#this got so long i'm so s

[twohundredpower]

❱❱  : ( RAINY DAY SENTENCE STARTERS ) – ACCEPTING

@herbalremedied said:  ↪                            “Come in here before you catch a cold.”

"Hang on, doc-- I'm almost done, I swear!"

Of course it had to start raining just as Lloyd started on some handiwork at the pharmacy-- he'd noticed on his last couple of visits that the wooden sign hanging outside was coming off of its hinges, bound to fall and hit someone on the head at any given moment. It was why he showed up with a ladder and his toolbox that day, eager to get it fixed so that Baizhu wouldn't have to tend to it himself (not that Kratos would've let that happen, anyway). Though he had some shelter from the awning, it didn't seem to be quite enough to completely shield Lloyd-- tresses of brown hair beginning to fall into his eyes as droplets of water made them heavy, wetting his skin and reddening his cheeks.

"Alright, just one more screw, and..!" testing it out, Lloyd tugged on the side and moved it around a bit, grinning as he became satisfied with how it now sat. "Good as new! That should keep it steady for a long time!"

.. though, now he had to deal with a certain doctor leering at him from the doorway; gently tapping his foot on the ground with a particular look in his eye as he waited for Lloyd to finally listen to his command.

Lloyd had come to learn that sort of thing always came from a place of concern, though; quickly clambering down his ladder as to not make the man worry any further. It definitely was part of Baizhu's job to fret over people in that way, but there was something almost.. nostalgic about the way he gently chided the brunette; scolding him for not listening, despite already having a towel in his hand and a pot of tea brewing for when he was finished. It was enough to make him smile, for the colour on his cheeks to grow a little deeper as he scrubbed the towel across his head; laughing gently into the soft fabric.

"Sorry, sorry! I just really wanted to get that done, heheh. I'm sure I'll be fine-- I'll stay in for the rest of the day, I promise."

[angelsdean]

I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.

So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?

Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.

Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.

Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.

So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)

And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."

So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)

And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."

But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.

Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)

So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.

Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.

Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.

Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.

[remyfire]

Good for her.

[silverware-is-interesting]

just some kinitopet doodles

the kinito crew, with mild effort

and some things i did with the users, under the cut since there is. a lot

all of 'em but the first 4 came into existence because of the incorrect quote generator

these guys are way too fun to draw (to me)

[ruvviks]

SUBNAUTICA ➤ [3/?]

[sysig]

Anime good :) (Patreon)

[actual-corpse]

Saw a YT vid with the title, "Fandom Can't Handle Asexuality"

You're right, they can't... Because it doesn't fucking exist to them.

[honestlydarkprincess]

sharing a bed used to be quite normal for us, when did that change? EXES TO LOVERS OR MAYBE THEM HAVING SOME SORT OF FIGHT OR SOMETHING???? GIVE ME THE ANGST (only if it sparks joy and you want to) 💗💗💗

not quite as angsty as you wanted but here you go love!

share with me || buck x eddie || 1.3k

They arrived at the hotel that was hosting the firefighter conference and Bobby went to the front desk to check them in. Since there was limited space in the hotel due to the conference, they would have to double up.

Eddie broke away from the group and went up to where Bobby was collecting the keys from the lady at the front desk. “Hey, Cap. Can I talk to you for a sec?”

“Sure, Eddie. What’s up?” Bobby said, giving the hotel receptionist a grateful smile as she handed him the keys and a copy of his receipt.

“Um, this might be a bit awkward but would you be able to pair me up with someone other than Buck for the rooms?” Eddie asked softly, looking over his shoulder to where the rest of the team was sitting, laughing. Eddie turned back to Bobby, looking guilty and nervous. “I just— I can’t. Please, Cap.”

“Okay, Eddie. I’ll put you with Ravi and Buck with me, Hen and Chimney can share like we already planned.” Bobby gave Eddie a curious look but didn’t push, clearly Eddie wasn’t ready to talk about why he was asking for the change.

“Alright, 118! Eyes on me, please.” Bobby called with what the team affectionately referred to as his kindergarten teacher voice. “Since we have to double up with rooms you’ll each be sharing. Buck, you’re with me. Chim, you’re with Hen. Ravi, you’re with Eddie.” Bobby passed out the keys to everyone while he talked.

