#i still actually draw elemental characters TO THIS DAY

[acatpiestuff]

remember years ago when i would draw grillby almost every day lmao

[toytulini]

if you draw enough monster ocs, when you go back to drawing a human character, it feels like "sameface syndrome" everytime, by virtue of their face being. human.

[localghostgorl]

I love having a big ol’ party with the Vistani because the wine is good but the music is better. Enjoy an Ireena dancing :)

Live Grisha reaction:

I do commissions!      

[sysig]

Cursed clipart Charm <3

[38sr]

My Adventures with Superman EP 4: Design Works

My goodness it feels so strange to see these designs two years later but I actually had a hand in Clark, Lois and Jimmy’s gala suits in episode 4 of My Adventures with Superman!

This happened WAY back in Sept 2021 but during my first week on the show I jokingly sent a piece of art to one of the design leads and well, one thing led to another:

This is kind of running gag with my work, but I somehow always predict things when I draw fanart haha. I truly didn’t know there was gonna be a gala episode and now I was tasked to do a pass for the main trio’s gala outfits.

CLARK KENT

Naturally since it started with Clark, he was the first one I did a pass on. I actually really like men’s suits design so this was the most fun to design out of the three. Overall, I drafted up four different suits that gave 4 different feels for our soft boi. Option A was a full 3 piece with slick backed hair (which honestly now feels very Bruce Wayne than Clark haha). Option B had a high school prom feel, Option C was more business casual (hence why his dress shirt was unbuttoned at top) and finally Option D was sleek turtleneck & suit combo. Honestly, I was rooting Option D ‘cause I’m a sucker for a turtleneck but if I  remember correct they went with Option B ‘cause it felt the most Clark. But just know I tried haha.

LOIS LANE

Lois’s outfit was quite challenging since I had no clue until I was given the assignment that she’s Korean (yes, Lois is canonically Korean in the show). I remember the design leads Jane Bak and Dou Hong showing me a rough concept of a modern hanbok. I spent so many days researching hanboks and the construction behind them...it truly was a learning experience for me haha. It was quite challenging trying to create and outfit that spoke to Lois’ heritage while still keeping her energy. This was my very first pass but I think ultimately the team did a great job to hone in the final look and balance both elements for her outfit (the backless top is just chef’s kiss). Also yes, I did try giving Lois slick back hair haha.

JIMMY OLSEN

There isn’t much to say about Jimmy’s outfit (sadly I left the production to work on Spiderman Freshman Year before seeing what they decided on). But from what I remember, I specifically was looking at men’s outfits from the Met Gala from that year and before (I think Chadwick Boseman was the biggest influence for me at the time). Though I think his final suit design aren’t like too far off from my initial thoughts, it’s still super cool to see how it evolved into the final look!  But yeah! Just a little behind the scenes on the work I got to do on the show. Again, super brief since Spidey was calling my name but I truly had so much fun getting to design for this show. MAWS was my first ever time doing design work (since I primarily work as a 2D animator and board artist). I was so nervous but the team was welcoming and taught me so much! I really have to thank Dou Hong and Jake Wyatt for taking a chance on me and allowing me to draw hot anime characters for a DC show haha.

[physalian]

In Defense of Fanfiction (Or the perfect starting point for your original novel)

Fanfic gets a bad rap pretty much everywhere except Tumblr. It’s misunderstood and misrepresented by its average works, seen as juvenile and cringey, or a banal point of contention between a famous person or piece of media and its fans.

Outside of fanfic that writes about real people, especially smut fics of real people, I support the art wholeheartedly. Fictional characters are one thing, but personally, caricaturing a celebrity’s life for public consumption and writing or drawing them in compromising content without their consent is a little weird. You do you. Don’t like, don’t read, as they say.

Fanfic is the perfect starting point for a few reasons:

It places you in a creative box and forces you to work within those constraints

It does all the worldbuilding and character concepts for you

It lets you write way outside your comfort zone

When published and receiving feedback, it boosts your self-confidence

It's incredibly flexible

It’s practice. All practice is good practice

—

Behold your creative box

When I was little I had no idea the majority of fanfic was shipping fics. I always pictured and looked for canon-divergent alternate universes. Like, what if X happened in this episode instead of Y? What if this character never died?

Fanfic demands you work within someone else’s canon, whether it’s an OC in the canonical world, or the canonical characters in an AU. These are like little bowling bumpers saving you from the gutter, but also keeping you on a straight-ish path toward the pins.

The indecisiveness of too many choices can be too intimidating when you’re first starting out. You want to be a writer but you have no idea where to begin, what genre to pick, what characters you want to chronicle, what themes you want to explore.

Even if it sits on your computer never to see the light of day, you still got those creative juices flowing.

Pre-packaged worldbuilding

Sometimes all we want is to get to the good stuff. Maybe I want to write a story about elemental magicians but Last Airbender already exists and I just want to play in a pre-existing sandbox. So I write some OCs into that world and have a free-for-all.

I don’t have to come up with my own lore, world history, magic system rules and mechanics, politics, geography—any of it. I get to just focus on the characters.

Even if you’re writing an AU, like say a coffee shop AU, you don’t have to think about brand new characters, you can just think “What would M do?” and go from there. The trade-off is your readers will expect canonical characters to behave in-character, but I think it’s worth it.

Stretch beyond your comfort zone!

Do you hate writing action scenes? Go practice with a shonen anime fic. Need work on dialogue? Write some high-fantasy fic, or a courtroom drama. Practice a fistfight by watching fistfights and writing what you see, and do it over and over again until what you read makes you feel like you're watching what’s on screen.

But beyond that—practice genres that you aren’t super familiar with. If you’re new to fantasy, write fantasy fic. Or a mystery novel/show, thriller, comedy, satire, adventure, what have you. The nature of fanfic still gives you those “guardrails” and you can get some brutally honest feedback on how you’re doing.

And, of course, the realm of M-rated romance and smut fics. I haven’t because I think I would die of embarrassment if I tried and I never intend to include sex scenes in my works anyway, but if you do want to, use the internet as your test audience. Post it on a throwaway account if you’re nervous.

Build that self-confidence!

The fandoms I used to write for are super dead, so it’s insane how I still get email notifications that so-and-so liked my fic to this day. Comments are as elusive as ever, but random strangers on the internet telling me they liked my work is a magical reassurance that my writing isn’t actually awful.

Random strangers on the internet are, as we all know, beholden to no moral obligation to be kind to your little avatar face, or be kind to be polite. So a rando taking the time to like my work or even leave a positive comment can feel more honest than one of my friends telling me what they think I want to hear.

I tend to avoid the more present aspects of fandom like online communities, forums, social media, what have you, so I get a delayed and diluted aspect of any given fandom through completed works. Which means, in general, I get to avoid the worst and most toxic aspects of fandom and get to sift through positive feedback and critique.

