#other characters that hit this spot for me include but aren't limited to:

[picturemecountingcards]

unpopular opinion but i actually really enjoyed that drea and eleanor didn't kiss in do revenge. they hit that sweet spot that makes me go insane, of characters who are extremely close to each other, have a complex, deep (and fucked up) relationship, could probably be called the most important people in each other's lives and are in no way romantically involved. i love how physically affectionate they are, how drea says that the only times she'd been happy that year had been with eleanor, how they can't stand each other and love each other so so much. i love how much they've deliberately (and not) hurt each other and how they can't atone for that but they can move on and be better together. i also love that they're unhinged.

[watching-pictures-move]

Put On Your Raincoats #21 | Double Chinn Double (Double) Feature (with Hyapatia Lee)

By the time the '80s rolled around, Bob Chinn, best known for his collaborations with John Holmes (the inspiration for Boogie Nights), had been directing movies for over a decade. For much of that time, he'd been making them for peanuts (in an interview with the Rialto Report, he recounts being once asked to make a movie for five thousand dollars, which was handed to him in fifties on the spot), but in the early '80s, he was directing for Harry Mohney's Caribbean Films, working with respectable budgets (by porn standards). Some of these films starred Hyapatia Lee, one of the most popular porn stars of the era and one of the first contract girls. Now, I suspect these aren't necessarily the defining works of Chinn's career, and I do intend to get to some of his movies with Holmes. But Vinegar Syndrome had a sale and there were two double features of their collaborations going for dirt cheap, and because I am weak and foolish with money, they ended up in my cart and a few weeks later in my grubby little paws. How did this happen? Through the magic of Canada Post, of course! Anyway, what I found was that these didn't represents any extremes of artistic ambition. They were neither seeking to elevate the genre, nor were they hackwork. Rather, they represent a happy medium, movies that seek to deliver the genre's goods in a polished, diverting package. Slick cinematography, courtesy of Jack Remy. Catchy theme songs that wouldn't sound out of place if you caught them on the radio. Flashy titles. Lee recounted the atmosphere on set as one of professionalism and engagement, where everyone present wanted to do as good a job as possible. Chinn claims to have been losing interest in his work at this point, but the results onscreen are the result of confident execution by somebody who had been doing this kind of thing for years and knew how to put the production's resources to good use.

The first one I watched was The Young Like it Hot, where the operators at a phone company worry about being replaced by computers. To keep their jobs, they scheme to go the extra mile in helping their callers. As this is a porno, most of this help is sexual in nature, as when Rosa Lee Kimball stays on the line while an obscene phone caller played by Bill Margold finishes. (In an interview on the DVD, Margold says after shooting his scene, he was invited to record additional dialogue. Being the method actor that he was, he insisted on whipping it out during the recording session despite the lack of cameras.) Sometimes they are informative, as when Bud Lee (real life husband of Hyapatia at the time) explains why the perineum is referred to as taint ("cuz it taint cunt and it taint ass"). But the highlight of their efforts are Shauna Grant's increasingly life threatening home improvement advice to one poor sap played by Joey Silvera. Hyapatia Lee is ostensibly the star, and has a certain charisma, playing the supervisor, but this is really an ensemble piece, and she's joined by more experienced actors like Kay Parker and Eric Edwards. The latter I've occasionally found bland elsewhere, but he has a nice obnoxious quality that serves him well as the villainous manager whose idea it is the automate the operators' jobs. The movie reflects a very real concern (that's very much still an issue in the modern workplace), but overall this is a breezy, affable comedy.

A bit more serious in tone is Sweet Young Foxes, a coming of age story whose dramatic parts are more sensitively realized than I expected. The screenplay was written by Deborah Sullivan, Bob Chinn's wife at the time, and this is a case where a movie definitely benefited from having been written by a woman, and it seems like an earnest effort to capture the anxieties and yearnings of its young women protagonists. Lee moves closer to a real starring role, and is joined by Cara Lott and Cindy Carver as her friends, who aren't quite as strong actors as her but do have decent chemistry. I can believe they're friends even if their line delivery can be stilted. (That the movie has a good ear for genuine sounding dialogue also helps.) Kay Parker is especially good as Lee's mother, hitting some of the same notes as Taboo, and has a credibly emotional masturbation scene in front of a mirror that did not leave me unmoved. (In what way? That's none of your damn business.) This was shot by Jack Remy, the same cinematographer who worked on The Young Like it Hot. That movie looked nice and slick, but this one is a little more stylish, with the solo sex scenes in particular resembling magazine centerfolds. There's also some nice new-wave-ish music that shows up on the soundtrack, which I certainly didn't mind. I do wish some of the sex scenes didn't run quite as long (the previous movie kept them refreshingly concise) as I'd prefer more of the runtime was dedicated to the dramatic elements, but what's there is still good.

