#I really like Vincent as well as the plan for his and Scott's interactions

[blametheeditor]

Incident 8000-1

Content Warnings: Cursing. Mentions of death and murder. Mentions of weapons. Mentions of violence. Darker themes and tone.

SCP-8000's File

What can Cadence say? He's an enabler.

___________________________________

“Is today the day it does literally anything?” 

The sound of something falling into a chair along with papers flung carelessly onto the counter is heard through the intercom closely after a door slamming shut. 

Silence. 

“Nope,” Cadence murmurs as he sits back, kicking his feet up because there’s no reason to be ‘professional’ while watching the most boring SCP possible. 

Despite the act of uninterest, he still goes through the checklist he’s filled the same answers to since day one of being assigned SCP-8000. Or better known by everyone on staff, a jar of what most likely used to be an anomaly but the true one escaped months ago by replacing itself with ink. 

Did it visibly change while being unobserved? 

No. 

2. Did it react to a voice over the intercom? 

Another big n-o. 

Cadence glances at the motionless jar of black liquid sitting on a table in the small cell strictly for observation before lazily pulling the microphone toward him, knowing this is all a waste of time. But if he doesn’t do it, someone’s writing him up for not following protocol. 

“Please shake the jar if you want anything.” 

Just as he suspected, not a single ripple. 

“Please turn into a floating black void if you are going to do anything but stay inside the jar and be the most boring SCP imaginable.” 

Nothing. 

And who could have possibly guessed! But now that he got that over with, the white haired young man can take a nap for the six hours he’s scheduled to ‘observe’. Time in which not a single other person will come in to check and see what he’s doing because there’s no point. And after his shift is over no one else will come in to observe the anomaly, because for the same reason as before, there’s no point. 

On one hand, Cadence is certainly grateful to be assigned to a safe SCP. He’s seen how even euclids are dealt with, and that kind of stress is not what he wants nor needs. Not to mention that despite the fact that kind of class tends to mean ‘dangerous’, it’s idiots who are put in charge of research with even more idiots surrounding them. Because if he was being honest, he’s more scared of the team assigned to the SCP than he is the actual anomaly. 

On the other hand, at this point he’s fairly certain this one is meant to have people slowly wither away and die out of boredom. 

A single red eye slowly opens to spot the jar that still has not moved so much as an inch. 

What a life it is to be stuck in a jar 24/7. Apparently it’s fantastic considering the SCP has done nothing but sit there. Despite the fact this form is not its ‘true’ form. Despite the fact it can and had previously transformed into multiple different items. 

Despite the fact there is no lid to force it to stay that way. 

At this point, the dedicated display of a ten out of 10 rating that a Mason jar is the place to spend every second in almost makes him want to have a jar of his own. There has to be an anomaly that could make his dreams come true. Might as well considering Cadence is also just wasting away. There’s no telling when the higher ups will proclaim this SCP as a dud and either make the executive decision to neutralize it, or stick it in a closet before tossing its observer to the nearest anomaly that guarantees death. 

No, he’s not exaggerating. Going off of the notes, it consistently chose the jar out of every offered container. 

Cadence pauses as he glances over a section stating just how...passive SCP-8000 is. Because if he was it, anyone coming in and dumping him onto the table to see if he stays a liquid deserves getting tased. 

Although, that is assuming it can ‘utilize’ itself without someone’s assistance. He doesn’t know how far the qualities of its main form extend when it transforms. It might be impossible to hover while it’s a taser. And who’s to say it can’t flip a switch and therefore could possibly hover, but then there’s no electricity and making it more of an ordeal than desired. 

Don’t worry, he’s always thinking about violence. Be happy he’s imagining a taser for hypothetical retaliation. 

He glances over the notes one last time. Looks up at the motionless SCP. 

...he’s a complete idiot for actually contemplating going into the room with the sole purpose to try and annoy it. He’s worked at this site long enough to know that not everything is what it seems, and while this anomaly seems to be one neutral to humans, who’s to say it has an unknown trigger they just haven’t found yet. 

He should just stay in his chair. Take a nice nap before reporting the same thing as he had yesterday. And the day before. Which will be the same thing tomorrow. And the day after. 

Cadence stands up before meaning on his . Glances between the door into the room containing SCP-8000, and the anomaly itself. 

Opens it with a dramatic flourish, muscles tense in preparation for...something. Anything. 

He’s only stared at mockingly for being afraid of an anomaly that only rippled due to the disturbance caused by the man himself. 

That was certainly anti-climatic. 

Cadence takes the opportunity to leave the room without anything happening and promptly throws it out the window as he strides over to the table. He only remembers he left the door wide open for the SCP to possibly escape through once he’s within grabbing distance of the jar. But with there still being no reaction, he wishes he placed a bet on the side it had escaped and left normal ink behind. 

“Why don’t we just move you over here...” 

Nothing happens as he carefully drags the jar from the center of the table over toward the corner. All for the hope such an action will annoy it enough to do something. Because apparently someone walking into the room for the first time in over a month still doesn’t constitute something more than pretending to be liquid. 

But, the idiot known as Cadence not being careful despite interacting with an SCP they know essentially nothing about, him placing it too close to the edge and allowing it to fall and shatter upon impact? That earned a reaction. 

He barely had any time to process what happened. He could only appreciate the fact closed-toed shoes and pants are required to be worn under the lab coat and therefore didn’t earn any glass shards shredding his feet or ankles. Blink at the sight of the anomaly looking like any normal liquid spilt on the floor other than seemingly more held together. 

And then the puddle known as SCP-8000 lunges at him. 

Cadence feels what shouldn’t be a solid form latch onto his leg. His first instinct is to run. His second is to realize just how stupid an idea that is and instead takes off his coat in the hopes he can use it to dislodge the anomaly. 

It actually works. He manages to wrap the piece of cloth around the solid liquid, at least managing to trap it. Of course, that means trapping it on his leg, but at least there’s no possible way for it to make contact with his skin. At the very least he’s only been minimally exposed. Not- 

Who’s the disembodied voice now, bitch!

Cadence screams as he attempts to scramble away from the anomaly. Throws the lab coat as far away from him as possible. Freezes when he realizes it was no longer on his leg. 

Where- where did it go. 

Right here!

The young man feels a mental push to look to his right. To stare at the living liquid currently creating a black band around his arm. 

Cadence, is it? Your name’s as cute as you look.

“You’re certainly a flirt,” he barely manages to say. But the longer he stares at the SCP, the more it becomes clear it has no intention of doing anything more than talking to him. “And what’s your name, darling?” 

