#alpha novel

[elizabethplaid]

The logo for the Alpha Novel app looks like a doubtful tanuki.

I suppose that fits with my reactions to the stories presented in these two ads. Seemed worth the giggle to share with tumblr

[thesteppinrazor]

The wait between chapters can be annoying but I'm enjoying this story. Consider using my link if you're interested in trying this app... I need all the points I can get.... Thanks!

[idrellegames]

Hi friends, 

New Episode 3 content is available to play on Wayfarer’s alpha build!

Overview

Part 3 Route 1 includes a new playable route. 

Because Episode 3 is still in development, not all routes are accessible at this time. To play the new content, you must have reached one of Aeran or Veyer's endings in Episode 2, then choose Path 1 when you reach Diradan Tower. 

80,000 words of content.

Story Features

This update picks up where the last Episode 3 update left off and includes:

A fight with some ivy

Creepy libraries

Sudden and unnecessary explosions

Weird things that go bump in the dark

Resolving a mystery with more mysteries

Elven eyesight

A new flashback sequence starring your favourite mentor

A huge thank you to my patrons for their unending support. Wayfarer would not be possible without you!

Episode 3 will remain a Patreon exclusive until Episode 4 is developed and released. You can play it by supporting me (Recruit tier and above) at patreon.com/idrellegames.

→ NOTE: Because Patreon charges on the 1st of the month, you may want to wait until May 1st to pledge so you aren't charged back-to-back. Additionally, the alpha password changes on the 1st of the month, so if you pledge for April and then de-pledge for May, you will lose alpha access when your benefits are up.

[infamous-if]

Hello! Yes, the time has come: the Infamous demo is out! First I want to say that the response has been so unreal and the fact that people are so excited for this makes me both happy and nervous haha but I’m glad people have become invested in the characters that I love dearly!

The demo includes:

✮ PROLOGUE ✮

Audition for BOTB and attend the after-party hosted by Misfit Alley…and try not to get in trouble in the process.

Meet some new (and familiar faces) and spend the night three different ways.

Maybe have that long awaited conversation with your ex friend/partner that wants nothing to do with you :)

The prologue can be a bit NSFW-ish, if you so choose, so be wary of that!

✮ CHAPTER ONE ✮

Find your new drummer to replace Jazzy.

Kick off the tour!

⚠️ NOTE ⚠️ As there is quite a bit of variation and coding, it’s very hard for me as a one woman show to find every single error (trust me, I tried.) so for that I will be kindly outsourcing you guys as my makeshift alpha testers, if that’s alright (ha!).

If there are any errors, typos, or any passages that feel like they are out of context due to the game not reading the coding, please please let me know so I can fix it! Ideally I’d like the demo to be 100% polished before the next update!

Also, stat pages like Characters and Band Codex will be created next update so ignore that haha!

Band and character playlists will be up soon and I will share an update on that!

Also I would like to credit @magiciansvoyage for the pronoun template adapted from @hpowellsmith ! It is amazing and I’m very thankful for your generosity!

here it finally is!

DEMO (ALPHA) (92K WORDS)

[alphachromeyayo]

Nearly finished Umineko When They Cry... phew, what a wild ride 🧙‍♀️

Here's a little taishōgoto version of some of my favourite music from it 🦋

If you dig this, maybe check me out on Bandcamp! 💖

[crimsonhydrangeavn]

In the omegaverse universe, who would be alpha, beta and omega?

Ohhh! I hadn't thought about this before, but it was kind of fun imagining them as each role. Honestly, I can see most of them being in all 3 roles. I did my best to narrow it down and pick the roles I felt best suited them, but I think it's pretty flexible depending on what angle you're going for.

Garret - A pretty stereotypical Alpha.

Marcelo - Tries (and fails) to act like a Beta but is actually an Alpha.

Camilla - Is a loud and proud Omega who doesn't take most Alpha's bullshit.

Rita - Probably the only Beta of the bunch. That being said, she's entirely focused on making sure you get what you need, when you need it.

Teagan - Acts like an Alpha but is actually an Omega.

