#AND... there will be a lot of character development much like in the show

[misstycloud]

Isekai’d yandere x f.reader

We’ve all heard about reader getting isekai’d into another universe and bonding with the characters, but what if it was the opposite and the yandere was isekai’d while reader’s just a background character.

————-

You were the mere daughter of a baron. You were pretty, yes, but nothing to gape in awe at. To summarise, you were nothing special. Then how come the heir of a grand duchy followed you around like a puppy seeking its masters attention? Especially since it was only the day earlier that he smitten with another young miss, who he’d declared with his actions was to become his future fiancée.

Yandere! Noble who suddenly approached you out of nowhere one day. You weren’t friends and had hardly ever spoken; to ask directions or work in pairs, perhaps. He was way too cheery speaking to you. It was completely out of character for him. Where did the normally stoic and unphased young man go? He was certainly not to be found here. No, this man chatted your ear off and did not understand that you wished to be left alone. It didn’t feel very safe anymore when all his admirers glared daggers your way. There was one you were especially afraid of. He was head over heels in love with her before. What has changed? You always saw them together and she was the only one he’d smiled at genuinely. Now he didn’t even spare her a glance.

Yandere! Noble who sought you out whenever he had free time. He wanted to accompany you in breaks between your classes at the academy, he wished to escort you to town and he even showed up outside your estate. His change in behaviour was puzzling, but not as much as the shift in his speech. What were these ‘bruh’, ‘sigma’ and ‘I’m cooked’? You didn’t understand any of it, no matter how much he used it around you. You suppose you were thankful he did turn it down a notch when in others company. You already had a hard time with it, you didn’t think it was necessary for others to suffer as well.

Yandere! Noble who had been shocked when they died and woken up in the world of their favourite romance game. They had read a lot of isekai novels but never once thought the thing was actually real. Wait, if this was their favourite game, then wouldn’t that mean that you were there too? Yes! Maybe they should thank Truck-kun for hitting them on their way to work. This was much better than any ordinary life a citizen could have. At first they thought they’d be stuck in the body of a villain or a side character, but they were pleasantly surprised to find themselves being the male lead of the game. He was rich, noble, influential and devilishly handsome. He had everything.

Yandere! Noble who immediately went to the academy to find you. When playing the game, they never found themselves attracted to the female lead, despite the fact she was modelled after the general population’s preferences. It just didn’t work for them. No, they liked you. Loved you even! It didn’t matter that you were nothing more than a simple background character. You were way better and cuter than any other love interest! You kept to yourself and didn’t have many friends, however you were still very kind and modest. On top of that, you were also an animal lover- exactly like them! The two of you also shared one other interest. They wanted to know if you shared more, but unfortunately the information on you was limited(not created because you’re not important).

Yandere! Noble who wrote an email to the game developers about how they should make extra content that should only feature new information and updates on you. They insist it would sell well(no one except them would buy). Sadly they never got a reply back. Rude ass company. Maybe they should’ve claimed mental health damage because the love interests were bad, so they could sue.

Yandere! Noble who couldn’t care less about the female lead. Unfortunately they got isekaid to at the point of the game where you’d have to enter a relationship with the female lead, that you could break off eventually if you wanted to chase after someone else. And sadly for her, you were the only option. The look on her face was laughable as they told her they could give rats ass about her and how they’ve found someone much better than her in all ways.

Yandere! Noble who then realised they were not bound by any rules. In a lot of isekai the person would have to follow some original rules at least in the beginning, but there was no system or points you needed to collect. They could do whatever they wanted. They had the power, the looks, the wealth and what they wanted was you.

There is no way you’d ever say no to a future grand duke, right?

[kingcael]

Follow up question about Downfall piece-

Can you take us through how you developed the composition? This question extends a bit to the Calamity piece (and other non-CR pieces).

How do you approach a very structured composition while maintaining the organic shapes that make up the forms?

and

How do you balance and maintain character personalities when (theoretically) you have so many choices dictated by composition?

For both the Calamity and Downfall pieces the key to the composition was firstly character relationship, and then character personality afterwards. Knowing the way the characters interact informs the placement of them in a multi person composition like this.

In the Calamity piece, it’s littered with all kinds of parallel and perpendicular lines in the composition to show both the unification of the Ring of Brass, and then the internal conflicts that arise. Laerryn and Loquatious’ relationship is one of my fav part of this one, with Loquatious emulating a fallen angel, a Fey in love with a mortal, and Laerryn looking forward with ambition while still reaching back to his heart.

In the Downfall piece there’s less obvious alignment since their relationships were much more tumultuous, but with a lot more interaction between them, the Arch Heart is the most detached as I felt his perceptions were the most isolated among the family. Trist holding both Ayden and the Emissary in a motherly way is one of my favourite parts. In this one I tried to make them more merged together, the Calamity piece has the characters more separate and realised, where the Downfall piece has them more fused together with less obvious edges.

In terms of this type of character and composition study, it really speaks to my natural inclination of art, I’ve been told before my subjects are static and frozen but my shadows are alive, and I’ve pretty much leaned into it, freezing the interactions into a single image to observe while have subtle nods to personalities of character. When doing a big piece with the characters frozen and representing themselves to the fullest degree, even the slightest change like a hand on a shoulder or the tilt of the head can inform a lot about the character while also strengthening the composition.

In bare bones composition terms I do love the triangle, especially for these big group shots, I also try to not have any characters head be exactly at the same height as another’s, unless they’re completely aligned in thoughts, which is why Trist and Ayden are so close. I also do a lot of eye tracking checks, like taking special care to notice what path my eyes take and if it remains consistent upon every viewing, zooming out is very good for this. I control the eye tracking in a fairly apparent way, face to arm to hand/object is usually the path, notably Nydas’ sword in the Calamity picture leads directly from his conflict with Zerxus to Laerryn, and her hand leads to Loquatious.

Haha I do go on

[hollowed-theory-hall]

Hi!! I just read your answer about Harry s treatment at the Dursley s... How do you think did he manage to grow up as a kind and mentally stable boy despite it (not that he was happy, this influenced his development a lot, but it could have gone so much worse )?

Or was it just necessary for the story that he does?

Well, people can react to trauma and abuse in a lot of different ways. Some lash out, some try and be kind and helpful, and some want to keep as far away from people as they can. Humans are varied and react to a lot of different things in a lot of different ways. There is no universal "right way" to respond to trauma and abuse. Yes, Harry could've been worse, but then he wouldn't be Harry. There's a discussion of nature and nurture here that I won't go much into, but Harry's nature, and who Harry is outside of his trauma and abuse affected how he responded to it. And Harry is an incredibly strong-willed person, so his response to trauma innately isn't to break — it's to fight. We see it often in the books, and I think the reason he turned out the way he is, is because this aspect is part of his nature. Enough part of his nature that he could resist the Imperius on his first try.

Besides, Harry has behaviors that are a result of his abuse, they're just more subtle. But they are definitely there. Harry doesn't trust easily, and when it comes to adults and people of authority who should keep his interest, he trusts even less. He knows he can't count on them. This is why he takes so much responsibility for himself, the adults in his life could never be trusted. He is incredibly feisty, always guarded and ready for something to come at him. This constant vigilance is a result of his abuse. You see the years of the Dursleys in how protective he is of his friends, of how desperate he is to fit in in first year that he changes his behavior to be more similar to what everyone else is doing — so he won't be a freak. How unwilling he is to hear that he's special, because at the Dursleys — special was bad. How Harry doesn't let Umbridge see he's in pain when she makes him use the blood quill because he knows that's what Vernon and Dudley wanted to see and he isn't giving them the satisfaction. How quiet Harry is. Because Harry doesn't actually talk a lot when compared to other characters, his voice was never something the Dursleys wanted to hear and he's good at pretending he doesn't exist.

