#the ‘progress’ in question:

[area51-escapee]

“A little progress is better than none!!! Vote blue anyways <3!!!!!” I’m going to start beating these people with a baseball bat I swear to god

[writers-potion]

how do you write a liar?

How to Write Liars Believably

Language

The motive of every goal is the make the lie seem plausible while taking blame off the speaker, so liars will often project what they say to a third party: "Katie said that..."

Referring to third parties as "they" rather than he or she

In the case of a deliberate lie prepped beforehand, there will be an overuse of specific names (rather than pronouns) as the speaker tries to get the details right.

Overuse of non-committal words like "something may have happened"

Masking or obscuring facts like "to the best of my knowledge" and “it is extremely unlikely," etc.

Avoiding answers to specific, pressing questions

Voice

There's isn't a set tone/speed/style of speaking, but your character's speech patten will differ from his normal one.

People tend to speak faster when they're nervous and are not used to lying.

Body Language

Covering their mouth

Constantly touching their nose

fidgeting, squirming or breaking eye contact

turning away, blinking faster, or clutching a comfort object like a cushion as they speak

nostril flaring, rapid shallow breathing or slow deep breaths, lip biting, contracting, sitting on your hands, or drumming your fingers. 

Highly-trained liars have mastered the art of compensation by freezing their bodies and looking at you straight in the eye.

Trained liars can also be experts in the art of looking relaxed. They sit back, put their feet up on the table and hands behind their head.

For deliberate lies, the character may even carefully control his body language, as though his is actually putting on a show

The Four Types of Liars

Deceitful: those who lie to others about facts

2. Delusional: those who lie to themselves about facts

3. Duplicitious: those who lie to others about their values

Lying about values can be even more corrosive to relationships than lying about facts. 

4. Demoralized: those who lie to themselves about their values

Additional Notes

Genuine smiles or laughs are hard to fake

Exaggerations of words (that would normally not be emphasized) or exaggerated body language

Many savvy detectives ask suspects to tell the story in reverse or non-linear fashion to expose a lie. They often ask unexpected, or seemingly irrelevant questions to throw suspects off track. 

[beckwritesif]

The vast stretches of lone trees and wild grass of the rural countryside lures the ego overboard, pulling consciousness off course into addiction, delusion and seduction’s disintegrating madness. You barely pull yourself home from there every evening, the sun telling your time, the birds your weather forecast. One day you might not return home at all.

From the Mud is a Midwest gothic inspired horror romance set in a solitary countryside occupied only by two small towns and stretches of untamed nature. You play a troubled cowboy/girl/puncher who‘s ground deep into a maddening, repetitive routine that a string of deaths suddenly upends. The sheriff of the neighboring town along with a driven journalist and an old friend whose bridge you’ve long since burnt comes to town having heard the news. As you’re hunting for the culprit and running from yourself, your quiet life on the ranch is disturbed, forcing you to keep your cards close and choose your company carefully. But the most pressing matter proves to be whether you can trust your own mind.

From the Mud

☆ Interactive fictional psychological horror written in choice script

Features

Play as either a man, woman, or other

Choose your appearance from overall features to minor details

Experience nuanced romance as either straight, gay, or bi, or forgo romance altogether

Choose whether you’re religious or not in an overly christian rural town

Experience the world react differently towards you depending on who you identify as

Get wrapped up in the chaos to solve the mystery of several murders

Lose touch with reality and slowly question everything around you

Remember: you have to choose to get better

Reject the possibility of unnatural forces at play, or believe

Rot in a jail cell

Ride a horse!

Play a game mostly not driven by numbered stats but meaningful actions and a fuck ton of trackers

Demo! | pinterest | forum thread

Advisory for the story so far: death, gore, profanity, substances

Basics about some of the important RO characters and other below

The Sheriff ☆ Zachariah “Zach” Mallory ☆ a man in his mid thirties

Sheriff Mallory works from his office in Two Rocks, and though his occupation means working closely with other people and seeing to their needs, it would be indolent to describe him as being good with people. At all. Being abrasive and ill-natured, the man does, however, suit the role of authority well. When the angry crease on his forehead soften, you might find there is something else within his tired eyes.