Anything you’d like to call me, baby.

It’s actually flirting with him. “Does this mean you won’t kill me?” 

As much as it seems you want to be killed, that’s not really my style.

“Ah.” Cadence pokes at the band. Stares as it flows across his fingers like water uncontrolled by gravity. “And here I thought you would want to take revenge over breaking your favorite jar.” 

I really did like it. But who needs it when I can make one of my own!

Just like that, SCP-8000 seems to disappear from his hands, and in its place sits a Mason jar just like the shattered one only a few feet away. 

Cadence lifts it up. Flicks the glass to test it’s an exact replica. Just like the reports state and yet he never saw the entire time he was assigned to watch the SCP. Up until now, hearing an excitable voice that had never been mentioned as well. 

Oh, and I can become this, too! 

Red eyes blink. Stare at the taser sitting in his hand. One he essentially had to catch considering the jar he previously held had been a much larger object. And before he can say anything, it bursts to life as the sound of buzzing fills the air. 

Cadence waits for the demonstration to end before flicking the switch himself to turn it on and off. “Well aren’t you full of surprises.” 

And I've got so much more up my sleeve.

“Says the anomaly who doesn’t wear clothing,” he mutters, tossing the taser before catching it once again. He doesn’t get a single comment on the action. If anything, the SCP seems happy to just be interacted with. Even if that is being treated like an inanimate object. 

Right. He’s currently holding an anomaly. 

“You wouldn’t tell on me to my superiors I completely neglected protocol, would you?” 

Of course not, my evening star.

“And for being such a darling, maybe I can take you out of this room for a couple hours a day.” 

The taser turns into water falling through his fingers as the SCP radiates smugness. 

You read my mind!

“More like you read mine,” Cadence huffs. He looks back at the jar that managed to be the key to what seems like an interesting partnership. Realizes he has no where to put the liquid void enjoying itself creating another puddle impossible to store with no other container in sight. “You wouldn’t be a good anomaly and turn into a jar to wait patiently hear, would you?” 

Nope!

It sounds so smug knowing he’s backed into a corner. 

“Anyway you can disguise yourself as I inform the containment specialist for this sector?” 

There’s no response other than SCP-8000 racing up his arms as it seems to think. He takes the opportunity to put his coat back on, needing to make it seem as if he only reacted to a situation and hadn’t caused it. 

He hesitates when there’s movement close to his collar, glancing down to spot his name staring back at him on a standard name-tag each scientist wears on site. Except he tends to leave his inside his office. 

How does this work?

Honestly, it’s a bit genius. 

Cadence quickly walks out of the room, closing the door behind him. He straightens his coat before grabbing the paperwork that will need to be updated. With that he walks out of the observation room, purposeful steps making him look hurried but not panicked as he makes his way to the office of his supervisor. 

“You okay, John?” 

He nearly brushes right past the concerned woman, mentally sputtering when it becomes clear she was calling him 'John'. Despite never having introduced himself to anyone on site as such, and she’s an unfamiliar stranger to him. 

Damn, I should’ve gone with Wallace. John seems to be a bit overused.

How Cadence forgot his name-tag was an anomaly that can change its shape into anything on its own whim, he will never know. 

And why the thought of it changing his name just because it can also never crossed his mind will be a mystery never to be solved. 

Yet he doesn’t force the SCP to pick something else to shift into after assuring her that he’s okay, simply in a hurry. Not even when someone else calls him ‘Wallace’. And his supervisor looks at him in confusion knowing his name isn’t ‘SCP-8000’. 

[eclipsedcrystalstar]

Attempt number 2 I plan on reworking the entire project and characters since I know I can do the concept way better! But as a basic summary of characters! Adults Scott: Been with the fazbear company a lot time! Dayguard turned night guard. The more social one of the two friends, he's a bit of a anxious mess that tends to go on rambles but he means well! Has a interest in food Vincent: Also been with the company for a long time. Mechanic turned Night guard. More so keeping to himself he's not really looking or even wants new friends. He's smart and has a interest in creation. Also the killer (Big shocker)

Glitch: Previous night guard for fnaf 2. originally his name was Jeremy before he died and lost that memory. Timid spirit that was killed by Toy bonnie. Shy guy but he means well. Had a interest in video games before he died though he's slowly rediscovering that in the after life (Takes the form of Shadow Bonnie) Lost: Original night guard for fnaf 1. Died via freddy. Rough aggressive guy who's not afraid to say what's on his mind. Though he's got anger issues this man is a big cuddle bear. Original name was Mike (Takes the form of shadow freddy) (The toy animatronics also count as adults but keeping things simple for now) Children David: Little brother to Max, is the crying child stand in so he's the first one to die. Died the same way in cannon. Shy scaredy cat kid. Takes the form of Nightmare since he doesn't possess any animatronic. He likes stuff animals and ice cream, his favorite animal being the seal. Max: Stand in for Mike afton he's the older brother to David. Rowdy rough teenager, possesses Foxy. Most diffidently a handful of a kid he's sadly got a fascination in anything sharp and deadly. But since the Accidentally death of David he's been trying to make a mends with his little brother Luwis: Possesses freddy, He's out doorsy and rowdy. Kid's got great admiration for his dad who's a hunter Luwis wants to be just as cool and strong as his dad Russel: Possessing Bonnie this is a threater kid in the making! He loves movies and musicals! Very energectic kid he's out going and easy to befriend. Chaotic good Warren: Possesses Chica this little girl isn't quite sure who she is yet or who she wants to be. She just loves sweets! Easily excitable she likes arts n crafts and the art of baking. Very curious although shy at first she's easy to open up Alex: Last one to die He shares a body with the Mariotete. Alex's got social anxitey he's trying to work through, having a interest in soft crafts like sewing. He's got a hard time really connecting with others but that's alright

All of this is really interesting!! Clearly lots of work one each character!

For CV crossover stuff I think Solar would be happy to interact with David, Max, and Alex. He knows it’s not an animal but he might give David a glamrock plush since it’s somewhat close to one.

[arecomicsevengood]

More Quarantine Movies

Going to put up this log of what I’ve seen now, as some of the stuff I liked the most is leaving The Criterion Channel at the end of the month. I really don’t know if anyone gets anything out of these posts, these are mostly synopses and they’re maybe spoiler-heavy. Let me give you the gist of it now: Otto Preminger’s a really good filmmaker whose movies are really interesting, Jean Arthur’s a great actress who enlivens everything and is also in a bunch of good-to-great movies. Also, I didn’t write about it but I rewatched Death Race 2000, that movie rules, feels relevant to today’s politics, and is leaving Criterion Channel at the end of the month.

