I think everyone is aware Patch 7 fixed Gale’s ‘last name’ dialogue so that it activates in the game now, but equally as important is that it also fixed his expressions, too. Previous datamined clips showing this dialogue had him looking very ‘flat’ while he spoke, so you couldn’t really read into his emotions:
Gale: You like so many things about me I’d have sooner discarded…Your generosity is quite wonderful. Gale Dekarios likes you too. Very, very much.
Now, after watching the updated animation, it struck me how he says “Gale Dekarios likes you too” with a serious, sincere look on his face—but then he pauses, and his whole expression shifts into a loving smile as he emphasizes “Very, very much”…
Look me in the eyes and tell me this isn’t him thinking about how he’s going to propose to Tav 🥹
Starting this Thursday we will be sending letters to Netflix! Please prepare letters with all of your love for the show to convince Netflix to reverse their decision! 💜
Please use the following address: 5808 W. Sunset Blvd, Los Angeles, CA 90028 US
Every other week will be a letter mailing week so everyone has time to prepare their letters to send them on the selected Thursday's! You can send as many as you want to Netflix HQ and show them just how much you love Dead Boy Detectives!
still thinking about what happens when kyle corrals you back to your place after trivia. he probably pulls up questions saved to his notes app and gives you a pop quiz while you ride his dick. sweating and stuttering your answers, hands splayed to keep yourself steady because he won't even touch you. smug bastard. him bucking up hard every time you take too long to respond.
only after you rack up a sufficient number of points will he roll you over to give you your prize. whispers something stupid that annoyingly works for you. probably second place isn't so bad, is it?
rewatching the first episode of Hannibal and holy shit I forgot how good this is but it's actually insane that Brian fuller set up the ep like this, he introduces will and Hannibal by first briefly showing them at their core, at the darkest, most vile part of them---we get a glimpse behind the curtain---and then its gone, the curtain is snapped shut and we see their masks, their human suits.
Will empathizes with killers because he likes it, and he wants to kill but he refuses to give into the urge because he knows how much he'll like it and he won't be able to stop. So he lives vicariously through other killers, satisfying his own dark urge by feeding it little morsels of secondhand blood lust. Every crime scene he works gives the urge something that satisfies it, not enough for it to grow, but enough for it be sate. Enough that he can ignore it for long enough that he can walk around and be Professor Will Graham who is Weird, Brash, and Non-sociable.
And Hannibal is a cannibal at night and a psychiatrist by morning.
I keep on telling people you're the only one who knows how to plot. Can you teach all of us how to plot, please? I love you.
I AM SUMMONED? PLOT BRAIN SUMMONED?
I love plotting. It's my favorite part of the writing process. Plot is "things that happen" and the best part of writing is imagining things that happen. I'm going to assume that whoever may be reading this knows how to imagine The Happenings, so I'm gonna be talking more about structure, but in like, a kinda abstract sense.
A good plot is a little bit more than a string of events. Plot is like music: there's variation in rhythm and sound and melody, but ultimately there's cohesion, because it's all one song. You can have a bunch of wild things happening, but no matter how strange, there should be something that links them all together, because you're telling one story.
Plot structures are patterns in stories. I'm pretty sure most of them were developed as analysis tools (as in, story already exists > look! it follows this pattern) rather than as writing tools, but people use them as writing tools because it's a neat little way to organize the chaos that is "shit happens." Stories follow patterns for the same reasons music follows patterns: we enjoy the certainty of hitting certain beats. But we also like being surprised. A good pop song doesn't sound like a random collection of sounds, but it also doesn't sound like the middle slider of other songs.
There is this shared concept in both music and writing: the idea of tension and release. Basically, you're playing with reader expectation: there's an imbalance in the experience (tension), and we want to see that imbalance resolved (release). All the common plot structures deal with this basic pattern:
You set an expectation
There are complications to the expectation
You meet the expectation
And this rhythm is happening on multiple levels in writing. Scenes follow this structure (we're gonna get past that door, we're gonna find the murder weapon, we're gonna collaborate and come up with a plan) and all those scenes feed into the overarching expectation (we're gonna solve this murder!). I usually think of chapters as their own mini-story, part of the larger whole. And I think of scenes as their own mini-story, part of the larger chapter. I have engineer brain. I see the gears spinning in the clock. That's why all my chapters have at least One Important Thing happening, because that's that particular chapter's Step #3.
And One Last Important Thing:
In music, a delayed resolution is almost always more interesting than the standard resolution. In writing, that means you wanna drag out Step #2 for as long as you can. That's where the bulk of the story is happening, that's how you build tension, that's how you get people to turn the page.
So when you write a fake dating fic, those bitches better not get together until the very end. I came here for fake dating, not for real dating, damn it. If you resolve that expectation early on, you better replace it with a different expectation that's just as engaging.
But also don't drag it out for too long. Sorry. The hard part of writing is learning the difference between too short and too long. Writing is unfortunately a nuanced skill which is why my advice is like "do this but not too much teehee." But tension and resolution is just rhythm, you can build a sense for it if you engage with enough stories.
“—so sorry! I swear I didn’t mean to kill him! It was an accident! He just jumped me out of nowhere and I have had bad experiences with clowns in the past so when I saw it was a clown trying to kidnap me I kinda just panicked and punched him! I swear, dude, I didn’t mean to hit him so hard—“
Jason, much too calmly, likely in some form of shock, rises from the crouched-down position he had been in to check the clown corpse’s pulse.
He had seen the poor, still rambling, twink getting grabbed from a distance and was about to step in as Red Hood, not even having been aware it was the Joker who —shouldn’t he have been in Arkham? There has been no announcement of him breaking out yet— had grabbed the guy until he had run close enough to the scene.
Which was after the guy had already been startled so badly by the Joker trying to kidnap him that he sucker punched the Joker into the wall of the alley so hard the clown died.
Said twink then realized what he had done and that he had a witness, that witness being Red Hood himself, and had started his frenzied speech on how it was an accident and to please don’t take him to jail he’s only just started his scholarship at Gotham U. and he can’t have murder on his track record yet.
Breathless, Jason looks at the nervous twink in front of him, who's still trying to plead his case, and who just obliterated the Joker with a punch.
Before his brain can catch up to his mouth, he’s already cutting the distressed monologuing off.
“Can I kiss you?” He blurts out.
Danny, taken off guard, breaks out of his panicked—oh, Ancients, I just killed someone— stupor and lets out a startled laugh.
“Take me out to dinner first” came the automatic joking reply, Danny still largely in shock of what he did.
Jason, either not picking up on the joking tone or ignoring it, nods seriously, already trying to come up with the best place for a dinner date with the cute twink to thank him for his service to the city.
Danny, who has calmed down slightly by now, glances between the red-helmed vigilante and the clown corpse. His gaze lands on Red Hood and he hesitantly speaks up again.
“So, uh, what happens now? Do I need to go to the station to make a statement orrrr?” He pauses awkwardly.
Jason, who’s still trying to figure out whether the Bat Burger would be a good place for a first date or not, doesn’t reply.
“I’ve got school in the morning and I only have like,” he pauses to check his phone for the time, “3 more hours before I have to be up for my first lesson. Soooo, I’m just gonna go. That cool?”
Again, he waits for a reply. But it doesn’t come.
“Right. Cool cool. Uh, see you later? Mr. Red Hood dude sir?” Danny gives a clumsy and awkward salute before turning tail and speed-walking away.
It’s not until 30 minutes later, once Jason has finally decided on the perfect place to take the guy to dinner to, that he realizes the twink is gone.