[miyamiwu]

Miya’s Alpha Reading Service

Hello, hello! After months on break, I am finally reopening my fiction service, but this time, just the alpha reading one and none of the more rigorous book editing.

I used to host my service on Fiverr, where I offered three levels of review and editing. It was fine and all, but the 20% fee that Fiverr would take, plus the occasional rude messages from buyers trying to lower my already very low prices, made me put the service on-hold and rethink how I go about it.

This time, I’ll be hosting my service on Ko-fi Commissions, where the fees are lower. I also decided to make the listing much simpler:

I will alpha read any story, with a maximum of 2k words, for only $5.

Since I’m just starting out, the price is quite low. I may increase that price in the future or lower the word count limit, but for now, take advantage that it’s only $5!

I also offer a Reader Report add-on at only $3. The Reader Report is a separate document, of at least one page, where I summarize the strengths and weaknesses of your story. This will come in a PDF.

I will be working on your story in Zoho Writer because I find their review features a lot more stable than in MS Word. I can also work in Google Docs, but only upon request (more info under the cut).

You can find the full terms and conditions of this service on my blog page:

https://miyamiwu.tumblr.com/alpha-reading-terms

If you’re on the mobile app and the link above doesn’t work, please copy and paste the link in your browser instead.

If you have any questions, feel free to ask! You can also email me at miyamiwu@proton.me

Update: I just a made a page for this on my blog. Same info as above but with a little more. Check it out here:

https://miyamiwu.tumblr.com/alpha-reading

If working in GDocs:

Indicate in the Ko-fi form that you want the work to be in GDocs.

You will still have to upload a DOC/ DOCX file in the Ko-fi form. I’m not gonna work on the same GDocs file you own.

I will convert the DOC / DOCX file into a GDocs file that I own.

When I’m done, I’ll transfer ownership of the GDocs file to you.

After confirming that you can access the file, I will forfeit my access to the document. I won’t entertain any follow-up questions in the comments.

You also acknowledge that by working in GDocs, the final output you receive is only the Google Docs file. No more DOCX and PDF.

[thejakeformerlyknownasprince]

Errors, “Errors,” and Animorphs

So in a different post I ranted about how a tiny non-distracting unfixable difference between two shirts is not an error in Jurassic Park.  IMHO, a continuity gap is only an error if:

It draws attention to itself and distracts the audience

It could’ve been fixed pretty easily in-story

It makes character, plot, or setting nonsensical

Animorphs has continuity gaps of its own.  And I have opinions about what we readers do and do not count as “error.”  First, an example that’s clearly an error:

I wondered if Tobias had heard my thought. I concentrated. Tobias, can     you hear me?

«Yeah,» he said, «I hear you.»

“Did you hear my thoughts before that?” I asked.

«No, I don’t think it works that way.  You have to think at me for me to     hear.»

—#1: The Invasion

Tobias briefly hearing Jake thought-speak in #1 breaks the rules of the setting; several other books (#2, #23, #31, #33, #46) clearly state that it’s impossible to thought-speak if one is human and not in morph.  It’s an easy fix; the re-releases and audiobooks delete this moment, and the graphic novel makes Tobias unable to hear Jake.  It distracts the audience; I’ve gotten 5 or 6 separate asks over the years of people going “I was rereading #1, and the weirdest thing...” It’s an error.  I can’t say what happened behind the scenes — K.A. Applegate toyed with a thread that was later dropped, or decided to introduce a limitation for plot fuel at a later time.  But it’s an error.

Second, an example that I don’t think counts as an error:

I returned to my life, feeling strange and out of place. That night Jake came over. We went outside.

"I tried morphing the Tyrannosaurus," he said. "Nothing. Didn't work."

"You could ask Ax. He may know why."

Jake laughed. "Yeah, but even if he explains it, I still won't understand it."

—MM2: In the Time of the Dinosaurs [Cassie’s narration]

The kids not being able to morph dinosaurs outside of the Cretaceous Era makes a lot of sense in context.  The whole book series would fundamentally change if they could use T. rex — that would become heavily a favored morph for many of them.  It kicks off all kinds of plot questions that demand answers: Where do the controllers think the “andalite bandits” got dino DNA? What anti-dinosaur measures would they be forced to adopt? Would the Animorphs’ whole strategy change around having those morphs? How would Rachel feel about everyone but Tobias suddenly having a much stronger morph than her? Would they even bother with contemporary animal morphs afterward?