Even if your fanfic isn’t written with stellar prose, it’s fanfic. We don’t expect Pulitzer-prize winning content. And if your work isn’t up to snuff, people are more likely to just ignore it than put you on blast (at least in my experience, I never got a bad comment or a “flame” in the old FFN days).

Fanfic doesn’t care about the rules of published literature

On the one hand, try not to practice bad habits, but with this point I mean that your layout, punctuation, formatting, paragraph styles, chapter length–all of it is beholden to no rules. I get as annoyed as the next reader with giant blocks of paragraphs, or the double-spacing between pages of single-sentence paragraphs, but if the story’s good enough I might ignore it.

There’s more than just straight narrative fics, though. People write “chat” fics, or long streams of text and group chat conversations. The scene breaks can come super rapidly–I’ve seen fics with a single sentence in between line breaks to show the passage of time. And without the polish of a traditionally published novel, I’ve never seen a purer distillation of author voice in any medium more than fanfic.

All practice is good practice

Even if it’s crack fiction, or a one-off one-shot, or something meant to be lighthearted and straightforward and free from complex worldbuilding and intricate plots. It really helps break writer’s block when you can shift gears and headspaces entirely and you can get relatively instant feedback to keep you motivated.

Beyond that, the “guardrails” help you stay consistent as far as character growth and personality if you struggle with designing rich characters.

The most recent fanfic I wrote was just a couple years ago, for a dead fandom I didn’t think would get any traffic whatsoever. It wasn’t my original works, but the feedback on that fic gave me the kick in the butt I needed to get back into writing more seriously.

—

In short, I support fanfic. I may not be proud of my earliest fics' prose now, but I am proud that they walked so I can now run.

[hana-no-seiiki]

I saw that you need ideas, so how about a yandere from the Neons? I mean, I would like to see more content from them since they represent the elements in Honkai star rail, by the way, sorry if you don't understand, my English is bad... I leave you a little drawing of a masculine makima (it has nothing to do with it, but as a gift ) xd Also, I don't know if I'm the only one, but Nanook makes me handsome >///<

(Sorry, I had already finished it but the work was stained hahaha and I did it again)

Yus the Aeons are so cool looking!! You really feel like they’re actual gods of the universe, especially since you don’t see them first hand (at least for now). Also Masculine Makima reminds me of Karma Akabane lol. I’ll draw it in my style, and add it here as an extra for you ♥️

Hb we mash those two topics up together actually?

warnings: mild yandere themes. mild spoilers for csm. major canon divergence. reader takes the shape of a masc/amab character but it isnt their original form.

status: unedited. updated art.

YANDERE! AEONS + VARIOUS! HSR x AEON OF FEAR/CONTROL! READER

You have no memory of your conception, only that you started existing for what felt like an eternity.

You represented fear and despair, but unlike IX whose mere presence drove humanity into insanity, or the rest of your fellow aeon’s godlike status amongst the world,

you walked around as a normal, ordinary human being.

As normal as an Aeon can get anyways.

In your current lifetime, you took the shape of Himeko’s “brother”, planting fake memories into her mind and being the one that urged her to travel the stars. While she was the navigator, you took the role of conductor before creating Pompom to supplant you.

Welt always knew you weren’t just a regular person. Your eyes always felt distant, so far off that not even a century’s worth of trail blazing would allow him to come close. As such he mostly kept cordial relations with you.

The youngsters of the bunch on the other hand, never seemed to realize the sheer magnanimity of the danger you held and always hung around you.

Particularly that Caelus. The newest addition to the crew. The stellaron within him always pulsed in some sort of giddiness and excitement whenever you were around. The boy couldn’t help but be a nervous wreck when he was around you. Stuttering and stumbling was a common occurrence whenever you so decide as to just breathe at his direction.

You knew what those Stellarons are, their nature, their purpose, the way they were created. In fact if you wanted to, you could have taken the Astral Express straight to the source of it all, your partner: Nanook.

However that would have ruined the fun of it all. So you chose to let them have their little adventures before the final confrontation.

Also because you signed a contract to not meddle with Nanook’s business in exchange for your freedom. But that was another story to tell.

“Why . . . why do you continue this farce? This utterly worthless play?”

IX’s voice rang within your ears and no one else’s. You were the only being it ever gave the time of day to. You imagine it to be the reason why insanity slowly built itself within the recesses of your head.

“You may see the entire universe as worthless . . . but I,” You breath hitched. You looked around your room. Time was frozen. Everything turned grey. You weren’t afraid of the others in the express hearing you, just that the following words you were about to spout out felt like bile on your mouth. “I suppose I’m still a bit like them in a way. I wish to see the world without its evils.”

“And destroying them. That is my first step.” You summon an orb of golden light. Stellarons. The creation of the very thing that made you loath all evil. Including yourself. You will eradicate these and then Nanook yourself. One day.

“Is that why you send those hunters out?”

“Perhaps.” The orb within your hands get covered in chains, quickly getting crushed within the metal like substance as it soon disappeared.

“Do as you wish. Just do not bother me like that imbecile.”

“I promise. I will be much worse than Yaoshi.”

IX remained silent for several seconds, no doubt regretting its decision of associating with you before adding, “. . . And do not die.”

“That one I cannot guarantee.”

Your room’s color returns, time continues. Signaling the end of two Aeons’ encounter.

Nanook, the Aeon that threatened to eradicate all that you love. All so they could have your soul once more. Within your gilded cage. Within your original body that lied dormant.

The Destruction will no longer be a path. That is a guarantee you write upon the stars when your Trail Blazing lifetime eventually comes to a close.

The stage is set, your actors ready.

All you needed was the cue.

Your gloved hand arose, pointing towards the express’s windows in the shape of a gun.

“Bang.”

[darkficsyouneveraskedfor]

The Farmer's Daughter 9

Warnings: non/dubcon, and other dark elements. My username actually says you never asked for any of this.

My warnings are not exhaustive but be aware this is a dark fic and may include potentially triggering topics. Please use your common sense when consuming content. I am not responsible for your decisions.

Characters: Walter Marshall

Summary: You notice a peculiar change in a family friend. (short!reader, sorry size kink is out)

Part of the Backwoods AU

As usual, I would appreciate any and all feedback. I’m happy to once more go on this adventure with all of you! Thank you in advance for your comments and for reblogging.

After the tense morning, you don't speak to Walter again that day. Or the next. When he arrives, he stays outside with his thermos of coffee and waits for Timothy. At the end of the day, he gives your brother an excuse about chores at home. Maybe not an excuse. He has been spending a lot of time around here.

Nearly a week after it happened, after everything changed, your mother appears in the kitchen with a crease in her forehead. You offer her a cup off coffee as she rubs her eyes. She yawns and and shakes her head.

“We'll grab a cup at the hospital,” she says, “you're father has a check-up. Timmy's taking us.”

