#(...well. other than actually writing the script lol)

[iwillmissourtalks]

SEARCHING AO3: A (SLIGHTLY) MORE ADVANCED GUIDE

Disclaimer: This is very very geared towards finding fics about a particular character rather than a pairing. My favourite guys tend to be popular-ish women that appear in a lot of fics but only as supporting characters so I’ve had to become v good at combing for things that actually centre them <3

For this guide we’re gonna use my current hyperfixation: Mel Medarda & see what we can find lol

1. Use the tag filter system as your default! It’s superior in every way to the normal search except for the “any field” section which can be pretty useful but unless you’re using it for SPECIFICALLY THAT, don’t bother.

You can access the tag filter by clicking on any common tag (we’re gonna use “Mel Medarda”) and then hitting filters.

This thing is SO useful! Poke about in the dropdown menus; each of them will have the top 10 associated tags for that category. For example the top additional tags for Mel are Angst; Slow Burn and Fluff because,,, well. yk

+ it shows the number of fics with those tags under the “main” tag of Mel Medarda!

2. Keep an eye out for character specific tags! Now that we’re definitely using the tag filtering system we can start actually filtering through those tags <3

Most characters will have common but specific tags that both name them and imply something about their arc in the fic. A frequent example is something like “X character needs a hug”, or more obviously: “X character centric”.

These are my go-to tags for Mel! Most characters will have a variation of this set + some others (“BAMF character name” is also a pretty common one in older fandoms) and any one of these (INDIVIDUALLY, at most filtered in sets of 2) will lead to a few hundred results. It’s not 100% flawless because a lot of authors over-tag, but a solid 80% of the fics under these tags will at least heavily feature the character you’re looking for.

3. Filter by summary!!

At the bottom of the tag filters there’s a section called search within results. This is your Best Friend.

summary: “_”

^ for easy copy/paste

What this script will do is search for whatever you put in the quotation marks and then only give you fics with that thing in the description. I like to use it for character names but it also does a pretty good job filtering for tropes — try using it for vampires lol

Doing this with Mel narrows down her character tag from 7000+ to just under one and a half thousand fics, all of which at the very least include her name in the description.

4. RAREPAIRS ARE YOUR FRIEND! Canon but only semi-popular ships are infinitely more likely to get tagged in the background than say, for example — melvik (nobody is writing background melvik). This tip only works if you’re willing to multiship for more content of your guy but it is very effective.

5. Related to tip 4: Search by otp! If you’re locked in on a particular pairing that’s more popular, you can search for fics that ONLY include that ship.

otp:true

^ for easy copy/paste (again)

This is super useful and also the main reason I don’t tag side pairings in my own fics! Also remember to use this script with ship tag rather than just a character one — otherwise it won’t work.

6. Parent tags exist! This is less of a strategy and requires more trail & error, but lots of tags filter into each other. For another Mel-related example, filtering by the Only Meljay tag would also being up fics tagged with Jayce/Mel Medarda-centric — despite (potentially) not having the original tag you filtered by. This is because Jayce/Mel Medarda-centric is the Parent of the original tag, meaning ao3 has deemed the two tags related enough to appear in each other’s search results.

This is something done manually by ao3 staff so the consistency of parent tags are a little weird sometimes.

More practically, this is an interaction to keep in mind when blocking tags. If for example you were to exclude “Torture” from your search, ao3 would also automatically exclude —

Implied/Referenced Torture

Physiological Torture

Aftermath of Torture

And probably many more.

Even if the broad category of torture isn’t tagged in a fic, the specific referenced type of torture counts — to ao3 — as a tag of torture by itself.

Interestingly, the “sub-categories” of tag don’t feed into each other this way. You can block Physiological Torture and still see fics tagged with Implied/Referenced Torture or Aftermath of Torture.

Knowing this is useful in the sense that the more specific you get with a blocked tag, the less likely you are to accidentally filter out something you would actually be fine with (or inversely blocking a general category you HATE means you don’t have to obsessively filter out every possible iteration of that thing you don’t like).

You can tell tag is a Parent Category by searching for a Sub Category and blocking what you think is the Parent. This will result in 0 results.

Implied/Referenced Torture tag after blocking the Torture tag.

Each of these strategies are things to be done in waves or in combination with one another. Casting a wide net and then narrowing it down is really important, too many tags and you end up with no results.

Ao3 has an INCREDIBLY robust set of archival tools. It’s an amazing site and if a fic exists and you know what you’re doing, you should always be able to find it.

Happy reading <3

[youchangedmedestiel]

Okay so I get why Jensen is into Misha and has been crushing on him for years. The evidence is verrrrry obvious lol. But I genuinely don't see Misha being into Jensen the same way. Don't kill me, but Jensen's not really on Misha's level intellectually--not like Jared is. Jensen admitted he doesn't even read ever, whereas Misha's a voracious reader, writes poetry, and is working on a film script. Also Jensen's not really into activism or politics and is just overall kinda basic? Like he's into beer, cars, and country music, which is fine. But I don't see that being very interesting to Misha. Like yeah Jensen's conventionally handsome and great as Dean but that's kinda it? I'd think Misha would need more than just looks. Also there aren't really any moments where Misha's GENUINELY swooning over Jensen if you think about it. He's just as smiley, affectionate, and teasing with Jensen as he is with literally everyone else in the cast. And yeah he kissed him on the cheek that one time cuz Jensen was struggling onstage, but that's just Misha being Misha. If anything, he seems into Rob imo.

I won't kill you, though I don't share your opinion like at all!

They might not share the same interests but it doesn't mean they can't be together. Jensen could totally admire Misha's talent for acting, writing poetry and other stuffs he does. And Misha can totally admire Jensen's talent too, for acting as well and for music for example, by promoting the release of his last album (I don't have the energy to find the panel where he said it) and by looking at him like this:

See, I don't think Misha is that much demonstrative compared to Jensen actually. Misha likes to joke a lot so it doesn't seem like it but he's more private, shows less affection, except usual hugs and kisses to joke, and talks less about what he feels.

And I think he wouldn't like someone calling Jensen basic.

Because he is not.

Also, I find Misha and Rob really cute together.

[pro-depresanti]

In case you take request? Val x female reader on e shot who acts a bit childlike clingy when he gets off out of bed the next Morning Not wanted him to leave for work?

The way I was actually thinking of writing something like that already lol

Tags: really soft, clingy!reader, vaguely implied nsfw

Requests are open :))

___

Contrary to popular belief, Hell isn't a burning pit of fire, with the average temperature breaking the thermometers, especially with an AC on, and especially in the mornings.

You're tugged in bed with a thick comforter covering you up to the chin, Valentino's fluffy wings splayed out underneath you. You're using his chest as a pillow, your arms wrapped around him like he's the biggest plushie ever made. Honestly, you're lucky he's a clingy bitch as well, and that he likes you so much, otherwise such freedoms would never fly. He's got his arms around you too, one by the shoulders and one around your waist.

He wakes up first, because being an Overlord isn't just bossing everyone around and throwing money as carelessly as cigarette butts, said money has to be made somehow. Valentino sighs under his breath, mentally going through the list of things that needs to get done - supervising two big projects, going through some scripts, a meeting with Vox in the afternoon for scheduling and setting the budget for the upcoming quarter, a quick visit to Velvette for a photoshoot–

It's too early for this shit, but time doesn't bend even for Overlords. He takes notice of your position, and gets to unraveling himself away from you as carefully as possible. Your job is to look pretty, and to warm his bed and cock, not to run a whole industry, might as well one of you take it easy.

But, as soon as your 'pillow' moves, you're awake and very much not in the mood to lose your personal heater. You grumble something unintelligible, wrapping yourself tighter around Val, throwing a leg around his stomach for good measure.

"Baby, come on–"

"Mmm, five more minutes." Both of you are well aware your 'five minutes' are as long as Vox's five minutes to finish up paperwork, which is closer to five hours.

Valentino weighs his opinions, wondering whether having you share his bed is worth having that conversation more often than not. It is, but still.