Harry's anger (which I adore) is a defense mechanism. His anger issues are likely the result of being constantly in this hypervigilant state and constantly feeling under threat. Harry is ready to fight at the drop of a hat because he's constantly in fight or flight mode. This is a trauma response. Reaction to abuse and trauma doesn't need to be obvious and glaring and what you expect. It could be a lot of little things. and Harry's reactions and behavior all show signs of him having experienced trauma that he didn't quite unpack. He can come off as okay because he's trying very hard to appear that way, it's part of his defensive mechanism. Acting like everyone else so he won't be called a freak — but it also hides his abuse and his responses to it. Only in books 4 and 5, do we start to see Harry being more vocal in his sass to people other than Ron and Hermione and inside his own head. Like, he overcame things within himself, he had a small, subtle arc, but that's a lot of times how these things are. Subtle.

I think his compassion is an inherent part of him. Like, I mentioned nature versus nurture, and I think a good chunk of his compassion is a result of Harry's nature. But, his nurture (that is, the Dursleys' abuse), I think, did exasperate it in a certain way. While abuse and trauma can make someone less sympathetic, it could also make them more so. In Harry's case, I think a lot of his compassion comes from a place of sympathy. Of being able to see himself in someone else's shows because he knows what it's like to be treated like you are worthless. So, he'd never treat someone else in the same way. Even when Harry hates someone, his hate comes with some, well, I'd call it base-level respect. Even people he hates are people in his eyes. He is willing to kill them and hurt them if he deems it necessary, but he never forgets they are people. Even if they're house elves or goblins.

As for if it was necessary for the story, I mean, Harry Potter wouldn't be Harry Potter without the cupboard under the stairs. So, yes, him having a good childhood would change the books, but would he be kind and compassionate without years of abuse? Probably.

[prettyboykatsuki]

one thing about oliver and his characterization i stick by is that a lot of what causes him strife in your relationship is the feeling of like . Emptiness that hits him again once he’s alone

oliver didn’t become a striker because he felt like his talents and ambitions were suppressed. his general approach to becoming a famous player is mostly built on spite and thus his character develops in a unique way where soccer and being a captain is the only he can show any sincerity

i think oliver harbors a bitterness about the fame aspect of his career and that extends into his public persona which is a playboy that womanizes. he enjoys it, no doubt—he’s made it apart of who he is but all of is apart of the player he was forced to become as a result of not achieving his dream

subsequently that’s why your relationship to him causes so much turmoil. its very easy for him to imagine what kind of man he would be had he been a striker, what kind of sincerity he would treat you with. you sort of make him forget who he has Become and remember who he is and that causes him a lot of discomfort

it’s hard not being able to regress back into playing into this image he’s built when you’re around to see it. makes him feel ashamed i think

[torchwood-99]

Can you please develop more on what in your opinion makes Éowyn originally doomed by the narrative? I agree with the idea, I'm just curious as to what traits or parts of her narrative makes her doomed according to you!

In her first scene, she comes across as almost spectral.

First time we see her, she's stood in the shadows behind a decaying old man and his creepy, snake like advisor. Her nickname, the White Lady, conjurs images of phantom "white ladies", which are staples of supernatural mythology, are are usually found in rural places, and are associated with tragic histories and unrequited/doomed love.

When is dismissed, she leaves, she doesn't speak, and passes silently from the room, but she passes judgement on those she passes. She looks on Theoden with "cool pity", and recognises the power in Aragorn. A pale, voiceless, woman, dressed all in white, passing judgement on those before her, before silently gliding from the room, like a wraith or spirit.

To further reinforce the ghost like imager, she is cold; "thought her fair and cold, like a morning of pale spring that is not yet come into womanhood." She looks on Theoden after his recovery with neither joy or love but with "cool pity".

Whereas warmth usually holds connotations with life, the cold conjurs images of corpses and the grave. Even the use of "spring" in her description, a season associated with life, birth and new hope, is described as "pale". The combination of "spring" (life) and "pale" (death), conjures an image of something that is at once living and dead.

A lot of our view point characters look on her with unease. She is repeatedly described as "stern", and the only time that stern façade cracks is when she shows emotions that are discomforting for other characters.

Her hand shakes when she serves Aragorn the cup, and Aragorn senses her attraction and is deeply concerned about. The intensity of her desire, and Aragorn's unspoken unease, makes for an aura of discomfort and dread.

The only time Eowyn shows "life" is when she's trembling with passion for Aragorn, a passion unrequited, or when her eyes are sparkling with visions of war and death.

The first time her stern face truly cracks, and she lets the feelings show, is when she breaks down in tears, begging Aragorn to let her ride with him. She's either frozen or weeping.

Everyone who observes this is deeply distressed. They find it painful to watch a proud and stern woman break down in tears and beg, a sensation the reader shares with them.

Aragorn himself is deeply pained and troubled by his concern for Eowyn. 'Only those who knew him well and were near to him saw the pain that he bore.'

Aragorn later admits in the Houses of Healing that his concern for her haunted him after their parting, and that nothing caused him so much fear on the Paths of the Dead as his fear of what may come to her.

In the same chapter, Aragorn likens her to a lily. Lilies themselves have connotations of death, and also harken back to Elaine, the "lily maiden" who died of heartbreak after being forsaken by her love, Lancelot.

So Eowyn is a figure of death, despair and tragic love. She is white, cold, lily-like, and is looked on with grief by many who perceive her. And not just grief, but discomfort. They don't just notice her distress, but are distressed by her.

When Merry meets her, he notices she seems to have been weeping, an image that is uncomfortably at odds with her stern manner.

Even Theoden, who cannot be credited with being that tuned in to Eowyn's feelings, notices she is unhappy, asking her how she is, and commenting twice on her obvious distress.

When Merry meets her in her guise as Dernhelm, he shivers, because he feels he is looking at someone with neither hope nor will to live. Their journey to the Pelennor passes in silence. Eowyn is a solitary figure, cut off from all those around her, riding to her death.

This culminates in Eowyn laughing at the Witch King, who brings despair to all who face him, because at this point she has literally nothing to fear from him.

The scene in which she faces him is written as a death scene. She fights him valiantly, but his destruction seems to be her own, and the consequences of her apparent death (Eomer's reaction) are severe.

Her tragedy appears compounded when Theoden bids her farewell, unaware she was with him the entire time, which rather sums up his fond, yet blinkered attitude towards her. She gives her life defending the dignity of a man, who is only half-aware of her existence.

Eowyn is mourned. Eomer rages against the heavens at her passing, and the riders of Rohan speak of their regret that she followed them without knowing. She is carried alongside Theoden, and it is only Imrahil's sharp perception and respect for her beauty that causes him to notice she is still alive, taking them all, and us, by surprise. Up until this point, Eowyn has been doomed, and she seems to have met her doom, heroically so.

But there's still a spark of life in her, still a weak breath in her lungs, and that's enough for her to be saved, and taken to the Houses of Healing. It's just a faint sign of life, barely noticeable, but it's life, which means there's hope.

As we look into Eowyn's mindset, we begin to see why she is such a tragic figure.