“Oh?” You pour yourself a mug and lean on the counter, “I forgot.”

“Lots going on,” she sighs, “can't blame you for being distracted.”

“Uh, yeah, I guess,” you shrug.

“I called Walter, left a message,” she checks the clock hung above the door, “wouldn't be too bad if he did swing by, huh?”

“Hopefully he doesn't waste the time,” you grumble.

“Honey,” she chides playfully, “you know, I think your dad would approve… if he could. He always liked Walter.”

“Mom,” you frown, “please, I have enough to worry about.”

“Oh, I'm sorry,” she whines, “I'm just… looking for a little sunshine through the clouds.”

You wince, a pang of guilt between your ribs, “I'm sorry, mom, I just… Walter's nice. He helps so much and I think… I think maybe it's too much.”

“Don't I know it.  He is so generous. I gave him some money and I found the envelope in my purse,” she tuts, “you could do much worse. He… he could take care of you.”

You exhale, “mom.”

“Just listen,” her tone turns dire and her eyes gleam, “your pa can't. He's not gonna be able to ever again. I already know what the doc's gonna day and you shouldn't fool yourself. Walter won't help forever, not for no good reason. And next year, your pa won't be back on his tractor…” she sniffles and dabs her nose, “those days are behind us.”

“Ma, you don't know–”

“I do,” she utters solemnly, “I see the man I married but he's hollow. He's… a shell, honey. He's there but he's not really.”

“Oh, ma–”

“I'm just saying… we need to weigh our options. I'll look into selling if we gotta and Timmy, maybe he can go work with Walt–”

“Aren't you getting ahead of yourself?” You cross an arm around your middle.

“We shoulda been talking about this a week ago,” she shakes her head.

“Well, I can apply at the grocer or–”

“You do that,” she says, “but you think real hard. You got options,” she steps closer and cups your cheeks, “you're a pretty young thing. That doesn't last forever.”

You don't say a word as her greyness seeps into you. She draws away and you bow your head. You wait for her to go as you stare into the black depths of the coffee. You take a sip to try to chase away the ice in your veins but it only sends a shiver through you.

🌾

Your parents go off with Timmy in the truck. You set to sweeping the porch to keep yourself busy. Your mother's words ring in your ears. She can't be serious, there's more out there than the farm. Pa always said as much and you don't think he meant Walter.

As you get to the steps, the distant rumble of an engine rolls over the ground. You turn as gravel grits under treads and Walter's large truck lazily rocks along the bumpy road. You still the straw broom and grip the handle as he pulls up. Did he not get your mother's message?

He lingers in the truck as you squint against the sunlight. His door pops open and he jumps down, sending up a cloud of dust. He goes around the bed of the truck and opens the back.

He slides out a sheet of wood and drags it towards you. You watch in confusion as he stops and leans it against the side of the porch. His eyes meet yours and his brows furrow.

“Morning,” he checks his watch, “barely.”

“Morning, Mr. Marshall,” you eke out.”

His eyes flash and he nods. He turns and marches back to the truck, pulling out several planks before carrying them over. You watch him as you lean on the broom.

“What are you doing?” You ask.

He stops and looks up at you. He points to your feet and flicks his finger up, “building a ramp. For your dad.”

You look down at your slips flecked in dirt and stray strands of straw, “oh? Didn't ma call–”

“She didn't ask,” he says bluntly. 

Your lips slant and you tilt your head, “that's real nice.”

“Yeah well, I'm a nice guy,” he huffs and spins on the heel of his boots, stomping away once more.

He goes back to the truck and retrieves his toolbox. His agitation roils off his tense shoulders and the stone set in his jaw. You're too afraid to ask but you do need to. He has been avoiding you.

“Well, I'll stay out of your way,” you lift the broom and back up the stairs. “If you need anything–”

“Not in the way,” he says curtly as he takes out a measuring tape.

“Oh, I know but I wouldn't wanna bother–”

“I don't mind,” he shrugs as he steps onto the stairs and measures the angle over them.

“Right, of course, do you need anything? A glass of water or–”

“Seems like I'm the one bothering,” he stands and lets the tape retract harshly.

“No?” You bat your lashes at him, “I didn't say that, Mr.--”

“Walt,” he growls, “you know what I like best in a woman. Honesty. So why don't you be honest and tell me what you really feel?”

“I…” you gulp, “Walter, er, Walt, I… I'm just… confused.”

“Don't act like a child. We both know you're not,” he crosses his arms over his broad chest. You've seen him angry before but it's never been aimed at you. 

“I… I don't know what to say. I'm sorry.”

“Sorry. Okay,” he shakes his head and unfolds his arms, going back to measuring, “I'm open to talking when you wanna be an adult.”

You flinch as you watch him. He grits his teeth, ignoring your presence as he focuses on his work. You turn, hiding the hurt deep in your chest. You never meant to hurt him but you really don't know. As much as you try to wade through your feelings, you only feel as if you're drowning in them.

[chiscribbs]

Updated Future Donnie Concept Art!!!

So, I've been hesitant to try my hand at designing an Apocalyptic Future version of Donnie for a while, for a number of reasons - mainly that I just didn't have a clear idea of him in my brain yet and the thought of attempting to update his already pretty perfect design was highly daunting - but I finally caved and decided to take a crack at it. A couple months and several revisions later, I'm actually genuinely happy with the result. I'd still consider this "concept art" more so than a final design, elements of it could definitely be improved, but I really do like the concept as a whole - I think it could work!

The main goals I had in mind while working on this were: A. Must fit the character/look like something Donnie would canonically wear and still be easily recognizable. B. Must work in the Rise world & style (i.e. not be overly detailed or have too complex a silhouette.) C. Must fit in with the other (canonical) Future Rise designs.

I was also thinking about what problems Donnie might be trying to solve, which is what inspired the belt (more info on that below). All-in-all, although there might still be a few kinks to work out, I think I managed to come up with a pretty solid base design for my favorite Warring Warrior Scientist (Jr.)

Some additional character tidbits under the cut.

Also, I can't draw mechanisms to save my life, so just pretend those vague ninpo-gun-things make sense lol

Donnie has a mechanical prosthetic leg. How'd he lose that leg? Up to interpretation - my working theory is that it was a minefield accident that occurred when he was trying to blow some Krang dogs to Timbuktu. Naturally, since it's Donnie and they are in the midst of an alien apocalypse, he designed the leg to do a whole lot more than just help him stand without falling down. It's a multifunctional tool that contains a plethora of secret uses - including, but certainly not limited to, sawing off ugly Krang faces. It's essentially his new tech bo.

