#maybe I could make some changes to the narration to make it simpler

[hhhwnr]

ꨄThe Girl Dad Chronicles — S.R

masterlist + navigation

pairing: Spencer Reid x Reader (established relationship)

genre: fluff/ domestic comfort word count: 1,1k warnings: none!

summary: You asked for something low-maintenance. Spencer brought home something better—with a shell and sleepy eyes.

author’s note: wrote this because I miss my turtles I had back in 2016… I’m new to writing on Tumblr and in English (which isn’t my first language), so please be kind. I’m open to suggestions / feedback, as long as it’s respectful :)

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You and Spencer had talked, vaguely and often, about getting a pet. Something to take care of. Something that would be waiting at home when the world felt sharp and chaotic. But with your work schedules— 3 AM flights, last-minute debriefs, crime scenes—it never seemed practical. Dogs were too energetic, cats too proudly indifferent. You both needed something… simpler. Something softer and still.

So you shelved the idea, telling yourselves maybe one day, and apparently, for Spencer, that day was today.

You didn’t know anything had changed until you walked through the front door after an exhausting case and were greeted—not by Spencer, but by a quiet bubbling sound coming from the coffee table.

“What the—“

A glass tank sat beneath the window, lined with smooth river stones and a single, sleepy-looking turtle blinking slowly under a tiny basking light.

You blinked back at it.

“She’s still adjusting,” Spencer called from the kitchen. “Don’t look her directly in the eyes, she’s shy.”

You turned, stunned. “You—bought a turtle?”

“She found me,” he corrected, appearing in the doorway with two mugs of tea. “I was getting groceries. She was sitting in this sad little tank by the register, and—well, she looked like no one had ever told her she was brilliant.”

You stared at him.

He added quickly, “Her name is Mary Shelly. With one ‘e’ and two L’s. I thought it was fitting.”

Your lips twitched. “Because she has a shell.”

“And because you love Frankenstein,” he said, with that soft-eyed certainty that always made your chest ache. “Thought it might make you happy.”

You crouched in front of the tank, watching Mary Shelly stretch one tiny foot and blink as if in slow, careful approval. “She’s kind of perfect.”

Spencer settled beside you on the floor, knees bumping yours. “She listens better than most people. I told her about the whole cognitive interview process while setting up her tank.”

You glanced sideways. “And what did she think?”

“She blinked.”

You grinned. “A scholar.”

“She’s a Reid,” he said solemnly.

Later, you found yourself chopping vegetables in the kitchen, sleeves rolled up, hair hastily pinned back. The familiar rhythm of dinner helped ground you again after a long day — knife against cutting board, pan warming slowly, the low hum of music playing a playlist you and Spencer shared.

Spencer drifted in behind you. “Are you using all of those?” he asked, nodding toward the neat pile of carrot tops and leafy ends you’d set aside.

“Planning to eat the stems now?” you teased without looking up.

“For Mary,” he said simply.

You paused for a beat, then smiled, pushing the little pile toward him with a flick of your wrist. “Knock yourself out, Dr. Doolittle.”

He took them gratefully and padded over to the tank like it was some sacred altar. “You’re going to love these,” he said to the turtle, crouching down so he was eye level with her.

You didn’t look, but you could hear it in his voice—the warmth, the affection, the care he didn’t always show people but had no trouble giving to a reptile with stubby legs and sleepy eyes. You peeked over your shoulder as he delicately placed the carrot tops inside, and Mary blinked once. Then twice.

“She blinked once. Then twice,” Spencer narrated reverently, still crouched by the tank. “That’s practically a standing ovation.”

You snorted gently, wiping your hands on a dish towel. “Careful. She might start clapping next.”

Spencer turned, face lit with that quiet kind of joy that only ever peeked out in the safety of soft moments. “I think she likes me.”

You raised a brow. “I think she likes the food.”

“She’s a woman of refined taste,” he countered, rising to his feet and gently, gently reaching into the tank. “And I think she deserves a change of scenery.”

“Spence—”

“She needs enrichment.”

You didn’t argue—mostly because he was already setting her down carefully on the kitchen counter, just to the side where you’d finished prepping. Mary blinked slowly in her new surroundings, extending one tiny leg forward with dramatic determination before… slowly retracting it again and staying perfectly still.

Spencer gasped like she’d just performed a ballet solo. “Did you see that? She explored. That was exploration.”

You leaned against the counter, biting back a grin. “She took one step.”

“One meaningful step.”

Mary, as if to prove a point, took another slow-motion inch toward the pile of discarded cilantro stems, nosed them gently… and sneezed. Or, at least, made a noise that could’ve passed for a sneeze in turtle language.

Spencer lit up. “She rejected it. She has preferences.”

“She just dissed my cilantro.”

He turned to you, eyes shining. “She’s got taste.”

You laughed softly, folding your arms as you watched the two of them. Spencer’s gaze hadn’t left the turtle. He crouched again, chin practically resting on the edge of the counter as he murmured, “Don’t worry. Next time I’ll bring you dandelion greens. Or zucchini. Something bold.”

You pressed your shoulder gently to his. “You know you’re not actually her dad, right?”

“She lives under my roof,” he said, with a mock-stern expression. “She eats my food. I think that counts.”

You tilted your head at him, teasing. “So what I’m hearing is… you’re a girl dad now.”

Spencer blinked, then looked down at Mary like the concept had just been officially handed to him on government letterhead. Slowly, a smile curled at the corners of his mouth—wry and deeply fond. “I take my responsibilities very seriously.”

You chuckled, nudging him gently with your elbow. “Next thing I know, you’ll be making her a tiny science fair project and showing up to parent-teacher conferences.”

“If she ever enrolls, she’s going to have the most thorough book reports the class has ever seen,” he said solemnly. “She’ll be banned for making the other turtles look bad.”

As if on cue, the turtle lifted her head and extended her neck toward Spencer’s voice, blinking in slow, sage approval before nosing a small piece of carrot closer to him like an offering.

Spencer gasped quietly, placing a hand over his heart. “She gave me something. That was a gift.”

“She’s bonding with you.”

“We’re imprinting,” he whispered, still awed.

You giggled. “Spence, she isn’t a duck.”

“She doesn’t know that,” he whispered back.

And then, without even thinking, he reached out and wrapped an arm around your waist, pulling you into his side as if that was the most natural thing in the world. You didn’t resist—just leaned your head against his shoulder and watched the turtle blink once more like she approved of this too.

“She’s gonna be spoiled, isn’t she?” you murmured.

“Well… how is that a bad thing?” Spencer laughed softly, kissing your cheek.

Thank you for reading! ♥︎𓆉

[quin-ns]

Eventually (Coriolanus Snow x Reader)

Word count: 6.7k

Summary: Coriolanus could appreciate irony, but the one person he desires more than anything wanting nothing to do with him pushes him to new territory

Tags: (18+), cw: noncon, dark!coriolanus, deeply implied stalker!coriolanus, unreliable narrator coriolanus (boy is delusional tbh, no one is doing more mental gymnastics than him), pre-mentor era, obsession, unprotected sex, choking (only for like a second), virginity status undisclosed but as I was writing I began to imagine this being the first time for both of them—it’s not even implied tho, so do with that what you will

A/N: a character as evil as him I couldn’t conceive writing fluff for. he’s bad and guess what I’m not gonna fix him, but I also can’t make him not-hot so… hehe. please read the tags and proceed with caution <3

Misc masterlist + main masterlist

You wanted nothing to do with him, and that made him crazy.

No, if anything, you were the crazy one. Coriolanus hadn’t done anything but try to be your friend, but you snubbed him without reason.

Coriolanus did a good job at keeping the financial situation of his family a secret. No one knew, and he doubted you were an exception. Yet, it was as if you looked down upon him.

Although, you’d grown fond of Sejanus, so even if you did know, status wasn’t a concern of yours. It was something he admired, yet questioned all at once. There had to be a reason for your dismissal. A reason you couldn’t bring yourself to even offer a smile back. It’s not like he was asking a lot.

It’s not like he wasn’t trying, either. He’d gotten used to trying to make people like him, to see him as better than he was, but it was never this hard. It would’ve been so much simpler if you just told him to his face what your problem was, but whenever he came around, mostly when you were talking to Sejanus—they were friends, it was the perfect excuse—you just went quiet. You’d greet him, make no effort to continue the conversation, then excuse yourself.

All Coriolanus wanted to know was why.

“You’re watching her again,” Clemensia whispered to him, eyes flicking between him and the paper in front of her.

They were class partners, but Coriolanus was beginning to think he spent too much time with her.

“Who?”

Clemensia let out a small chuckle, mocking him. The professor at the front of the class looked up, and Coriolanus quickly looked down at his paper, taking his eyes off of you.

“You’re too obvious,” she muttered, a smirk in her voice. “Maybe that’s why she doesn’t like you. Because you stare at her too much.”

She didn’t get a response—it didn’t deserve one. Coriolanus questioned why he ever told her anything. She made him sound like some sort of stalker. Which, for the record, he was not.

His eyes managing to find you frequently wasn’t a crime, and neither was crossing your path. Maybe it wasn’t a coincidence most of the time, but it’s not as if he was harming you by watching you. He doubted you noticed anyway.

Seeing you nearly everyday had been enough to keep him sated, but then Sejanus started talking about you. Through no fault of his own, Coriolanus learned things about you. What he came to know made him curious to discover more. Even if you did not seem keen to let him.

Being content with what he had didn’t keep its appeal for long. Not when you were right there, your presence taunting him. Making him want what you would not let him have.

“You just need to talk to her, Coryo,” Tigris told him one evening, when he revealed everything to her. “Not in class and not with Sejanus. Just you. Let her know the real you and I promise she’ll like what she sees.”

Coriolanus took his cousin’s advice to heart. She was much more empathetic than him, she had to be onto something, right?

Everything changed when Coriolanus sat across from you at a study table in the library.

As beautiful as you were from a distance, being up close was something else entirely. He could admire you for hours and never get tired.

You looked up at him, he smiled and said hello just like Tigris advised. The smile you returned seemed forced, and you ignored that he had spoken.

It upset him, but not as much as when you got up and walked out. It was the last straw. Coriolanus was following you into the hall before he could think better of it.

He caught up to you, dropping his hand to your shoulder to make you turn around and face him. When you did, you looked surprised. That wasn’t what made Coriolanus hesitate, but the realization that he had never been this close to you before. Not even sitting across from you compared to touching you.

His heart skipped a beat.

“What do you want?” you questioned, a level of annoyance he thought to be unearned in your voice.

His heart started again.

“Have I done something to you?” Coriolanus confronted you, feeling a familiar sense of agitation creep over him. He had to know. “To make you feel such distaste for me?”

“I don’t dislike you, Coriolanus,” you replied, calmly after recovering from your initial shock. “I’m just… indifferent to you.”

The answer confused him more than it did enrage him. He smothered the latter feeling as he observed you.

“You’re… indifferent,” he stated, not asking. His feet shifted beneath him. It hurt, for some reason. “Why?”

Your eyes narrowed ever so slightly, studying him. It was the same way you’d look at your books when you were struggling with a subject, lingering behind in class or the library until a triumphant smile crossed your face.

Only, that smile never came. Your expression just faded back to normal.

“You shouldn’t put so much weight on what other people think of you,” you advised, stepping closer to him. His breath caught in his chest. You smelled sweet, like flowers. “Especially not someone you don’t even know.”

It was then, he realized, you hadn’t moved closer to him with purpose. You’d been on your way moving past him. His eyes focused on your back as you walked away, figuring out what to say.

“I’d like to know you,” he announced earnestly, verbally trying to pull you back. “If you’d only give me a chance.”

You slowed to a stop, looking over your shoulder. Coriolanus felt as if he was on display as your eyes raked over him, determining for yourself his sincerity.

“You’re friends with Sejanus, aren’t you?” you wondered. It wasn’t what he expected, but Coriolanus nodded. You sighed, which irked him to think it was pity. “If you’d like to join us for lunch I wouldn’t be against that.”

“I’ll see you then,” he said, but you were already turning away. He kept to himself that he had already tried in the past.

His friend was nice. Too nice for his own good, truthfully. It wasn’t as if Sejanus completely abandoned him the moment he befriended you. It was more like he split his time, attending to both friendships. The only thing Coriolanus held against him was that he never tried to reintroduce the two of you. Maybe even put in a good word.

At lunch Coriolanus found you and Sejanus quickly, he knew where you liked to sit.

“Hey, Coryo,” Sejanus greeted, smiling. “About time you decided to join us.”

Coriolanus put on a smile as he sat down. “Well, I would’ve sooner, but I wasn’t sure I was welcome before.”

The comment made you smirk, in on the joke as Coriolanus looked at you.

“Who’s to say you are now?” you sarcastically replied, as if you hadn’t been the one to invite him.

Well, “invite” was being generous, but he still seized the opportunity nonetheless.

“Ignore her, she can’t help herself,” Sejanus said with a chuckle, used to your humor.

This time, when he tried to talk to you, you engaged. In between discussions of classes and assignments, Coriolanus had to dodge your quick wit.

He liked the challenge, and the next day, he went back for more. Even walked right past Clemanisa and Arachne, who tried to invite him to their table with Festus. You were waiting for him.

He noticed you and Sejanus already talking.

When he sat across from you, you raised your brows. “Seeking refuge?”

Before he could ask what you meant, you nodded your head towards the girls he’d left behind.

You knew about his friends?

“You could call it that,” he replied, a smile starting to appear.

You nodded and hummed.

“Well, what are your qualifications?”

“Excuse me?”

“You joke too much, Y/N,” Sejanus lightly scolded you, interrupting whatever path you were going down, which made you laugh. “He’s going to think you don’t like him.”

“He knows I don’t mean anything by it,” you assured, looking at Coriolanus. “I’m just trying to figure him out.”

Your tone was filled with confidence, but your face… Coriolanus wasn’t sure how to place your underlying expression. You had a shield up, he knew that much, but what did that have to do with him? Were you trying to figure out if you could let it down for him? Or something else?

“Of course,” Coriolanus answered, not taking his eyes off of you. “I’m an open book.”

“Are you, now?” You folded your arms on the table. “Your friends love to gossip, and I don’t think I’ve heard that about you.”

“It’s not my fault if they don’t know how to read,” Coriolanus quipped, proud of himself for being so quick.

None of his friends had wronged him, but the joke at their expense was worth it for what followed after.

He made you laugh. Not just smile, but truly laugh. It was exactly what he wanted, and it actually worked. Awe didn't begin to describe how it felt.

Joining your table for lunch became the best part of his day. Sometimes he forgot Sejanus was even there, far too eager to see you. He saw you all the time, of course. Watching you was a habit he had yet to break, but this was different. You were aware of his presence, and he was able to speak to you. It didn’t matter that you still seemed weary, it was enough.

Even if you didn’t like him, you still had conversations with him, so that was something.

Sometimes, if you were deep in a discussion, debating ethics—your favorite topic—it would continue beyond just the table. He’d walk you to class, wanting to hear your voice just a second longer.

“I want to meet this girl,” His grandmother declared one night, after Coriolanus drifted to the topic of you over dinner. He’d been doing it more recently.

Tigris gave him a look, a light frown. There was no way to do that without you coming to his home, and he wasn’t going to let that happen.

“Let Coryo decide that, Grandma‘am,” Tigris insisted, patting the older woman’s shoulder.

“Well, he has feelings for Y/N,” she argued, looking at Coriolanus. He used your name enough that she remembered it. “And she likes him too—doesn’t she?”

Coriolanus gave a tight smile. “Yes, she does.”

Keeping up appearances.

“Well, that settles it, then,” Grandma‘am decided.

“I think it’s time you get to bed,” Tigris intervened, getting their grandmother up from her chair.

Later, when they were alone, Tigris asked him, “Does she even know how you feel about her?” She knew him too well. He took too long to answer. “You should tell her. From what you’ve told us, you two should be together. But it won’t happen unless you make it known how you feel.”

Coriolanus’s dreams were filled with you, as they usually were, but something was different the morning he woke up after the conversation with Tigris.

All he had to do was prove himself to you, and he knew that now.