The Pawnbroker (1964) dir. Sidney Lumet

Based on novel by Edward Lewis Wallant, whose The Tenants Of Moonbloom was reprinted by NYRB Classics with a Dave Eggers intro. Also some of the earliest nudity in a mainstream American film. About the misanthropy of a holocaust survivor, living in New York City, and interacting with black people who vaguely feel like racist caricatures, in part because it’s a movie about a misanthrope told from his perspective. A ton of movies about race from this era feel dated, this feels legitimately edgy, which is a term that gets thrown around somewhat ironically now or viewed as a pejorative, like something trying to offend, this does feel like a genuine attempt to be honest and push things forward (I really was not expecting that nudity) but also doesn’t feel totally successful, definitely not particularly enjoyable.

Shockproof (1949) dir. Douglas Sirk

I haven’t seen Sirk’s later melodramas, this one intrigued me in part because the screenplay was written by Samuel Fuller, and it’s sort of a pulpy noir thing. A woman, fresh out of jail, ends up living with her parole officer who is trying to keep her on the straight and narrow and away from her criminal ex, but they end up falling in love. There’s a thing where the male lead’s younger brother talks about how the lady is beautiful that I sort of wish wasn’t in there, feels creepy to me. There’s a bit of a shift in the narrative with the third act, where the lovers end up on the run, the once-upstanding man now a criminal on account of love, but they are having the endurance of their love tested by circumstance, is one of those things where a story which felt somewhat unique over the course of its telling shifts into something more recognizable.

…And The Pursuit Of Happiness (1986) dir Louis Malle

I have watched most of Louis Malle’s feature films at this point, I believe, and had a vague curiosity about what his documentaries were like. This one, made shortly after he’d moved to the U.S. and married Candice Bergen (something that comes up in Susan Seidelman’s Smithereens, in that some prostitutes read aloud from a fashion magazine that discusses it) he made a film talking to various recent immigrants. He covers a lot of ground, covering people working as doctors, large communities living in housing projects and causing racial tension with black neighbors (who both resent the smell of the food they cook but also suspect they don’t know their rights as the property developers plan to evict everyone and have the projects demolished). By and large everyone spoke to believes in the notion of the American dream of working hard to get ahead. Malle also speaks to anti-immigration think tank people and border patrols. Nothing too surprising but a lot of ground gets covered in a short amount of time. If I didn’t learn anything I at least admired that it felt non-didactic. Anything with more of a point of view or an argument would probably be disingenuous were it to present itself as enlightening.

The Baron Of Arizona (1950) dir. Samuel Fuller

Based on a true story, although with fictionalized elements, about a dude (played by Vincent Price) who becomes a master forger to falsify land grants and claim the entire state of Arizona as his own. Not a great movie, though that’s an interesting story. I bet I could guess what elements were made up for the sake of making a movie out of it, it has this tension of being interesting and unbelievable (although unbelievable by way of rote moviemaking formula), but also the story takes place over an extended period of time and so has some of the structureless feeling of a biopic.

House On Haunted Hill (1959) dir. William Castle

I’m going to confuse this with The Haunting Of Hill House for my entire life, that’s just the way it is. This stars Vincent Price, who’s always great, doing the famous premise where a group of people meet up to spend the night at a haunted house to win money. Vincent Price has a contentious relationship with his wife, who’s openly contemptuous of him and wants his money. There’s a moment where everyone at the house party is given a gun, each in a coffin. There’s a few “twists” all sort of being of the “there was a rational, non-ghost reason for everything” although any of them individually sort of strain the limits of credulity as something that works as a hoax. Vincent Price is basically not the villain, so much as his wife is, although he’s such a ham that loves being creepy that this again strains credibility in that the conclusion of the movie plays against the style with which the previous action has been presented. An enjoyable viewing experience.

My Name Is Julia Ross (1945) dir. Joseph Lewis

This one’s about a woman, looking for work, who falls into a scheme that kidnaps her and puts her up in a mansion, where she’s kept drugged and basically is told to assume the identity of a woman who was killed. I found this one pretty nerve-wracking, as it’s pretty nightmarish, basically about psychological torture. I found this one under Criterion Channel’s Columbia Noir collection, but before these films were considered noir, they were thought of as melodramas, but it’s also sort of a horror film about being gaslighted. There’s a part where they remove a stairwell and try to trick her into falling down? What’s funny is that one of the things that sort of separates this from horror is how quickly it resolves, whereas later work would I think give the audience the satisfaction of seeing the villain be punished in some way, the ending that just goes “then everything worked out alright” ends up making the structure feel more like the whole movie’s reason for being is just to see the protagonist suffer.

God Told Me To (1976) dir. Larry Cohen

Did I write about this already? I watched that a few months ago. Pretty wild basis in seventies grit about people going crazy, committing murders, then goes to a weird/confusing place involving some sort of holy entity in human form, the police procedural aspect butting up against this strangeness which doesn’t feel entirely thought through, and is in fact sort of incoherent, makes for a movie that is, in fact, still pretty good and worth watching although a bit tedious by the end.

Zombi Child (2019) dir. Bertrand Bonello

This I guess just came out in America this year, to the extent that anything came out this year, in theaters, it coming to streaming is basically its release. The zombies in this are of the old-school voodoo sense, taken seriously as a system of belief juxtaposed against French colonialism, as a Haitian teen feels at odds with her circle of friends, flashbacks to Haiti occur. When you watch a bunch of older movies new movies just seem to be not as good. Bonello’s not a bad filmmaker though, he’s able to capture a sort of sensual aspect of particular moments and moods, just not in a way where they then coalesce into a narrative of shifting emotion.