Body Girls goes back firmly to comedy territory, where Hyapatia Lee and the members of her gym are trying to win a bodybuilding contest despite a rival gym's attempts to undermine them. This comes in the form of a pair of schlubs in yellow tank tops who break into the gym after hours to sabotage their equipment, only to be foiled by Hyapatia and her girls who just happened to be having sex in the locker room as people do. Of course, despite Lee's attempts to teach them a lesson (which depending on your proclivities, may have the opposite effect), they don't give up, and during the contest threaten the judge at gunpoint. Not one to take things lying down (okay, poor choice of words here), Lee finds a way to influence the judge back in her favour. (The judge is played by Francois Papillon, bringing a dopey charm to the character as he fumbles through his lines in his French accent.) Her method is pretty ridiculous and certainly in service of genre requirements, but I did laugh.

Now, there's probably a dilemma in audience sympathy here as both Lee and her rivals are cheating, but Lee's methods are more agreeable and directed at the judge instead of her rivals so I guess we ought to root for her. She's also buoyant, charismatic and has a real star quality, and is joined by such fan favourites as Shanna McCullough and Erica Boyer, all of whom sport wildly different hairstyles. As can be expected given the exercise theme, most of the ladies have toned, athletic bodies (and given the decade, voluminous coiffures), with the exception of Tigr, who brings a wiry punkish energy that stood out to me despite her limited screentime, and she also performs the miraculous feat of making a mullet look cute. (I'd previously been moved by her work in Kamikaze Hearts, the great mockumentary about a porn production and her relationship with Sharon Mitchell. She didn't stay in the industry for too long, but I'd be interested in seeing more of her work.) The screenplay was written by Lee with her husband Bud (who plays the judge's assistant with an agreeable presence that's neither too alpha nor too schlubby) and is full of exercise-related dialogue. Most of this is pretty clunky and calling it wordplay might be a bit generous ("sexercise" features at one point), but I did appreciate the effort. Also as is requisite for the premise, the longest set piece in the movie is an orgy in Lee's gym with the various participants snaked around different pieces of equipment. I must note that one of the male actors resembles Barry Gibb and that Francois Papillon is shown to wear a tiger-striped speedo. Did I enjoy the movie? Yes, but not for reasons cited in that sentence.

At the end of Body Girls, Bud Lee suggests to Hyapatia, "Let's get physical", which is the title of the next movie. (Body Girls also features a character looking at dirty magazine with stills from Sweet Young Foxes and ends with a plug for some of these other movies, anticipating the MCU's narrative and marketing strategies by a few decades.) Now, all of these movies have had decent theme songs, but the one in Let's Get Physical has lyrics that are plagiaristically close to those of Olivia Newton-John's 1983 hit. (The delivery however is more shrill but not unpleasing.) This movie is a drama where Lee plays a dance instructor trying to put together a ballet performance despite her strained relationship with her impotent husband played by Paul Thomas. (In the interview I listened to, Lee speaks well of almost everyone she worked with on these films, with the pointed exception of Paul Thomas. If there was bitterness behind the scenes, it arguably helps their performances.)

Lee wrote the screenplay for this one, and unlike Body Girls with its surface level references to bodybuilding and exercise, the dialogue here feels packed with knowledge of the real thing, which is understandable given Lee's real life interest in dance going back to her childhood. (I looked up "Luigi jazz dancing" after finishing the movie and was pleasantly surprised to learn it was a real thing.) This movie goes all in on her star power, and features a number of dance numbers that seem genuinely interested in the form rather than just leering at the performers. (There is one scene where the song Lee dances to sounds suspiciously like "Beat It".) I did appreciate that the sex scenes were kept relatively concise and tied into the dramatic aspects, although in some cases, the choices made could be goofy, like the scene where Lee makes love to her student Shanna McCullough while Thomas, in a dramatically justified but still awkward gesture, watches from another room and jacks off. (I assume he's playing the audience in this scene. Also, McCullough's character remarks "I've never done this before" when going down on Lee, and yeah, okay Shanna.) Other highlights include a car stunt that may or may not have been lifted from elsewhere but still looks decently executed, as well as a dream sequence where Thomas (or his character at least) plays the piano and sings a song. This is held back a bit by the genre's demands, like when it places a completely superfluous sex scene at the end after Lee's reconciliation with Thomas, but on the whole this is probably the best one of the lot.

[paperanddice]

Ghosts often gain powers related to their method of death, and each kind is slightly unique. The bridge haunt is a ghost that died falling from a bridge in some way, whether accidental or murder. Whatever the specific circumstance of the death was, the person is trapped with some kind of unfinished feelings and seeks to replicate its manner of death. Some ghosts believe that replicating the death perfectly will allow them to pass on, while others simply wish to inflict pain on the living out of rage at their own death. Whatever drives them, truly manifested ghosts are a dangerous threat, and even those who don't seem to understand their undead condition will lash out at the living without provocation.