If the kids are morphing dinosaurs all the time after ~#18, then the series loses a lot of its uniqueness.  Applegate has said that most of the inspiration for the series was about trying to help kids understand what it would really be like to be inside an animal mind, with as many animals as possible.  That’s part of why so many of the plots hinge on giving the Animorphs an excuse to learn a new morph (e.g. #4, #17, #27, #47, #52) so that we can experience the coolness right along with them.  That’s why the war is explicitly about fighting for Earth, nonhumans and all (#7, #23, #53).  If it’s not a menagerie of six different critters — including one immigrant from space — rolling up to battle, then it’s not Animorphs. No, it makes no dang sense that sario rip morphs stop working once the rip gets unripped.  But the series acknowledges it, and it allows us both to have a unique animal-based story (dinosaurs! Heckin dinosaurs!) without ruining its own premise.

Third, one that I find fascinating because it’s kind of right on the margin:

"What I don't get is why I have to be a girl wolf," Marco grumbled.

"We had one male and one female," Cassie explained for the tenth time. "If two of us morphed into the male, we'd have two males. Two male wolves might decide they had to fight for dominance."

"I could control it," Marco said.

"Marco, you and Jake already fight for dominance, and you're just ordinary guys," Rachel pointed out.

—#3: The Encounter

Later, Tobias’s narration uses the word “alpha” to describe Jake’s morphed behavior — howling and peeing to mark territory, challenging another wolf pack to protect his own.

There is scientific consensus right now, as of the 2020s, that the term “alpha” is an inaccurate descriptor of pack-lead behavior, and that dominance fights between adult males are almost nonexistent.  That although wolves usually run in a phalanx-like shape with one middle-aged male and female at the point, this isn’t the result of dominance fights but rather an effort to have the physically strongest wolves absorb blows from rogue prey animals or rival predators.  That the dominance fights observed in captive wolves in the 1970s were the result of an ecology error, putting wolves from rival packs into single enclosures.  Fox (1972, 1973) gave a reasonably accurate description of how wolves behave if you put a bunch of adult strangers in a zoo together: the young adult males fight, the winner of that fight wins first access to food, and the mate of the winner gets the most resources for her puppies.

However, time rolls forward, and advances like hidden cameras (and the resurgence of wild wolf populations) allow us to watch wolves without needing to capture them first.  Mech (1999) follows some such wolves around, and quickly realizes that dominance and submission aren’t nearly as important among wolves who chose to make a pack.  Stahler et al. (2002) figure out a better way to introduce stranger wolves in captivity, and get full cooperation among young adult males.  Nowadays drones and radio collars get 1000s of times the wolf data Fox had to work with, and reveal intense cooperation with little more than play-fighting among puppies.

The Encounter comes out 1997.  Mech publishes the first big takedown of the alpha concept 1999.

Did an error occur anywhere in this process?

No, in that Applegate presumably doesn’t own a Time Matrix and published a book based on the scientific consensus at the time about how wolf social dynamics worked.

Yes, in that the error is pretty distracting — I get drawn up short by it every time I reread #3, and I know others have too.

No, in that the error was corrected in the graphic novel adaptation.

Yes, in that the error is still present in the audiobook, and Michael Crouch delivers the moment about Jake being backed into a dominance fight with all of Tobias’s exasperated humor.

No, in that the error allows for some character moments, both silly (Jake peeing on trees) and sweet (Jake being ready to take on an entire rival pack alone, over a rabbit he doesn’t want).

Yes, in that the error takes away from one of the series’ most fundamental purposes, to educate kids about animals.

Anyway, books are great, science is imperfect, and I think the more we all engage with amateur criticism the more we’re all going to learn about what counts as an error in fiction writing with inspiration in scientific reality.

