#assuming editing goes smoothly

[tragicclownwrites]

IMPORTANT UPDATE...

[dawnagustd]

the naughty sheriff || kth

The queen has made her list and checked it twice. She’s visiting those who have been naughty, and punishing them in ways that are oh so nice.

- Part of the Unholy Night Series.

➻ title: the naughty sheriff ➻ pairing: sheriff deputy!taehyung x f!reader  ➻ genre: fantasy | holiday | magic | smut  ➻ word count: 1.7k  ➻ rating: 18+    ➻ warnings: unprotected sex | creampie | breath play | taehyung has a massive cock | degradation | dom!taehyung | sub!reader | consensual gun play (graphic) | restraints(hand cuffs) | hair pulling | doggystyle | car sex | rough sex | intense orgasm | Sir kink | cervix touching | spanking | power play dynamics | oral sex with an object | abuse of power | spit play | manhandling | mentions infidelity | mentions theft and crime | more cameo from the boys | the ending is a cliff ➻ author’s note: Please read the warnings carefully for this one guys !! And y’all please don’t judge me. I haven’t opened this doc since 2021 lol. It’s unedited but I will edit it later. If you’re following the little bit of story hidden in this filth, you will need to read the epilogue to understand the ending and the point of all this.

“Get moving.”

“Yes, Sir,” you sing.

The two of you march to his car, and that’s when the sheriff turns your body towards him.

“I want you gone, understand?”

“I will leave,” you giggle. “Once I’m done.”

“Well,” Taehyung tsks. “You can’t leave without saying goodbye, can you?”

You shake your head in denial.

You assumed that you two had a nonverbal agreement. You’ll look the other way if he did the same. He’s been in every window you’ve bypassed, kissing some rich housewife under the mistletoe while their husband slept peacefully.

What they don’t know is that they're just a part of his twisted game. While his lovers are busy cutting him a slice of something sweet, he’s robbing them of anything that sparkles. The expensive jewelry their husbands have bought goes into his pocket and is never seen again.

On Christmas morning, he’ll smirk knowing they won’t be able to say a word about who may have taken it to their husbands. Those same men will pay him big money to arrest the thief, and he will arrest a thief. Just not the one responsible for the actual crime.

“I guess I can’t, but um… Weren’t you busy just now?” 

You recall his security patrol of the hospital earlier and wonder if he’s still on duty.

“I already snatched what I came here for,” he says with a wink. Taehyung guides you closer to his vehicle. He stops walking once your back hits the ice-covered glass. “Now, what should I do with you?”

Your smile grows. 

“Anything you’d like, Sir.”

“Damn. Any requests?” he asks.

You look over your shoulder at his car and nod your head.

“Throw me on your backseat and fuck me like you’ve had a bad day.”

And the sheriff does not decline. He opens his door and shoves you inside, still bound in his cuffs. Your back hits the cold interior with a thud. You try to spread your legs, but Taehyung has other plans. He flips you over on your stomach and raises your hips in the air.

“I’ve been watching this ass sway through my town all night, and you didn’t think I’d want a piece?” he growls, tearing your flimsy clothing off.

You hear him fidgeting with his belt until he’s able to pull his pants down to his thighs. Your wiggle to give him an eyeful while he aligns his dick with your opening, but he slaps your ass and tells you to stay still.

“I’m in charge,” he informs. As if that’ll do him any good.

Your wetness allows Taehyung to enter smoothly, and his deep voice moans once he’s buried inside. He grabs your waist and starts pulling you back on his dick. Each time he thrusts into your guts, the breath leaves your body. You don’t have to see him to know his cock is monstrous. 

Your hands want to reach above you to stop your head from banging into the door, but they’re secured behind your back. The pressure building inside of you distracts you from the discomfort, so the banging is forgotten about rather quickly.

“Sir, this feels so good.”

Your words are muffled as a result of being face down, but Taehyung understands clearly. His palm slaps your ass again and your pussy squeezes around him in response.

“Say thank you, whore,” he commands. “Tell me how much you appreciate my services.”

His laughter fills the vehicle and gives you a sea of goosebumps. Its volume penetrates the seating and sends vibrations through your body.

“Fuck! Thank you, Sir!”

But your response isn’t good enough for the sheriff. He grabs you by the hair and snatches you up before leaning over to whisper in your ear.

“You’re gonna have to do better than that,” he grunts. “You’re sounding like an ungrateful ass whore, right now.”

“Sheriff! Thank you for giving me your cock,” you sob. “I’m not worthy.”

“Goddamn right, you aren’t.” He pulls out his pistol, and the sound of it clicking only adds to your adrenaline. “Tell me where you think I should put this.”

He twists your head to look you in the eyes, but the only thing you can focus on is what’s in his right hand.

“In my mouth, Sir.” Taehyung hesitates, and you grow impatient. “Please.”

“Say less,” he answers. You open your mouth, and Taehyung doesn’t wait any longer. You don’t realize how heavy it is until it’s resting on your tongue. “It’s not loaded, okay.”

Not that it would matter in your case. You can swallow bullets and shit them out, but you appreciate the courtesy. You thank him the best you can with a mouth full of steel but it only results in you getting your saliva all over the muzzle.

“Fuck.”

Taehyung doesn’t miss it either. His cock twitches inside of you when he observes the way your lips wrap around his gun, just like…

“I bet you can suck the hell out of a cock,” he comments.

“Mhm.”

So you prove it. While Taehyung thrusts into your pussy, you treat his gun like it’s just another dick and proceed to give it some head as his owner watches in awe.

You’re careful with your teeth, and you make every noise you’re capable of making to mimic the sound of some sloppy cock sucking. You take in more and more until your chin touches the trigger guard. You then pull off of it, leaving a slick sheen behind from where your mouth coated the metal.

“Shit!” Taehyung’s mind could not handle an image so lewd while he’s balls deep in pussy. He sets his weapon on the floor and brings his hand around your throat instead. “...Gonna make us come so hard.”

And he doesn’t break his promise. He squeezes your neck until no air can slip through. He wraps his other arm around your body and uses his hand to give your throbbing clit some attention. 

The feeling hits you all at once. The pressure finally comes to a head and sends you soaring. You feel as high as the clouds, floating unsure of when you’re coming down. You want to scream, but it’s impossible to do so with the lack of air.

At some point, Taehyung spills his cum deep into your womb, but your body isn’t aware of it in its state. A minute goes by before Taehyung relaxes his grip and slowly grants you air. 

Your body falls forward, and then you feel the sheriff uncuffing your wrists one by one. You sigh once you’re able to move your limbs.

“Take a minute if you need to,” Taehyung says after you’ve both steadied your breathing. 

But you don’t have a minute, and neither does he.

“You should drive.” Your face is buried in your forearm, trying to hold your giggles.

“What?”

You reposition yourself to a sitting position so the sheriff can hear you clearly.

“I said you should start driving,” you repeat. “You said you’d take me home.”

“Not exactly,” he reiterates. 

You look at him with a brow raised. “I see.”

“I said I’d take you out of town. How you get home is none of my concern.”

You nod your head. You expected this, and you were anticipating it. 

“Well, I'll see you soon I guess.”

Taehyung scoffs. “Better not.”

“We’ll see,” you mutter.

You step out of the car dressed in attire a little bit more presentable for the occasion. It’s morning and the Heauxville residents gather around, waiting patiently for answers. And you shall provide.

“I know everyone is hurting right now. I could not imagine waking up on Christmas morning with nothing under the tree. But I’ve captured the culprit and interrogated him thoroughly. Unfortunately, the criminal is one you’ve all trusted.”

Just as you’re concluding your speech, Taehyung appears. He’s confused, but not for long.

“Wait a minute! Don’t listen to her,” he demands.

Unfortunately for him, no one wants to obey the orders of a crooked deputy.

“As I was saying… I know nothing will replace the joyous feeling of waking up to a home filled with goodies from the big guy, but I have sent a member of my staff to the residence of each and every one of you to replace everything you’ve lost. They’ll be waiting for you when you arrive,” you inform.

The crowd cheers, and two other deputies come to detain the ego-bruised sheriff. Once your job is done, they part ways and allow you to depart. The queen has saved the day yet again.

You never stay for the glory or the praise. The satisfaction comes from knowing that karma did its job. There’s no need to thank you.

“Hey!”

You hear a familiar voice call out to you once you’re nearly out of the thick crowd. Everyone grows silent, and your frantic baker appears, and he brought some friends.

“Can I help you?” you ask.

“So you’re just leaving?... We need to talk.”

You cackle. “No, love. We don’t.”

“But that’s bullshit. You can’t just fuck with people’s emotions like that,” Jungkook argues, stepping in front of him. 

The men surround you, but there’s nothing you can do. They made their own beds, now it’s time to lie in it.

“Jungkook, you’re absolutely right, and all of you should start taking that into consideration. Now, if you all will excuse me—”

“So it’s just fuck us, right?” the sheriff chimes in. “Regardless of how good we made you feel.”

“Or how we welcomed you,” Hoseok adds.

The next person to speak is the toymaker and he seems more disappointed than pissed.

“You shouldn’t have made promises you weren’t going to keep,” he tells you.

“Are you serious?” You can’t help but laugh at that. “Listen, I came here to give you a dose of your own medicine. Get over it.”

With that, you sashay away, but this group is persistent.

“What if we can’t?” Jimin shouts.

You turn around, clearly confused. As if on cue, the doctor breaks through the crowd.

“What if we can’t get over it?... Over you,” he explains. “What happens then?”

“What if I can’t get you out of my mind?” the sheriff speaks up.

You look at each of them and sigh. There is no room in your heart for anyone. Their emotions mean nothing to you. The sooner they realize that they’re the problem, the sooner they’ll realize you’re only here to cause pain. 

