#you don't need any background. you don't need any context.

[inolienkiki]

OH MY FUCKING GOD DARK ONE FORGOTTEN im fuckingf sobbing what was that. why arent people talking about that. it was so good and im gonna have a headache tonight because i cried but i don't care because i heard this story. go listen to it now

and I had it in my notes! I had this idea in my notes!! (went and checked and it's not in my notes) ok but at some point I wrote down a character who uses a curse to their advantage, and then I read alcatraz and was like oh that's not what I meant but I guess it's fun, but THIS. THIS DOES IT. SO WELL. and at some other point I wrote a short story about a functionally invisible character and that was before i read the schwa was here and this is actually one of my favorite tropes but this is the best one. this is absolutely the best one. endorsing dark one forgotten as the best functionally invisible story

went on coppermind to find the actors and coppermind forgot about them tooooo chris and sophie don't even have coppermind pages wtaf why did no one listen to this

i think its rachel jacobs and sophie oda and i can't find much info about either of them but they were boht fucking amazing. dear god thank you rachel jacobs. the number of times you said the other actors were really good and then you completely blew them out of the water. you made me tear up at least twice and the other time it was sophie oda so points to all of you

the story. can't even explain waht thsi is. true crime horror mystery fantasy? and I don't even like the first half of that sentence but I don't care because the story punched me in the gut and I didn't even need to understand the worldbuilding. chris asked questions and consulted experts and ran experiments and she got my heart. skeptical about sophie but she was there the entire time. not her project, not her obsession, not her responsibility, but she stayed, and she helped. chris and sophie said they weren't a couple and I was immediately like "yeah if they weren't both women(, bitch) that would be foreshadowing" and IT WAS FUCKIGN FORESHADOWING istg. This. This is also the best romance. And I hate romance I'm arospec lmao but dear god this got me. the sheer dedication to stare at somebody for eight god damn hours straight and then the music box scene. the music box scene. I got to it and I knew it was going to happen as soon as sophie asked but it still blew my mind and broke my heart that she did. because sophie is the best person in the world.

I have not been making sanderson reread update posts, and I read rithmatist and all of reckoners, but I'd already read most of those and there's nothing notable about lux except the plot holes and they didn't hit me hard like fucking dark one forgotten did. i barely knew this existed. It came out during the year of sanderson and yet nobody includes it in the book count. (There were 8 books/stories released, cowards, not 5.) but also I feel the need to mention that I thought dark one was quite good as well, but also that it feels like only the first chapter of a story so I can't say much else as of yet, I guess? I need more dark one. now. anything mirandus. why is nobody talking about this thing

also I feel the need to mention that there were she-ra references? like, references to the reboot, which is hands down my #2 favorite show (can't compete with dark but nothing can lol). and they were good references and they made sense. I started laughing hysterically when sophie said "hey adora". has brandon sanderson watched she-ra and the princesses of power? is this canon? I mean he definitely needs to

[cursedthing]

[stumbles into the room covered in blood all scratched up and disheveled] hey guys so i just finished playing pesterquest. what the fuck

[paragonrobits]

some important calvin and hobbes facts in case you haven't read the original comic strip in a long time or only absorbed stuff on it from memes and out of context bits on here:

Calvin's last name has never been given, and neither has any of his parent's names. This was actually why his uncle Max only showed up for a brief storyline; the creator of the comic, Bill Watterson, ultimately felt that while it was fine to have him as someone for his parents to talk to, it felt far too awkward to never have Max refer to them by name and he never made a return appearance.

The general tone of the comic is fairly light-hearted, with a big emphasis on goofy slapstick comedy contrasted by clever wordplay and often surprising adult-centered jokes that'll hit you like a slap. A big part of the comedy is, as Watterson put it (paraphrased) "It's really funny to me when people express deeply stupid ideas with really fancy terminology." One notable example you might have seen is that one bit where Calvin asks his mom for money to buy a Satan-worshiping rock album and his mom replies that there's nothing genuine about them and they're just putting on the attitude for shock value, and comisserates with Calvin as he deplores that mainstream nihilism can't be trusted. He concludes that childhood is disillusioning.

There is a LOT of criticism of the extreme materialism and selfish mentality of the late 80s, when the comic was initially written. This may go a long way to explain how its aged so well; much of what it criticizes resonates well with people today.

