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ganondoodle · 19 days ago

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okay now, im a little pissed off- i wont be reblogging the post bc its and old shitpost and i dont want to attract more notes on it but

i am so fucking, and i mean FUCKING, tired of all the shit ass excuses some people try to make to defend ganondorf being a nothing burger character

this dumb ass comment really goes all in too, and here i painfully see how much damage skyward sword has done to him bc people cant fuking think i guess "as of skysw he doesnt have an true motivation of his own- hes evil just bc he is there nothing else to it" shut the fuck up man oh my god, you dont think thats a problem? you just accept that? no no OOT also already showed hes nothing but evil tm uwu he doesnt have a reason - AND THATS A PROBLEM YOU ABSOLUTE BUFFOON

if you think that giving ganondorf a miniscule amount of ANY sort of sensical reason to do what he does, a backstory, fucking anything 'changes him into a different character'- HOW in the FUCK do you not see the problem here

and my favorite (refernceing a different character) "If hes evil, like ganondorf, which means an absolute evil, then his backstory wouldn't matter a lick" HELLO??? HELL FUCKING O???? "absolute evil" do you know how you sound like??? also EVERYTHING MATTERS oh my god, but no no of course it wouldnt matter and make no difference if you knew more about a character, no, actually, knowing less of a character is better even! why even write anything tbh? you just give them a label of good or evil and then you dont need anythign else heehoo i cannot believe this shit is now hanging on one of my posts, im struggeling to even dismantle it bc its just so goddamn stupid what do you mean it woudnt matter???????? if i knew ganondorf had a personality (especially totk bc its the worst case), if i knew he had loved ones once upon a time, he laughed and was allowed to feel like a person, whatever made him go down a bad path to end up making you defeat him would mAKE IT ALL HAVE MORE OF AN IMPACT (this is assuming that whatever path it is leads him to oppose you but also .. it doesnt have to mean hes evil or done all bad deeds, guess what, you the player could also be playing the real "villain", wouldnt that be a change of pace .. or it wouldnt, depending on how you look at it (oh NO shift of perspective???) it already is, even if i personally prefer it ALL being a spectrum and not just a label of good and bad and just rolling with this badly definable bunch of words)

do you know why i didnt give a flying fuck about the final battle in totk?? bc its all fucking NOTHING, ganondorf is a goal post with a face that got "BAD GUY" written on it in big red letters stapled on it and nothign more, you cant care about nothing and the point of any story at all is to fucking CARE

honestly a reason why i hate both "redeemable" and the good and evil descriptor is that its so ... limiting, redeemable, what does that even mean really?? it just sounds like you are applying some weirdo christian sins to make up for with good deeds shit onto characters that are, or should be, meant to make you feel something and be a pinnacle of jesus instead, like a checkbox, a scoreboard, and now its being mainly used as a negative word to dismiss legitimate criticism of boring or shitty writing bc giving any character any depth at all now automatically means you want to redeem them and thus absolve them of their sins or some shit, make them uwu perfect little good guys which is not the point (even if there are people like that, sicne guess what, theres lots of different ideas of things all around, inlcuding this hellhole- and yes there are shitty ways to give a character depth! the problem then isnt the motivation to give them depth, its the WRITING of it)

the whole good and evil thing also is just so darn limiting, what does evil even mean, who defines it matters alot, what does good mean, the definition is also really really bendable- link kills more living things than ganondorf ever has yet he isnt evil (bc hes on the side of hyrule, the designated good gouys uwu which means anythign they do is okay), the royal family having a torture dungeon and persecuting the shiekah into submission doesnt make them evil uwu but the gerudo have to suffer for the "crime" of having birthed ganondorf at some point for all eternity i guess

(as well as the very very obviously stupid turns and things ganondorf does and doesnt do literally just bc they needed him to do soemthign you could call bad even if it makes no sense at all, why would he attack his own fucking people out of nowhere, why destroy everything, literally what for, why give himself up if he wants to rule its jsut as stupidly nonsensical as the dumb magic pebbles that just gives random powers out just to force the outcome they wanted to happen)

redeemable, saveable, whatever, giving a character depth doesnt have to mean you want them to join the good tm guys either and im so fucking tired of this way of thinking, EVEN considering that hey ... it would be cool actually to have a ganondorf as the main guy, but we all should know that would only happen if he is a servant of hyrule, which i would consider to be more out of character than ... GIVIING HIM ANY SORT OF DEPTH??? to sympthaize, be conflicted or see the guy you need to defeat has a point is like, not a bad thing?? you can make someone be the most sympathetic guy of all time and still make you fight him ??? and i will repeat again, ganondorf being a nothing burger (espeically in totk) hurts EVERYTHING, everything suffers from shitty writing and lack of writing, the thing that link and zelda are almost just as flat istn .. isnt good either?? its also bad but hes got it way worse (and the racism oh bOI)!!! (there is a reason why ww ganondorf is widely seen as the best one and itse literally bc he says ONE or two lines that may make you think omg .. he is person.... he might FEEL OoO- man the bar really is below the ground isnt it)

and they dont even care to try to make him actually be dislikable, he doesnt tease zelda with killing her father or soemthing, he doesnt have any sort of connection to any of them, every line he says (in totk) is like a prepackaged microwave villain line, you could apply it to anyone, even rauru and it wouldnt seem out of place tbh (which is BAD), more depth would have connected him to the story, the world the literal everything which means people care which means a better story i dont know how to explain to you that you should be able to care about characters??????? he gets the stamp of "evil guy" on his head and they expect you to be happy with that, accept any stupid thing they make him do and others say about him without question? do you NOT feel at least a little insulted???

and like, this is still written, this is a piece of fiction, they had to sit down and write all that, or .. well, NOT write it, they decided to do it like this, despite the ocean of potential in front of them, you could do so many itneresting thigns with this world and they jsut dont and then theres people like this that are so entrechned into this boring ass writing they think that its the point, liek the point is its bad hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh

"but hes not meant to be a person he jsut ev-" SHUT the hell up, nevermind the whole curse thing is an englsih trnaslation thing and also perhaps not meant to be taken literally, you think that makes it ok? that well there was a demon once (who also doesnt get any sort of depth btw!!! problem shoved one place over but still the same problem!) so that means hes not actually a person but idk a demon puppet or soemthing- doesnt change anything imo, are you not bored? are you not tired? are you happy with not thinking? not being engaged with at all? to see chaarcters to utterly flavorless you fall asleep and choke on them? i am not, i love thinking, im addicted to it even, i think every day even, right now too, they got a convenient excuse to put not even the barest fucking minimum of writing care into a character and you are jsut going with it!! where are your tastebuds buddy??

#ganondoodles talks #zelda #ganondoodles rants #totk critical #this is rather incoherent but it made me so mad i had to let some of that steam out #i really honstely struggled how to put into words that not giving a character depth is NOT good EVER #i dont care if that person sees this ramble or not i am just #so mad #and on my post #on MY post #i guess they would faint if they saw what im doing with demise the ultimate unredeemable devil stand in im GASP redeeming #(which means giving him depth -.... a reason to want to destroy that world a complicated story of how his own failings-#-and the gods made it happen like this- bc you see depth means redeemable and that is BAD)#also ganondorf not being meant to be savable .... well you know what he fucking should be for once #one less guy link murdered on his list lololo #(i will be normal again later but i had to let this out ok you know my rambles im jsut ........ right now pissed)#why is it always ganondorf that people get so annoying about #oh no HOW DARE we want him to be allowed to be a character- for the benefit of all?? in THIS (zelda) economy???#there could be a more nuanced discussion in there to go with the whole wheel of samsara and all- but even then #i am of the unmoving opinion that even the devil deserves character depth bc otherwise its boring and quickly eyebrow raising

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stillness-in-green · 7 months ago

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Some thoughts on The Discourse about the last BNHA cover

(Note: This Discourse was on Twitter. I don’t know how much of this may have been said here on Tumblr, so consider this either my contribution or just me reporting back on drama from other fronts.)

So, I saw a lot of back and forth over there between people who didn’t like the cover and people who did, and I spent a little while mulling it over. It seemed to me that the people who didn’t like it had a good point, but one they were not articulating particularly well, possibly thanks to the character limit and possibly also because the people talking about it tended to phrase their objections in sarcastic, consciously exaggerated terms because that’s the language months and months of dealing with the truly insufferable Horikoshi Defense Squad on Twitter primed them to use.

So what is the point? Basically this: In going for the lazy/easy callback in both the cover design and Dai (plate-hair kid)'s role in the final chapter more generally, Horikoshi landed on an "everything comes full circle" ending when what the story desperately needed was an indicator of change.

We didn't need to know that a kid with low self-confidence and nothing to speak of in the quirk department can still become a Pro Hero if he[1] wants to. We already knew that because it's what the whole story of BNHA was about! Deku passing the torch/paying it forward is nice if all you care about is Deku's personal arc, but it's sheer reductiveness if you care about literally anything else. If there was going to be a kid getting Deku's encouragement and help at the end, if that's the ending Hori was absolutely set on, it shouldn't have been the Deku Redux kid; it shouldn't have been the weak kid who has already been metaphorically proven capable of becoming a Hero.

1: And of course it would be a boy.

It should have been the troubled kid, the one from the bad family situation, the one who isn't sure whether he even believes in this Hero thing. It should have been the kid who, if nothing about Hero Society had changed, would’ve been rejected by the whole corrupt system—in so many words, the Tenko Redux kid. That's the one who we saw could not become a Hero under the previous system. That's who we needed to demonstrate the system's improvement.

Instead, all we get is Deku helping himself. And it fits, I guess, because “himself” is the only sort of person Deku ever wanted to save anyway—remember that in the very first chapter, Deku tells All Might that he wants to be a Hero because he was never “saved” as a kid and so he thinks saving is the coolest thing ever. Implicitly, then, Deku wanted to be the kind of Hero who could have saved the kid he was, and that tendency to reserve his compassion for people he can recognize himself in—the crying children and the Hero wannabes—is consistent throughout the series. Dai, then, simply becomes the very last of these examples, the chance for Deku to tell his middle school self that he, too, can be a great Hero.

And that’s quite a choice, isn’t it? Take a second to consider the implications there. The metaphorical parallel Deku helps is his middle school self, not his childhood self—there’s no evidence that Dai was bullied on the same level young Izuku was, and we sure didn’t see anyone telling him to jump off a roof. ��So, who does save those children, then, in this grand, improved version of Hero Society? Does anyone?

Well, not really. Not that we’re shown. Indeed, the child who was the closest analogue to young Izuku—a weak and seemingly quirkless boy who stuck his neck out for other rejected children, who still stubbornly wanted to be a Hero despite a parent's disapproval—was Tenko, and Deku pointedly did not save him.

To be clear, I don’t mean that just in the sense that Deku failed to save the adult Tenko became, but even in the emotional sense that the series clearly wants me to believe Deku succeeded at, the saving of the boy's heart? I don’t think Deku even managed that. Sure, he might have protected the echo of that child from a few memories, might have held his hands for a few exchanges of dialogue, but then the boy transformed back into the form of the Villain he'd become and was swallowed down the spiritual maw of the man from whom society failed to save Tenko to begin with! And what was Deku doing as this happened? Absolutely nothing but yelling impotently as he got blown backward and out of the mindscape.

Imagine that Deku had found some way to cheer up Izumi Kouta only for Muscular to kill the kid thirty seconds later. No one would be saying, “I think Deku still saved him—his heart, anyway,” if Deku got Kouta to smile and admit that Heroes were actually pretty cool only to do nothing but scream helplessly as he watched Muscular pulverize Kouta’s ribcage with one gentle squeeze.[2]

2: Mind you, this comparison is flawed! Unlike AFO’s vestige, Muscular doesn’t turn up to kill a child as a direct result of Deku’s own actions. Also unlike the events of the final battle, Deku doesn't jump up and personally administer the killing blow to the still-screaming victim, either.

It just leaves me thinking about some of the stuff @codenamesazanka has said about how the narrative treats Shigaraki and Deku helping him: not as something Deku has a duty to do, not something Hero Society on the whole owes Shigaraki (and all the other metaphorical expy/future Shigarakis), but rather a bonus, a nice extra, a demonstration to shine up Deku's Hero cred because he's making efforts no one else would bother with and that no one would reasonably expect him to make. It's not Deku’s job to save the Tenkos or the young Izukus of the world; apparently that just falls to society at large.