Until then…

[anonymousewrites]

Logos and Pathos (AOS Edition) Chapter Six

AOS! Spock x Empath! Reader

Chapter Six: Officers in Distress

Summary: Kirk goes too far and is jetted from the Enterprise, but the ship and its crew doesn't really have a good plan to stop Nero from destroying Celia.

            “Have you confirmed Nero’s trajectory?” asked Spock, entering the bridge with (Y/N).

            “Their trajectory suggests they’re headed towards…Celia, Captain,” said Uhura, glancing worriedly at (Y/N).

            They tensed and swallowed. If Nero was heading towards Celia…their home planet could be destroyed. They could lose everyone. (Y/N) couldn’t have that happen. They couldn’t let it happen.

            “Thank you, Lieutenant,” said Spock.

            He nearly reached out to (Y/N), but in front of others, he couldn’t. Still, he looked at them, and when they made eye-contact, he nodded—an indication that Spock was there to support (Y/N). He wouldn’t let another planet be destroyed by Nero. He wouldn’t let more lives be lost.

            “Are you alright, (Y/N)?” asked Uhura, standing to move to her friend’s side.

            “…I’m worried,” said (Y/N) honestly. “But if we’re going to stop him, we have to keep a clear head and plan.”

            “I’ll keep everyone in line,” said Uhura, nodding firmly. “I’ll make sure we’re running smoothly. I’ll do everything I can to help.”

            (Y/N) forced a smile and squeezed Uhura’s hand. “Thank you.”

            Uhura squeezed their hand in return.

            “Celia may be his next stop, but we have to assume every Federation planet’s a target,” said Kirk, lounging in the Captain’s chair.

            “Out of the chair,” said Spock coolly, and Kirk stood.

            “Well, if the Federation is a target, why didn’t they destroy us?” asked Chekov.

            “Why would they? Why waste weapons?” said Sulu sullenly. “We obviously weren’t a threat.”

            “That’s not it,” said Spock. “He said he wanted me to see something. The destruction of my home planet.”

            “And he wants me to see the same,” said (Y/N), furrowing their brow and curling their hand into a fist.

            “How the hell did they do that, by the way?” snapped Bones, frustrated and angry at how helpless they were. “Where did the Romulans get that knd of weaponry?”

            “The engineering comprehension necessary to artificially create a black hole may suggest an answer,” said Spock, holding onto any space for pure logic. “Such technology could theoretically be manipulated to create a tunnel through space-time.”

            “Dammit, man, I’m a doctor, not a physicist,” said Bones, crossing his arms. “Are you suggesting they’re from the future?!”

            “If you eliminate the impossible, whatever remains, however improbable, must be the truth,” said Spock.

            “How poetic,” muttered Bones.

            “Then, what would an angry, future Romulan want with Captain Pike?” asked Kirk.

            “As Captain, he does know details of Starfleet’s defenses,” said Sulu.

            “What we need to do is catch up to that ship,” said Kirk. “Disable it, take it over, and get Pike back.”

            “We are technologically outmatched in every way. A rescue attempt would be illogical,” said Spock.

            “Nero’s ship would have to drop out of warp for us to overtake him,” added Chekov unhelpfully.

            “Then what about assigning engineering crews to try and boost our warp gear?” suggested Kirk.

            “Remaining power and crew are repairing radiation leaks on the lower decks,” said (Y/N) sympathetically.

            “Okay, right, but there’s got to be some way—”

            Spock cut Kirk off. “We must gather with the rest of Starfleet to balance the terms of the next engagement.”

            “But how long do we have before he gets to Celia?” asked (Y/N). “We don’t have much time…I know that. And Kirk’s right, we have to do something. If we wait to confront them, Celia could—” They couldn’t finish the sentence and clenched their fists.   

            “(L/N)’s right,” said Kirk. “We should act now. By the time we’ve gathered, it’ll be too late. But you say he’s from the future, knows what’s going to happen, then the logical thing is to be unpredictable.”

            “You are assuming that Nero knows how events are predicted to unfold,” said Spock. “To the contrary, Nero’s very presence has altered the flow of history, beginning with the attack on the USS Kelvin, culminating in the events of today, thereby creating an entire new chain of incidents that cannot be anticipated by either party.”

            “An alternate reality?” said (Y/N) as his words sunk in.

            “Precisely,” said Spock. “Whatever our lives might have been, if the time continuum was disrupted, our destinies have changed.” He turned to Sulu. “Mr. Sulu, plot a course to the Laurentian system warp factor three.”

            “Spock, don’t do that. Running back to the rest of the fleet for a-a-a confab is a massive waste of time,” said Kirk.

            “We don’t have time for it,” said (Y/N) desperately, fighting to remain composed in the face of the concept of losing their home.

            “…We have orders from Captain Pike,” said Spock, avoiding their gaze. He was trying to stay on procedure. If he didn’t…he’d lose control, the loss of his planet and people too great to hold back without any string of logic to hold onto.

            “He also ordered us to go back and get him,” said Kirk. “Spock, you’re captain now! You have to be—”

            “I am aware of my responsibilities,” said Spock.

            “Every second we waste, Nero’s getting close to his next target,” snapped Kirk, and (Y/N) winced as anger flashed through the room.

            “That is correct and why I am instructing you to accept the fact that I alone—”

            “I will now allow us to go backwards!” snapped Kirk.

            “Jim!” shouted Bones.

            “Instead of hunting Nero down!” finished Kirk.

            Spock’s whole body tensed as every instinct, every human instinct, fought to get angry, to yell and scream that he knew but he wasn’t sure what to do. If he went to Celia and it was lost, he’d never be able to face (Y/N). If he went to the fleet, there was the barest chance of being able to fight Nero, and then, maybe, he’d be able to look (Y/N) in the eye.

            But Spock knew it was all mere chance, the slightest possibility. However, he had to fight against the onslaught of illogical emotions threatening to overwhelm him. He needed to remain in control.

            “Security. Escort him out,” said Spock.

            Two officers moved forward and grabbed Kirk by the arms. He instantly thrashed against them, and (Y/N) took a step back at the anger burning around them.

            “Jim,” warned Bones, trying to get him to calm down.

            But Kirk refused to back down, fierce and defiant to the last. Spock stepped up and grabbed his neck. The Vulcan Nerve Pinch froze Kirk’s muscles, and he collapsed into the security guards’ arms while everyone on the bridge watched in surprise.

            “Get him off this ship,” ordered Spock, and (Y/N) had never heard his voice so tight with subdued frustration and emotion.

            Kirk was dragged out of the room to be deposited on a nearby Federation planet. He would survive, but he would not return to the Enterprise.

            Spock looked around himself and straightened, determined to remain dutiful and honor Vulcan ways even in the midst of such loss. “Everyone, return to your duties. Calculate Nero’s trajectory and figure when precisely he will be arriving at Celia. We must contact other members of the fleet. If our radio can reach them earlier, alert me, and we can make arrangements.”

            “Yes, sir,” said (Y/N), sitting down at their station. Their hands shook as they reached for their equipment, and they paused to breathe and compose themself. (Y/N) had to trust that Spock had a plan. They had to.

            Otherwise, the terror of losing Celia would overcome them.

l

            “Acting Captain Spock has marooned me on Delta Vega, what I believe to be a violation of security of security protocol 49.9, covering the treatment of prisoners aboard a starship,” grumbled Kirk into his communicator as he stomped through the snow of Delta Vega.

            A growl made him freeze and turned around. A large, hulking creature loomed over him and roared. Kirk let out a shout and stumbled back. A crack spread through the snow and ice, and a larger monster burst out. Kirk cried out as the first creature was easily killed and ran for his life. The second monster followed him. Kirk screamed and fell, sliding down a hill towards a cave. Jumping inside, he cowered as the monster pursued him.

            A figure stepped out of the shadow carrying a torch. The light and heat made the creature take a step back. The man waved the torch closer, scorching the monster. It ran away, leaving Kirk and the man on their home.

            Kirk raised his head, and the figure stepped closer. Kirk blinked. The man was tall, white-haired, brown-eyed, and had pointed ears.

            A Vulcan? wondered Kirk in shock.

            “James T. Kirk,” said the man.

            “Excuse me?” said Kirk, confused now.

            “How did you find us?” asked the man.

            “How do you know my name?” questioned Kirk.

            “I have been, and always shall be, your friend,” said the man profoundly.

            “You’re confusing him,” said another voice, and Kirk blinked as another figure stepped into the light.

            They were similarly bundled up against the cold, but instead of Vulcan features, they had striking gold eyes paired with their greying hair.

            “What…Who are you two?” asked Kirk.

            “I am Spock,” said the man.

            “I am (Y/N),” said the companion.

            “…Bullshit.”

l

            Despite his misgivings, Kirk didn’t have much of a choice and followed Spock Prime and (Y/N) Prime farther into the tunnel. They had fire; he needed warmth. Plus, if he was honest, Kirk couldn’t help but trust the pair—no matter who they were. They seemed to be telling the truth, though, which was strange enough.

            “It is remarkably pleasing to see you again, old friend,” said Spock Prime. “Especially after the events of today.”

            (Y/N) Prime reached out and touched Spock Prime’s arm in support. Spock Prime covered their hand in solemn thanks. Kirk’s eyes flicked to the rings on their fingers—one with a Vokaya stone and the other a blue one. He blinked in surprise, but he had no time to focus on that.

            “Listen, I, uh, appreciate what you did for me today, but if you were Spock you would know we’re not friends at all. You hate me. You marooned me here for mutiny,” said Kirk. He looked at (Y/N) Prime. “You…You act like (L/N).”

            “I should hope so,” said (Y/N) Prime wryly.

            “Mutiny?” repeated Spock Prime.

            “Uh, yeah,” said Kirk.

            “You’re not Captain?” asked (Y/N) Prime.