Coriolanus found you in the library a lot, often pretending to stumble upon you. This time, he didn’t put on a facade.

“I thought I’d find you here,” he acknowledged, sitting down beside you. Often he’d sit across, but he was testing the waters. Seeing if you were put off by the proximity. “Studying for Featherly’s class?”

“I’m terrified for his test,” you confided, rubbing your temples as you hunched down at your book. “I feel like my mind has no room for anything else. I’ve memorized nothing.”

With a sigh, you sat up and pushed the book away.

“I can help you,” Coriolanus insisted, reaching for the book. He read over the page you were on, knowing he’d already perfected the subject. “You should’ve asked for me sooner.”

Maybe it was a little spiteful, but he hadn’t purposely meant it to come out that way. You still noticed it, taking your book back.

“I’m not asking for your help now, Coriolanus,” you muttered, looking at him out of the corner of your eye.

You were the last of his friends to still call him that. Most everyone else called him ‘Coryo’. Not you. But you were stubborn in many ways. This too, apparently.

“I didn’t mean anything against you,” he said lightly, even chuckling a little. It was forced, but he wanted to show he wasn’t being that serious.

Using your own words on you did not have the desired effect.

“Mmmhmmm,” you hummed.

Coriolanus tilted his head down, trying to get you to meet his gaze. You gave in, facing him, looking unamused.

He wanted to wipe that look away, but didn’t know how. If he could just make you like him—

Suddenly, your watch began to beep.

“Test time,” you grumbled, taking back your book and getting up.

Coriolanus followed you down the hall and into class. The tests were already on the desks, waiting. You two were early—he noticed that because of the clock on the wall.

He walked you to your seat and wished you good luck. To his surprise, you offered the same in return. Then, he went to his own. Other students filed in quickly after, professor Featherly being the last to enter the room.

The professor declared, “Begin,” then sat at his desk in the middle of the room and began to read.

The test wasn’t easy, but Coriolanus knew what he was doing. One look around the classroom and he saw that wasn’t the case for most other students. He felt a sense of pride, until his gaze landed on you. You were one row down and four seats to the left. He’d counted before. You were fiddling with your pencil, struggling to come up with what to write down.

While he could’ve been the first to finish, Coriolanus let other students turn their tests in before him. An hour passed by, but it moved quickly.

There were only a few students left when you finally got up. You radiated an anxious energy, much like the others, but Coriolanus didn’t care about the others.

Clemensia stuck her hand up in the air, waiting for the professor to notice her, distracting Coriolanus briefly. When the professor looked up and noticed her, Clemansia got her wish.

Coriolanus considered himself lucky, convincing himself with his own mantra frequently. As he watched you leave your test on Featherly’s desk and rush from the room, he realized how he could help you.

He quickly marked down the rest of his answers, having stalled so he could leave when you did. The professor was making his way away from the desk, while Coriolanus got up and went in the opposite direction.

With a swift, hard kick to the leg, the professor's desk wobbled and papers spilled off on the other side. It looked like an accident.

Featherly looked over his shoulder at the noise.

“Sorry,” Coriolanus apologized, kneeling down behind the desk to collect the papers.

Without anyone watching, he found your test. He had no time to change the written questions, but he made quick work of erasing and re-doing the multiple choice, with his own test and knowledge as reference.

He had to give you credit for getting a decent amount correct, but not enough for a passing grade.

When Coriolanus fixed that, he stacked together the papers and placed them back on the desk and exited.

Everyone was waiting in the hall. Against tradition, the professor graded tests directly after and would call students in to give the results. It was time consuming, and kept everyone on campus after hours, which was against the rules, but perhaps he’d gotten some kind of exception.

You were leaning against the wall opposite of the classroom, talking to some girl from the class—Coriolanus didn’t bother to learn her name. He wanted to go to you, but Sejanus got to him first instead.

“How do you think you did?”

Coriolanus shrugged, looking down at his friend. “Fine, I think.” That was the humble answer, right? “How about you?”

“Not perfect, but I passed.”

Clemensia trotted out then, a confident look on her face.

“What was so important you had to ask during the test?” Coriolanus couldn’t help but wonder. She’d unknowingly helped him, after all.

“Just clarity on a question, wanted to make sure I got it right,” she answered with ease.

“And did you?”

She gave Sejanus a look.

“Yes, of course.”

The last person exited the class, and professor Featherly closed the door. And so the grading began.

One by one, the professor called people in. There was no method to the order, it seemed likely he shuffled the papers or chose which one to grade next at random.

Time passed, Coriolanus didn’t know how much exactly, but it was beginning to get dark outside. Tigris would be worried until he got home, but she’d understand. His studies came first.

Eventually, Coriolanus realized it was dwindling down to be just you and him left. He was lucky today.

The third to last student was in the classroom, leaving you across the hall from one another.

You pressed your lips together before speaking.

“Do you think you did alright?”

The corner of Coriolanus’s lip twitched up at the sound of your voice.

“Yes, I think so,” he answered humbly. “What about you?”

You let out a self deprecating laugh. “When I said I was terrified, I wasn’t being dramatic.” You sighed, accepting your fate. “I’ll have to do perfect on the next one, I guess.”

“I can help you with that,” Coriolanus offered.

The smile he gave you spawned a mirror reaction. He knew he was charming, he had to be, and this time you actually seemed receptive to it.

“Maybe you can.”

The sound of a door opening made Coriolanus turn. Arachne was leaving, a smug look on her face as she thanked the professor.

Then the door closed, and the professor graded another test. There were only two left.

“I wish he wouldn’t do it like this,” you filled the silence. “The others don’t make us wait like this.”

“It builds suspense, I suppose,” Coriolanus mused. “Keeps us on our toes.”

“That’s not something I need right now.”

“At least you have good company,” he noted flirtatiously. He couldn’t help but grin at his own words, especially when you bite your lip to keep yourself from smiling.

“Could be worse, I supposed,” you retorted.

More time passed. The door opened again.

“Coriolanus Snow,” the professor addressed him next. “Your turn.”

As expected, Coriolanus did close to perfect. One answer off. Best in the class.

Back in the hallway, when he was done, Coriolanus waited with you. He didn’t announce he was staying, he just returned to his spot against the wall.

“Don’t keep a girl waiting. How did you do?” you asked, departing from the wall.

Coriolanus wondered where you were going, but then, you stood next to him, leaning back against the wall. There was still an arms length between the two of you, but it was something. You’d gone to him for once.

“You’ll think I’m full of myself if I tell you,” he teased lightly, which made you roll your eyes.

“Maybe I already think that, so just tell me,” you insisted.

The comment made him falter.

“Best in the class,” he divulged.

You almost looked impressed. “Good for you.”

The door opened.

“Y/N L/N, you’re up.”

“Wish me luck,” you said under your breath before following Featherly in.

“Good luck.”

Coriolanus waited for you, just like before. He tapped his foot. The professor didn’t actually go over the answers, he just told you the grade. You’d have no way of knowing what he did for you, but he’d be there to share in your excitement when you discovered how well you’d done.

Or, how well he’d done for you.

Not long later, you and the professor exited the class together.

“Wasn’t expecting you to still be here,” Featherly addressed Coriolanus. “You should get going. I’ll see you in class tomorrow.”

Then, he left you and Coriolanus alone in the hall, presumably leaving the building.

“So,” Coriolanus began with a smile. “How did you do?”

“He asked if I’d been studying with you. Apparently we had all the same answers,” you told him, crossing your arms. “Except when I asked him to show me my exam—which I did great on, apparently—I saw answers circled that weren’t mine.”

Coriolanus hadn’t expected you to find out so quickly, but a part of him was relieved you did. It meant he got to take credit, and he could show you that he really did want the best for you.

Or, he could always lie.

“You weren scared of failing,” he finally admitted. He offered a sympathetic smile. “So I helped.”

“No, you cheated!” you accused, causing his eyes to go wide. “You’ve implicated us both. If anyone finds out…”

“Don’t be so loud,” he hissed out in a whisper, stepping closer to you. The professor could still be in the building. He doubted anyone else would be. “I just wanted to help you, okay? You needed it, so I—“

“You helped, I get it. But I didn’t ask you to do that for me, Coriolanus. I have never asked you to do anything for me,” you sneered, somewhere between offended and betrayed.

He saw the way you scanned his face—his eyes. The pleading was beginning to seep through.

A wave of realization washed over you before he even opened his mouth.

“You didn’t have to ask me to,” Coriolanus said meaningfully, stepping closer to you. “I wanted to. I wanted to help you.”

You back hit the wall. The hallway was so empty it seemed as if the subtle sound still echoed.

“I’d do anything for you, don’t you get that?”

The sound of a large door closing carried from a distance.

Coriolanus reached for your face, wishing he could take away the concern that riddled your expression. Instead, he brushed a stray piece of hair from your face.

You swallowed. Why did you look so nervous around him? You were friends now, weren’t you? You never looked scared around anyone else. Why him? Why now? His own questions frustrated him.

“We’re not supposed to be on campus after hours,” you said calmly. It was the same tone you used when you first described your indifference to him. Coriolanus thought about that moment a lot. “Featherly already left. We should leave before we get caught.”

The corners of his lips twitched down.

“We’re still talking, though, aren’t we?”

You let out a shallow breath. You had no reason to look as scared as you did.

“I think we’re done.”

Coriolanus thought back to his cousin’s advice. He could’ve followed it better if she’d written it down, perchance.

“You’re so beautiful, you know that?” Coriolanus pondered, smiling to himself at the sight of you. “You caught my eye from the beginning and I—I couldn’t figure out why you wanted nothing to do with me.” You watched him carefully. He wondered if you could sense the dejectedness brewing. “Did you see something in me? Is that it?”

“I don’t know,” you admitted under your breath. “People like you, and you’ve been making an effort to be my friend, so I don’t know what told me to stay away from you, but something did. I’ve tried to ignore it, but I still…” you swallowed. “I don’t know.”

The confession should’ve been a relief. That’s what he imagined it would be. That you would admit the truth, and he could fix whatever misconceptions you had.

Coriolanus did not know what to do with “I don’t know”.

Staring down at you, Coriolanus noticed your back was against the wall. Literally. He hadn’t meant to put you there, but he had.

It got you to listen, didn’t it? He’d gotten an answer?

“Can we start over?” Coriolanus suggested, even throwing in a smile that would charm most anyone. It worked on you before. “We can forget all this mess.”

You blinked. You didn’t believe him.

For most people, he wouldn’t simply let numerous slights go, but for you, if it would fix whatever this was, if it meant the two of you could have a real chance, then he’d overcome his instincts—old and new.

“I’m afraid my memory is too good for that,” you finally said, looking up at him with defiance.

Defying what, was the question. It wasn’t as if you were enemies.

The thought made his jaw clench. He let out a laugh that was sharp. It lacked any sense of humor.

“Why can’t you just accept my apology?”

Your brows arched up, questioning him.

“That was supposed to be an apology?”

“Yes,” he confirmed. “But it’s not as if I owe you one.”

“I never said you did. I never said anything. You took it upon yourself to insert yourself into my life and now you are not happy with your place in it. You’ve overstepped, and you need to let me leave.”

Coriolanus frowned.

“You act like I’m keeping you here by force.”

You look up at him, silently telling him you believed he was.

That frustrated him further.

In an act that jarred even him, Coriolanus pressed his palms against your shoulders and pushed you back against the wall when you tried to move away.

“This is force,” he declared sternly, leaning down, making you maintain his gaze.

Everyone liked control, but he hadn’t used it in such a physical way before. It thrilled him in an odd way.

“Get your hands off me.”

“Why should I? You already think so poorly of me, why not let you be right?”

You moved again then, trying to catch him off guard and squirm away. But Coriolanus was quick to shove you back against the wall.

“We can still start over. If you would give me a chance, I think we can be good together.”

He let one hand rise to rest on your cheek. Your skin was so smooth. He inhaled deeply, resolve slipping further as his eyes fell to your lips.

If Coriolanus could just prove it to you, he was sure you’d understand what he meant.

He leaned in cautiously, gauging your reaction. You didn’t flinch away. You tilted your chin up, even. That familiar skip of his heart returned.

Coriolanus’s lips only just brushed against yours before you reacted. He had a second of relief before you brought your knee up, jabbing him in the lower stomach, although he doubted that was where you were aiming. It was still enough of a shock to throw him off his game. He stumbled back, and in a flash, you were gone. You were running down the hall—trying to get away from him, like usual.

Only this time, he didn’t feel like letting you go.

Something he had slowly come to learn was when he wanted something, it wasn’t just going to be handed to him. Vying for the Plinth Prize highlighted that, alongside his childhood.

He caught you easily, hand snapping out like a snake to grip your arm and yank you back to him. You collided with his chest. It was like you weren’t even trying. Not really. Just toying with him.

“Am I a game to you?” Coriolanus hissed into your ear, wrapping you in his arms. “Something for you to play?”

“I haven’t done anything to you! I hardly even know you!” you defended, but it just made him hold you tighter.

“I know you,” he implored, fighting against your squirming. He lost balance and when you fell to the ground, you took him with you. Coriolanus got you onto your back, sitting on your thighs, gripping your wrists in his hands to keep you from swinging at him. You let out panicked breaths, staring up at him. “I know more than you think.”

Something about the position made the front of his pants begin to feel constricting.

“Coriolanus, you’re frightening me,” you enunciated, as if trying to reason with him.

“I’m not being unreasonable,” Coriolanus grit out, working to maintain his composure.

“What?” you questioned, brows pinching together, a deep frown on your face. Confused and scared. Coriolanus used to feel that way. “Just let me go.”

“And then what? You go back to ignoring me? No I can’t… I can’t go back to that. If you just give me a chance I can show you.”

Coriolanus didn’t know what happened next.

Tigris told him it was like he left his own head, sometimes. She said he’d get so caught up, he wouldn’t notice things. At the time he had laughed. If anyone stayed aware, it was him.

It wasn’t that he left his head, but got lost in it. Lost in his own inner monologue to realize what he was doing.

In this case, what he’d done.

Far too busy thinking of ways to convey everything he wanted to say to you, how to make you understand, visualizing your reaction, he’d already acted.

Maybe there were two people living in his mind. One with a conscience, one without. Or perhaps that was just something he used to justify his less than decent actions. An excuse. He’d never let himself know the truth. Not really. Not yet.

What he did know was what he could see. You, beneath him, clothes torn from your body. The only thing left was a shirt. Too much effort, apparently. Your wrists were snatched together in one of his hands.

The power stirred something within him.

One might say he was out of excuses when he reached for the zipper of his pants, but no one else was here, were they?

Your mouth was moving. Speaking. Maybe even yelling. Looking at him, looking around the room. He couldn’t hear a sound but his own heart thumping in his ears paired with his own eager breaths. Was that normal?

He moved, wedging himself between your legs, nudging them apart to make room for himself.

“It’s just us,” Coriolanus spoke, loud enough to hear himself. You flinched. “No one’s here.”

He gripped himself, stroking his cock, lining himself up with your entrance. His patience was running incredibly thin.

Tears pricked in your eyes. You stopped struggling at his words, accepting it for what it was. Good.

“Why are you doing this?”

He heard your voice clearly, that time, despite the strain in your tone.

Coriolanus observed you carefully, squeezing your wrists together in one hand and lovingly caressing your hip with the other.

He finally understood the answer you’d given before. He found it fitting now.

“I don’t know.”

To him, it was the truth.

The moment Coriolanus pressed himself inside of you, it was as if the rest of the world disappeared. After so long of wanting you in every way, shape, or form, this was long overdue.

“You’re perfect for me,” he breathed out. Coriolanus gave a shove of his hips, his gaze falling to your mouth as an unwilling yelp slipped out. “I knew you would be.”

You were tight, too tight, even. Unwelcoming. Yet still, you felt like home.

His hand—the one that was on your hip—drifted between your legs. He found your clit, running his thumb in small circles, trying to ease the pressure you must’ve been feeling.

Coriolanus did not want to hurt you.

He looked into unfocused eyes. Where were you? Were you trying to be somewhere else?

He let your hands go. You didn’t move to slap him or shove him or anything. You were learning.