The sheriff has dark brown, chin-length hair and a matching little effort short beard. His sand-colored skin is sun-kissed from being outside, the circles under his eyes almost a purple kind of shade. Under a heavy set of brows sits a pair of dark blue, almost stormy gray eyes. Standing at an imposing height, Mallory is nigh refused anything, and can’t be forced to wear the ugly uniform his rank requires. Instead, he sports a simple white fitted t-shirt and a pair of well-loved denim jeans.

The Journalist ☆ Candy Tillman ☆ a woman in her early thirties

Working for the local news station in Two Rocks, Ms. Tillman has through work experience and excellent mentoring from her predessessor become a hound chasing stories and truths. She is both idealistic and romanticizing (that which shouldn’t), and yet entirely unsusceptable to bullshit. When her facade falters who will accept her then?

The woman with the sweetest name has blonde hair that falls to the middle of her shoulder blades, which she loves to blowout. Her tan skin is contoured by a natural style of makeup, her small, light blue eyes painted. Candy is average height, reaching taller stature with her go-to minimalist pumps. The journalist prefers simple, feminine silhouttes of clothing, keeping up with the times.

The Best Friend ☆ Blythe Abel Goodwin ☆ a woman in her mid twenties

Blythe is your best friend who you grew up with in Ashley and who stuck around when everyone left, though you know she would’ve loved to leave just as much as you once did. In response to the death of her dreams and the narrow-minded opinions of the general inhabitation of the area, she has defiantly become a person of unique and unpredictable character. You’ve known each other through thick and thin, but is there a side to her yet to be discovered?

Your childhood friend is a contrast-filled woman just under average height. Long, black, cascading hair falls from her head down to her mid-back. Choppily home-cut bangs frame her small face. Her fair skin turns rosy in the cold. Blythe’s almond eyes that are sometimes obscured by a pair of reading glasses, are hazel. She wears whatever the fuck she wants.

The Colleague ☆ Ford Wiley Mallory ☆ a man in his early twenties

Ford Wiley is the younger half-brother of Sheriff Mallory and your colleague on the ranch. Working there only half-time, the younger Mallory is dedicated and driven only in the field of his passion; music. His band has only ever played at the local bar, though. Reserved and perhaps somewhat more thin-skinned than most living out on the countryside, Wiley makes do with refreshing optimism. Whether this optimism is genuine or fabricated is yet to be revealed.

Your part-time cowboy coworker has long, wavy brown hair that he sometimes makes an effort to style, and otherwise lets it live its own life. He and his half-brother have little in common, appearance included; Wiley has olive skin covered in freckles. His eyes are dark brown, and he is of average height. The musician’s clothes consist of unwanted (by himself) hand-me-downs from Zachariah and ill-gotten items.

The Old Friend ☆ Sawyer “Saw” Brennan ☆ a gender selectable person in their late twenties (m/f)

You grew up with Sawyer along with Blythe, and the three of you braved your childhood and youth in this godforsaken place for years. But they left when things got hardest, and you haven’t been able to get past it even after all these years. Over the years Sawyer has been away they’ve grown into a person you barely know anymore, and you struggle with their sudden return. Will you be able to understand and forgive them for leaving?

Sawyer has inky brown curly hair, worn long (f) or short (m) and loose, carefully taken care of and styled. They have warm brown skin and sharp eyes to match. Your old friend is tall, fitting their frame into oversized graphic t-shirts and either color matched sweats or baggy jeans.

My intentions with this game: It is not supposed to be a beautiful story, it is supposed to be ugly. Writing this game in the way I am is my taking a step away from perfection and seeing where my unpolished writing takes the story. I have been ruled by fear of inadequacy and a desire for ‘perfect timing’ long enough. If I continue to wait for the ‘right moment’ to create, I will end up not creating at all. My only desire now is to simply create, and continue doing so until I have something to show for it.

Story is written and coded by me

Credits to Cole Meanor for the beautiful photography done for the headers!