So then, what was the point of making Tenko/Tomura such an extreme case of someone who started in a similar place to Deku? Why make him, also, a weak kid who was told he couldn't be a Hero, if you're not going to have Deku save him in the way no one saved Deku himself?

From where I'm sitting, the answer is, "It seemed like a good idea to Horikoshi at the time, but proved to be poorly thought out." But if Deku failing to save his own closest childhood analogue was where the story was going the whole time, then Shigaraki should never have been used to parallel Deku to begin with. It's just a damned waste of Shigaraki as a character, an insult to everything he represented, to use him for ~the parallels~ throughout the entirety of the story except the very beginning and the very end.

Anyway, Pro Heroes are bullshit and the ending should have been them being radically reconceived from the ground up with input from all the people they failed to save. But again, if you have to still have Heroes-qua-Heroes at the end, and you have to have some stupid thematic echo because you as an author think callbacks are the single most compelling storytelling tool of all time, then everything we got on Dai should have been for Scissors-kun instead, and here I am very much including Dai's scene before the first war. An unsettling scene of a strange child with his mouth sewn shut, stuck in a straitjacket in a dark room should have been the last thing we saw before launching into the day of the raids, an apparent element for the future in the same way that so many future Villains were first shown in the wake of Stain's arrest.

See, Shigaraki’s own destructiveness is what ultimately frees Scissors-kun from the basement, “saving” this rejected, abused child in a way no Hero ever managed or even knew to try, just as Shigaraki brought light and a strange sort of hope to the lives of so many others whom Heroes failed. However, Shigaraki couldn't carry his ambitions through to the end. He was never able to meet the kid he indirectly saved, never able to offer that appallingly abused victim an avenue for his signature brand of rough justice. Heroes stopped him from doing so. So then, who will help Scissors-kun?

If we’re to believe that the story's protagonist has made a real difference, that Deku and his classmates have changed the world for the better, then we don't need to see them helping a kid who we already know is going to turn out fine because “he” aleady did. We need to see them help the people that previously only Villains would have helped, picking up the torch they struck from Shigaraki’s hands.

So sure, keep the scene with Granny Evil and Scissors-kun if you must, to show that it’s not only Heroes but also the broader Hero Society that’s changed. After that, though, show Deku stepping in. Show him taking an interest in this kid as a way to keep his promises—to Shigaraki, that the rejection and obliviousness that he sought to destroy have indeed been destroyed and will remain so, and to Spinner, that Deku will remember Shigaraki for the rest of his life.

When Deku is older and in a position to give advice to a kid who’s floundering and uncertain of what to do with his life because of what people around him say about him, make that character echo the characters the old system failed to save, not the character who the entire story proved would do just fine.

For god's sake, ditch Deku Redux.

Now, I know the obvious rejoinder here: We can’t use Deku’s story to say that BNHA already showed us that Dai would be fine because Dai has a quirk where Deku did not, therefore Deku’s path would not be open to Dai. To this, I would reply that neither Deku nor Dai specify that Dai wants/is able to be a top Hero, merely that he be the kind of Hero people can admire—which the story has also already proven true!

Ojiro got into UA with nothing but one (1) extra limb.

Manual has a perfectly middling quirk that turned out to be absolutely crucial in two different wars because it was the right quirk at the right time.

Wash’s quirk makes strong bubbles.

Like, this list is not short. Manifest Plates might or might not make Dai Hero Billboard material, but one of the major points of the endgame was the sublime and noble value of helping when you can, in the way that you can. So to reiterate, we didn’t need that to be proven again in the epilogue.

If anything, going the route of retreading the same story makes the epilogue much worse! Not only do we not get to see how this society is helping the people the old society most profoundly failed—victims who fall through the cracks and become Villains—but in seeing yet another a weak kid being mocked for his heroic aspirations, we find that we’ve barely moved a step beyond the exact same place we started.

That’s the message Horikoshi chose to go with, for both the closing chapters of the story and the story’s final volume cover. Truly, as art that summarizes the story goes, it’s a masterful choice! And that's the whole problem. The cover of Volume 42 is a perfect illustration of the self-absorbed, cynical, cyclical nature of BNHA's endgame. Little wonder, then, that it's hated by the same people who hated said endgame.

#bnha #bnha critical #green no. 2 #shigaraki tomura #bnha scissors-kun #more protag slander for the discerning palate #stillness has salt #bnha endgame

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freezerbnuuy · 2 months ago

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I wrote a guide on my main blog on writing SimLit a while back, but I figured I'd amend it to make it more suitable to Tumblr and post it here as well.

Please note, that there is no one way to write SimLit; creative work is always subjective. You do not have to do everything in this guide, obviously- just focus on the bits that apply to you and what you want to write. This is a gathering of my own ideas, the way I do things, and other options as well. Depending on your writing style, some of this will be more relevant to you than other bits will. This is both for the challenge players and the people who write stories with little basis off anything going on in the game.

I have made a story / challenge-planning document that you can read about here that will give you a place to put all your ideas!

The fun part...sort of...is coming up with all your rough ideas. Things to think about are:

. Where you'll put your story: The most popular place for SimLit these days seems to be Wordpress, but there is always Blogger and LiveJournal as another option for a place to put your story. Tumblr is a great place for stories that are more picture-based and less textual, or if you plan to only have dialogue for your story text. Have a look at what different platforms have to offer to see what suits you.

Whilst I would say Blogger is a bit harder to properly customise than Wordpress and you have to rely on custom templates made by other people and some HTML editing if you want a nice blog template, it is very generous in terms of picture limit. To my knowledge, any image under 2048 on the longer width won't count toward your Photo space (as of 2025).

. Narrative or Gameplay-Driven: Some writers will write commentaries to go alongside images of challenges they're doing. Some write commentary for their general gameplay. Others use Sims solely as a way to 'direct' a story they've come up with themselves instead. Others make comics. Some do a mix of various things... Have a think about what kind of story you want to do. It might even change halfway through writing, you never know!

. Genre: You won't always have an easily-defined genre for your story, but you might have some ideas. Romance, Fantasy, Sci-Fi, Horror, Family...the options are more or less endless.

. Custom Content: If you use CC, it can help to look for CC you might need for your story- whether that's poses, CAS items or Build/Buy items.

. How you will plan your story: Some SimLit authors write entirely around the game and don't pre-plan anything (brave people you are going by the seat of your pants, I used to do this but now I could never), but others like to plan story points and character notes beforehand. There are plenty of ways to plan your story, whether that's jotting ideas in a notebook or on a word processing document. There is one I already made linked at the beginning of this section.

There are also programs like Scrivener designed for writers to plan stories (it's not free, though). It depends how in-depth you need to plan things out before you write. With me, it really depends. Some story ideas, I have most of the plot planned in my head from the get-go. Other times, I only have a rough idea and have to go from there.

. What challenge you will do: If you want to write a commentary/story around a challenge, look for one you'll find fun first. Long or short? What rules will you change or omit? How much will you let the challenge and game drive the story? Will you be writing commentary, or will you be writing in a narrrative-type style inspired by what happens in the challenge?

. Rough plot / character ideas: Write down any plot or character notes that immediately come to mind, even if you don't know if you will use them. Anything that comes to you straight away is a good place to build on later and should be jotted down whilst it's still fresh in your mind.

. How you will write your story: - Commentary VS. Narrative: Will you write a commentary around your screenshots/gameplay, or will you write it in the style of a prose-like story? You can also mix both of these approaches in various ways.

Or do you want to go about it in a different way? Maybe you could use your screenshots to make a comic-style story. Another option is to possibly have something like an epistolary novel (written almost entirely in letters) or even a 'scrapbook story' (a story told in multiple ways with multiple artifacts- letters, newspaper clippings, phone calls, almost anything).

- Tense and Viewpoint: Will you write in past tense or present tense? Will you write in third person, or first person? How many different characters' viewpoints will you have if you write in first person? (...Or are you like me, and will accidentally switch between tenses throughout the whole story?)

. Themes: It's good to think more in-depth of what themes will appear in your story. Family bonds, friendships, relationships in general, dealing with various aspects of life, prejudices, overcoming fear...the list goes on forever. Whilst I personally don't like reducing stories to tropes, tropes are always a place to start if it works for you.

. General length: Do you want to ideally write a short story, or something longer? This won't always be something you'll have in mind straight away, but that's fine.

. How much to plan and when to start: It's up to you how much you need to pre-plan and when to start writing, but I don't start writing until I'm at a point where I know that the story can be resolved. I don't start writing straight away, in case I end up with a story I somehow can't finish.

. Upload frequency: You won't always stick to this, since most of us are busy, sad and tired adults- but it's good to try and think about how often you want to upload chapters. Are you aiming for weekly, monthly, or just whenever you manage to get a chapter out? What I will say is please TRY NOT TO STRESS about schedules. If your readers are impatient that's their problem and they can wait until you're ready!

. Gather inspiration: Whether it's authors, shows, films, art, music...anything that gets you in the right mood and frame of mind for what you want to do. Moodboards are sometimes a good idea as well for collecting inspiring pictures. Make inspiring playlists of songs that get you in the mood for the story or characters.

. The sliding scale of 'Utopia' and 'Dystopia': On a scale of 'Paradise' to 'Hell-hole world', what's the rough state of the world in your story like? Maybe it isn't that simple, but it helps to have an idea if it's thematically relevant somehow.

. Any messages or lessons: Are there any messages you hope to get across in your story, or anything that a reader may be able to learn from it at all? Not always the case with every story, and this is not the sort of thing that you'll do intentionally. For my own story, it's very much just a snapshot of history so there isn't really much of a defined moral to the story.

This is geared more towards people who are writing mostly story-driven SimLit, since commentary and gameplay-driven stories often don't require any sort of major world-building. That, and the challenge you are doing might already have the worldbuilding situation laid out for you, like the Apocalypse Challenge or the Alien Adoption challenge, but I'll build on this a bit too.

As someone who has been Game Master for DnD and Pathfinder, I'm used to fleshing out worlds, building on lore and the like- and being a Game Master often requires you to do it on the spot sometimes. For me, it's good to have some level of lore and world-building written out. I like having a certain set of 'rules' to stick with, mainly to help keep consistency of the universe's 'rules'. This is especially important with my Magic Universe since the magic system needs a level of consistency I have to try and stick to. (That said, I have occasionally changed tiny less-significant bits of lore as I go...shh...don't tell anyone!)

But where do you start with such a thing? First off, this isn't something you have to do in massive levels of detail (unless you want to!).

Here's the general way of how I do things. Feel free to pick and choose which bits will apply to your story; you don't have to pre-plan every little last detail about your world if you don't need/want to.

--Starting with the already-established relevant worlds and lore--

I almost always start out with the 'official' stuff first. You can find this in-game, in item and world descriptions, in trailers, and on Sims Wikis. Sims isn't the most lore-heavy game for obvious reasons, but now and again you've got something to work with. It all depends on exactly what you're writing about, and how much your story will revolve around the actual Sims universe.

--Seeing what I want to keep from the already-established worlds and lore, and what to get rid of--

I don't keep everything all of the time, and it's unlikely you will either. Sometimes your idea is better, or fits better with what you've already got in mind. Or perhaps the Sims 'lore' behind the thing is too comical and wouldn't fit a slightly more serious story.

--Start stealing ideas! (Go careful though)--

Writers worry way too much about originality, but everyone takes little bits of ideas off each other all of the time- everything is inspired by something. That, and in my opinion there’s absolutely nothing wrong with doing a story that’s a ‘love letter’ to a genre with all the tropes and cliches you can think of.

So gather up some inspiration and see what ideas others have; have a quick read of SimLits that are similar to your idea. Look at the lore behind shows or video games that are the same genre as you are writing. Think about your favourite shows, films and video games as well. Or even look at the official Sims forum or Tumblr to see what people have done with worlds, premade characters and the like. On the official forum, there are a lot of ‘What have you done with…’ threads where people discuss what they have done with premades and in-game places.

One thing I tend to focus on the most when worldbuilding, is the sort of socio-political aspect of the world. 'But why does everything have to be political?', you say, but everyone's life is governed by social and political ideas - some more than others, so for me it's what makes up a big chunk of the worldbuilding because of how much it influences the characters living in that world. That, and a few big historical events I tend to think of as well to flesh the world out. If this sounds like something you feel like delving into, then here's some ideas:

NOTE: Some of this won't apply to your world or focus, so just ignore the stuff that isn't relevant to your story.