[writergeekrhw]

HOW TO KILL A CHARACTER

(A Writing Spew)

I'm trying to archive some of my old Twitter writing spews on Tumblr. You know, because of things. So here's a rather big one. HOW TO KILL A CHARACTER.

/BeginSpew

Okay, you’re a writer. You’ve got a mess of characters. You want to move your audience. So, it’s time to take out the old writer’s ax and chop chop chop! But how do you do it with maximum impact without your audience turning against you forever?

Pull up a chair and Uncle Robert will explain it to you!

(Warning, there may be spoilers ahead for stuff that if you haven't seen it by now it's your own damn fault.)

Luckily, there are a lot of reliable tricks to kill that character. Any of them can work for both #TVWriting and #Novels. Some of them can backfire. Here are some proven approaches…

Death #1: The Intro Death!

Want to set the stakes for your world? Introduce a character or characters and fool the audience into thinking they will be a big part of the story. Then… CHOP! OMG THEY’RE DEAD! SHIT JUST GOT REAL! AKA the Hello-Die.

The Hello-Die pretty much always works because the audience hasn’t had time to really get invested, but they’re invested enough to feel the sudden shock.

Examples: Psycho. Buffy (S1E1). GOT Teaser. #DS9 pilot. Hill Street Blues (averted).

The Hello-Die is often used by shows to shake up your expectations in what has usually been a fairly safe genre. And yes, I did this in #Andromeda. You think this is a nice safe Fantasy/SpaceOpera/CopShow/FamilyDrama? NOPE! Hello-Die! Watch out for exploding Helmsbugs.

Death #2: The Mentor Death

Your character learns cool stuff from the smart old person. Then the smart old person dies! OMG! “But I had so much more to learn!” “True, but don’t you see? This was the real lesson.” AKA The Obi-wan.

The Mentor Death is pretty safe too. We all know the old people we learn from are going to kick it soon, right? But that’s okay, because WE GOT THIS! Circle of Life, ya’ll!

Examples: Star Wars. Star Wars again. Star Wars that other time too. Harry Potter.

Death #3: The Hero’s First Kill.

Your hero lives in a violent world, but they’re a good person. They don’t want to be a killer. Alas, the world needs them to kill. And you want to portray how that impacts your hero. And so that minor villain must die!

The HFK can be tricky. For best results, the victim should need killin’. Because you want the audience to still like your hero. Plus it’s your hero’s first kill, so you need to overcome their reluctance. Or maybe it’s an accident? (OR IS IT?)

Either way, now your hero is transformed and all it took was offing a minor character. WARNING: Often involves hero puke!

An excellent example of the HFK is the Stable Boy in GoT. Arya asked him to let her go. He wouldn’t. She insisted. He said the Queen would pay her handsomely for her. She lashes out with Needle and… OOOPS! Or was it an oops? Well now he’s dead & Arya’s on her way.

Death #4: The Villain’s First Kill

The opposite of the HFK. The villain is bad, but he hasn’t killed… yet. Then he takes his first victim (usually someone either plucky or gross) and he just can’t help himself! Afterward, unlike the hero, the villain feels good.

He’s got a taste for this now. It’s going to happen again. Cue dramatic (or ironic) music!

The VFK can also sometimes be the Intro Death. Maybe it’s not the villain’s 1st kill, but it’s the first we see. Either way, the VFK is relatively safe, though there's a risk that if the victim is too likable, the audience won’t just hate the villain, they’ll hate the author.

Which is why the VFK is often someone gross or “disposable” or even theoretically somewhat deserving. In American Psycho, the first kill is a homeless man, the second is a Wall Street asshole.

Another VFK example: In the Bone Collector, the first death is a man no one cares about, and he dies off-screen, but the next is a plucky woman who dies horribly onscreen. The story eases you into it.

Still, the VFK is fairly safe. It needs to be just bad enough to shock, but no so awful that you completely lose the audience. You can get awful later once you've built up good will.

Now come some of the tougher deaths to pull off, starting with...

Death #5: The Season One/Book One Death

An important character dies relatively early in your tale. This is usually done because you want to drive home the stakes even more. Also the death launches/twists the story. AKA The Boromir AKA The Ned AKA The Sean Bean.