            “No, no. Um, you’re the Captain. Pike was taken hostage,” said Kirk.

            “This timeline has so many small changes,” murmured (Y/N) Prime, sighing.

            “This timeline?” repeated Kirk, thinking of what Spock had hypothesized. It sounded pretty convincing now that these two were acting so strange.

            “Pike was taken by Nero,” said Spock Prime, furrowing his brow.

            “What do you know about him?” asked Kirk, leaning in.

            “He is a particularly troubled Romulan,” said Spock Prime.

            “Not like Liviana at all,” said (Y/N) Prime, shaking their head.

            “I don’t understand,” said Kirk.

            “Please, allow me. It will be easier,” said Spock Prime, raising his hands towards Kirk’s temples.

            “Whoa, whoa, what are you doing?” asked Kirk uneasily.

            “A mind meld will let Spock show you what he knows,” said (Y/N) Prime.

            They put a hand on his arm, and Kirk felt a wave of calm wash over him as (Y/N) Prime dampened his anxiety. He had never felt the power of empathic abilities before, and here it was. As he relaxed, Spock Prime put his fingers on Kirk’s temple.

            “Our minds. One and together,” said Spock Prime, and the world fell away before Kirk’s eyes to let him see Spock Prime and (Y/N) Prime’s dealings with Nero.

            “129 years from now, a star will explode and threaten to destroy the galaxy,” said (Y/N) Prime.

            “This is where we are from, Jim. The future,” said Spock Prime.

            “The star went supernova and consumed everything in its path,” said (Y/N) Prime.

            “I promised the Romulans that I would save their planet,” said Spock Prime.

            “I accompanied him to help,” said (Y/N) Prime.

            “We outfitted our fastest ship. Using red matter, we would create a black hole, which would absorb the exploding star.”

            “We were en route when disaster struck. The supernova destroyed Romulus before we could arrive.”

            “We had little time. We had to extract the red matter and shoot it into the supernova.”

            “As we began our return trip, we were intercepted.” (Y/N) Prime’s voice turned sorrowful.

            “He called himself Nero. The last the Romulan Empire,” said Spock Prime.

            “He was angry at our failure. He wanted to punish us,” said (Y/N) Prime, deeply understanding his pain.

            Nero had lost everything. He was rightfully upset. But what he had done after…it was unjust to take his pain out on others.

            “In our attempt to escape, all of us were pulled into the black hole,” explained Spock Prime. “Nero went through first. He arrived in this timeline first, twenty-five years ago.”

            The U.S.S. Kelvin incident, thought Kirk, and Spock Prime and (Y/N) Prime indicated their acknowledgement through the Mind Meld.

            “Nero spent the next twenty-five years awaiting our arrival,” continued (Y/N) Prime. “What was years to him was seconds to us due to the black hole.”

            “When we fell through the black hole, Nero was waiting for us,” said Spock. “He still held us responsible for the destruction of his home world. He captured our vessel and spared our lives for one reason—so that we would know his pain.”

            “He beamed us down here so we could watch his vengeance. He was helpless to save Romulans, and Spock was helpless to save Vulcan,” said (Y/N) Prime sorrowfully.

            “Billions of lives lost because of me, Jim. Because I failed,” said Spock Prime.

            The Mind Meld ended, and Kirk jerked back to reality. His chest heaved as tears ran down his face. Instantly, (Y/N) Prime’s empathy ran through him to steady him.

            “Forgive me. Emotional transference is an effect of the Mind Meld,” said Spock Prime. “I thought (Y/N) may be able to mitigate it, but it seems not.”

            “We’ve been through a lot, Spock. It’s alright,” said (Y/N) Prime gently.

            “So…you do feel?” Kirk took deep breaths.

            “Yes,” said Spock Prime, nodding. (Y/N) smiled softly and nodded.

            “Going back in time, you changed all our lives,” said Kirk, finally wrapping his head around him.

            “Jim, we must go. There is a Starfleet outpost not far from here,” said Spock Prime, rising.

            “We have to face Nero before he hurts more people,” said (Y/N) Prime. “His anger is a fire. He wants to burn everything.”

            “Wait,” said Kirk. “Where you came from…did I know my father?”

            Spock Prime nodded. “Yes. You often spoke of him as being your inspiration for joining Starfleet.”

            “He saw you become Captain of the Enterprise. He was proud,” said (Y/N) Prime.

            “Captain?” repeated Kirk.

            “Of a ship we must return you to as soon as possible,” said Spock Prime.

            “Let’s go, Jim,” said (Y/N) Prime.

l

            Far away from Delta Vega, the Enterprise was still flying towards the Laurentian system.

            “Warp three, sir,” said Sulu.

            “Course 1-5-1-Mark-3, Laurentian system, sir,” said Chekov.

            “Thank you, gentlemen,” said Spock from the Captain’s chair.

            “You wanted to see me?” said Bones, stepping onto the bridge.

            “Yes, Doctor.” Spock stood from his seat. “I am aware that James Kirk is a friend of yours. I recognize that supporting me as you did must have been difficult.”

            “Is that a thank you?” said Bones sarcastically.

            “I am simply acknowledging your difficulties,” said Spock.

            “Permission to speak freely, sir,” said Bones, and (Y/N) felt his emotions rise.

            This’ll be quite something, thought (Y/N).

            “I welcome it,” said Spock.

            “Do you?” Bones raised a brow and scoffed. “Okay, then.” He glared. “Are you out of your Vulcan mind?” Everyone on the bridge blinked and turned around in surprise. “ Are you making the logical choice, sending Kirk away? Probably, but the right one?” Bones scoffed. “You know, back home we got a saying, ‘If you’re gonna ride in the Kentucky Derby, you don’t leave your prize stallion in the stable.’ ”

            He’s definitely got guts, thought (Y/N).

            “A curious metaphor, Doctor, as a stallion must first be broken before it can reach its potential,” said Spock almost sarcastically.

            “My god, man. You could at least act like it was a hard decision,” retorted Bones.

            “I intend to assist in the effort to reestablish communication with Starfleet. However, if crew morale was better served by my roaming the halls weeping, I will gladly defer to your medical expertise,” said Spock sarcastically, cuttingly. “Excuse me.” He turned away to face (Y/N) and their station.

            “Green-blooded hobgoblin,” huffed Bones, stalking out of the bridge.

            “Spock, picking a fight with him won’t make you feel better,” murmured (Y/N).

            “…I apologize,” said Spock.

            “Tell that to him,” said (Y/N) sternly. They were laying all their trust into his intellect to save their planet. They didn’t have time for infighting.

            “I will help Celia, (Y/N),” said Spock quietly. “I will.” He couldn’t save Vulcan. he wouldn’t let Celia be destroyed.

Taglist:

@a-ofzest

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@groovy-lady

@im-making-an-effort

@unending-screaming

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[scp-torment]

SCP Tournament… 2!

Accepting submissions immediately:

Edit: No longer accepting submissions. Please refresh the page and wait for the bracket and first round.

Now that things have calmed down (both in blog and life), I think it's time for the foundation to run the second tournament. We ran out of numbers to crunch and organize, so now the foundation has come back to organize more chaos to later fix.

As voted on by test subjects the people, this bracket with be the same set up as the previous, with the exception to not allow any contestants that made it above round 2. A full list of banned contestants can be found below the read more. There are no other limitations, so normal SCPs, tales, and stories from international brackets are all allowed. Go wild. Find the most obscure stories to share. Find the most controversial. The most confusing narrative. The more the merrier.

Submission period will be open for approximately 2 weeks and a day, ending on the 18th. This date may change depending on the rate of submissions. Assuming all goes smoothly, round 1 (or qualifiers) will begin on the 22nd.

Let the chaos begin again.

Full list of disqualified contestants:

SCP-053: Young Girl

SCP-105: "Iris"

SCP-113: The Gender-Switcher

SCP-247: A Harmless Kitten

SCP-426: I am a toaster

SCP-529: Josie the Half-Cat (Previous winner)

SCP-682: Hard-to-Destroy Reptile

SCP-914: The Clockworks

SCP-1313: Solve for Bear

SCP-1762: Where The Dragons Went

SCP-2721: Eli and Lyris

SCP-3001: Red Reality

SCP-3008: A Perfectly Normal, Regular Old IKEA

SCP-4231: The Montauk House

SCP-4335: A Welt In The Crucible

SCP-7000: The Loser

And I haven't actually kept up with other tournament blogs at all in this last month, so I have no idea who's still running and who can boost this. I suppose just reblog this if you can. It's greatly appreciated.

[weenwrites]

Howdy Ween🤠! How goes it? Enjoying the warmer weather I hope! (Edit: Starting writing this in my notes a while ago so I am personally sick of the warm weather now but if you like it then I hope that you're enjoying it! ☀️

I was hoping to request something with a human who enjoys building explosives, doing experiments with different chemicals put into fire: whether they are really productive or not remains to be seen. They don't do it in the base or around the kids for safety so probably out in all that dessert somewhere. Maybe they talk about them or record them for show. When they hear about Wheeljack from Bulkhead & Miko they're excited to meet him but they're nervous of new people. But they still wanna show him there stuff ya know? Bonus points, if you also think it'd be funny and it fits if not you don't have to, if it makes so much of a ruckus since they probably wanna impress Wheeljack that Agent Fowler calls in his traditional Agent Fowler fashion? "PRIME! What is going on down there!?"

I would like the story format but is headcannons works better for you that's fine. If decide you wanna write this, thanks in advance Ween!

(P.S.-I know this is really wordy but I promise when I send in a request it's 50% the story I describe & 50% vibes. It doesn't have to be exactly how I described it😅.)

Summary - Wheeljack and Miko go check out some explosives. Characters - Wheeljack Content - Gen Category - Scenarios Trigger Warnings - None

✎ A/N: I don't mind it if requests are wordy! There's always a chance that what you include in fics may help me come up with more ideas on how to write it.