Bonus leg tidbit: Casey Jr. saw him deploy the saw blade in battle once when he was little, he then proceeded to beg for a saw-leg of his own to fight the Krang with. Donnie, realizing that amputating a perfectly healthy child's leg is probably not that most morally acceptable option, instead made him his own "sawing stick"(AKA, his motorized hockey stick)...which the others then made him wait until Casey's 10th birthday to give him.

The belt that Donnie's wearing here is a prototype of his latest invention. Its intended purpose: to deflect the Krang's mystic-blocking attacks, allowing them to use their ninpo in close combat. It took a lot of risk-taking to collect the necessary information to create such a device, and he experienced a number of way-too-close calls (one of which may or may not have resulted in that large gash across his plastron), but he finally managed to crack the code and pinpoint the frequency of the Krang's sound waves. He's testing it out right now to make sure that it works and is safe to use, but once it's out of beta, he plans to mass-produce them for every mystic-wielder in the Resistance to use in battle. He believes it could turn the tides of the war...unfortunately, the device never makes it out of beta, as he dies before its completion.

Donnie's gloves are fashioned after the ones his dad used to wear in his Lou Jitsu days (with some modifications, for comfort and to make working with screens a little easier and less annoying.) The material they're made out of is far more durable, of course, since he's working with them near-constantly and under varying conditions. But maybe he designed them to look like this as a way of keeping his dad's memory close, similar to Leo's sword hilt?

Ironically, Donnie uses his ninpo probably the most consistently out of all the brothers (even though Mikey uses his to the greatest extent, hence his rapid aging). He's constantly using it to check on the base's security status and multitask while working on other projects. Because his ninpo takes a good deal of brain power to operate, it puts a significant amount of strain on his nervous system and this causes frequent complications. Seizures, spasms, and blackouts become a semi-regular occurrence - especially in the latter part of his life. Donnie does his best to manage them, but the workload makes it almost impossible to do so properly. Mikey is able to help with these attacks when they happen, but Donnie - not wanting his brother to overuse his powers any more than he is already - usually opts to just ride it out and save the mystic healing for people who need it. The exception to this rule being when he's in the middle of an extremely important procedure and can't stop long enough to let the attack pass naturally, then he has no choice but to accept Mikey's aid.

This is probably needless to say at this point, but much like Leo and his other brothers, he is a giant. Equal in height to Leo (if not slightly taller, even without the goggles.) The doodle in the top-left corner of the sketch page where he's next to April is meant to be them sitting, so don't take it as anywhere near an accurate representation of their height comparison. It is not, he dwarfs her by several feet, lol.

[north-noire]

I just had an urge to make my own designs/redesigns on TSE charlie and henry (ofc it's them), so feel free to read my notes/general character designs I had about them! (a little messy, but whatever)

also thought that drawing them with my designs from Hidden Hands AU would be a fun little compare and contrast!! (as my FNAF AU is more game-universe adjacent but still have a few of the novel elements such as Aunt Jen = Jennifer Emily, etc. Tbh I generally treat the FNAF novels and games as NOT the same universes at all, they're completely separate universes in my mind, I feel like it makes the fandom's interpretations a lot more creative/interesting in my opinion since there's really "no canon" universe, I mean we have THREE canons to work with now come on xD)

TSE Character Design notes and my own ramblings below the cut! I mostly just relied on the book descriptions of them and nothing much else other than my own inspiration gathering from 2000s fashion/horror games/media.

TSE charlie character design notes: in the novels' description, TSE charlie had frizzy hair and it was light brown. I found it strange that the graphic novel design overlooked that, so I had to add that in (nothing wrong with charlie's design, I actually quite like TFC Charlie). anyway, my TSE charlie design wears a patchwork denim because I thought it'd give her a little bit more character (and I like the symbolism of patchwork for her - being a person that Henry stitched up together with memories, etc etc. Although I don't like the TSE Charlie = robot twist, it just kinda grew on me) I also wanted her to have a 2000s horror protagonist vibe - although most of the characters I looked at for reference/inspiration had short skirts, so I did a "skirt-like" vibe with her tying TSE henry's flannel to her waist. I like the idea that she kept something of a memento from her father's stuff with her :]

TSE henry notes: his pants are pajamas. man is the ABSOLUTE face of depression. also wanted him to have not seen better days and really look like he's just wallowing in his basement with greying hairs and wrinkles and eyebags and definitely hasn't gone out in weeks, probably a month or so. also thought that glasses would suit him nicely - and I thought him having a long-sleeved flannel and his fit makes him look pretty much from the 2000s/Y2K era. Personally I feel like TSE Henry looked too plain and a problem I had that I had while reading the graphic novel is that they tended to make William and Henry look similar (I straight up thought that one William scene with Elizabeth's memory was Henry. That's how ungodly confused I was) which made it really look uninteresting to me, so I tried my best to make his design describe him a little better.

If you've read this far, thanks so much for reading this! It's just a little fun character design exercise I did and it was really fun having some creative freedom with these two characters!

[septembercfawkes]

7 (More) Things I Wish I'd Known as a Beginning Writer

Last time I shared seven things I wish I'd known as a beginning writer. Unsurprisingly, that wasn't an exhaustive list, and I've been thinking about it some more. So, I present to you, seven more things I wish I'd known as a beginning writer. . . .

1. The Central Relationship Needs an Arc and an Actual Plot

Many of us have been told we need a relationship plotline in our stories, but few of us have received any guidance on how to actually do that (unless, of course, you are writing romance).

And in my first novel attempt, back in the day, the central relationship was not romantic. I had an idea for what the relationship was like, but partway through the story, it wasn't working. And it was becoming super annoying.

What I didn't realize was that it was annoying because it was mostly static. Nothing was changing. The characters weren't growing closer together or further apart. Instead of the relationship plotline having "peaks" and "valleys," it was mostly just a straight line.

Of course, I knew it was going to change at the end.

But what I didn't understand was that it still needed a plot through the middle. 🤦‍♀️ Which means it still needed the basics of plot: goal, antagonist, conflict, consequences.

Not just interesting interactions and conversations. Not just banter and pastimes.

In my last post, I mentioned the three basic types of goals: obtain, avoid, maintain.

Well, in relationship plots, this translates into these three basic goals: grow closer to the person (obtain), push further away from the person (avoid), maintain the relationship as is (maintain).

The antagonistic force is whatever gets in the way of that. If your protagonist wants to draw closer to this person, then an antagonistic force should be pushing him away. If he wants to be apart from this person, then the antagonistic force should be pushing him closer. If he wants to maintain the relationship as is, then the antagonistic force is what disrupts that. This creates conflicts and should lead to consequences. 

If you have a relationship plotline, it needs an actual plot.

2. Choose a Tentative Theme Early, to Better Shape and Evaluate Your Story

If you've been following me for a while, you probably know I consider these three things to be the triarchy (formerly known as "trinity") of storytelling: character, plot, and theme. 

Each of these elements comes out of and influences the others.

This also means you can use each of these to help shape and evaluate the quality of the others.