The Sean Bean is tricky because you’ve spent a fair amount of time getting the audience invested. You may have even tricked them into thinking the Sean Bean is a major hero. The more invested they are in TSB, the higher the risk you might lose your audience.

To minimize audience hate, make sure they understand it’s kind of Sean Bean’s fault. Or a noble sacrifice. Or if the character is minor enough (Hi Tasha Yar) it's a way to show the random awfulness of the universe. The important part is your real heroes will learn from this.

There will be crying and anger and thirst for revenge (or Data will struggle to understand death and we’ll all love him for it.)

The Purpose of the Ceremony - YouTube

Now part of why the Sean Bean works is its earliness. The later in a story a character is killed, the more their death needs to have meaning. You can kill Tasha randomly in Season One but you would never do that in Season Six.

In Season Six, if a regular dies, it better not be random or the audience will feel angry and… Oh. Yeah. Her. I wasn’t on staff then. IT’S NOT MY FAULT!

Anyway, the later you get, the more meaning a death needs to have, ideally.

Now we’re getting into the Big Earned Deaths. So let’s talk about them.

Death #6: The Big Bad Death

This is pretty easy, honestly. The easiest. The audience has been waiting for this bastard to die for years! They will cheer. Even if you’ve run this asshole through the Face/Heel Revolving Door a few times (Hi Gul Dukat), by now, they’re past redemption.

The Big Bad needs killing. KILLING THEM IS KINDA THE POINT. Go for it. Make it as horrific and painful as you’d like. Make them fall a LOOOOOOONG way before they hit something. Make them bounce a bit. The audience will love you for it.

Death #7: The Sacrificial Hero Death

Solid option. You might want to foreshadow the heck out of this. Maybe even near-death your hero a few times. But still, the audience usually gets this one. After all, messiahs die. It is known.

There will be tears, but we all know sometimes the only way to save the world is to die. If the good done by the hero’s death outweighs the sadness the audience feels, this can even be uplifting. Bittersweet chocolate is the best, right?

The SHD is a perfect way to kill a beloved character late in a novel or show. They died for our sins! If not for them, we’d be toast. Very satisfying when done correctly. I mean, there are entire religions based on this. Do it right and it packs an immortal punch.

Death #8: The Shakespearean Tragedy

Your hero isn’t really a hero. They might’ve started that way and/or had good intentions, but they’ve slippery-sloped themselves into full blown villainy… and they know it.

They’ve had their moment of tragic awareness. They realize theirs is a tale told by an idiot. Time to go out in the blaze of glory/late heel-face-turn sacrifice/by their own hand. My kingdom for a horse! Lay on Macduff! Good night sweet prince!

The classic ST is incredibly satisfying for the audience. They’ve enjoyed watching a good person descend into villainy, living vicariously through his/her badassery. They felt bad when the badassery turned to madness. SO MUCH METH!

Now the villain realizes how wrong it all was, and how flawed they are, they deliver a final moral lesson, then CHOP! And... cue Baby Blue, maybe some passing prince gives speech... then... curtain.

Death #9: The Final Wrong

Remember how bad that bad guy is? Gee, when’s the last time they were really, really bad? Time for them to shockingly kill a beloved character right before the final confrontation with the hero! I know you traveled a long way to help, but die Scatman Crothers!

Now there’s no going back. Now the villain can’t be redeemed. They must die. Cue the final chapter/episode/season/third act.

This one is risky as hell and maybe don't kill one of your few/only female POC protagonists this way but hey, you be you.

Death #10: The Sidekick Sacrifice.

Your hero can’t just win clean, right? That’s boring. There has to be a cost. And sometimes that cost is Robin’s life. Often this is a minor heroic sacrifice in its own right, but by someone other than the hero.

The sidekick takes the bullet, goes into the warp core, etc. Can be combined with the Final Wrong. Either way, "I have been... and always shall be... your friend." Cue tears.

Death #11: The War is Hell

A variation on the Sidekick Sacrifice. Beloved character dies randomly in a final great battle because War is Hell.