--Events in history leading up to your story--

This will depend entirely on what you story is about, but events to think about are:

. Inspiring figures from the past: For example, if you're writing about vampires, are there any in history who are still iconic to this day? What made them iconic?

. Any miscellaneous important events? My more specific ones are geared more towards conflict, but there's always going to be important events that happened that stay with people that happen in the world and they aren't always going to be bad. (Yes, the author of Divided really did just say that.)

.Changes in laws and/or major attitudes towards groups: Were there any rules or legislations that came into play that completely shook the world of your story?

.Conflicts: Wars and other major conflicts in history will linger around for years and years in various ways

Modern society

This is looking at your present day in the story in more depth. This can help you with characterisation as well- how has modern society affected your character and their development and current attitudes?

. Attitudes towards certain groups: Who or what is celebrated in society? Who has to deal with negative attitudes and why? How are people choosing to fight back, positively or negatively, against positive or negative change? Is there any prejudice at all, or is your world almost entirely accepting of different types of people?

. General morale: How happy are the different groups of people in your world? Is there still need for change, or are people more or less okay with the way things are? Is there an imbalance in the welfare of different groups and why?

. What's/who's popular: From people to events relevant to the story you're trying to tell, what's popular and well-known? Are there any events or people that are causing change or debate that might be addressed later?

. Fashions: It helps to think about what's fashionable in your universe sometimes, but maybe that will all depend on what kind of CC you can get a hold of.

. What the future holds: What ideas do people have for the way things may change as time passes?

Magic, superpowers, or other power systems

If your story has some kind of system of 'special' power- magic, or superhero powers, certain chemicals, powers granted from deities or the like- it's good to have some rough idea for how they work:

. Is this power innate? Can it be learned? Is it within the person, or is it an outside source of some kind?

. Is this power a finite or infinite source? Is it a physical object, is it ethereal/energy, a chemical, etc?

. What limits are there to the use of this power? When can it/can't it be used? What downsides are there to using this power (illnesses, magical overcharge, death, etc)? What consequences are there for overuse of the power?

Beliefs and belief systems

Your story might have some sort of 'collective' belief systems- common superstitions, or religions like Sims Medieval’s Jacoban or Peteran faiths, or maybe even cults. If so, it's good to outline those, though the amount of detail you'll need for it will depend on the kinds of beliefs and the story you're telling.

. What are the core / defining rules / lessons /ways of living of this belief?

. What actions/attitudes etc are rewarded, and what attitudes are frowned upon? What rewards and punishments are there for such things, if any?

. How has this belief system affected other people outside of that belief system? What do 'outsiders' think of the belief and the people that practice it?

. Are there any key figures in this belief system? Are they real objects/people, metaphysical beings, or are they not real at all?

. Are there any specific meetings or practices etc. associated with this belief?

. Do people of this belief own specific special clothes or objects? What significance do they have?

IMPORTANT SIDE NOTE: When it comes to world-building, ALWAYS go careful when using any real-life cultures, beliefs or events outside of your own culture etc- especially those of marginalised groups. Try to do your research as thoroughly as possible.

To avoid potential upset or misrepresentation, I either rely on fictional creations or keep things vague. For example, I'm using the lore behind the Sims Medieval's Jacoban and Peteran religions in an upcoming story to avoid making a fictional religion that people might mistake as a parody of an existing one.

Do any research you need to do

Once again, how in-depth you go depends on how far you want to go- how realistic you want it to be, how historically-accurate you want it to be...Sometimes it's good to just have enough to get a rough idea of something to add on to. For example, if you're doing a historical story, it might be worth just seeing what big events happened, social taboos, etiquette etc. just to get a feel for the rough world of your story. For anything that isn't an important topic, I'm not bothered if it's inaccurate. For example: if it turns out the soft background science of something in my work is a bit wonky, I don't entirely care. However, for serious subjects like mental health etc, I always make sure to get a good idea of what I'm doing before I write it. If I get it wrong, I could end up spreading massive misconceptions and that's the last thing I want to do. -

World-building towns and cities

Not everyone's story is going to have a huge deal of focus on this sort of thing, and additionally to the top you might want to go even further with building onto what's already given to us. So here's some other things that might be worth thinking about if you want to do a bit of extra fleshing-out for the game worlds. When I say 'individual world' I mean the actual playable worlds on their own as opposed to the ts4 worlds altogether at once. If you're doing a challenge and the challenge has worldbuilding aspects, like Alien Adoption Challenge or the Apocalypse Challenge then that is a brilliant thing to give you some level of a framework for some aspects of your story's world.

. Rough population of the individual world etc.

.Landmarks and their significance

.Tourism, what do other people like to do whilst they're there

.What sorts of people tend to live there

. What the individual world is known for the most, what puts them 'on the map', so to speak

Characters are my main focus as both a writer and a reader. I can have a good story with great characters and a thin plot, but a story with a great plot and boring characters is never going to interest me. They can also be difficult to come up with ideas for. Here is a rough idea of how I come up with characters, and how I build on pre-made characters.

Some people have written 'character interviews' - these can sometimes be helpful. You fill them out from the characters' point of view, or from a third-person perspective but about the character. The 'Marcel Proust' character interview is a great one to use, since it asks questions that will no doubt be relevant to both the character and the plot later on. Some of them have questions about favourite food, colours etc. but for me, this is more often extraneous than not. Then again, knowing too much about your character for some people is better than not knowing enough.

My own character 'interview' is here. It's technically not an interview and is just a list of things to consider about your character. You may get some use out of it.

First off, before anything: think of what to base your character on, roughly. Think of the traits of people you know or have known, think of aspects about yourself. Of course, we can't forget basing characters off of your favourite fictional characters!

If you are writing a premade character, and you're unsure on what to expand on, first off look at their in-game traits, any information provided in trailers/promotional material, and then look at fan theories and ideas about the character. Those are good places to start if you're using a premade Sim.

As well as specific characters, think of your favourite traits, archetypes, and development types as well. One of my favourites is the downfall of a character, a tragic character whose constant screw-ups land them in a deeper and deeper mess. Even better when they start going off the rails a bit as well. I also love characters who struggle with others' kindness, who learn to let themselves be loved over time.

Then you can get to outlining them.

The basics about your character

. Name: Is there any meaning behind this name in-story? Did the character choose it themselves or is it their birth name? What nicknames do they have, if any? Which do they like, and which do they hate? (Names don't have to have meaning. I only use meaningful names in certain contexts- most names are just names I like, names that just fit for some reason, or that a character's parents thought sounded nice).

NOTE ON NAMES: If you want an authentic name for a character from a specific time period, look at census records for the country if they're available or see if you can find articles on people from that country and time period. You can also Google naming conventions, as they can change within a country over time as well. I also recommend avoiding baby name websites or baby-related websites when you want authentic names for characters that aren't English or American. It's best to find blogs written by people from that country. Sometimes travel blogs for the country will sometimes talk about names, authenticity and such. Sometimes Wikipedia has lists of names as well, but it's worth double-checking any info found there.

. Rough description: Height, rough weight, colours of skin/hair/eyes, the general 'vibe' of their attire or a more in-depth description. Anything notable about them, like specific jewellery, clothes, tattoos or scars/other injuries?

. Identity: This could be anything from where they grew up, gender, race, sexual orientation, or if they are an occult sim or some other made-up species or race. How has their identity affected their life? Do they face any prejudice or mistreatment for any of it at all, or does it give them more of an advantage over others?

. Family: People in a character's family, whether blood family or found family.

.Beliefs: What they do (and maybe don't) believe in.

. Protagonist or antagonist: Not always this black and white for every character, but good to think about your character's rough place in the story. Of course, one can become the other as the story progresses.

Character-defining aspects

. General personality traits: You can use in-game traits and Randomise to give you ideas, or you can think of your own personality traits for the character.

. Upbringing: What it was like growing up for them. Who was good to them? Who wasn't? How have these people and experiences shaped who they are today? How was the world different growing up to what it's like now? Does the character mourn the old ways of the world or do they like the change?

. Social class: How has this affected their life?

. Education: Might also connect with upbringing here- how was school/university etc. for them?4

. Goals/dreams: Almost everyone has a goal, even if they never achieve it. Even if it's just getting out of bed to make breakfast and then getting back in again.

. Social life: Extrovert, introvert or somewhere in the middlle? What do they do when they hang out with friends etc?

. Fears: What are they afraid of? What do they do to avoid that fear, if anything?

. Any conditions, illnesses, or neurodivergence: (ONCE AGAIN, go careful when writing things like this and do research where it's needed.) How have they affected the character's life and their outlook in general? How does it affect how others percieve them, if it does at all? If applicable, what caused them?

. If not that, then general physical/mental health: How well (or not) does the character look after themselves in these ways? What do they do for self-care and distraction?

. Likes and dislikes: People, things, events, hobbies...What makes them happy and what makes them want to punch a wall?

. Character 'flaws': Flaws don't necessarily have to be absolutely-horrible things, it can be just things that can hold the character back in some way. Some things that characters may overcome in a story might not necessarily be flaws as well- for example, introversion isn't a flaw (I wish writers would stop treating it as one), but possibly some characters may seek to try and 'come out of their shell' socially a little. Most characters have some kind of flaw or personality 'aspect' to overcome or learn to deal with, but the best kind of character flaws are the ones that actually get in the character's way in the story. The joy is in seeing how the character overcomes these flaws...or even how the character gives into them more and more as the story goes on. Wretched excess is fun sometimes!

. What they're good/bad at: Where do they excel, where do they need a little practice, and what are they absolutely terrible at?

. Any special ablities or powers: What can this character do? What are the limits of this power? How do they feel about this power?

. Things they are known for: Whether by friends, family, colleagues or the world. What are they known for? What do people like and dislike about them?

. Ideas for development: How do you (at the moment) see the character changing? If you have any ideas for it, who or what will help to influence that change?

. Relationships with other characters: How they do (and don't) get along with other established characters, and maybe why. -

Things to think about character-wise when writing your story

Once you get to writing your character, here's a couple of things that it helps to think about- though some of it is more relevant if writing in the first person.

. What your character does and doesn't notice: How do they approach the world around them? What sort of things do they notice first in their surroundings?

. Manner of speech: Formal, or informal? Do they have any mottos, catchphrases or words they use often? Do they speak about feelings a lot? Do they lie, and how often? Sometimes what isn't spoken can say as much as what is spoken.

. How they socialise and deal with others: Do they overthink things in discussion? Do they pick up on social cues? Do they often over-analyse the actions of others, or do they let everything go over their head? Are they confident in socialising, or not? Maybe their out-of-dialogue musings are complex, but they keep to not revealing much in their speech.

. How they cope with negative emotions: Do they break down, or blame others? Or do they power through it?

. In connection to some of the above points, think about your character both from the outside and inside: How do others see them? How do they think they come across to others? How do they come across to themselves? And finally, who are they really on the inside?

An important aspect to think about especially is character motivation. I've written this one separately from the bullet points since I think it's especially important given character motivation will play a major part in driving the plot along, as well as relationships with the other characters. This might not be something you'll have a solid answer to until you start writing, but it's good to have some starting ideas.

. In the broadest and simplest sense, what does your character want? Money, fame, honour, redemption, happiness, revenge...Have a think about what it is that they strive for deep down. (If you're struggling for ideas, maybe it might help to look at the in-game Aspirations, or maybe even the Traits will give you some ideas).

. How far are they willing to go to get it? Are there limits they won't go to in order to get what they want? Or are they willing to step on whoever's toes? This might be a change that occurs over the story, that's always an interesting concept. Seeing the well-behaved character slowly and gradually challenge what is acceptable...

. Who, or what 'kickstarted' this motivation? Some people just naturally come to want something, maybe as they grow up and/or their general interests, hobbies etc. change. Some motivations are brought on by events, though. Maybe harm done to a loved one motivates them to seek revenge, or something they did in their past motivates them to seek forgiveness or redemption for their actions.

For challenge players, you can always define your characters through funny commentary, I always like seeing that. One story had one generation founder constantly break the fourth wall and be the only one who realised they were in a game and it made them stand out in a comical way.