[ Please do not repost, plagiarize, or use my writing for AI! Translating my work with proper credit is acceptable, but please ask first! ]

They were expecting Miko to show up once the rest of the team were called to assist them with the explosives. It was to be expected after all, Miko without explosives and action wouldn't be like her at all. Though part of them was beyond ecstatic to hear a familiar revving engine and see what looked to be the italian-flag racing towards them in the distance—later turning out to be Wheeljack—they forced all that excitement behind a calm and friendly demeanor once he skidded to a halt in front of them.

”Wheeljack!“ They exclaimed as he reconfigured himself into his rootmode, ”and Miko, too!“ they add as the respective girl stepped out from behind him. ”Thanks for showing up, but there isn't anything for the two of you to do. The team's finished loading all those explosives down there in the quarry, and I just have to do a bit of work on my end to ensure that things run smoothly.”

“That's fine, we came here to watch the show anyway.“ She explained.

”By all means, go right ahead—actually, Miko I'll need you to put these on real quick," and quickly, she was passed a pair of earmuffs and goggles before Y/N turned to the bot next to her. "Ooh, I don't think I have any earmuffs or protective goggles that are your size, Wheeljack." They chuckled.

"Don't worry 'bout me," he flicked his hand, "I've handled my fair share of loud noises before."

"Oh, right, right… You're out on the field alot…" They mumble, taking a clipboard from the trunk of their car, "I'll be detonating the explosives soon, so you won't have to wait long."

With a nod, he placed a hand on his knee and bent lower to look at the crates of supplies off to the side. A few particular crates had caught his attention with the bright yellow warning labels pasted all over the sides.

"What's this over here?" He asked.

Without batting an eye, Y/N responded: "Nondescript explosive materials."

"Gee, really?" Wheeljack deadpanned, "Couldn't tell."

They lowered the board and sighed, "Sorry, I'd rather not tell what it is—not while Miko's around anyway,—“

“Hey!”

”—I could get into a lot of legal trouble if you guys went around making explosives and setting them off without an ATF permit." They pause, "Assuming you guys would rat me out to the police, anyway…"

"D'you really take us for those kinds of people?" He chuckled.

“Just you guys? Specifically? No. Fowler? Absolutely.”

"Could you at least show us how it works?" Miko offered.

With a sigh, Y/N reluctantly continued, "I… Guess it wouldn't hurt as long as you can't get your hands on the specific chemicals themselves—and as long as you don't rat me out, my permit's at stake here..."

"Our lips are sealed." Wheeljack offered, even miming a zipping motion across his mouth.

With a hum, they shuffled past Miko, and over towards Wheeljack beside the crates. And there, they began sifting through some of the bags of chemicals, each plastered with big blocks of small, black text that either detailed warnings or the bag's contents. Curiously, the two had peered over Y/N's shoulder to try and make heads or tails of what they were doing.

"I just need a little bit of this nondescript powder, and if I ignite this tiny speck right here…"

The powder gave a loud very audible pop, leaving a small, black, smoking speck on the cardboard.

"And that's how it's going to go. Except… On a much larger scale. There's about 30 pounds of this stuff all the waaaay over there, each of them in a little water gel sack capsule, spread out across the supposed entrance of the mine."

"30 pounds?" Wheeljack blinked, "doesn't seem like much, and the mine's entrance is pretty deep."

"To you it might not, but just you wait." They smirked, "Appearances can be deceiving… But the explosives aren’t meant to reach the energon in the mine, it’s just supposed to pave the way to the energon since we don't have access to any larger pieces of mining equipment."

"Oh right, you're just loosening the rubble, yeah?"

"Yeah, and then you and the rest of the team will move in to clear it out, and depending on how it looks from there, I may have to plant some more explosives."

"Ya know that some energon veins can be deep-rooted into the soil, so if this mine is as big as everybody makes it out to be, you might have to adjust how many explosives to use and deep they go."

"Ok, ok, I gotcha... Say, you wouldn't be interested in helping me with these explosives, would you?" They offer, "I could really use your expertise."

"Sure thing, don't see why not." he nodded.

"Great! Now, is everyone ready?"

"Yeah, fire in the hole!" Miko exclaimed.

Y/N nodded and with the simple click of a button, a ground-shaking boom had errupted from the quarry with a mushroom cloud sprouting into the sky to boot. Gradually, the quaking had ceased and as the cloud was barely beginning to clear, Y/N turned to the two with a haughty grin.

"Whatever you mixed up has a pretty impressive blast radius despite the quantity," Wheeljack whistled.

"Oh, the quantity has nothing to do with the explosion, it's actually the concentration of the material that affects the scale of the explosive itself." They explained. "A little goes a long way, as they say."

"I see, mind if I take a closer look? I think if I run out of explosive cores for my grenades, I bet could make something like this work…"

"Well, so long as Fowler won't be on my back for this, then no, I don't mind—it's called ANFO, it's packaged in water gel since it's soluble in water. It's not as sensitive as dynamite but—hey—please be careful!"

"Yeah, don't worry 'bout it chief… Now what's this ANFO stuff made from exactly…?“ Haphazardly, he shoved the lid off the crate, ”A bit of… What's this now?"

"I-I told you to be careful!" They screeched, "If the powder gets between your joints, the friction could cause it to ignite!”

“Right, right… Human things aren't that sturdy…”

[uroboros-if]

Your story is so impressive! All aspects from the lore to the writing and the game display are so beautiful!!

I want to ask about the 'look' feature in your game. Like, how to make it? What is the difference in the coding to make it open a separate textbox vs appear new sentences in the current passage? And how to code it for the game to realize that the players have clicked on it and let them continue to the next passage/remember that the players have look at something?

Thank you in advance! And sorry for my bad English 😭

Aww, thank you so much!! ;; I appreciate your kind words!

EDIT: Under the read more shows you how to do it manually, but I have updated the macros so they are MUCH easier to install!!

I made some quick and dirty macros just now if you're interested, so you don't have to do the somewhat ugly way I do it! Here's the itch.io link. Instructs on how to implement are on the page! Password is "looking". You can demo it + download it to see how it works!

The macros I made will probably be more than adequate for most of your needs, though it is limited to having 10 of each of the three different ways you can look at something in one passage (opens a new window of text, reveals some lines of text, or reveals new lines of text with the include macro).

Underneath, I'll go over how I manually do it in Sugarcube—and it's going to be horrible to look at if you try to do it without syntax highlighting in your project. For the sake of this guide, I'll be highlighting it!

Separate textbox

I am going to show you two ways to do this—one, the way I typically do it; two, with Cycy's liveupdate macro (thanks to my friend, Gwen for teaching me this revolutionary way!!!). You'll need:

StoryFormat - SugarCube (need for both ways)

Chapel's Popover macro (need for both ways)

Cycy's liveupdate macro (if you're doing it With Cycy)

With Cycy - easier to understand, but the text replacement (when you click on the link and it gets replaced with new text to show you've already seen it) does not happen smoothly/with a transition.

Without Cycy - harder to understand, but can replace the link with a smooth transition so the text does not instantaneously and abruptly change.

Each guide is going to rehash pretty much the same information as the other way because I'll just assume you haven't read the other way.

With Cycy

Here is an example:

1. LIVEBLOCK. A custom macro from Cycy. Whatever is inside the ((liveblock)) will be updated when ((update)) is called inside of it. We need this because, once a passage is rendered, even if a variable is changed through ((click)) or ((link)), the text will not change to reflect these changes. What Cycy's liveblock macro offers is allowing you to live update the text! All the code we'll be writing will be contained inside liveblock.

2. VARIABLE. You'll need a variable to remember that you've looked at this specific place before, and you're going to have a make a variable everytime you have a looking place like this one. I'm guessing you can use temporary variables (which only apply to one passage) instead if you don't want to clutter your StoryInit with global variables (which apply to the entire IF).

The reason why I make my looking variables global variables is because I want to be able to remember that a player has looked at something to update the codex and/or remember that the player has looked at something, in case we want to check that they've done that in the future. It's also because, if a player goes and looks at their stat page, it may refresh the variable and let players look at the same thing again.

3. IF STATEMENT. Again, a simple if statement to test if a player has seen something won't work on its own, as the text does not update live to reflect the changes—even if you use ((link)) that has a ((set)). However, with Cycy's live update macro, this is actually very relevant. If the player hasn't seen the link, show the link; if the player has, show the text that will replace the link.

4. LOOK SPAN. I want the link for all my "looking" links to be distinct from actual choices, so I wrap (span id="look")...(/span) around the entire ((link)) that is in #5. This span is going to style the link to be a bold, gold color.

Here is how I style my links in my Story Stylesheet (here's a link to the Pastebin):

5. INSIDE THE LINK. Of course, make the ((link)) which the player will click on to look at something. Set the variable that tests if they've looked at it to true, and then call ((update)) to update ((liveblock))'s contents. Next, we will be using Chapel's Popover macro—what this does is "pop over" in a new dialog everything that is inside ((popover)...((/popover)). I specified "noclick" so the players click on an X instead of the screen to exit out. I use the ((include)) macro inside, which is especially useful if the text you're going to be "popping over" is quite long (which my character descriptions are).

Here, I put my closing ((/link)) and then also my closing (/span) for the look span.

6. ELSE — SPAN CLASS LOOKED. Just the same way where I use a (span) to style the link, I use a (span) to style the text that replaced the link. I classed the link with "looked" so that the text that replaced the link is gold, but not bold, and styles normal text instead of links.

Here's how I did it in the Story Stylesheet (also included in the Pastebin already):

Everything that is in ((else)) will be the text that replaces the link to show you've already looked at something. Sometimes I don't want the entire thing to be gold text, just an indicator of where it has changed; so I might only put the (span class="looked") around a part of the text and make the rest of the text normal.