He leaned over you more, reaching for you face with his now free hand, and ran his thumb over your cheek, encouraging your gaze to actually meet his. He smiled softly when you did. You got more beautiful every second he looked at you. It was even better when he could see you were present.

Coriolanus found himself unable to resist it, so he gave into the urge to press his lips to yours. A real kiss, this time.

Your lips were softer than he’d imagined. You made a noise when his tongue tasted your mouth. His kiss was hungry—aggressive, even. But he’d waited so long he didn’t know how to contain himself.

Your body reacted to his touch. Your bent knees inched up his hips to accommodate him, and your walls were becoming slick, accepting the invasion.

A deep moan escaped him, cock throbbing inside you at the feel. The sound was muffled by his lips pressed to yours, but he still felt vulnerable, giving himself to you in this way.

Coriolanus pulled back from the kiss, only to rest his forehead against yours and breathe out a small puff of air from his lips.

“I’ve never wanted anything as much as I want you. Not even the Plinth Prize,” he confessed in a whisper.

“What’s the difference?” You finally spoke, voice wavering. “You have to earn the prize?” The accusing tone felt like a slap.

“You don’t know what you’re saying,” Coriolanus muttered, eyes boring into yours. “You’ll see.”

He gave you one more searing kiss before moving his hips.

A gasp that morphed into a moan clawed its way up your throat. The sound was like music to his ears. He wanted to hear it again.

He began to move more consistently, finding a pace that suited him. Rough enough to keep you present, but not so harsh as to hurt you. He wanted you to enjoy yourself, even if you were trying to avoid it.

Still figuring you out, Coriolanus found your sweet spot with a hard thrust, causing you to wince. Instinctively, you tried to push him away, just like you had before, not wanting to surrender.

You stilled when you felt his hand. He hardly realized how he’d reacted until he felt your throat bob beneath his palm.

Coriolanus retracted his hand, like your skin and shot a volt through him. His movements slowed to a stop.

“I’m sorry,” he apologized earnestly, brushing the hand through your hair gently. “I shouldn’t have done that.”

Your chest heaved as you breathed shaky breaths through your nose. Your lips pressed together in a line.

You weren’t going to dignify him with a response. In a way, he understood.

Coriolanus locked his arms under your body and in a surge of strength, pulled you from the ground and into his lap. He hugged you against him, nuzzling his face into your neck.

“Forgive me,” he requested softly.

You shifted in his lap, adjusting yourself to find comfort in the new position. You did not speak.

He slammed his hips up, forcing a gasp from your lips. That was something, wasn’t it?

You pulled back, and he did it again. And again. And again.

You fell against him, jarred by the change in his movements as he thrust into you. He liked it, feeling you in his lap, your chest against his, leaving you no choice but to hold onto him.

His lips latched onto the skin of your neck as he moved, barring his teeth and nipping the skin. You reacted as if he were venomous, straining away from him, but he’d left his mark.

You could pretend all you wanted that you didn’t like him, but Coriolanus could feel your body reacting to his. He could feel the way your walls squeezed around him, drawing him in, and how your body quivered as he pushed you closer to your edge.

“Just let go,” Coriolanus whispered, holding you tighter. He cradled the back of your head against him as he moved inside of you. Soothing and rough at the same time. “It’s okay, I know you want to.”

“Shut up,” you hissed into his neck, hands finding his chest.

Were you really going to try and get away from him? It was a bit late for that.

Coriolanus moved his hand between your bodies, finding your clit with the pad of his thumb, speeding along the process.

“What was that?” he taunted, feeling your legs start to shake.

A moan tore from your throat as you came around him, body slumping against his as he shoved himself deeper inside you. He wanted to feel your body tensed around him.

“That’s it,” he drawled, pressing his face to the side of your head. He inhaled, letting your scent flood him. Every sense was overwhelmed by you and if anything, it made him hunger for even more.

You became more pliable in your daze, going easily when Coriolanus laid you back down on the cold ground. He planted one hand on the ground near your head, where he held most of his weight, while the other rested on the base of your neck. Not squeezing, just resting. Reminding you of before.

Now that he’d taken care of you, made you realize the pleasure he could inflict upon you, it was his turn. Coriolanus was relentless with the thrust of his cock inside you, stretching you around him, groaning with nearly every movement. You felt so good, he never wanted to leave the warmth of your body.

You shifted beneath him, squirming as the intense feeling. Coriolanus was tempted to drag it out, to watch your face as the pleasure became too much for you to handle.

If it wasn’t for the desire to fill you, to claim you, he would’ve. There would be more times after this, he’d ensure it. He didn’t own a lot, but he treasured the things that he did.

“I can’t let you go, not now.” He meant to keep it inside his head, but the words spilled out. “You’re the only thing I want.”

At that moment, it was true.

Coriolanus gave one final shove of his hips before spilling inside of you. It crashed over him in an unexpected wave. His whole body shivered with pleasure at the feel of your body milking him. You wanted him. Your denial would eventually fade. He was sure of it.

Coriolanus let out a heavy sigh of your name as he watched your face. You’d turned your head, wincing as he filled you to the brim.

“Hey,” Coriolanus said when he finished, voice low. He ran a delicate hand over your face, persuading you to open your eyes. “We’re okay.”

As much as he didn’t want to, Coriolanus withdrew from you. You’d given up fighting against him, so he took the opportunity to help you redress. You were so pliant, it was like dressing a doll.

You rested your arms on your knees when he made you sit up. He wasn’t keeping you from moving from the floor, you chose not to.

Coriolanus watched you cautiously, searching for the same fire in you before, trying to figure out if he’d somehow snuffed it out.

There was a nagging in his gut. It was only for a brief second, but his confidence wavered.

“Can you talk to me?” he pressed, laying a hand on your shoulder and he knelt across from you, pants readjusted.

It was as if nothing happened, but you both knew that was untrue.

“Why should I?” You wrinkled your nose as you focused on the ground.

“Because, I care about you,” Coriolanus replied without thought, gaze softening. “I want to make sure you’re okay.”

“I don’t think you care for me,” you said in a tone so hushed, Coriolanus wasn’t sure if you even meant for him to hear. Then, you met his eyes. The fire had only been dulled, not put out. “I think you’re a liar, Coriolanus Snow.”

His hands fell to clasp yours. He brought one to his lips, pressing a small kiss to the back of your palm. You eyed him as if he were some sort of predator, but he managed a smile nonetheless.

“Let me prove it to you, and you’ll come to learn you’ve been wrong about me all along.”

[sunvylovebug]

Love garden

↬ Warnings: No warnings …⁠ᘛ⁠⁐̤⁠ᕐ⁠ᐷ

↬ Female!Reader and person narration (⁠*⁠˘⁠︶⁠˘⁠*⁠)⁠.⁠｡⁠*⁠♡

↬ Author Note: I love Diluc<3 I've written some other stuff with Genshin characters, you can check it out on my profile if you're interested<3

↬ Summary: The uncrowned king of Mondstadt has begun to develop feelings for his childhood friend.

↬ Word Count: 1,003 Words

Since childhood, Y/N and Diluc had been inseparable. They grew up together in Mondstadt, sharing games, secrets and adventures in every corner of the city. Their friendship was as solid as iron, forged by years of laughter and loyalty, of promises and memories, of good and bad times together, little adventures and tons of love and care for each other.

As time went by, they both had to take separate ways, separating for a while, but even after so long their hearts were still connected, it was impossible to break a connection that had prevailed alive for so many years after all.

While Diluc, after years of being away from the nation, assumed his role as the owner of the Dawn Winery in the mornings and the enigmatic, mysterious and heroic Dark Knight Hero of Mondstadt in the evenings, Y/N found her own purpose after studying at the Akademiya of Sumeru, returning to Mondstadt to tend to a small garden that had been built in the heart of the city.

One day, while Y/N was in her garden arranging the flowers and making sure everything was in order, Diluc appeared unexpectedly. Although his face showed a serious expression, there was a soft intensity in his eyes that Y/N had not seen in a long time. "Y/N, I've been thinking about you." Diluc said, slowly approaching. "Can I stay with you for a moment?"

Y/N looked at him with curiosity and a slight smile on her lips. The garden had always been her place of peace, the place where everything seemed more pleasant, more simple and peaceful, Diluc's presence made it even more special. "Of course, Diluc. You're always welcome here."

He sat near her, on a small bench of the place, watching how she worked with delicacy and mastery on her plants, she already had a good time taking care of this place. A pleasant silence formed between them, interrupted only by the occasional birdsong and the soft rustling of the leaves as they moved in the wind.

"You know..." He began to say in a thoughtful tone. "Sometimes when I see the flowers here, they remind me of what we've shared since we were children, the days in my father's garden, the sunny days where we played hide and seek with Kaeya or Jean, or when we'd go looking for bugs and flowers with you... The times when as children, everything seemed simpler."

She looked up from the flowers, looking at him with a mixture of surprise and affection. They didn't usually talk about their feelings this way, but she felt there was something different about the way Diluc was acting.

"Kinda funny..." She said with a soft smile. "Maybe it's weird for me to say it like this but I've always thought that this garden is like a reflection of various connections I have with people, especially our friendship. I take great care of it cause it means a lot to me, as you do too, Diluc."

He was silent, but his eyes shone with an intensity that Y/N couldn't ignore. Finally, he leaned a little closer. "Y/N, there is something I need to tell you." He began, his voice filled with an unusual vulnerability. "How I've felt about you has changed over time. You're not only my friend, but someone I truly appreciate more than I could ever put into words. You are a beautiful girl, you are strong and honest, you are charismatic and kind, you are sweet and brave... I could spend all day talking about how I see you... but I'm scared, I don't wanna lose you because of the things I feel for you."

Her stomach flipped over, she felt her heart beating faster, her cheeks flushing as she listened to Diluc's heartfelt words. She wasn't sure how to respond, but the sincerity in his voice moved her deeply.

"Diluc, I've felt something special for you too, for a while now..." Admitted Y/N in a trembling voice. "But I- I didn't know how to tell you. I was afraid it might ruin our friendship."

Diluc smiled, a gleam of relief in his eyes. "You don't have to fear that, Y/N. What I feel for you has grown over time and I think it's something worth feeling together, if you'll allow me."

With a gesture full of tenderness Diluc took Y/N's hand, looking at her warm and comforting eyes with an expression that blended love and affection that became overwhelming to the young woman's melting heart.

"Let me show you how special you are to me, not only as a friend with whom I have spent countless moments together, adventures and good times, but as someone I wish to protect, care for and love as long as you and life will allow me to."

With her heart overwhelmed with emotion, she nodded slowly, looking into his eyes, nervous and excited by his words. Her trust in Diluc and the love she felt for him came together in a moment of pure connection. "I'd love to do the same, Diluc."

He ran a hand around her waist with a gentle smile and a soft shade of pink on his cheeks. He held her chin with his gloved hand and looked down at her. "May I?"

It was the happiest day for both of them. She felt like she would faint soon from so much emotion her heart was feeling, she nodded shyly and it was then that Diluc brought their lips together gently, a tender kiss full of the love and affection they felt for each other.

From that day on, the garden became an even more meaningful place for them, a place to spend time together and create many memories.

Each visit was a mixture of laughter and intimate moments, as Diluc strove to show his devotion and affection in every gesture and action. Through the seasons, through time and through life's changes, their new relationship blossomed so beautifully, just as the flowers did in Y/N's garden.

[cripplecharacters]

Hello! Your blog has been incredibly helpful for me, thank you for doing what you do

Disability is a core theme of the stories I make, so accessibility is one of my most important goals. For reference, I write books but my main project is a show that’s sometimes semi-animated and sometimes similar to visual novel style dialog.

Some of the things I’m doing now are subtitles and narration that’s baked into the show itself, sticking to a simpler style of writing, and making it free to watch. It’s one part practicality and one part frustration at being told these things “ruin the experience” for others. Now they’re a core part of the experience.

But those are just the things I find personally helpful, I only have my own viewpoint. My question is what are other things I can do to make my story more accessible?

Specific things I’ve been struggling with are showing nonverbal communication (The narration covers a lot of this, but not enough) and conflicting needs. I know some things will help some people but hurt other’s experiences (ie, subtitles) which is a really hard thing to navigate! So advice on that would be helpful

Thank you!

- @interroblog

Hello lovely asker!

So I'm gonna throw out some ideas here at the start and these are in no way me saying "You have to do this". No, just me tossing some ideas out and maybe they hopefully help! 😁 Let's try this.

First off you also mentioned that it's part of your style in the way you're animating as well. I think if it's your style that you shouldn't have to change that either. It's both something that is unique to how you choose to do things and it also aids in accessibility. You shouldn't feel pressured to change it because some people find subtitles or Narration annoying. It ultimately comes down to how you want to do it, so again here are some things I could think of.

So if the site you're hosting your show on allows you to have toggle on subtitles and audio descriptions I would do that. If not what you can do is when you put your animation through you can have multiple. Kinda like with certain shows or movies you have a version in its original language and a version that's Voiced over with another language. If you want to accommodate your audience perhaps you can have a version:

Without any subtitles or audio descriptions

With subtitles

With audio descriptions

With both the subtitle and the audio description

Granted going this route may be more work than just doing it all together (I'm not 100% sure, I don't know animation very well) but it's certainly an option. I think the process of rendering and saving it at the end (having to do it multiple times) and in regards to space may be an issue.

Another thing you can do is write up a description transcript for each episode so that people can look at it for reference. Some people use screen readers or braille displays that read over this information for them if you're worried about the text itself. Here's a good example of one done from a DeafBlind film done in the 60's at Perkins [Warning for typical 60's language regarding disability]. It usually includes what an audio description would just typed out.

Another thing you can do is see and look around for anyone who is fluent in the local Sign language that your show is in and see if anyone could record and interpret it for you too, if you want to have that option for people as well.

You could also do kinda like comics and Manga do where they mark the sounds/actions on the panel/animation it self.

[Manga panel from the Manga "Shino-chan can't say her name"]

For instance in this manga panel there's no dialogue but the author gives us multiple cues which the translator also translates as well. There's the foot steps with the text getting bigger and bigger letting us know that the sound is getting closer and the direction, then in the next panel we have two exclamation points letting us know she's alarmed and aware. The text of the foot steps is now darker and bold and we see the streaks around the characters hands letting us know that she hurriedly wrapped up her box. Then we have the word "Sneak" in bold lettering against the wall where the character is pearing over.

Now I'm not sure what type of nonverbal communication your using so I'm gonna go over things a little vague.

Sign Language [Mostly in ASL because that's the sign language I'm most familiar with and can understand the most]

Here's two animations by @scoliwings and they're both in ASL and the way the person made them is with captions into the animation (also they're very cute and lovely). The show ThisClose also does this with their entire Pilot episode but then only does it with their ASL scenes moving forward in the series. The people who wrote and produced the show note that while they made the show surrounding the deaf community and about the deaf community they wanted the show to reach their hearing audience.

This scene that is with a translator has no captions whatsoever. While this scene between the two main characters using ASL does have captions. Then this one does have captions that go away when the characters communicate verbally.

This is a constant thing of multiple different medias is they kinda choose between which audience they want to pertain to. And whoever they choose, it usually ends up leaving the other out or not 100% involved usually at the fault of accessibility on streaming services/wherever the media is being hosted.

If someone Deaf/Hoh wanted to watch this show and there's no captions available on whatever platform is hosting it then it wouldn't be accessible to them. And if they are fluent in ASL, those parts have captions all the way through. For instance those videos on YouTube, not all of them are accessible because they don't have the toggle on Closed Captions. So the moments where there's characters who speak English and don't sign ASL, especially if the camera isn't on them when they're talking, it's just not accessible.

In the episode "Into the Mystic" on Supernatural, they introduce Eileen's character. This is the only episode that she uses ASL by itself, every other episode she is in uses SimCom and she code switches or uses English. Again captions are in the episode Everytime ASL is used except for scenes where she's signing in the background for instance this scene. From This Gifsets by @winchestergifs

[Gif of Eileen from Supernatural. She's sitting across from an older woman on a couch and she signs in American Sign Language "You" while pointing at the older woman, then she forms her fists into a 'S' shape one on top of another and moves them to the right, she then finger spells "Bait".]