It's much easier to write a solid story when you understand all three.

If you have only one or two pieces, it's harder to discern which ideas are just okay and which ideas are great. It's harder to discern what does or does not belong in your story.

The best ideas for your story are going to come from and touch each of those three things.

Most beginners are familiar with concepts of characters and plot.

Few know anything about theme.

And fewer still have the desire to learn anything about theme. It's often seen as unimportant or something that "just happens." Okay, sure, it could just happen. Maybe. 

But writing your story will (in the long run) be much easier if you at least understand some basics about theme.

I have so much to say on theme, it could probably fill up a book (and maybe someday it will), but for now, if you want more information on it . . . I'd recommend starting with this article: The Secret Ingredients for Writing Theme. It breaks down the key elements of theme, which can give you a good foundation.

Even if your theme ends up changing a bit, starting with an idea in mind will help keep your story on track.

3. Your Story Needs a Counterargument

Remember when I was talking about theme, and implied I wasn't going to go into it that much more? Well . . . I guess I'm going to go into it a little more.

The thematic statement is the argument the story is making about life.

But it's not really an argument if no one is disagreeing.

This means your story needs a counterargument (I call this the "anti-theme").

This counterargument will often manifest within the protagonist (as a "flaw" or misbelief or something the character needs to cast off or overcome) and/or within the main antagonistic force. 

It can technically show up in other places and in other ways, but let's keep this basic.

So if your story ultimately shows the audience that it's best to be merciful, then a counterargument for that could be that it's best to enforce justice (Les Mis).

If your story ultimately shows the audience that it's best to ask for, give, and receive help, then a counterargument for that could be that it's best to avoid, withhold, and refuse help and do everything yourself (A Man Called Otto).

If your story ultimately shows the audience that it's best to rely on faith, then a counterargument for that could be that it's best to rely on technology (Star Wars IV: A New Hope).

The two arguments are locked in a "battle" of sorts, similar to how the protagonist and antagonist are, because they are in opposition to one another (see #5 in previous article).

The arguments need to be "shown" more than "told." And the counterargument should be given fair weight, because doing so will actually make the whole theme (and plot and characters) stronger.

Here are some examples to think about:

4. Writing More isn't Enough to Take Your Work to a Professional Level

We are often told that if we want to be great writers, we need to write more. And this is true. To an extent. 

I've worked with writers who had been writing for decades, but were still at a beginner level.

I have known writers who bent over backward to meet word count goals, only to end up with a pile of slush they couldn't see their way out of.

I myself have spent enormous amounts of time and words trying to write something brilliant.

But for the vast majority of people, putting in the time and word count isn't enough.

What is the point of clocking in more and more hours and typing more and more words if you don't know how professional-level stories actually work?

Don't get me wrong--you absolutely need to put in time and words, and they absolutely will help you improve! And yes, quantity can improve quality.

But also remember this: You don't know what you don't know.

And if you are practicing imperfectly, that doesn't guarantee that one day it's going to be perfect.

If I have lousy technique every time I go bowling (and frankly, I do), that doesn't guarantee I'm going to get any better if I don't know what I'm doing wrong or how to improve or what good technique looks like--no matter how much time I put in.

This is sadly usually true for writing.

I'm not saying that no one gets to the professional level by only clocking in writing hours, but just that . . . I don't think most of us do. And I think some of us could spend decades clocking in the hours, and really, just be spinning our hamster wheels because we don't know what we don't know--we don't know why professional stories are professional level, so we don't know how to improve.

Hands-on practice is vital.

But so is education.

Sometimes it's actually more beneficial to learn about the craft from someone than to complete your Xth writing sprint to meet your word count goal.

If I could speak to my past self, I would tell beginner me to spend more time studying the craft. In the long run, it would have actually helped me get better easier and much faster than clocking in another hour of writing (that would have ended up in the garbage bin anyway). I've put in a lot of hours that didn't get me very far because I didn't fully understand where I was trying to get, or how.

There is always more you can learn. And especially in the writing world, there is always another perspective to learn what you think you already know. Many writers talk about the same subjects, but come at them from different angles, and learning even those different angles can help you refine your understanding of that subject.

I'm not going to say that tomorrow you have to sign up to take a bunch of courses (though you can if you want), but make time to learn about the craft regularly. You may want to ask yourself: Is it better for me right now to write for an hour or to learn for an hour?

5. Conflict for the Sake of Conflict is Actually Filler--You Need Consequences!

There is an adage in the writing community, which is that story = conflict.

And once again, it's true. To an extent.

But adding a bunch of conflict isn't enough to make a story good.

If the conflict doesn't change anything--if it doesn't have at least the power to change any outcomes, then what is the point? It's just stuff happening.

Who cares if a bomb is going to go off, if no one or nothing significant is in danger of being blown up?

Conflicts need consequences to be meaningful.

It's really the consequences that hook and draw readers into the story. Or at least, the potential consequences. It's potential consequences that make up the stakes in the story.

And they draw the audience in because the audience wants to see if what could happen actually does happen. 

Once the audience understands the potential consequences (the stakes), they care about the conflict, because how the conflict is resolved will affect what happens next. The conflict now has significance because it changes the direction of the story, it changes the future.

Consequences also improve the story by strengthening a sense of cause and effect.

As I touched on in my previous post (see #4), random bad things happening is actually less effective (and makes characters less sympathetic). And random good things happening is also less effective (and makes characters less admirable). Instead, it's better if the bad and good things that happen come as a consequence to how a conflict was resolved.

This often happens even at a scene level. Just as nearly every scene should have a goal and antagonist, nearly every scene should have conflict. How that conflict is resolved in that scene should also carry consequences and affect what's going to be happening in the near future of the story (generally speaking).

Consequences also allow the audience to experience tension, which, as counterintuitive as it sounds, can be more effective than outright conflict. Tension is the potential for problems to happen. Conflict is actual problems happening. Tension makes the audience feel suspense. But suspense often only exists because the audience understands the potential consequences (the stakes) in play.

If there are no known consequences, then the conflict often doesn't really matter to the audience, because they can't see how it will change anything significantly.

6. Starting in Medias Res is Actually Harder, not Easier

A lot of beginning writers struggle with beginnings--which makes sense, because they can be very difficult to write.

And so a lot of beginning writers are told to open their stories in medias res, which translates to "in the midst of things." This basically means you open the story up with some form of rising action (conflict)--usually it's that scene's rising action (see #2 in my previous post).

In other words, you are essentially cutting off the scene's setup.

While this can be effective, and while I may be unpopular in my opinion, I don't feel that it makes things easier. In fact, more often than not, I think it's actually harder to start in medias res.

This relates to what we just talked about above in #5.

When we start a scene in medias res, we are starting with conflict, but if the audience doesn't know why the conflict matters, then it won't hold them for very long.