The first time she is addressed by name, she is being sent from the room. Her orders to take charge of the people of Rohan, which should be something of an hour of triumph and honour for her, feels almost insulting, in how her uncle would rather throw his crown to the people to take for themselves, than name her as an heir after Eomer, and then forgets she is even a part of their house, until Hama reminds him.

Our final scene of Eowyn in Two Towers is of her as a solitary figure, left alone to guard an empty hall, watching as the men ride away beneath their sparkling spears, a striking contrast between the camaraderie and fellowship we witness between the men riding out together.

That Eowyn is loved and respected by many, as revealed by Hama and her ability to safely lead the people to Dunharrow, despite their reluctance, compounds the tragedy, because she is not entirely alone and overlooked, but the people she wishes to been seen by, the people she holds in esteem, Theoden and Aragorn, reject. Theoden, unthinkingly, by forgetting her worth until it is spelled out for him, and Aragorn in being unable to accept her love, or her offer of service.

Eowyn's driving conflict, the one that seems central to her character, is not even with the villains who everyone else is banding together to fight. She is part of that fight against them, but her personal struggles stem just as much from her conflict with her own family, her own people and her own society, as they do with the threat of Mordor. Victory over the Mordor does not necessarily mean victory for her, we know for Eowyn to be spared her doom, she can't just be rescued from the enemy that everyone else is fighting. She is trapped, caged, and would rather ride out and die, than live to see herself fade.

“What do you fear, lady?" [Aragorn] asked. "A cage," [Éowyn] said. "To stay behind bars, until use and old age accept them, and all chance of doing great deeds is gone beyond recall or desire.”

That whole exchange between Aragorn and Eowyn reveal that above all else, beneath her stern facade and dreams of valour, Eowyn is absolutely seething. She is burning up with rage and frustration, and it is not just her enemies she is raging at, but her allies.

Her narrative starts to turn in the Houses of Healing. Not only is Aragorn able to bring her back to life, but it's clear that despite her unhappiness, Eomer's love for her is still a comfort and a source of happiness. When she wakes up, her first words are joy of seeing her brother there. For a character who until this point has been a figure of sorrow and loneliness, for her to speak so instinctively of joy at the presence of another is momentous.

This joy seems well justified, as not only do we witness the extent of Eomer's love, we also see a change in Eomer, and his perception of his sister.

Her sufferings, and the causes of her sufferings, are finally acknowledged. But they aren't acknowledged as some ephemeral, intangible thing, caused by some a broke heart and some vague sense that she's just "doomed", but as the result of a set of specific circumstances that naturally caused her great feelings of despair and hopelessness. Eowyn isn't tragic because "she's Eowyn and she's doomed", but because of Grima's manipulation, and the constraints inflicted on her because of her sex.

That Gandalf compares Eomer's lot to Eowyn's, and points out to Eomer the freedoms and opportunities he had which she did not, further emphasises that it was Eowyn's circumstances that made her so tragic.

Eowyn wasn't "just doomed" and Eomer wasn't "just not doomed". Had their roles been reversed, Eomer could have ended up in similar straits.

Eomer hears this explanation, and a change occurs. He looks on Eowyn differently, and starts rethinking their whole lives together.

In the causes of her suffering being recognised, there is now some hope for her recovery. Her "ailment" has been "diagnosed", and it's much easier to find a "treatment" and a "cure", when there is a "diagnosis". There's a practical solution to Eowyn's suffering, and the person closes to her is brought one step nearer to seeing it.

Eowyn remains in the Houses of Healing, something she sees as frustrating, unnecessary and pointless. She doesn't want to live, she doesn't expect to heal, she thinks herself fit enough to ride and die, and that's what she wants to do.

Eowyn still sees herself as doomed by the narrative, but the narrative and the cast no longer see her as such. She is kept in the Houses, she is encouraged to rest and to heal, she is encouraged by Faramir to have hope, and gradually she starts to thaw.

She also becomes more gentle and vulnerable. Her youth is dwelled on, and she former concerns about living forever in a cage for a moment lapse as she focusses on a more trivial worry that Faramir thinks she's childish. When she scales down her request from permission to ride to battle, to be allowed to walk the gardens and look east, she speaks as a "maiden, young and sad."

In becoming more vulnerable, she becomes more approachable. She is no longer the ice maiden, a spectre, but a living person, with worries large and small, and Faramir is able to smile at her and offer her consolation.

The requests she makes during her "thawing", to look east and not be confined to her bed, signals a slight, perhaps unnoticed by her, return to hope. East is, as Faramir remarks, where their hopes lie. In looking east, she is looking towards hope. Furthermore, her second request, to not be confined to her bed, is something that Faramir can provide a practical solution for. She can have a chamber facing east, and she can have freedom to walk the gardens.

He almost speaks to her like a conciliator, or a negotiator. He talks her down from asking for death, to having a chamber looking east, and freedom to walk the gardens and take in the sun, in return to her agreeing to stay in this house in our care, lady, and take your rest," . That he phrases it gives the sense she has agency, he isn't saying "you will stay, and you will have a chamber that looks east, and you will walk in the sun", but instead he says if she agrees to stay, this is what they can do for her.

Therefore, the choice to stay, the choice to walk in the sun, the choice to heal, is put back into her hands, and in accepting Faramir's offer, she accepts the chance to heal.

Both Faramir and Aragorn are struck by pity when they meet Eowyn, but Aragorn's pity makes him hold her at arm's length. He maintains a distance between them, he turns from her and rides away. When he does try to "reason" with her, he only makes things worse, twisting the nail into Eowyn's frustrating circumstances.

Faramir feels pity for Eowyn, but he also feels kinship. She isn't some strange, removed creature. He doesn't look at her and see someone who is doomed. Nor does his treatment of her isolate her, as the treatment of so many others have.

He speaks of the pair of them as a unit, right from the start. He notes that both of them are "prisoners" of the healers, he tells her that both of them will be able to fight the end, if it comes to them, if they rest, and that the hours of waiting are something both of them must endure, and that both of them have passed through a shadow, and in from kinship, he expresses a belief that he might find comfort in her presence.

Eowyn's isolation and lack of agency are key causes in her despair, so it is understandable how this man, who makes efforts to understand her, to get to know, to befriend her and to make a connection with her, is such a balm, and manages to cause such a turn around in her arc.

Through her friendship, and later romance, with Faramir, she opens up, and arguably becomes more emotionally resilient, neither freezing her emotions, "cold and proud", or breaking down, weeping or begging. She shows uncertainty and fear in more moderate, casual ways, instead of pushing them down until they burst out of her.

However, she is still Eowyn. She is still proud (Faramir describes her as looking queenly), she is still proud, strong willed and sharp tongued. Even in her happiness, when she agrees to marry Faramir, she teases him for his people's snobbery, and she refuses the Warden's attempts to "release" her into Faramir's care, by instead asking to stay at the Houses of Healing.

She doesn't go from Ice Maiden to Fragile Flower. Instead, in grasping her future by the hands, in choosing for herself what she will do and where she will go, in deciding her own fate, her own role (that of healer), she shows that she is as strong willed as ever, and Faramir, who re-iterates twice; when speaking of his plans to marry her and go to Ithilien with her, that they will only do so if she is willing.

Eowyn also makes it clear to Faramir that while she will return to him, she has other duties and priorities that will keep her. That is, the rebuilding of the Mark. She has to go, she will come back. A striking contrast to her first introduction, when Eowyn is told "go", then told "stay", as it pleases those around her. She now has freedom of movement, she now chooses when to go, when to stay and when to return.