[zeroducks-2]

Fandom nowadays be like. You can't ship these two male characters because one of them is married. It's misogynistic to ship married male characters. It's anti-friendship. It's anti-family. What about their real family and their real wife and their real children? You're against male/male friendship if you ship these characters. Have you considered that friendship is more important than romantic love? That friendship is sacred? That marriage is sacred? That these characters are married? Why do you hate women?

[inprogresspokemon]

Redo comparison time! Thank you all for your patience as I periodically redo older artwork to bring it up to my current standards. It's always fun to look back and see how things have changed and improved. Thanks for all the support through this journey!

Smoochum | Swablu | Foongus | Amaura | Binacle | Magnemite Line | Sentret | Diglett (Kantonian/Alolan) | Dartrix | Cacnea | Spoink | Snubbull | Inferneon | Swirlix | Swinub Line | Electrike + Mega | Budew Line | Wynaut | Slugma

Redo Comps: ① | ② | ③ | ④ | ⑤ | ⑥ | ⑦ | ⑧ | ⑨ | ⑩ | 11

[johnnyshrine]

★ // LET'S SUMMON THE STEEL BALL RUN ANIME TOGETHER!

I had a crazy idea, and since it’s so wacky, you know I gotta do it. What’s my silly idea, you ask?

I’M MAKING A SUMMONING CIRCLE TO SUMMON THE STEEL BALL RUN ANIME INTO EXISTENCE!

That’s not all there is to it, though. In fact, I need YOUR help to make this magic as powerful as it can be. For the first time ever, I am asking for audience participation and collaboration for johnnyshrine, wow!!

How can you help me make the greatest summoning circle ever? By making your own offerings, of course! Prayer works best when people come together! I am collecting black and white images you guys submit to add to the summoning circle! These images can be whatever you’d like: drawings of your favorite SBR characters, memes, occult or silly objects you'd use for Steel Ball Run themed magic, words talking about how much the story means to you - you decide! Full info and requirements can be found on the Google form below if you’re interested in participating! Credit will be given to everyone who participates unless you choose to remain anonymous. The full summoning circle will be posted as johnnyshrine offering #101 on April 11th, the day before JOJO Day. Hopefully our efforts will pay off and we’ll get to see the anime become real!  I’ve never done something like this before and I have no idea what to expect, but I figure this is a fun way to connect the community. I look forward to everyone’s submissions! :D

[ PARTICIPATE HERE! ]

DEADLINE TO SUBMIT IS APRIL 10TH, 2025 AT 11:59 pm PST.

[scarlettfevor]

I just saw this video talking about actresses who've had to wear sexualized outfits on film that made them uncomfortable (think Margot Robbie in Suicide Squad) and it brought up an ongoing concern of mine about how films and tv shows are way more explicit now than they've been before. Thinking about how many actresses have been topless or nude on camera when it's totally unnecessary) Like I know Hollywood is experimental and would show sex and nudity in their films, I don't have a problem with that it's just how disproportionate the amount of women vs men who have to be naked and sexualized in film is. It's misogyny, pure and simple. Forcing actresses to put their bodies and sexuality on display for the pleasure of male directors and a male audience. And I hate that you can never point out how many actresses have come out and said that no, they didn't like wearing sexualized outfits on screen, they didn't like going nude/being pressured to go nude, they don't like sex scenes or explicit rape scenes but still anytime anyone mentions this you have to fight puritan allegations because god forbid you question how a notoriously sexualized and objectified marginalized community seems to always be sexualized and objectified in media.

[sworishina]

I was struck by inspiration the day before yesterday and began working on whatever this is. The idea is that characters from franchises that haven't seen the light in a hot minute watch Default Mii ascend to heaven. Lol.

The composition is based on The Ascension by John Singleton Copley, an oil painting from 1775. Hopefully God has a good sense of humor...

I want to finish this thing so bad but it takes so freaking long to do anything!! I have a hand tremor so I'm kinda getting scammed when I draw. I will never understand those people who can go from nothing to a full, finished piece in a day. If only!!