You lift up your head, putting up your best cute face, staring him through your lashes with puppy eyes. "Pretty please?"

He throws you a nasty look. "And what happens when those idiots run the industry into the ground?" As if he doesn't want to have a lazy morning more than once in a blue moon.

"They will be fine," you pout, laying back. "Just a bit more, you're warm."

Valentino rolls his eyes. "Little manipulator," he says, then leans in to kiss the top of your head.

You giggle. "Learning from the best."

He reaches over the nightstand, despite your protests, to get a cigarette and a lighter. Fine, he can have his 'breakfast' in bed, Valentino without his morning smoke is a nightmare for everyone that comes in his vicinity. "You have until I finish this."

You sigh. "Fine." One battle at a time. Still, you call that a win when he starts tracing a shapeless pattern onto your back. Yeah, you can play the big scary Overlord like a fiddle, he can never tell you a stern 'no' without a compromise, you've gotten as much under his skin as he has under yours.

"You know, you're a pain in the ass sometimes," he says with a scoff.

You hum in agreement. "Yep." Then tangle your fingers into his neck fluff. Mmm, warm and fuzzy. Sometimes you can even forget what a nasty piece of shit Val is. He's just a fluff ball with attitude and anger issues.

You're sure Val must have really rushed his smoking because before you know it he flicks the butt into the ashtray and you get ready for round two. Valentino tries to get up again, less careful this time, but you don't budge, just wrapping yourself tighter around him. "Five more minutes."

He glares at you, saying your name with a tone that would make any other sinner freeze in place.

You scoff.

"I'll be late."

You hum, "'don't care."

"You're really pushing your luck."

No shit, but Val loves it as much as you do.

"Just five more minutes," you reason again, nuzzling into him.

"Move."

You pout. "Five minutes, ple-eeease?"

"I'm serious."

"And I'm cosy." Maybe you'll get a good disciplinary fucking out of this too. Kill two birds with one stone.

But luck isn't on your side today. Valentino gets up suddenly, most likely thinking he would be able to shake you off. Jokes on him, you wrap your hands around his neck and your legs around his waist and hold on for dear afterlife.

He stands up straight, his arms out, which, rude! What if you fall?! Asshole. You wiggle a bit, resting your thighs on his lower set of shoulders for some extra support, interlocking your fingers behind his head. "You can't be serious."

"Come on, Val. No one will care if you're a bit late." If anything, his workers would be happy, but you don't say that out loud.

He clicks his tongue and grabs your chin, lifting your head up to look at him. "You. Are. An. Insufferable, little, bitch."

You smile. "Love you too," then rest your head back on his chest, closing your eyes.

You expect him to wrestle you away and throw you either on the bed or straight on the floor, but no. Instead, he starts walking, still not holding you. Blessed be your strength you have built up after so long being Val's favorite plaything, you stay firm in place. "What are you–"

He gets to his closet and picks the nearest skirt within reach. "Getting ready."

You groan in annoyance. He can't be serious. But he is, bending down to slip on the skirt, then his heels. Ugh, your limbs will ache for the wrong reasons tomorrow, this is a whole workout on your part.

He walks up to the mirror and fixes up his neck fluff as best as he can. No time for make-up today, it seems, not like he needs it to look good.

You hear the front door open, and you finally open your eyes. "Um, Val?"

He doesn't even look at you as he locks the door behind himself. "What? You want to be clingy, be clingy then, but I have shit to do."

"But–"

He grabs you by the hair and pulls your head back. "One more word and you lose your bed privileges."

That shuts you up. Well, hopefully you've worn something decent to bed now that the entire building will see you out and about. Considering Val is just trying to be extra mean and take the stairs instead of the elevator to see whether your strength is as big as your stubbornness, everyone in his section of the Tower will get a glimpse.

[kiwi-cult]

PARSELSCRIPT!!

Hi. This is mostly for the people from Discord but tadah! I'm finally making that Tumblr post I've been talking about for months.

(Warning this will probably be very chaotic)

To anyone new who sees this: me and some friends made an alphabet for Parseltongue from Harry Potter, aka Parselscript. I'll take you on a little journey to explain my process and give you some tips, should you want to start writing it.

Disclaimer: I wanted to make this script usable for the writer I made it for so it's less of an actual language and more just some characters to represent the Latin (or ‘English’) letters. Like a cipher. It is not realistic. If I made this realistic I'd have to add all sorts of things to indicate body language and smell etc and also have to figure out what sounds Parseltongue actually has etcetera etcetera. No.

Alright.

It all started when we started talking about Parselscript in a Discord server and I asked my friend Ava to visualise the script because she seemed to have a clear vision of it, so I could use it to go from there.

That's how we got this.

I think we all wanted to go with something flowery for some reason, so we did.

After this I just messed around with brushes and shapes in Procreate for a while, tweaking things and trying to make it more writeable. I ended up with something like this (still a rough draft).

It may look a bit like random squiggles at first, and it kinda was at this point. As you can see there's also a lot of added dots and lines, which can be a bit hard to remember and I see you wondering what it looks like without them.

Well here it is.

I showed this to the people I brainstormed with in Discord and we decided to go with the more complicated version because it looks better lol.

This is one of the final versions.

It says: "Hello, my name is Kiwi Cult. I made this script after reading a fanfic called Terrible, But Great written by Isalise the loml on Archive Of Our Own."

Now, to talk about some of the (boring) logistics.

It is read from left to right, top to bottom.

Every separate combination of squiggles you see above is a separate word. Every word is made up of a starting character, one or more letter characters and an ending character.

The very first character you see in the top left corner, with the three petal looking thingies, is a silent starting character that indicates the start of a sentence. Not word: sentence. The end of the character, that little circle thingy, is a comma. So, the first combination says: "Hello,".

Then, the second combination starts with a kind of hook going down and right. This is also a silent character and more meant as an interpunction, that's why you don't pronounce it. It's kind of just a way to start the word when there isn't anything special about it (aka it's not the start of a sentence, a name, an exclamation or a question. But every character is special in its own right🥲). The same kind of hook can be found at the bottom of the combination, except going up. It has the same use, basically just a way to end the word when there isn't anything special about it. Now, you might ask: why does it go right and not left?

We talked about this a while, because I wanted the direction to have some kind of meaning. We wondered about gender, tone, blah blah all kinds of complicated things but in the end I just wanted this script to be writable so I chose to have proficient writers in Parseltongue make their hooks go left and beginners have their hooks go right.

Now, you might notice that I end my words with a hook going right. That is because I don't see myself as a pro in writing in Parselscript okay? It's hard!😭💀

Now, other than the character indicating the start of a sentence, the circle, and the simple hook, there are a few other characters to start or end a combination (don't worry I'll show them all to you at the end, you won't have to use your imagination for long).

We have a character to indicate a name. Now, the rule is: name indicator over start of sentence indicator. So, if you start a sentence with a name, you'll use the symbol to indicate a name, NOT BOTH. (That's not even possible but I don't even want to see you try and butcher my child).

There is a character to indicate a sentence that would usually be followed by an exclamation mark (!), but at the start of the sentence. Then you’d end the exclamated sentence with a period.

The same goes for a question mark (?): put it at the start of a question, not the end. Again, it wouldn't even be possible to use it at the end of a combination but I DON'T EVEN WANNA SEE YOU TRY.

Finally we have a period (.), which looks a bit like a flower with four petals. You do use this one at the end of a word, and it is always followed by a start of sentence indicator or a name indicator. I know people are rejecting capitals these days in their typing but I don't wanna see it. If you start a word after a period with a hook I will find you.

If a sentence starts with a name that is also a question or exclamation you’d use the question/exclamation mark above the name indicator, otherwise it would take away a vital part of the sentence while a name can still be read even if it doesn’t have its indicator.

So, to put it all next to each other, the symbols we have are: -start of sentence indicator -name indicator -exclamation mark (!) -question mark (?) -period (.) -hook (direction depends on efficiency) -comma (,) (direction depends on efficiency)

I didn't make adjusted characters to indicate a capital letter like we do in the Latin alphabet, meaning that the only things you can kind of 'capitalise' are the start of a sentence and the start of a name.