Bill Watterson views comic strips a legitimate form of artwork, and repeatedly fought to have more space to draw more beautiful and artistic backgrounds, which was a very hard fight and unpopular even with other comic strip artists. He eventually did win some compromises and a lot of Calvin And Hobbes' artwork shows it, with the use of space to indicate time as well as a sharp contrast between the often plain environments of mundane life contrasted by the wildly beautiful imagery of Calvin's imagination (which often sports realistic depictions in an art shift of sorts).

Hobbes is explicitly not an imaginary friend, by word of Watterson himself. We don't know WHAT he is exactly, and Hobbes is apparently unaware of the strange nature of his reality; people look at him and only see an ordinary stuffed tiger plushie, but he has a tangible effect on the world that would be physically impossible for Calvin to do on his own. He's apparently been around for a while, and was apparently around when Calvin was a young baby.

On that note; Hobbes has implicitly killed (notably treated as both a gag and also with the vibe of 'he's a tiger, duh') and while he doesn't do it again on-screen, he doesn't have any moral issues about it. Calvin claims that he's never had trouble bringing Hobbes to school because the last time he did, Hobbes killed and ate a bully named Tommy Chestnut and simply comments that it was gross and he needed a bath. Calvin's tried to repeat this again, but Hobbes was grossed out at the thought having to eat a kid raw and not being allowed to use an oven first, or complaining that children are too fattening.

Hobbes became gradually less human-like in body language and more like an actual cat in both body language and behavior; this was due to Watterson drawing more inspiration from his cat, who also inspired a lot of Hobbes' running gags, such as pouncing on Calvin when he got home. Several years into the syndication of the strip, Watterson's cat passed away, and he did a tribute to her with a comic strip of the two of them agreeing to try to dream together so they can keep playing when they have to sleep; Watterson's commentary (if I recall right), remarks on his cat: "We can see each other again in dreams."

[annabelle--cane]

"the magnus protocol had a whole ARG beforehand? what?"

yes! it did!

"oh so I need to have participated in this whole big thing to actually understand the podcast?"

not at all! from the official post-mortem put out by RQ, "while the ARG was not something that was necessary to participate in to understand the magnus protocol, it was designed to contain a wealth of background story and context that would enrich any player's listening experience."

"a wealth of background context that would enrich my listening experience 👀👀👀 how can I learn about this?"

SO glad you asked. sadly, many of the materials made for the arg have been taken down since the game ended 😔 (ex., the official OIAR, magnus institute, and bonzoland websites. (edit ii: I found partial wayback machine captures! see below) though @strangehauntsuk is still up!), so we're a bit low on primary sources, but in terms of learning about what happened:

for a starting point, I would really recommend this video by @pinkelotjeart

it's super accessible, it was made in real time as the game progressed and follows the solving and revelation of clues as they happened, it hits all the major points of the mystery and moments of community insanity while eliding some of the nitty gritty puzzle grinding, 10/10 would recommend.

here's the official summary put out by RQ, and I'd recommend reading through this once you've already gotten a basic handle on the flow of the story and the basic connections between major clues and events. it's got some fun behind-the-scenes info and lays out the thought process behind the puzzles in simple terms

here's the full masterdoc of all puzzles and resolutions put together in the statement remains discord server. masterdoc my absolute BELOVED, masterdoc my bethrothed, masterdoc my soul mate. I'd recommend this as a second port of call after the above video as it either contains all details about the puzzles or links to other expanded docs that do.

here's the narrative summary doc that lays out all the plot and lore discovered in three pages of plain prose. if you just want to get to the good bits as fast as you can and get blasted directly in the face by contextless lore bombs, this is the doc for you. if you don't want to start with the video, I'd say this is another good entry point.

once you've got the lay of the land, some of the game materials that I found particularly interesting include:

the in-universe east germany expat usenet forum, with all content translated into english. most of it is irrelevant space filler with occasional extremely sus lore, but I still found it fun to read through. love to soak in some fictional forum drama.

chdb.xlsx, the spreadsheet of the names of all the children the protocol 'verse magnus institute was studying/experimenting on. EDIT: here is a version of the sheet without any annotations and with all of the names in their original order, kudos to @theboombutton for catching that the commonly shared copy had the order swapped around.

klaus.xls, a (very corrupted) spreadsheet with what looks like the classifications of a bunch of old OIAR cases.