There was a beat of silence when Bobby finished telling them the room assignments. They looked between Buck and Eddie, clearly confused because Buck and Eddie always bunked together.

continue on ao3

[hermidetta]

[ 𝐥𝐨𝐬𝐬 ] : after being misinformed that the sender has died, receiver is grieving.

* for you i would.

when does a war end? when can i say your name and have it mean only your name and not what you left behind?

they already died once.

bernadetta thought she had lost jules forever. but jules turned out to be alive. jules is yuri—yuri is jules. yuri is alive! and wasn't that the most wonderful discovery? yuri, her childhood friend, being alive?

bernadetta doesn't think she has the right to most everything in this world, let alone the right to ask which name of theirs is real. what matters is them. yuri can use whatever name they want as long as they stay alive.

alive. yuri is supposed to stay alive. she's probably begged it of them more times than she could possibly count—arguably sounding silly nine times out of ten, arguably just enough so she doesn't give away that she cares more than she should (she does, she does, she does care more than she should) because she is a repulsive worthless thing that nobody in their right mind would want caring for them—

and because yuri is no longer jules. yuri is no longer jules, and she cannot just wildly lunge and hug his arm like the girl she used to be. she is lucky enough that yuri might still think of her as a friend now. might. she does not dare assume beyond that. she can live with being a ghost or a blemish or nothing at all as long as yuri stays alive.

but whatever the case, yuri is supposed to stay alive.

yuri almost died because of her, already, and bernadetta can only imagine from the glint of their lavender eyes what hells they have clawed through afterwards. one 'almost' should have been more than enough. if not for her, then for them.

but yuri does not return from their mission. that is at least what she has been told. the debriefer shakes bernadetta off his elbow like the pest she is, and before he walks away, the punch of his words slams her into silence.

her first friend is dead. her first heart is dead. her father crushed them once and now they're dead again. immediately, the loudest thoughts come back:

if yuri had just brought down the knife that night like they were supposed to—

if yuri had just been able to take that gold and run without looking back—

later that night, she slinks haggardly into the greenhouse with rot in her steps and a pouch in her grasp.

bernadetta von varley is allowed a corner—a very humble one, secluded, but her own all the same. there she grows her peculiar motley of flowers, from colorful blooms to carnivorous plants. next to a fanged flytrap, there is a space in the dirt from a recent harvest of herbs. into her palm, she turns over the pouch in her possession, and small seeds tumble out.

she usually sings while she does this, but has no heart for it tonight. the seeds get buried in the soil with the care of a casket; her hands pat down the soft mound, then clasp—she doesn't know if it is a gesture of prayer or a mere pantomime of. she just doesn't know. she just doesn't know.

all things considered: she cannot bring herself to pray to the goddess her father claims to regale. the man's wretched face flickers through her mind. acid and ache rise in her throat.

and there, bernadetta cannot pinpoint exactly when the dam breaks—just that it breaks.

it shatters like the porcelain of a teaset she gets punished for dropping. it bursts like the double doors of her old room when the suitors won't buy her. it claps like a palm against the wood of a table and sends her careening over the edge.

so bernadetta, unable to hold back any longer, finally tells yuri.

crying, gasping, she hangs her head to the planted seeds and tells them everything, through the uncontrollable hiccups and sobs, the words streaming from her lips like the tears down her cheeks. she tells them about the wicked count, tells them all the truths she never thought would see the light of day. she explains to yuri that she is just property. she tells them that before the academy, she had forgotten how much it meant to be offered a hand instead of taking the back of it.

she tells them about why she cut her hair, about the fist in it that made her kick and scream so hard that even her mother could no longer stand by—how the woman had bernadetta bagged like garbage and shipped to the monastery without any say. she sobs and apologizes, over and over, for everything that makes sense, and for everything that doesn't.