[autisticaradiamegido]

day 27

when the polycule is entirely silly mfs

[incognitopolls]

Followup to this poll about the progress pride flag.

–

We ask your questions anonymously so you don’t have to! Submissions are open on the 1st and 15th of the month.

[fulcrums501st]

every time someone says that Silco became just as bad and corrupted by power as the council in the end I lose a year on my life

[tunemyart]

So I've just watched the finale and I'm feeling... Weird. I think part of it is because this show started with everything I like in a story (cool badass ladies, a queer romance, found family, redemption, etc etc) and ended up being... Not all that (most characters die, the romance is doomed, and I guess the redemption mostly happened but wasn't entirely satisfactory to me). Also, I'm someone who as Trauma (tm) with death so, I guess my brain's first reaction is "fuck that I just want them all happy and safe" and it takes me a while to accept when stories take these paths, however well written they might be.

Still, I thought it all went a bit fast in the last 2 eps, with parts of the show ringing just a little bit more hollow than I would have expected? I'm left feeling like the characters of Alice, Mrs Hart and Jen were treated a bit superficially (Lillia's story felt more complete). I also wished we had seen more of Agatha's past because spending centuries just conning witches then killing them is... a bit boring? (maybe we learn more about her in WandaVision, I haven't seen it). And obviously I wished we had seen more of Agatha and Rio. It's like the show couldn't decide if it was about Agatha or about Billy (partly because, I'm guessing it's setting up a 3rd show about him?), and with this short format we ended losing a bit on Agatha's part.

Anyway, curious of what you think of all that because your analysis are always super interesting, and like I said my own brain might be a bit biased towards resistance with this one. And obviously would love to read your fanfic(s) should you write any!

So, I've started and restarted a reply to this a few times, but I think what my answer boils down to is: we're meant to have multilayered responses to this finale. We're meant to sit with it. It's meant to change our experience of the show we've had to this point.

I think the best metaphor for this is the fact the revelation that Rio is Death. Bear with me, because I know this got spoiled for us way early on and we all knew it and were all just waiting for the revelation to drop - but imagine for a second that we didn't know that Rio, Agatha's ex-girlfriend and spooky fun vaguely-a-psychopath as played by the delightful Aubrey Plaza, is death. Your perception of Rio would have been turned on its head. Your perception of Agatha would have been turned on its head. Your perception of the Witches' Road and what we're even doing here with Death walking alongside us as a tourist would have been turned on its head.

Now, we all had an incredibly fun time even with the knowledge that Rio is death before we should have had it. But I think some of the power for what it meant for the story - and our perception of what was really happening - was muted.

Jen, at the beginning of 1.08, says, "She told us who she was from the very beginning."

Sit with that - because the same is true of this story.

---

It turns out that the Road is a metaphor for death. This isn't fully illustrated for us until Nicky, the author of the Ballad, walks down the road with Death's hand in his, and we go, oh. Oh.

Agatha tells us in the beginning that the Road doesn't exist, a rare instance of her giving anyone unbridled truth. And sure - the Road that our coven walked down doesn't exist. The Road that all the witches Agatha lured to the deaths believed in doesn't exist. It's a fiction. But it's significant that Agatha lured them all to the Road and killed them. They wanted to walk the Road. They died. Not "they died instead" - it's a two-fold statement. They wanted to walk the Road and they died. In a gruesome way, Agatha's been taking witches on the Witches' Road since the 1750s.

I don't think the significance of that is lost on Agatha, either, especially where we pick up at the beginning of 1.08. Lilia's dead, and everybody's reeling.

Perhaps Agatha more than anybody.

---

I also want to quickly take a look at Rio's accusation of Agatha regarding Billy.

"The bodies are really piling up." "Did you doubt me?" "Yeah, I did. I thought there'd be a trick in there somewhere. And there was! You were distracting me from him."

Because this is a revelation about Agatha's actions toward not just Rio, but any audience watching her - i.e., us the viewers. She's been distracting us! Not from who Billy is, we know that of course, but with regard to what the Road itself is. Agatha's known the Road isn't real the entire time. She's been protecting Billy from that knowledge. She's been protecting Billy from Rio. She's been protecting the coven itself from disintegrating. And, the biggest con woman move of them all, she's been distracting us - with less and less success as the show goes on - from the fact that she is not even the slightest bit in control.