The haunt cloaks itself and its bridge in illusions that shape the encounter to appear how the haunt likes. A rickety and broken bridge may look whole, while a perfectly sturdy one may appear to have holes in it to encourage those crossing to stick to the edge where the haunt can more easily push them off. As soon as a creature is vulnerable, the haunt attacks, lashing out to try and send a creature falling to its death.

Permanently destroying a ghost is always a challenge, as the emotions that hold it to the world aren't removed simply by dispersing the ectoplasm that makes up its form. Given a few days the ghost will inevitably return, forcing the next traveller to contend with it again. Instead, the source of the ghost's fury must be directly fixed, either by destroying the bridge or finding the wish that holds the ghost to the world and fulfilling it. Most bridge haunts wish for something important to be brought to where they sought to travel, usually reuniting the person's body or treasure to a living family member.

Originally from the 3.5 Monster Manual V. This post came out a week ago on my Patreon. If you want to get access to all my monster conversions early, as well as a spot on the Paper and Dice Discord server, consider backing me there!

5th Edition

A creature forcefully pushed off of a bridge by the haunt must attempt a DC 15 Dexterity saving throw to catch onto the edge. Otherwise, it is thrown down and lands somewhere below painfully. The terrain below the haunt's bridge is rarely safe, often being fast moving water or simply a very far fall, and any character thrown off has a good chance of being removed from the fight entirely without smart thinking or magical assistance.

Bridge Haunt Medium undead, any evil Armor Class 17 Hit Points 71 (13d8 + 13) Speed 30 ft., fly 30 ft. (hover) Str 4 (-3) Dex 16 (+3) Con 12 (+1) Int 10 (+0) Wis 13 (+1) Cha 19 (+4) Damage Immunities necrotic, poison Damage Resistances acid, cold, fire, lightning, thunder, bludgeoning, piercing and slashing damage from nonmagical attacks Damage Vulnerabilities force, radiant Condition Immunities exhaustion, grappled, paralyzed, petrified, poisoned, prone, restrained Senses darkvision 60 ft. passive Perception 11 Languages any languages it knew in life Challenge 5 (1800 XP) Bridge Dependent. The bridge haunt is mystically bound to the bridge it died at. As an action, the haunt can magically merge with the bridge it is bound to. While merged, the bridge haunt cannot be detected by nonmagical means and can't be harmed or targeted by any spell or effect. The haunt can see and hear normally while merged, but can't take any actions except to exit the bridge from any point as a bonus action. When the bridge haunt is destroyed, it restores itself and returns to the bridge it haunts in 1d4 days. If the bridge haunt is somehow forced more than 1,000 feet from its bridge, or if the bridge it is bound to is destroyed, it is permanently destroyed. The bridge haunt also has a personal quest that can allow it to pass on, usually taking a piece of its corporeal remains of its former body, or a possession important to it in life, and delivering that item to the place where the creature was going before it died. Unnatural Aura. The AC of the bridge haunt includes its Charisma bonus. Innate Spellcasting. The bridge haunt's spellcasting ability is Charisma (spell save DC 15). The bridge haunt can innately cast the following spells, requiring no material components: 3/day each: suggestion (as a 4th level spell) 1/day each: mirage arcana Actions Multiattack. The bridge haunt makes two push attacks. After it makes both attacks, a creature hit by the bridge haunt must make a DC 14 Strength saving throw or be pushed 20 feet directly away from the bridge haunt. If a creature is hit by both attacks, it has disadvantage on the saving throw. Push. Melee Weapon Attack: +6 to hit, reach 5 ft., one target. Hit: 13 (3d6+3) force damage.

13th Age

The bridge haunt is a mixture of terrain element and creature, and is partly only significant if the area below the bridge is threatening enough to make falling a serious issue. No 10 foot drop into a slow stream, we're talking violent rushing river or deep ravine. A fall removes a character from the fight without a proper spell, magic item, or possibly an Icon benefit to save them. It isn't instant death however, simply draining some recoveries and separating the character from the group, and they might be found after assuming they succeed on their death saves.