It's never translated, not even in the script or the transcript. Even while this show is targeting their hearing audience they still gloss over things like this. (I also want to note that me and Mod Rock spent a while trying to figure out the second sign and came up empty handed as well 😅)

Now when it comes to Audio Descriptions, it's usually "[Character name] signs [dialogue in Verbal Language]". If it's the first time introducing the character or the character is switching languages, then specify what Sign language off the bat, ASL, BSL, ISL (SEE, SSE,) etc. It's the same as in writing that you write the character dialogue followed by "[pronoun/character name] signed". The shows that I know of that have characters using Sign language and have Audio Descriptions is The Boys (kimiko's scenes), ThisClose also has them, Bridgerton (episode 1 scene in s3, it's one scene in BSL but it's there!), and I'm pretty sure Echo does too (it should, I'm looking at you streaming service) but I've yet to watch that last one. Listening to them might help you with getting a grasp of writing them if you have any signing characters.

Ex. Eileen signs in ASL "You sure you don't want both?"

Another thing with Sign language though is body language and expressions and even things like story telling are there also. So describing an action can give a lot of context of feeling and what is going on in the scene. Here's another ASL animation that is in the works and they go more in detail of how they are animating body motion, face expressions and such. Craig of the creek is an animated kids show that also has BASL and ASL in it (and I love how they go about the characters dialogue, the signs are so well animated, and the friend translating and the others learning for him too.)

There's also Pro-tactile & Tactile Sign language. Granted I've never seen or do I know of a show/movie/short with pro-tactile in it or Tactical Sign Language but if anyone were to do that the audio description would probably be like "[Character A] puts their hands over [Character B]. [Character B] signs [dialogue]". That would be for the Hand over method which is Tactile Sign Language.

For Pro-tactile, this involves other forms of communication such as back channeling, mapping, haptics. It should be translated much the same I believe because these certain elements of the language are used to portray emotional tone, contact/interaction, as well as directions.

Here's some examples of pro-tactile and tactile sign language since I know it's not largely known: (all ASL)

Pro-tactile: Video 1 (Captions & No Voice Over), Video 2 (Captions & Voice Over) and it goes further into specifics of Hand placement, Back channeling while Standing & Sitting, Video 3 (Voice over & Captions). Here's five vlogs in PTASL also, no captions or voice over so Fluency in ASL is needed.

Tactile Sign Language: I was having a hard time finding videos (for some reason) but Here is a segment in a video where they show it. Here is another short video too!

Of course you don't want to describe every movement when it comes to Sign language but you want to describe the base movement. If someones Tracking, (this is where a person holds the wrist area of the other person who is signing so that it's in their field of vision) you might describe that before the dialogue. "[Character] puts their hands over [characters] wrist" and so on and so forth.

Haptics/Mapping may also be very similar but they're mostly used in describing the layout of an area someone is in, directions to somewhere, how to navigate the surrounding area. This is gonna be just explaining how they are moving. The same can be said with Visual Vernacular. It's movement to describe something or to tell a story it's not Sign language but a movement of general understanding. Here is a video where an interpreter details Visual Vernacular alongside ASL. Here's the one without the voice over as well.

AAC

The movie Come Play is a horror movie centered around a non-verbal boy with autism who uses an AAC app on his phone. His device is the one where speech is generated from the different buttons that correlate with the words he clicks. I couldn't find an example of an audio Description for this movie anywhere but it might be similar to the next example.

The Boys again also has scenes with Kimiko where she uses her phone to communicate and such. And the audio description usually sounds like "Kimiko types on her phone, it reads [dialogue]". The only difference in Come Play would be that the Dialogue wouldn't be narrated because it's already done so by the AAC device in the movie, but subtitles would be needed.

Speechless gives a lot of examples between low-tech and high-tech examples. This scene in particular where all the characters are in one scene. The main character (JJ) uses a laser pointer and a word/alphabet board with the assistance of an aid. In this instance the aid reads aloud everything that JJ communicates. If you're one on one though, much like with sign language, you wouldn't really read aloud everything they say especially if it's a private conversation. Instead the pov would probably show the characters AAC method they use whenever they communicate. For the audio description it might be something along the lines of "[Character] points and says [dialogue]".

I've never seen other types of AAC in media so it would probably be the same when it comes to Audio Description when describing another method like print on palm. it might be something like "[character] grabs their hand and writes [dialogue]".

In the show In The Dark the scenes with braille are described as "[character] runs their fingers over the braille, it's read [dialogue/text]". And on that topic, In the show All The Light We Can Not See, it has a really (really really really) good basis of what an Audio Description should be like. It also has multiple featurettes and an audio introduction with it that goes more in depth to explain the costumes, settings, the characters, and other visual information that is often important but left out in the audio descriptions due to the pacing of the show/film.

Immersion was the goal, much like with the production of Romeo and Juliet in PTASL that was performed. Introducing your characters and settings in a little short animation before hand or at the begining as a little segment may be something you can do/consider.

This video details some other forms of communication that I may or may not have left out (Auslan & Voice over). Finger Braille (Video of one handed with translator), Lorm Method, Touch Glove alphabet Method, and some other methods I think can all be described relatively the same. You want to describe the base action of what they're doing (writing, pointing, typing, grabbing, lifting, touching etc) and then focus on their dialogue.

Also I don't use any form of AAC to communicate so if anyone who does finds error, please correct it. Or even if there has been a discussion on this before among the community please reiterate or link to it so we have first hand experience and voices as well.

Known problems with audio Descriptions

Here's a Small history and more in depth article written by someone who needs audio descriptions. They primarily talk about its lack of rush to be used in cinema and primarily the UK.

Describing everything but the characters race: I've heard that this is an issue specifically for Netflix that the audio descriptions are good but they never mentioned the race of the character which some people have made note about. (I don't know much about this I will say just I've heard it around here and there)

Here is a post that goes more into detail about Audio descriptions as well by @accessibleaesthetics. And here is an all around really Good source as well called The Audio Description Project.

Forgetting character entrances & exits: This is important because people need to know what characters are in the scenes. Much like in a play with stage directions you need to know who comes in and when they exit.

Over describing/under describing: I read a debate about the use of over describing and under describing when it comes to AD's. The example given was when describing facial expressions. Option one is to just say "[Character] is surprised". Option two is to describe the facial expression in all its little details "[Character] opens their mouth, their eyebrows raised and eyes wide". Under describing in general seems to be a issue but when it comes to things like body/facial expressions it's best to keep it simple and to the point for another reason that I list down below.

Forgetting small details: the audio descriptions of All The Light We Can Not See, and The Boys do a fantastic job of small details. For others some things are glossed over but then don't make sense later on in the scene. For instance, if the character picks up a knife and this isn't narrated but then the part of them stabbing another person is then, it's kinda like "Oh well I guess the character picked up a knife at some point" but the exact moment isn't specified. In this article, the person who makes Audio Descriptions tells that he had described someone as Smoking a cigarette when he was in fact smoking Weed. He says the reason he realized the difference is because these are two separate substances that change the perception of the character. The little details matter because of the implications and importance to who is doing it and why, when gathering all the information and understanding a character.

Misnaming/mixing up characters: The same article I listed right before also says how mixing up characters is an issue sometimes too.

For audio descriptions in general I think listening to a few different ones might help with getting a grasp on how to do them/better do them. AudioVault is one place that if you can't find audio descriptions of your shows or movies, they might have it there. In this instance, maybe listening to your favorite movies or shows with the audio descriptions on might help you. Most shows/movies that are original to Netflix have them, the same with other streaming services like Peacock and Amazon Prime.

I don't use audio descriptions a lot because my tinnitus makes it difficult but I sometimes turn them on (when available) to understand scenes that are confusing to me. Certain actions and how the cameras frame them don't make sense to me sometimes, or even I can't see because of the lighting of the show or movie and so I need to know what's going on. This brings us to that beside people who are low vision or blind, many other people use Audio Descriptions for different reasons too. The same points can all be made for people who use Subtitles/closed captions as well.

Issues with captions/Things that need to be more common with captions

Names: Some captions have the names of the characters next to their dialogue. A lot don't do this. I think it should be done because of many reasons but mainly it makes it easier to follow along for everyone who uses captions.

Tonal Cues: As I mentioned before Tonal Cues in Captions would be so very helpful for a lot of people.

Don't censor: Don't censor swear words, slurs, anything, write it as it's said. Unless it's actually censored in the audio (which is usually done for comedic reasons) then do that.

Lyrics/music/background sounds: So not only making sure to include the songs that are playing over certain scenes but also making sure to include the soundtrack and background music that is playing. Almost every movie and show uses music as an indication for tone, often times characters or certain situations have their own theme too. These are all important to note when writing captions. The caption writers of Stranger Things did amazing when it came to background noises, writing every creak and bang is important especially if it's being heard and reacted to by either the characters or the audience.

Include language changes: This has long been an issue when you're watching something in one language and then when they switch languages it just says "Speaking in [language]". Instead write out what they said in that language. So instead of "Speaking in Spanish", actually write out "Sana sana colita de rana". If the character knows what they're saying because they speak the language you can also put another set of subtitles under it translating it. If you're doing a sorta comedic scene where the audience needs to know what is said but the character doesn't, then do the same, write it out in the language "Ay dios mio!" And then under/above it put the translation "Oh my God!".

Include different speech patterns: If the character has a stutter write it, if they're slurring their words together write it.

Auditory/Visual Learners: Some people just do better retaining and understanding information when it's in an auditory form. For some people, they're able to retain information more by reading it rather than hearing it as well.

People Who Have Trouble With Social Cues: Okay so a continuation to the "Over Describing/Under describing" bullet points above. For people who have trouble reading body/facial cues, the audio descriptions help by describing it as The character is happy, scared, shocked, surprised etc. This is part of the reason why it's best to use those words instead of describing every movement that goes into a person's expression/body language. Like wise Closed Captions with Tonal Cues would also help and serve much of the same purpose but those are rarely ever seen (in my experience).

Help People Learn The Connection Of Words And Actions: a lot of people are always learning new languages and being able to connect the word to the action helps with the understanding of new languages. Again the same for closed captions, being able to look at how words are spelt while listening to them helps grasp a better understanding.

Overstimulation: For some people looking and listening to something at the same time can be too much and it becomes overwhelming. I know I often turn off the sound to a lot of movies I watch and just use subtitles because sometimes commotion/yelling especially in like action movies is a lot. For some people, a lot of visual movement and constant rapid actions can be overwhelming as well.

Dark Screens: As I mention, especially more recently in the media industry, things are a lot harder to see nowadays. The same can be said with dialogue and why a lot of people may opt-in for subtitles and captions because things are just so hard to hear now.

The Busy Bees: Some people just like to multi-task and much like an audio book, you can do something (chores, crafting, homework etc) while listening to the show and not miss any visual information. Multi-tasking also helps some people concentrate better on what they're working on too much like music helps some people.

People With Other Medical Conditions That Make Viewing Screens Inaccessible: If your having a migraine or headaches, a screen is the last thing you want to look at, and for some people, noise is a trigger for them. They're also a known trigger for many people with epilepsy/seizure disorders. People who have photophobia also may AD due to the light sensitivity. People with ADHD, autism, Prosopagnosia, Processing Disorders, and many many other things that I can't possibly list them all, all may use Subtitles or AD's for multiple different reasons.

Okay, that was a lot, got a bit long, but hopefully I covered everything! Things could be more organized but it works so hopefully this helps! I'm not very familiar with animation so anyone who is, please feel free to add on in a reblog to share a few tips and tricks!

~ Mod Virus 🌸

[thedinanshiral]

How have the dragons aged.

I have to address the identity crisis many are having around Dragon Age. Namely, what is Dragon Age? What makes Dragon Age be Dragon Age?

Dragon Age is everchanging, it always tries new things, introduces new protagonists, new companions, new conflicts and cultures to navigate through. Maybe it'd be easier to define what Dragon Age isn't. Dragon Age isn't unchanging, it isn't stagnant, it isn't a single uniform thing, and tryingto reduce it to such will always result in failure.

The simpler, more obvious answer when searching what defines a Dragon Age game is worldbuilding, storytelling, characters. Dragon Age isn't about a specific, limited game genre, a set-in-stone gameplay style, or a single character that must always return for it all to make sense, and it isn't a determined art style either.

Dragon Age is Thedas, with all it contains. It's the lore, and i assure you it has not been retconed and the games haven't been rebooted, because everything's been a conscious choice that makes sense in-world. And because at this point Thedas is its own, none of it has to adjust to what we expect of it.

From a technical standpoint it's simply not feasible to include every decision from past games, there's just too many, and frankly many don't change anything on the grand scale of things. I saw this happen with the Keep, many of the choices available for DAO and DA2 i couldn't even remember. Maybe they mattered then and there, and served their purpose with exposition, but clearly whatever my Warden decided to do with the werewolves in the Brecilian forest was never going to define the fate of the world. So devs have to decide which choices matter in the big picture, the biggest picture they can think of, and work from there.

Many were very upset certain decisions from previous games weren't affecting Veilguard like they imagined, and it wasn't just choices but lore as well. But lore in DA can be tricky for some; it's not presented by an omniscient narrator, quite the contrary, the lore in DA has always been presented by UNRELIABLE narrators, questionable and extremely biased sources like Orlesian scholars and Chantry sisters, or sources who are just as clueless about it all as the players, as random farmers, adventurers, common folk just leaving notes and letters behind, even gossiping. The lore in Thedas is presented in a similar way as our own history is: records are missing and maybe later rediscovered, some authors have an agenda, victors write history and the defeated and conquered are silenced and their version of events lost to oblivion, things go terribly misunderstood for ages and upon new findings hopefully they get corrected. There has even been quests exemplifying this, so the game itself is telling us repeatedly to question everything. We don't know Thedas as well as we like to think we do, and we've only participated in a couple of decades of its ninth age.

Disclaimer tho, this post is not an invitation to argue with me, to tell me how wrong i am and how much you disagree with me. I know these are controversial points a lot of people are very upset/annoyed/disappointed with, it's why i'm addressing them, i have read enough of that side and i'm simply providing an alternative and nope, i will not budge on any of this (: If you disagree just go on with your life, best of fortunes to you and have a nice day!

[SPOILERS AHEAD]

Who the Warden was and what choices they made as an individual don't matter much going forward, only that they stopped the Fifth Blight; that and that alone is their real contribution to thedosian history, when you really think about it, if you can put nostalgia on break for a bit. I love Hawke, i do, but they were just a lil' guy doing the best they could with the cards life dealt to them. Interesting things happened to them, not the other way around. And we can all agree the defining moment in DA2 was the fireworks, and that wasn't even Hawke, it was Anders. The Inquisitor is a bit more relevant, if only because of an extra unfortunate case of wrong time, wrong place. Again, fate just messes with people in Thedas in unforeseeable ways. What do you mean you found a blighted Magister Sidereal sacrificing Divine Justinia during the Conclave, and accidentally touched an acient elvhen artifact that marked you as the new key to the Fade itself and granted you power to close holes in the Veil from where demons come out??? Oh, y'know, just another Tuesday in Thedas. But that's where it gets more interesting, Inquisition is where certain players showed up, and with them came revelations. The Golden City is not so golden, the Maker is not sitting in a throne, at least one ancient Tevinter Magister is walking around blighted, the Evanuris weren't particuarly nice, some ancient elves still live, Flemeth is Mythal, and Solas is not just an apostate hobo mage who knows stuff because he "saw it in the Fade", but because he is the Dread Wolf, the one responsible for the Veil and how it reshaped the world.

That was a lot to take in, and it changed everything.

The Inquisition choice most people are upset about that didn't carry into Veilguard is who drank from the Well of Sorrows, because of the implications of whoever did being bound to the will of Mythal. The reason why that is inconsequential now is simple: Mythal is dead. There's no longer any will to be bound to! And you could counter saying Mythal has been dead for a long time, yes, but the fragment that survived through Flemeth was possibly her strongest, and she's gone too. Morrigan in Veilguard explains what she has of Mythal now is just her memories and knowledge; there's no will left, only a fragment here or there with no real power to exhert over anyone. We can see the consequences of drinking from the Well already in Inquisition, when we meet Flemeth through the Eluvian, and she either controls Morrigan or controls the Inquisitor to stop Morrigan. But once Flemeth is gone, that power is gone too. Therefore, as much as you might hate me for saying it, who drank from the Well of Sorrows doesn't matter anymore.