Anatomy Of A Murder (1959) dir. Otto Preminger

This movie is close to three hours long.  It has a Law And Order procedural quality, taking up much of its second half with a courtroom drama, where Jimmy Stewart does a proto-Unfrozen Caveman Lawyer routine. He’s protecting a man accused of murdering the woman who raped his wife. The subject was surely shocking for its time. It becomes pretty clear, extremely quickly that the husband is an abusive piece of shit, but the main thrust of the narrative is still tasked with following the lawyer trying to get him off. Lee Remick, from Experiment In Terror plays the beautiful and doomed wife, who flirts with Jimmy Stewart. Some of these interactions feel weird from a modern perspective, because Stewart’s reaction is like “Yes, you’re a beautiful woman and any red-blooded American male would enjoy looking at you, but it is my duty as a lawyer to paternalistically insist you cover up!” Preminger is sort of known for pushing the envelope, and this one has a lot more talking about sperm and Lee Remick’s vagina than you’d expect. One of the things that’s meant to be a “quirky character detail” is that Jimmy Stewart is into jazz- The score, by Duke Ellington, is great, but there’s also a pretty corny cameo by Duke Ellington where Jimmy Stewart sits in with him, a second pair of hands on the piano. Still, I guess it’s better that he physically appears in the movie than there just being a scene where it implies Duke’s music is played by Jimmy Stewart, as the music is way too good to just be a lawyer’s quirky hobby. George C Scott, from Hardcore, plays the legal expert on the other side. After being pretty long, there is this sort of abrupt, (although well-foreshadowed) downbeat ending, where the jealous and abusive husband flees town to avoid paying his lawyer and to go somewhere quiet he can beat his wife to death, but said ending is played for this “you can’t win them all I guess, shame about the lower classes” quality from Stewart, who is dead broke all movie but seems like he just enjoyed being able to do work for once, even if it’s for a total shitbag. Good movie! Feels thorny and interesting.

Bunny Lake Is Missing (1965) dir. Otto Preminger

This is even better. Great Saul Bass credits sequence too. A psychological thriller where the disappearance of a child gives way to the police not being able to confirm the child is real, and doubting the mother’s sanity, becoming pretty nightmarish, dreamy, and exhilarating by turns. Gets to a place of “huh, I wonder what is going on” and then when that finally resolves there’s a pretty extended sequence of silent escaping/hiding, which is, one of those things that films do really well and is super-satisfying. It plays out amidst this background filled with interesting supporting characters, who all, for the first half of the movie, feel like moving parts in this somewhat inscrutable narrative machine.

The Man With The Golden Arm (1955) dir. Otto Preminger

This one I don’t like. Stars Frank Sinatra, who I find annoying, as a recovering heroin addict who relapses again. While I normally like the sort of scenery-chewing supporting cast that shows up in Preminger things, I really didn’t Sinatra’s nerdy best friend, or his wife with Munchausen’s syndrome. While with the other Preminger movies there’s this feeling of a slow reveal of what the plot is with this one I feel like as soon as you know that Sinatra is out of rehab (which you learn pretty quickly) you can guess the movie will be about how he relapses and then tries to get sober for real.

The Human Factor (1979) dir. Otto Preminger

Preminger’s final movie, based on a Graham Greene novel, featuring Iman making her film debut. Movie is mostly about intelligence agencies seeking out the mole in their mist, with intentions to kill whoever it is once they’re certain. It stars Richard Attenborough, as the source of the leaks. Halfway through the story becomes interspersed with flashbacks about Attenborough and Iman’s romance upon meeting in Africa. Continues the habit of ending on a moment that maybe feels like it should be expanded upon or made more resonant.

Bonjour Tristesse (1958) dir. Otto Preminger

This stars Jean Seberg as a teenager being raised by a single father, David Niven, who’s kind of a cad/ladies man who’s very permissive with his daughter, who seems likely to grow up rich and spoiled and find another rich man to take care of her. Deborah Kerr plays the woman who Niven ends up falling in love for real with, and the conflict is then between this woman taking on a maternal role and a daughter who is resentful of this. Deborah Kerr is in Black Narcissus, a movie I love, and here she comes off as smart, the voice of reason. Seberg destroys her father’s relationship by taking advantage of his sort of innate desire to flirt and be liked by women, driving Kerr to commit suicide, and the whole film is then told in flashback by Jean Seberg a year later, as she flirts with boys but has a great sadness and emotional distance about her, which is both inherited and self-inflicted. I’m partly just writing these plot summaries as my way of remembering what these movies are about, but this one is nice because I get to account for complicated characters who are both pretty eminently understandable. I keep getting hung up on the fact that movies today now have a much dumber idea of what a female character is. Maybe it’s something as basic as the fact that, as people read less, it’s rarer for literary novels to be adapted? As I talk in terms of “less good roles for women nowadays,” which is a cliche, it’s obvious enough that bad roles for men follow, as everyone is only as good or interesting as who they’re playing off of.

It’s also funny to think, in this era of “comic book movies,” that very few artists can make a character come to life with body language and facial expression the way an actor can. “Literary” cartoonists like Dan Clowes or Tomine play into the mask quality drawing creates, generating inscrutability as part of their effect. Many of the biggest names in “noir” comics are removed from the melodrama elements of actor’s performance in favor of an aesthetic based on paperback covers, which makes for something far less lively. Meanwhile, Blutch is an amazing artist who would probably do a great job telling lively character studies in a genre form, but he’s way more preoccupied with these Godard-style interrogations of film’s cultural meaning.

Separate Tables (1958) dir. Delbert Mann

From the same year as Bonjour Tristesse, and also featuring David Niven and Deborah Kerr. Deborah Kerr’s good in this- while she is sort of uptight in a maternal way in Bonjour Tristesse, here she’s sort of crippled by repression her mother imposes on her. It’s a totally different character, but she remains defined by various manifestations of repressed energy; I would say she’s most known for playing a nun in Black Narcissus. She’s again opposite Niven in a sort of romantic context, though Niven’s character is meant to be a neurotic freak and he’s not really convincing in that capacity. I couldn’t really work out what the deal is with Niven’s character, he gets arrested in a theater, seemingly because he takes his dick out to show women? Or that’s how I interpreted what was being discussed, but he’s mostly defended by everyone except this lady you’re supposed to hate for how domineering and judgmental she is so maybe it’s something less bad. I honestly couldn’t figure it out because it seemed like the thing I was guessing they couldn’t talk about. This movie also features Burt Lancaster and Rita Hayworth as a couple that broke up once before and are reuniting now. This movie is pretty dull in a way I didn’t know whether to attribute to it being British or it being based on a play, as it feels extremely both.

Seance On A Wet Afternoon (1964) dir. Bryan Forbes

This one’s British too, and features the quality I recognize from British television, where the stars are not attractive, which always feels surprising. This one’s got a pretty great title, and a great premise. This woman, a professional psychic, convinces her husband to kidnap a child so she can comfort the parents and get publicity. The cinematography’s great. I got pretty nervous watching this, I think I am feeling more sensitive to movies as of late, way more willing to find things upsetting and nerve-wracking than usual. I can partly attribute this to the feeling of taking something in from a different cultural context, that leaves me unsure what to expect, but it’s also true that nowadays I sort of constantly have this feeling of “I don’t know how bad things are going to get” about the world in general, and it makes sense that I would apply that to films.