7. ENDING. Close the if statement and close the liveblock.

Without Cycy

Here is an example, ripped straight out of the IF:

The reason I'm showing this way is because if you want to just reveal new lines of text instead of opening up a new window of text, the code for the way I teach you how to do that is basically the same, except you don't use ((popover)).

Also, the text replacement is smoother because the ((replace)) macro we'll be using has the option to use a transition/fade by simply adding "t8n". Cycy's liveupdate macro, when you call ((update)), instantaneously changes the text, which is abrupt.

1. THE IF STATEMENT AND VARIABLE. The if statement tests a variable. If it's true, it will show the link; if it's false, it does not.

This usually does not come into play. When a variable is changed with a link macro, the text does not live-update once the passage is fully rendered. Meaning, even if you click on the link changing $salvatore_looked[0] to true, it won't change the passage. What you'll want instead is the ((replace)) macro that is executed when you click on the link.

So why did I include an if statement anyway? If a player looks into their stat page, which counts as another passage, when they look back at what they were reading, they're able to look at the link again. If you don't care about this, you don't need the if statement—but I'll include it anyway.

2. THE LOOK1 SPAN. The look1 span contains the entire thing, because whatever is inside the span will be replaced when the replace macro is executed. You can call this span anything of course, just make sure the replace macro replaces the specified ID.

3. THE LOOK SPAN. This is actually entirely different from the previous span. The previous span is used by the replace macro to replace everything that it contains; this look span styles the link. If you want the link of your look interaction to look distinct from your other links, you'll want to include a span specifically for this.

Here's a link to the Pastebin of how I style my links in the Story Stylesheet:

4. INSIDE THE LINK, PART 1. Set the variable of the looking variable to true and use the popover macro from Chapel to popover the new screen. I use "noclick" because my popover dialog can be quite long, and I don't want them to accidentally click out of the popover while scrolling. Usually, you click anywhere on the screen to exit; with the "noclick", there is an X button instead.

The popover macro "pops over" in a new dialog everything that is inside it before its closing tag. I use the include macro to include a different passage (optional, but recommended if your popover is going to be long).

5. INSIDE THE LINK, PART 2. Now this is the replace macro. The replace macro I use here replaces everything inside the look1 span with whatever is inside the replace macro's contents. Meaning, what will your link look like after you click on it? The link said "Salvatore" previously, but after clicking on it, I made it so that it still only says "Salvatore" right after.

I used a span class called "looked" to style the text to show that you've clicked on the link before. I did this so that people know where the text has changed. Here's how I did it in the Story Stylesheet (also included in the Pastebin already):

Same color, no font weight, and styles normal text instead of links.

6. ELSE. Of course, if the player has already looked at the link before, you will want to do the same thing you did in Part 5, albeit without the replace. Again, this is only relevant when players can click on a different passage and return to that passage where it can be looked at (e.g. looking at a stat page and then returning).

7. CLOSING TAGS. Make sure to keep organized with your closing tags, there are many here. The looked span should end before the link ends; the look span ends after the link ends; the else statement comes next, with its own span that ends after the last if closing tag. This all sounds confusing on text, so go ahead and just look at the screenshot above.

New sentences in a passage

There is almost no difference if you don't use Cycy's way, except that I don't use the popover macro. You don't have to use the include macro here though, especially if the text that it reveals is minimal. In the case of revealing entire paragraphs or choices, though, I recommend using include.

If you do use with Cycy, I highly recommend looking at the guide "without Cycy". Again, the code is the same, except there is no ((popover))—just ((replace)) with ((include)) inside.

Closing Thoughts

I'm sorry if this guide or the demo on itch.io is a bit scuffed, it's late and I'm rushing to put it out, but I hope it helps! Please let me know if you have any more questions, and again, thank you so much for asking and being interested!! <3

[puttingwingsonwords]

For the ask game! :D

C: What member do you identify with most? [I'm assuming this means "character"?]

L: How many times do you usually revise your fic/chapter before posting?

Z: Major character death–do you ever write/read it? Is there a character whose death you can’t tolerate?

Thank you for the questions~ (this is the ask game)

C: Since I've basically only written Dracula fanfic I will pick from the Dracula cast. I haven't written her a lot, but I think I actually relate the most to Lucy. I write her as autistic because the way she tends to suppress her personality reminds me of autistic masking, and the way she experiences the physical symptoms of being slowly drained by Dracula are also pretty similar to my experience with ME.

L: It depends on how smoothly the first draft goes. If I write it all in one go, I usually just do one revision, then let my partner read it and make more edits if he notices anything that could be improved. If the idea is more wily and I'm writing things out of order, I'll probably revise 2-3 times.

Z: My opinion on major character death is that it's fun to explore alternate storylines, including dark ones! It's more about how it's written than about who dies. I also like to explore the grief and consequences around canon major character deaths.

[ask-obt]

What steps do you usually have for creating each page, and how long does each one usually take you? Do you do stuff like thumbnail entire chapters in advance, etc?

I don't know how big your page buffer is, but you seem to get pages done at a really impressive rate, especially considering every page is clean and colored, so I'd love to know how you manage it :)

// this is a long ask, so buckle up!

all of my pages start with an outline, which is then fleshed out into a script- over time I've found that having an entire chapter done before starting any other step cuts out unnecessary fat that comes with editing. if there's one thing I learned from preboot OBT, trying to figure out what exactly happens on a page as you're drawing it can lead to a lot of heartbreak if you decide to change it (a lot of preboot OBT's chapter 4 was subject to this- I have a million drafts of rune and fienne in the market because I didn't know what I wanted them to do there). my scripting program is actually the beta version of a program one of my classmates in college made, and if it ever goes public I'd be happy to pop a link since I believe they want to make it open source eventually. on average my scripts are about 5000-6000 words long, and are written (casually) like film scripts since that's the format I was trained on as a film student.

my outlines are a bit sloppy because it's just like a stream of consciousness flowing out while I try getting ideas slapped down as quickly as possible. I try not to worry too much about details unless I have a clear vision in mind because I think writing the plot out in one go flows the most smoothly.

and then from there, I expand that outline into a script.

after the script is completed, and assuming I have enough buffer, I thumbnail the entire next chapter- or at least as much as I can stand in one go. I'll usually either be working on rendering the previous chapter during this step, or I'll have the previous chapter completed so I can devote my attention to it. either way, I try and give myself room to do a variety of tasks depending on my mood. thumbnails are easy to work on while on-the-go for example, but they require a lot of thought to put together. coloring can be tedious, but it's great to do while multitasking of on lunch at one of my jobs.

part of the thumbnailing process for me includes putting down text bubbles. surprisingly, this is a very tedious task, so I try to get it all done in one go so I don't have to agonize over it. and this is where my process gets a bit convoluted, so bear with me.

to do this, I take a look at my script and break all the dialogue into different text bubbles. I've gotten to the point where I think I do pretty well naturally finding breaks in pages, and I just go in chronological order putting text down. for this step I have page templates prepped, which show the safety margins that I need to follow to prevent text from getting stuck in the binding when printing into books. I make sure all the text is safe, and then move onto the next step.

after that, I copy the page with text bubbles, and then shrink it really small into thumbnail size. on a layer above this screenshot I trace the text bubbles, and then treat those bubbles as "dead zones" to draw around while working on the thumbnails. this might be an unnecessary step if you have a good grasp on how much text takes up a panel, but I am historically awful at judging that so knowing the exact text bubble size when thumbnailing helps prevent my bubbles from getting in the way after the art is already rendered. then, rinse and repeat for the rest of the chapter!

some chapters I'm quicker at thumbing than others- on the low end we've got chapter 5, which I wrapped up in 2 months (I did roughly 1 thumb per day)

and then chapter 6 which I dragged my feet on a little bit, at around 6 months

(and chapter 7, which is twice the length of a normal chapter for me, took 4 months!)

after that is sketching, the part I dread most when working on a chapter. it's the part that requires the most thinking on my part, and I did away with sketching completely for most of chapter 3- but I've been trying to make my lines thinner lately, and until I build up the confidence to work without sketches, I'm afraid I'm stuck with them. I try to do 1-2 sketches per day, but some days I just don't do them if I'm not feeling up to it.

(I'm actually avoiding sketching while I work on this ask)

while most of OBT is done in CSP, the one thing I don't do there is lines- for that I use Autodesk Sketchbook. sketchbook has a pretty incredible predictive stroke tool that adjusts your strokes after you make them. it takes a bit of time to get used to, but with it I can draw much faster than any other program or with any other stabilization tool. I gave CSP an honest shot with lining by trying to use it for 6 months, but sketchbook was just too powerful so I live the multiprogram life. I try my best to keep all my lines closed during this process because it'll make coloring WAY easier. like I think coloring used to take me an hour, now it takes me 20 minutes tops.

then I flip off the visibility on all layers except the lineart layer, save as a PNG (saving a working file as well if I'm feeling spicy), and then import to CSP! where the most fun part begins.

to start, to do that colored lineart thing where the lines on my characters are darker on the outside than the inside, I start by coloring characters their inside color first (using the "lock transparent pixels" layer option). for comics this is reduced to a simple "warm palette" color and "cool palette" color, which are brown and blue respectively. it's subtle, but you can see it in action with rune and eilwyn here.

then I use the magic wand tool, my best friend. I select the negative space around the characters, invert it, and then with the dark color selected in my palette (for me it's a dark brown approaching black) and the transparent pixels still locked, I use the "outline selection" option to outline the characters. I usually outline them by 6 px, but it'll depend on what looks best.

then for coloring, with the characters still selected, I use the "shrink selection" option to shrink it by 1 pixel. this helps prevent aliasing when I use the fill bucket to fill characters in with a base color! after that I pick them out by character and manually add their main color by hand, so they look something like this.