It is also slightly phonetic. Emphasis on slightly. I made separate characters for almost all letters in the Latin alphabet, so you can just write your word normally with Parselscript characters. The only difference is that I made only one character for the 'f/v' sounds and that there is no 'c' character. If a word has a 'c' in it, you'll have to use the character for a 'k' or an 's'. Also a ‘q’ can be made with ‘k’ and ‘w’ etc.

A few examples: -character=karakter -parselscript=parselskript -crazy=krazy -science=siense

-quiz=kwuiz

I know it looks a bit confusing, but I trust you guys' ability to read context clues and figure out what someone means when you try to decipher Parselscript.

Now, for a word like 'phonetic' or 'decipher' I don't really care whether you use the separate characters for 'p' and 'h' or just the one for the 'f/v' sound. You do you.

I also don’t use any double letters because they basically sound the same and it looks ugly but if you want to use double symbols feel free.

I also made some numbers that do not look like they fit with the rest of the script but I promise you that's just because you're not used to it yet. Our own numbers don't belong with our alphabet either because we nicked them from the Arabs (I think, don't quote me on this) but we don’t notice that either.

Tadah. (Yes I know it’s out of order I told you this was gonna be chaotic af)

Other than that, feel free to ask me questions if I've forgotten anything or if you're wondering about anything. I can't guarantee that I have a good answer because I might not even have thought about it myself, but I can always try to come up with something. I am one person, I'm afraid I haven't been able to take everything about a script into consideration.

Now, without further ado; here is the key.

No, your eyes didn't deceive you: there are two versions. The first has a bit more loose squiggles than the second one. I realised that when I was writing physically, the second version was much nicer to write, so it is kind of like Simplified Parselscript. I haven't decided yet if I'm gonna put some lore behind it or not yet. But I included the og one if you're a tryhard and wanna take it on.

Now, if you're gonna start writing it yourself, here is the stroke order.

I tried to make it as clear as possible but please ask me if you're confused on anything.

Red is the starting point of the whole symbol, the arrows indicate the direction to go in, x marks the start of the small extra's.

Now, I'd also recommend writing on some type of paper with vertical lines like this if you're gonna do it physically.

You can just turn a paper with normal, horizontal lines a quarter to get vertical lines. Also, do NOT write in between the lines. They are meant to help you keep the start and ending on the same line so you don't start going into crazy directions while writing. So, start your sentence symbol or hook or whatever in the middle of the line and try to keep coming back to that vertical line after every letter. As you gain more proficiency you'll probably go straight into the next letter without going back to the line all the time but I think this is a good starting point.

I also recommend writing with a fountain pen or something else that flows well because it’s easier to write that way.

Here is another rough draft I made on physical paper to get a feel for it. As you can see this draft had a lot more different starting characters and ending characters so just ignore that. Hope this motivates you a bit or smth.

Lmk if you want me to post a video of me writing in this Parselscript.

Also please let me know if you know of someone else who's also made a Parselscript because I tried to look for it on Tumblr and Twitter etc but I couldn't find anything.

I also feel like there’s a big mistake I made that I realised the last time I worked on this script but I’ve forgotten it now so if you find out please comment or dm or anything💀

Also feel free to use in your own fic, tho a little tiny shoutout in the a/n would be nice :) I’m @/kiwi_cult on Ao3, @/slvtr_ on Wattpad, @/kiwi cult on ff.net, @/slvtr.1 on TikTok and @/.slvtr on Discord.

Credits:

@natis-balamnimaja @asterialvia and @/zee (who unfortunately left the server and I don't know the Tumblr @ of) for brainstorming with me and @isalisewrites for inspiring us and making the server we discussed this in.

Okay bye :) tell me if I forgot anything.

🥝

[lucabyte]

Psst. What's your process for Comics? I would like to Know (Because your ISAT comics make me a little bit feral and I would like to learn)

Okay so the cop out answer is: i basically wing it every time since im very very new to making comics and my method is still evolving. but that's not helpful and i like to yap so ill talk through My Method anyway

So first of all: Ideas.

All my ISAT shit is like. extremely dialogue heavy & mostly focused on the same like. 3 topics and philosophical concepts over and over lbr. So mostly when it comes to drafting that I'll just let my brain bash the dolls together until i notice either 1. a fucking banger line (this usually becomes a punchline i then work backwards from when writing it out) or 2. that i keep coming back to the same like 'scene' in my mind.

(I'd love to know. how to make this work for like. OCs??? But I haven't quite cracked that one yet sorry)

For the former though what usually happens there is I write things out on my phone (this happened with the bonnie-centric ones a lot?) or i'll leave a voice note for myself. Or, if i'm at my computer it goes straight into notepad, which is where everything goes before i draw it.

so these are just like. Disgustingly strewn about on my desktop. But this is how i type up the comic scripts, which I do before i put the dialogue in csp because csp's text tool sucks ass, but you can see how these end up having Some Semblance of the final formatting? Some more than others. But they don't have much consistency in how i'm tagging the dialogue LOL. (bonus: one of these i never ended up making. because i come back to the same wells SO FREQUENTLY that it gets embarrasing to retread sometimes) Then I just... screenshot the notepad file and paste it into a csp window LOL.

So I've pulled up three comics just because theyre like, recent ones? (Links to all 3 -> x, x, x) And oh yeah immediately they're rather inconsistent. But this is the level of detail i do in my thumbnails. (Hello Golf Ball Loop) MOST of my long ass comics look like the first one though, and all of them follow the same thought process.

I will take the dialogue, and then just draw a panel that i think works with it. Then move onto the next line, and the next. Basically thinking mostly in speech bubble placement rather than anything? But I'll just keep... going downwards until it is done. You can see the speech bubbles tend to include either nothing or the vaguest indicator of what's inside them.

(The third one here is an outlier because iirc I actually had this very visual idea while drawing something else and went to go quickly draw it out so the text actually went right into CSP bc there was so little of it. But it was still panelled really sequentially for what action I know I wanted in each panel.)

Overall this is probably because of my habits from learning animation? I thumbnail as if im storyboarding, if that makes any sense. Or is any different to how people usually do it, anyway.

My friends who actually read comic books have told me off already for my vile leaning-tower-of-pisa bullshit formatting. I understand their criticisms because genuinely what the fuck am I doing half of the time? I like it though lol. It's a reflection of how stream-of-conciousness my workflow tends to be, but fuck if it means the aspect ratios aren't the wooooorst LOLL

Then i resize the thumbnails to be roughly 1920px wide, aspect ratio be damned. And at this point I usually also have to draw a big grid so that i can align the comic and make it not on a weird tilt. The most thought that goes in here is that I try to avoid making panels too samey in layout from line to line, and try to keep vaguely to making panels the same-ish height but a width of the page either in halves or thirds. Making it so they aren't completely inconsistent sizes does a lot for making things not look too sloppy.

My first sketch over the thumbnail usually is neat enough to be The Final Lines because I'm impatient. EXCEPT when i realise its going to get Fucking Complicated at which point i pull out the CSP models and my beloved cubes. Then i take a billion years to pose a consistent scene (and often realise where I need to cheat angles. Like for loop reaching down to sif's face. That doesn't make sense in 3d space so I had to cheat). This is basically par for the course whenever I want to do a scene where there's Any consistency in character positioning and they aren't just Talking Heads.

THEN. After the sketch (which was done with speech bubble placements in mind back at the thumbnail stage) I will finally put in the speech bubbles. This usually means re-sketching them, then putting the text down and doing all the typesetting (VCR mono looks very ugly in CSP a lot of the time so I fuck with the spacing of individual letters a lot) and THEN redrawing the speech bubbles around them properly.