That Eowyn speaks of how she must go back, must look on her country and help her brother, also indicates that Eowyn sees her own worth and importance. She values herself and feels valued.

At Theoden's funeral/Eomer's coronation, Eowyn plays an integral role in the ceremonies. She presents Eomer with a golden cup and gives the signal for the cups to be raised to drink to the new king. This in itself indicates the esteem in which Eomer holds Eowyn. However, she has arguably been a cupbearer before, and it hasn't been a role that has brought her much joy. While it is a position of prestige, and shows she is a valued member of the household, it's not enough. Luckily, here, she isn't just there to oversee the celebrations of others, but to be celebrated herself.

Eomer ends the ceremonies by announcing her betrothal to Faramir. His justification for doing so is because of Theoden's love for Eowyn, which he uses to argue that Theoden wouldn't begrudge Eowyn's announcement being made at his funeral. He also notes how great the gathering before him is, greater than has ever been seen before. That Eomer wants to announce his sister's happy news before such an assembly, speaks of how much he wants to honour her.

Eomer certainly appears to have taken Gandalf's words on board. When he makes the announcement of Eowyn's betrothal, he says that Faramir asked for her hand, and Eowyn granted it, full willing.

He doesn't say anything about whether or not he gives his permission, (as her king and head of family, he probably was asked, but considering Eowyn and Faramir made their plans to wed with total confidence, you get the impression this was a matter of form, they were going to marry, Eomer disagreeing would be a complication, not a defeat), but instead emphasises how Eowyn has agreed to marry Faramir, full willing.

The final image we have of Eowyn can be a foil of that image of we have of her at the end of her first chapter in Two Towers. Once more, she is bidding farewell to a loved one as they depart Edoras. However, this time, she is embracing Merry before he leaves. She gives him a gift, that speaks of the bond of friendship that is now between them, and a remembrance of the time they rode together to battle, comrades in arms.

Compared to her formal parting from Theoden in Two Towers, this parting is full of warmth and intimacy. She and Eomer both hug Merry farewell, and when Merry leaves, Eowyn is left with both Eomer and Faramir, the two people she loves best, Faramir himself putting off his own duties in Gondor, to be near to Eowyn as she does her duty in Rohan.

Even the parting of Eowyn, Eomer and Merry, which could be a sad thing, is softened with Tolkien concluding "and so they parted for that time".

Their parting isn't forever, it's just for the moment. They will see each other again. Compared to the jarring juxtaposition of the brotherly army riding out, to Eowyn left alone to guard an empty hall, which created a sense of dread and foreboding, the final lines here at this parting fill us with warmth, with them all embracing, and leaves us with a promise that this parting isn't forever, and that the friends will all be reunited soon.

So, to summarise, Eowyn at first appears "doomed by the narrative." She is cold, stern, ghost like, and carries an aura of tragedy and dread.

Her doom she seems to carry through to fruition, and she is mourned accordingly, but the smallest spark of life remains in her, and in the causes of her despair being acknowledged, in the people in her life reaching out to her, making an effort to understand her, and in her and those around her making practical changes, the characters actively defy the narrative that has apparently doomed her, and together, through their combined efforts, Eowyn escapes her fate

Eowyn feels hopeless and trapped, and the people around her struggle to relate, and in fact many of them contribute; some un-knowingly, some knowingly (fucking Grima), to her depression. It first looks like a force greater than herself (the narrative) is causing her despair, and it cannot be overcome, but will instead lead to her destruction.

But actually, there is hope, and there are practical measures that can be put into place, to help her overcome her despair. Medical treatment, a support network, and a greater understanding from herself and from others of what she is going through, enable her to defy the narrative and find happiness.

[say-hwaet]

The Dynamic Between Arthur and the Marstons (long post )

I guess I should say there are spoilers, just in case…

After playing the story through several times, I have to say, that Arthur Morgan is one of the best characters ever written. Aside from his development, there is so much depth to him, and regardless of his honor, there is so much to unravel.

I’ve been thinking about the relationship that he has between the Marstons, meaning John, Abigail, and Jack, and it really makes sense as to how Arthur acts the way he does around them in the beginning and all the way to the end.

A lot of his behavior, I think, stems from the loss of Eliza and Isaac. It is my opinion that he himself was torn between living a full life with them and remaining loyal to his gang, and before or by the time he had made a choice, it was too late, as they were killed in a robbery. This had haunted him since and it made him extremely bitter. Later in the game, he tells Rains Fall that he realized that he didn’t get to live a bad life and have good things happen to him. I also think that he was with Eliza after Mary had broken their engagement. I can get into my support for this later, but that isn’t what this post is about.

I think that Arthur was angry with John out of jealousy. He is the “golden boy” and clearly was Dutch’s favorite at one point. Not only that but after Arthur loses his own son and lover, John and Abigail get pregnant and he takes off for a year. He abandons his family, which Arthur takes personally. Arthur had tried to do right by Eliza and Isaac and still failed. So when John has Jack and is within the circle of the gang to help and support him, he takes off. Arthur gives up a potential life with Eliza and Isaac for Loyalty to the gang and John throws it all away. When John comes back, Dutch welcomes him with open arms, and Arthur believes that he would have been held to a different standard if he had come back after being with Eliza and Isaac for a long time. And it doesn’t help that John treats Jack like crap in the beginning of RDR2.

Arthur, imo, was a good father to Isaac when he was present. We can see this in how he treats Jack. In Arthur’s journal, he writes how he should have married Abigail, but due to his feelings for Mary, he didn’t. I’m not sure why after years of not hearing from Mary he would say this, but meh. Perhaps, the hope of starting over, or that she did pop in again at some point (which is how Abigail might have met her?). Anyways. I think he says he should have married her so that she would have someone to rely on and that he could be the father Jack needed. He cares about Abigail, but I don’t think it is anything beyond that. Arthur seemed to me not to be one to be with a woman without some sort of relationship, based upon how he treats women and the prostitutes in Valentine, so I don’t think he was ever with Abigail. Even so, Abigail relies on Arthur, and while he puts up a front, he gives her money for clothing and spends time with Jack. Heck, he even tells John to step up and be a dad. In some of Arthur’s conversations with John, he tells him that he can’t be two people at once. He’s speaking from experience. I think he’s subtly telling John he needs to make a choice as to what life he’s going to live. Hosea and Arthur both tell Abigail and John to leave at parts of the game.

When Jack is kidnapped, and eventually rescued, I think it is one of the most heart-wrenching missions and scenes. I can see it in Arthur’s body language that he longs for the family that he once had. He’s alone in his pain and when everyone is celebrating, Arthur doesn’t sing with the gang; there isn’t even the option to do it like it does other times. Even in my first playthrough, it seemed so sad to me. Everyone was drinking and singing, but Arthur just looked so sad.

So, it is at this point that John starts to step up, and Arthur starts to show symptoms of his illness. When he learns of his diagnosis, Arthur’s eyes open to the reality of the gang’s downfall, and he acknowledges the doubts/reservations he has about Dutch’s plans and schemes. He isn’t blindly loyal anymore. He tries to get John, Abigail, and Jack out, so that they can have the life that he had lost due to loyalty to the gang. He continually tells John to get out and that it would mean a lot to him. In his journal, after rescuing John from prison, he writes in his journal “…We’ve argued over the years, but I’ve grown to care a little for [John]. He’s less of a fool than he was, and maybe he can have the luck that has eluded me. Jack is an innocent little boy. In him, I see what I missed [meaning Isaac]. We did it.” This speaks volumes to me about how he feels about them in the end. He sacrifices himself to let John live. And though it isn’t forever, Arthur dies believing that he made it, and that matters. And hopefully, he could finally be at peace and see Eliza and Isaac again.