Bridge Haunt Triple-strength 4th level spoiler [undead] Initiative: +9 Vulnerability: Holy Shove +8 vs. PD (2 attacks) - 18 damage Natural Roll Above the Target’s Strength: The target pops free of the bridge haunt and loses its next move action. Dual Hit: If both shove attacks hit during the same turn, the bridge haunt can make a violent hurtle attack during its next turn as a standard action. [Special Trigger] Violent Hurtle +10 vs. PD (up to 2 engaged enemies) - 25 damage and the target pops free of the bridge haunt and loses its next move action Natural Roll Above the Target’s Strength: The target is thrown over the edge of the bridge, and is helpless as it clings to the side. The target or another nearby character can attempt a DC 20 skill check to end the effect, but each failed check deals 2d6 damage to the helpless target. A character that can fly or has any special climbing abilities automatically succeeds on this check. If the helpless creature is reduced to 0 hp, it falls and loses 2 recoveries as it strikes the ground below, likely getting entirely removed from the fight and having to rely on making its death saves without help. C: Come to Me +8 vs. MD (1d3 nearby or far away enemies) - The target is hampered (save ends), and must attempt to engage the bridge haunt on its next turn Limited Use: 2/battle, as a quick action (once per round). Bridge Bound: The bridge haunt is bound to a specific bridge, and cannot leave it. When the bridge haunt drops to 0 hit points, it disappears but does not die. It reforms on its bridge after a number of days equal to its level. If the bridge is destroyed, the bridge haunt is also destroyed. The bridge haunt may also be destroyed by performing a personal quest for it, usually requiring finding a piece of the creature’s corpse or an important item to it and bringing it to the spot the creature was going before it met its death. Flight. Ghostly: The bridge haunt has resist damage 14+ to all damage except force damage. Living Visage: The bridge haunt cloaks itself and its bridge with illusions to trick creatures into approaching it. The bridge haunt looks like a living creature, and the bridge takes on whatever appearance the haunt wishes it to. A creature must make a DC 25 skill check to see through this illusion. This effect vanishes as soon as the bridge haunt starts flying or attacking. Meld With Bridge: The bridge haunt can merge with its bridge as an action, removing itself from the battlefield until it chooses to spend a move action to exit from any spot along the bridge. AC 18 PD 14 MD 18 HP 120

[coffee-n-bagels-comic-universe]

Bloody, Beaten, Bruised or Maximum Effort

Quick Tag List: @kuruumiya @spacelizardtrashboys @enigmaticandunstable @nattinngrst @amyofaquitaine

This passage contains potentially: scenes of one (or more) characters swearing, blood, self-harm (unintentional) and scenes of a violent nature. whump content and potential tear-jerking moments.

Summary: In this 'chapter' Kirby has her first fight in New Jersey, and stay in New Jersey for a week, leading to some heavy whump content by a certain someone.

Kirby's POV:

Standard match, one on one with a ten minute time limit. Not much for a debut but it's made into a big deal upon learning the opponents were male and female and not the standard male on male.

Jobber VS Newcomer.

Andrew Strong VS Kirby 'Gluttony' Lucifarian.

The bell rings and the fight starts.

"Strong throws the first punch and misses."

"The Ogress capitalises and hits him with a Feeding Frenzy."

"Strong is backed into the turnbuckle but the Ogress continues her attack."

"The referee is forced to separate them and Strong gets The Ogress in a lock-up."

"A swift knee to the stomach and Strong is staggered."

"The Ogress hits Strong with the Organ Grinder and it looks like it's all over."

"She covers Strong and … one … two … three. She's done it! The Ogress has won!"

Walking back to the locker room, I caught a glimpse of Moolah as she sneers at me and I shrug her off, focusing on getting into some clean clothes and going back to the hotel. I change and walk out of the dressing room with my bag slung over my shoulder.

"Good work out there, Kirby."

I recognise the voice and turn to see André, "Thank you, Drey."

"Moolah, doesn't seem to like you girls."

"We're stealing the hag's time in the sun. She always hates people who do that, even if she brings them in. I'll see you soon Drey."

"See you soon, Kirby."

I start walking back to the hotel when I start hearing a voice behind me, gradually getting closer.

"Hey, Miss, I think you dropped this." A distinctly masculine voice called out.

I turned around to see what the person wanted. To my surprise they had picked up my wallet, "Huh, I didn't feel it fall out of my pocket, thank you."

The man handed it to me before introducing himself, "Paul Orndorff. I saw your match earlier, you're fast for a giant, tough too."

"Thank you, Mr Orndorff."

He looked over his shoulder, "Oh, well, I have to go, Piper's waiting for me."

"Uh well, bye Mr Orndorff."

He left without another word and I unzipped my bag slightly to place my wallet inside, zipping it back up and continuing back to the hotel. I spent the night in a cramped hotel room and went to the gym the next morning.

Setting myself up at a heavy bag and practicing as per usual, no interruptions, no one else near by to talk to.

It was as if my mind just drifted away and I went into this mental fog, no gloves on but punching as if I did, breaking through the skin on my knuckles and only stopping after I noticed smears of blood on the heavy bag.

I wiped it down and bandaged my knuckles before moving on to doing push ups, lunges, squats and other exercises that wouldn't leave me covered in blood.

I was alone for the rest of the day, so I ordered some pizza (simple, pepperoni) and relaxed in the hotel, I pulled out a sketch book from my suitcase and began sketching.

I didn't plan on sketching anything too important so I just went with what was on my mind, which happened to be Roddy, Jeez it's like I'm becoming emotionally attached to this idiot.