Sometimes I'll fuck myself over here and have to move stuff but ideally, if I weren't working like some kind of fucking barbarian, I'd do the speech bubbles before finalising the lineart. But I don't on account of going straight from thumbnail to final lines. You'd do this during the sketch stage if you were normal.

then it's finally panel border time. And then when I get to this stage I just make like. another few new layers above everything but the text where i just clean up. Everything that I had neglected while drawing. So any extra white lines or places where i just think things look bad and i want to redraw them entirely. I will also sometimes literally make a flattened copy of an entire panel to just move it around slightly. It's a deeply evil part of the workflow and i apologise for it. But also it's the major benefit to drawing in straight black-and-white with no tones. It means i can just overdraw anything that is unclear in the end.

(and reposting again Links to all 3 -> x, x, x for easy comparison if u want it)

ANYWAY for further reading. I know I've already stated these before somewhere on my blog but for ease of access... The major inspirations for how my comics Look are as follows:

1. tumblr user Floralmarsupial's homestuck comics found [HERE]. She did a LOT of straight up black and white comics that are ingrained deep in my brain at this point. These are always in the back of my head.

2. Leo Fox [LINK] regularly gets really strange and esoteric with overlapping panels and unorthodox layout. I stared at these a lot when i was starting to make the first couple ISAT comics even if i'm not going nearly as abstract as him

3. tumblr user the-hydroxian-artblog's comic Hangin' Out [LINK] has GORGEOUS typesetting and their art in general uses a lot of speech bubbles that convey some really funny shit by just resizing the text in funny ways. Gold standard for emotive typesetting and also their lin weight and b/w illustrations are gorgeous.

4. sonic the hedgehog idw keeps me humble and reminds me to make the speech bubbles fucking SMALLER. if im left to my own devices i make speech bubbles and fonts WAY too big so reading a cleanly formatted professional comic book for children reminds me what i should be aiming for in legibility.

anyway hope this helps? the answer really is "fuck it we ball" tho

[tainbocuailnge]

Another thing that's... kinda odd about the English translation is in the DRK quests, Myste says "A reckoning will not be postponed indefinitely", which is a big line in basically a secret route of the browser game Fallen London. and yeah, it is a cool line and neat to hear it in FF14... it also doesn't really work for Myste? In it's original context, it's about the remains of a dead demi-god-like being, which was cast into a well, seeking a reckoning and leading the player down a route which will irreversibly destroy their character in pursuit of dark secrets.

Which is not what the Myste sections of DRK were about at all, lol.

oh I could rant for hours about dark knight translations. that questline is actually why I first went to scope out the german script, because I heard drk wildly differs between english and japanese and that german generally stays closer to japanese than english does. I translated some of the fray parts here actually, though you'll note I'm a lot more forgiving of the english script in that one because i hadn't reached sidurgu's parts yet löl

german fray and myste are just completely different characters from english. german myste is upbeat and energetic. he loves people who help others and feels a strong urge to help them in turn. he spawned from the dark knight crystal in response to the loneliness of countless dark knights stored within it so he could console them and be their friend, he's basically the will of the soul crystal itself. he tries to alleviate that loneliness by facilitating reunions with lost loved ones but grows frustrated that this only leads to more partings, so he tries to expand his powers to maintain his illusions forever, because more than anything he just doesn't want to leave his dear friends the dark knights alone. he represents the childish wish at the core of every dark knight for a world where nobody has to lose anyone again.

in the part of the quests where you take myste to the sea of clouds there's this bit where in english he talks about his guilt complex and lets slip that this is also your guilt. in german he tells you that he was always with these people who fight hard for others, watching from the sides, until one day he heard a cry of loneliness and since then he's been trying his best to help people too. that's the moment that for me really hammered it in that these languages fundamentally disagree on what it even means to be a dark knight.

in english myste is desperate to atone for everything he's ever done and fray is your self preservation instinct who is kinda mad that you let it get this far, but they have to forgive him because you're all you have as you walk this lonely and bloody path that you have to believe is right. in german myste is your ideal, the desire to comfort those who have no-one else, crying that maybe it's better to forget altogether if partings can't be avoided and fray is your human heart who agrees that parting will always hurt but that is exactly where you find the strength to continue the fight, because it is worthwhile even if it never ends, and the path may be lonely but you will never walk it alone when there are people who came before you and who will come after you who all share this same dream of a kinder world. of course you won't have to leave us, you're our ideal, you're what we do it all for, as long as we remain dark knights you'll be with us. this all flows very naturally into drk-as-shadowbringers-class and ardbert's deal too but since I haven't reached shb in german yet I don't want to say anything extensive about it yet

i still think english drk was cooking with even your repressed feelings being repressed + the part of yourself that wants to protect itself obviously trying to protect itself and thus not wanting to show vulnerability so en fray postures as the stronger one who will protect you instead, and that fray writing in the journal (and only being able to be honest in a place where you're unlikely to look unless you don't know where to go) is incredibly clever. but in the context of how english treats sidurgu and just the way they handle the entire rest of the game really i also don't think that they were intentionally going for this kind of subtlety, it feels to me more like they just thought sincerity is cringe like usual and decided to make everyone cool and edgy (and thus needlessly mean to each other) instead.

and yeah english fucking loves to just yoink lines from other media whether it's appropriate or not. they turned zenos' final words to wol into a hamilton reference in english, "my first friend, my enemy" is a hamilton line, he doesn't ever call you his enemy in any other language (in german he calls you his hunter though which yes is incredibly horny of him). I'll admit I'm not in a good position to judge whatever epic references the german script makes because I'm unfamiliar with german language popular media so I won't spot them unless someone else points them out but I do know that when german fray quotes fight club it just enhances their characterisation as trying to sound cool and intimidating but failing because they're really kind of lame and awkward and can't hide how stoked they are to hang out with you.

[maybe-boys-do-love]

Did y'all catch that episode 6 was all about the writing? It was so subtly but well done.

1.This episode was so much more dialogue heavy than others (especially if you compare it to episode 4 that focused on editing and therefore had whole wordless action and genre segments). Even the comedy gags (so glad Gun got to show off some of his physical comedy skills like with the water cooler lol) all have funny dialogue to go along with them that the show didn't have to add but they offered some good punchlines to go along with the action.

2.The notebook Pie holds up at the beginning telling Ryan he needs to fill the empty notebook by writing the rules of love for himself! Which then gets continually referenced in the episode (with on-screen text!) to give Ryan a structure to see and understand his feelings and actions through words.

3. A little detail, but still a fun reference is when the interns eat together and Pie asks someone to write down the order.

4. All the texts in this episode! It really puts into contrast what's being written and said (between Ba-Mhee and Tae) versus what actions are happening (between Ba-Mhee and Judy)--kind of like dialogue versus stage directions, but also like what the writers envision versus what happens during shooting.

5.All the signage in this episode! The room signs are actually how they would indicate the setting in the script, and I don't remember them featuring them this prominently in previous eps. Then the label on the cookies gives such clarity to a key prop, but also provides the perfect set-up for the mix-up that happens. Also really interesting to note all the signage is in English, versus the texts we saw being in Thai.

6. The discussion of honorifics! Honestly, the sexiest thing so far in the series lol. But also just shows you the kind of decisions that writers have to make and put into characters mouths to communicate dynamics, especially in a language, as @absolutebl points out, with so much variability in honorifics.

7. Ryan, notorious for taking time to process and verbalize, finally puts his feelings into words! (and of course that means someone else can hear it and know what he's feeling).

There are even more references to the writing process in the episode but those were some of the major ones I caught on first watch.