I could keep going, but I think I am too long-winded. I guess that helps when writing fleshed-out fanfiction stories, but not for posts. LOL

Would love to hear other thoughts or opinions, I’m always keen for a discussion.

[greenconverses]

I’m big time upset about annabeth’s characterization in these new books. She looked for Percy for a year or something, did everything she did in HOO, she’s so amazing that she caught up on all of her school work (in fact she’s back on track to go to an ivy if she wants after everything that happened to her), she has all this extra time for Percy (having a boyfriend is time consuming enough without his quests), and then she’s so good at socializing with mortals and so popular…. Just to go to New Rome University (wtf is new rome university) and live in new rome. It makes me sad for her because I feel like RR won’t let her be bad at anything or awkward anymore and she just has to be this hyper competent angel gf all the time…

Oh also the way Percy is contrasted against annabeth in this new series makes me nauseous. I feel in some ways she only exists as this hyper-competent angel gf so that percy has something to "aspire to"… as though he hasn't proven himself a million times and deserves to constantly measure himself up against annabeth. It really just robs them both of their depth and motivation and mutual respect for each other that was so painstakingly built up in the original books.

I was telling @perseannabeth last night that while Annabeth had a lot of pagetime in Wrath, she felt like an utter non-presence other than the last couple of action scenes. And yes, it's because he keeps writing Percy as the only one with all the problems and Annabeth is the perfectest, smartest angel who is always right and can do no wrong, unlike stupid idiot Percy. Ha. Ha.

I do think a lot of the character issues in these books come from him avoiding or only introducing easily resolvable conflict with the main trio. Part of what makes Percy and Annabeth, well, Percy and Annabeth is that they have conflict. Conflict doesn't mean they have to be mean to each other or something terrible has to happen to them, but having them at odds with each other over something (anything) allows for interesting character development and growth.

Grover and Annabeth each get moments of "aw I kinda fucked up" in Wrath that are resolved with basically no effort because Percy shrugs it off or blames himself for their actions. I couldn't even begin to tell you how Annabeth's hubris played a part in the third act ghost fight, but apparently it did, so that's a thing he can brush off because teamwork is all that matters in the end, kids!

And the thing is, Rick is actually setting up a really good conflict with Percy constantly bottling up his rage and messy feelings, but he's too much of a coward to pull the trigger on it. Grover destroying the house and releasing the animals was the perfect spot to actually pursue that conflict and give everyone something to do other than mini quests. Percy could've yelled at Grover and Annabeth for failing to do what they had promised him, and then everyone could deal with the consequences (both of the initial mistake and the fallout of his anger) and make amends in a meaningful way. Instead, Percy has to grit his teeth and fucking apologize to Grover instead. (I'm gonna do a separate post about this because boy howdy do I have THOUGHTS on that.)

By making Annabeth the perfectest, smartest girlfriend ever for dumb dumb Percy, RR is basically removing the conflict that makes them interesting together. There's also the matter of conflict being one of Annabeth's main drivers. Conflict happens to Percy ("I didn't want to be a half-blood."); Annabeth looks for it. And now she's just along for the ride... as long as it doesn't mess up her studying schedule! Her job is school now. Don't get your hopes up.

Also, super controversial opinion ahead, but I think the show casting has contributed to how he's writing Annabeth now. He's deliberately avoided describing her in these books. It's all very vague impressions of her, to the point of Percy describing her having a "human face, human hair" when she turns back after the animal transfiguration in Wrath. No blonde hair. No gray eyes. It's weird.

(Note: I'm not saying the TV cast is wrong or weird, I'm saying it's fucking insane that this man is trying to retcon 15 books worth of character descriptions so his dumbass "actually we never SAID annabeth was white, you just perceived her as it!!!!" defense holds some water.)

[tanadrin]

I'm watching season 5 of discovery while I work on this map, and I think my verdict of DIS is that conceptually it is solid Star Trek. It gets Star Trek, like in the abstract. Obviously the last 3 seasons are a lot better than the first two, both because they escape prequel territory and because it just takes a ton of Trek shows two seasons to find the sweet spot. But the writing never really lives up to the ideas. So, so many of the character beats feel completely paint-by-numbers, with painfully generic dialogue, and I find myself mostly skipping over those scenes to get to the high concept SF or the action sequences. The actors really are doing the best they can, and visually it's gorgeous, and it throws out a ton of fun ideas into the Trek universe (though IMO it relies too much on overt callbacks to old Trek, it's not unique in this regard--SNW does this too, it might just be the curse of a long-running franchise). But man. The character writing is frequently not good! The emotional dialogue is frequently not good! And I don't know why; it's not like Star Trek doesn't have this stuff, rich character interaction has been there since TOS and the Bones/Kirk/Spock triad. But even back when you would have, like, Random Character Never Mentioned Before From Someone's Past showing up in an episode only to die horribly, from the older and more episodic Treks, the dialogue around these characters was still more believable and more compelling. And you'd think the more serialized nature of modern Trek would give you more room to build on and use these character dynamics.

I wonder if in part it's the decline of writers' rooms and the spec script market. Maybe something about that shift makes developing good scripts for television, and for genre TV in particular, harder. Part of me thinks it may well be the serialized format, because just like a good high concept sci fi plot often relies on a "hey-wouldn't-it-be-fucked-up-if-this-happened-randomly" idea, so too do a lot of the good character stories in older Trek--when everything has to be tied back in to an ongoing plot and significant character development has to be spread out over 10 episodes, maybe that's harder to do.

I think ultimately I feel about DIS like I feel about Enterprise--don't like prequels, do like some of the ideas, some of the characters are pretty interesting, the character arcs are kind of weak, is too bogged down in referencing other installments in the franchise, needs more Jeffrey Coombs.

[emeryhiro]

Hello!

I am new here and is feeling very overwhelmed right now with that is happening in the caryl fandom. I appreciate your insight into these characters. I am someone who has not seen Daryl Dixon season 1 and is seriously considering if I should even watch it with all that is being said about s2.

Reading all the early reviews that has dropped - I get a lot of mixed reactions to Isabelle's character. Some ppl say she was the best part about season 1 while others don't even mention here in their reviews. The caryl fandom is largely, understandably, biased against her.

I do not know anything about Isabelle and was wondering what your thoughts about her are - how she holds up as a character?

Hi Anon!!

Thank you for your question. I'm really glad you asked this question, and thank you for the kind words🥰 I'm going to do my best to properly answer and share my thoughts on all the points you've mentioned.

Firstly, welcome to the fandom!! 💖 I'm sorry you've joined at a time of so much uncertainty, but I promise that at its core, this community is a beautiful place to be. But like all communities, there is always positivity and negativity, and it's important to be careful with what's surrounding you, ensuring it's a healthy balance that works for you.

I've divided my response into several sections, as I find that to be the best way to convey my thoughts. I also wanted to be as clear as possible since this is a sensitive topic for some, and I want to try to alleviate at least some of the worries.

A mild spoiler warning for a mention of something that happens in episode 1 of season 2.

Reviews on Season 2:

I wasn't planning on reading any of the reviews for season 2, but since you asked for my thoughts, I read all the articles that I could find so that I could give you an informed response. And one thing I advise is to always take reviews with a grain of salt (this includes my thoughts as well) because, ultimately, they're all based on the writers' opinions.