Sometimes the WiH is just A Bad Break. The bullet came from nowhere. WTF?!? Sometimes this happens in the Fog of War. No one saw it. The hero finds the body afterwards and feels the cost of victory. It’s high, man. So very high.

And yes, I used this one in #TheGoblinCrown. War is Hell even in YA fantasy novels.

Death #13: I Couldn’t Save Her

The riskiest variation on the late character death. The kid your hero has been protecting all along dies. The hero tries to save her/him but fails. Generally, only done in the Darkest Timelines. Or at the start of Alien 3. Fuck Alien 3.

The ICSH tells your audience this is not a hero’s story. This is a brutal examination of the inherent unfairness of life. Surprise!

WORDS OF CAUTION!

WARNING: Beloved Characrer Deaths often do not go over well. Use with caution.

The Final Wrong, the Sidekick Sacrifice, the War is Hell, and the I Couldn’t Save Her/Him are all somewhat risky. Sometimes you kill the very character that the audience most cares about. You know, like Glen. Or Lexa. OMG Lexa!? You can lose big chunks of your audience this way.

Still all four can be effective ways of turning on the feels late in a story. If you use them, make sure they either feel super well-earned or that they fit your theme so well that the audience will accept it.

But be careful. The biggest danger here is when the audience doesn’t realize you’re going to go this bleak and then you do and they feel betrayed. Can be a deal-breaker.

The more innocent the victim, the more horribly they die, and the more pointless the death, the bigger the risk you run of turning off your audience completely. And if it's an underrepresented character that a percentage of your audience deeply identifies with? Oh boy. Run.

Death #14: The Glorious Last Stand

This character was a prick all along, really. No one liked them. But when the chips were down, when our backs were against the wall, the they pulled the pin in their grenade and blew up a crapton of Aliens. Hurray!

The GLS can be supercool. The GLSer wasn’t the hero or the villain. Somewhere in the middle really. But we admire the way they went out. Their death redeemed them. If done right, audience will cheer for their bravery, finally loving them just as they die.

Death #15: The Everybody Dies

Rare. Tricky. Deeply powerful when done right. The time for characters like these is done. Their world is over. Their final great sacrifice, or noble last stand, or tragic Bolivian gunfight was inevitable. But oh how brightly they burned in the end.

Look at how badass they were. Look how bravely they faced death. And remember what it meant! Perhaps we would not be alive today if not for their transformative deaths. We will never forget them. Also their death may spur us all on to victory/change/redemption.

Or maybe the Western is just over. We're gonna miss you, Butch and Sundance! Cue montage!

Death #16 (but not really): Apotheosis

Your character dies technically, but really they become one with the Prophets, God of Light, Force. AKA The Sisko. You can only really pull this off in genre or stuff that pretends not to be genre but really is. Modern variation: Uploaded into the A.I.

Apotheosis can work extremely well if done right. Star Wars does it a lot and it works pretty much every time. You get the OOMF of killing a major character, but you reassure the audience that "They will always be with us."

If handled poorly, it can feel like a huge cheat, but when done well, can be a very satisfying way to kill off your awesome main character at the end of a long series without totally pissing off your audience. Like I said... The Sisko.

FINAL WORDS!

There are lots more ways to kill characters, of course. Including the bad ways to kill.

The It Was Supposed to be a Cliffhanger &Then We Got Cancelled and Now They’re All Dead I Guess.

The That Actor Was a Prick So We Offed His Character and Didn’t Care How We Did It.

The Oh, I Realized I Didn’t Need That Character So Gave Them a Perfunctory Death.

But I think I’ve covered the major and better ways to handle offing a character.

So yeah. Sometimes characters need killing. Just remember, you need to make their deaths satisfying in terms of plot, character, and/or theme or you risk losing your audience.

There are no small deaths. Every character is some off-screen mother’s child. Make it count. Make it matter. Make it worth the pages/screen time.

But think about your favorite movies/books/tv show. I bet they all had memorable deaths. I bet you cried. ADMIT IT, YOU CRIED! Look, I cried when Mike died in The Moon is a Harsh Mistress. I CRY EVERY TIME I READ IT.