and here's the part where I impart upon ye, dear reader, with the forbidden knowledge I learned while doing the Monster House Marathon this month. see, I really like doing these daily events because they push me to my limit. a page a day is the most comfortable fast pace I can work on the comic, but it can still be a bit of a strain to get a page done before my bedtime, so I'm much more willing to learn shortcuts in order to get a nice juicy 6 hours of sleep instead of 4.

if you do a closed lineart method like me for most of your character's markings, the "Set Reference Layer" tool is going to become your new best friend. using this, I set the lineart layer as the reference layer (and only the lineart layer), move over to my coloring layer, grab my fill bucket tool, and then I can just start literally filling in characters within seconds. some characters have unclosed markings that I'll have to do by hand, but this is extremely quick and I love it so much.

finally I add a multiply layer where I do some light shading. this step used to be full cel shading, though over time I've found that my art reads a little more clearly without it. and shading also used to be miserable because it was another 30 minutes to an hour of rendering that kept me from completing a page, so it sometimes got a little miserable.

and finally, I add backgrounds and lighting effects. I have a pretty decent library of pre-rendered backgrounds I've made that I can just plop in a scene, but sometimes for new or one-time locations I'll make a new one by hand.

and that's a completed page! it's a bit hard to calculate how long a singular page takes start to finish since I try doing everything before the lineart in batch style, but I'd say it all roughly evens out to 2-4 hours. breaking it down, it looks something like:

Thumbnail - 10-20 minutes Sketch - 30 minutes - 1 hour Lineart - 30 minutes - 1 hour Coloring - 10-20 minutes Rendering - 10-20 minutes Background - 20 minutes - 1 hour

so pages are pretty quick for me to make! this helps me build a pretty sizeable buffer, I think my previous record was somewhere around 40 pages? maybe 70 if I included dielle's wish. though I will admit during this Monster House Marathon, I actually ran out of buffer on day 7, and I'd been laying the tracks in front of the train until, uh, checks watch, the 27th! as of writing this I finished the buffer through the MHM, so I can rest easy. this ask probably won't queue until after the MHM has ended so this probably sounds a little comedic. the main reason I was able to manage these daily updates without a buffer was because of an art high I was experiencing this month, which is also why I did a marathon in the first place.

though usually, I really am an advocate for buffers. having a buffer of at least 3 months means I can hop around with different processes as my interest in them flips around. my brain usually likes to focus on one task at a time, and a lot of it, so having that freedom is great for me. and sometimes, I just wanna take a month off to play a new game or hyperfixate on stardew valley once again! it all comes down to practice and developing a workflow and schedule that works for you.

[quill-q]

Hello I absolutely love never tickle a sleeping dragon ugh the cliffhanger on the last chapter 🥹 No pressure but I’d just like to ask when u think u would update again? hehe

I am sorry for such a late reply, and for still not updating Never Tickle a Sleeping Dragon when it’s at such a cliff-hanger: but I am working on it! At first I had a writer’s block, but since I started writing on it again my progress has remained very slow. Right now I have about 7000 words written of the next two chapters (or maybe it’ll be one very long chapter?) – but I can’t post anything because it still has some important portions here and there that remains unwritten.

I am so glad you’ve enjoyed the story though, and I appreciate you took the time to read it. Even though I have a lot written, I don’t want to promise any timeframe for when the next update will be up, since for weeks now I’ve assumed I’d be able to update very shortly, but I was wrong. So I don’t want to promise something I can’t guarantee will happen. That said.... unless I have to change anything (again), and editing goes smoothly, then there's a good chance the story will be updated within a week or two.

[phoenix-is-the-hottest-thing]

hello, i hope you're having a nice morning/day/evening/night! do you have any tips on how to do pacing properly in fics? any advice would be appreciated!

Mmm for me it's been a lot of practice, rough outlining, and fine-tuning at the edit stage! But let's see what I can come up with.

Scene scope:

Write your thing then reread it (aloud if you can), see whether you find it too slow or too fast or whatever.

If it's too fast, take a step back and describe things more. Where are they? How does it feel? Anything the characters are thinking about? Let them breathe!

If it's too slow, cut down on the above, or review your structure. Scenes can remain interesting even if what they're talking about isn't plot relevant, it often comes down to whether it's stuff the reader cares about, or the way it's presented. Shorter paragraphs or intermissions, jokes, etc, anything that can spice it up a little if it's too slow!

Watch out for your sentence length; you'll need to vary them or you'll feel it's monotone (boring <--> slow). Also, use proper capitalization, formatting, spelling, and punctuation! This is an integral part of pacing.

Last thing, not exactly pacing, but helps tie it together smoothly: make sure your sentences and paragraphs aren't changing subjects midway and eliminate unwanted ambiguities over which characters gendered pronouns refer to.

If "she" and "her friend" are Alice and Bianca respectively in the first half, unless you want to confuse people intentionally, you can't call Bianca "she" in the second half, the subject of that part is still assumed to be Alice! You need to make it clear there is a new subject before you can call Bianca "she" instead of "[Alice]'s friend".

Why? Because writing is communication. You need to be clear to get your message across! That's why proper format is important. Texting with your friends has a low standard, but if you expect someone to get into your writing you need to make it relatively easy for them. If your writing is hard to read they will drop it.

Proper pacing makes stories flow smoothly~ Then, the reader won't even notice they've been reading for a long time!

Story scope:

Outlines are your friends, see if the reader will go a long time without the answer to a question or a scene you expect they'll be excited about (or YOU! Your enjoyment also matters!). If you're not into outlines, at least reread your past writing or try to figure out where you're going with stuff so you get a better feel of the overall pacing.

You may need to remind the readers of important facts offhand shortly before they become relevant again if something goes a long time without being talked about.

If you find your story's pacing to be too fast, let your characters breathe and talk to one another, add some scenes that develop them or showcase who they are. Fluff like this doesn't need to be plot relevant but it shouldn't be pointless nor destructive— though, if the point is a chuckle or explaining why someone's out of action, it's not what I mean by pointless.

By "pointless" I mean when even you're getting bored, or they're doing something they've already done without change, or it's information that's both boring and irrelevant, etc. By "destructive" I mean something that goes against something else that's important in your work, like messing up characterization, over-elaborating to the point of creating a plot hole, or going against your message.

Pointless scenes makes readers confused or bored (see: all the project STIGMA stuff in hi3 lately) while destructive scenes makes readers angry (see: character assassination in hi3 lately). And so on and so forth.

To be honest, a little of those is fine, especially if they're fun for you to write. Just... watch out, or you'll exhaust your readers' good will.

Last words

Feel free not to follow my advice if you don't like it, and happy writing! I know what I'm talking about but you are the only one who gets to decide what's in your story.

[lucysarah-c]

Oh darling don't worry about rambling. I think readers enjoy knowing more about a writer.

The whole procedure sounds exhausting. Wishing you the best of luck in that. And I hope everything goes smoothly for you.

However, I am curious as to why you decided to do a PhD. degree? I am assuming you really like research, I am curious to know why people apply for it. I have been taught that isn't really necessary to pursue, I am not trying to dissuade you, I just want to know your point of view, and I find that interesting.

I haven't had the chance to visit Germany. It is a great country to settle in, If that what you are planning for. I heard a nightmare about their paperwork. God be with you. Will you be taking classes in german or will it be in English? Do you need an English test certification for it?

Also, it is so lovely of you to think of your mom. She is lucky to have a daughter like you.

I hope that you mind me sending you an abnormal amount of questions 😄

when you answer, your Tumblr asks or writes your posts. Do you do it from a pc or from your phone? I found out that I can't send long paragraphs from my pc unless I do it on my phone. I was wondering if it is the same case for you.

I’m not sure what my readers enjoy to be honest hahaha But if you're my reader and want to know more about my personal life haha I don't mind it.

Thank you! I hope everything turns out smoothly too.

About the PhD, I think it really depends not only on the field you're in but also your prospects. For example, I studied Biotechnology and molecular biology, but in my last years of the degree I dedicated myself to nanobiotechnology for oncological treatments. When I joined the nanotechnology team, nano was something that nobody really cared about and therefore it was a really small side of biotechnology compared to other well known parts of it. Once the pandemic hit, the health science field began to have a boom and Nanotechnology was a field that was only being explored for arms industry and cosmetics. Now nanotechnology is being explored in the health industry a lot and, since I'm kinda part of the "teams who were pioneers on it" I've the chances to work and study a field that doesn't have that much "competition" yet but also its "highly demanded". Plus, someone has to do them, you know haha Someone has to investigate the improvements of new treatments. The PhD is the only option for me if I want to keep going with my studies. Like, yeah I could work in the industry without a master or phd and make way more money than the scholarship I'll get. Sorry, long story short, I want to investigate the probabilities of curing Cancer with nanotechnology. This is way too new so they need people to research about it for it to one day be a treatment available for people.

I have also heard that Germans aren't good with paperwork lmao. It seems to be a thing. I visited Germany when I traveled a few years ago. It's a really calm and lovely place. The master is in English and yes I need an English certificate that I already own. Your girl is a C2 or proficient in English like Excuse me lmao jk I don't feel like I'm proficiency at all but the IELTS exam says otherwise lol.

I'm learning German! I'm actually in the middle of my A2 to B1 classes so, careful I know how to say my name lmao. I feel it's a really "boxy" language but a friend of mine, who speaks German said "but Lucy, you speak Spanish as your first language, it's like you speak in cursive. Obviously it feels less "literature '' '' that actually boosted my self esteem lol I've never thought Spanish as a "lovely" language but I guess it is!