What I've found with all previous seasons of TWD, especially season 1 of Daryl Dixon, was that no single review I read aligned perfectly with what I thought of the show once I watched it myself. And I know I'll say the same about season 2.

Regarding what I read in the season 2 reviews, I don't think I've actually read a single concerning line in any of the ones I've come across, and I'm pretty sure I've read every single one that has been released. There are, however, a lot of people who, out of fear or concern, focus on single lines from a review that may sound negative or worrisome when taken out of context, and ignore everything else in the review that's purely positive.

I can see many people have shared their specific thoughts on different segments of several reviews, but I won't go into my thoughts here for the sake of keeping this response reasonable short. If you're interested in a detailed post about my thoughts on the reviews in general or any in particular, let me know, and I'll share it as soon as I get a chance.

My thoughts on Isabelle:

I found Isabelle to be a fascinating character with many layers. She is unquestionably flawed and has a great mix of both positive and negative characteristics, which I think is what gives her character so much potential. She's intelligent, driven, brave, headstrong, and very protective, but she's also undeniably manipulative, which makes sense when you think of it as a self-defence mechanism that she developed during her rocky life before the apocalypse. I'm also a fan of Clémence as an actress, and I think she's a great fit for this character.

This next bit might sound a bit contrevoursial but bare with me. I've seen Isabelle get a lot of hate for being manipulative towards Daryl, even I personally hated seeing Daryl be treated that way, but it's important to remember that we've also seen Carol behave manipulatively when she's had to in the past in order to protect the people that she loves. This is something you'll see Carol do once again in episode 1 of TBOC, and when I watched it, it made me uncomfortable, but ultimetly, I could see that it made Carol uncomfortable as well; she doesn't feel any satisfaction out of what she does and is willing to carry the weight of that lie and guilt to achieve her ultimate goal of saving Daryl, the person she loves.

Even though, on the surface, it's not an admirable thing to do, we appreciate Carol so much more because of the lengths she's willing to go to for the ones she loves, and we've also seen her journey to this point, which naturally makes us love her and empathise with her.

So my point here is that I can't judge Isabelle for the same behaviour I admire in my favourite character. Just like Carol may act that way to protect Daryl (her loved one), Isabelle was doing it because she believed (to the best of her knowledge) that it was what was best for Laurent (her loved one).

However, what doesn't sit right with me about Isabelle's character is that what the showrunners and writers have been saying about her doesn't align with what I've seen on screen (this is a great example of why I try to avoid looking at unnecessary publicity). I want to love her character for who she is, flaws and all, but the inconsistency in her publicity makes me feel like there's some discrepancy behind the scenes, and that has stopped me from investing in her character and gives me slight concern for the trajectory of her arc, which has so much potential that would be incredibly tragic if wasted.

The only other thing that I would disagree with (IF the show ends up going down that path) is the negative messaging that would be given out about nuns if every surviving nun on the show is portrayed as willing to forget her vows the minute there's a man in front of them that they find interesting. I'm not catholic, but I think that it would be incredibly disrespectful towards actual nuns and the sacrifices that they make for their faith. But please don't take this as fact because I don't think this will actually ever happen. I honestly don't believe that AMC or anyone involved with the show would knowingly do something like that. I'd be happy to explain this a little further, but I don't think it's relevant if you haven't seen the first seasons.

Watching TWD: Daryl Dixon S1 & 2

My question to you would be, what draws you to TWD/TBOC? Is it Caryl itself and potential canon? And if so, do you feel that you'd be left disappointed and/or unsatisfied with the potential lack of romance between the characters in season 2? Or, do you enjoy the show for a combination of things, like the character development, world-building, cinematography, etc.?

I want to emphasise that there is no wrong answer to the above. Everyone is unique, and it's 1000% understandable and fair for each person to have unique reasons for being drawn to and loving, hating, or even being indifferent about a show.

I personally fall in the latter category; I love TWD for its rich story, action sequences, cinematography, multitude of interesting characters, and the mind-blowing ways in which they have developed over the years (the whole package of the show is exactly my cup of tea), and of course, it's no secret if anyone looks at my blog that my favourite character (BY FAR) are Carol and Daryl. I absolutely adore them for everything they are, both as individuals and what they bring out in each other and mean to each other. And if Caryl is ever canon (which I expect would happen in season 3), then that would be the cherry on top of a show I already love.

My very short review of season 1 would be that I really enjoyed it and would rank it at the top between all the other spinoff seasons we've gotten so far. However, in all honesty, I still felt and noticed the hole that was left behind in the story with the absence of Carol, but knowing that she will be returning in season 2 kind of made up for that lack in season 1. All up, I really enjoyed season 1 and have watched it several times in the last year. I'm actually currently in the middle of watching it again in preparation for season 2.

My recommendations:

If you personally fall into the former category and, as mentioned above, feel that you'd be left disappointed and/or unsatisfied with the potential lack of romance between the characters in season 2, then perhaps it's better to wait till all the episodes are released to then decide if it's something that you'd like to watch.

If you're willing to accept and are okay with the potential lack of romance between Caryl in season 2 but are concerned about and would rather not watch any potential romantic relationship develop between Daryl and Isabelle, then I'd say that you should watch the season as it releases because I honestly don't believe that something like that is a real possibility. At most, there may be hints towards one-sided feelings from Isabelle's side and maybe some confusion from Daryl's side, but untimely, it would not mean or go anywhere. I'm personally not even bothered with this worst-case scenario because it doesn't matter how many people have feelings for Daryl or how confused Daryl is because I know that once he's reunited with Carol, there won't be any more uncertainty about where his heart and loyalties truly lie. There's honestly not a single ounce of me that's concerned about this.