(Mike = War is Hell/Sidekick Sacrifice/Fog of War)

Character Death is one of the most powerful tools in a writer's arsenal. Like all powerful tools, it should be used sparingly, thoughtfully, and for maximum impact. Give them the deaths they deserve!

And with that, I officially pronounce this spew dead. But don't feel bad. This spew will always be with us.

/endspew.

[bardicious]

In my random thoughts of Jim today, I looked up memory alpha to see how old Jim was when he was in Tarsus (13! Baby!) and it said,

"By 2246, he was living on Tarsus IV, as his father George moved there. During his time on Tarsus IV, the planet was undergoing a food crisis that was starving the colony, which consisted of eight thousand people."

Which I found strange. 1. Cause I don't remember seeing this there before. 2. My impression was Jim was alone on Tarsus, don't know why or how - maybe visiting someone, but alone. Specifically because the implication is Jim and his rag tag team of child survivors had to have survived together, and Kodos would have needed some time to run and set up a fake dead body. Though the ships no doubt came very soon after the colonists were killed.

I guess I could see George Sr. dying there, but I doubt Sam or Winona (as apparently some Discovery novel said) were there. Because, again? Why would Jim go to the gathering that killed 4000 colonists alone? Seems like something his parents would be wary about given the circumstances. So Jim and George could have gone together, and George may have died saving his son, but... Im not sure I got the impression George was dead yet in SNW. It seemed as if Sam was specifically upset that Jim was following in their father's footsteps and doing insanely well. Which, I suppose, he could have been upset in memory of his father, rather than worried about his father's opinions as an adult.

Additionally, I think Sam would be more proud of his given name (George) if his father was already dead and died honorably, and not try to distance himself from the namesake like he has.

Honestly, I don't know where this information of George Sr. being there is from and it's starting to sound like beta canon to me. 🤔(If someone has any info on this, I would appreciate a reply!! Thank you!)

[tarowrites]

✾Beta Readers Wanted!✾

What I'm looking for: ✾Polite, friendly readers who can give me their honest opinion on my stories. ✾ Readers who can let me know if there are any inconsistencies within the story, such as plot holes ect. ✾ Readers who are familiar with the Fantasy, Horror, and Romance genre. What are my stories about? The Hollows: [Beauty and The Beast, Snow White & Vasilisa The Beautiful elements] Cecilia lives in an era of beauty and decorum...yet this world is cold and distant, with nothing but her mother's jealousy and abuse for company. Cecilia only wishes to survive-but the forest beyond Lockwood Estate is whispering...and soon she'll find herself spirited away from her mother's jealousy and wrath, encountering a long-forgotten world that is ancient, wild & unforgiving. Where the comforting monotony of Regency decorum is unheard of. For In the Hollows...Beasts roam...cottages have chicken legs...and the Unseelie run free... Crowned of The Wildes: [Beauty and The Beast elements] Deep beneath the earth, where the soil and roots are warm, lives Adele the hearth spirit (brownie). Like so many before her, she grew up in the Land of The Midsts, working hard as a servant for the Seelie Court.

But when she accidentally witnesses the royal family's assassination, does she know the truth. The Unseelie Court now has the crown, and they intend to rule and dominate all life. Obeying the High King's last wish, she flees into The Wildes to warn the neighboring kingdoms. But will they believe a little hearth spirit or will they bow down to the crowned of the wildes? Genre: The Hollows- Horror/Fantasy/Romance/Historical Crowned of The Wildes- Horror/ High Fantasy/Romance/Historical Content Warnings: The Hollows- [ Abuse/Attempted Rape/Violence & Gore ]

Crowned of The Wildes- [ Violence & Gore ]

Rated: The Hollows- M

Crowned of The Wildes- M Vibes & Aesthetics:

The Hollows- Black Coffee, Roasted Apples, Sunrises, Tarot Cards, Fire Burn & Cauldron Bubble, Autumn, Cinnamon Sugar,80's Fantasy. Crowned of The Wildes- Chai Latte, Moss, Scent of Rain, Stormy Nights, Wet Earth, Baked Bread, Bonfires, 80's Fantasy.