[moyazaika]

heyy genie, how r u doing??? i hope ur okay

can i ask u on how u do dialogue?? bc mine really sucks and whenever i look at yours im like wow. how can i do that??? bc wat tje characters say end up blowing my mind a little.

i also hope u don't mind that i go over ur writing and see what u do (obv not stealing the words) so i can adapt it into my own style 💓

all good with me nonnie, and i appreciate you for letting me know. i don't mind if you analyse anything i've written, it's lovely to know that my writing has the ability to inspire someone else's creativity :)

haha thank u sm. if i'm being honest dialogue drives my work so it's usually the first thing i put down in any new google doc and then the rest of the story i'm trying to tell sort of grows from that point.

regardless, here are some things to consider.

where is the dialogue coming from?

do you have any accents you like? changing words in small ways like turning darling to darlin' can build on characterisation and introduce variety into the dialogue.

is your character of a certain culture? introducing petnames or phrases from foreign languages adds flavour to dialogue. this one is risky and requires a little research, because doing it wrong may make readers cringe. but hey, high risk high reward ;)

even if you use 'normal' english, take a look at distinctive slang. there's a difference between calling it a flat or an apartment; a bird or a chick. using one or the other puts some pizazz into your writing, because it actually sounds like the speech is coming from your characters, and not just from you.

2. who is the dialogue coming from?

a character that's nineteen is going to speak really differently than a character who's forty-two. consider the simple sentence, "you're mine" and then the different ways that idea can be conveyed without making both of these vastly different characters say the same thing (which can potentially read as unrealistic, but not always. some 42 year olds are immature. some 19 year olds speak like poets. use at your own discretion) but here's an example;

19 -> "get that through your fuckin' head, babe. you belong to me." comes off as possessive, entitled, crude. then you can solidify your characterisation through their dialogue and make conversation flow by adjusting your darling's personality/speech in response to that. see the end of this post for interesting dynamics!

42 -> "you poor thing, nobody else would accept you as i have." comes off as benevolent, and somewhat infantilising. no 20-something year old is talking like that LOL

3. why is there a need for dialogue?

this one is straightforward, but can be difficult to actually implement. not all dialogue needs to serve some grand purpose in the machination of your narrative, i know that i'm guilty of indulging in a good one-liner, but it helps if you know why they're talking. what are you trying to tell me or show me that can't be depicted through their actions?

example; character A wants character B to be scared of them -> "my, aren't you a clever thing. did you figure all of that out yourself, hm? i'd almost be impressed if i weren't so fucking angry, love."

comes off as patronising, interrogative, makes me think B is on thin ice.

character C wants character D to not be scared of them -> "well, i always knew you were smart, so i suppose i can only blame myself. um, maybe just don't let it happen again. please?"

comes off as pleading, apologetic, makes me believe D has the upper hand. (but the fun part about writing is you can always flip the script later on—gap moe/contrast between actions and words. did C really aim to just forgive D or merely wanted to manipulate them into bringing their guard down?)

even if both A and C say the same thing (such as "i love you") the dialogue, seemingly simple, can open up some interesting exchanges and conversations depending on the situation and context its said in. dialogue works in tandem with action.

A; "i love you," he murmurs. you watch the expert way in which he wields the butcher's knife; cuts the beef down into smaller strips with deft, practiced hands. "yeah," you smile. "i know you do."

C; "i love you," he murmurs. you look down at him, on his knees. his arms cling onto you with fervent desperation, and when you reach for his face; you find him shivering. "yeah," you smile. "i know."

4. dialogue dynamics

since you're asking me for advice and i am a yandere oc blog, i'm going to give you some relationship dynamics to test out with darlings that can serve as a sort of structure for any dialogue you might wanna write in the future. it's easier to know what a character would say in a conversation or scene if there's a dynamic already present that may dictate how they act.

pleading/apprehensive. desperate for affection/selfish bastard. pathetic/apathetic. control freak/couldn't care less. bossy/outwardly timid, inwardly very opiniated. dominant/bratty. powerful/pissed off at the extent of said power. lazy genius/try-hard failure. ambitious/exhausted.

it's also interesting to turn the tables and subvert traditional archetypes. manipulate your readers. have dialogue mean nothing. characters say one thing but mean something else.

above everything else, treat it like a real conversation. if something sounds rigid and forced, scrap it; never force dialogue. (unless that's the sort of awkward vibe ur going for) always try to write from your character's povs' rather than as the author.

and don't forget to have the time of your fucking life. writing should be fun. make your characters say shit you wanna say. make them say shit you wish someone would say to you. make them say shit you never want anyone to tell you in your life. make characters respond in ways you would never dare to irl. make them respond rudely, nicely, strangely, or not at all.

HAVE FUN!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! and good luck <3

[lycoryves]

things i will get on my hands and knees and beg for in jj2 (under cut, non-exhaustive and written while huffing 12 liters of pure copium and oops! all side characters)

-tanakamigi extended bad end from the one in the first game or epilogue-ish side route where he and kisa start really hitting it off after quartz beats amber in her ending

-minorikawa side route. for no other reason than i think he's a loser and i need to see more of him immediately (bonus points if they imply he used to have a little thing for tsukasa. just for me)

-kasai side route because he likes kisa so much please just give him a chance with her HE'S SO SERIOUS ABOUT HER

-since sugachi's va retired (even though he said he'd reprise the role and already has lol), sugachi is always out of town visiting kaido on the weekends to reduce the amount of voice lines. this is never elaborated on.

-momonashi and kamiya events. not even necessarily side stories or mini-routes like the first game just where kisa can run into them at the coffee shop or whatever.

-full otori route where everyone gives him shit for denying his feelings. HE WAS SUPPOSED TO HAVE ONE. CMON.

-unexplained eita/kamiya. they're dating now

-mare is revealed to be a STEM-inclined chess genius who used to breeze through university-level math classes and that's why he's got a more laid-back attitude. minorikawa knows this through tsukasa which is why they clash so much. minorikawa has to put his nose to the grindstone to still go ignored and mare feels called out by his pressure but they work it out on the remix and start seeing eye to eye and rhodonite becomes EXTREMELY competitive at the festivals again. tsukasa visits and he's SO happy with how they're doing he cries

-quartz script adapter!sou. he doesn't have neji's talent for writing (...yet) but he DOES have a knack for taking existing stories and picking them apart

-kisa doing her hair in her second year like mukai and ao trying not to have a crisis because "oh no my friend is so gallant and charming and talented." think susahao from dgs

-tanakamigi and amber doing something other than i am death. still weird stuff, but new. EVERY class experimenting and trying new stuff because clearly it worked for quartz (rhodonite taking a page out of onyx's book and doing a broadway show like wicked PLEASE,,, they'd love the double al jeanne setup and fiyero would be such a challenge for minorikawa but he'd eat down)

-TSUKI + TACHIBANA LORE. i don't need them to tell us what actually happened. i just want more information on the stuff that's implied about tsuki having to raise kisa and the fact the game starts with kisa hoping the knock on her door isn't a debt collector

-second year performance ft. sou, kamiya, yuki, and dante. sou's allowed to try his hand at writing the full script since it's a short show and it goes about as well as you'd expect with those three over his shoulder.

-jack ace!otori and jeanne!suzu because both of them would grow SO much from it

-live subtitles for the rhythm bits. please

-toichi nagayama cries at a romcom and we see his eyes open for the first time and he looks like this 🥺

[alpaca-clouds]

Why was Digimon Frontier like this?

Something I have heard a lot of people talk about in regards to Digimon Frontier, is... Well: "Why was it like this?" Especially because of three things: Why is Izumi probably the most sidelined and sexualized female character in all of Digimon (outside of maybe Digimon Xros Wars' female cast)? Why is Izumi the only girl? And why do Takuya and Kouji get so much front and center screentime in comparison to everyone else?

The thing is that I know some of the answers. And no, it isn't really that the series composer (a role roughly equatable with an US showrunner) Tomita Sukehiro is a sexist or anything. He worked actually on a lot of female lead anime, some of it adaptions of Shojo manga, some even mostly original work.

Now, I do have the slight suspicion that Kaizawa Yukio, the main director, is a bit of a horndog, Mainly because Xros Wars became a whole lot hornier when he joined the project after not being included from the beginning. So, I wouldn't put it past him. lol

Ironically, a lot of what Digimon Frontier is, can be explained with what Digimon Adventure did not get to be.