"and sorry, i'm sorry, i shouldn't be dumping all of this on you—"  because even in death bernadetta gives yuri more humanity than she will ever give herself. more humanity, more grace, and infinitely more kindness.  "but i always really, really wanted to tell you the truth, you know? always. that i wished i could've ran—"

her voice cracks. "—ran away, with you, wherever you went, even if that was selfish of me. or that i wished you could've killed me if it meant one of us could live happy. a-and i know, i'm just bernie, i don't mean much! i know already! bernie's worthless and doesn't have to mean anything to anybody! and i promise that's okay, but for me you're someone who... who...!"

bernadetta swears that her heart has been ripped out from her ribs, flung to the dirt and stomped into paste. she can't take it. she can't take it. not when it's yuri. not when she has spent her life shut in that birdcage, bars just wide enough to have a loved few she can count on a hand—and to lose the one she already mourned most? what kind of sick punishment was it? why was it hers? she loves, and loves, and loses. bernadetta always loses. she weeps into her hands, nails curling crescents into her face.

she doesn't know how long the moon hangs over her head, sneering down at her foolish lament. at some point she balls into herself, head tucked over her knees with clenched fists on the ground. bernadetta cries and mourns until she's out of air, out of strength, out of everything—and somewhere along the way she toes across the line into slumber, limping onto her side with finality in her bones. the last thing she thinks she sees is the watery blur of lavender petals.

[licorishh]

Replayed Modern Warfare 3 2011 on Veteran tonight and goooooooood night. Blood Brothers never gets any easier to watch no matter how many times you've done it and the ending really never misses huh

I apologize for the amount of yapping in the tags I reread it all on mobile and started giggling because it went on for so long but eh. Blessed are those who won't shut the freak up and all that

[moongothic]

imagine s-crocodile shows up and they’re protective of luffy

I imagined it and I loved it (the post gets to S-Croc speculation towards the end, I swear)

I really can't wait to see S-Croc in general though, because while we haven't seen the other Seraphim like, just casually hang around, the little glimpses we have gotten at them have been really interesting, because of both the similarities and differences between the Seraphim and the OG Shichibukai

Like, as of chapter 1103, from what we've seen S-Bear has seemed Quite Stoic and quiet, very similar to Kuma as we first met him in Thriller Bark/Sabaody. S-Shark seemed very serious and quiet too but it's hard to compare him to Jinbei proper. Meanwhile, the way S-Snake got flustered and shy was quite similar to how Hancock behaves around Luffy, although in a much more child-like, cutesy manner. And S-Hawk seemed a bit more child-like as well, seemingly being a bit more open with his emotions? (Like for example he seemed quite annoyed about getting captured)

So it's kind of hard to say right now, but it does kind of seem like while the Seraphim ARE clones of the Shichibukai and they DO share the mannerisms of their "parents", they are also children. Like, while part of their stoicism could be chalked up to how they are Pacifistas, they are still like a step "above" the basic Pacifistas (pure robots). Like they're somewhere between the Pacifistas and pre-lobotomy Kuma. They don't have full free will, they are (fleshy) robots who can be programmed and ordered to do tasks, but also they do have that partial free will and mind. And that's all so incredibly interesting to me. Especiall because the remaining missing three Seraphim should be like the rest; they have the personalities of the OGs, but maybe lack their maturity in some ways because the Seraphim are still kids. They may be more open and/or less filtered with their emotions and thoughts. Maybe. Again, kinda hard to tell rn because we've seen so little of the brats.

Based on that though, we can kinda make some guesses on what the remaining Seraphim might be like though. S-Mingo especially because we have the benefit of knowing what Doflamingo was like as a kid to begin with, and I doubt S-Gecko will have any surprises in store for us.

But S-Croc is so interesting. Because he could go either way. Like he could be stoic and serious much like S-Bear and S-Shark, as lowkey suggested by his calm expression in that one panel we saw. That would match how Crocodile has been On Average post-Alabasta too. But what if he was more like Alabasta!Croc? When he was much happier and like, openly jovial? But in a child-like way? Or a mix of both because people are complicated and stuff sdjfhsf

The reason I'm bringing that up at all is that like. Okay so I don't think S-Croc would be protective of Luffy by default. Like Crocodile himself wasn't protective of Luffy when they first met by a long shot, and arguably still isn't canonically (his actions in Marineford are, rn, canonically just petty revenge at the World Government), so it'd make no sense for S-Croc to take one look at Luffy and be like "nobody hurts this one" right away, right?

But. Could S-Croc BECOME protective of Luffy?