---

So I definitely want to circle back to what you said about how the show started out with everything you like in a story, because oof, yeah, I felt that. I felt that hard in the finale. Coming off the impact of the incredible storytelling in 1.07, and the queer jokes and campy Wicked cosplay balancing out the sad, I think many of us spent the next week expecting some kind of emotional resolution that probably involved the remaining coven banding together in some more of that found family we've felt them becoming along the way.

Here's where things starts going wrong, right off the bat: they don't. Instead, they splinter. Not only are you aware of just how few of them are left (Jen, Billy, Agatha), but Jen and Agatha can't handle Lilia's death. Jen's distraught. The close up on Agatha running away out of the trial and back onto the Road, alone, shows her looking hunted and wild in her guilt. Everything that follows has its seeds in that moment of rending that began with Lilia's death.

From the beginning, the point has been that Agatha Harkness is a covenless witch. It's something we've seen her revel in - maybe simply because she has no choice but to own it. But the fact is that here, for the first time in centuries, she had a coven. She didn't intend to have one - she intended to kill them all in her basement and not think twice about them again. But events transpired the way they did. They became her coven. And one by one, they all died on the Road.

Rio, of course, has the words to cut right to the quick: "Your coven is shrinking," she teases Agatha cruelly. Agatha looks wild - because she's right. The worst thing is that she killed Alice - and she didn't mean to. She didn't want to. But she did, and in exactly the same way she'd intended to kill her at the beginning, the same way she's been killing witches for hundreds of years. "Your coven is shrinking," and it's Agatha's fault. It's Agatha's coven. It's Agatha's coven.

Hold on to that, too.

---

One of the things that I've been mulling over most is Agatha's character. She's so much fun in the beginning. We're all fucking charmed by her. We also don't have the full context of just how much of a serial killer she is.

So for me, at least, watching 1.08 and not only not getting found family, but getting an Agatha so far away from a "redemption" story that she only just barely is willing to not sacrifice Billy for herself, was kind of a rude awakening. Agatha's a lot more of a villain that I was prepared for. Surprise!

Agatha's so far away from "redemption", in fact, that she's only just barely starting to feel empathy for other witches. She's just starting to be affected by people who aren't #1. And that's a trauma response. And it's so, so, so deeply rooted in her that she's only just starting to be able to conceive of the idea of people who care for her. Of the possibility of being able to live in community. She's not ready for a redemption arc. There was no way that the kind of redemption arc she'd need could fit into nine episodes, because so much of it would for her be predicated on a mental shift that Agatha just hasn't arrived at yet. She's still so angry. She's still so traumatized. She's done almost none of the work. And even at the end, even with the final gesture of sacrificing herself for Billy, that's not a final act of redemption, oh Agatha's now a good person/forgiven/insert word frame of choice.

What this show did in terms of redemption for Agatha was set her up to be in a place where she might want it - where she might want to do and be better for Billy, and someday, for Nicky.

And it's significant that that point comes for Agatha in dying… and after death.

---

This show is about death. The Road is about death. Death is a character on the show.

Like, okay, you're saying. Fine. But what about my gay fun times? What about my queer romance, my found family?

And please know that I'm there with you.

I'm not hugely in touch with what the larger fandom is saying and how they're reacting because I have my little echo chamber here on tumblr and a few friends who have actual social media, but even here I get the sense that we're all kind of :/ for fairly similar reasons. What happened to the show I fell in love with?

And for me, the last few days, I think it's been important to realize that the fact that the show I fell in love with didn't suddenly become a different show. It didn't pull a bait and switch. No twists were in bad faith. Everything has been right here in the text of the show from the very beginning.