When I see him next I'll give him the drawing if I have it with me. I close the sketchbook and go back to the gym for around an hour, before coming back to the hotel and getting some rest.

I woke up the next morning (January 9th) and had a day much the same as the last, got up, did my morning routine, went to the gym, came back, ordered Chinese food and started drawing. It was just a shitty little thing, but once again, the Rowdy one came to mind.

What is it with Scottish men and me, is it because I'm a quarter Scottish, is it maybe because I believe in the folk tales and stories of old, of knights on white steeds, saving fair maidens and living happily ever after, while the monsters they kill or maim lie in a pool of their own blood and wish they could've had a different life?

I have no idea, and the idea of my own mind comparing me with those monsters makes me regret ever reading those stories while growing up, rather I should have stuck my head into scientific textbooks instead of tales of heroism and fantastical ghouls, then I would have never become and wrestler or met the amazing people in my life.

I look back down at the paper and decide to let Roddy have two final full page drawings on the other side of the sketches I've already drawn of him, I add in a small note on the page under a picture of Roddy that Sam had found.

The more I looked at the drawings and that lone picture, the more I realised the small details of Roddy's features, the strong jaw with a cleft chin, his hazel eyes? or are they dark blue? either way they intrigue me. And that musculature, Roddy's not slim but not a big man either, he's at that almost perfect weight to body fat ratio. Good lord, listen to me calling … Piper, Roddy, Him, perfect. I think I want to be sick, just to be rid of those thoughts.

Right as I run into the small bathroom I hear a commotion in the hallway and someone being thrown or more accurately, hurled into the other side of the bathroom wall. I take a deep breath, re-fix my mask into it's usual position and dart out into the corridor, right as the commotion ends.

The obvious victim of the bout was on the floor face down with a long, not to deep cut down the back of their left leg and was breathing heavily when I reached them.

"Woah, hey, hey buddy." I whispered to them in an effort to calm them.

"Kirby?"

FUCK

…

That Glaswegian accent, fuck, He's not even supposed to be in town, or is he?

"Piper?!" I whisper-yelled, more to myself than to him.

"Hey…" his voice trailed off, I heaved him over my shoulder and went back into my hotel room, tossing him down on the only bed and grabbing his left foot, reaching over to my suitcase and getting my personal first aid kit, nothing too fancy, some bandages, plasters, the bare essentials. I cleaned the cut and bandaged it, taping the bandage in place.

I glanced up from Roddy's leg and saw that he had passed out, "Shit." I muttered to myself, louder than I thought and his eyes flickered open.

"Kirby? Is that you?" His voice weak but still understandable.

I stood there, frozen to the spot, unable to move, I wanted to cry as I realised how badly he had been beaten up, his eyebrow cut, coming close to his eye, his hairline a mix of matted brown hair and blood that was starting to coagulate and then I started to notice more things wrong with Roddy's visage.

His shirt (a Piper classic, yellow with a wild cat graphic) was torn in several places, showing bruises and nicks in his flesh. His kilt, however, was fully intact, including his belt and sporran, though all of it was scuffed with little scratches, but no cuts.

"Kirby? Kirby talk to me, please?" He spoke so carefully and it broke me.

I dropped to my knees, weeping, and Roddy shot to his feet, before dropping down on his left side and leaning on the bed, getting only a couple of steps closer to me.

"Kirby, are you okay?"

"Roddy, look at ya," I took a deep breath in, "How can you be so beat up and worried about me? How is that possible?"

"Kirby? look at ya, you're crying over me? I thought you didn't care about me that much?"

I wiped the tears from my face and got Roddy back on the bed.

"Stay there, Piper."

"Oh, feisty."

"Roddy! Stay on the bed and don't move."

"Yes Ma'am."

I trudged into the bathroom and ran a long cold shower, and I heard him move off the bed before swearing and sitting back on the bed.

"I thought I said, DON'T MOVE Roddy!"

"Alright, alright. … feisty"

After the shower, I dressed in the bathroom after drying myself off and exited the room. I instantly noticed a sleeping Piper.

"I guess I'll sleep on the floor then."

"C'mere." He lazily waved his arm to try and beckon me over.

"No, Roddy, get some rest."

"Come here and get in the bed." He rolled over and picked up the duvet, lackadaisically blowing a joking kiss in my direction.

"Jesus, Roddy, fine."

I climbed into the bed and felt Roddy's arms curl around my waist and his face between my shoulder blades.

"Rod, get off."

"Wha'?"

"Get off of me."

"Why?"

"Aren't you married, get off."

"if I was married, there would be a ring on my finger," He waved his left hand in front of my face, "No ring, no wife."

"Oh. Still, get off."

"Now, would that be 'get off' in the, leave me alone, way or the 'get off' in the, I love you take me now, way." The latter a clear joke but it annoyed me even more.

"Leave me alone, Roddy."

He slid his arms off and rolled to face the other way.

"Small bed, Kirby."