Only Angels Have Wings (1939) dir. Howard Hawks

Jean Arthur’s amazing in this - saw her the first time in The Devil And Miss Jones and then there’s this whole Criterion Channel featurette video running through what her whole deal is: This vulnerability/innocence crossed with an attempted toughness that really is very charming. Here she plays an entertainer just stopping briefly in town who gets hit on by some pilots, and develops feelings of impossible love for a man (played by Cary Grant) whose insistent toughness and refusal to show fear (despite having a dangerous job, of a pilot, that makes everyone who cares about him fall to pieces with nervousness). It’s this very universal type of entertainment, where there’s all these special effects shots of planes flying and a drama of men being men that’s nonetheless anchored by this love story, carried by the fact that Jean Arthur is very real and complex. She’s also a legit comedic actress, which I think makes her feel richer and more watchable than someone without a sense of humor would be. Rita Hayworth plays Grant’s ex, a woman who couldn’t take his daredevil ways but is now married to another pilot who has to do dangerous flights essentially to make up for an act of cowardice that got someone else killed. She’s got her own charisma obviously (and Cary Grant’s equally solid, in this sort of old-Hollywood glamor way) but Jean Arthur feels very alive in a way that carries the movie.

The Talk Of The Town (1942) dir. George Stevens

This one also stars Jean Arthur opposite Cary Grant, but it’s less interesting, partly because of a domestic setting and some stale-seeming comedy. Cary Grant plays Lionel Dilg, (great name!) who breaks out of prison and hides out in Jean Arthur’s attic, with a hobbled ankle, while a preeminent legal scholar moves in. There’s a love triangle between the three of them, and a friendship between the escapee and the scholar. Grant’s been unfairly framed for arson for political reasons by his boss for pointing out the factory where he works is a death trap. The people of the town are easily turned against this sort of leftist agitator  by a last and biased judge. Insanely enough, there’s a movie called “The Whole Town’s Talking” also starring Jean Arthur but it has no relation to this one.

The Ex-Mrs. Bradford (1936) dir. Stephen Roberts

Upon realizing that many of these Jean Arthur movies were leaving the Criterion Channel at the end of the month, I started taking more in. This is a murder mystery, with screwball comedy accents, and again I’d say it’s really good, although the “comedy” premise wherein a woman sort of plows through the life of a man with no real respect for personal boundaries is the sort of thing that works in a movie even though it seems totally nightmarish when looked at from a certain angle. She writes mysteries, he’s a doctor, people are getting murdered. He is played by William Powell, from The Thin Man movies, which maybe these resemble. I guess the bickering couple that solves mysteries is a trope but it’s one that I don’t think has had any currency in popular culture since Moonlighting, which was in my lifetime but before I would have had any awareness of it. (I would probably enjoy it up until the point where I got bored of the formula.) I thought this was great and would make a good double feature with L’Assassin Habite au 21.

History Is Made At Night, 1937, dir. Frank Borzage

This has Jean Arthur in it too, but the reason I became aware of it was Matt Zoller Seitz tweeting about it. Partly this is because the description on the Criterion site is so bare-bones it barely seems like anything, but it turns out this is because the plot is completely insane and has a ton of twists and to talk about them very quickly veers into spoiler territory. It is, in brief, a love story. The first totally insane in it is the handsome male lead does the “drawing a ventriloquist puppet on his hand” thing and the woman’s totally on board. An element that doesn’t spoil the plot, but does seem somewhat incongruent with the tone, is there’s a French chef character for a comic relief. It’s really good. I’m pointing out the lightest element but the story’s villain is believably sociopathic.

Secrets (1933) dir Frank Borzage

Not nearly as cool or good. While History Is Made At Night feels like a cohesive story that’s just pretty crazy, this one feels divided into acts that have nothing in common with each other. First act is romance, between a rich man’s daughter and his banker. They run away together. I’m basically unsure of when this movie takes place timewise, the rich lady is wearing massive layered gowns I know would’ve been out of fashion by 1933. The second act is a western where they make a home together and have to fight off bandits! But the action is shot in a a pretty disinterested manner. Third act, I’m pretty on edge and bored, but the banker is now the governor of California and is having an affair with another woman, and they’re at a party together, and then the ending feels epilogue style as they’re both old as hell and they have fully-grown children and they’re talking about how they’re taking their leave of the kids to discuss their secrets. Female lead is Mary Pickford in her final film role. I guess this is a remake of a silent film, which was itself based on a play. Yeah this movie sucks basically.

Bitter Moon (1992) dir. Roman Polanski

Sure, I’ll watch a sex criminal’s erotic thriller that’s way too long. Hugh Grant is a married guy on a boat who has a French dude talk about all the sex he and his wife have because he knows Hugh Grant wants to fuck his hot wife. Said wife is played by Emmanuelle Seigner, Roman Polanski’s actual wife since 1989. This is a bad movie by pretty much any metric. It kinda feels like the social function of erotic thrillers is not to be a more socially-acceptable form of pornography, but rather to be pervy enough to remind the audience why you shouldn’t talk about sex publicly and have that be your whole thing. The French, of course, misunderstand this.

The Burglar (1957) dir. Paul Wendkos

Another noir, written by David Goodis. This one is a little formulaic, in terms of what you think of crime movies as being “about.” A burglar, who learned the trade from his adopted father, works with that man’s daughter to commit heists. His gang doesn’t like her. Once the two of them are separated, a corrupt cop seeking to steal a burgled necklace for himself tries to pursue a relationship with her as a means to an end, while a woman allied with him works on the burglar. A drive to New Jersey gets stopped by cops, violence quickly escalates to make the situation more dire. Members of the gang die. Not a bad movie but by no means essential.

My Brother’s Wedding (1983) dir. Charles Burnett

Criterion Channel removed the paywall for a bunch of Black-made independent films, this is one of them, Burnett’s follow-up to Killer Of Sheep. Seemingly starring non-professional actors, it’s about the conflict a guy feels as his brother is planning to get married to a rich woman he resents, and the loyalty he feels to a guy who just got out of prison who everybody hates. The main character is a good dude who wants to help out this pretty dangerous friend the best he can. The film captures his pride and resentment.