And I think it's important to see the story that Jac Schaeffer et al. were actually telling vs. our expectations of what they were telling, or worse, what we wanted them to tell. For just one example, I was convinced we were going to see Alice again - maybe Lorna Wu, too. I wasn't expecting it to be for the sole purpose of recognizing that not only is she dead, but to give Alice herself the space to say that it wasn't fair, that she wasn't ready, that she'd just broken her family's curse, that now she can really do something with her life! Because, ugh, yeah! It's not fair, for all those reasons! But that's also death. Likewise, Sharon's just dead, and worse, her death was pretty much meaningless. Lilia rediscovered herself again, and she chose her death to save everyone else - extremely meaningful. But at the end - she's just dead. We don't see her again. She's gone. She, like the others, walked the Road and away with Death.

I loved these covenless witches. I loved them finding themselves together. I loved them bonding around the campfire and discovering community. I miss them all, so so much. But they told us from the beginning how haunted by death all of them were: Alice and her mom, Lilia and her coven in Sicily, Billy and William Kaplan, Agatha and her son and her ex-lover. And of course, Death herself. Forget haunting these individuals - she came to actually join the temporary coven. Like, fuck. They told us what this show was about.

---

This show is about death, but it's more complicated than that: we'll take our cue from Rio again, who, in being Death, is also the original Green Witch. In short, this show is about Green Craft, "growth and decay in constant flow."

So yes - almost every single witch in the coven dies. Yes, it's permanent. No, the queer romance isn't resolved happily. No, Agatha doesn't have a redemption, satisfying or otherwise. And no, none of it follows what we've come to expect from found family story trajectories.

But the focus shouldn't be solely on the decay. There's a whole cycle of growth coming up after it, even now, and it's being made possible by the death and decay that we just witnessed. And most importantly, it's confirmed that this isn't the end of the story - just the end of "Agatha All Along."

---

I'll finish by actually answering your question - I've been sitting with the finale for a few days, because I also felt weird about it. And I think that's the right word: "Weird." Very spooky season-esque, first of all, but also not tipping all the way right into "bad".

The first thing to acknowledge is that no story is perfect - they were limited by nine episodes by what they had the space to show, and finales are really hard to get just right. The second is that you're allowed to not like any or all of it, especially when something happens that asks you to change your entire understanding of the story thus far, i.e. the Road isn't real, or when you have a particular trauma around death and it turns out that that's what the whole show is about in ways we hadn't fully realized. The third is that it's worth sitting with stories sometimes and seeing how they marinate and develop in your brain and your soul over time. All of these things can and should coexist.

This isn't my first go-round with a series finale that initially made me ???, so I was fortunate in that I felt like I had a cheat sheet. I've still got some marinating to do to see how this continues to change for me. But it's helped me to realize that my ??? reaction is what the story wanted me to have - that the characters are reeling right along with me. Not just Alice in shock about her death, but also Billy at the implications of his creation of the Road regarding his responsiblity for what happened on it. We're meant to feel this way… and then we're meant to reconsider the journey we've been on, the Road we've walked with all of them and the death we've died alongside them, and see it anew for what it really is.

[mumblesplash]

started actually lifting weights for the first time a little over 3 weeks ago and my biceps are already getting in the way of how i normally wash my hair chat am i some kind of freak be honest

[contact-guy]

(also curious why, if you have a strong preference!)

[iridescentmirrorsgenshin]

The improvement in alhaitham and kaveh’s relationship post-parade of providence is TANGIBLE!!! I’ll talk about things of note from cyno's story quest 2 before posting my deep diving into what this all means for them <3

Firstly, kaveh’s appearance in the tavern being to pick up his order of wine, only to show his parting from the traveller, to ask lambad whether his order includes ‘the coffee beans’ – which is a direct reference to his 2023 bday letter in which he and alhaitham test coffee beans together for his birthday, and now, canonically, this can be observed as a common practice for the two of them – this is symbolic of domesticity, as the two only do this outside of the player’s sight, confined to the privacy of their home.