...Unless S-Croc did turn out to be a Crocodile Zoan with that Weird Zoan Instinct and Crocodad Real, in which case S-Croc being randomly protective of Luffy right from the get-go would work just fine. But this remains to be seen ((To be fair, it did take Hancock time to get her crush on Luffy while S-Snake went 0 to 100 with Luffy, so maybe there could be a chance for S-Croc to be protective by default. ...Unless Luffy just happened to be Hancock's type to begin with and it was just her trauma that kept her from immidiately crushing on the idiot at first glance, while S-Snake doesn't share Hancock's emotional trauma so she was able to jump straight into crushing on him))

And this is where we get to the Absolutely Wild, Off-The-Rails, Borderline Fanfiction Speculation. Because we're here to have fun, and it's fun to think about hypotheticals like this.

But as we know, Crocodile. Bit of a sad loner. He has trust issues. He has been hurt A Lot. Happily spends decades of his life by himself. Very tragic. This probably contributes to his stand off-ish demeanor. S-Croc could have that same demeanor. But he shouldn't have the same trauma, the same root cause to being a sour puss. And most importantly, because he's a child, he might be more emotionally "open". Like he could become more obviously upset about stuff, and he might be more receptive to people if they're nice to him. Maybe. Big big big maybe.

Another fun thing to note; S-Croc seems to have been dispatched away with S-Mingo and S-Gecko (wherever the fuck they're going (probs Emptee Bluffs but if they go there then we can't have him interacting with Luffy so we need to pretend that's not where they're going arrite)). This is important, because as we all know. Crocodile and Doflamingo Do Not Get Along. And if the real ones can't get along, I could not imagine their Seraphim being much better.

The thing is, it could be kind of worse with the Seraphim, actually;

Based on the single panel of him that we've seen so far, S-Mingo seems to just ooze Middle School Bully Energy (and even if he isn't one, Doflamingo had a thing for annoying the shit out of Crocodile, his Seraphim would probs be the exact same in that regard, right)

S-Croc could be pre-T

If so, and especially if Crocodile being trans isn't public knowledge (as then it'd be possible Vegapunk could've labeled S-Croc "a failed Seraphim")

-> S-Croc being "the wrong sex" (compared to the OG) could easily become a painful sore spot for S-Croc

Especially because if Crocodile's trans, then S-Croc would also probably be trans, and insist on being a boy

And boy fucking howdy, would that become an easy ass fucking way for S-Mingo to bully the shit out of S-Croc, in a way that could really get under S-Croc's skin in a really horrible way

So. You know.

I could totally imagine S-Mingo being an asshole and annoying the fuck out of S-Croc in a way that would lead into a straight up fight. Because they're kids, and may not have the maturity to not escalate shit, especially if one got openly upset (god knows Crocodile can't handle being humiliated as a grown ass man) and another was having the time of their life mocking the other. But of course, these are Seraphim we're talking about, they could just keep on fighting forever and absolutely wreck everything in sight if someone doesn't stop them/give them the orders to stop.

I'm not saying Luffy would like step in or anything (dude doesn't have the authority to boss the Seraphim around either, it'd have to be Vegapunk), like I don't think he'd care enough to try to stop the two from fighting (as long as they aren't putting anyone else and/or the Sunny in danger). But between Luffy defeating Doflamingo being a more recent event in his mind, and him kind of owing one to Crocodile, I could kind of imagine Luffy feeling slightly more inclined to take S-Croc's side. Like considdering Luffy loves and respects trans people, I could imagine him feeling a little bad for S-Croc. Just a little though.

But I think that could kind of become key here. 'Cause like, Luffy wouldn't have to do anything big to defend S-Croc or anything (he's a man, he can defend himself, if anything Luffy defending S-Croc would hurt his honor (shounen logic)). Just, calling S-Mingo an asshole casually, or choosing to hang out (or at least try to) with S-Croc, or something like that. Just Luffy showing the tiniest amounts of compassion and care, to make S-Croc feel a little less alone.

I think that could make S-Croc become a little protective of Luffy in turn.

[silverselfshippingchaos]

HAAR KISSER???? :D

I mean...