If you're more like me and enjoy the show as a whole, even though you may be slightly disappointed with a few accepts, then I'd highly recommend that you watch season 1 before the release of season 2 (if you have the time), because it genuinely was a good season and will give you a lot of backstory and context that would make season 2 feel so much more enjoyable and immersive.

~~~~

Thanks again for your questions!! I hope this all makes sense and that it answers your questions. As I mentioned earlier, if you'd like me to expand on my thoughts on anything in particular, please let me know, and I'd be happy to do so.

My last bit of advice is this: I know it's easier said than done, but I urge you, especially as someone who's new to the fandom, to not allow a lot of different voices and opinions to shape how you naturally feel or invalidate what you take away from watching the show (not that I think that's what you're doing but this is the general advice I wanted to give just in case🩵). It's really easy for anyone to be influenced by negativity and positivity when they find that that's all they can see from the people around them.

I personally try to focus on what I see on screen and what I hear directly from Norman and Melissa because, at the end of the day, showrunners and writers come and go, but Norman and Melissa have embodied these characters from day one and understand them more than anyone else ever could.

♡♡♡

[lobotomy-lady]

I am on a "mildly trashy TV shows that were super popular 20 years ago" kick & i cannot STAND those on again off again romances that seem to plague it (meredith & derek, carrie & big) like it is so exhausting idc if it's realistic it just sucks. I actually hate an exes to lovers again story in any capacity, even if it's only a single breakup & not a terrible tedious series of breakups. I've seen a lot of popular modern romance novels on goodreads with descriptions like "so & so called it off ages ago but now they're on a vacation together with friends and old feelings are stirring back up" I literally can't think of anything more boring. second chance romance is a shit trope. the only interesting part of the genre to me is two characters developing feelings for each other for the first time & seeing how that plays out. just give the characters new love interests & have them wistfully imagine their ex being hit by a bus . much more relatable

[angelasscribbles]

Law's End: Murder at Vista Heights Chapter 7

Series: Law’s End

Episode 1: Murder at Vista Heights

Fandom: The Royal Romance (loosely, there is zero canon, I've just borrowed the characters)

Pairings: None yet

Word Count: 2,582

Rating: MA

Warnings for series: adult themes, any given chapter may contain murder, violence, language, drinking, drug use, etc.

My other stuff can be found here: Master List.

The conference room in the homicide division of the seventh precinct was filled with the smells of coffee and fresh pastries. It was early. Too early, considering they’d all been there until well after midnight interrogating witnesses.

The food was Bertrand’s way of making up for the fact that no one had gotten much sleep the night before, but everyone still turned up bright and early, ready to work.

“So, she does have a history of stalking.” Liam flipped the file across the table to Flynn.

Detective O’Malley reached for the manila folder and flipped it open. “Who’d she stalk?”

“Clarence Coleman. An app developer. The police reports are in there. He was granted a restraining order. I’ve left a message for him to contact us. See if he’s heard from her lately.”

Flynn skimmed the information in front of him. “This was three years ago.”

Liam nodded. “It’s likely that she stopped harassing Cole when she started sleeping with Trent.”

There was a knock on the conference room door and Rashad entered, carrying a laptop. “There are no security cameras at the vic’s apartment complex, but I found a late model Nissan Pathfinder registered to the suspect and scrubbed video footage from nearby traffic cameras.” He placed the laptop on the table and flipped it around for the detectives to see.

Liam leaned forward to get a closer look. “Is that our suspect?”

“Yes,” Rashad confirmed, “Three blocks away from our vic’s house, heading that direction, fifteen minutes before the 911 call. And this….” He swiped to another image. “…is her ten minutes after the call heading the other direction through the same intersection.”

“We need more than that for an arrest warrant,” Flynn said as he zoomed in, looking for any evidence of blood visible in the photo, but it was too grainy. “It’s not illegal to be in the vicinity.”

Liam pushed away from the table. “Let’s get back over to the apartment complex and show her photo to the neighbors. Maybe someone will remember seeing her that morning.”

An hour later, he was seated in a small but elegant dining room as Stella Haltom served him coffee. Flynn was canvassing other neighbors, ones they hadn’t been able to reach yesterday.

Liam had tried to decline, but Stella was insistent.

“You’re very young for a homicide detective, aren’t you?”

“Yes, ma’am, I—”

“Are you single?”

“I am. But—”

“Really? A young, handsome, successful man like you?”

“Well—”

“You know, if things don’t work out between my granddaughter and that nice reporter—”

Liam shifted uncomfortably in his seat. “Ma’am, if we could get back to business. I just have a few quick questions—”

“Oh, yes, of course! You wanted me to look at more photos?”

“Well, one more.” Liam pulled up the photograph of Sabrina Simmons on his cell phone and held it out to her.

“Oh, my yes!” Stella somehow managed to convey disapproval with a nod of her head. “That was the one that was over there the most.”

“Did he entertain a lot of women?”

Stella snorted so hard she choked on her coffee. Once she recovered her breath, she clarified, “Whatever you think a lot is, multiply that by at least three!”

“That many?”

“Yes, and now that I think of it, two days before the murder, this one,” she gestured toward his phone, “showed up while one of the other ones was there.”

“Was there an argument?”

“Was there an argument?” She scoffed as a frown pulled her lips down. “Woke half the building with the screaming. I’m surprised no one called the cops.”

“Thank you. This is very helpful. Did you happen to see her on the day of the murder?”

“No, but that doesn’t mean anything. I was gone for most of the morning.”

“Where were you, again?”

“I left to help organize the church rummage sale early that morning.”

Liam checked his notes. “So, you overheard the argument between the two men when?”

“On my way out. I had to walk past Mr. Hayes’ apartment on my way to the elevator.”

“Just to review… you overheard the argument at roughly seven a.m., left for the church, followed by brunch, and returned home just after noon.”

“That’s correct.”

“So, you were home when the gunshots were fired?”

“Yes.” She shuddered. “It was terrifying!”

“And you didn’t see or hear anyone else coming or going from his apartment that day?”

“No.”

“Is there anything you can think of that you noticed that day? Anything at all?”

“I already told you everything yesterday. And that lovely reporter as well.”

Liam sighed at the mention of Riley. He couldn’t forbid a private citizen from speaking to the press, no matter how much he wanted to. But it did remind him of something. “Speaking of Miss Brooks… she mentioned you saw a woman at the victim’s apartment the night before the murder?”

“Yes.”

“Was that woman either of these?” He showed her the photographs of both Sabrina and Katie again.

Stella peered at both, then shook her head. “No.”

“Do you know who she was?”

“No, sir. I’m sorry. I couldn’t keep up with all the women that were in and out of that apartment. Besides, I don’t like to get into other people’s business.”

It took a concerted effort for him to not react to such an obviously false statement.

He jotted down a general description of the woman before extricating himself from the conversation. “Okay, ma’am. Thank you for your time.”

“I’m always happy to help the boys in blue!” she smiled proudly. “You have my number in case you have any further questions, right?”

“Yes, ma’am. I’ve got it.” Liam flipped his notepad closed. “If you think of anything else, please let us know.”

He stepped out into the hallway and reconvened with his partner. “How’d it go on your end?”

Flynn shrugged. “I found multiple witnesses that identified Sabrina Simmons as Trenton Hayes’ girlfriend, but none that could definitively place her at the scene on the day of the murder.”

“I confirmed there was a third woman here the night before the murder, but I don’t know who.”

“We’ll have the plainclothes canvas again and try to find that information. I think it’s time you and I go have a conversation with Ms. Simmons.”

“Agreed.” Liam pushed the button for the elevator. When it dinged open, he found himself face to face with Riley. “What are you doing here?”

“Good morning to you, too.” She stepped back so they could fit into the lift with her. “Probably the same thing you are.”

Liam made a noncommittal sound in the back of his throat as they stepped into the elevator. “Where’s your sidekick this morning?”

“Max?” She looked surprised at his question. “I don’t know. Probably sleeping in after that late night we all had. Why do you ask?”

Liam shrugged. “I’m just used to seeing the two of you together.”

“When I need a photographer.” She studied his demeanor, then a small grin crept across her face. “Why so interested in who I spend my time with, detective?”

“I’m not.”

Before she could answer, the elevator rocked to a stop on the first floor and the doors slid open. As they stepped off, a familiar face caught her eye. “Drake!”