When you cut off the setup of a scene, you now have to find a way to convey who is there, where is "there," what is there, when, and why we care (the why is the stakes).

--all without slowing the pacing.

This is why I think it's often (though not always) more difficult.

Now don't misunderstand me. I'm not saying you can't start in medias res, or that you shouldn't start in medias res.

I'm just saying it's tricky.

Instead, I would personally recommend starting just before the scene's conflict. Start early enough to give the audience context to understand what is about to go down: where and when the scene takes place, who is there, what the goal is, and what the potential consequences are. Make the setup long enough to convey the important stuff, but short enough to stay interesting.

Then get to the scene's conflict, the rising action.

You can read more than you probably want to know about in medias res here.

7. Yes, You Really Need to Do That If You Want to Write at a Professional Level

This last thing is pretty nonspecific, as it's not about one particular piece of writing advice. When I started taking writing seriously and going to conferences and listening to podcasts and what have you, I often felt skeptical of what I heard. Now, sometimes that skepticism served me well (and has led to many of my blog posts), but other times that skepticism held me back. What's the difference?

Being skeptical of "writing rules" has, in the long (long) run, served me well, because it has actually led me to better understand the rules, why they are rules, how they work, and how and when to break them.

But sometimes it wasn't that I was skeptical of the rule itself. It was that I was skeptical that I needed to do X at all. I was skeptical that professionals actually did X.

For example, I would hear about Swain's scene structureand think, Yeah, there is no way most people actually do all this and put all this thought into their scenes. 

Or I would run into a breakdown of character arcs and think, Yeah, there is no way most people actually do all these things to write a great character arc.

And in the community, I have brushed up against this same mentality from others. Viewpoint is a popular subject. "Do I really need to be in one character's viewpoint at a time?" or "Is it really that big of a deal that I described the viewpoint character's face?"

And I'm like . . . on the one hand, no, and on the other hand, well yes--if you want to write at a professional level and be competing professionally.

Not that no professional ever varies from that, but just that those are exceptions that prove the point.

And it's not even that every professional is consciously doing X thing. They may be doing it subconsciously. But X thing usually still needs to be there, for the story to sound professional.

So yes, you really do need to do X thing if you want to be writing at a professional level.

If you don't care about writing at a professional level, then obviously you don't have to. It's totally valid to write for a hobby or just for fun.

Now I will echo what I said last time. If I had waited until I understood all these things to start writing, I would have been waiting forever. And some things I would have never properly understood without the actual writing process. Yes, we need to be educated on how stories work, but it's also important to sit down and write.

[elitadream]

🎆 Sing for Absolution: behind the scenes 🎆

Hello everyone, and welcome to this summary on how the story was visually built! If you happen to come across this post and would like to read (or reread) the collab @drones-of-innocence and I have created together, just click on the title above and it will take you right to it! 🤗

With that said, let's begin! :D

As some of you already know, this was an idea that Drones had for a long time. It was brought up during one of our many conversations a few months ago, in which she briefly described the plot and sent me a condensed version. I- immediately and completely fell in love with the concept, so much so that I couldn't keep still. 😂💘 I practically begged Drones to let me draw a few frames for it, and she happily gave me permission. At first, what I intended to do was make about 3 or 4 thumbnails, like I had done with One Step Closer.

I returned with 22.

And from there, we both decided "Okay. Yeah. Let's make this official. 🙌💯" LOL

What's interesting here is that, as you can see, some frames didn't make it to the final cut! 🤓 And inversely, new frames were eventually added as the collab progressed. Out of all the sketches that were either abandoned or later deemed superfluous, my personal favorite would probably have to be this shot of Kamek. 😈

From the rough thumbnails I had presented, Drones helped me select the best and most eloquent ones, and I also changed a few other things along the way. For example, one panel that was entirely redone was frame 3 (where Mario enters Peach's room), because the initial composition didn't allow for the reader to see the setting very clearly, and I felt that the establishing shot needed to be wider.

Many of the drawings were also ultimately flipped to give the visuals a more coherent direction and better flow, including this one!

I decided pretty early on that the palette should be made of cold hues, seeing as these events happen to take place at night and that a warm overlay wouldn't adequately have conveyed the more ominous and solemn tone of the story in my opinion. 🤔💁‍♀️

Oh! And I almost forgot: using cold colors for the backgrounds and characters was also very convenient because it helped make the magical effects (the fire, the spells, etc- all the bright, warm and/or complementary nuances) really stand out, which resulted in a more interesting and visually striking contrast overall. 😌🎨

As I do with all my illustrations, I started by cleaning the sketches and adding a unifying background filler for all the frames. Then, I selected the colors I wanted to use (a gradient made of a mix of navy blue and purple) and worked on each drawing individually. Even with simple tones, we can observe the sheer difference that shading makes! 👀😉

There's a visual element that appears in the story and which I had borrowed from Drones before, and that would be Peach's healing magic.^^ ✨ I remember I was fascinated by the idea when I first discovered it in Un Fiore Per Te, which had prompted me to ask her if I could feature it in a piece where the Princess is seen using said power while at Mario's bedside in one of my other tangents. 💞

I kept the effect similar on purpose in Sing for Absolution, so that the slight reference would be easier to catch! 😊

And last but not least, there's that cheeky little Fire Flower! 🤭🔥

As mentioned in a previous ask, the flower actually signifies a lot in this case as it somewhat embodies the deeply affectionate bond between Mario and Peach, glowing brighter and closing its eyes in happiness when the two are close. 💖

While admittedly not the first drawing I made in which a Fire Flower appears, the one that actually inspired both Drones and I to include this symbolic power-up in the story was one that I made all the way back in February for Valentine's Day. 🥰 The subtle yet direct reference can be spotted twice in the text, linking this piece to the collab and establishing a bit of a chronology as well. I was very honored that Drones added this small detail, and I very much look forward to working on more ideas with her in the future! 😁🤝

Big thanks once again to all of you dear friends and followers who have commented and given their thoughts on this projects. Drones and I can't thank you guys enough for your interest and enthusiasm!! 😇💗

ALSO ALSO- I have shared here my visual side of the collab's progression, but Drones intends to give her own side of the story's development soon (explaining some of the themes and narrative elements a little more in depth), so make sure to stay tuned and check her blog as well! ^-^ 💫

[txttletale]

omg is this about that post that goes "the superhero myth is about using the gifts you’ve been given to enrich the people around you, never asking for payment, never advancing an ulterior motive" and how that's the fantasy readers want? To help people??? I admit, it made me feel a little tingly inside, but then I remember that most people reblogging that post enjoy the stories because they care about the relationships and dynamics between the named, reoccuring characters, not about nameless victim of the week, if that. idk, i'm still learning leftist things, but that post, it makes me roll my eyes a bit. No hate to any comic fans or reblogs or anyone-- just saying.