(Twirls hair around finger)

I guess he's an okay guy... (I have a massive crush)

[alfhildr-the-word-weaver]

Okay, so. I finally downloaded a VPN so I could watch Doctor Who on the BBC site, but even with my location set to London, it's still not working. I clicked on the little troubleshooting link (of course I'm in the UK BBC, don't you see my IP address?), and one of the suggestions was to turn off any VPNs. Is this just in case a British person forgot their IP address was set to somewhere else, and maybe the VPN I got isn't very good, or is it not possible to watch on the BBC site with a VPN at all? Is anybody out there having any luck with this, and if so, what VPN are you using? Or does anybody have any... other suggestions for somewhere else I could maybe watch Doctor Who online?

[kris-mage-fics]

URL Music

Thanks for tagging me @bi-stander!

K: The Koi Story (锦鲤抄) performed by Jiaju and Zongli

R: Renn by :LOR3L3I:

I: In And Out Of Love by Armin van Buuren feat. Sharon Den Adel

S: Surrender by The Birthday Massacre (cw: lyrics about stalking)

M: Middle Of The Night by Elley Duhé

A: Arise by CLANN

G: Good Behavior by Plumb

E: Everytime We Touch or Evacuate The Dancefloor by Cascada (Sorry I can't choose!)

F: Flower Maiden by Dzivia

I: I Miss You by blink-182 (cw: flashing lights, disturbing imagery, depictions of drowning, and spiders)

C: Concomitance by Anton Belov (bandcamp link since I couldn't find it as a single on youtube)

S: Show Your Fangs by The Crane Wives

By the way, a lot of these videos have the lyrics in the CC, description box, or in one of the top comments. Though I know some of the lyrics for "Good Behavior" are wrong.

Tagging @yuuugay (three U's might be hard, but I believe in you, Yuki!), and @georgiedoesntfloat (I'm sure you'll find some awesome songs!), and anyone who'd like to do this too! (Sorry for not tagging anyone else, I actually did like 96% of this two days ago then my brain decided it couldn't think of more people who like music and it hasn't been cooperating with me since. :/ Did I go overboard with the colors? Idk, but I'm leaving it.)

[daemondaes]

i emerge from the depths of balgate3 hell with the forceful inhalation of an airless man trapped underwater for far too long. i look around, bewildered by the state of the dash and all associated with it. time is an illusion, and so is everything else.

was my last post of any significance truly three weeks ago? what do i do with all my drafts? do i even remember how to write?

[thegreenisles]

I've put together a spreadsheet that contains every line of dialogue in the game, written out.

This INCLUDES lines of cut dialogue that were left over in the files!

Additional information below the cut.

The cut dialogue is at the very bottom of each chapter's sheet. However, if you would like to mix them all together and see them in sequence, you can filter the leftmost column (with the file names) by A-Z

(I should note that in chapter 1, a lot of the files are named inconsistently, so a lot of lines should go together in-game are named separately. They get better at naming them in the other chapters, though there are still a few inconsistent ones)

You can also search for lines from a specific character by pressing Ctrl+F and typing their name with a - before it (ex. -Graham, like in the picture I'm using). That way, it won't include lines of dialogue or file names with their names in it, it'll just be their lines. Or just filter the character names column from A-Z, but searching will keep it all intact and highlight their name, so you can see the related lines of dialogue from other characters in context with theirs.

I basically just dug out all of the subtitles from the files, and put them with the audio file names that they go with. You want to know why the file names have .mp3 on them? Because I copy and pasted them in one big chunk straight from my audio files directory. No way am I going to do that individually, or edit each one to remove the .mp3. The cut files do not have .mp3 at the end. This is a good companion to the voice line audio files in the google drive.

There are also lines of dialogue that were not subtitled. I manually went in, listened to them, and transcribed what I heard. It's a lot of [grunts], [yells], [groans], and [goblin noises], but I did it! I also included the ice guards from chapter 4's reverse audio transcription, so it says what they're actually saying there.

The way to tell if a line is ripped straight from the game or transcribed by me is to look for quotation marks. If it has quotation marks around the dialogue, it's straight from the game. Anything I typed out myself lacks those.

There's also a few times where the 'cut' dialogue is just repeats of what made it into the game. I've included everything- with no exceptions, so they're all there anyway.

This was a huge project so I hope others find this useful! Even while it was unfinished, I liked to scroll through it or search for specific lines I remembered. The cut dialogue is really cool too, so check it out if you're interested!