I would say that Digimon Adventure had an infamously chaotic preproduction, but fact is that this is neither famous not infamous. But yeah, the pre-production of the show went through a total of three teams, before finally ending with the team that we know did the series. With Kakudou Hiroyuki (who was involved from the very beginning, but in another position) as the director, Nishizono Satoru as the series composer, and with Yamatoya, Maekawa, Yoshimura, Masaki, Yoshida, and Urasawa writing episode scripts. (Maekawa and Yoshimura would eventually go on and do the series composition of 02.)

If you were to ask me what the biggest issue with Digimon Adventure is, then I would say it is the overcrowding of the show with characters. 8 main characters is a whole lot for 50 episodes. It is something you usually can only do if you outright make clear priorization happen. Because you will not be able to adaquately develop 8 characters (16, if you count the Digimon) in 50 episodes. Or I guess 54 episodes.

In a way Digimon Adventure does prioritize the characters, but in a way that it is not properly communicated towards the audience. I think it is pretty clear, that there is a priority towards Taichi and Yamato, though ironically towards Mimi and Jou as well, if go by time that we focus on those characters in particular.

Now, the thing is, that Nishizono knew this were too many characters. Originally when developing the plan went like this: "We do six characters, one for each of the 'good' fields established before." Meaning: One character with a Dragon's Roar Digimon, one with Nature Spirit, Wind Guardians, Deep Savers, Jungle Troopers and then one Virus Buster.

I think most people know by now that indeed it was not intended from the beginning for Hikari to join the main characters. (Which is also the reason why Gennai is totally not surprised to see seven kids on File Island, but then suddenly remembers later that there should have been eight.)

But even without Hikari (who also received a Virus Buster), there is another group overpresented: Jungle Troopers. And this is because originally Mimi was not planned to be there. However, fairly late in pre-production it was decided that to have a bit more appeal to a female audience (while boys were always the main target-demographic) there should be another girl. So Mimi and Palmon were added fairly late.

This is ironically the reason why Mimi is fairly well written: She follows a different writing paradigm than everyone else. Which is kinda ironic, because it also made her to one of the favorites of many folks working on the show. lol

But yeah, this brings me back to Digimon Frontier.

Tomita and Nishizono knew each other and were pals. And when the call was made, that Tomita would do series composition for Frontier, the two of them went out and toyed around with ideas. And one of the things they ended on was this "too many characters" problem Nishizono had run into.

So, Tomita wanted to make show that worked with somewhat similar ideas to Adventure (note how both shows start with the kids being isekai'd to the Digital World) with a group of characters based on the original make up of the Adventure-crew prior to executive meddling. Hence eventually six kids, just one girl, and one small kid. And with a clearer focus on who the main-main-characters are - Takuya and Kouji.

I personally do not really mind the fact that Izumi is the only girl in the group. But yeah, the fanservice can at times be weird, given that even as Fairymon she is just a 10yo kid. lol

But yeah, in the end, the context of how something like this happens can be very interesting, I think xD

Also, one last time: The Digimon Rewatch will start next weekend. So, if you still wanna join us, you are very welcome to do so.

[daz4i]

mostly finished transferring my script into presentation form. now it's only adding some animations and figuring out what to put in the "about the lecturer" section and the ending ones. help

[writteninlunarlight-years]

Now .listen to me Luna I will haunt your dreams if you don't do a part two of "Things I Wish I Got To Say" Where we get redeemed ,and after some time Alastor also gets into heaven which why we meet again .

If that doesn't happen then I advise you to lock your doors because my heart is in pieces.

(I fucking love your writing)

The Things I Wanted To Say

Alastor X Reader

(You guys ask, and I must produce, lol. Here is a happier ending to my previous post, The Things I Wish I Got to Say. Thank you for all the love and support.)

You were like any other demon in hell. You were cold and calculating, standoffish and stubborn. It was cute, but I wouldn’t tell you that to your face. I knew you had your set ways in life, and I had mine. I never thought the day would come when I would never see that familiar smile again. Something so cherished in my time by your side that I refused to forget even in my new life.

I thought surely Charlie's magical ideas would never be actual or possible. However, her smile and joy were so contagious that I returned to that hotel countless times to help her achieve her dreams. See, when I died the first time, I was being attacked; in my defense from the attacker, I killed them, and I was cast to hell. It's an odd thing to be considered a sinner, but I wouldn’t change it for the world, especially since I got to see you all those days.

What hurt the most when I left hell wasn’t the sword to my chest or the ringing in my ears. It was knowing I would never see that smile again. That was the worst part of it all, honestly. I got so used to the sound of your static, the buzz of your voice, the joy hanging off your arms.

I still remember when you taught me how to dance. I was horrible at it, I know, but you made me feel like I was the best at it all the same. You made me feel the best at a lot of things, from dancing to cooking. You even let me write scripts for you a time or two. 

I still laugh when I remember how I told you ‘I Know’ when you confessed your love for me. Would you believe me if I told you I was just scared you were lying to me? Yet when you held me close after saying it, you washed all those worries away. I was fortunate to be there with you.

I sometimes still wish I listened to you that night when you begged me to run away. Maybe had I listened, I would still be by your side or have seen your smile. Yet I didn’t. Would you like to know why, my love? Because the thought of you dying without me was too heartbreaking to handle. I couldn’t imagine a life without you, yet here I was, making you live without me.

When I arrived in heaven with Pentious, everyone was shocked. These two angels were there, Emily and Sera. One sure looked more happy than the others. However, Pentious and I fought to make Charlie's dream a reality here in Heaven, too…I know she saw me up here when she visited last. Did she tell you I was alive and well?

Do you care I am alive and well?

I wish to see you again, my love…maybe one day, you will be redeemed as well.

To: My Radio Demon

From: Your Doe

A loud banging was heard at my door. I rushed to cover up my desk, and as I made my way to the door, I straightened myself out, whipping my eyes from the tears I let out. Charlie had brought me the letter that Alastor had written in my absence, and I felt compelled to respond even if he would never read it. Opening the door, I see the young Seriphem Emily standing before me with a bright smile. “OH, Y/N, YOU NEED TO COME WITH ME QUICK!” 

I laughed. She was always so happy when a new batch of hotel residents was redeemed. She always wanted Pentious or me to be there so we could help them adjust to this new life. “Em, please I…I have had a long day…How about you ask Pentious to go instead.” Though I hated to see her frown, she nodded in sad agreement. I closed the door and returned to my desk, looking at the two letters next to each other. When would Charlie be back to give this to him? Would he even read it? Does he hate me for dying? 

As thoughts swam through my head, I recounted the years since my arrival here in Heaven. Looking at all my new photos of my time and journey here, I wondered if my old room in Hell still had those photos from my time there. Charlie said Alastor wouldn’t let a soul into my room once I was gone. 

It took a lot of arguing and convincing to get the angels on Charlie's side even after we appeared here in Heaven. Yet I couldn’t be more proud of the progress all of us have made. Smiling, I let more tears fall. I missed you so much. As I let the dam of emotions release, I heard another knock at my door.

I hoped it wasn’t Emily, though I have always been kind; I knew my current temper would rival my old self in Hell. “EMILY GO AWAY I CAN’T GO OUT NOW!” 

I had so much sorrow and pleading in my voice that I hoped she understood. Yet the knocking continued, only growing more frantic. I sighed, not even bothering to clear my desk as I made my way to the door. Em had often seen me cry over Alastor, so why would this time be any different? 

As I opened the door, time seemed to freeze, to stop dead still. I couldn’t believe my eyes. A new wave of tears and emotions overran my being, and before I knew it, I was jumping into Alastors' arms.

“Hello, dear, long time no see. Did you miss me?” He spoke so clearly, with no static or radio edge. It was odd at first, but it made no difference; the man I loved was standing before me here right now. “Alastor! You are here! How? What?” As I spoke, I pulled away and saw he no longer sported the Red and Black of his typical look. No, he looked ethereal, angelic. Alastor had been redeemed, The Alastor, overlord, and soul owner was redeemed. “Well, my darling, it took a lot of work and quite a few freeing of souls to make this happen.” He smiled, but not the strained, forced smile; it was a regular, normal smile. I felt so at peace; my Alastor was back.