Dial M For Murder (1954) dir. Alfred Hitchcock

A few iconic-seeming shots of Grace Kelly in the role of a Hitchcock blonde, i.e. her standing at a phone while someone looms behind her about to choke her, and later standing traumatized. Suffers a bit from clearly being based on a play, with a ton of dialogue, particularly in the second act. The first act is able to provide this very particular type of satisfaction, where someone outlines a “perfect crime” in dialogue and then we see it play out and it falls apart and happens completely differently. It’s funny the criminal gives themselves away due to mistaking one key for another, because this sort of structure really does feel like a key fitting into a lock, things perfectly designed for one another, parceled out at the right time.

[internetremix]

Discord Murder Party related question, And sorry if this already got asked. The plot inside of the games, was that planned from the very beginning or was it just a "hey wouldnt it be cool if this happened" Type thing? Also do you preapre what will happen in advance of the game or is it pure improv?

This has been answered on stream before but never here on the tumbles, so here we go.The TL;DR version is I came up with it after the first episode due to the Narrator becoming a character and my love of Groundhog Day Loops and meta shit. I was nervous about it but liked it enough to mention it to Alex in call one day. He was the main one who knew about it (I believe I also told Scott? I can’t remember) and he ended up triggering the whole thing spectacularly in episode 3. After that I filled all my cast in and we started working on characters and such.Plot scenes get some basic direction in advance, we map out what beats we want in a scene and the general episode placement, and if anyone comes up with a cool line we write it down. This is just to ensure we maintain pacing and the plot doesn’t get too muddy. We try to plan as little as possible and just let scenes flow naturally, however.Longer version of me explaining dumb creative processes and things under the cut:

A long time ago I had an idea for a D&D campaign I had that would essentially get super meta and the final boss would be the DM themselves. I’d probably center it around like, the nature of characters and stories or something. I got a bit antsy about the execution, since as soon as you start having players break the game things get messy. In theory it’s a cool idea, but the problem is once it starts becoming a fight against the narrator there’s no way to really maintain the illusion about this being a game. In the end my players could fight the DM as much as they wanted but I’d have to either confine the DM to the world’s rules, which felt untrue to the meta idea, or else there would just have to be an understanding that my players were allowed to break the rules and I’d essentially have to let them “behind the curtain”. That becomes progressively more collaborative storytelling than a game, which is awesome, but you need the right players for it. I didn’t really have the right players at the time and I found the whole idea a bit nervewrecking since to be honest I meticulously plan my stories... which isn’t a great quality for a DM but at any rate. The point is I shelved the idea.

In the very first game of DMP , the Reality Island episode somehow morphed into the Narrator being part of the scenario. I’ve always been a huge sucker for groundhog day loops and I was thinking of how Alex had kept Dr. McGillicutty as his character for both scenario and went “oh, that would be cool, they could all be the same people stuck in these loops but only Dr. McGillicutty remembers and doesn’t change.”I combined this in my head with the D&D meta thing but still felt cripplingly nervous about suggesting it, since I had no idea how I’d execute it and I was really scared people would think my idea was dumb and cheesy and wouldn’t work. But the second episode of DMP went well and everyone’s acting was stellar so I went “oh right. I’m playing this with a bunch of theater dorks, they’d probably be willing to run with me on this.” I got more and more into it so I ended up off-handedly mentioning it to Alex in call, to which he promptly went “Why didn’t you say so earlier? I could have been playing McGillicutty last episode!” So the idea was floating kind of loosely out there but I was still kind of waffling on when I’d kick it off.

And then episode three happened and we dropped some hints here and there and then the end of Reality Island 2 happened and Alex just hecking went for it. He had his whole “Sorry if you didn’t want me to kick the plot off so soon” but I am endlessly grateful he did because my anxiety probably would have killed the pacing. So yeah, after that I explained the idea to everyone else and had everyone create characters and the rest is history.

Episodes 1 through 5 really had no planning at all. For the mid-season finale I was kind of panicking because I really wanted some kind of plot hook at the end and I wasn’t sure what to do, but Split had Charlie kind of be self-aware. So at the very last second as I was rambling about the “good” ending I messaged Split out of the blue telling him he was coming back to life and to do so now.

Which I guess launches into how our presentation works from here on out. Every episode does take a bit of planning- I do my best to fill in all players on the placement of plot scenes so those who aren’t awakened know to step back. So I’d say “start of scenario 1 has a plot scene” and “end of scenario 2 has plot.” I do try to keep these things loose and let things flow naturally here. I usually have triggers in the game that I set up- I.E. If Grace’s uncle is attacked or dies, Grace’s host scene triggers. If Grace is killed, her Host scene triggers. If both characters make it to the end it will be the end o ft he game. If the scene is triggered before the end of the game then I have to have MG figure out a way to bring the other player characters back and wrap things up. Other times we just rely on character interaction and see where the scene goes. For instance, in scenario 2 of the most recent game we knew Vincent was going to push MG until she snapped and triggered the Tommy end scene. The actual scene was left Split and I feeling out the characters and moment, however. Usually me and the people involved in the plot scenes have some basic beats we know we want. For instance, Split and I mapped Vincent’s awakening as thus: The Murder God sets up the war scenario to mess with Vincent’s PTSD and it slowly breaks him down. Vincent is indeed broken but in this he starts to remember things. MG tries to push this back, finally forcefully insisting “Your name is Jack.” Vincent awakens, and the Murder God responds by just laying out his backstory while Vincent slowly spirals downward.  The only thing Split didn’t know was that I was going to kill Vincent’s kid in front of him, although he caught on as soon as Jojo showed up with the name Marshall hahaha.I do occasionally provide direction in the moment and some things require DM communication: For instance, Split had to warn me Vinny was going to slap MG in episode 11 so I knew to react to it properly, since it’s sound based.So uh, yeah, there’s the long drawn out explanation. We do plan things and I have an overarcing plot set up, but we try to keep things as loose as possible to help everything feel natural.

[irregularjohnnywiggins]

(in response to @mirrorfalls question on my favourite Moriarty, which I answered... then deleted. Because I’m good at tumblr.)

To answer the question of what my favourite versions of Moriarty is, we need to figure out what, imo, makes a ‘good’ Moriarty. For my money, there are three aspects that make Canon Moriarty interesting:

Intellect: probably obvious, but Moriarty is an opposite to the World’s Greatest Detective, so his intellect, like Holmes’, is key to his character.