yeah i mean it's correct in identifying a core element of the emotional appeal of -- not all superheroes, perhaps not even most superheroes, but superman et al. at least. and obviously "you should help people who need help" on, like, an interpersonal level, is one of the most unobjectionable stances you could have or promote. but attempting to draw the line between that and "leftist" (whatever that means) politics is just total nonsense. like the exact same ethos is present in and central to chivalric knighthood stories, which are literally propaganda for feudalism so effective that people still romanticise feudal aristocracy to this day.

that post also vastly misrepresents / simplifies to inanity the leftwing critiques of the superhero, which are not just the on its face false "superheroes are an authoritarian¹ power fantasy". although in their modern incarnations many depictions of superheroes are in fact blatant right wing power fantasies of unlimited extrajudicial violence against a criminal underclass (e.g. the nolan batman films), there are much more substantive critiques to be made in the naked individualism baked into the premise and into the fact that superheroes serve near universally to forcefully uphold the status quo (and quite often the actual law)

¹ like "leftist", a meaningless word

[tunamayojazz]

Love your art, any Toge/Yuuta fanfic recommendations? Thanks so much!!

hi!! thank you so much...🥺🩷🩷 and i am SO glad you asked this. i have so many!! here are the ones i read/reread more recently along with some of the tags. tried to make every rec here different from each other hehe have fun reading!!! can't help it (if you look like an angel) by glimmiks (12.4k)

tags: college au, friends to lovers, mutual pining, IKEA

THIS WAS SO FUN TO READ PLEASEEEE i absolutely love college aus so much. and you just know the 2nd years would be the most fun and chaotic as college students. their dynamic is just chefs KISS, and it's written so well here. the mutual pining in here is truly a 10-course meal and i always go back for another round.

i'm alright if you're alright by anonymous (14.2k)

tags: spoilers up to ch146, fluff, hurt/comfort, injury recovery, fix-it, love confessions, pining

post-shibuya fic excellence. i always have such a great time reading this like inuokkos really do eat so well in this fandom. yuta pining is always so great to read like he is Longingly thinking about toge at all times im cry

Magnificently Cursed by diggingupthegrave (91.2k)

tags: dark academia, magic au, magic school au, slow burn, angst, mutual pining

i will always always recommend diggingupthegrave fics. they are easily my favorite inuokko writer pls you have to read all their inuokko fics...i saved this particular one of theirs to read for much later bc i knew it was going to change my life (7 chapters ok) and boy did it do exactly that. the way they implemented canon elements into a magic setting was so so brillaint and i savored every bit of it.

Beat the Turtle Drum by CasuallyScreaming (7.4k) tags: major character death, post-shibuya incident arc, angst, minimal comfort, no shibuya spoilers read this before sleeping the other night and honestly how i managed to still fall asleep after was my body trying to protect me from full out bawling and having a mental breakdown...i don't think i've read a lot of MCD inuokko but god this one shook me to my core. almost like the feeling of loss and grief were bleeding through my phone screen. so well written and while it's definitely mostly painful, the ending....well you'll find out :')

a special occasion by Cheshire (2.5k) tags: idiots in love, established relationship, first dates this was so so cute...!!!!!!! panda: but aren't you two already dating? yuta: well yes! no. sorta, kinda. super cozy and fluffy read!!

is this how every day begins? by mitgi (5.4k) tags: roommates, living together, mutual pining, hurt/comfort, angst i will always love me a roommate au. this fic was such a lovely read and i'm actually going to reread this right after i finish writing this! there's so much to explore in inuokko's relationship and also when it's in different settings. every time i think about how the actual source material are literal crumbs, i'm just even more amazed by how writers are able to draw out the most of what info we have and write their mannerisms so well. it all feels right and so WARM UOGHHHHH

haunted by sieling_fan (3.3k)

tags: pining, hurt/comfort, canon typical angst, character study

😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭

you showed up just in time by diggingupthegrave (14.6k)

tags: time travel, friends to lovers, mutual pining, hurt/comfort, slight age gap

another diggingupthegrave fic that had me crying screaming shaking throwing up because god. this was so so good. the build up had me at the edge of my seat bc like oh my god what happened? what's happening?? why is this like that? @#$%^&*()_!!!!!!!!!!!!! and when it's all pieced together? oh it ended me. read this again and again for DAYS you would think i was researching it for a thesis or something. take your time reading this btw like im so serious.

okie that's all for me from now, i have so many more to rec honestly....sending out 100000000000 hearts to inuokko writers you are my roman empire....

[quibbs126]

And now I have made a part 3 of the human Cookies, this time featuring the Legendaries

You know I’m noticing that recently I’ve been drawing a lot more. I mean I’ve drawn 3 pieces in the last two days and I drew stuff last week. Seems my medication is at least helping something, even if it’s not me doing actual work to get my life together like my parents hoped. But hey, it personally makes me happy I’m drawing more, so it’s at least somewhat of a win

I think I was spurred on to do this one because I was playing around with the Mii maker on my 3DS, and I was making Cookies and started making the Legendaries

I will say, the Legendaries are probably some of the more difficult characters to translate into normal humans, since their designs are more fantastical. Almost all of their hair is made of something not normal, like fire, grass or water, so I have to try and make it at least semi-cohesive. It also means a lot of hair dye

I admit, while Wind Archer doesn’t look terrible, he does look very boring, like a generic guy. But frankly I just don’t see him using hair dye, or getting a lot of piercings. He doesn’t feel like someone who would to me, and so he looks boring

On the subject of designs I’m not satisfied with, I think Sugar Swan came out the worst. I just legit didn’t know what to do with her design. I’m a proponent of short haired Sugar Swan, so I gave her that, but I don’t think it turned out the best. I also wasn’t sure how to incorporate all the wings and swan thing on her head. I got that but it’s not that great

Originally in Sugar Swan’s spot was Millennial Tree, but he wasn’t turning out great so I tried doing Sugar Swan in his spot. Maybe that spot was just cursed or something

I think my personal favorite of the bunch is Sea Fairy, I think she turned out fun. Honestly I can see her going either way with the hair dye, so might as well just give her the blue. The buzz cut thing was actually something I got from another Sea Fairy design that I really like. I was debating between her having black or dirty blonde hair, but I eventually settled on the blonde

Moonlight and Stardust were pretty fun. With Stardust, I wasn’t sure whether I should have him dye his whole hair blue or have him bleach the front of his hair. I asked on Discord and they said the latter, so that’s what I did. But also note, I realized that if I were to try and give him bleached front and also potentially blue tips, he would have had Yugi Moto anime hair, but just flattened down instead of all spiky. Like I’ve seen people draw Yugi with hair similar to it