EDIT: have a few more saved materials from the game that I forgot to include.

an in-universe audio ad to apply to the OIAR that ran before archives episodes and kicked off the whole game.

an in-universe video ad to apply to the OIAR, this one is an official upload that's still up from the game itself. you can subscribe to the OIAR's official youtube channel today, if you so chose.

the robo-voicemail greeting from the OIAR's phone line.

EDIT II:

here is a wayback machine capture of the OIAR's official website.

here is a wayback machine capture of the bonzoland website.

(pretty sure both of the above captures just archived the home pages, though I haven't tried clicking all of the links. I'd say they're still worth looking at, the home pages give a good window into the vibes.)

once you start poking around in these documents, you'll find a bunch of links to others with further information, the materials I've included here just contain what I feel to be the most relevant details to getting a broad feel for the whole game. once again, huge shout out to the statement remains server, I was barely in there as the ARG was in progress and only ducked my head in every so often to find links like these. true mvps of the fandom.

[slayingfiction]

Mastering the Art of Dialogue

Dialogue is the lifeline of any narrative. It brings characters to life, propels the plot, and creates depth in the story. However, writing dialogue that feels real and engaging can be challenging. Here are some tips to help you refine your dialogue-writing skills:

1. Listen to Real Conversations

The foundation of great dialogue is authenticity. Spend time listening to how people speak in real life. Notice the flow of conversation, the interruptions, the ums and ahs, and the unfinished thoughts. Real speech is rarely grammatically perfect or fully articulated. Incorporating these nuances can make your dialogue more relatable.

2. Each Character Should Have a Unique Voice

Your characters should be distinguishable by their dialogue alone. A teenager will speak differently from an elderly person; a doctor will use different terminology than a street artist. Think about their background, education, and personality. These factors should influence their speech patterns, vocabulary, and even the rhythm of their dialogue.

3. Use Dialogue to Show, Not Tell

Dialogue is a powerful tool for showing the reader what’s happening without explicitly telling them. Through conversations, you can reveal your characters' thoughts, feelings, and intentions. For example, instead of narrating that a character is nervous, you could show it through their stammering dialogue or their avoidance of direct answers.

4. Keep It Concise

In real conversations, people often meander through their thoughts. In written dialogue, however, it's important to be concise. Every line of dialogue should serve a purpose, whether it’s moving the plot forward, revealing character, or creating tension. If a piece of dialogue doesn’t add value to your story, consider cutting it.

5. Read Your Dialogue Aloud

One of the best ways to test your dialogue is to hear it. Reading your dialogue aloud can help you catch awkward phrasings or unnatural speech patterns. Better yet, have someone else read it to you. This can provide insight into how your dialogue will sound to your readers.

6. Use Subtext to Your Advantage

Not everything needs to be said explicitly. Subtext—the underlying meaning behind the spoken words—can add depth and complexity to your dialogue. Characters might say one thing but mean another, based on their emotions, relationships, or situations. This layering of meaning can make your dialogue more engaging and thought-provoking.

7. Balance Dialogue with Action and Description

While dialogue is critical, it should be balanced with narrative description and action. This balance helps maintain the pacing of your story and ensures that your scenes are visually and emotionally compelling. Action and description can also provide context that enhances the meaning and impact of your dialogue.

Conclusion

Great dialogue can transform a good story into an unforgettable one. By applying these tips, you can craft dialogue that captures the essence of your characters and engages your readers on a deeper level. Remember, writing is a craft that improves with practice. Keep experimenting with your dialogue, and don't be afraid to rewrite until it sounds just right.

Writing dialogue is a skill that can be honed over time. The more you practice and read, the better you'll become at capturing the essence of conversation on the page.

[moonydustx]

A not so funny story

requests | mastelist

Summary: With Uta controlling everyone and the marine attacking, you needed to contain an unconscious Law who was looking to join the fight. Now, you need to deal with the consequences of him finding out about this.

Pairing: Trafalgar Law x F!Reader

Warnings: blood, Law hurts Reader (not on purpose), they both love each other, but they are idiots who don't know how to talk. Law doesn't know how to express his feelings in this one. Angst, kinda fluff/happy ending.