Let me start off by saying: Plot is my weak point. I struggle to organise ideas when both reading and writing, I always have done. As usual, for plots it's best to think of your favourite plots from stories or a 'stock plot' like The Hero's Journey, Wretched Excess etc. It's also good to think about any potential plot points that come to mind straight away, so then you have starting points and can fill in the gaps- this is generally what I do. And honestly, I don't think it's that bad to re-use themes and plot pieces sometimes. Sometimes it works better to stick with what you're familiar with, than it is to try a thousand things at once that are new or different to you.

Do you see yourself as a 'plotter' or a 'pantser'? I'm a bit of both, though I'm leaning towards more of a plotter now. I wish I could write everything by the seat of my pants, but sadly I can't.

The way I initially began planning for a longer, more in-depth story is by making a table in a word processing document that is one column wide, with loads of rows. Just one giant row of loads of columns. Each box in this table will be for specific notes, and the order of these notes in the planning table goes like this:

. Title ideas/preliminary ideas: What it says on the tin, and the very, very first ideas for the story.

. Rough story ideas: Any ideas that come to me in the pre-planning stage go here. Ideas for anything at all- screenshots, scenes, lines of dialogue, anything!

.Background information to be aware of: Any relevant lore or research goes here. Sometimes I keep story research in a separate document.

. Previous story points to be aware of: Any previous characters or events to be aware of to aid in consistency.

. Current plot threads: Keeping track of plot threads that need to be resolved in some way, to help prevent plot holes.

. Character info: Character information in varying levels of depth. At this point, this usually only covers main characters.

. Character Development: This almost always changes halfway through, but this is my plan for how characters will change as the story goes on, and the events and characters that will be catalysts for that change.

. Backstory: Character backstory goes here instead, to keep things organised.

. Ideas for future chapters: Any ideas at all for upcoming chapters, no matter how vague. This also includes things that absolutely have to happen later on.

. Story ideas: Various boxes, all of which have more detailed story ideas. At the moment these are defined by specific events, and these are just for the direction of the story.

. Chapter (X): The main story planning, with one box for every chapter. This is where the story starts to be sorted by chapters as opposed to just events. Things always get swapped around during the writing process: Some things get moved until later, moved to happen earlier, or omitted/changed entirely.

The general idea as I'm going, is that each chapter has to move at least something forward. We learn something new about someone, a character's actions have changed something or caused a consequence, a character has learned something, etc. Somehow things have to be different from the beginning of the chapter to the end of the chapter and that is generally how I go about it. Whilst a lot of people frown on whole chapters that 'info-dump', for some stories it might be necessary- especially for futuristic or alternate history stories where the author will need some filling-in on the general state of this unfamiliar world.

Again, how much you want to/need to plan depends on what you're doing. Nowadays I write narratively, and the game has little bearing on the actual story.

If you're going with a gameplay or challenge-driven story you probably won't need much planning, if any at all.If it helps, it's worth doing what you can to create associations of some type within your planning- whether it's symbols, bold/italic, colour-coding, anything. That might aid you in keeping important bits of the notes tied together somehow, whether it's done by scene, character, important plot points etc.

It may help to highlight important bits as well in your word processor, so you can easily find things you know you have to go back to soon. I sometimes do this since I easily get lost in my own notes...

Other Planning Ideas

. Starting from the end: It might be easier to go backwards if you come up with your ending before your intro. You can always start with your end point, and then figure out how you got there.

. Mind-maps: If a massive list of boxes doesn't sound ideal, it might help do a sort of mind-map or flowchart. This is better if you are the sort of person who'd rather take in small bite-sized pieces at a time. You could have one mind-map for the beginning, middle and end, and then do little branches off for different events. And then from those branches, possibly add more for other details surrounding that specific story event, or things to remember for later on down the line.

. 'Snowflake method': Put simply, it's writing down a simple plot point or idea and then continually expanding on it until it's at the level of detail you need for your plan- the way a typical snowflake's points branch out. As a random example: - Dave goes to get some cheese. - Dave has discovered a monster in his kitchen, and it demands a block of cheese or Dave's life. Terrified, Dave goes out to get some cheese to appease the monster. - A monster that can only live off of cheese is used to eating the bits of dropped cheese off Dave's kitchen floor, but Dave has decided to do more cleaning now his girlfriend is moving in. Desperate for survival, the monster has escaped its hiding place, demanding a block of cheese from Dave for its survival. If Dave does not supply cheese, he will be killed by the monster.

. 'Five-part narrative'/Pyramid: Breaking down your story into the five main parts of most stories: - Exposition: This is mainly setting up the world of your story - the setting, the main goings-on in the area, the characters we will be following throughout the story, and also the driving point which sets the main characters ahead doing plot stuff. - Rising action: The rising action is generally the part where the characters' antics, or possibly something caused by the world around them, sets stakes higher and puts more pressure on them. Perhaps the character has made a grave mistake. People could be after them. Or perhaps some kind of natural disaster has caused massive issues for the character. How will they come to navigate all of this? - Climax: The rise up to the 'turning point' or the height of the drama in your story. Maybe your character finally has some kind of breakdown, their actions have led them into the worst situation possible, but good can arise from this...or your character can just keep going down the slippery slope. - Falling Action: This is generally the process of gradually resolving all that has happened during the story. Maybe the main characters have realised their mistakes and aim to solve them, or perhaps your characters have overcome the main antagonist, or possibly made peace with them somehow. - Denouement: The resolution to the story, or at least where the characters end up. Then again, who's to say that everything will be resolved by the end if you want to make a series rather than a one-off? And who's to say the resolution will be a clean pretty one?

. For the challenge/game-driven writers: It helps to make notes of anything that happens in-game that could become a plot idea. Whether it's something from a mod, Lifestyles, Sentiments, or other autonomous actions- anything that gives you idea for a potential relationship change, conflict or story point, jot it down and maybe you can build on it later. If your Sims end up with positive or negative Sentiments for each other, then maybe it could be fun to come up with a reason why they feel that way.

My biggest piece of advice is: If you are stuck with what to do next in a story, let the game do some of the storytelling for you if you need to. Look at what happens autonomously, Likes/Dislikes, traits, anything caused by mods that add story depth to the game, Sentiments that people have for others etc. You probably even have mods that actually add some real depth to the game that you can go off of. It's a great way to help you get new ideas. It's gotten me through a lot of brick walls in the plot.

. Do not use ChatGPT or any generative AI! The whole point of creative writing is the CREATIVE part and neither of these are at all creative. Don't bother writing a story if you can't be bothered to do the writing.

. Be sure to try and use content warnings for aspects of the story that may need it. You can use the trigger tags and can warn in chapter headers. You can't catch everything, of course you can't, but it's a helpful way to help a reader decide whether or not it's worth getting into a story, or whether they may want to skip a page or chapter. My own story has a lot of potential triggers so I warn about them as much as possible.

. Portrayal is not automatically endorsement. Your story does not have to be entirely morally-pure and neither do your characters. Not every story is about the perfect people who do no wrong and somehow manage to tick every box on how to be the perfect Leftist. You also don't have to provide disclaimers on the fact you are not okay with what's being portrayed, but you can do so if you want to save your own skin.

. Do not worry too much about word counts. Some people like to keep an eye on word counts, but make sure you're not letting it dictate your entire workflow. It's great to have goals to keep you going, but to let them define your work entirely can get stressful. If you miss your goals, don't beat yourself up about it.

. Use online generators if necessary! Names, plot points, rough plot outlines, there are generators for everything online. They are there both for fun and to help you get a starting point, and you are NOT cheating for using them! No other writer ever does absolutely everything themselves. We all get ideas from somewhere, so there's absolutely zero shame in using generators for ideas and such.

. Do not get hung up on looking for writing advice. I know, I just gave my advice and yet I'm saying this! Over the years I've looked at so many writing advice blogs, and almost all of it has been useless to me in the long run. Most of my learning has been from reading others' writing, and I have also learned from other kinds of art as well- films, pictures, etc. Do not rely too much on one person's style or advice. It's no good wanting to be someone else, and take that from someone who's been super jealous of loads of creators over the years. Whether it's art or writing, I've learned more from looking at others' art than I ever have from people who've told me how to do it. On top of that, don't let others' advice dictate what you do too much. After all, people are so quick to label absolutely anything as 'bad writing' these days. Continuing on from this point...

. Do not let others' writing advice become super-strict rules. Including my own! The problem with some people and their advice, is that they tend to think their way is the only way, for everyone. And as I mentioned earlier, people are quick to slap the latest cool 'smart writer's term on anything. Remember when Mary-Sue/Marty-Stu started off as an overpowered character who never faces consequences, but then seemingly became any character with supernatural powers and/or unnatural hair and eye colours? Remember when we got taught 'said is dead' in primary school, and then authors and Internet writers suddenly became obsessed with it to the point where you were terrible for using 'said' at all?

All of those writing blogs demanding complete originality when every conceivable story is inspired by something, subconsciously or otherwise? Getting thrown overboard for using clichés? The same three authors being used as a style model? It's great to take inspiration from other people, but don't think that others' writing advice is always 100% going to improve your writing because as I have said ad nauseum throughout this whole thing- art is subjective. Even if the advice-giver is an excellent author that's been published 1205 times, that doesn't necessarily mean their way is the only way for everyone. My likes and dislikes are not ultimate. Neither are theirs, and neither are yours. Write the clichéd character, add the cool thing because it's fun, use 'said' all of the time, enjoy yourself.

. Also worth adding that just because someone writes their writing 'advice' in an incredibly harsh or 'my way is the only way' manner, it doesn't mean they're 100% right and that you should change how you do things because a bored stranger on the Internet thinks they're the last word on how to create things. You are not going to please everyone, and that's fine. And let's face it- some people are never pleased. Ever. Don’t write to please these types of people, it’s not worth it. I've come across them plenty of times in the past on creative websites, and I've fallen into the trap of trying to do what they say because they must be right, right? And really, why should I? Why should anyone?

Don't fall into the trap of feeling like you have to do what the angry man on Wordpress told everyone to do. Maybe these types occasionally have something good to share, but you should only use writing advice you find genuinely helpful to you.

. When it comes to doing research on things like stereotypes or tired archetypes / plotlines for certain marginalised groups, be aware that everyone has a different opinion on what is harmful and what isn't. You cannot write a character of any experience that every single person will agree with or consider to be a sympathetic portrayal. One man's good representation is another man's problematic.

You are also occasionally going to find some people writing these portrayal guides who will consider every experience out of their own individual one to be wrong (I've come across plenty of 'how to write autistic characters' guides where the autistic writer is convinced their experiences are the only kind of 'proper' autistic experience... and we are all very different people in reality!). Try to get a rough idea from multiple sources and go from there.

. In addition to the above: Go careful where you get your research/advice from. I will happily admit when I don't know what I'm talking about sometimes. Other people, not so much. Go careful who you choose to do any research from. On top of that, when you are looking for advice specific to a culture or identity, most of the time it's best to find things written by people who are actually a part of the group. It's good to be as thorough as you can.

. Be imperfect. No-one is a perfect writer, though some certainly think they are! Perfectionism is common, but in my opinion it holds people back a lot of the time. Don't stress too much- SimLit is meant to be a fun hobby.

. Always aim to finish your work. Even if you have to pull a plot point out of your backside to do it, try to finish everything where you can. I have only ever discontinued one story, and that was only five chapters into it. If you're having trouble, don't be afraid to leave a project for a while. I find in the meantime, I come up with new ideas. Sometimes a necessary distance to a project is needed to see it in a different light, and then any issues can be (hopefully) figured out.

. Don't get caught up in the 'reboot loop'. It's a dangerous game, to constantly want to re-do your work. I'd know - I have a personal project that's been rebooted over 10 times and still not completed that's been a work-in-progress since almost 2014. Don't get caught up in it otherwise you'll never finish anything. If there's something you don't like, assess first if it's best to just move on with the story despite it. In connection to my above point, I'd rather a story be finished badly, personally, than not finished at all.

. Do not get put off by low reader numbers or lack of comments. It's part of the creative process- either you'll get feedback or you won't. People nowadays tend to go for shorter stories either due to not having time, language barriers are also a thing that can put people off a longer prose-based story, or due to the modern age trying to make everything as succinct as possible - and like I said earlier, a lot of people are tired busy adults and likely won't have time.

Some things are also typically more niche than others.

Do not publicly whine or guilt-trip people over lack of feedback or attention. There are always going to be times where lack of attention to your work will get you down, and in my eyes, that's a good sign to take a break from it until the passion for creation comes back to you. Otherwise the story will likely suffer for it as will your wellbeing.