Familiarity: the phrase ‘everything I have to say has already crossed your mind/then possibly my answer’s crossed yours’ is a cliche of Holmes/Moriarty interactions, but it’s a damn good cliche for a reason. Holmes and Moriarty should have a healthy respect for each other, that’s true, but more importantly they should have this sense of, as Neil Gaiman once said about him and Terry Pratchett: ‘You’re another one of me! I didn’t realize they made another one!’

Savagery: Seems weird given the other two points, but a good Moriarty should always have this point that, if pushed off, attempts to, say, push a guy off a waterfall. If my favourite Holmes is a bleeding heart barely pretending to be an unfeeling machine, Moriarty is barely hiding his inner savage behind the mask of congeniality.

So, with that out of the way, my most interesting (not objectively worse/best, just the ones I feel deserve attention) Moriarty’s from worst to best.

10: BBC Sherlock (Andrew Scott)

Let’s break this down: he’s not 1 because no-one in Sherlock is smart, it’s just Moffat trying to trick the audience with lack of explanation. He’s not 2 because Moffat is so obsessed with twists that Sherlock and Moriarty spend most of their time twisting each other so much that there is no time given to their familiarity between them. He’s not 3 because he’s not savage - he’s a poor man’s Heath Ledger’s Joker, but boring and with more homoerotic subtext. He’s not Moriarty. He’s just boring.

9: Elementary Moriarty (Natalie Dormer)

I really wanted to place her higher because I honestly love Natalie Dormer’s version, but whilst she covers the first two points the focus is more on her torrid romance with Watson Holmes, which is all well and good but does rather detract from her Moriarty-ness.

8: Young Sherlock Holmes (Anthony Higgins)

This version of Moriarty, like this version of Sherlock, is... interesting. We don’t really see his savagery, but the entire movie works to build up his relationship with Holmes. I could have done with a little less racism, though. And a little more actual Egyptian Moriarty in a movie that makes him Egyptian.

7: League of Extraordinary Gentlemen

1 and 3, mostly - as interesting as the idea that he’s a former British agent turned actual bad guy is, that’s the disadvantage of removing Holmes from the story - it’s like a Joker story without Batman, Moriarty doesn’t really have anyone to contrast with, and the two people who can contrast with him - Mycroft and Fu Manchu - never share a second of pagetime with him. And yet you can only do Holmes v Moriarty so many times, so how do you make Moriarty interesting without Holmes? Well...

6: Newman’s Moriarty

...You make them the contrast of another character, that’s what. In all seriousness, Newman’s version of Moriarty might not get much to do, but man does he feel good.

The premise of Hound of the D’Urbervilles, i.e. Sherlock Holmes but Moriarty instead, is brilliant at giving us not just how similar Holmes and Moriarty are, but how different - a personal highlight being Moriarty telling Moran that of course he didn’t figure out Moran’s backstory using deductive reasoning, why would he waste his time, he researched everything about him before he entered the room. 

I’m not entirely sure if Newman’s Moriarty is savage as opposed to increasingly petty, but his relationship with Moran hints that whilst Holmes looks at people and sees problems to be fixed, Moriarty looks at people and sees tools to be exploited, and that is a pretty sweet contrast that isn’t really explored in other versions.

5: Brett Moriarty (Eric Porter) + Merrison Moriarty (Michael Pennington)

Moving on to a classic Moriarty, whilst I don’t really think Porter adds anything the same way Brett does, he is still a really engaging portrayal. The bit where Holmes and Moriarty exchange a look on the Reichenbach Falls? Brilliant, and it wouldn’t be half as good without his particular portrayal, which stems far closer to the canon than previous ones on this list.

The BBC Radio adaptation is practically tied with this because they’re extremely similar - both attempt to follow canon as closely as possible, whilst adding their own twists. I do prefer the radio version, though, because we get some hint as to how Moriarty’s organization works and how much of a threat Moriarty is. This is actually enhanced by it being radio - whereas Brett’s version has to have Moriarty enter the room because it’s a visual medium, the radio adaptation can just have Holmes playing the violin, suddenly stopping and then revealing Moriarty’s been in the room this whole time. It’s really good, is what I’m getting at. But speaking of canon...

4: Canon

@mirrorfalls said in their original question that no version of Moriarty since the canon has ever actualized the reptilian qualities of Moriarty, and I can’t help but agree. It’s really interesting that Moriarty is linked to an animal whilst Holmes compares his body in another story to ‘a mere appendix’ - something intrinsically human even as it is superficially worthless. The idea of Moriarty in this version - calm, cold, but liable to snap at any point - is quite simply perfect, and the only thing that doesn’t rank him higher is that, in the same way William Hartnell doesn’t rank as one of my favourite Doctors, what it means to be Moriarty has changed so much since his inception. I don’t think Conan Doyle ever intended Moriarty to have the staying power that he did - he’s a plot device, pure and simple. Other authors added to that, and so we’ve got the version of Moriarty which lasts today.

3: Light Yagami

...Hear me out.

No, Light isn’t exactly a traditional Moriarty. For one thing, I’m fairly certain Moriarty doesn’t have a god complex, or a magic notebook that kills people, or a snarky apple loving Death God as a sidekick (Though, who knows, give Moran an apple fixation...) But, there’s a reason I recommend at least the first half of Death Note for anyone wanting a great Holmes/Moriarty story... It’s really good at outlining exactly what makes Moriarty and Holmes so interesting: Mind Games. Mind Games galore.

Watch, say, L’s introduction. Now imagine Holmes challenging Moriarty in the same manner. Hell, Light definitely ticks all of the points of a good Moriarty in this scene alone: he anticipates the police noticing him, he builds such a good rapport with L without either of them actually meeting that I remember losing my shit when I first watched Death Note and realized that this episode would feature the two of them actually meeting face to face, and despite his apparently calm demeanor at first, he immediately kills Lind L Tailor the instant he says something he doesn’t like. Just... he might not be a ‘true’ Moriarty, but he’s a damn good interpretation even if that wasn’t the goal. Speaking of not exactly ‘true’ interpretations...

2: Professor Ratigan (Vincent Fucking Price)

No objections, I trust?

Really, though, I wasn’t someone who watched Great Mouse Detective as a kid - I first watched it about two years ago, and god damn is this a good movie. True Story, when thinking about which Moriarty’s belong on this list, I immediately jumped to Ratigan, because he’s brilliant. He ticks all the boxes and then some - His intellect may not be his primary trait, but it’s still there, and his rapport with Basil is the stuff of legend at this point. And, to be brutally honest, Ratigan is the reason savagery is on this list in the first place. That fight on Big Ben? No version of Reichenbach has yet surpassed it, and it is everything great about this version of that core concept. Really, everything about Ratigan is a summation of how to do a brilliant Moriarty.