Another thing people are mad about is they don't get to see racism, slavery and oppression, which is...odd, that you'd want to see that so much not having it ruins the whole game for you. Personally i'm no fan of torture porn, and i can infer a lot from blood magic ritual sites littered with charred corpses and blood splatter decorating the walls. That's what we got and i don't need much more. Yes, we got see to Tevinter. Ok, not the whole of Tevinter, just Minrathous. Ok, not Minrathous per-se, but Dock Town. We can visit the poor area of Minrathous. Who's gonna have slaves when they're poor themselves? Oh yeah, Halos the guy that fries fish by the docks is gonna have an elven slave to mistreat in front of Rook just to remain truthful to the lore we got so far, sure. That sounds ridiculous to you? Good, it should. Seeing Dock Town is not retconing the awful bits of lore about Tevinter, it's adding to it. Minrathous is not the jewel of an empire, it's a big city and like all big cities it has its ugly side, it has slums too, it has areas where the poor live poor lives barely making it day by day, under the thumb of an elite that doesn't even know they exist nor would they care at all if they did. We may not get to see slaves being abused or people being racist towards elves but we can hear how common people keep disappearing, and later find out some Tevinter mage needed bodies for their rituals. We find so many bodies, such gruesome scenes...

Another complaint i've seen around is how who was chosen as Divine in Inquisition doesn't matter because apparently there's no Chantry in Veilguard and that goes against the lore, etc. In short, that's like complaining there's no Protestantism in the Vatican. The North is not under the Orlesian Chantry influence, Tevinter has its own version of the Chantry, their own Divine, their own expressions within the faith. Who was chosen as Divine south of the Waking Sea probably, most likely, doesn't even faze them. If there's a chantry to have any influence in the areas we visit in Veilguard, that would be the Tevinter one, but even so the North is a very particular region. We learned in previous games that magic is to be feared and therefore controlled, that dealing with spirits is unwise at best, and that the risk of possession leads inequivocably to abominations and must therefore be avoided at all costs, spirits are to be avoided, they can turn into demons, everything is demons! Bodies are cremated to prevent possession and anyone claiming to be talking with spirits is identified as an abomination. Yet in Rivain, which is not under the Chantry and has a history of cultural and religious diversity, seers can commune with spirits in a harmless way, and work together just fine. Meanwhile in Nevarra, there's a whole institution dedicated to the preservation of the dead, the communication with the decesased, spirits and demons, a whole branch of magical studies and applications revolving around diving into what Andrastianism warns against, and it's done in a very solemn manner and benevolent attitude. Tevinter's main difference with the South comes from a different interpretation of the Chant of Light, where if magic is to serve man, then those in power who are to serve the people should be mages, so they're ruled by a mage supremacy and their entire society is defined by it. It makes, in game, within the lore, perfect sense that we don't get overly religious andrastians crying for the Maker to deliver them from demons and possession and the evil of magic in a region where all that is everyday's bread and butter and people are generally cool with it or at the very least used to it. Harding talks a a bit about the Maker, Neve admits she can't keep up with the andrastian festivities, and i guess the only case for the Andrastianism we know would be Antiva, but let's face it, a kingdom ruled from behind the curtains by an order of assassins for hire isn't gonna be very adept to following religious tenets. (As a small note of colour, there is a Chantry building in Antiva, unaccessible as far as i know, and right across it through the canals there's a nug statue, one could say a golden nug statue but on its four legs, not like the one we had in DAI. I like to think that's Schmooples, and a hint that by default the Divine is Leliana but that's just me ok she's my Divine).

I also want to talk about "those across the sea". For people who got or learned of the secret hidden post-credits scene, it may have felt like that reveal automatically invalidated everything we ever did in every game so far so nothing really matters anymore, but that's not the case. The choice of words they use was deliberate by the devs, Epler said that much on Bluesky. These mysterious figures "balanced, guided, whispered". They did not "control" or "forced". They did basically no different than what Flemeth/Mythal had been doing, giving history a nudge when needed. They manipulated different actors throughout history, but didn't exactly force their hand. The Magisters decided to follow the whispers of their gods and try to break into the Fade because of their own greed for power. Loghain betrayed Cailan and the Wardens because of his own feelings, Bartrand fell to the power of the red lyrum and refused to listen to his own family. These beings, whatever they are, have influenced the stage setting it all up for their arrival, but ultimately it was people's choice, by their free will, what had the final say. Loghain could have respected his own King whom he had a duty to serve, Bartrand could have listened to Varric, everyone under their influence could have broken out of it if they wanted to do differently.. but they didn't.

Lastly, I've seen comments about how Veilguard is a "soft reboot" because of how it handles the events in the South, virtually erasing it so nothing from previous games mattered and now there's a "clean slate" to take the series to new places instead of ever returning to Ferelden. First off, nothing says we had to return to Ferelden at all. Guys we had THREE games in Ferelden already, let it rest. Secondly, the events from previous games do matter, they have all led to the events in Veilguard: Varric wouldn't have been at the right time and place to join the Inquisition if Hawke hadn't become the Champion of Kirkwall making himself a POI for Cassandra, nobody would have been at the Conclave if Anders hadn't set the fuse, and Anders wouldn't have had Justice and later Vengeance if Awakening hadn't happened. So Varric and Harding wouldn't have been chasing after Solas at all, nobody would even know he existed, without a long chain of previous events from all games and pieces of media in this series. It has all led to this moment, and for that it has all mattered. Ferelden and the South being destroyed is consistent with them experiencing two blights at once, with enhanced new darkspawn, with two blighted Evanuris on the loose. It's the end of the world! And this time there's no magic hand to save the day, the people in the south are just that, people. Trust the Inquisitor and their allies to do their absolute best to face the threat, that's all we can do. Life and history moves on. And just as the North, where most Blights took place, with the first one lasting a hundred years, survived and eventually thrived so can the South, they can eventually recover, heal, and real world limitations aside, it'd even be possible to be part of that effort. I can easily imagine a new protagonist taking the action back to the South, contributing to the efforts to recover after the double Blight, helping Ferelden and Orlais stand again. Not to mention, with how deep and rich Thedas is in its worldbuilding, if BW wanted to "reboot" they could just pick any place, any point in history, any faction, create new ones, and just go wild with it. What happens in the South in Veilguard is not necessary at all for a reboot, so it's there at the very least to show how desperate the situation is, how high the stakes are. I think the updates we get from the Inquisitor are there to really make us feel it, and as Rook try our best to solve things on our end because the sooner we kill the archdemons, the sooner we end Elgar'nan and Ghilan'nain, the better the chances of the South to survive this calamity.

I could keep writing but this is long enough. I'm not done playing The Veilguard (on my 2nd and 3rd run!), and i keep taking oh so many notes, but i wanted to lay down my thoughts on these few points first. If you read this far thank you and i'm so sorry, it's annoying how i can pull a counter for everything, i know.

[garden-ghoul]

Happy Gushiwensday Shabbes! We have another Wang Anshi tonight, "Miscellaneous Poem #5."

The morning sun shines in--I slept wrapped around my book and dreamed about Bell Mountain. I'm all old feelings. I face old age with composure, though I've been dragged through the mud, and I think today I can do it again. I'll wash in the cold stream.

Notes and original text under the cut.

杂咏五首

朝阳映屋拥书眠，梦想锺山一慨然。 投老安能长忍垢，会当归此濯寒泉。

This one we translated because we were unsatisfied with Hinton's translation that we looked at a while ago. I'm a big fan of this poem. Very contemplative and melancholy, a little esoteric. Here are some notes!

wrapped around my book --- or with books gathered around.

Bell Mountain --- Laurence tells me that this is the mountain where Wang Anshi's favorite monastery was; he was friends with the abbot and visited many times. We think that this poem was written after he retired (post the death of his son) to "Halfway House," which was pretty much in the shadow of this mountain, which makes it curious to say he dreamed about it. I wondered whether he wasn't dreaming of a version of it from the past, when his life was simpler.

all old feelings --- 一慨然 is a really fun phrase. 一 is here used as "entirely" or "thoroughly" and 慨然 is like, in a heartfelt sigh kind of way. I'm still not totally sure whether this describes the mountain or the narrator, but I lean toward the latter. I've also used "old" feelings rather than "deep" feelings because I felt like he was dreaming about the past.

I face old age --- 投 is a fantaaaastic character. It can mean to throw something, to surrender oneself, to cast a vote/glance/shadow (!!!), to throw oneself into something like a river, or even to seek refuge. Applying this to old age has such a richness.

dragged through the mud --- Literally "a long time enduring dirt/disgrace." Obviously the poet has used a word for disgrace that primarily evokes physical grime (at least from the binomes it's in) because the next line is about washing.

I think today... again --- Grammatically puzzling! 会当归此 might be literally translated as "I'm able to manage returning to this" or "I'm able to withstand it and return to this." The referent of 此 "this/that" is unclear---I've resolved it via line-to-line word parallelism. ie, assuming "return to this" is paralleled with "can be calm" in the previous line. According to Laurence's researches Wang Anshi is known for being quite meticulous with his word parallelism, and this poem has a few other potentially interesting parallels:

In the first couplet, maybe 映 shine and 锺 bell are being paralleled: one visual image and one sonic image. (Laurence's interpretation) I'm not entirely sure whether most bells had a shiny finish, but if so it could also evoke the shine of metal!

Also in the first couplet, 拥 could either read as gathered or embraced, and either way it has a nice resonance with 一 perfused or in totality.

Very obviously, in the second couplet, 垢 dirt contrasted with 泉 stream or spring. The dirt or disgrace is from his political career, so it also evokes the simplicity of life in retirement and a remove from the "material world."

In the second couplet, potentially something interesting is going on with 长 always, forever, or constantly and 濯 wash, a clear material action that happens once and changes your state.

[oakantony]

here's what I think I need to do to Blood Atlas to make it work:

limit the POV to JUST Jack. rn there are 4 POV characters and it's too many. it's fun writing inside Atlas' head but I think taking him out of the narration would make the story a little more mysterious and spooky

remove Gifts from the narrative except for a VERY select few and explain, from the get-go, why some people have them. (Gifts are for people who are direct descendants of the gods)

change the time period and/or change the world so it takes place somewhere entirely new. i could honestly plop the whole story into the TAOS universe, i think, and make it work. but it'd probably be simpler to keep it earth-based and make it take place in a different era. the 80s could work. maybe the 20s. hell maybe victorian times?

obviously these are all big enough changes to warrant starting the story over from scratch. but i have 33,000 words written and starting over would suck. unfortunately for me i'm deep enough into the narrative now to recognize that something's not working. it's too complex and too disjointed right now imho. even i'm having a hard time following it and i'm the fuckin author LMAO

[rplayford02]

Tim, Sean, Mira and Mars: Sound Design

I was much happier with my sound design for this project but maybe just because it was simpler. We had known that the test shoot scene for KEEPER was going to be one of the hardest scenes of the film. Comparatively, the scene we were shooting for TSM&M didn’t involve any action at all, just people talking so I could really focus on the basics and make it a lot more polished in a lot less time.

I spent a day and a half total on the sound design. After helping give some feedback on the edit, Jake handed the AAF over the Monday and I had finished by Tuesday night.

The boom recordings in the projection room were quite noisy, some taps and the aforementioned engineering work in the background. Luckily the LAV sound was perfect so for Tim and Sean’s conversation I relied completely on this. For the auditorium scene, I used the boom with some noise reduction rendered in, and layered the LAV mic underneath to give him slightly more presence.

As I had planned (explained in the pitch), I focused on finding the unique reverb of each setting. Using the ‘Space’ plug-in, I found presets that were a similar match to the look and feel of the space on-screen and then tweaked them myself, saving them into my session folder for recall later. I also added EQ to the voices to make them sound more like they had been recorded from where the camera was stood. For example, Xander’s voice, coming from behind the window, has lost some of the high end frequencies to artificially construct this window/wall in the sound we are receiving. Aux tracks proved very useful throughout the session, allowing me to send multiple tracks to the same reverb plug-ins.

Once the dialogue was sorted, I moved on to creating a projector sound effect which would change depending on which room we were in. (Louder in the projection room, and panned to the left, quieter with less high and low frequencies in the auditorium.) I decided the sound should stay in stereo as it felt like a component of the atmos.

Then I needed to construct something to play from the cinema screen. I made an aux, routed dialogue to it so I had a temporary output to monitor and then added EQ and Space plug-ins to the track. I messed around with both plug-ins until I had a sound that mimicked the output of cinema speakers and I was pretty pleased with the outcome. The plug in settings are seen here.

I took to Freesound to find some ominous sounds and choral singing to recreate my own version of the Star Gate sequence soundtrack. The finished thing is primarily made up of creepy strings and wind, manipulated with Pitch Shift. I then routed this through the Cinema Speakers Aux and it worked!! The effect was more obvious with dialogue but I still like the result.

I automated the Star Gate sounds to drop in volume and pan to the left as we move to the projection room. I also automated an EQ plug on the routing folder they were in, so the higher frequencies were lost as they ‘passed through the walls’ into this secondary space.

Earlier in the trimester I had planned that I wanted to make it sound like an old movie so I watched a video about ‘how to create a tape effect on digital sound’. The main takeaways: compress the hell out of it to emulate the reduced dynamic range, reduce the attack of the transients, EQ it to favour the mid frequencies and at some kind of saturation. This guy’s video was talking about music, but I assumed similar principles would apply. I had already read about the reduced dynamic range in old films so this seemed about right. I decided to apply these effects to The Narrator’s dialogue - mid frequency EQ, heavy compression, some fiddling with the Enhancer plug-in. I briefly tried to experiment with side chain compression to make the Star Gate sounds dip under his dialogue but it wasn’t working and I couldn’t figure out where I was going wrong. I thought this would have added to the vintage sound. It’ll have to be something I figure out in the new year.

Robbie then came in to take a look at the sound edit. His main note was that the Star Gate sounds were creating the wrong tone. Upon listening again, I agreed.

We had this idea a lot earlier in the trimester to use a piece of music in the sound design. It was a simple guitar piece that Robbie had written and recorded on his phone; he’d used it in a sizzle reel for the project. It was definitely lighter in tone, a little bittersweet sounding perhaps, so I imported it and added it under the dialogue exchange and it kind of worked.

I wanted to make it sound somewhat diegetic at first so I added EQ to make it sound like it was coming from a old radio (above) and panned it to the right (other side from projector sound to balance it out). I then automated the EQ to get it back to normal, automated the pan to center and the volume to increase as the scene transitioned and The Narrator’s dialogue came back in. The song remains this way until the end of the film.

I think the result is maybe a little too sentimental but it definitely changed the tone for the better. The end result now much better represents the tone of the film I think we were aiming for. And I like how rough the song recording is. In fact I just really like the song. Music is such a manipulator! I kind of feel like I’ve cheated. Like I’ve brought emotions out of the audience that I haven’t earned.

[erinpilolla]

Applying TV Infomercials to Modern Advertising : Moon Sand

By Erin Pilolla

Moon Sand was a hydrophobic children's play and craft material made from a blend of sand and other compounds that prevented it from drying out while still maintaining its moldability. The idea for the toy was not particularly groundbreaking, and in fact it can be made at home easily. Kinetic sand is a popular modern counterpart you can find in most major stores. But Moon Sand, which was first introduced in August 2006, has its own unique brand identity and was successful in generating thousands of sales by using the power of branding and commercial production while TV was still one of the most effective channels of advertising. The commercial, in all its early 2000’s glory, pulls kids in with its upbeat and horn-filled tune. Then, wow- there are a lot of awesome things you can do with this Moon Sand. You can turn it into a bowling ball and pins? You can make an entire farm of animals? As if it can't get any cooler, Moon Sand came with a branded carrying kit and molds for your sand. It's a classic formula for kid's advertising: Fun music, a friendly and excited narrator, and lots of examples of how you can do something exciting with the product they advertise with "just a little" parent assistance. Yet, Moon Sand manages to put a fresh twist on what one may expect from traditional methods of days yore, and still holds a nostalgic place in my heart.