. Do not get put off by negative critique. Critique can be helpful, but let's face it, many people often don't know how to write a good or useful critique and a lot of people nowadays want to be a edgy, feisty caustic critic, might as well say it. Even if someone is nice about it, your first reaction might be ‘owch’.

Keep the useful critique in mind, bin the rest. You don't need to change anything about your story, at the end of the day nobody can force you to do that - but it's also not healthy to ignore absolutely all critique completely. Sometimes others' ideas can be helpful. Sometimes.

. Jarte - A free fancier version of Wordpad that I use for note-taking and plot-planning.

. My planning document and character questions linked earlier.

. MyNoise - If you like background noise to focus but music isn't for you, these are various noise machines. It includes chanting, white noise, natural sounds (thunder, rain etc), bar ambience and much more. There's an amazing selection.

. Writing Plot Prompts and Generators - A bunch of generators for plot-related events. Rough plots, possible things that could go wrong, ideas for how characters meet and general writing prompts.

. Character Generator - A bunch of character-related generators that will generate all sorts of ideas- from rough descriptions, to in-detail outlines, to causes of death, and a separate generator for ideas for LGBT+ characters as well.

. Evernote- a free (with paid options) note-taking app for mobile and for PC. It allows you to create to-do lists, clip whole web pages, screenshots, articles PDFs and bookmarks - great for storing research or other important things! You can also sync your PC notes with your mobile ones so you always have a space to dump your ideas wherever you come up with them.

. Random Town Name Generator - with some fun tidbits about town naming in general.

. Fantasy Map Generator - for the super-world-builders!

I hope this has given you something of a starting point, or has otherwise given you something else to think about. Happy writing!

#sims 4 storytelling tutorial #sims 4 storytelling #sims 4 #ts4 #simblr storytelling guide #freezerbnuuy

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boom-butterflyeffect · 8 months ago

Note

If you don’t mind can you do a NSFW alphabet for Josh or Matt

check out my masterlist for the Matt one! unfortunately it might be a little underwhelming, i haven't looked into his character as much as the others, and i'm only now getting back into writing so my writing is pretty minimal rn, but anyways!

Josh Washington NSFW Alphabet

im honestly so excited for this one, josh is fine as fuck, and in my mind, he's arguably the kinkiest out of them all

A - Aftercare

Josh would get you all cleaned up, kissing you all over while he does so.

B - Body Part (His favourite body part on himself and you)

He loves your lips. Just mesmerised by how pretty they are. His favourite part of himself would probably be his dick, I can't lie

C - Cum (anything to do with cum, basically)

Messy! gets off to the sight of you with his cum either ON you or dripping out of you.

D - Dirty secret

Has SO MANY ideas for things you two could do. Wouldn't surprise me if he has them written down somewhere.

E - Experience (How experienced he is)

He's got a decent amount of experience, as well as a lot of ideas from the porn he watches.

F - Favorite position

Tbh I feel like Josh would love fucking you from behind while you're on your hands and knees, and he's got his hands on your hips.

G - Goofy (Is he more serious in the moment?)

Can switch back and forth between silly and serious so fast, and you can never quite tell if his seriousness is playful or not.

H - Hair

He keeps it tidy

I - Intimacy

He loves to get up close and personal, whispering in your ear and touching you all over.

J - Jack off

Honestly, a lot. He's got a lot of pent up energy.

K - Kink

I think Josh could potentially enjoy roleplay and costumes, considering how much he seemed to enjoy his whole Psycho act, and with all the movie equipment he has in the basement, I feel like he'd def be into some of the more kinky stuff.

L - Location

Every. Single. Goddamn. Room. In that lodge.

M - Motivation

Literally just seeing you.

N - No (Hard limits)

Anything that goes beyond your basic sadistic stuff, like nothing that would cause bleeding or permanent damage.

O - Oral

Loves both giving and receiving, loves making you squirm with just his tongue, does wonders for his ego seeing you become a mess, and would def be the type to grab you by the hair when receiving and guide your head.

P - Pace

Much like the seriousness, it can switch back and forth really fast. He always keeps you on your toes.

Q - Quickie

Yes. Quick fuck in a college bathroom before class? 100% he's down.

R - Risk

He's all for experimenting and trying out new things, and can enjoy things on the more daring side.

S - Stamina

He's got a LOT of energy, and gets really riled up once he's started.

T - Toys

I could definitely see Josh using toys on you, all sorts of borderline sadistic shit.

U - Unfair

Oh 100% he will degrade and praise you at the same time and leave you confused and whining.

V - Volume

Loud. Very chatty too, and talks you through everything, with all sorts of praise and degradation and teasing and all sorts.

W - Wild card (Random NSFW HC of my choosing)

I could imagine for Halloween he'd dress up as a masked killer from your favourite slasher movie and "hunt you down", he enjoys the thrill of the chase.

X - X-ray (Size)

7 inches (I think I'm just saying the same for all of them tbh idk)

Y - Yearning

Oh he is eager ALL the time, he's the most dirty minded guy in the group, no competition

Z - Zzz

I don't think he'd sleep for a while afterwards tbh, still too high on the adrenaline rush.

Bro it's crazy how much easier this one was than the others, I do really just imagine Josh to be a horny fucker

thank you for the request! Feel free to request other stuff too!

#smut #josh washington #until dawn #josh washington x reader #x reader

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kookygobbledygook · 1 year ago

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Some people have been saying this, but I don't think it's been said enough and I'm just going to add my voice to the mix.

Nimona's nomination is being framed as an example of "Look at what Disney missed out on!" and I get it. It's a nice, tasty schadenfreude situation and we all like to see The Mouse get taken down a peg.

But I think we need to be very clear; Disney did not miss out on anything because they were never going to take that sort of risk.

Disney was never going to release anything close to the Nimona we got. It would have been sanded down until anything obviously queer or controversial was as faint and unnoticeable as possible by the casual viewer. And then they would still be too scared of any potential backlash. So they would have given the film a limited release at theatres, with no advertising, or social media or support.

Like what happened with Strange World.

You remember Strange World, right?

No?

That's because no one does.

And I believe that was deliberate, because that way Disney can go "Weeellll... obviously we would LOVEto take more risks and have more inclusive stories but that's clearly not what the public wants!"

Look at the original concepts for Wish. The evil royal couple? The peter-panesque star boy that would have made the gen zers go feral the same way millenials went feral for Jack Frost? These could have been the best things about the movie, and even they were scrapped, and replaced with something more homogenised. And those ideas are nowhere near the level of the concepts and discussions Nimona brought to the table.

Disney can barely have explicit gay people. Nimona has a gay south Asian man in a relationship with an east Asian man. As a protagonist! But more than that, you think Disney could ever come up with a relationship as complicated and difficult as Boldheart and Goldenloin's? They would never have the guts to show one love interest cutting off the other's arm in a straight relationship. Let alone a gay one! And then for them to be on opposite sides of the conflict, shifting between feelings of betrayal, and questioning each other motives? That's some adult dark shit for a kids film.

Asha as a character was forced into the quirky girl role that Disney has already flogged to death with Anna and Rapunzel. You ever think they would allow a Disney princess to be as dark and violent and nuanced as Nimona? You ever picture the titial character of a Disney film AS the third act conflict, rampaging through a city in a self destructive rage? Nimona is anti authoritarian, vengeful, bloodthirsty, a pretty explicit trans allegory, and even, by the climax, openly suicidal. You KNOW that terrified Disney.

I had a thing about the Director here too but I was shocked by how long that got so I'll have to save her for a different post.

My point is the things that make Nimona art, that make Nimona a great story, that make the film important and Oscar worthy, are all things that Disney has become too chicken shit to produce. If Disney had released a film called Nimona it wouldn't have been Nimona. I fully believe that if the film hadn't had been 90% finished it wouldn't have been shelved. It would have been lobotomised and vivisected. Everything special and vital about the movie and its message would have been removed, and no one would have known what could have been. Once again we would have gotten scraps and been thankful for them.

It makes me think about films like Wish (and others we don't know the name of, and never will) and think of what they could have been if studio's like Disney were braver and let their artists make art, instead of content.

tl;dr Disney didn't miss out on Nimona because they are incapable of making Nimona. If they had produced it the real Nimona wouldn't exist. We didn't miss out on Nimona. And that's purely by luck.

#nimona #disney critical #wish critical

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sillyjpeg · 11 months ago

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BOOK OF BILL WEBSITE CHANGE

this contains MAJOR SPOILERS FOR THE WEBSITE CHANGE. if you want to find shit urself, dont read this!!!

also this is part one of probably many bc i cant fit everything in here. curse you image limit

i wont be going over alot of the not as important stuff, but still go explore the website for it because i got alot of good laughs!

RIGHT OFF THE BAT. In the top right corner of the screen when the lightning flashes, there are words revealed carved in the wall. it reads: VALLIS CINERIS. when this is typed into the computer it gives this video:

haunting. really giving me analog horror vibes. wasnt sure what else to do with this though.

I also noticed that on the candle in the right side of the desk, there is a code

this is decoded used the rune code, and translates into CURSED. when put into the computer, this is what is given back:

interesting.

One of the first things me and my friends did was go through the main characters names. the most interesting one of these for me is definitely Stanley, but i want to go over Pacifica first because Stanleys is LONG.

When you type in Pacifica you get this:

I love her signature btw. BUT if you type in Platinum Paz, you get somethin very, very interesting.

This may not be in the right order so forgive me, but at the end of that code, if you use a shift decoder (im so smart sue me)

it says: "STAY AWAY FROM HER CIPHER. SHE HAS THE PROTECTION OF THE LUMBERFOLKS SPIRITS"

pacificas character development has always been special to me, and this was honestly chilling. in the book of bill we see that she has nightmares about the lumberjack, and this shows how much guilt she carries. her finally finding her peace with what happened made me smile :)

but as nice and heartwarming as this is, were moving on to STANLEY PINES! and oh BOY are the stanley lovers having a field day. so first of all, if you type in Stanley, it will take you to a few different links. including gold chains, brass knuckles, an 8 ball cane, a fez, and a colonel neck tie. funny right? if you keep entering his name, this pops up:

Below this is a bunch of things with the label of being shameful. one of them is very interesting but im gonna put some lighter stuff first for the sillies.

i need alex to show us the photos from the hunky drifters catalogue alex can you hear me please i mean WHO SAID THATTTT WHO SAID THATTTTTT

ALSO NO ONE COMING TO HIS FAKE FUNERAL EXCEPT HIS MOM :( she loved her little free spirit stanley

ALSO- him stripping for flour in Tijuana, again, i need photographic evidence.

his ex wives list also made me giggle. he was MARRIED TO OLD GOLDIE????? also Marilyn being Eda made me giggle, i love the fact that they got married at some point. get them back together please. also stan having smaller hands than ford and being self-conscious about it stan i love you mwah mwah mwah

ALSO FILBRICK TRYING TO SELL STAN FOR GETTIN AN F- PLEASE

anyways now onto the section at the bottom of the Wheel of Shame page!

Its titled : HOW HE BEAT ME. im not adding a photo bc ur guy is running out of room :(

you have to click on this repeatedly to get anything good out of it, so i took the liberty of milking it for all it had!!! i didnt take screenshots of everything because some of it was redundant, but here are the interesting and or funny bits:

just reiterating, this is not all thats in there, im just putting parts that stood out to me. please take the time to go through all this urself bc its a TREAT.

now into the crazier stuff

hes obviously having some sort of breakdown, just like we see at the end of the book of bill. the last page i decoded myself, and i got this using all the different decoders:

"THROUGH LQS SFSE CN EVERYONE IVE EVER"

for "LQS SFSE CN" i used the original bill cipher code, and im not sure why it gave me this. a smarter, better decoder probably has the answer.

i can theorize a few different things on what this could possibly mean even with it not being all decoded. the one that comes to mind is "I can still see through everyone ive ever met" maybe knowing too much? but without the middle part decoded i cant say much. if you have the solution for this please leave a comment as any help would be greatly appreciated. this all did drop a few hours ago so i doubt many people are working on decoding all this.

UPDATE!! I TRANSLATED IT WRONG.

IT SAYS “THROUGH THE EYES OF EVERYONE IVE EVER”

this makes alot more sense. bill can see through others eyes so it most likely is refering too how he possesses people and sees through their eyes. In the book of bill he shows how angry he is having to watch the Pines family be happy.

