman and should thus have less hair IS breeding grounds for those concerns.

on that note, i am NOT portraying the real life person cynthia erivo in my drawings, but elphaba thropp the fictional character. elphaba, if u didnt know, is not cis. shes intersex, as stated in the books. i do understand that using cynthia's likeness makes elphaba a black woman and so i have been careful abt my portrayal of her, but elphaba is not cynthia erivo. its important to make a distinction between the actress and the character

further, if the arm hair ur speaking of is the armpit hair, cynthia probably does have arm hair and chooses to shave it. i just dont think elphaba the character would be the type to shave.

if ur talking abt this drawing though i will point out that this is an alternate universe in which elphaba is a werewolf, as stated in the post, which is why she is so hairy. if i drew galinda as a werewolf, id draw her just as hairy! (which is smth ive done in the past, drawing white ppl / non black ppl as hairy werewolves.)

also, i have drawn darker skinned women who weren't as hairy:

my goal isnt to draw black women more masculine than non black women. my goal is to just draw women, all kinds of them, and it includes hairy black women bc i believe women being hairy does not make them more masculine. my intention shows in my drawings too: im not drawing elphaba less of a person or less pretty than galinda bc shes hairier. she just is hairier

in an effort to have a wider perspective on the subject, i did talk about this with my friend. shes an indigenous woman so to clarify shes not trying to compare her experiences to black women's, just offer her own perspective and she means all of it in good faith. i asked if i could show what she told me bc i felt like she explained things in a really thoughtful and intelligible way

[the-crooked-library]

Alright so it seems that I'm not quite done beating the horse that is the Bacon triptych - because the potential layers in its presence have me absolutely enthralled. As a visual element, it illustrates the "currently unfolding" part of the drama, but also appears to allude to a story that's yet to come; and, granted, that may be the brainrot speaking, but my art history fixation is insisting that there's gold in them hills, so bear with me here.

As tenuous as it may seem at first glance, I firmly believe that the writing itself supports my fascination with this piece. It demands to be noticed. It is a vivid splash of red in a box of brutalist grey; and, furthermore, unlike the other paintings in the Dubai penthouse, it's written into the dialogue. The camera lingers there - hence, the series wants us to pay attention; and, while its subject-level significance is not to be discarded, I cannot help but see another, similarly emotional allusion within the same frames.

Instead of drawing from the painting, this story layer connects more to the artist himself. One of the most notable periods of Francis Bacon's personal life was his relationship with George Dyer, which lasted from the 1960s to the early 1970s. Unlike his previous paramours - who were largely older (and, in the case of the last, abusive) men, Dyer was a young addict. Described as someone who could "throw a decisive punch," he was nevertheless vulnerable and trusting; as such, Bacon took on a dominant role, and Dyer became his muse. Among Bacon's portraits, he was ever-present; and though the relationship was tumultuous, often overwhelmed by their shared addictions, those paintings are uncharacteristically tender.

The story ended with tragedy - it's an account of drugs, alcoholism, neediness, dependence, classism, friction, and Dyer's eventual suicide; and within the context of IWTV, this framework is undeniably thematically relevant.

From the beginning - a decade-long involvement, addiction, an uncharacteristic tenderness - beat for beat, the book version of Devil's Minion is the same story, happening only a few years off. The presence of the Bacon painting within the Dubai penthouse is, in my opinion, an indicator to it having happened in the show as well. Just like Dyer, the TV version Daniel met Armand in a pub (or bar); just like Dyer, he is compact, athletic, pale, working-class - and, when under the influence, boisterous and active.

There is, naturally, one key difference; unlike Dyer, Daniel survives.

In the Doylist sense, the painting, therefore, acts as a visual cue - almost as evidence, of sorts. The memory of their entanglement may be effaced, but the blood-red stain of it is impossible to ignore, as is this placement:

I don't believe it is accidental that the painting is sold almost as soon as Daniel arrives in Dubai. It is an indication that the Devil and his Minion are no longer locked within a determined ending; their story continues, and memories are replaced with the real, living thing.

Edit: it bears pointing out that, while I had this post hanging in my drafts, convinced that I was reading far too much into something that already had another reason to exist, it's been announced that the relationship between Daniel and Armand is, in fact, going to be explored within the series. My every wish has been granted, and I can hardly wait.

[suzukiblu]

WIP excerpt for Plot Bunny; love is being stupid together. (( chrono || non-chrono ))

“Somehow I’m certain a member of an alien species salvaging a DNA sample while you were too dead to be useful would not, in fact, have been ‘normal’ for your people,” Lex counters dryly. Superman smiles wryly. It’s appallingly attractive on him. 

Ugh. 

“The planet was a little too . . . xenophobic for that, unfortunately,” Superman says, then sighs regretfully. Lex stares blankly at him. 

Why is the man just telling him these things? 

“Xenophobic,” he echoes. 

“Kryptonians never left Krypton,” Superman says. “Or let anyone else on Krypton. More of us would’ve probably survived, if they’d been willing to. Or at least, more people with our DNA would’ve been out there in the universe.” 

Lex stares blankly at him again. Superman leans down a little closer to Experiment Thirteen. He’s about as far in its space as he can get without actively getting in its way. 

“You do realize if it wants to draw even slightly farther to the right you’re directly in its way, yes?” Lex says, because just because Superman’s gone insane doesn’t mean he’s going to let him inconvenience his finest work’s fine motor control practice. 

“Sorry, Kon,” Superman apologizes disgustingly sincerely, floating back a foot or two. Experiment Thirteen ignores him, but also very pointedly adds a large red "X" to the window on the right side of its previous work. Then it scoots to the far left and resumes drawing on that side of the window with a green marker. 

Lex really is finding parenthood so incredibly rewarding, he decides, fondly admiring the absolute pettiness of the gesture. 

Experiment Thirteen seems to be drawing a monster. Superman is visibly resisting the urge to lean over towards it again. 

“Is that a dragon?” he asks curiously. Experiment Thirteen continues ignoring him to add more spikes to the monster’s tail. “Do you like dragons? I know some Kryptonian legends about some, if you’d like to hear the stories sometime. We could have storytime, maybe.” 

Experiment Thirteen does not seem particularly interested in the concept of “storytime”. Lex resists the urge to make any sign of paying attention to what Superman is talking about either, for obvious reasons. Kryptonian bedtime stories have absolutely no relevance or use in his life, and there’s absolutely nothing he’d gain from hearing any. 

Superman just doesn’t just say things about Krypton like this, though. At least not in his presence, anyway. 

“If you’d like, anyway,” Superman says, watching Experiment Thirteen draw its probably-not-even-a-dragon monster with a fond expression. Lex, as usual, is disgusted. He gets to be fond over its petty gestures, not Superman. Superman didn’t build the thing, much less spend eight point two billion dollars on said building process. All he did was be dead for a while. Which–even if Experiment Thirteen was interested in Superman's existence, the damn alien would just go and die on it the next time a crisis happens, so what’s the use in letting him hang around anyway?