Don't get me wrong, my mom did buy me this because I begged her to, and I cannot recall using it more than maybe once or twice. The few times I did use it it was a huge disappointment, and I certainly was not going to be able to bowl with this mess. Since it didn't hold its shape very well and apparently came with only castle molds, you couldn't do much with it except make castles, unless of course you purchased more molds separately. I'm thoroughly convinced the commercial hired professionals for the commercial to create castles using additional materials. The product itself, and maybe to some extent the entire brand, was not much more than yet another meaningless cash grab thrown out into a sea of consumers the company hoped to profit off of. It did feel really satisfying to squish between your fingers though.

Moon Sand was not exceptional, but it didn't need to be, because for some reason the brand and commercial still stick out in my mind and it felt like a product I had to have, as if my life depended on it. I vividly remember the commercial coming on and how excited I would be, almost stressed, as I would run around to find a pen and paper, hoping to finally write down the phone number for the product and the name of it. It took several tries, since the commercial was so fast, and I would try to explain to my extremely confused mother what it was and why I could not relax until I had this sand. Didn’t she understand that we could potentially not order fast enough, and miss out on the additional two moon sand molds the commercial offered for free to the first callers?

The early 2000's have already captured a particular time in history that we will never see again, a blend of culture and circumstance that was completely unique. Technology's pervasive spread and rapidly changing trends in business and personal habits made for a memorable and transformative landscape for Gen Z to grow up during. Sometimes referred to as "Digital Natives," a majority of people in the U.S. under the age of 30 have spent their entire lives having access to or awareness of new technology like smartphones, streaming services, and cell phone apps. At the same time however, many of them have also had some exposure to older, "traditional" technology such as landline/flip phones, dial up, and desktop websites on the internet. As these forms of communication and creation have become more outdated, they also start to feel much simpler, and can bring about feelings of nostalgia or longing.

Many of our childhood experiences included a unique blend of both modern and traditional media, so it is important that is reflected in representations of Gen Z characters and through advertising. Including references to media and historical moments of the early 2000s that had cultural impact is a great way to boost engagement and improve consumer relations, including toys and children's shows that were popular such as Moon Sand. This is especially true of groups or topics that may have been niche or underrepresented at the time. Since many more people have access to past media than ever before, content that is easy to find and frequently pushed can become quickly oversaturated or seem stale to these consumers. Therefore, finding content that is truly relevant to your consumers and less obvious to the mainstream can greatly improve your brand standing.

Moon Sand used trends of the time to be able to draw in and hold a captive audience with their TV commercial. At the ending they provide a website which you could log onto and purchase through, as well as a phone number to call. They offered extra product as an incentive for purchasing over the phone. Modern advertisements can feel confusing and unrelated to the original product they are supposed to be informing you about, but this commercial is straightforward and has an obvious sales intent. In a time where it can be hard to distinguish ad from art, many younger generations feel refreshed by this kind of simplicity and lack of obfuscation.

As marketers, it is important to utilize channels of communication that make it the most likely for your message to be seen by the desired demographics. While we may have moved away from some of the forms of media that Moon Sand used to build its branding and attempt to generate sales, we can still mimic the aspects of traditional forms of media that were most enjoyed by younger generations in their childhood by tailoring user experiences and communicating in ways that make sense to these audiences.

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[owlf45]

This may be presumptuous, but what do you find helps best with writer's block? I'm working on a demon slayer fanfic and am struggling to get them moving to my next plot point, and I feel like I've made their motivators too complex to continue building on. Your writing in Imaginary was just so exquisite and defined, I thought you might have some advice for newer writers

it's not presumptuous at all!

ultimately, the characters should seem to choose the plot. even if you have a plot point and you have to force the characters into it, it should seem it's of the characters' free will/choice that they make the decisions they do.

if you've built a well-rounded character with complex motivations and it's still not clicking with the plot, there's a much simpler way to manage it rather than build their motivations further:

Manipulate it, Break it, Conflict it

Manipulate it! Have a character prioritize certain parts of their motivators. Maybe, for the time being, an unforgiving hero will have to give in and work with a villain to save innocent bystanders from a worse threat. Sometimes, the lovesick bird will choose to protect his family before his long-lost over, because he prioritizes the truth over saving his own emotions.

Break it! Destroy your character's motivations! Let them have an eye-opening experience! shake them to their core! Make them see something new! Betrayed by someone they thought they knew! reveal new information that throws all their progress into question! Make them change!

Conflict it! Dont have everyone just joining ur narrator willy nilly just cause it's convenient! If you have a range of characters, even those with conflicting opinions, force their motivations to collide, if their separation would help develop the plot. Or, force their motivations to come into conflict, and force them to cooperate; to give and to help each other, even at the cost of some of their own beliefs. (this is why imaginary works in a lot of ways: if the plot were to develop and there were only one holder in all of imaginary, each plot would develop in a drastically different manner depending on which holder was summoned. because all of them are there, their motivations on each slightest thing get to constantly come into question. it's their collective that makes them a unifying force. Their cooperation in spite of their differing ideals drives the plot forward. Fourth's an outlier because he, too, drives the plot forward, but instead it is because he is in constant resistance to the surrounding characters. his desire to control izuku is important to the plot.)

if this doesn't help you in the slightest, then I suggest u look to a different character to lead your direction of development. make sure every single one of your characters are showing agency.

if your characters are "stuck", it might be because youre trying to force them into a situation where they're not really acting. look at each character and ask: "if they could do anything. with their personality and their goals and drive and experience and environmental factors, what would they do right now?" and if the answer isn't what your plot is saying, then you might have to make some changes. Make each character's thought processes relevant, even if that means we dont get to see it "on camera" (or in writing). maybe we only get to see the effects of their agency. maybe a character was originally in a plot point where they helped the narrator defeat a slime boss to learn teamwork. instead, they go off on their own a short time before to help a loved one involved with a dangerous criminal, only to get hurt and have to be saved.. by the same loved one they wanted to help. their experience is humbling, and they throw themselves into hardcore training. they become stronger than the narrator wouldve ever predicted, because before this happened they used to be more bark than bite.

if this doesn't work: throw humor at it.

whenever i cant write a chapter in imaginary, it's because i'm taking it too seriously. write some funny shit, even if it's not the tone you originally wanted. once the chapter's written, go back, and if you really want the tone of That One Scene to be more somber/serious/intense, edit it to be that way. Humor always helps with the writer's block though.

if this doesn't work: timeskips!

cut it midway through a scene when shit has already hit the fan/the next plot point is well in development, and begin backtracking! maybe, there's simply not enough substance to develop in a way that is natural chronologically. trying to force development where there simply can't be any is more harmful than helpful. mix it up a bit!

if ur still struggling with writer's block: put on the arcane soundtrack and Fucking Vibe(tm)

[five-rivers]

I really loved your last prompt fill, Reflection. I can't even describe what emotions it made me feel. Now I'm really curious about a twin au, something set on the other side of the mirror so to speak. I'd love to see your take on something like that.

If you told the Fenton twins they enabled each other, Danny would tell you that's what twins were for, and Andy would say at least they weren't as bad as their parents.

Although the veracity of the first statement was questionable, the second was certainly true. This is why space and astronomy related paraphernalia was limited to the twins' room and pranks only happened a few times a year, while the elder Fentons' ghost hunting gear infested the entire building and spilled out into the yard and a few select public places around town and ghost hunting was a year-round endeavor.

The Fenton children usually responded by doing their best to ignore everything related to ghosts. Usually. Today, that had been a little bit difficult. Today was the day of their parents' greatest triumph!

Except it wasn't. The portal-

"Andy, are you narrating this?"

"So what if I am?" He adjusted the camera to zoom in on his brother's disgruntled face. "You want to go to space, I want to make movies about space. And you've got to admit, the lab does look like the set of a cool SF show."

Danny rolled his eyes. "Sure, except the fake science projects on a set aren't going to come explode on you-"

"Well, actually-"

"That's the exception, not the rule-"

"But it still happened!"

"Ugh, you're impossible. What time is it?"

"According to the camera clock... one fourty-six in the morning."

Danny laughed. "Are you ever going to switch it so it's right?"

"Signs point to no. Hey, I have an idea. I dare you to go in and check it out~"

"Um. No. I don't know how to tell you this, but I'm not dying for your home movie. I'm going to go wait for Sam and Tucker upstairs."

"Come on!" called Andy after Danny. "I'll go with you if you're scared!"

The lab door shut.

"Tch," grumbled Andy. "Whatever." He thumbed the power switch.

.

"And here's the boring lab full of stuff that doesn't work!" said Danny loudly, spreading his hands in presentation. "Can we go back upstairs now?"

"Boring? Just look at all this tech! This would make a great set for a TV show," said Tucker.

"See? See?" said Andy, excitedly. "That's what I said, too. We really are true friends."

"Think your parents would let us use it for an amateur film?" asked Tucker.

"Maybe if they ever 'gave up the ghost,'" said Danny, with air quotes. "Which they aren't. Ever."

"I don't know, Danny, they seemed pretty down after the portal didn't work."

They turned towards the dark, empty hole in the wall.

"Yeah..." said Danny. "They did look kind of sad..."

"Maybe you guys can do something with it," said Sam, adjusting her camera settings to take a picture.

"Sam," complained Andy fiddling with his camera, "stop it, you're messing with my camera brightness..."

Sam stuck out her tongue.

"What do you think we could do?"

"I don't know," said Sam. "Didn't you guys find some wiring issue with that other thing they made? Something silly they overlooked or something?"

"Yeah, that was ages ago and way simpler than this," said Danny.

"I don't know, I think she has a point," said Andy.

"Dare you two to go in," said Sam.

"True frien- Wait, two?"

"Yeah, two heads are better than one. And make for a cooler picture. We could make, like, movie poster mockups or something. Plus, Danny, haven't you ever wondered if there really is another world over there? You could be like an astronaut."

"Ooh, yeah, good point," said Andy. "Do you think we should wear the hazmat?"

"Do I think we should wear protective gear while messing with dangerous lab equipment?"

"Good point, but I was talking about for the picture," said Andy, walking over to the cabinet. "Which one of these is yours and which is mine?"

"Doesn't matter, they're identical," said Danny, leaning over his shoulder and pulling one out. He let it unfold. "I changed my mind, you can have the one with Dad's face."

"It's just a sticker, weirdo." Andy pulled it off. "Ugh, one second... Do you ever wish you had another set of arms...?" He put the camera down.

.

Andy turned the camera back on. "Okay, here we go! Into the portal! To the stars!"

"Or the Ghost Zone, according to Mom and Dad."

"Yep, yep, go on, explore the supposed doorway to the afterlife," said Sam.

"That isn't very sci-fi of you, Sam," said Tucker. He was promptly elbowed.

"Give me some poses!" she said, snapping pictures.

"I thought we were supposed to be looking for what's wrong with the portal," said Danny.

"Come on, it isn't as if you believe in ghosts anyway," said Andy, nudging Danny.

Danny, scowling, took a step away from him and tripped on a wire. He caught himself on the wall and-

Click.

.

"The rest of the video is completely fried," said Tucker. "Should we keep it, or...?"

"Delete it," said Danny.

"Keep it," said Andy.

"I'm getting some mixed messages here," said Tucker.

"I think," said Andy, "that it would be a good idea to have a way to prove we are who we say we are."

"And it has nothing to do with wanting to preserve your camera work?"

"I wouldn't say nothing."

[lumi-klovstad-games]

Fallout 4: the case for Father being a damn liar telling Damn Lies who is NOT who he claims to be

Oddly, I find that people seem very keen to take the Director of the freaking Institute at his word that he’s actually Shaun for some reason.

This is a man with all the motive and opportunity to lie about that in the world.

At no point does he actually offer any sort of hard evidence, and his attempts at “affection” are cold, distant, and unconvincing. While his remarks about “until today, I have had no love to share” could plausibly explain that, his interactions with the Sole Survivor are overwhelmingly manipulative and he definitely sees you more as an asset (and possible successor) than as family; his behavior in general is detached and similar to a high functioning sociopath, which also as a bonus explains why he treats Synths the way he does. To some extent, genuine humans are no different to him than Synths: everything and everyone is merely an asset to secure the Institute’s future dominance in the Commonwealth. He says what he needs to say to provoke the reaction he wants out of people and doesn’t necessarily stand behind a word of it.

So, I don’t think Father is actually Shaun. Of course he can claim this all he wants, but the Sole Survivor has no way of independently verifying this: Father has a vested interest in remaining an unreliable narrator, and also literally controls all paths to the truth that don’t involve going to the Brotherhood of Steel (who likewise can’t be trusted to give an honest answer if that honestly has potential to interfere with their mission).

From what we see of the Commonwealth, paternity tests are VERY DIFFICULT to pull off. Likely, the Brotherhood could do one. The Institute sure as hell could do one, but Father’s goal is manipulating the Sole Survivor into replacing Kellogg, and eventually, himself. It’d be like asking Stalin to conduct an ethics investigation on himself. OF COURSE HE’S GONNA SAY WHAT HE’S GONNA SAY.

But consider the actual evidence. What happens in this lead up to meeting Father at all?

Why, quite a lot, and if Father’s “plan” as described was actually a plan, he’d have to be a goddamn prophet.

He’d have to know that you wouldn’t get mauled to death by Yao Guais and Deathclaws, eaten by Feral Ghouls, killed by raiders, or any of the other fun and exciting means of death that the Wasteland has on offer, and then meet EXACTLY the right people who point you in EXACTLY the right direction about a half dozen times, that you’d somehow kill Kellogg (who has a well earned reputation as a One Man Army the mere mention of which makes some of the most hardened mercs in the Commonwealth shit themselves with fear) and THEN have access to the tech to use his brain as a film reel to poke through his memories to find out that the Institute uses teleportation to get in and out.

He also has absolutely no guarantee that you wouldn’t just mini-nuke Kelogg in the fight and that there’d be anything left to salvage.

Then he has to be able to predict that you can track down Virgil, kill a Courser, DECRYPT THE COURSER’S BRAINCHIP SOMEHOW, build a fucking teleporter INTERCEPTOR out of scraps, and come meet him in the first place.

How could ANYONE have reasonably predicted all that in advance?

There are simply way WAY too many points of not even possible but MOST GODDAMN LIKELY catastrophic failure in that plan. Had even a single thing happened slightly differently, had the Sole Survivor been 0.001% less lucky, the whole thing would have been shot to hell just like America was about two minutes after the bombs fell.

Maybe the Sole Survivor takes one too many bullets. Maybe Kellog’s Hippocampus doesn’t survive his death. Maybe Skinny Malone decides to finally trash Nick Valentine once and for all instead of locking him up. Maybe Dogmeat gets killed by literally ANYTHING in the Commonwealth that could kill a German Shepard (which realistically means everything – the place is somehow more hostile than all of Australia’s wildlife put together). Maybe Glory errs on the side of pragmatism and blows you away with her minigun when you first meet the Railroad.

Tons of stuff could have gone wrong that nobody could have predicted, but Father acts as though you followed his plans to the letter. That all that was meant to engineer a meeting with you. There would have been a ton of ways to do that in a simpler manner with a much lower risk of failure, starting by beaming a Courser right outside Vault 111 to say “Looking for your son? Come with me. We have a bit of explaining to do, but you can see him right now if you like.”

So either Father is either a future-seeing prophet with a magic mirror or something, or he’s actually even more shocked than you are that you actually made it to the Institute and is just trying to cover it up by saying “Sure yeah I’m your son and psssht yeah of course I totally meant to do all that.”

The alternative to that particular Occam’s Razor is that he’s simply so addicted to complexity that he’d get dizzy if you asked him to walk in a straight line.

He’s (probably) not Shaun.