It says that when he closes his eye, he can still see through the eyes of everyone hes ever…possesed? probably. So can Bill still see through Ford, or maybe Dipper, and he cant turn it off. Whenever he closes his eyes he is haunted by the happy life he failed to destroy. To see through their eyes.

This poem using gambling as a way to describe Stan's life choices really struck me. the more i thought on it the more it made sense. he gambled that Ford's project would probably still work, gambled with all of his sham products. His entire life has been a betting game. The most interesting thing about all this is the end of the poem. It reads

"IM STILL ON YOUR MIND"

this has been a theory for awhile in the gravity falls community that if stan got back all his memories, including ones about bill, wouldnt bill come back? for me this confirms the theory, and opens up a whole new can of worms which i will talk about later.

I have reached my image and video limit, but expect more posts!

stay weird yall :)

#gravity falls #bill cipher #book of bill #fiddleford mcgucket #stanley pines #stan pines #ford pines #decoding #weird #this took me an hour dont flop #save me stan

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syckubota · 4 months ago

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illustrated some comic pages based off some writing i have. sketches and flat ink process (alongside a long-winded info-dump) below :)

I'm a little shy about it, but I've been getting into fun self-insert stuff lately. Fallout 4 is truly a dating sim game...

The character in this comic is supposed to be fairly reflective of real-life me, but there's sort of an alternate-universe catch to them; They're like a time capsule of the me in October, 2024. So, there's certain bits of wisdom and knowledge, of which I that have now, that they don't. Essentially, they're prone to making blunders, and still have personal developments to make. I've been having lotsa fun exploring this concept!

The premise of my writing/story is that in another universe, on October 23, 2024, they wake up in Sanctuary Hills, October 23, 2287. This version of me is from our world, so they are heavily under-prepared for surviving the wasteland, and their only advantage is the fact that they have decent knowledge about the Fallout world (due to their fixation on it). They have to navigate this much more brutal environment, coupled with their personal vices and difficulties, including but not limited to the horror of being mysteriously ripped out of their own world. Their social-psychological struggles inadvertently leads to them deciding that lying about their origins was the best course of action. This alternate me initially white-lies about being a psychic, until it spirals out of control and they end up having to break the truth to everyone they've lied to. Nate is also released from Vault 111, and this alternate me has the honors of spoiling the Institute's grand looming scheme, after a bit of convincing.

The specific context behind this scene/snippet depicted in the comic, is that this alternate me hired MacCready, to not only have an experienced wastelander backing them up, but to also, hopefully begin assisting him with his struggles. They let it be known that they have (an unspecified amount of) knowledge about his life, but they still lied to him about where they were coming from, just how much they knew--and--their plans to help him. This me was also strongly in denial about their fascination and affection for him, so they were actively fighting a crush the whole time. They were hoping to help him and get on with their life elsewhere, and hopefully with someone else.

This alternate me planned to clear out the warehouses and to collect scrap for land development, with MacCready's help. They end up explaining a bit about their Minuteman-aligned land development goals, and unintentionally let on that they knew about MacCready's tragedy. When MacCready realizes this, there comes an awkward tension, because he is left blind-sided trying to process everything, and this me is extremely worried he took the information poorly, and may refuse their offer to help. This alternate me feels the need to be avoidant with him, and decides to get the job over with, the sooner the better.

However, since this alternate me was distracted with being evasive to their hired help, they had gotten careless, resulting in a heavily bleeding wound.

For further context, and before I continue, MacCready already sort of felt like he could resign his social-emotional walls to this alternate me. This was due to the fact that they already knew quite a bit about him, but didn't do anything to betray/exploit him. This alternate me also invited him to ask for whatever information he wanted back from them, to keep things fair and square. So, as a result, over the day he'd gotten to know them, he already felt some sense of kinship with them.

This leads back to this scene. MacCready simply offers to check and wrap up the wound (thus the vodka, rag, and bandages). This alternate me is already confused as to why he's being so friendly already, and they have some conversation, but it inadvertently leads back to the awkward tension they were feeling earlier; this alternate me comes clean about how much they actually knew about his life, and their intentions to turn things around for him, but they still hide the exact details of where they truly came from, unsure if it was the right time to do so.

MacCready understands. Taking their word, he truly believes this me was a person from his world, blessed with 'the sight', who was going out of their way to find the solutions to the near hopeless issues that had been eating away at him. Instead of feeling scorn or disturbance, he's glad to be understood, and have a way out of the hole he's in--it is an insanely cathartic thing for him, and he expresses his relief and gratitude accordingly. But this me knows that they were still lying to his face about their own past, and feels that their acts aren't deserving of such high praise. Instead of being able to fully appreciate his gratitude, they carry an immense guilt for their disingenuity, alongside deep humility about themself. There's nothing like being the cause of your own problems.

Anyways, TLDR: I turned myself into an original character and I'm torturing them here! 😁

to further explain why this alternate me didn't just stick a stimpak in themself so they wouldn't have needed help checking their wound:

stims are expensive. YES i know Boston is a stimpak trove but bro just got here...

stims were originally intended as healing aids, and this alternate me realistically needed stitches first. It was also the only wound they got; nor was it severe enough to call for one right away. YES i know that's not how the game treats stimpaks, though.

#talkubota #fallout fanart #fallout #fo4 #fallout 4 #fo4 oc #pip-pad scott #rj maccready #maccready #robert joseph maccready #fo4 maccready #robert maccready #ink drawing #ink #pen drawing #comic art #fallout companions #fo4 companions #fallout 4 companions

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wynnyfryd · 2 years ago

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Trailer park Steve AU part 24

part 1 | part 23 | ao3

cw: alcohol, throwing up, brief reference to canonical character death

"Oh, my god!" Robin barks, nearly throwing herself off-balance again with the force of her laugh. "This is too good, man. You truly cannot escape your babysitting duties."

"Can I help you?" Max seethes.

Help him? Help him? "What the fuck are you doing here?"

"What does it look like I'm doing?" She gestures to the guy she's holding onto, some fluffy-haired kid with a cut-off vest covered in safety pins that Steve sort of vaguely recognizes as one of Eddie's friends. Oh, shit. Is Eddie here finally? Has he seen him?

"Wait, where's Lucas?" Steve asks.

"Who cares?" she bites back.

The guy gives a nervous chuckle and loosens his grip on her waist. "Uh-h. Did you say babysitter?"

"He's not actually, Jesus. I'm fourteen; I don't need a babysitter. And he was just leaving, anyway, right?"

Her glare feels like a slap. Girl's got daggers in her eyes, holy shit. It's like she's hoping some of El's powers magically transferred to her; like she's picturing him flying ten feet into the air and landing with a splat on the far side of the concrete, and he doesn't need this. He did not come out tonight to be bullied by a teenager. "Okay, that's it, I'm taking—"

"—me to the punch bowl!" Robin interrupts, putting her hands on Steve's chest to stop him from grabbing Max and hauling her back to the car.

"Robin, what—?"

"Yep!" She shoves him hard, pushing him to the edge of the dance floor. "Silly me, just dying of thirst, ha ha. Okay, cool, see you both later!"

—

"What the hell was that?" Steve demands when they're safely on the far side of the pavilion.

"An intervention."

Oh, my god. May he never hear the word 'intervention' again in his life.

"Un-ruffle your Mother Hen feathers for two seconds and think, would you? One: it would look really, really, seriously weird for you to be seen dragging a dead jock's kid sister kicking and screaming to your car."

A dead jock’s kid sister. Jesus, tipsy Robin has no tact.

"Two: you said we were going to go out and have fun and get, and I quote, 'very drunk.' Take your babysitter hat off for one night. She's a high schooler, and this is a high school party."

"Yeah, I know," he sulks. Doesn't need the reminder that he's technically past the age limit.

"Okay, so then let her have fun! It's not like you weren't out drinking and smoking by her age."

'I'm always so right about everything. I'm, like, cosmically correct.' Goddammit. Steve needs another drink. "I just don't want her to do anything dumb and get hurt."

"She won't. We can just, like, keep an eye on her from a distance, right? Let her come to us if she needs anything."

"So we should just act like your parents?" Steve snorts.

"My parents are amazing, thank you!"

"Your mom offered me mushroom tea once."

"Like I said: amazing."

Steve huffs a laugh, flips his hair out of his eyes and snags a handful of tortilla chips. "Okay," he says around a crunchy bite, "so what's the third thing?"

"Third thing?" Robin asks. She’s not even looking at him anymore, her eyes eager and distracted as she scans the crowd.

"You're biting your lip weird, there's clearly a third thing."

She turns to him, and the smile springs free from its containment, spreading all over her flushed, ecstatic face. "Vickie just showed up."

—

Steve’s hammered.

Whoops.

Didn’t mean to do it; feels a little bad about it as he tips his head up to the sky and all the stars go raining in bright streaks across his vision. Reminds him of the ceiling at Starcourt, nauseous and spinning under a swirl of bright fluorescence. He hopes Rob’s flirting is going well.

He meant to get politely drunk.

A socially appropriate amount.

But then Robin ran off to flirt with Vickie, and Steve was doing his best to just lay low, steer clear of Max and maybe find a way to casually run into Eddie if he could find him, when he spotted the girl he went on that disaster of a date with instead and realized his options were either: stay there by the beer coolers while she came over with her new date and subjected him to the most painful small talk of his life, or retreat to the dark edges of the party with as much booze as he could carry, so.

He's slumped on top of a picnic bench downwind of the bonfire, bad ear ringing, belly full to bursting, trying to remember when one beer became… more than one beer.

Five?

Six, maybe?

Fuck.

“‘M gonna puke,” he confesses to the splintered wood beneath his feet; to the pine bough overhead, the smoky fire at his back.

“Wow,” someone says, an amused lilt to their tone, and Steve knows that voice, he—

Oh, no.

Ohhhh, no.

Now? Really?

Steve whips his head around, opens his mouth to ask ‘Eddie?’ and barfs all over his shoes.

—

part 25

tag list part 1 below the cut, let me know if you want me to add you tomorrow (21+ only, please confirm your age if you're asking to be tagged)

@a-little-unsteddie @ahsokatanoss @aliea82 @alyelf @anne-bennett-cosplayer @aol19 @awolfstudio @bambibiest @bananahoneycomb @bookbinderbitch @bronwenmarie @cheonsazu @cinnamon-mushroomabomination @courtjestermunson @cuips-not-cute @dauntlessdiva @dawners @dontwasteyourchances @eddie-munsons-missing-nipple @eriquin @estrellami-1 @fandomfix8 @gregre369 @griefabyss69 @grtwdsmwhr @hallucinatedjosten @hellion-child @hiimlevi @honoragreyskull @hotluncheddie @jackiemonroe5512 @kas-eddie-munson @kingelyx @lifeisacrisis @littlebluejane @marvel-ous-m @melonmochi @messrs-weasley @milklechee @mrsjellymunson @mugloversonly @munsonslure @nburkhardt @nerdyglassescheeseychick @notsopersonalcharlie @novelnovella @nuggies4life @phoenixtheone @questionablequeeries @runninriot

#trailer park steve au #steve harrington #eddie munson #steddie #steddie fic #robin buckley #max mayfield #gareth stranger things #vickie stranger things #my writing #my fic

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twignotstick · 1 year ago

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Liar, Liar

Note: The characters in this fic are from @rufwooff 's teenage mutant ninja everything-but-turtles au. Leo is a salamander, Mikey is a toad/frog, Donnie is a gecko, and Raph is an alligator. It can sort of be read as a rise fic if you ignore the... frog stuff? But there are things that might not make sense without knowledge of the au. This post specifically inspired the fic.

Tags: Rise of the Teenage Mutant Ninja Turtles, ROTTMNT, Leo-centric, NOT MY CHARACTERS, Teenage Mutant Ninja Everything-but-Turtles, tmnebt, turtle tots (still unsure abt that one), dialogue written like a child, lying, extremely fluffy, but with a hint of angst

Warnings (if there's anything I should add here, tell me please!): nothing, why would i ever hurt kids :)

Words: 4,647

Summary: Leo finally gets to spend a day alone with his little brother, Mikey. When things go wrong, he decides to save himself. After all, what's so bad about a little lie?