"I wasn't expecting company, Piper."

"Your tattoos are nice."

"Sleep, Piper."

"I'm just saying."

"Roddy, you are injured, sleep."

"I looked through your sketchbook earlier, y'know, when you were in the shower, just flicked through it, and wow, you're a great artist."

"For the love of God, Roddy! would you please just get some sleep."

"Alright!, alright. No need to yell."

"One more word and I'm chucking you out the nearest window."

We both fell silent and managed to get some sleep, it wasn't until sunrise that either one of us awoke. As I stirred from my slumber I was face to face with the Scottish idiot. I yelped and, without realising his legs were intertwined with mine, fell off the bed with him falling on top of me, waking Roddy up in the process.

"Oh, well, morning sweetheart, did I wake ya."

"Rod, get ya damn 'Loch Ness Monster' away from me."

Rod's cheeks turned pink and he quickly looked down between our bodies before sheepishly standing up and hurrying to the bathroom, I took the chance to change into a graphic tee and some black jeans, not noticing that Piper had left the bathroom door wide open, until I heard his voice.

"Woah, so uh, all of you is bigger than normal?"

I yelped and threw one of my shirts at his face, before realising that I had thrown the shirt I was planning on wearing at him, "Wait, Roddy, I need that shirt."

He laughed before handing me back my shirt, "Uh, thank you … for …saving me last night."

"Were you even supposed to be in town?"

"Well no, but I …" He trailed off

"I can't hear you, Roddy?"

"It's nothing, really."

I continued on with my normal routine, mindful that Roddy was in the same room as me and injured. It wasn't until the phone rang that I had a problem, before I could reach the phone Roddy had already answered it.

"Who is this?"

I could hear a loud, angry voice on the phone and Piper got defensive.

"You think you're a hard man do ya?!"

Damien. That's got to be Damien, which means I am in some real trouble now. Thanks Piper, ya dafty.

"I'll get her to call ya back once you've calmed down."

He slammed the phone back into it's place and breathed out a hefty sigh.

"Kirby, is Damien your boyfriend?" He seemed instantaneously calm

I almost choked on air for a moment, "No! He's my manager, and he's like double my age. He's Vic," I paused for a moment, "He's my dad, as well as the other members of the D.O.D. We're not all his biological daughters though, just Vickie."

"So, he adopted you?"

"I guess you could say that." I avoided looking him in the eyes.

"Tell me the truth. Now!"

"Promise you won't tell anyone first."

"I won't tell a soul, now, why are you so, uptight, about who he is to you."

"First things first, my name isn't Kirby Lucifarian, it's actually Kirby Trevor."

"Oh, so Damien's not you're adoptive father, either?"

"No, my real parents are Heaven and Eric Trevor. Damien's Vickie's dad and only Vickie's dad."

"Are either one of your parents giants? or is it just you?"

"Just me, the closest person to me in height, family-wise was my uncle Rory. He's the reason I have the tattoo on my wrist."

I walked up to Piper and showed him the 'R' tattooed on my right wrist.

"So, he passed away?"

"Yeah. He died, eleven, no no, twelve years ago now, when I was Seventeen, My uncle Vaughn died a couple months later, he's why I have the lighter on my left arm, my uncle Vaughn was best known for being, in the nicest terms, a layabout smoker, and the smoke took him in the end."

"So, you have a lighter to remember a man who died by smoking?"

"Dark, I know, but uncle Vaughn would've laughed at it. Erik laughed at it when I explained it to him."

"Eric, your dad?"

"No, no, Erik, with a 'K', my old tag partner before I joined the D.O.D. I think you would've liked him."

"Really, now why would I like a guy I know nothing about?"

"Well, Erik's Scottish, He's from Edinburgh. He's tall-ish, then again I am a giant, so who am I to say what's tall, he's six-foot-five. He played the bagpipes when he was younger, he quit playing when he was twenty-three, same year we lost the tag titles."

"Rough," He interrupted "Continue, please."

"Uh, well. Erik's strong, very strong, he would compete in the Highland games and well, … I guess back then I thought I'd never leave him, until Damien gave me an offer I couldn't refuse and I left him. I had a whole life with him planned inside my head and I left it all behind, for what, cramped hotel rooms and breakfasts with André."

"You had breakfast with André the giant and you didn't tell me … You, You had a good Scottish man, and you left him, for," He gestured to the room, "all this?"

"Well I jus-"

"No," He held my jaw and looked me straight in the eyes, "You had a life, a man who obviously a close relationship with you, and you gave it up for breakfasts with André and shitty hotel rooms."

"I know I'm stupid."

"But you're not stupid, you saved me, I could have died in that hallway and you brought me in here, you stopped that bastard from killing me. I could kiss you."

"Please don't."

Sorry for cliff-hanger ending, but … END OF BLOODY, BEATEN, BRUISED or MAXIMUM EFFORT.