W/C: 3.6k

A/N: I just saw the movie Red and the idea came to my mind. I need to shake off the rust and get back to writing, I thought it would be a good solution. Despite being linked to the film OP Red, there may be some things that differ from the canon.

For those who haven't seen the film, a spoiler-free context: in the film, we see a singer called Uta, who Bepo is a fan of and, together with Law, go to the show. Problems happen, she puts everyone to sleep and with her power, she manipulates these sleeping people to fight with other people who want to stop her.

italics apply to flashbacks and thoughts

Part 2 | Part 3 (NSFW)

The cold stone beneath you contrasted with your hot, sweaty body. You could feel the wounds burning on your body and if you reached out your hand, you could find the cause of them, your captain.

In the distance, you could hear someone calling your name and it didn't take long for Penguin to appear in your field of vision.

"Are you okay?"

"He gave me a hard time, but I'm fine. And you?" You grumbled, sitting up and taking in your surroundings. Apparently everyone had gone back to sleep.

"We're tired but fine. You're bleeding, do you need any help?"

"Everything is fine." You stood, with his help. "We need to get them out of here, I doubt the marines will miss the chance to catch so many pirates gathered in one place. At the very least, this will end in a fight."

You chose to help carry Bepo back to Polar Tang. Even though he was big, sharing the weight would be much easier than carrying Law alone. As soon as you entered the submarine, you disappeared from sight, leaving all of Uta's fight behind.

"Do you guys need help? I can see some pretty bad injuries from here." Ikkaku approached, already stopping the blood on your forehead. "Are they both okay?"

"We should take them to the infirmary and keep them under observation." you warned, seeing two other crew members carry them out of sight. "Can we get away from the fight?"

"Yeah, off their radar." someone answered you in the background.

"Perfect, keep us at this depth, keep an eye on the radios, any sign of change, if Law hasn't woken up, you look for me." You leaned against one of the tables, trying to ignore some of the pain in your body.

It was supposed to be just a quick show, at least that's what Bepo had said. Unfortunately for Law, he ended up being the polar bear's requested companion.

"Sure you don't want to change places with me?" Law appeared next to you, while you finished cleaning the kitchen.

"No captain, I'll be right here, with my duties." You smiled at him and, despite being frustrated, he let out a sideways smile.

"You know that I'm the captain right? That I can give the order and you have to go and I don't."

"You wouldn't be so mean, would you?" you asked indignantly and on one of the few occasions, you heard him laugh, even if it was low tone. "Captain!"

"I'm kidding. Just keep an eye on everything, okay? Don't let Shachi and Penguin cause any trouble."

"Yes, sir. And you, enjoy the show."

You were almost regretting not accepting the proposal. Law would certainly be much better at containing you and preventing you from getting into a big fight than you would be doing the opposite. But you liked the idea of ​​him trusting you.

"Everything is alright?" Ikkaku took you out of your reverie, noticing your body slightly bent and the blood falling on your forehead.

"Try holding back a furious Trafalgar Law from wanting to get into a fight and tell me if that's okay." You laughed, even though it took some of the air out of you. "Just a few bruises, nothing major."

"Come on, I'll help you take care of this." Ikkaku gently pulled you by the hand.

"Boys, do you deal with them?" you asked and they both nodded. "If Law wakes up, don't say anything to him about our little fight."

"You mean, about the big fucking beating he gave you?" Shachi teased you, earning a push.

"Exactly. He has bigger problems to worry about than dealing with this."

You and Ikkaku headed towards the dorm you shared. Your friend made a point of supporting you at every step, even if you insisted it wasn't necessary. She sat you down on the bed and grabbed a small first aid kit hidden on one of the shelves.

"Why not tell the captain?"

"Outch" you mumbled with one of the stitches she had on your face. "I have a feeling he's not going to like that we got into this fight without his presence."

"I think he'll be more resentful that you were the one who held him back." You laughed at her silly observation, then grumbled with another needle. Damn fight. "Don't act stupid."

"What you mean?"

"I'll let you choose. Between you being the only one who can steal books from him without him complaining or about every time we disembark, you having to be on his side. Should I mention that time he freaked out because Kid wanted to take you to the crew from him?" she laughed to herself, at her own memory. "What do you need to see that he likes you too?"

"And who said I like him?"