----------------------

“Can grow to doo-ble the size in a few… h-owers…”

Leo held the small package he'd found close to his face, trying his best to read what the label said. Donnie had told him it was some kind of toy, but it just looked like a plastic whale to him. Mikey watched Leo from the bowl he was quickly outgrowing, listening intently to Leo's somewhat successful attempt at reading.

“Leave in a cup or bowl of wwwater and watch the magic!” Leo read triumphantly, holding the toy in front of him. The salamander looked over to his little brother. “We just need a cup or something to use it!”

“Wah'der!” Mikey noted wisely, bracing himself on the edge of the glass.

“Right!” Leo nodded, face turning pensive. “But I can't reach any of the cups or bowls in the kitchen, and Dad doesn't want me climbing on stuff anymore…”

“Waphie?” Mikey suggested.

“Raph's busy with Dad cooking dinner. Bo-ring.” Leo sighed. “And Donnie said he was studying today…”

“Hmm…” Mikey hummed, before his eyes lit up. “Bow’!” He squeaked, rocking his bowl side to side. “Bow’! A bow’!”

“No Mikey, we need a-” Leo caught on. “Oh, a bowl. You're a genius, Mikey!”

Mikey squeaked and squealed in response to the praise, wiggling what was left of his tail in the water. “Tank you.”

“Alright then, Mikester. You're gonna have to show off how good you are with those new legs.” Leo wrapped his arms around his baby brother's body, struggling for a moment to get a good grip with both of them having slippery skin, but he eventually hefted Mikey out of the bowl under his armpits and placed him on the stone floor. “This'll be a good oppa-tunity for you! You just gotta stay here while I fill up the bowl the rest of the way, okay?”

“Okie-dokie!” Mikey replied cheerfully, patting his newly grown hands on the floor. They had been fully developed for about a week, but he had yet to do much with them other than waving and clapping.

Taking Mikey's word without any doubt, Leo picked up the half filled bowl and carried it away to the nearby tunnel. Sure, he knew he wasn't supposed to go into the tunnels by himself. And sure, he knew he wasn't supposed to leave Mikey alone when they were playing. But Leo was a big boy! And so was Mikey! Mikey had all of his limbs now! That, Leo didn't exactly understand, because Leo always had all his limbs, just like Raph and Donnie. Mikey was just a ball with a tail and eyeballs. A tadpole, Donnie's voice reminded him. Now Mikey was a toadlet, which meant surely he was grown enough to be on his own for a few minutes.

It wasn't like Leo didn't like spending time with Mikey. He loved watching movies with him, coloring things with him, even chatting with him despite his more limited vocabulary. Mikey just… couldn't play a lot of the games Leo liked to play. Leo liked to move, and Mikey couldn't move a lot. Mikey couldn't play tag, or hide and seek, and he could only play Jupiter Jim if he was playing as Godfred, the Goldfish King. Even then, he was no fun to play with without his royal guards.

Today, Leo got to play with Mikey without supervision, a job usually reserved for his older brothers. It was a total breeze, he had found out, because Mikey was so stationary. Babies were boring, but they were easy.

Leo carried the bowl back, making sure to spill as little of the mildly murky sewer water he had collected as possible, and put it down right next to the toy he had left on the floor. Right next to the puddle where Mikey was sitting before.

Puddle?

“Boys! Come eat!”

“...spit.”

----------------------

Leo walked into the kitchen with a nervous smile on his face, finding that Raph and Donnie were already seated with food in front of them. Both plates were filled with vegetables and meat, and Splinter was preparing two more plates with more of the same.

“Hello, Blue,” Splinter greeted, glancing around Leo's sides. “Where is your brother? I thought he was with you.”

“H-he was! He just got reeeally tired,” Leo lied, swaying on his feet and swishing his tail slowly. “So I tucked him in bed. He was really, indubitably tired.”

“You don't even know what that word means, Leo.” Donnie glared right into Leo's soul, pushing his glasses up as Leo sat down next to him.

“Yes I do! I-it means Mikey was really super tired!”

“Purple, do not be rude to your brother,” Splinter scolded. “If Orange was tired, he should sleep. He is a growing boy. Thank you, Blue, for tucking him in. He can eat later, after he wakes up.” Splinter finished preparing a plate for himself, then sat down next to his sons and began eating. “Did you all enjoy yourselves today?”

Raphael nodded. “I showed Cheech how to beat up the practice dummy right! He wasn't too good at holdin’ Raph's sais though.”

“That is very kind of you, Red. I'm sure that Cheech will improve if you keep training him.” Splinter smiled kindly.

“He won't,” Donnie whispered, leaning into Leo's ear. “Teddy bears can't do ninjutsu.”

“I think Raph can teach him, Raph's good at teaching,” Leo whispered back.

“What about you, Purple?”

Donnie straightened his posture, his tail sticking straight up for a moment, straightening his glasses again. “I actually did some very helpful research using the encyclopedia that Dad found and the book on reptiles we got a while ago.” He looked around at his brothers. “I learned a lot about our different species. I looked pretty closely into toads and frogs so I could talk to Mikey about his current state, but apparently I can't, because he fell asleep at 6 pm.” Donnie side eyed Leo questioningly.

“You can tell him about what you learned tomorrow, Purple,” Splinter said. “I'm sure whatever he and Blue did today was exhausting, was it not?” He asked, redirecting the conversation to Leo.

“Oh yeah, for sure,” Leo agreed fervently. “Me and Mike were having so much fun. Like, Mikey was having sooo much fun, he literally passed out! And I put him in bed, like a good big brother!”

“He… passed out?” Raph asked worriedly.

“Yeah! Like, knocked out hard. Totally asleep. And I tucked him in good!”

“In his tub.” Donnie raised a drawn eyebrow.

“That's right!”

“Boys, there is no need to argue about this,” Splinter said with a strained smile as the brothers finished eating and put their plates away in the sink. “We should all be happy for Blue, who has proven himself as a big brother.”

“He's sure proving something, alright…” Donnie murmured with crossed arms.

“You can spend a little more time up, but I want you to get to bed soon as well. Meanwhile, I will be taking this opportunity to take a nice, long shower.” Splinter shook his robed arms, showcasing the small clumps of fur gathering across his body. “This stuff gets oily way faster than you would expect.”

“Don't worry Pops!” Raph said, standing absurdly tall for a child of his age and swishing his unruly tail. “I'll check on Mike, then I'll make sure Leo and Don get to sleep too! You have my word!” Raph tried to hold up a military salute, but he caught his hand on his large jaws and hit his head backwards, tail and arms flailing to make sure he didn't fall. He looked distraught for a moment, before making a show of shaking off the pain to be strong for his dad.

Splinter sighed. “Thank you, Red.”

Leo straightened up, eyes widening as he saw his brothers going toward their room, and dashed over to the sink to drop off his own plate so he could follow. Quickly, would be preferable.

“Blue? May I speak with you?”

Spit.

Leo stood with the most relaxed posture he could muster as he faced his dad, leaning on the countertop behind him with one elbow. “Sure, Pops!”

Splinter kneeled down in front of the salamander. “I wanted to thank you for spending the day with your little brother. I know that he is still unable to do many of the things that you can, but it is good to hear that you included him in your games anyways.”

“Oh,” Leo said, losing his fake nonchalance for a moment. “It… it was no big deal, Dad.”

“I would say it was a big deal, Leonardo.” Splinter placed a paw on Leo's shoulder, smiling softly at his son. “Once Orange hits the growth spurt he is bound to, it will be much more difficult to keep you boys from bouncing off the walls. I am glad to know I can trust you to take care of your little brother.”

Leo's heart dropped in his chest with guilt, but he kept his outward appearance well enough. Internally, he was screaming to run away and stop his brothers from reaching the bedroom. “Of course, Dad. Mikey was actually really really super fun to hang with! Not boring at all! He actually was playing way more than me, and like, he was really cool and stuff. And fun to play with,” he added carefully.

Splinter stood up, cracking his back. “That is great to hear. Now-” he clapped his hands- “to wash the gunk out of this gross fur!”

As soon as Splinter skipped away, Leo fumbled over his feet to rush to the bedroom. He kicked his tail a few times, but ignored it in his frenzy. His brothers were already there! It was over! He would never be trusted again! Not by Raph, not by Donnie (though who really cared about that), and most importantly, not by his dad!

When Leo got to the shared bedroom, he slid on the floor to turn in the doorway as fast as possible, only to find Raph terrifyingly close to Mikey's tank.

“WAIT!”

Both of his brothers looked up at him immediately. Donnie's glare from where he sat on his bed quickly changed from confused to exhausted. “And why, dear Nardo, would Raph need to wait?”

Leo hesitated. “Well, b-because-”

“No, Leo. You've been super suspicious ever since you came to dinner.” Donnie stood up, putting the book he had in his hands down.

“No I haven't!” Leo defended. “I don't even know what that means, so I can't be that.”

“It means you've been acting weird because you're hiding something!” Donnie accused.

“Am not!” Leo defended.

“Yes, you a-”

“Guys!” Raph whispered furiously, catching the other boys’ attention. “If you're gonna fight, do it quiet. Mikey's still asleep.” The oldest brother turned away, not being able to see the despaired expression on Leo's face, and approached Mikey's corner of the room where his small tank sat.

Donnie looked back at Leo with disdain. “Whatever you're hiding, you should just cough it up. Dad doesn't like liars.”

“Well that's great, cause I'm not lying. I'm like, the least liar-est person ever.”

“Uh, Donnie?” Raph asked quietly from his spot by the tank. “Didn't you say Mikey was supposed to mecha-morph-uh.. whatever?”

“Metamorphosis. It's the process through which a tadpole becomes a frog or toad. Commonly associated with frogs and butterflies, which come from caterpillars. And technically, the word would be ‘metamorphose’, in this context.”

“I think he meta-morph-osed into a whale instead…”

Leo held his breath.

“What?” Donnie walked over to the tank, continuing to ramble. “No, he's supposed to metamorphose into a fire bellied toad, not a whale. There's no way that- GASP!” Donnie plunged his hand in the tank, coming back out with an unmistakable item. “You left his bowl in the tank?!”

“What?! I-I don't know how that got there, I swear!” Leo stammered, grabbing the hem of his shirt.

“You said you put Mikey to bed! Mikey isn't here, but his bowl is!” Donnie shouted. “You lied! You lost Mikey!”

“N-no I didn't!”

“Oh yeah? Then how did his bowl get here?”

Leo puffed his cheeks, fuming. “It wasn't even my fault! Mikey said I could use his bowl!”

Raph gasped this time, like a normal person. “You really lost Mikey?”

Leo's anger faltered at the sad face on his big brother. The reality of the situation was finally settling in. “I-I didn't mean to. I just went in the tunnel for one second-”

“You went in the tunnels?!” Raph screamed.

Leo winced. “It was just for like a second, and nothing even happened!”

“Clearly, something did happen,” Donnie interjected, putting the bowl down. “You. Lost. Mikey!”

“I did not! Mikey said-”

“GUYS!” Raph slammed his tail on the ground, scaring his brothers into attention. “Right now, Raph's gonna ignore all the rules you broke. We don't need to fight about who to blame, because Mikey is missing. He could be in danger, or worse, already hurt. We need to find him before Dad finds out.” Raph stepped closer to Leo. “Now, where did you lose Mikey?”

“I didn't lose hi-”

“Mikey was under your supervision. Now he's gone. You lost Mikey,” Donnie said sternly. “Where did you lose him?”

Leo stared down at his feet, then sighed heavily. “It was right by the tunnel entrance, by the toy room. When I came-d back in, there was just a puddle where he was sitting before.”

“A puddle?” Donnie asked.

“Yeah, that's what I just said,” Leo groaned.

“No, that could be a clue. Show us where the puddle was,” Raph urged.

“Uh, okay.” Leo turned around and walked down the hall with his brothers in tow. He couldn't help but feel their eyes glaring into his back, judging him. Hating him for lying. For putting his baby brother in danger.

Maybe he wasn't a good big brother like Dad had said. Mikey was the only little brother he had. How did he screw that up?

They reached the end of the hall, and Leo was surprised to see a little bit of dampness still on the floor, even after almost an hour. “He was right here,” he said, crouching down to look.

“Hm,” Donnie hummed, crouching down as well. “Just as I thought.” He put a finger in the spot on the ground, surprising his brothers when his hand came up with something slimy. “Mikey didn't just leave the water from his bowl, he also left mucous.”

“Mucous? Like, he snotted everywhere?” Raph questioned.