I wasn’t really feeling it after Sugar Swan’s failed design, but Fire Spirit got my mojo back, I think he turned out good. And with that I was able to make a Millennial Tree design I liked a lot more (while also looking at someone else’s interpretation of his design and deciding to use locs as well). Maybe not the best but not as bad as it was before

I kind of threw in Frost Queen because last spot and also she is an elemental Legendary. With her, instead of her hair being dyed, it’s supposed to be that her hair has actually turned white from either stress or age, with a tiny bit of her blonde still there at the ends. Don’t know why I picked blonde other than light color though

In my head while I was drawing, I was trying to come up with human things for them to do, but I really only got as far as the Dessert guys and the Wizard guys

Moonlight is the heiress of the “Wizard’s” estate, and she lives there and is the self proclaimed custodian. I’m not really sure what Blueberry Pie and Sugar Glass are doing there, but they’re probably also here. I also don’t know what the estate really is, I just have the idea that it’s a big place that the “Wizards” used as a research place, until they just stopped using it or disbanded or died or something. Stardust meanwhile is either Moonlight’s half brother she didn’t know about, or they’re full siblings who were orphaned and then separated at a young age via the foster care system. Stardust’s journey there would be him learning of his sister and her location and then I suppose hitchhiking his way there until he arrived

Meanwhile, Sugar Swan owns this wildlife preserve, which is the Dessert Paradise (probably goes by another name but I can see “Paradise” still being in the name), meanwhile the Dessert guardians, including Wind Archer, are the other caretakers that manage and guard the preserve. Are they also Sugar Swan’s kids? Maybe, I don’t know. Wind Archer probably is though, and maybe Millie’s his dad, I’m not sure

Frost Queen I think is just an accomplished doctor who lives in a more remote area and takes care of patients with a rare condition that she specializes in the treatment of (and also contracted herself when she was younger). She also just kind of dresses like that I guess

Genuinely I don’t know what Fire Spirit does, he might just be like, Pitaya’s adopted son or works under Pitaya, I don’t know. I can’t see him with much of a job

I imagine Sea Fairy has some sort of job (that she might neglect), but I have no clue what that job would be, since it presumably impacts both Black Pearl and Abyss Monarch in some big way, so like, running an aquarium might be too low stakes. Her crush on Moonlight might be something like she met this cute astronomer one time at some sort of astronomy conference or something, but she doesn’t know where she lives and so doesn’t know how to meet her again. Moonlight also thought she was cute, but again, doesn’t know where she lives

And yeah, I think that’s about it. I hope you enjoy these designs

[the-magiarcheologist]

The Mysterious Past (or Future?) of Niamh Fitzgerald

Many have noticed the necklace that Niamh Fitzgerald wears which looks very similar to a time-turner except that the central piece is not a hourglass but a stone shaped like a water drop (feel free to remember this detail because I have other posts planned in the future that will bring this up again 👀). So does that mean that Niamh could time-travel? I’d say it’s very likely!

And if you’re not convinced by the necklace, did you know there is a goddess named Niamh in Irish mythology? She was described as having long blond hair and riding a white horse. She appeared one day to the great warrior Oisín and asked him to come with her to Tír na nÓg, the Land Of Eternal Youth where nobody ever ages. Oisín agreed to go with her but after having spent 3 joyful years together in Tír na nÓg, Oisín grew homesick and asked to visit Ireland again. Niamh reluctantly agreed but on the condition that he take her white horse and never touch Irish soil. When he got back to Ireland, Oisín realized that, in the mortal world, 300 years had passed since he left with Niamh as time passes by more slowly in Tír na nÓg. After accidentally touching the ground, Oisín sundenly turned into an old man, aging the 300 years that he had missed, and died soon after.

Does Oisín’s fate remind you of anyone? Of course, it’s what happened to Prof. Hecat when she traveled in time during her time in the department of mysteries. It’s also what happened to Eloise Mintumble who, in 1899, became trapped for 5 days in the year 1402. When she came back to the present, she suddenly aged 500 years and died soon after.

Of couse, in the tale, Niamh does not actually time-travel, instead she took Oisín to the celtic Otherworld. But time manipulation is still a big part of the tale and the fate of the hero and I believe them naming the character Niamh is not a coincidence. Especially when they also give this character a time-turner necklace!

Another thing that I have noticed recently is during Niamh’s trial. At the very beginning of the trial, Niamh tells the MC:

Pay attention. Things are not always what they seem.

And then, at the end of the trial, after we take the resurrection stone, she repeats:

Nothing is what it seems.

And that’s a bit strange to me because this trial, compared to the first two keeper trials by Rackham and Rockwood, is actually very straightforward. We have a very clear mission to avoid Death and a single path to follow. So what exactly in Niamh’s trial is ‘not as it seems’? Of course, this could be related to the lesson we learn during this trial ("light does not exist without shadow nor shadow without light") but what if this was about something else?

Because, if we pay attention, there is definitely something out of place during Niamh’s trial. During the last scene, when we are taken to the graveyard where mourners are mourning Niamh’s death, we see a lot of ‘modern’ elements that I don’t think belong in the late middle ages when Niamh is supposed to have lived (and died). First of all, the mourners. It’s a bit hard to see, but I don’t think they are dressed like people from the middles ages. In fact, they are dressed like other wizards and witches we encounter in 1890. (Also notice the hairstyles.)

And, even more damning, in my opinion, are the carriages we see in the graveyard.

These look very similar to the carriages we see in 1890. I’m no historian but I’ve tried looking into the type of carriages that existed in the middle ages and none of them looked like that. Miniature drawing of horse-drawn carriages from the middle ages looked more like wagons.

So what does that mean? Could this simply be an oversight by the devs? They just re-used assets they had, not caring that they were not historically accurate? I don’t think so because, in an earlier part of the trial, when we cross a village trying to escape Death, we see a lot of wooden carts that look a lot more like what we would expect wooden carriages in the middle ages to look like.

In that earlier part of the trial, we do not encounter any of the ‘modern’ elements we see in the graveyard scene. Even the few villagers we encounter in the beginning of the trial are not dressed at all like the mourners we later see (although their clothes are hard to see because they are very dark).

So if we assume that the anachronistic elements are intentional and not an oversight this could indicate that Niamh Fitzgerald died much later in time than she should have.

Was Niamh Fitzgerald a time-traveller? Perhaps she also worked for the department of mysteries in the nineteenth century, and, like Dinah Hecat and Eloise Mintumble, she travelled in time and got stuck there for many, many years. She lived an entire life in the past, becoming the Headmistress of Hogwarts and part of the mysterious Keepers. And, perhaps, one day, she found a way back to her present, only to age hundreds of years in the matter of an instant and die soon after, being grieved by her loved ones devastated by her sudden death.

Or perhaps I'm getting a bit carried away here! 😅 But I'm still convinced Niamh Fitzgerald has something to do with time-travel! How would you feel if they introduced some time-travel storyline in HL2?