“Oh, Al, you did all of this for me?” He nodded his head, pulling me back into him once more. This time, over his shoulder, I could see a smiling Charlie, Pentious, and Em at our reunion. Pulling me back to face him, I yanked him into the room and closed the door. “Al, we have so much to catch up on; there is no time to waste.” A warm chuckle left his chest as he held me once more. We had all the time in the world now, safe from hell, contracts, and everything that wasn’t our pure, happy love.

I finally have the chance to tell him all The Things I Wanted To Say…

(aha, did I trick you guys there for a moment, thinking it was just another letter. hehe)

[beevean]

Ngl when I see people defend Netflix lady saying that she is complex, I get flashbacks of people defending lanolin like it's literally the same thing (the only difference is that lady in the games is actually a good character but you get what I mean)

It's really the same script every time. Lanolin. Annette from Nocturne. Lady here. Aubrey from OMORI (although tbh I don't hate her as much as the others). If we want to include more villainous characters, Surge and Carmilla. You can write the most shallow, obnoxious female character whose personality begins and ends with "insufferable bully" without an ounce of charm or charisma, and you will always, always find people who make it their feminist mission to defend them with their lives, because feminism is when women are mean.

At least when the character is original, the conversation is just about how you must prove your feminism by loving mean women. With adapted characters like Annette and Lady, the conversation also always degrades into shitting the original versions if not the whole games they come from. And look, I understand the complaints about Annette, although my policy is "flesh out what was already established" - but you really can't come to me and say that DMC3 Lady is nothing more than a shallow hot woman sidepiece, come on, you're just lying at this point.

Actually, maybe I can draw more comparisons between Lanolin and Lady? Both of them are traumatized and extremists in their efforts to be heroes, pretty much rabid, violent cops. Well, at least Lady seems capable of being nice to a few people and her beef is solely with demons, while Lanolin goes around sneering at every breathing creature that isn't Duo lol. I wonder if Lanolin would also drop a "fuck" every two words if IDW was 18+.

Anyway, if it wasn't clear, I am not a fan of this trend of showing that a woman is Strong by making her a serious, cold bully. They don't even feel like characters most of the time. They feel like tropes, at best.

[tenkasato]

HIIIII HOW ARE U LOL

so uh I love Akashi and I've always wondered what if his two personalities were twins? Oreshi (original) named Akashi and Bokushi (2nd persona) named Seijuro? And they had 1 s/o? This can be anything you like, hcs, one shot, I don't mind. Some ideas could be like their dynamic, the relationship between brothers and how s/o handles it, the difference between personalities of the twins and their own relationship with s/o? If you wanted to add a little nsfw you can as well- really anything you want

THANK YOUOUUUU❤

Dear anon, there are too many things we could cover and unfortunately I couldn't write all of them. This is a great concept. Maybe someday I could explore more and write them (such as interactions with the rest of the GOMs), but for now, here's what I came up with. Hope you enjoy! And again, apologies for the delay. ^^

Pairings: Bokushi x reader, Oreshi x reader

Having a twin could be a double-edged sword. On one hand, Seijuro was glad he had someone to hold intelligent conversations with (let’s be honest, the only mentally stimulating exchanges he had was with his brother). On the other hand, someone else knew his imperfections more than he did. For example, he owned an old, atrocious-looking stuffed donkey and hugged it to sleep. Akashi never uttered a word about it, but the judgemental looks the elder twin gave always left a bad taste in his mouth. Such things like these were blackmail material.

Seijuro and Akashi were both geniuses when it came to strategic board games. Their classmates placed bets whenever they clashed in the club. The twins both knew this. So, they would sometimes ocherstate a scripted game just so they could fool around with their classmates who bet their whole allowance for the wround. The two were just mischievous like that.

(It was only Midorima who knew, being the one who played the two most often.)

They go to different sections—Seijuro in Class 2B and Akashi in Class 2A. Sometimes, they’d be in a mood to prank people (again). “Nee-san, how about we exchange places today?” A chuckle, followed by a shake of the head. “How childish. Let’s do it.”

(This time, not even Midorima caught wind of it. The twins just knew each other so much not one person had looked twice).

Whenever he felt safe and relaxed, Akashi snored, quite loudly and ungracefully like a sleep deprived wild boar. Seijuro kept this secret to preserve the family name, but when push came to shove, he’d have no qualms using this as his blackmail material.

Akashi and Seijuro rarely lost their cools against each other. Sure, they disagreed a lot, but they always respected each other. (They absolutely adored and cared deeply for each other, pun unintended). They’d try to give way to each other as much as possible… except when it came to you.

It was Akashi who met you first, meek and thoughtful as you read a book from the library which he’d been looking for all morning. You raised your eyes when you noticed him, then you delivered him a half-smile. Akashi swore he had never seen anything this beautiful since his mother.

One day, Seijuro had not so casually mentioned about you. “I will pursue her.” Akashi had so many questions. How did he meet you? How can he be so sure about you this early, when Akashi was just starting to get to know you? But one look into those heterochromic eyes, Akashi knew Seijuro was dead set on making you his. With pursed lips, Akashi  decided he wasn't simply going to hand you over.

It was cute at first. You couldn't deny that you actually liked them and that you enjoyed their company. But you’ve heard how intense the two could be. You hadn't expected that it was applicable to them trying to win your attention. 

Akashi would gift you with grand bouquets of roses. Seijuro would bring you home every day (how is it that they have two different cars). Akashi would play the violin for you. Seijuro would write you poems. 

“They're a bit old-fashioned, huh? Akashi-un and Seijuro-kun,” Momoi pointed out. You stared at the latest handwritten letter from Seijuro, blushing profusely as you did so. You shook your head and surrendered to a soft chuckle. “Unfortunately I’m into those types.” 

No one directly confessed to you, but one didn't need those when he had been so blatant about their feelings towards you. 

You were there during the fall out. —“You didn't have to hurt them like that.” “If I hadn't, the team would've fallen apart. You were simply too weak to handle them. I had to step forward.” “Watch your words, Seijuro.”—And it had hurt you as much as it hurt Kuroko and the others. Your heart bled for them. You tried to be there for both Akashi and Seijuro, but what could little old you do anyway?

“Akashi, how can I help?” A smile,one that was strewn with grief and regret. “You being here for me is enough help.”

“Seijuro, talk to me.” He leaned towards you, head resting on your shoulder as your breath hitched. “There isn't anything wrong.”

Honestly, if you could give them both half of your hearts just to steal some of the pain, you would.

Years later, when friendships were mended, resentment vanquished, you stepped into a quiet coffee shop that Momoi showed you. A reunion with the rest of the gang wasn't something you expected to happen, but you were grateful. So grateful you had to hold back the tears when you came inside and see them bickering and laughing like old times. 

The twins were first to notice your presence. “Hey,” they both said in unison, and you had to stifle the laughter as you ambled forward. An empty seat was situated between the two, and you knew they had reserved it especially for you. Sighing good-naturedly, you plopped down in the middle and said, “I swear, you two.”

What a pain.

Bonus

Akashi absolutely abhorred Seijuro cutting his bangs unevenly like that on his own. Being the more “mature” brother, he made no comment. It was a difficult time for Seijuro after all. 

However, years after that, Akashi would bring it up, and call it his “rebellious stage”. 

Watch Akashi show pictures of said rebellious stage every high school reunion.

Watch Akashi send pictures of Seijuro's hideous bangs to your messenger 3AM in the morning.

[lovepollution]

Recently just watched Casino Royale (2006) for the first time in a long time, and I am OBSESSED with Vesper.

I’ve been toying with ideas myself, but there’s nothing tangible. For me, I’m honestly debating between the faked death or just having Vesper run away/be taken by Quantum for the angst. No idea yet how to fix it though lol. I’m just a sucker for a turmoil-filled chase.

I’ve also been scouring the Internet for Vesper/Bond fics but I’ve only found a few. Who knew this was such a rare pair?

Part of what inspired this was that I was so disappointed by the other movies, bar sad!Bond in QoS.