“No, it's not snot. It's mucous. Many frogs and toads produce mucous with glands on their skin that helps keep it moist. In some, it also helps them breathe through their skin,” Donnie explained.

“So, Mikey left his skin snot on the floor,” Leo gathered.

“No. It's mucous, not snot.”

“Hey, look!” Raph pointed to another spot on the floor. “More snot!”

“Follow it!” Leo said, running over to the spot and searching for more.

Donnie pinched the bridge of his snout. “Again, not snot, but okay, we have a lead.”

“Why's it in spots, and not, like, little froggy footprints?” Raph asked, following as Leo spotted more spots.

“It's possible that Mikey figured out how to hop,” Donnie said.

“Ha! So this was worth it!” Leo said, pumping a fist. “I taught Mikey how to hop!”

“Or, you taught him how to hop off a cliff and die. Or hop right into a human's home,” Donnie replied.

“Donnie…” Raph whispered.

Leo didn't respond, instead choosing to keep following the spots. There were a few he saw on the walls, which he noted curiously. They traveled all throughout the lair, slowly becoming more recent. Eventually, the brothers found a place where they entered a door.

The bathroom door, where soft singing could be heard on the other side.

“Aw, spit.”

Raph elbowed Leo's shoulder. “Dad said you shouldn't say that anymore.”

“Why? It's not a bad word. I can say it all I want! Spit, spit, spit-”

“Guys,” Donnie said, “let's worry more about the mucous going into the room where Dad is showering.”

“Oh, right.”

The trio opened the door slowly, getting facefuls of steam that fogged up Donnie's glasses, causing him to back out. Leo and Raph stuck their heads in, surveying the area. Splinter's operatic singing filled their ears, making them wince. However, in the midst of the steam filled bathroom, they spotted what they were looking for.

Mikey was perched on the edge of the sink, looking at the closed shower curtain with wide eyes.

“Mikey!” Leo whispered, getting Mikey's attention and drawing his eyes. “Hey Angelo! Come here, come to Leo!” He held his hands out, beckoning.

Mikey squeaked softly, waving at Leo, then pointing at the shower.

“Nonono, don't go there buddy, hop over here!”

Mikey grinned, then readied himself to jump straight at the curtain.

“MIKEY!”

The clattering of metal and screams of the boys cut off Splinter's singing, as Mikey hopped right onto the curtain and pulled the curtain rod down. Raph pushed past Leo into the room, catching Mikey before he fell to the floor with the curtain.

Splinter, despite being covered with soaked fur, tried to cover himself and turned the shower off. “Boys!? What is the meaning of this?!”

Raph fumbled to keep Mikey in his arms. “Sorry, Pops! Mikey was just-”

Mikey turned around in Raph's arms, reaching out to Splinter. “Hi Daddy!”

“Orange? What are you doing awake?”

“He, uh, he woke up!” Leo said, pushing in front of Raph. “We had to follow him here.”

“Follow him?” Splinter raised an eyebrow.

Raph looked at Leo, unsure.

“Yes?” Leo said nervously.

They all stood still, Leo patting his toe on the floor. He couldn't tell if he was sweating of fear, or if it was just the steam in the room. The tension felt as thick as the steam filled air.

“LEO LOST MIKEY!”

“What?!”

“DONNIE, YOU SNITCH! I DID NOT!”

“YES YOU DID! AND YOU LIED! LEO LIED!” Donnie screamed from outside the room.

“Donnie! Stop being mean to Leo!” Raph said, struggling to keep a hold on the boy in his arms. Mikey wriggled around, bracing his feet on Raph's chest and hopping off, sending himself flying into Splinter's arms while also hitting Raph's jaws shut with a clack and nearly sending Raph falling backwards.

“Orange!” Splinter caught Mikey deftly, checking him over. Then, he looked back up to his other sons. More specifically, at the one who had just been basically slapped by his own jaw. “Red, are you okay?”

Raph grunted, but nodded slowly as he held his snout.

“Good. That was very rude of you, Orange,” he said to the son in his arms. “What do you say?”

“I'm sowwy, Waphie…” Mikey mumbled with innocent eyes. Raph gave a weak thumbs up in response.

“Good job. I'm very proud of you for learning how to jump.” Splinter looked at Leo, who physically shrank.

“I-I swear, I didn't meanta lose him. We were just playing, a-and he said-”

“He can tell me what he said.”

Leo felt tears trying to force their way out behind his eyes.

Splinter sighed, dropping his shoulders. “Red,” he addressed, “make sure your brothers get to bed. With no screens,” he said, shooting a glare at the door.

“I would never!” Donnie scoffed from outside.

“I will come to tuck you in as soon as I am done with my shower. I have a feeling that Orange won't let me go without giving him a good bath, too,” he added, causing Mikey to squeak and laugh in his hold.

“No problem, Pops,” Raph said, walking toward the door.

Leo blinked, confused. Where was his scolding? Where was his slap on the wrist? This couldn't possibly be that bad, right? “B-but I-”

“Go to bed, Leonardo.”

Leo shut up fast, swallowing all of his tears and excuses. He followed Raph glumly out of the bathroom, closing the door behind him. Raph was standing outside with a concerned look on his face, while Donnie wore a smirk.

“I told you Dad doesn't like liars.”

Leo walked past, trying to get to the bedroom with as little eye contact as possible. Raph reached to grab his shoulder, but he shrugged it off and walked faster. Donnie's words echoed in his head.

Dad didn't like liars. Leo was a liar. Dad was the one that took care of them.

He could kick Leo out.

He'd have to live in the tunnels. Or maybe, Dad wouldn't let him live in the tunnels. He'd have to live on the surface, with the humans. The humans who wanted to catch him. Who wanted to pull him apart to see what he was made of and then piece him back together to see what he could do. He would die without his dad. He didn't want to live without his dad. Without his brothers. Without Mikey. Because he did love Mikey, even if he lied. At least he thought so.

Maybe Dad wouldn't care now. Maybe Dad didn't love him now. Leo was a liar. Dad doesn't like liars. Why would he?

Leo flopped into his bed as soon as he reached it, pulling the covers over himself and turning in to face the wall. Raph attempted to talk to him, but Leo only curled up tighter, pulling his tail up so far he could see it in front of his face.

Eventually, Raph gave up. Leo heard him softly scolding Donnie, but tried to ignore it as silent tears fell off his cheeks.

Just when he thought he was about to fall asleep, Leo heard the bedroom door opening. He wiped his face and turned slightly, seeing Splinter walk first to Donnie's bed, then to Raph's, before finally coming toward Leo's.

He noticed Mikey sitting in the doorway, who waved when he caught Leo's eyes. Leo waved back slowly.

Splinter kneeled by Leo's bedside, just like he would any other night to tuck him in. Usually, this would bring Leo warmth and comfort, reminding him that his father loved him. This time, Leo couldn't fight the sense of dread that filled his chest, making it feel like he was breathing something heavier than air. He wasn't getting tucked in. He didn't deserve that anymore. He was a liar.

Dad doesn't like liars.

His father's eyes seemed to see right through him. “I am very upset with you, Leonardo.”

Leo tensed, but kept looking at Splinter.

“I am not upset that you lost track of your brother. You are a child, and I cannot expect you to be perfect. Do you know why I am upset?”

Leo nodded slowly, then mumbled, “Because I lied…”

“Exactly. It is because you lied. You could have told me as soon as it happened, and I would have helped you look for him. Instead, you lied and put your brother at even more risk. You could have fessed up when I saw Michelangelo in the bathroom. But yet, you still didn't. You didn't admit to your own fault. It took Donatello telling me for you to finally confess. And even then, you tried to rid yourself of all guilt.”

Leo sniffed, tearing up again. “Are you gonna kick me out?”

Splinter's eyebrows raised in shock. “What? No, I will not kick you out. Why would I ever do something so horrible?”

Something shattered.

“But… but I lied! I hurt Mikey! I-I'm a bad brother!” Leo's tears started flowing openly.

“No, no, Blue, you are okay. Shh…” Splinter rubbed his hand across Leo's face, wiping a tear away.

Leo sniffled and hiccuped, holding onto the back of Splinter's hand and softly sobbing. “I'm sorry, Dad, I-I didn't want to…”

Splinter rubbed his son's cheek, hushing him quietly. “I know. But that does not change what you did.” He looked deeply into his son's eyes, ensuring he had his full attention. “I forgive you, but this cannot go without punishment. I will not kick you out, and I never would. You are my son. Instead, you will be grounded for a month.”

Leo whined, but nodded. “Okay…”

“However, I believe that taking away the things that bring you joy will not make you learn the lesson that you need to learn. That is why, during this month, you will not be disallowed from doing anything in our home. Do you understand that?”

Leo nodded.

“The only caveat is that you must spend the entire month with your brother, Michelangelo. You will only do things that he wants to do. You will not plant ideas in his head or put words in his mouth. You will only do things that he says he wants to do. If he ever wants to spend time away from you, you will spend that time with me. Do you understand?”

“Mhm.” Leo nodded again.

“Perfect.” Splinter smiled. “I forgive you for this, and I hope that through this grounding period you can regain my trust.”

Leo smiled as well and nodded one last time, wiping one last tear with the heel of his hand. “I hope so too.”

Splinter turned to the doorway and waved Mikey over with his hand. Mikey grinned and hopped over, much quicker than Leo had expected. He stopped at Leo's bedside, slowly using the bed to brace himself as he stood up on shaky legs, then looked at his father.

“Tell Blue what you told me, Orange.”

Mikey wobbled for a second, then looked up at Leo. “I, um, I'm sowwy I went away when you said not go away. And I'm sowwy, um, I jumped at Daddy when you said not to do… And, um, I wwwanted to s'eep in a big boy bed tonight, cause imma big boy now, but I don't got a big boy bed, can I s’eep wi’ you.” Mikey finished the sentence like a statement, not a question, but his intention was clear.

Leo looked for just a second at his dad, who nodded encouragingly, before looking back at his little brother. “Sure, Mike. Hop on up here.”

Mikey did just that, with more force than Leo had expected. “Wow, Angelo, you've really got good legs now!” Leo said, catching Mikey in his arms and helping tuck him into the blankets. Meanwhile, Splinter walked to Mikey's tank and came back with his bowl and a towel.

“Alright, boys. Orange, your bowl will be right here if you need to soak, and your tank will be there if you want it.” Splinter pulled the blanket up, kissing each boy on the forehead. He cringed and wiped his lips after kissing Mikey, making the boy squeak and giggle. “Sleep well, my big boys. I am so proud of you, and I love you.”

“Love you too, Dad,” both boys chorused. Mikey snuggled into Leo's chest, letting Leo hold him like a stuffed animal. Leo only flinched for a moment at the slimy feeling of Mikey's skin (mucous, not snot).

Splinter walked out of the room, and it was barely even 20 seconds after he heard the door close that Leo heard a whisper coming from beside him.

“I'm sowwy, ‘eo,” Mikey murmured.

Leo looked down at his brother, confused. “You already said sorry. You don't gotta say it again.”

“But I said sowwy then cause Dad said,” Mikey explained. “Now, I said sowwy cause Mikey said.”

“Oh.” Leo settled back in, putting his chin on Mikey's head. “Well, I'm really sorry too. And that's cause Leo said,” he added, smirking.

Mikey giggled and squeezed Leo tightly, wiggling beneath the sheets. In a matter of minutes, the young amphibian had completely fallen asleep, slightly drooling on Leo's pillow. He didn't mind.

Leo grabbed onto Mikey and closed his eyes as well.

He never wanted to let go again.

○●○●○●○

Did I tell myself I would write au comp propaganda? Yes. Did I write a fic about an au completely unrelated to the comp? Yes, and I'm not sorry. I figured since another round finished up today, why not post something?

For real, I've had some insane art block recently, and writing has been keeping me sane. I tried writing propaganda, hated it, then realized, you know what makes me feel better every time? Turtle tots.

In this case, everything-but-turtle tots.

Shoutout to @rufwooff for making one of the most serotonin filled aus I've seen in a while, and fueling my exhaustion-induced writing spree. And go check out @tmntaucompetition! We're getting closer to the end! AAH!

#tmnt #tmnt au #rottmnt #rise of the teenage mutant ninja turtles #tmnt fanfiction #tmnt fanfic #teenage mutant ninja turtles #save rottmnt #unpause rottmnt #teenage mutant ninja everything-but-turtles #tmnebt #twig writes

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