I don't mind the questions if you don't mind that I take a while to reply haha

Eh... I've no idea, because I've not send asks is a long while hahah I basically log in to Tumblr to post and I leave because I've like -10 time in my life at the moment. But I mostly post from my computer because the phone app doesn't let me select more than one paragraph at a time and editing is a mess.

But, for example, the tumblr computer web doesn't alert me when I've overpass the 30 tags limit and the phone does. It's weird, tumblr is a mess.

Have a lovely day!

[christophermraerdon]

Batch content creation: How to produce a high volume of content without sacrificing quality

If you’re running a business, chances are you already know the importance of content marketing. But what you might not know is that batch content creation is an efficient way to produce a high volume of quality content.

The key to successful batch content creation is organization and planning. By setting up a system for creating and storing your content, you’ll be able to streamline the process and produce consistent, high-quality results.

1. Define your goals and target audience. What kind of content do they want or need? How often do you need to produce newcontent?

2. Create an editorial calendar. This will help you plan out your topics in advance and keep track of deadlines.

3. Set up a system for storing your ideas, rough drafts, and finished pieces

Content Creation Tools for Batch Processing

Assuming you would like a blog titled “Content Creation Tools for Batch Processing”:

Whether you’re running a news website or managing social media for a large corporation, chances are you need to produce content on a regular basis. And if you’re producing content on a regular basis, then you know how time-consuming it can be. That’s where batch content creation comes in.

Batch content creation is the process of creating multiple pieces of content at once. This can be done by repurposing old content, curating other people’s content, or using a tool to help automate the process.

There are many different tools that can help with batch content creation, and the best one for you will depend on your needs and budget. If you’re looking for a free option, Canva is a great choice. For something more robust (and expensive), try CoSchedule or Quuu Promote.

How to Automate Your Content Creation Process

If you’re batch creating content, you need to have a plan and process in place to make sure everything runs smoothly. Here are a few tips on how to automate your content creation process:

1. First, think about what kind of content you want to create and what topics will be covered. This will help you determine the overall structure of your content calendar.

2. Next, start mapping out when each piece of content will be published. If you want to create a blog post every week, for example, note down which topics you’ll cover in each post and when they’ll go live.

3. Once you have an idea of the types of content you want to create and when they’ll be published, it’s time to start actually creating the content itself. To make this step easier, batch create as much content as possible at once so that all you have to do is publish it according to your schedule.

4. Finally, don’t forget to promote your new pieces of content! Make sure social media posts are scheduled and that any email marketing campaigns or other promotional materials are ready to go before each piece goes live. By following these steps, you can streamline your entirecontent creation process and free up more time for other tasks (or even just enjoy a little extra rest!).

The Benefits of Batch Content Creation

1. When it comes to creating content, batching is definitely the way to go. By batching your content creation, you’ll be able to get more done in a shorter amount of time and with less stress.

2. Batching also allows you to be more strategic with your content. Instead of just randomly creating whatever you feel like in the moment, you can plan out what topics you want to cover and make sure that your overall message is consistent.

3. Finally, batching helps improve the quality of your content since you’ll have more time to edit and revise before hitting publish. So if you’re looking to save time and create better content, start batching your content creation today!

Batch Content Creation: Tips and Tricks

The internet is a vast, ever-changing place. To stay ahead of the competition, your business needs to constantly create new, relevant content. However, manually creating this content can be time consuming and expensive. Batch content creation is a solution that allows you to create large amounts of content quickly and efficiently.

Here are some tips for batch content creation:

1. Plan your content in advance. This will help you save time by knowing what you need to write before you start writing.

2. Write multiple pieces of content at the same time. This will help you stay focused and avoid writer’s block.

Best Practices for Batch Content Creation

1. When it comes to batch content creation, the best practice is to always have a plan. This means knowing what kind of content you want to create and when you want to publish it. Without a plan, it’s easy to get overwhelmed and end up with a bunch of unfinished content that never sees the light of day.

2. Another best practice for batch content creation is to make use of templates. Templates can help you save time by providing a structure for your content so that you don’t have to start from scratch every time you sit down to write. There are many different types of templates available online, so take some time to find ones that work well for the type of content you create most often.

3. Finally, one last best practice for batch content creation is staying organized. This goes hand-in-hand with having a plan—if you know what kind of content you’re supposed to be creating and when, it will be much easier to stay on track and avoid getting bogged down in the details. One way to stay organized is by using a editorial calendar or other similar tool that helps keep all your deadlines and publish dates in one place

Troubleshooting Your Batch Content Creation

1. If you’re having trouble with your batch content creation, the first step is to figure out what’s causing the problem. There are a few common issues that can arise, and we’ll walk you through how to troubleshoot each one.

2. The first thing to check is your content strategy. Make sure that you have a clear plan for what kind of content you want to create, and that it aligns with your overall business goals. Once you have that in place, creating batches of content will be much easier.

3. Another common issue is not having enough time or resources to create all the content you need. If this is the case, consider outsourcing some or all of your content creation. This can free up valuable time so that you can focus on other aspects of your business.

Conclusion

Batch content creation is a great way to produce a high volume of content without sacrificing quality. By batching your content, you can focus on creating higher quality content, while still maintaining a consistent output.

There are a few key things to keep in mind when batching your content: 1) plan ahead and create a editorial calendar so you know what topics you’ll be covering and when; 2) make use of templates and other efficiency tools to streamline the production process; 3) delegate or outsource some of the work if possible; 4) take breaks and give yourself time to recharge so you don’t burn out.

By following these tips, you can successfully create a large volume of high-quality content without sacrificing your sanity in the process.

The post Batch content creation: How to produce a high volume of content without sacrificing quality appeared first on SwiftCreator.com.

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[ear-worthy]

How To Conduct A Podcast interview That Listeners Will Enjoy

Practicing and aspiring podcasters expend a lot of energy on choosing a topic, developing episodes and scripts, and then preparing the recording software and hardware. One area, however, where they often assume experience and skills not finely tuned, is in interviewing guests on the podcast.

Typical podcast host responses to prepare for interviews include:

“I’m good at talking with people.”

“I’m a good listener.”

“I’ll just ask a few questions and the guest does all the work.”

Unfortunately, interviewing guests on a podcast (or in any medium from radio to TV) is a dark art that can seem as obtuse as reading palms.

“Many podcast creators and hosts assume that the guest or guests they interview have the same goals as they do,” says podcast consultant George Witt.

Witt notes that guests typically have three objectives when they are interviewed on a podcast. First, they are selling something, usually a book or at times a lifestyle program like a diet or fitness regimen. Second, they want to demonstrate to the listeners how smart and knowledgeable they are because that often assists with the first goal. Third, they want listeners to absorb and then readily agree with whatever point of view they are espousing.

Listening for Interest

Long-time host of Something You Should Know (either via radio or podcast) Mike Carruthers has been interviewing guests for more than 20 years.

“The toughest part of a podcast interview is keeping it interesting,” explains Carruthers in an interview we did last year. “I have a little voice in my head that keeps asking me right from the start of every interview, ‘Is this fascinating?’ Or ‘Is this going on too long?’ Or ‘Is he/she really answering the question?’ I try to assume the mindset of the listener. And in my view, a listener wants every interview to get interesting — FAST. It would be easy to let people talk in the beginning about how they got interested in the topic or what is their background. But I don’t think that’s what an audience wants to hear first. They want to hear why this is interesting to them and why they should be listening. Then once they care about someone, then they might be interested in their background.” 

 Carruthers goes on, “that’s why I think editing is so important. I’ve done interviews where the first several minutes are edited out because the guest was just warming up. They didn’t get interesting until six or seven minutes into the interview. So in the show, that’s where the interview starts.” 

“Sometimes interviews aren’t as linear as we think,” says Witt. “More often than you think, podcasts will move a particularly interesting section of the interview to the front of the segment to grab the audiences’ attention.” 

“That’s a smart move,” Witt adds. “That’s why carefully editing an interview is so critical.” 

Witt applauds Carruthers on Something You Should Know because the veteran podcaster ask all guests to watch a short video that tells people exactly what we expect from them 

“Podcasters who feel that preparing for an interview ruins the spontaneity are usually asking for trouble,” Witt explains. “For example, there are guests that after the first question the host asks are off to the races blurting out information at a machine-gun pace. 

“By the time you, as the host, are ready to ask a second question, the guest has already overwhelmed you and eventually the listener with an info dump and the guest has little more to add.”

Interviewing tips

So what can a podcast host do to ensure that an interview goes smoothly and captures your listeners’ interest? 

First, don’t rely on the cursory information you may possess on a guest. Do a deeper dive. 

“Some of the best podcast interviews happen when a host discovers something not well known about a guest,” says George Witt. “For example, check out the People I (Mostly) Admire podcast, where host economist Steve Levitt interviews actor Mayim Bialik of Big Bang Theory fame and uses his extensive research to go beyond the typical celebrity queries.” 

Second, institute some kind of pre-interview procedures. Prepare questions and then possible follow-up questions ahead of time, then send the questions to your guest. Many people frown on allowing guests to view your questions before the interview but since you’re recording a podcast not Meet the Press where you’re confronting some politician or bureaucrat who’s lying to cover up the president’s lies, it’s solid strategy, so your guest can be prepared or reach out to you with any concerns. 

As mentioned earlier, the Something You Should Know podcast sends a link to a video that details the interview process on the podcast. You should let your guest know if you’ll edit the interview. 

“My guests feel a lot more comfortable knowing I’ll be editing later,” explains Witt. “This way, a mistake can be easily fixed and that relaxes the guest.” 

Third, the focus of the interview should be on the guest, so try not to interrupt and use your words to keep the interview focused and moving forward. As an interviewer, practice active listening, which means to listen and then process what your guest is saying and then ask pertinent questions based on their comments. 