Alhaitham’s introduction within this quest is waking the traveller up (to which they ignore haikaveh and honestly, valid) due to their discovery of the temple of silence – and I think this is a little self-indulgent on my part, but I think it’s Interesting that tighnari mentions that the tent paimon picks is prone to being stumbled into by ‘sleepwalking fungi’, which prompts cyno to encourage the traveller to safeguard their tent with a weapon. Paimon comments on the improbability they will be attacked or woken up by uninvited guests, and lo and behold, haikaveh turn up – implying they are the sleepwalking fungi? it’s reminiscent of alhaitham’s story quest where alhaitham questions if kaveh would devolve into a fungus, to which kaveh replies he would be a fungus with empathy… if this is at all deliberate, it’s a really cute parallel!!

The completely unnecessary flashback scene in haikaveh’s house, it’s purely there to showcase the development of their relationship - there was no need to animate something that could have been exposition?

(The scene is established with alhaitham reading a book with kaveh offscreen preparing snacks and wine for the two of them, and when kaveh enters, alhaitham puts the book down and directly engages with kaveh’s conversation with a CRIMINAL smile on his face. Kaveh continues the conversation whilst sitting on the table, which shows his comfort and familiarity within the house? With alhaitham? This is also heightened when he leans back on the table during the conversation. Alhaitham is shown thinking about the case and kaveh offers to draw the emblem on the paper of the extortion letter – when kaveh turns his back to do so, their conversation is halted, and only then does alhaitham bring out the book again, but there is a deliberate still on his face as he looks UP from his book to look at kaveh sketching? There was no need for this.!!.>!!!

When kaveh returns to show alhaitham the sketch, the book is gone again, and the previous distance between them is closed – kaveh sits on the table in front of alhaitham, and this creates an intimacy as the two directly face each other. this couldn’t have been established solely by sitting next to each other on the divan. Alhaitham smiles at the sketch and notes that he recognises it, to which kaveh smiles(!!!) at and questions this. Alhaitham recognises the ARCHITECTURAL signets within the symbol, which not only relates back to their joint thesis but also their character concepts as mirrors, as alhaitham appropriates kaveh’s architecture, and kaveh has appropriated alhaitham’s language – which suggests a balance between the two.)

Alhaitham and kaveh working together to identify the emblem to be that of the temple of silence acts as the catalyst for the chain of events within the story quest

Kaveh quipping at alhaitham keeping the salary of the acting grand sage – but with no animosity behind it!??? his last expression during this dialogue honestly looks exasperated but in a fond way…. Im ill….

Alhaitham and kaveh looking at each other when discussing how the case doesn’t make sense… just alhaitham and kaveh looking at each other and deliberating over the other’s thoughts… finally… listening to each other and working together…

The additional (HIDDEN) scene in the house of daena where they begin researching, with alhaitham commenting that he will look for texts pertaining to the temple of silence, to which kaveh says it will take too long, and then agreeing to help alhaitham, without alhaitham having to ask, which demonstrates their improved synergy. Kaveh asks alhaitham how to teach him in gaining information on the sly, to which alhaitham DOES but teases him about it at the same time, but so fondly... I would say this scene mirrors the additional scene in the archon quest, with kaveh talking to alhaitham by the bookshelves and accusing him of stirring trouble in sumeru, while alhaitham appears bitter that kaveh was in the desert during the overturning of the sages. There is a distinct shift in their relationship here – in the past, the two missed an opportunity to work together, whereas here they are voluntarily banding together (which ive discussed here)

COFFEE MENTION 2! Alhaitham mentions how he wants to drink coffee, to which kaveh laments that he wasn’t able to bring any from home. When using nahida’s skill on them, alhaitham can be seen thinking about wanting coffee,,, and then kaveh is thinking about how to get to coffee to them by using mehrak. Even their thoughts are working in tandem??? This contrasts with their individual thoughts in alhaitham’s story quest, where kaveh is thinking about how alhaitham was being vindictive towards kaveh drunkenly writing on the bulletin boards, and labelling alhaitham as having ‘terrible thoughts’, all the while alhaitham is thinking about how dusty the bookshelves are… the progress is STARTLING

When the group reconvene in the house of daena, alhaitham and kaveh have progressed their research on their own accord and based on what naphis has told them. When explaining, the two complete each other’s sentences, and this rounds off with alhaitham conjecturing that the goal of the assailant was to get cyrus to see the letter, which makes kaveh realise cyno’s motivations, and for alhaitham then to ascertain cyrus’s whereabouts. Naphis then assigns alhaitham and kaveh to be in charge of the house of daena, to which they both agree, and alhaitham… smiles? With so much pride? WE GET IT YOU’RE WORKING TOGETHER!!!! SHUT!!!