Hi Anon!

Having a Vesper x James ask in my inbox makes me very happy since I've been putting a lot of thought into my fic over the last couple of weeks (and even doing some actual writing! 😆).

I love, love, LOVE Casino Royale. It's legit one of my all time favourite films, but the Bond movies that came after it were not it for me. QoS has its moments, but it's lacking in the script department (in part due to the writer's strike at the time, a lot of the script was added to as they filmed), so what you ended up with was a lot of action and not much else. Skyfall is a well done film, Spectre is kind of meh, and No Time to Die is again well executed, but none of them live up the CR.

I've been trying to think of a good fic idea that hasn't already been done, infinitely better than I could write, for a long time and I think I've finally hit on something. I don't want to give too much away, but Vesper lives (ofc!) and she and James are reunited sooner than in other things I've read. I'm hopeful I'll have the first chapter up in the next week or so (maybe less 🤞).

I'm not sure there is a huge appetite for James x Vesper 19 years after the movie, but the muse strikes when the muse strikes. 🥴

There isn't nearly enough fic out there, but of what there is, there is some absolutely amazing ones. I'm sure you've already read them, but two of my favourites are caught between the devil and the deep blue sea by mine_eyes_dazzle (only recently read this one after being away from the fandom for years and it's INCREDIBLE) and A Tragedy of Error by coldgreydawn (which may be my all time fave and it still makes me said it's unfinished).

That was a very long reply, but the general gist is that James and Vesper remain one of my favourite ships.

Here's a gif if you managed to make it to the end:

[acheronist]

ok i know u aren't actually a dead ice mummy man just THE resident expert on dead ice mummy men, so this might be more of an ooh ahh type comment than a question, but: HOW was [u will know who i'm talking about but i have no idea what his name is] writing backwards as in the letters in reverse order omg. i thought when i had seen u mention he wrote in reverse that u meant like... mirrored and i was like oh hey cool, funky. i did not know you meant literally sdrow sdrawkcab style. i want this man's brain to study omg. and u say he left school at 12 (i think? i may be combining mummies or making things up)? i am still in school and feeling like im actively developing dyslexia and he was just out there writing gymnastics style. this definitely turned into ooh ahh more than question ooops but it's been haunting me since u posted the scan with the "translation" overtop, and i am hoping u will not mind me coming to u about it lol. (and if u do mind then just ignore me!)

wow this is the best ask on the planet. good morning to ME !!!

so the dead ice mummy man you're asking about isn't actually a confirmed ice mummy, we only have four (probably) of those (on beechey island in a tiny and neat little impromptu graveyard) and then the other 131 men from franklin's fuckass expedition are all (probably) disassembled skeletons now littered around king william island. Fuck these stupid imperialist british assholes etc.

our guy in particular is HENRY PETER PEGLAR who was 32 when the ships left england in 1845. he worked on hms terror as the foretop captain (in charge of the foremast's sails and rigging and such) and he had indeed been a sailor in her majesty's navy since he was a whole 12 years old. he came from a working class family in london, and henry + his older sister likely attended a charity school around the corner from their dad's gunsmithing business in westminster. he probably learned to read and write there, and i suspect he had an older teacher because he uses the long S in a lot of places, which was becoming a bit out of fashion to use by the time he was a kid who was just learning his letters. (ex, sir john franklin uses the long S in his letters, but the junior officers like irving, le vesconte, etc do not)

here's the graveyard on beechey island (ice mummy central) vs the skeletal remains of THE ENTIRELY DIFFERENT GUY on AN ENTIRELY DIFFERENT ISLAND who died several miles away from main camp in his navy steward uniform while protecting henry's wallet and pocketbook. and also the wallet itself.

ok lets get into the writing analysis wheeee

so the general 'code' he was using worked in an interesting way. the overall sentence is still read left to right like any other english sentence would be, but each individual word is flipped and spelled in reverse order. so, here's an example sentence from one of his poems:

at first glance it just reads

sah ym Lettil Krab sow gnitfird nwod

and now this is usually where people say wow this is incoherent, and also nothing to me! well hold on and let us take a closer look 🔎

so this step is, essentially, The Facsimile Project which i'm killing myself over lol. but hey, now that it's easier to comprehend henry's loopy ass cursive script, and we can actually see how the nonsense was secretly real words this whole time! so this sentence is actually meant to be read as

haS my litteL Bark wos drifting down

so now let's dig into this one example sentence a bit. some interesting things of note:

he's capitalizing words pretty randomly, but he does know that the first letter is generally the one that gets capitalized to start a sentence. so the first letter he writes gets capitalized, regardless of if that's the 'normal' letter to capitalized ('haS' instead of 'Has' at the start of the sentence)

his spelling skills are very much based upon phonetics, and the way he was hearing words get spoken aloud, rather than the queen's proper standard english which was for rich posh people (he was neither of those things). we need to remember this was a guy who has spent most of his life amongst sailors on ships and in dockyards, and adjust accordingly for his vernacular and also his accent. when he spoke, he would have had a london accent which means that WE, THE MODERN VOYEUR AUDIENCE OF THIS DEAD GUY, end up with confusing things like 'bark' instead of 'barque', a style of ship he's referencing, or 'wos' instead of 'was'. it's not as if he's barely literate or a total dipshit, it's just that he never likely had access to higher formal education and consequently made some funny spelling choices to the best of his abilities and understanding of language. which brings us to....

the H-dropping/H-insertions! this is something that i've noticed over and over and over again in his writing. he had some trouble with understanding where an H was or was not supposed to be. (ex: 'art' instead of 'heart', 'hopen' instead of 'open', 'hafter' instead of 'after', etc. russell potter has some excellent academic research published about this if you're curious.) and i find these to be very indicative of the way he would have actually spoken the word aloud. which is interesting to ME because i love it when dead people are trying to hold a conversation with us.

so ultimately, this first line of one page of one poem that he wrote and managed to survive should look like this:

As my little barque was drifting down

and now you have a pretty okay understanding of the code henry was using when he was writing for just himself. congrats!

ships were crowded and busy, he probably didn't have very much privacy or space, so Honestly, this is such a clever way for him to at least reclaim a bit of privacy for himself, AND BOY DID HE USE THE HELL OUT OF IT.

if you look at the actual amount of words per page, the majority of the wallet was done in the backwards code, but to answer your first question, NO he didn't use the code throughout the whole thing, but he did use it More often. The most noteworthy things he wrote in easy to read regular ass forwards english is his naval career account. this was also done in maybe his neatest handwriting, and he identifies himself as "H Peglar" in it, which kind of indicates to me that it was the only page he wanted an audience for later on in the future? so he was probably scared about being forgotten or left behind as the expedition was trekking south after abandoning ships and the dire agonies began.... otherwise, he would have kept it private and coded like the poems or his diary pages

and for the second question, he definitely has spelling mistakes in here LMAOOOO but i'm kind of fond of them in the same way i am when my friends make a typo in a text message. here's a quick collection of some good moments where he forgot to add a letter, misspelled something, or made a mistake and tried to go back and clarify what he meant.

now i'm not a linguistics history professor or anything, so maybe take everything i say with a grain of salt, but these are just like.. the observations i've made as i've been digging thru this guy's writings.

the other really crucial thing to keep in mind is like... all of these were written by a guy who is in the midst of FEELING LIKE SHITTTTTT. ALL OF THE TIME. we know there was scurvy, long term lead poisoning, botulism, abnormally cold temperatures and weather, hard manual labor to do, all on top of being slowly starved over years and years, plus probably the lingering psychological fear of 'what if i'm the one that drops dead and gets eaten next'.

dude was probably rocking a crazy headache as he was writing all of these pages and i'm gonna say it's safe to assume his brain was not functioning at 100% normalhealthy, so it really is very commendable to me that he still managed to come up with these beautiful full diary pages of things he was seeing, and then have the spirit and heart to write poetry for himself and his own enjoyment and morale. the human urge to be creative is so fantastic. i don't know why he isn't the most famous dead guy of all time.