Too many hosts simply follow a script of questions regardless of what the guest just said, often missing an opportunity for revelation. One of many reasons why The New York Times’ podcast The Daily is so popular is that host Michael Barbaro is a superb interviewer. His questions are incisive and probing, and he listens well to his guests and then reacts with a follow-up query that shows understanding and a desire to know more. 

Fourth, work with your interview subject to disperse information to your listeners so that there is a consistent flow that creates a compelling narrative. 

“A good podcast interview is like putting together a Lego® set,” adds George Witt. “As the host, you carefully connect the pieces so that your listeners can picture the interview as a coherent whole.” 

Finally, a good interviewer is not afraid of a little silence during an interview. 

“A time-honored interviewing tip is to ask a question,” begins George Witt, “and if you’re met with silence initially, don’t fill that void but be patient and wait for an answer. You’d be amazed how people feel so uncomfortable with silence that they will respond in surprising and unscripted ways.”

The French philosopher Voltaire once said, “Judge a man by his questions rather than by his answers.”

[weirdmixofweirdness]

Blackview: Library

[Int. The streets of a small town in Blackview. Darcy walks along the old, cement sidewalk. To their right are a variety of different businesses, from small antique stores and mini-marts, to year-long Halloween marts & Pagan shops. Darcy is speed-walking through this sidewalk, making their way, as quickly as they can, to the local library. They are looking for employees & Darcy desperately needs a job. The money Anna & Darcy have is enough to survive for a bit, but they need a steady flow of money to be able to keep going how they are. As they speed-walk, however, they pay no attention to the people in front of them, eventually bumping into someone.]

   Darcy:

Oh my god, I’m so sorry! I was– [looking up to face the stranger, he finds that of a woman. She looks to be roughly their age, if not only a year older. Her slightly orange brunette hair goes to her elbows. She doesn’t look mad. In fact, she stares at Darcy with a stone-cold face.]

Strange Woman:

There was no harm done. [She says with no emotion in her voice. Her accent is distinctly British. She smoothly brushes her mostly curly hair out of her face.]Go on, now. I assume you are set for an interview. 

    Darcy:

Was it that obvious? [He awkwardly chuckles, readying himself to continue moving.] Well…bye. [They quickly race away from that weird encounter.] 

[The Strange Woman’s gaze remains on Darcy as they make their way to the library. For a brief moment, there’s a small curve on one side of her lips, but it quickly disappears.] 

  Scene Transition

[Int. Blackview Library. Darcy rushes inside, making their way to a circular desk. It sits in the center of the surprisingly expansive room of books. In the middle, stands a blonde, middle-aged woman. Her hair is tied up in a bun, with strands sticking out here & there. She wears a black woman’s suit, looking like she’s from an office more than a library.]

  Librarian: 

                   What can I do for you today? [Her voice is almost sickeningly friendly.]

    Darcy:

I’m here for the interview. Darcy Holloway?

  Librarian:

[Looks at her computer for a moment, clacking at the keys.]

Oh, Darcy!I see you here! Have a seat at one of those tables. Martha will see you in a moment. 

    Darcy:

Can do! [They nod, make their way to one of the wooden tables & find a table, sitting in one of the four seats. He sits there for a few moments. He looks around the library while waiting. The camera follows where they look. He looks at the shelf of books to his left. Nobody appears to be looking at any books from that shelf. That is, until they blink and see who looks to be the woman they bumped into on the sidewalk. She looks as if she is edited into the room somehow. She is looking at the books, seeming to be searching for something in particular. Her head then turns, looking directly at them.]

    Martha: 

    Darcy?

    Darcy:

[Lightly jumps in shock, before bringing her attention to the older woman to their right.]Hello. I’m so sorry for–

    Martha:

Don’t worry. A library is a good place to daydream, so I don’t blame you. [She smiles warmly. There isn’t one bit of it that feels disingenuous.] Now, let’s talk in my office.

[Darcy gets up & follows Martha away from the table.]

End

Tags: @darkiplurrr @lildevyl @maxthelocalemeraldmayor

[foxlascl]

8gb vs 16gb ram animation rendering

#8gb vs 16gb ram animation rendering full

#8gb vs 16gb ram animation rendering pro

#8gb vs 16gb ram animation rendering mac

#8gb vs 16gb ram animation rendering windows

#8gb vs 16gb ram animation rendering pro

The M1 chip will breeze through 4K editing using Final Cut Pro X. In fact, it takes a lot of loads to really slow down the computer in a significant way. Based on the test results above, we assume that the base 8GB M1 MacBook Air model has enough power to handle even users who do a lot of multi-tasking. The M1 Chip provides a noticeable improvement in the system performance of the MacBook Air lineup. Is the 8GB M1 MacBook Air powerful enough? In addition, we believe that the additional GPU core can smoothly handle a little more graphics and ML heavy tasks without problems. For most people, 7 cores are more than enough to enjoy several YouTube videos without any frame droppings. Upgrading to the MacBook Air 512 GB returns that one missing GPU core. Swiping between full-screen videos on the external display happens smoothly without any frames dropping.Īs far as the GPU is concerned, the 8GB MacBook Air 256 GB SSD has only 7 cores compared to the 8 cores of the 16GB model.

#8gb vs 16gb ram animation rendering full

The tests on both machines, however, show very promising results.īoth models smoothly handle up to 13 applications running in the dock with 7 full-screen YouTube videos playing with full resolution. Attaching an External DisplayĪ lot of people are questioning the output of the MacBook Air with an external monitor connected to it.

#8gb vs 16gb ram animation rendering mac

This is a significant amount of load and we have to admit that it does take a lot to make the base 8GB model slow down.Īs soon as we close down a few Safari tabs, however, both Mac computers return to their usual performance, with all working smoothly. Slack is set to run on full screen, Spotify is in the background, and only then the 8GB model displays the familiar spinning wheel of death.

#8gb vs 16gb ram animation rendering windows

For the needs of the test, 12 applications are set to run simultaneously, 20+ Safari tabs are opened, 6 Safari windows are set to play YouTube videos. To see at what point there will be a difference in the performance of the 8GB model compared to its 16GB sibling, both Mac machines are pushed to the edge. However, the 16GB of RAM really is a game-changer when it comes to multitasking. Multitasking and overload testsįrom the Geekbench 5 test results above it becomes clear that the more RAM would not affect the real raw processing power of the 16GB M1 MacBook Air model. So, in order to decide which one is worth it more, we need some more test results. These results show no significant difference in the performance of the two tested machines, considering the difference in their RAM capacity. The 8GB single-core test scores at 1728 points compared to 1733 points for the 16GB. In a test run in the Geekbench 5 cross-platform benchmark, the 8GB model obtains 7582 multi-core points in comparison to the 7586 points of the 16GB model. So, without further ado, here is how the M1 8GB Air compares against its 16GB variant: Geekbench 5 Benchmark Macbook Air M1 8gb vs 16gbĮven though both MacBook Air models aren’t that different, pushing them to their limits can help you decide which one of them can fit your needs best. As time goes by more and more developers will have optimized there apps and you can expect to see your Mac to run faster, with less ram and longer battery life. Also, since only a small percentage of apps have been optimized for the M1 chip they tend to be very resource intensive on all Mac Silicon. MacOS keeps getting new updates which helps performance. However with these new M1 chips in the upcoming year, we will be seeing something which looks like the exact opposite. This is an inevitable part of a computer’s life cycle. Usually over time programs evolve with more features and become more ram intensive. To many this may seem like a backward step when upgrading from an older Mac, however, the M1 architecture has been constructed to take advantage of more swap memory as the newest generation of SSD have a considerably faster read-write speed and are more resilient to heavy use. This brings up the question of how healthy is this for your SSD. More than a few of our users have seen up to 10GB swap memory used when multitasking.

Is the 8GB M1 MacBook Air powerful enough?Įxpect both models to use a considerable amount of swap memory.

Buying 16gb of Memory for futureproofing.

[princessozera]

@otomeberry

I swear I didn't forget to answer, I straight up just couldn't figure it out until recently 😖 (from MC is a wheelchair user)

Because I don't remember the specifics of season 1 my sister and I came up with this:

Lucifer mentions that the door itself can't be seen or detected by demons. That itself would be weird considering they live in this house, but I'm assuming the attic is a new edition to the house that Lucifer made the day he decided to lock Belphie up for his own good (similar to Lilith's room being hidden).

So if I'm understanding this correctly, the stairs are visible to everyone, because the upper floor has always been there but that specific room is new and hidden from demons.

My train of thought is that after MC gets Mammon's pact, if Belphie's wailing keeps bothering them, they'll ask Mammon about the "ghosts" in the house. He won't take them seriously, either saying their hearing is wrong or playing it up to spook MC, but they're smarter than that.

Lucifer only seems to guard the staircase at night, and his pride will once again be his downfall, he underestimates MC and so he doesn't bother to put up wards or protective spells on the staircase when he isn't there. So once they get to be better friends with Mammon, they'd probably ask him to give them a better tour of the house and make an excuse to want to see the upper floors, even if Mammon says there is nothing up there to see. He'd think MC is insane for talking to a blank wall but even more concerned when they explain that there is a curse on the door and his brother is actually behind the hidden room. Since this would still be early on when no one seems to want to talk about the youngest brother, there is no other way for MC to know Belphie's name unless they're telling the truth.

Belphegor would manipulate both Mammon and MC into getting the rest of the pacts, and so while it would have taken MC a little longer to actually go up the stairs and meet Belphie, getting the rest of the pacts goes pretty smoothly because now they have Mammon's help and most should follow along the lines of the canon story.

The only other super big change might be getting Leviathan's pact. MC might not think about challenging Levi to a nerd contest since they no longer need the record to distract Lucifer, so they would have to find another way to get the pact- probably Mammon getting his hands on a super rare Ruri-chan item and using it as leverage for the pact. It's cool, it's revenge for threatening Goldie anyways.