[icharchivist]

I have finished winter troupe debut episode! It was very dramatic lmao. Was enjoyable though. Winter troupe all had very interesting characters and It's nice to see a troupe that is all adults.

Since I complained about spring troupe issues being solved by not talking about it. I have to talk about how winter troupes issues were solved by literal outside forces trapping them or letting them read peoples minds.

I'm guessing they did this because unlike the teens who are more willing to be open about themselves and pester others,,,, adults are a lot less likely. (Before winter the adults were, sakyo, and itaru? cause the uni students aren't really adults yet. sakyo opens up to Izumi because he knows and trusts her. Itaru. Hasn't really opened up yet but he's getting there.) Whereas winter troupe is a group of strangers and the two who know each other literally are in the middle of massive misunderstanding/fight?/idk mutual disappointment.

(Also misumi just getting trapped in random time loops???? Holy shit is he ok???? Like he was able to figure it was tsumugi and tasuku this time but what if he doesn't know the people? I have so many questions)

Ok rant over. I have accepted that magic exists in a3 and all it wants is for people to get along and understand each other. But yeah once I crawl through the events and next act I have to rewatch spring hahaha. I definitely wasn't fair to them.

Homare oh my god. Just. Holds gently. I want to protect him. No one deserves to be called a broken cyborg :(

Gahhh all of winter troupe I just want to protect.

Also I saw fuyupoly is a thing? Because I'm excited to see the troupe develop more.

(you said you had a Google drive of the inbetween acts events :eyes: should I message you or something?)

tHEY’RE SO DRAMATIC I LOVE THEM SO MUCH.....

And yeah tbh when you talked about Spring having communication problems my first thought was “oh BOY you haven’t seen Winter yet” DLKFJDLFKJDFLKJDFLK

I. think about Winter much more than i should but yeah, pretty much it’s the fact they’re adults and strangers and just. are extremely conflict avoidant, all of them, for various reasons. Tsumugi because of his crushed confidence, Tasuku because he struggles to convey his feelings and he lost Tsumugi in the past, Hisoka because he litterally has no past and it freaks him out (Homare was spot on when he said Hisoka knew he couldn’t defend himself), Homare because he’s scared he’ll mess up again, and Azuma because he spent his life keeping people at armlength.  They’re all adult and agreeable people, and they are also all pretty understanding in some way, so they let some conflict pass by hoping it will be over soon. Some of them like Tsumugi, Azuma and Homare are also pretty analytic of people on a psychological way so they can try to navigate with what they know. 

But in the end without communication it’s not going very far, but they don’t really know how to do it when all of them are adults who have got used to it. 

so yeah, like you said it’s really that they’re adults and that unlike the youngest ones i think it’s just. they’re all used to compromise and compromise a part of themselves as well. 

but yeah the magic being the thing solving it cracks me up all the time i’m just. Like. okay. Okay cool okay. Normal. Like. Thematically wise i think it’s because Winter is a season that’s so cold and sad but there’s a bit of magic in it (like the magic of christmas) and i think that’s what it is meant to echo but that’s. so out of the blue DLKFJDKLFJDLKFJLDF that said once that just accepted i really love the way the three magical events reflects the characters (Tasuku and Tsumugi needed to reconnect and find back the comfort they had with one another and plushies are considered comfort items that helps transition into a safer place, it’s also linked to childhood and those two are childhood friends. Homare and the loupe are pretty straight forward, he needed to see closer, deeper. Azuma and Hisoka both were locked into a room, isolated, just like their past (or in Hisoka’s case what his flashbacks implies) make them feel isolated, having experienced loss).). I am FASCINATED with Winter. i just. akjhfkdhfkdjfmldjfmd?? sljhfjldk.

but aah i’m glad you enjoyed the ride so much i’m so happy!!

and god yeah please someone check on Misumi i worry for him wtf

and Homare’s arc yeah!! yeah!!! his arc is one of my fav arc i just. really love how it all plays out. It’s really rare to see a story goes “here’s a character with low empathy: and he’s the most loving and kind character you can imagine”. The way he struggles from it, how sad it makes him, this way to see himself, everything makes me want to cry for hours. I want to hold him so bad.

Fuyupoly is definitly a thing yeah. Fuyupoly my beloved. I adore Fuyupoly so much 😭 but Winter is honestly a slow burn, especially in comparaison to the rest of the teams. 

I actually didn’t think much of them at first read (Azuma and Hisoka were already my favs though, i’m so soft for them)(also i say that but i know i found back screenshot of me crying about fuyu on first read so i did feel a lot but it didn’t hit me until late, how much i actually cared), and now i legit can’t stop thinking about all of them. I don’t know how much it says about their slowburn or what it says about me but; Winter.

ANYWAY congratz on finishing the main story of act 1 :3c and yeah, i’d prefer if i could share it in private (bc it’s, a lot of content and if i provide it in public this is clearly piracy and DLKFJDF i know a3 tends to take down some of this content and i’m trying to be stealthy).