It’s just a lie he told that grew bigger and bigger with each telling as he grew convinced that the Sole Survivor was so dangerous that they had to be harnessed by the Institute instead of someone else (or worse, being allowed to remain a free agent), and, preferably, molded into his replacement.

At least, that’s my read on the situation.

If he is Shaun, the game does a TERRIBLE job of convincing me, since we know that Father is a man of “rather flexible morality” depending on how he can justify things, meaning he can reasonably break any of his own rules and claim he didn’t actually break those rules.

Added to that, Doctors Sun and Crocker (independent medical authorities with no known ties to any faction) both confirm that surgery can change eye color, skin color, skeletal construction and musculature in the Fallout universe and is therefore not just a gameplay feature, meaning Father’s physical resemblance to the Sole Survivor means less than nothing in and of itself as the Institute is likely to have even more advanced capacities for surgery (they literally BUILD wholesale human beings on a factory floor, I mean c’mon). Deacon also supports the notion that surgery can change literally everything about a person’s appearance, but, admittedly, he’s…. Deacon and his word isn’t worth much unless it’s confirmed by independent authorities in the field… like Crocker and Sun would have already done by the time you meet Deacon.

Everything Father sets up can actually be knocked down by something else you’ve encountered in the lore of the game, so this leaves his ultimate parentage ambiguous at best. He might be Shaun. He might not be. It’s up to the player, ultimately, to decide (at least unless Fallout 5 somehow addresses it, which would cement things in canon) whether he is or not.

And I remain unconvinced that he is.

[mellowmoonn]

Writing Help - Genres

As a writer, you really need to know what age group you intend to write for. Depending on the age, you may need to censor yourself or glaze over some heavier topics. Think of ATLA and how they never actually stated Jet died but instead insinuated it. Or, in YA novels when characters get close and the narrator skips over the most NSFW parts of the sex scene. 

Disclaimer: Keep in mind I’m writing from my knowledge and what I remember reading at a certain age. Some research has been done for accuracy. I also don’t enjoy adult novels, particularly because they tend to be too much for me (...there tends to be lots of NSFW). With that said, forgive me if the examples aren’t amazing.

Who Do You Want to Write For?

Understanding who you want to write for makes the process much easier. If you want to write horror books for children because there aren’t enough of them, great. You can then proceed to write down your ideas and focus on the scare factor as well as how detailed you want your descriptions to be. Less is more, especially for younger kids. A single sentence in middle-grade horror can disturb even me. And trust me, most things don’t bother me.

Once you know what to write for, you can study your demographic more. By that, I simply mean what people your age are interested in. This isn’t saying you cannot write what you want to for who you want to write it for, but looking at the demographics will get your book(s) out there. For example, children might not enjoy or understand romance but gravitate more to adventure, comedy, slice of life, or superhero stuff. 

What Do These Genres Entail?

You need to know what you’re getting yourself into when you write, so I’m going to give you a shortlist of genres and the content that is appropriate for each. Assuming most aren’t writing for children younger than 5, I won’t include those genres.

Remember to do your own research.

Children (5-8)

Due to childhood development, this genre varies quite a bit. I’ll generalize for simplicity.

Children between the ages of five and eight typically begin to independently read. Development varies, but using simpler language and including pictures aids them in taking in the content and understanding it.

From younger to older children: picture books, comics, short chapter books. It depends on their development and interests as well. 

Even in picture books, these are usually longer than for younger children. They never exceed 100 pages and often have larger fonts.

Characters are usually animals or younger children (some with their parents).

Book examples: Pete the Cat, Poppleton, The Magic Tree House, Fantastic Mr. Fox

Middle Grade (8-12)

Pictures are still relevant sometimes, but it depends on the book. Most kids this age can visualize and don’t need much unless it’s something like fantasy or horror (Coraline has an edition with pictures as well as a disturbing graphic novel).

Slang begins to be included at this age and more mature language. Depending on the book, simple swears like “crap” or “damn” may be used. Insults begin to pop up as jokes and body humor are more appropriate at this age.

Sometimes romance makes its way into these books, but kids these ages still gravitate to things that aren’t so “gross.” 

Middle-Grade books begin to exceed that 100-page mark and chapter book series with a logical plot and/or order comes about. 

Characters are typically human, but supernatural creatures are popular in novels in this age group.

Book examples: Coraline, Ramona’s World, Because of Winn Dixie, Charlotte’s Web, Goosebumps

Young Adult (12-18)

You (typically) won’t catch pictures in a YA book, rather vivid descriptions. The only time pictures are in books is when maps are included. Pictures are an author’s choice.

YA is also a very large genre with varying developmental stages. Some books gravitate more to middle grade, others new adult.

The genres of books boom in YA because so much more can be done. You will catch books that are strictly romance, others crime, and even mystery. 

Swearing is no longer avoided in YA novels. Characters will openly say fuck a thousand times and no one looks twice. 

YA books tend to have deeper conversations than books for younger audiences. Killing off main characters isn’t looked down upon. These books also tend to speak about and represent sex, but never in grave detail. Characters will never get past removing clothing. The issue of sex in YA is also a controversial topic that is pretty interesting when looked into.

The themes of YA books are ones that teenagers typically experience. This could be gender, sexuality, self-worth, etc.

YA books are usually between 200 and 500 pages. It depends on whether it is a novella, stand-alone, or series.

Characters are in middle or high school, to which the readers can relate to. The home and parents are also relevant. Lots of talk about family life and such.

Book Examples: The Fault in Our Stars, The Book Thief, Divergent, The Hunger Games, The Catcher in the Rye

New Adult (18-25)

Once again, pictures are usually maps and such.

NA does everything a YA does in more detail. It’s the genre for people who like YA but want a bit more or don’t want to be held back as much. When your target audience doesn’t involve children, your creative freedom can run (nearly) wild.

Sex scenes are explicit. No one questions a sex scene in a NA, nor censors them in the way YA does. The narrator doesn’t have to glaze over this, rather describing the emotional and physical aspects of it as they would with anything else.

In comparison to YA, NA books tackle different themes. A NA book might not focus on growing up, rather the independence or struggle of having grown up. More adult things such as struggles for housing and finance might arise differently than it would to someone younger watching their parents struggle and going down along with them.

NA books tend to fall in the same page range as YA books. Again, very similar, but not the same. Think of YA as the bridge between YA and Adult. A little more, but not too much.

Characters are typically between the age range of the readers, but they don’t have to be. 

Book Examples: A Court of Thorns and Roses, Lily and the Octopus, Red White and Royal Blue, Code Name: Verity, The Good Girl

Adult (25+)

Keep in mind that I do not read adult books...

I’ve never heard of photos in adult novels. Correct me if I am wrong.

Nothing is really off-limits in adult books. Anything you could ever want to write about can fit in this genre. Period pieces, historical fiction, horror, and autobiographies are often found as adult books.

Pieces are much more complex than those meant for younger audiences such as a YA or NA. They also tackle more difficult topics such as racism and abuse in more mature ways. It’s much easier to cover something like that in a book for older audiences than younger ones because you don’t necessarily have to simplify things. Focusing on the experiences of the character as if it were of coming of age isn’t as important.

The detail in adult books also changes in comparison to books for younger audiences. Whereas violence maybe something quick and easy, an adult book will drag it with vivid details. In Cirque du Freak, a middle-grade novel, the tearing of a person’s arm was described in two sentences in a way that made the reader imagine what an arm tearing would be like. In an adult book, you best be sure you’ll be reading about anatomy and immense amounts of gore.

Adult books can be short or extremely long. It depends on the genre once you hit adult books, as attention span isn’t much of a big deal anymore.

The characters in an adult book can be any age. It’s the content at this point and not who’s reading. An adult book can follow a tween/teen, an adult, or an elderly person. It doesn’t matter. What does matter is how you handle what is happening to certain characters. For example, if your character is a minor, you shouldn’t be writing graphic sex scenes. 

Book Examples: The Help, The Girl on the Train, The Handmaid’s Tale, The Kite Runner, The Shining

Conclusions

I feel like I could write more in this post, but I won’t. It will be much too long if I say anymore. It’s really up to what you like and the way you want to execute it. As a newer reader, I find that I like YA novels but gravitate to the grittier or mature ones. I dislike sex scenes, so the intimacy in YA is just enough for me. 

For my writing, I want to write a NA that can achieve what I like and in the way I enjoy it. In my reading endeavors, these past eight months, the Feverwake duology (my ever mentioned series...) has hit what I enjoy. While it is categorized as YA, the second book leans more toward NA and I love that. The way the author writes is also similar to the way I do, which is cool.

In the end, do what you love. Keep your audience in mind and remember that you don’t have to fit yourself into one genre. James Patterson wrote books for children and adults. Have I read any of his works? No, but I have family and friends who do enjoy or have enjoyed his work. You wanna write a book for your younger sibling? Do it. You want to write a book you need or want? Do it. You want to write a book that will make adults feel like children again? Do it. 

You’re the writer and write for a reason. Keep writing a passion, not a chore.

[Gif from Ouran High School Host Club]

[whichtammy]

Sent from Ithaca Ⅰ

Summary:

After "the Blip" and getting back to his daily life, Sam Wilson gets attracted by an email shown in his mailbox repeatedly and starts continuous correspondence with the sender named Ithaca. During their correspondence, Sam fills the lost memory of his lost home and starts to rebuild new life in the so-called post-bilp era. With the more letters he sends to and receives from Ithaca, however, the more strange connections does Sam find showing up between his real life and the words written down by that Ithaca who loves to tell stories and poems in his letters. Sam can't help but feeling that maybe there was not only an anonymous pen pal who loves literal fantasy behind the name of Ithaca, but a sign with an intention to lead him to get across the boundary between stories and the real life.

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Hi，

I was in your support group for veterans four years ago, are you still work there now? I'm wondering if I could be a member of your group again, or could you please recommend some other groups like that for me?

PS. I'd like to ask that can we talk if it is possible? The group work under your guidance had helped me a lot in the past, I wishthere could be a chance for me to say thank you in person.

Please contact me.

Yours

Ithaca

Sam Wilson finds the mail in his mailbox much of puzzling, the sender'sidentity is ambiguity, as well as the intention. He did work in a support group for veterans for a while, not a short time in fact, it was a regular and steady job after his retirement from the army. However, everybody could know it if one ever had any interest in Sam Wilson, nearly everything of him is on the internet after his real identity was made public, and his work experiences is just a small part of this massive archive of Sam Wilson, open source, 7/24 online. So, even the sender said he (maybe a she, Sam thinks) had been in his support group, there is nothing provable that he or she had really been there, nor if he is really a veteran who is searching for information. It seems like that the only real and clear intention is to get contact with Sam, and for some reasons, the contacts on the other side chose to make himself vague, hiding behind the name of Ithaca, which is no doubt an alias, left nothing of contact details, no phone number, no address. Of this Ithaca, the only information Sam receives is the request of "please contact me"at the end of an email and a traceless virtual mail address.

Another information Sam has is that the sending time of the mail is three years after when it was first sent. He checked through the inbox, there are actually more than one single letter with the same content, that Ithaca keeps sending the same mail to him every three months all the time and today is the day of another third month, so his mailbox received the exactly same words again. He must be doubting, if notthe detail time of "I was in your support group for veterans___ago" keeps changing, that maybe the sender had set a repeating schedule sending and forget it all afterwards, only to leave him an alarmed-like mailbox to remind him that "it'stime"with a virtual Ding.

However, the sender never forgot his letter, nor did Sam ever receive the reminder. He didn'tget any reminds of his mailbox at all during the past three years, in fact, he was even not reminded of himself either for such a long time. He feels like the life of his is a movie with the audience left midway, when the one was back to watch, it is already the "three years later". He also thinks himself as the movie lost audience and the audience missed the movie at the same time, as the movie, he continues without being conscious of, as the moviegoer, he watches with a lack of awareness of what has happened. There is a gap in his memory, something interrupted there, he knows it is there, but he can'tknow what it is that he missed exactly——he just keeps playing and watching, for he has settle down in now, he would have no time to chase the missing part in the past at the same time.

Is the mail a plot supplement of the movie? Sam clicks the reply, forIthaca’s mail, not the other mails alike in his inbox. His mail address got public too after the publicity, people keeps sendingmails in, they are just having a try, it'ssort of a free inviting after all. Many senders write true and false stories about themselves with fictional names and identities, some of them even make up stories of Sam and them to make themselves look like a real person who had real connection with him. Now, Sam has learned to distinguish these big and small lies from his experience of being a celebrity, he doesn'treply any of them now, but he picks up some long mails of them to read with an interest at some time and gets amazed by the imagination and details all the time. He admits to himself more than one time that he would really believe those stories they write about Sam Wilson if he is not Sam Wilson himself. Sometimes he would wonder, did he really in fact play a role in others'life in such a strange and detailed way? Is he really someone to others? Can he indeed have such strange and detailed meaning to strangers'life?

So he replys.

Hi Ithaca,

I'm not working in that group now, if you are looking for something like that, I think that the official website of SRV(Supporting and Rebuilding with Veteran) may provide the information you need about similar activities and groups we had before.

It would be my pleasure if i had helped, I'm so grateful for your supports, too.

Best wishes

Sam Wilson

He reads his brief reply again with a mixed feeling of curiosity and suspiciousness. He wants to see the sender behind the mask, while he is afraid of the fact that what he reveals would only be another face of a hater, a stalker. The mailbox is fulled with mails of stalking, fever, curses and hatred, and they are only a small part of the massive archive of the cult of Sam Wilson. Maybe that is what it takes be to a celebrity, Sam thinks, being a celebrity means exposing yourself to everyone, there is a chance that anyone could come for you, holding a comprehensive information of you and somehow your life truns to be a waiting for the ambush from maybe a friend or foe. He used to believe that he would leave the habit of distinguish people as friend and foe behind when he left the army, he knew he needed time to adopt a new regular life, he would take time to tame his battle life into a tamed daily life, that's why he joint the support group for veterans, as a group member first, sooner a group leader. Sam had expectations of it, he was hoping to build a loose but continuous connection between his two lives and land himself in the soft daily life without enemy in the end.The smooth landing he hoped for would not erase his old friends who had gone with his old foes away in a cold way, he was trying to make it a soft goodbye. Sam truly believe it a realistically ideal plan, he was planing to share this realistic idealism to more people like him. He failed, he thinks later, his vision of life was much simpler that what it is. Life was not going to say a soft hello in return, Sam soon realized the group was in fact the beginning of a new war. He had planned to meet with different people and experience, even complex adventures, the exciting potential was as another a great reason why he choose to keep contact with veterans, but he didn't see the whole vision, he didn't know how strange the man he would meet, nor did he predict the adventures coming along with him. He had no idea about the honor he would fight for, for he was clueless about bad things coming along with it as well.

He recalls that he had regarded the veteran group as a farewell to sacrifice, no more sacrifice he would see, what's waiting for would only be stories of sacrifice to be heard, they would not be alive but are only memories, living in the past and reliving only in the room crowded with lively narrators. That was what Sam expected for, he was prepared for heavy stories and sharing the burden of those who could take their stories alone no more. He would be obligatory to help if the owner wanted to share her or his story. Tell the untold, remember the forgotten, make nameless sacrifice heard and rest in a rectified name, he said this to himself. Now he sees the imprudence of his prediction, the future has given him stories as wish, telling him that his life would be totally changed by a stranger, who carries so many stories that he himself is like a fictional being in the end, every story he had dreamed for would come true because of the stranger, in a wilder way though, just like a fictional fantasy.