So, who can top the World’s Greatest Criminal Mind? Well...

1: RDJ Moriarty (Jared Harris)

Yes, I know, I was surprised to.

I was around during the Sherlock/RDJ films strife. I remember how much these films were lambasted for being ‘too action-packed’ and ‘not cerebral enough’, in stark contrast to the majesty of Sherlock and it’s twerpish plot twists. But when I think of a great Moriarty? Oh, boy, this one kicks Sherlock’s ass.

It’s also irritating, because it’s really hard to point out what makes him better than Ratigan or even Light. His plan is convoluted at best (not that the other two are any better - a good Moriarty does not a decent plan make), not helped by it being exactly the same as his plan in that godawful League of Extraordinary Gentlemen movie (which, btw, would still be bad even if it didn’t drive Sean Connery away from the film industry, but is far worse on those grounds) but, still, look at this scene. Or this one. Or that fight scene.

Tell me that’s not Moriarty.

That first scene especially runs through all three establishing Moriarty traits, yet perfectly utilizes all of them. We see how smart he is, we see his and Holmes’ respect for one another, but at the same time we see how much Holmes wants to see him behind bars and we have the perfectly paced reveal of his murder of Irene and that he intends to do the same to Watson and Mary. Everything about this scene is brilliant despite it being just the two of them talking. There’s even a bit later in the movie where Moriarty outsmarts Holmes and they communicate the gamut of emotions both characters are feeling through them exchanging a single glance.

So, yes, these films may be a bit too action packed. Yes, they may exaggerate character’s abilities, their plots may be inconsequential for the most part. But goddamn is their Moriarty a classic.

[ridehiswhip-moved]

HI HELLO THIS ISN'T REALLY ANYTHING SPECIAL I JUST NOTICED THAT I HAVE 400+ FOLLOWERS ALREADY LIKE WOAH THAT'S A LOT though im pretty fucking sure that most of them are just porn bot blogs. this blog is three months old now and woah??? look at how many people i've already interacted with!!! that's big accomplishment yo. to be fair, i was actually struggling on what to do. i wanted to do something nice like what the cool blogs do: giveaways and all that stuff but??? what the heck can i even give?? am i allowed to give away my depression and internal organs??? because i'm... i'M SO DONE.

but nevermind about that because i don't wanna disappoint anyone i guess i'm just gonna go ahead and ramble about ailill under the cut. mostly my initial plannings and how i actually ended up with him as final product when i actually had a long list of original characters  i wanted to write as. well, he's not technically original since he's mythology based but you all get the point.

why did i pick ailill? YEAH WHY. I DON'T FUCKING KNOW MAN. to be honest i just wanted to have a fate oc. that's literally all i wanted. i love celtic mythology to the brim so it's kind of like... expected that i'd bring someone out. originally i was gonna go with persian mythology! i already have an fc in mind and that was gonna be vergil from devil may cry. i’m still planning on doing him but probably not for now! i’m too jammed honestly but yep. during that time, i was contemplating on aife, conall cernach, ferdiad and conchobar mac nessa. ailill wasn't even in the list. AT ALL.

i have my reasons for not picking out the aforementioned characters. i've seen tons of aife before and seeing how people react to characters like scathach and how fgo happened to 'amplify' her as if it wasn't well deserved, i was already iffy on the thought of picking aife who's far stronger than scathach herself. conall cernach is awesome and a big nerd and also the one who's been there for cu chulainn and fergus mac roich a fucking lot but idk i got too... fazed? i don't see any cu's mentioning him at all. it's always been ferdiad even though dude did fucking nothing important besides getting himself killed with gae bolg. lame as that is, that's also the reason why i wanted to rp him. just to hurt the cu's. "look at me... i'm the bro you bolged."

and conchobar mac nessa.... boi where do i even fucking start???

THIS FUCKING ASSHOLE??? i love rping characters who are literally the wORS T but this time i felt meh at the thought because reading a lot into conchobar simply reminded me of gilgamesh a lot. in a way, i sympathize more with gil because with conchobar, there's no way to redeem him. that motherfucker can stay dead forever. my hatred for conchobar is also the reason why i paid attention to ailill mac mata. oh? someone who hates conchobar??? someone who waged war just to get that motherfucker's head? SIGN ME THE FUCK UP.

whether or not it's a coincidence that he's medb's husband mattered so little to me. i love medb though but i wanted to focus on the person who was said to be the only one who could calm down medb like??? how fucking special could he possibly be???? then indulging myself with more stuffs to read, he also helped me to have more insight on medb's character which only furthered my love like woah and also fueled my hate for fate grand order for like a hundred times more for ruining her character the same way they do with absolutely everyone. i love medb and ailill's relationship. they both know they're scarred and awful people but that didn't deter them for doing good things for their realm regardless of the means they thought of. even if it meant sacrificing their own happiness and feelings, and even their own blood, if it’s for the good of their kingdom and their people, then it’s a decision that they wouldn’t regret. it's tragic and just downright selfless. it hurts. i hate them. i don't want to talk about them anymore. i lost like twelve years of my lifespan.

before i arrived to the conclusion that i must use shokudaikiri mitsutada as a faceclaim for ailill, i actually stumbled upon too many choices tbh. it makes me cry though. koujaku from dmmd, tyki mikk from dgm, vincent phantomhive from kuroshitsuji and tyl!xanxus from khr. (fancy choices, i know) it was hard to pick. none of them could satisfy what i needed for an fc that i found in mitsutada. i was searching for an fc that emits a regal aura as well as a warrior's valour. the type that can fuck you up and enjoy it but can still be kind. so it fit. it's the same with colin' o donoghue. his expressions matched how i imagine ailill to be because sadly i cannot fucking draw. if i could, would have been fucking nice right

whenever i write for ailill, i always read a page of vladimir nabokov, f. scott fitzgerald, gillian flynn or george r.r martin's work before i do. then i listen to turning page by sleeping at last on loop because it's??? just so relaxing. it fits even when i'm writing fluff, angst, smut or just... dead ass anything. anyway i'm done rambling. i don't know what else i wanted to talk about??? so like... i guess you can ask me something whatever thank you for reading this go sh and again thank you so much for following me!! i know i’m a slowass writer who replies a decades late but i promise i will reply to you and i haven’t forgotten you even if i’ve already drank my ten cups of coffee