Though if you don’t want to come off anon, you can tell me in another anon’s ask, i’ll link you my drive, then you’ll need to send me an ask to tell me you got it so i can delete the post, if you prefer?

anyway the drive is up and ready anytime. i just didn’t update some of the latest act 2′s events but act 1 is filled and that’s the priority. so you know also this drive includes 1) Story events, 2) the songs linked to each plays (which tells the story of the plays, def recommand it), 3) All the backstages from limited time cards i could get. Backstages linked to specific events are inside their specific event files, else the cards which didn’t come in an event are in the “Scouting file”.  What’s important to read plotwise is the Event stories. The backstages are very good and i def recommand it but it may be overwhelming so you can skip them and come back later for them DLKJFLDKFJFD it’s really just the main plot of each event that you should watch.

(also i should mention only the first two events are fully voiced, the rest are just with some voicelines here and there, but i still recommand watching it bc of the mood with the music and the sprites and all)

so yeah ready to send it anytime you want  !! :3c

[lizziestudieshistory]

Books of 2021 - February*

I had a much better reading month in February - well I feel better about it, there's not actually much materially different. I've also come to the conclusion I only adore books that make me sad - I do love a good cathartic cry...

Promise of Blood - Brian McClellan (Powder Mage Trilogy #1)

Unfortunately, this book didn't work for me - I found writing style a bit clunky and very utlitarian, the magic felt off with it's strange mix of styles (I'm still not over the magic food), and the characters felt a bit flat. As I much prefer character driven novels and it can massively turn me off a book if the characters aren't quite up to scratch which was sadly the case here. I just didn't care about Taniel, Tamas, Adamat, and so forth - it seriously impacted the stakes of the novel, especially when the action was repetitive and there were no quiet spots to off set the number of fight scenes/intense moments.

However, it's a decent opening novel for someone else, but it was a bit too plot heavy and reliant on the hard magic system. The magic felt gimmicky and clearly followed Sanderson's rules of magic without rationalising some of the limitations (I'm still not sure if the Priviledged gloves gave them magic or acted as a bridge? And why does gold stop the powder mages?) You can tell McClellan is one of Sanderson's students through his writig style and the way he constructs his world, characters, and magic system. Unfortunately, it didn't quite hit the right spot for me. It's a perfect reminder that just because a style works for me with one author, doesn't mean it'll work in another. I finished this book out of a baffled, addicted curiosity but I won't be finishing the whole trilogy. (Just to state again - it's a decent book, just not my cup of tea!)

How to Marry a Werewolf - Gail Carriger**

I loved this novella, in fact it's possibly my favourite Carriger story yet (and I'm now up to date with the entire Parasolverse!) It was a fun, touching romance that made me feel all gushy! Faith and Channing were brilliant romantic leads, exactly the sort of characters I fall in love with. The drama, the supporting cast, and character growth were exactly what I wanted and needed.

Carriger is my ultimate comfort read and this made me nervous approaching a book about Major Channing - he's not the most approachable of romantic heroes, you know? But I fell in love with him and Faith (I might actually like Channing more than any of the other male leads? Shocking!) Their growth together made my heart melt and I was so invested by their get-together I actually gasped out loud - I was far too emotionally attached for a 180 page book... I cannot recommend it enough, I was half convinced I didn't love the novellas (sorry Miss Gail, I like big books!) but this completely changed my mind on both novellas and Channing. Overall, I'm a very happy bunny and now I can restart the series all over again.

Harry Potter and the Order of the Phoenix

I'm a woman of a certain age, I grew up with these books and, as such, they'll always have a place in my heart (and childhood.) However, I'm only including it on this list because I read it with a friend and to keep track of all the books I read.

Anne of Green Gables - L.M. Montgomery

This was so cute! I had so much fun reading this book, Anne is a precious sweetheart who deserved Matthew and Marilla. The flowers, whimsy, small domestic comedy, childish drama, and quite comfort were absolutely lovely. I fell in love with Anne's small world and then L.M. Montgomery broke my heart. I've never cried at a children's book so much and it was devastating (I knew it was coming but not in this book...) Absolutely fabulous!

Royal Assassin - Robin Hobb (Farseer Trilogy #2; Realm of the Elderlings #2)

I've talked about this book and series enough - safe to say I still love it, Fitz is our favourite idiot, I still fancy Verity, and the Fool is the best. See the rest of my blog for more thoughts!

Currently Reading

The Burning God - R.F. Kuang

The Hatmakers - Tamzin Merchant

Shadow and Bone - Laini Taylor (I know... I fell for the hype around the TV show... Teenaged me would have loved it though)

*Once again I have not proof read, not even sorry at this point (I proof read too much for uni

**In which I use too much punctuation, I just loved this novella okay?!