The PI turned from the concierge desk to face the trio, his eyes lighting up. “Riley! What a pleasant surprise!” He was less enthusiastic as he greeted the two men. “Hello, detectives.”

The men exchanged handshakes as Liam asked, “Why are you here, Walker?”

“I’m investigating the murder of Trent Hayes. I was officially retained to do so this morning by Sadie McGraw. I was thinking it would be in both our best interests to collaborate.”

“I don’t know—”

Flynn’s phone cut through the conversation. He pulled it out and glanced down at the screen. “This is the boss. Hold on.”

Flynn stepped away to take the call, leaving Riley with Liam and Drake.

Not awkward at all.

After a brief conversation, Flynn returned to inform the group, “The chief just got out of a meeting with the mayor. We are to collaborate and cooperate fully with Walker here.”

“Great!” Drake gloated.

“Great,” Liam grumbled.

Flynn shot a pointed look at Riley. “If you’ll excuse us, ma’am, we have a case to discuss.”

“Don’t let me get in your way. I’m just going to grab a latte and update my notes.” She gave them a disarming smile and turned on her heel, disappearing into the small coffee shop located just off the main entrance.

She really was going to update her notes, but she had no intention of leaving without an update on the case. Liam was never going to crack, but she liked her chances of getting information out of Drake. She fired off a quick text as she waited for her drink.

Ten minutes later, Drake was at her table. “You said you had some information for me?”

“I said I was willing to trade information with you.” She gestured for him to sit as the barista approached to take his order.

He ordered a black coffee and then returned his attention to the reporter. “What information do you have that I can’t find out for myself?”

“Maybe none.” She lifted a shoulder. “But it took me three hours of knocking on doors to find out the identity of the woman Trent was with the night before the murder. You could spend the next three hours doing the same or we could help each other out.”

He regarded her thoughtfully for a moment. He didn’t have to reveal anything about his client to slip her the information about who the police were looking at as their prime suspect. “I suppose I could share a detail or two. You’re going to find it out on your own anyway.”

Her eyebrows raised. “How do you know that?”

“Because I did a little digging. Your investigative skills are impressive. No wonder you’ve won the Edward R. Murrow Award for journalism as well as two Scripps Awards.”

Her eyebrows arched even higher as she took a long sip of her latte before placing the cup carefully on the table in front of her. “Wow. You really did do your homework. I don’t know whether to be impressed or alarmed. Are you stalking me, sir?”

“Hardly.” He snorted. “Are you going to tell me that you did absolutely no research on me after agreeing to a date?”

“I agreed to dinner. No one said it was a date.”

“Semantics, but fine. Dinner. Answer the question. Did you not look into me at all?”

“You mean did I find out that you graduated from the police academy at the top of your class but quit six months into your first year to go into business with your father? That you have one sister, Savannah, and that you’ve never been married?”

He gave her a smug smile. “I knew you were into me.”

“Please,” she laughed, “It’s just common sense to find out what you can about a man you plan to be alone with.”

He leaned across the table with a smirk. “So, you plan to be alone with me?”

She hid a grin behind her cup. “At the very least I’ll be getting into a car alone with you when we go to dinner.”

“Is that all?”

“Well, we’ll see how the evening progresses, won’t we?”

“Can’t wait.”

“Now, are you going to tell me what you learned from the cops?”

“I don’t know. Are you going to tell me who the woman from the other night is?”

“If your information is good enough.”

“I know who their prime suspect is.”

“Is it Katie or William Sloan or Dean Collins?”

“No.”

She sat up straighter. “There’s another suspect in play?”

He twirled his coffee cup in his fingers. “Yep.”

“Okay. Yes, that’s a fair trade. Who is it?”

“Sabrina Simmons. She was his secretary when he was engaged to Katie. He cheated on Katie with Sabrina. That’s the reason they broke up. After Katie dumped him, Sabrina became his girlfriend. Last weekend, she showed up while he was entertaining someone else. Several neighbors heard the argument. The theory is that she got fed up with his womanizing. She has a history of stalking, and the cheating gives her motive.”

“Interesting theory, because the woman that was there Monday night is his current secretary.”

“Sounds like he has a history of sleeping with his secretary. What’s her name?”

“Sarah Foster. She’s not at work today. I already called.”

“Well, her boss slash boyfriend was murdered yesterday. I can track down a home address for her.”

“Way ahead of you.” She shoved her notes into her bag as she stood up. “Wanna go question her together?”

“How the hell did you get her address already?”

It was Riley’s turn to smirk. “I have my sources.”

“Okay, let’s go. But I’m driving.”

“I don’t want to leave my car here. I’ll meet you there. Here’s the address.” She quickly scribbled the information on a piece of paper.

He threw some money on the table to cover the coffee, took the slip of paper from her, and then pulled his phone out and opened the contact list.

“What are you doing?”

“Holding up my end of the deal with the CCPD. Collaboration works both ways.”

“Could you at least wait until after we have a chance to talk to her?”

He hesitated as he considered her request. “Why?”

“Because you and I both know that once the police get there, I won’t be allowed to talk to her! Police protocol this and interfering with an investigation that, blah, blah, blah… Come on…. You wouldn’t even know who she was if it wasn’t for me.”

“I would have eventually knocked on the right door and found out.”

“Yeah, hours from now, by which time I would have already interviewed her for my article. Don’t make me regret sharing information with you.”

“Fine.” He slotted the phone back into his pocket. “You get ten minutes with her, then I’m making the call.”

“Deal. Let’s go!”

The drive from Vista Heights to Sarah’s apartment complex took nearly forty-five minutes. Riley found Drake waiting for her in front of the entrance.

The apartment complex was a stark contrast to Trent’s. A dingy brick building surrounded by other dingy brick buildings, it had no doorman, and the front door was propped open. There was certainly no concierge desk or coffee shop in the lobby.

No elevator came when Drake pushed the button. “Looks like we’re taking the stairs.”

“Good thing she’s only on the fourth floor.”

As they approached apartment 412, Drake suddenly stopped and put his arm out to halt Riley.

“What?”

“Shhh….” He moved in front of her and pulled a gun from his hip. “The door is cracked open. Stay here.”

Riley Brooks hadn’t built her career by standing down. The moment Drake pushed the door open and stepped across the threshold, she followed, keeping quiet so he wouldn’t notice.

“Hello? Is anyone home? Sarah?” He called out as he made his way through the living room. He entered the kitchen and stopped in his tracks. “Well, shit.”

Riley entered right behind him, craning her neck to peer around him. Well, shit was right.

Sarah Foster lay on the kitchen floor in a pool of blood.

[anartisticalniche]

Okay, I didn't get to finish it much but i want to post it anyway

Presenting... the Pirate AU *jazz hands*

In which I just cram in the SMG4 crew in a mixture of a Victorian era world and the Mushroom Kingdom ahah

I have a planned story and everything, with plot and such, but its going to be LOOONG while before I finish it, so now I'm just having fun drawing the characters and some comics

The synopsis is basically that Mario gets (seemingly) kidnapped from the Mushroom Kingdom by pirates, and Princess Peach basically enrolls SMG4 to get him back (mostly to have her "bodyguard" back for herself)

SMG4 accepts mainly because he actually wants to get his friend back and because Luigi has begged him before the Princess even asked him, and so they depart on a small vessel with Captain Tari and her second in command Saiko in the sea (I wanted Tari to be the Captain to allude at the fact that she was one in her Meta Runner series, but she's still pretty much a scaredy cat like in the SMG4 universe).

Alas, they find Mario, but the crew that "has" him is in fact one of the most notorious: SMG3's crew, in his Black Bomb vessel.

And with that they get captured and are forced to stay with him for the time being.

Im planning in adding so many more characters (like the Anti-cast, Chris and Swag etc.) and to also focus a lil bit on the magical side of the story, with creatures and curses to spice things up eheh

For example, you get this acquatic guys as a treat (the Outcasts of the sea if you will)

[doobledabbadoo]

got around making some more htf ocs!! i honestly cant stop theyre too fun to make actually

[juniemunie]

"Why am I still doing this?"

"Don't you get it?"

"This is all just a show... and we're playing parts~"

[puppyeared]

i feel like im not making any sense but does anyone else feel like there are stories that let u run with them and ones that spell everything out for you

[deeplyunnerving]

when I first watched dead boy detectives I was like "oh this is pretty cute but I'm not crazy about the writing" but the more I think about it the more I get brain worms. like. it's everything.