Cyno and tighnari mention TWICE how essential it is that kaveh and alhaitham worked together, with mentioning how imperative it was that kaveh spotted the emblem and that alhaitham connected it to the temple of silence, and then how alhaitham gave tighnari advice on desert cultural traditions, which aligned with kaveh’s experiences with desert tribes, which gives tighnari the idea to turn the tables on the temple of silence

Returning to the house of daena, cyno highlights that it is STRANGE that kaveh and alhaitham are working together, in that he is surprised to see them studying together? This draws further attention to the unlikeliness of the situation, and that this MEANS something in regard to their relationship!

Kaveh stressing about having to pack away their copious research materials, only for alhaitham to reassure him that there’s ‘no rush’… so gentle

Cyno and tighnari thanking alhaitham and kaveh for WORKING TOGETHER as it allowed them to find a swift and good outcome

COFFEE MENTION 3! Cyno offering to take everyone for coffee, which alhaitham agrees to, and kaveh agreeing to, although he says that because of the last few days, he’ll order something different (confirming that alhaitham has the caffeine tolerance of a tank and kaveh gets caffeine jitters thank u @ hoyo). On the table the two were studying, two trays of a pair of coffee cups and coffee brewers can be seen… the same that can be seen in their house??? Meaning they brought their domesticity to the library with them… and they also sat across from each other, which reminds me of how kaveh sat in front of alhaitham in their house, rather than next to him…

Kaveh and alhaitham sitting next to each other in the café <333

KAVEH CALLING THE HOUSE ‘HOME’ TO ALHAITHAM??? IN FRONT OF THEIR FRIENDS?? This is a big contrast to kaveh in a parade of providence and alhaitham’s story quest who hated to having admit such a thing. And then alhaitham AGREEING that the house is ‘HOME’, and again their thoughts align with ‘my thoughts exactly’. Alhaitham and kaveh leaving together, to the house of daena (where they met, where it ended, and where they have been shown to bond together in this quest) and then back to their shared ‘home’... oh......

from this, kaveh no longer seems defensive or reserved in front of alhaitham, and makes no notion of criticising alhaitham, offering to help alhaitham into researching, and even asking alhaitham to teach him something he deems as a useful skill which he lacks. he openly takes onboard alhaitham's views on the case and responds in kind in order to come to a resolution. he actively makes time in his day to spend with alhaitham, seen in them enjoying snacks/wine/coffee together and talking about his day. he describes the house they share as a 'home', which, for kaveh, is imperative to his character due to his loss of family (which ive posted about here)

alhaitham, similarly, is less critical of kaveh, and this is because a seemingly resolved miscommunication between them. he is receptive to, and encourages, kaveh to communicate with him when it comes to things that kaveh believes to be noteworthy, actively focussing solely on kaveh, rather than his book, when kaveh initiates conversation. he equally seems to enjoy this time spent with kaveh, as he is seen nowhere else but by kaveh's side during this story quest, wanting (kaveh's) coffee within the library which would establish a familiar and domestic setting elsewhere outside of their home. when leaving his group of friends at puspa's, saying that it's him 'done for the day', he retreats with kaveh, back to their shared 'home'

overall, alhaitham and kaveh's relationship has improved VASTLY since their first interaction in the archon quest. there seems to be an understanding between them now and this results in comfort and familiarity where they used to be miscommunication and snipes, and there appears to be a balancing of their viewpoints as they appreciate in the other what was once viewed as mirror opposites never to align, being that of language and architecture. a sense of harmony(?) balance(?) has been established here, and this is shown to be the ideal course of their reconciliation. im so weak......

[skierisa]

genuine question: should i fully paint them, do cell shading or leave them like this???

(finished piece)