**If interested, please message me here or join my discord server(must be +18) down below👇 🐛BOOKWORM CAFE🐛

[idrellegames]

As of May 26, 2023, brand-new Episode III content is available to play on Wayfarer’s alpha build.

✦ Overview

Part 1 includes 5 playable routes based on your Episode II ending. They are: Aeran’s romance reconciliation, Aeran’s friendship reconciliation, breaking off your MC’s friendship or romance with Aeran at the apartment, Aeran’s low romance (if you do not go to Melchior’s party), and Sleeping with Veyer.

Other routes, such as Melchior's and Kit’s endings, as well as the drunk route are under construction and not available at this time.

370,000 words of cumulative content

An average playthrough is 21,000 words

✦ Story Features

Episode III picks up the morning following Episode II and includes:

The aftermath of the big fight!

A mission going ahead, whether you like it or not

Boat rides

Promises made (or not made) to a questionable person

Reckless and unchecked behaviour

Obliterate your relationships (or try to save them)

A special object of great personal importance

Consequences for your actions and dialogue options

Always remember: you can always make things worse. Whether this is a good thing or not is up to you.

A huge thank you to my patrons for supporting me over the past year while I developed this next section of the game. I hope you all enjoy it.

Episode III will remain a Patreon exclusive until Episode IV is developed and released. You can play it by supporting me at any tier through on my Patreon at patreon.com/idrellegames.

Wayfarer’s next public build patch will release next Monday on May 29, 2023. Patch 2.6. will fix a number of ongoing bugs and issues.

All players must start their playthroughs fresh with a new save once the patch releases, otherwise they will encounter continuity and approval errors.

To fully test Episode III’s new material, I am expanding Wayfarer’s playtester team. If playtesting is of interest to you, please check out the information below.

✦ What Does Playtesting Entail?

Playtesters play the alpha build in search of bugs, continuity errors, and typos. They are essentially an extra set of eyes on the game for new content. They get updates and patches before anyone else does.

Because Wayfarer’s gameplay includes hundreds of choices and many, many variations that build on each other, playing multiple times and checking out different options is essential for testing to make sure each area of the game functions as intended.

✦ Details

You must be 18+.

Playtesting is a volunteer position.

You will be credited in-game as a playtester (this is opt-in).

You must have an active Discord account.

All communication with the playtesting team is done through a private playtester Discord server. You must be willing to be active in that part of the server and submit your bug reports through the designated channels. I do not accept playtester bug reports through any other method.

Playtesting is not free access to alpha content. If you are not active and do not contribute to bug reporting, you will be removed from the playtester role.

You must keep the playtester build link and password private. As a playtester, you are trusted not to share the alpha build’s content. Breaching these terms will terminate your role as a playester and you will be banned from all of Wayfarer's platforms and social media.

If at any point you are no longer interested or do not have the time to be involved, you can opt out, no questions asked!

You must be available to playtest throughout the summer as I develop the next stage of Episode III.

✦ Application Form

Your answers on the application form are kept strictly confidential.

The form is open until June 9, 2023. I will contact chosen playtesters via email by June 11, 2023.

To apply, see the application link below:

[franticvampirereads]

June has been interesting, I’ve read some great books and some just okay ones and I had a DNF. So it’s been a bit of a grab bag this month, but that’s okay! Here’s what I read:

Prince’s Gambit 5⭐️ {review}

Three Meant To Be 4⭐️ {review}

Fence: Rise 4⭐️ {review}

For The Fans-DNF @ page 30 {vague reasoning why}

The Alpha’s Son 3.25⭐️ (changed rating) {review}

Lore Olympus vol 1 5 ⭐️ {review}

Washed Up With A Kraken 3.5 ⭐️ {review}

That Time I Got Drunk And Saved A Demon -currently reading

On The Run -currently reading

My favorite books this month were Prince’s Gambit and Lore Olympus. Both were so good that I just couldn’t put them down.

[gardenofchrome]

👀👀

[professional-jaywalker]

This just in : local stinky bird convinced to use perfume as a weird gender affirming thing known only by a small niche internet community