For this reason Sam feels he has a empathy for people who write him long letters, how couldn't he show up in someone's "normal life" when the living legend Captain America could ran into his house and asked for help when he was a normal nobody. Sam is immersing in those thoughts and writes his polite reply with a intention of keeping distance from Ithaca. On the one side, the last thing he wants to do is to arouse the interest of a potential stalker, on the other, he would blame himself if he intended to ignore someone with a honest and stubborn heart, even though he knows that the line between a insisting fan and insisting hater is always dim. Sam would like to believe maybe the sender really have some stories to tell, the name of Ithaca implies it, too. The name is another reason made him write his reply, he is home now, spending his time getting familiar with the small town he used to know very well. It occurs to him that the sender, if is telling the truth and did attend his group activities, could possibly be the young man who said wanted to be a poet in a theme activity of "getting a job". Sam remembers his talk, he said he was reading Homer then and recited some verses from the epic. He can't remember the verses by words, but he has a clear picture of the scene, it was some poetic sentences about the desire of going home and the failed of it. The young man said that everyone in the room would share the same feeling when they heard Ithaca calling Odysseus. A long silence fell down to the room after his speech, the young man sensed it too, he said "sorry" as a conclusion. There was no "it's OK" responded, perhaps people in the room had no clue of whether should she or he accept that apology, they may didn't know should they take it as something offensive but forgivable, people were just sad. Sam was short of words for a while, he hadn't read the book then, but the poem did hurt him down in a direct way. He thought at that time that maybe that was the gift of being a poet, look at the reckless young man, he could lift and drown people's hearts only by a verse.

Sam opens the browser to search what exactly the verses are, unfortunately, his vague memory leads him to nothing precisely relevant, which makes him want a reply mail from Ithaca more eagerly, he wants him to contact him back, as long as he is the young man in his memory. Sam opens his mailbox, writes and sends another mail to Ithaca, he thinks himself kind of reckless as soon as he clicked the button of "send", what if he is not him? What if the man on the other side has a dark plan? Would he use his letter as an inspiration of gossips and rumors? Things like that happen all the time. Sam is so tired of get misunderstood because of his own words being twisted, he always gets hurt of those made-up stories, he is tired of making explanations of his stories which are not belong to him at all, he is tired of feeling hurt. He sends it anyway.

Hi Ithaca,

I can't remember if it goes like

"they talk about the days of going home"

Sam

To Be Continued…

[catflowerqueen]

Okay, so I finished the post-game (or at least, the parts of it I actually care about i.e plot and talking to characters to see their reactions), and am ready to give my final thoughts on the experience.

It was very fun, over all, and I liked it a lot. I didn’t feel as much of a personal connection as I did with Explorers, but that didn’t really take anything away from the experience. The overall plot I think was…. simpler, in some ways? Less complex, at least, despite the heavy topics. And I think it was shorter over all? I didn’t do a dungeon count comparison, but it seemed like it was shorter. Well, the “fugitive arc” seemed longer, I suppose, but that’s probably because it was slightly more complex in what was actually happening. Like—there was a bit of lead up to in where you technically weren’t a fugitive, but the circumstances surrounding the whole thing made it seem like you were away from home longer as far as gameplay went.

…I mean, I think that the original fugitive arc from Rescue Team was probably longer in terms of dungeons visited during it and implications given via the narration, but unlike other games in the series I’m pretty sure that was the only period where you didn’t have access to the hub for a major stretch of time, whereas other games had more times where you would have to be solely focused on your deposit box/Kangskhan statues and picking up stuff in the dungeons. …And, okay, you could cheat a little in Gates with Companion Mode, but in a way that just added to the feeling of how long the hero was gone, since it takes pains to make it clear this is a side-story type deal—that this is what everyone was up to back home while the main plot was happening. Which could then either add to or shorten the duration of the gameplay, depending on how much time you spent there.

Overall characterization I think was better here, although I don’t think that the partner, specifically, went through as much character growth as in other games? Like… they very clearly pointed out in Explorers at different points how much the partner had grown and changed, and there were also points like that in PSMD, but in Gates it wasn’t entirely clear? Like, there were some points where the partner talked about what their life used to be like… but it isn’t as though you actually saw that in-game. While it was clear to see friendships growing over time, and the growth in terms of acceptance of the hero eventually having to leave was clear… their attitude as far as the hero was concerned kind of seemed more static from day one? Like—the closeness was evident, it’s just that it basically went from zero to a hundred upon first meeting them and then just stayed there. I think there was more growth from the player’s end of things in regards to the partner.

And the Rescue Team partner was just very, very bland in general. There was a little growth during the fugitive arc—sort of—but… honestly, they didn’t add that much beyond being a way to provide exposition. Especially with how much they didn’t matter come post-game.

And I still feel like there was something weird with how Paradise and Post Town were treated. At some points it felt like your Paradise supporters were the closest to you and should have mattered more… but at other times there was a lot of focus on the Post Town inhabitants, and Paradise didn’t come into the equation. Which was especially jarring in the ending, where I think it was only the Timburrs who came to the party—and aren’t really treated as Paradise inhabitants, for the most part, though they would occasionally show up there—and yet Gurdurr’s response to the hero’s return was to break down in tears and need the screen to fade to black for a bit (which was actually extremely sweet). I think that the “travelers” to Post Town actually had more characterization than the people who were really inhabitants—bar the shopkeepers, who, as always, had reactions and some of them actually had little subplots of their own—which was… strange, considering how important they all supposedly were when it came to fighting the Bittercold. (And, like, I don’t really get why they chose Scraggy to be the move tutor. Considering Azumarill was just pulled randomly out of nowhere, I don’t see why they couldn’t have done the same thing with him. Or, hey—just made Quagsire the move tutor and let Azumarill do both the request board and party editing. Or leave the party editing up to you doing it yourself right before entering a dungeon—as when you were taking the magnagate paths—or having you go around Paradise and talking to individual pokemon, similar to how you did it in Rescue Team. …Though that admittedly probably would have gotten very annoying very quickly).

It was very cool, however, that you actually had to work to get the hero back. That it wasn’t just given to you like in Rescue Team or Explorers, and that everyone made a genuine effort and tried to think about what was best for hero, too. … And also that it was something I actually cared about, whereas in PSMD I felt like it was… half desperation for their own circumstances, rather than necessarily because they genuinely missed the partner? I mean—yeah, that’s kind of harsh, because it was clear that they were genuinely good friends, but… well, as in the tone of my other complaints about how the player got screwed over in that game, the partner was really their only tie to their actual past, and even then it was a tenuous one. So… I just didn’t care as much, I guess. …Also probably the fact that it was a lot simpler/more linear process and took less time to get the hero back in Gates. So… yeah, you had to work for it, and the work was satisfying, but it was also a short enough process that you wouldn’t get bored or frustrated during the duration.

The choice of what to make a cutscene and what to just keep as narration during specific plot points was also a little odd at times—I would have enjoyed to actually get to see a bit of the welcome back party after the initial glacier exploration, for example, and maybe even seeing you help building your house. (On that note—it was a cool little detail to see grass starting to grow around your house as the game went on.)

I think the gameplay mechanics were overall an improvement in Gates—though I do miss the IQ abilities just because of how rare it was to actually find team skills. It seemed more luck-based than anything, which does provide a challenge and leads to replay ability since it would lead to a different experience each time, but…. I don’t know, I just liked the other method better. It was nice to actually be able to utilize my recruits and see their growth, as well as getting to actually play as them and utilize different strategies in Companion Mode… but that also highlighted just how bad the AI and certain choices they made as far as attacking/not getting separated from the group were in comparison to how I remember the other games going.

I think as far as total experience with gameplay, mechanics, and story goes that I still like Explorers more—because it does feel like more of a challenge, after all, and that each new accomplishment, shop, or special episode that gets unlocked was due to your general efforts and hard work. Like it is a genuine reward, rather than something that just got handed to you. And the progression was clearer to see and made more sense than in Rescue Team.

So I guess my new order for favorite games in the series is: Explorers, Gates, Rescue Team, PSMD.

…I think I hit all the highlights, but I’m sure that I’ll probably think of some other stuff later, too.

Oh, also—I still think that the Timburr who speaks more formally has a crush on the hero (I mean—they actually cried, just like their boss, when the hero returned, whereas the other one was just happy. Which—yeah, people react to joy in different ways, and tears—or lack thereof—aren’t necessarily “proof,” but… I still think I’m on to something). Actually, I think a lot of the travelers also have/could easily develop a crush on the hero. Like… some of them, like Trubbish and Mienfoo, I think are just good friends with them. But I really don’t think Dwebble would have gone to all that trouble or felt that bad about things if there wasn’t a little crush or something going on. And, sure, maybe that just goes along with his overall personality—like he gets embarrassed easily or is a little vain or something, but… he addressed those letters to the player, not anyone else. Not even the partner. And, like, no one really noticed they were gone aside from the player/partner until right before Crustle made an appearance? But they expected that the player most definitely would notice. So… yeah. And they also cried when the hero returned.

[dragonkeeper19600]

BATIM Lore from Dreams Come to Life

I ordered that Dreams Come to Life Bendy novel from Amazon. I’m a fast reader, and the book is clearly intended for a younger audience, so I was able to finished it in less than a day. I don’t see a lot of BATIM fans talking about this book, and it doesn’t come up all that often when people are formulating theories. This in spite of the fact that the book actually answers a lot of the mysteries surrounding the Ink Machine, the studio, the characters, etc. The novel is basically a prequel set in 1946 that tells the story of a recent hire to the studio and what he experiences there.

So, I’ve decided to make a quick compilation of what the book reveals about the game’s setting and characters. 

Obviously spoilers below:

Thomas Connor and Allison Pendle are strongly implied to be a couple. Thomas shows up to a party with Allison on his arm, and the two are very intimate with each other in general.

Wally is the only janitor working in the whole building.

There are several women working in the studio - more than the young male protagonist expected - and a few are even in higher management positions. The then current head of the art department is a woman named Abby Lambert. Dot, a female writing intern, explains that many women were hired in the studio during WWII while the men were overseas. When the war ended, rather than fire the women and give the men their jobs back, Joey kept the women on staff. Some of the male employees were so irritated by this they walked.

That said, there are a few moments where Joey expresses sexist ideals, saying that “women don’t really understand business” when Abby Lambert objects to wasting art supplies and showing favoritism to Buddy, the protagonist, because he “reminds him of himself” (in other words, he’s a young, white-passing man).

For a long time, Bendy was held behind a locked door in the music department. It’s Buddy who lets him out. Buddy’s narration describes hearing an insistent whining sound, like that a dog that wants to get out would make, before he opens the door.

Susie is no longer working at the studio by 1946. Allison and Norman make a few comments about “poor Susie” but don’t elaborate on what happened to her.

Henry created Bendy, Boris, and Alice Angel. However, Alice Angel didn’t make her debut until after Henry left.

Joey is still really sore over Henry walking. He rants to Buddy about how “betrayal” is the biggest enemy to personal success. He also calls Buddy “Henry” as he’s saying this.

Linda is Henry’s wife. Henry quit because the long hours at the studio were too demanding for the relationship. (Henry’s reasoning was hinted at by Joey’s speech at the end of Chapter 5 of the game.)

Joey’s main MO is to hire talented people and then take credit for their accomplishments. He lets people think he created Bendy, obtained the patent from the Ink Machine from Thomas Connor, and got violently angry when Thomas tried to get it back.

Norman mentions that the studio did well for a while after Henry left, but Joey has been putting a strain on finances with frivolous spending on the Bendyland Park, the Ink Machine, throwing huge parties, etc.

Bendy’s heyday has already passed by the time Buddy starts working at the studio. Buddy vaguely recognizes Bendy’s image when he first arrives but can’t quite place him. Buddy partially blames this on his family’s economic status making them unable to afford movie tickets, but Joey seems deeply hurt that Buddy doesn’t know who Bendy is.

I’m gonna tell you how Buddy meets Sammy because it’s one of my favorite scenes. The book tries to play it for horror, but I couldn’t help laughing because it’s just Classic Sammy ™:

So, Buddy was hired by Joey kind of on impulse as a gofer. On his first day, he’s asked to deliver something to the music department. He gets lost and ends up in the recording studio. There’s nobody there except a single, creepy violinist.

All of a sudden, Sammy comes tearing into the room covered head-to-toe in ink. It is everywhere. He’s so slathered in it that Buddy can’t tell that he’s looking at a person at first. He responds to Buddy’s offer for help with “My eyes!” Because the ink is in his eyes.

It’s shortly revealed that one of the ink-filled pipes was running through the closet where they keep sheet music. Sammy apparently went to the closet and got drenched when the pipe burst on him. Sammy also pulls a shard of glass out of his own head, which leads me to think that maybe he banged his head into the pipe hard enough to shatter it.

The book also goes into some detail about what Sammy’s corruption process was like. Buddy mentions in his narration seeing black stains on Sammy’s gums after the burst pipe. It turns out Sammy accidentally swallowed some of the ink. In a very disturbing monologue toward the end of the book, Sammy mentions how he could “feel [the ink drops] moving around inside me.” The ink in his system triggered a craving for it, so he proceeds to slam down bottles of ink like cans of Fanta. I’m totally serious. Buddy actually catches him drinking a bottle while at his music stand. He fucking empties all the bottles in the closet and then begins pestering Thomas and Abby for some of theirs. 

We don’t actually see him transform since he goes missing for several days. It turns out he’s been hiding in the studio all that time. When we run into him again in the climax, he looks like he does in-game. 

The Ink Machine changes ordinary, store-bought ink into what Buddy calls “Bad Ink” that has a number of supernatural properties. Among these:

Pictures drawn with it will move across the page. I don’t mean like a Harry Potter-style moving image, I mean the drawings themselves will slide off the page as though being dragged by a mouse in Photoshop.

The ink will actively seek out people and attempt to flow into their orifices.

As we see with Sammy, getting some into your body will trigger a craving for more.

Sammy is convinced that the ink moves according to Bendy’s will. He believes that the ink sought him out and helped forge some kind of psychic bond with Bendy. However, as we see in the game, Sammy isn’t as good at predicting what Bendy wants as he seems to think.

Joey seems to believe that being submerged in ink long enough will cause a person to lose their soul. Joey only wants “good, real” souls (his own words) to reanimate through the Machine.

Henry isn’t the first person Sammy has tried to sacrifice to Bendy. Sammy grabs a few other employees, ties them up, and coats them in ink, apparently in order connect them to Bendy. Among the kidnapped employees: Norman Polk. 

In addition to its constant production of Bad Ink, the Ink Machine can also reanimate the souls of the recently dead into living toons. 

At the end of the novel, Buddy drowns in the ink, but Joey apparently got to him in time to resurrect him into Boris. It’s heavily implied that Buddy is the Boris Henry befriends at the end of Chapter 2 of the game.

Buddy implies on several occasions that he is now sharing a mind with Boris. When he first wakes up after being reanimated (tee-hee!), he is alarmed at first to find himself existing in three dimensions instead of two. Buddy has a hard time telling if certain basic needs, such as hunger, are coming from him or Boris and mentions that Boris “starts to whine” when Buddy “asks himself too much,” adding: “We don’t like it.”

Buddy’s senses are now enhanced to those of a wolf. He can smell better, hear better, and has better night vision. However, he is also incapable of speech. He can understand himself just fine, but all the human characters can hear is a series of growls and barking noises. 

Buddy is apparently losing his mind to Boris’s. Boris’s mind isn’t in an antagonistic relationship with Buddy’s; he just seems along for the ride. Even so, Buddy finds that his memories are fading and his emotional needs are growing simpler. The book is framed as a memoir he’s writing while living in the studio, and there are a few occasions when he forgets what the book he’s writing is and has to remind himself. This is consist with Sammy’s dementia-like behavior during the Hot Topic Q&A, where he showed signs of memory loss and struggled to stay on-topic, sometimes forgetting what he was talking about mid-sentence.

Finally, appearances:

Allison Pendle is platinum blonde and as gorgeous as a movie star. Buddy can’t understand why she’s into voice work instead of being on camera.

Sammy is described as being bony and angular (like a bird). He also wore those same suspenders before his corruption.

Bertrum Piedmont is described as big and burly.

Norman has bushy eyebrows.

Buddy never really describes Thomas Connor, only mentions that he usually looks elegantly dressed. It is, however, implied that Thomas is POC in the following exchange:

Sammy: “Tom, come on, why would I want your ink?”

Tom: “It’s Mr. Connor.”

Sammy: “Why can’t I call you Tom?”

Tom: “Because we’re not friends. And you will give me the respect I deserve.”

[long pause]

Tom: “What’s wrong, Mr. Lawrence? Not used to giving someone like me respect?”

Sammy: “What’s that mean, ‘someone like you’?”

Tom: “You know what it means.”