"Okay, you still want to keep hiding your feelings for him, just hide it better." she laughed again. It was clear to her - and anyone else who saw - that there was something between the two of you. You just prefer not to feed this illusion. "Still, I agree that he won't like all this one bit. Let's try to keep out of his sight."

Law was still trying to assimilate everything that happened. Uta's show had turned into a war scene and in the end, even he had become a puppet. That idea would haunt him for a long time.

Despite recent events, Polar Tang was quiet, too quiet. He could hear some buzzing, nothing he could identify. Another thing he couldn't place was you. The last time he saw you, he had tried to bargain for your presence at the show, even though he had asked to change places with you, he didn't think the idea of ​​going with you was bad. You'd probably hate the song, but he'd enjoy your sarcastic comments about any awkward situation. A small laugh crossed his lips when he thought about what you would say to see little Bepo.

At dinner, he observed Shachi, Penguin and Bepo, talking to each other. The concerned expressions denoted the seriousness of the matter, but that could come later. Even though he slept through it all, he still felt tired.

At lunch the next day, again, nothing from you. Ikkaku was also missing. It was impossible for the two of them to have disappeared together and without any justification. He tried not to think about the worst-case scenarios, but no matter how much he denied it, he wasn't such an optimistic person.

It only took a few seconds of your three companions stalling for him to know that you and Ikkaku were up to something or had already been up to something. He left them behind, following with firm steps to your room.

"I didn't see you two at lunch or yesterday at dinner, I wanted to know..." you two found Law leaning against the door of your room. His relaxed position disappeared in seconds when he looked at where Ikkaku's hand joined your forehead. "What happened?"

"Just a few scratches, nothing major." your colleague replied before you could open your mouth. She knew - actually, you weren't that good at hiding it - about your feelings and how easily you could wrap your head around your own words.

"Yeah, they're from yesterday, some scratches." you tried to complement, the captain's serious expression made it clear that that hadn't helped at all.

"Nothing much and that's why you haven't shown up since yesterday?" he grumbled and before he could continue his lecture, he felt his body being pushed forward, with Bepo, Shachi and Penguin falling beside him. "What the fuck?"

"We just wanted to know if you already know that she was the one..." before the bear finished speaking, the other two covered his mouth.

The grey eyes trailed from you to Ikkaku, to the group lying next to him, and back to you again. The small stress that was forming inside Law turned into concern when he saw the small trickle of blood dripping from your eyebrow.

It only took a few moments away for you to appear like that and he would never tolerate that, you didn't need to know about his feelings or how he was already thinking about taking revenge on whoever had done that, he would deal with it after taking care of your wound .

"Everyone out." you made to follow Ikkaku, stopping a few meters away. "Not you, I need to see this."

The door to the small room knocked subtly behind Law, who waited for a few seconds to approach you. The two of you already had a considerable height difference, but when you felt Law's cold, tattooed fingers on your chin, you felt even smaller. He turned both sides of your face, despite the cold touch, you could feel your skin burn beneath his fingers.

"You're warm, but I don't see any trace of infection." Not this one, you thought. "Give me the name?"

"Name?"

"Which idiot did this?" he replied without much patience, his fingers leaving your face behind.

"This is going to be a funny story." you laughed, stopping immediately when you saw him look deep into your eyes, his expression serious in an almost irritating way.

"Someone decided to hurt one of my crew. I don't think it's such a funny story. Who did it?"

"Captain of the Heart Pirates, Trafalgar Law." your answer didn't seem to catch him instantly, with each word that left your mouth, you could see him getting paler and paler. "I believe you already know, but Uta managed to control everyone who was asleep to attack the pirates and the marines and with that, you and Bepo were also controlled. The boys held Bepo and I had to deal with you, but everything is fine. "

"They told me about Bepo..." he seemed lost for words, taking a certain distance from you and leaning on the small table in your room. "So you restrained me, alone?"

"You, actually Uta, didn't have access to your Devil Fruit powers, it ended up being easier. After all, our mission was just to keep you two away from the navy." you explained, leaning on the opposite side to where he was, seeing his crestfallen expression. "Like I said, it's okay captain."

"Where else did I hurt you?" the question took you by surprise, making it difficult to hide your reaction. "I know my strength, I have a feeling it wasn't just that. I could see it myself, but I trust you, so please."

With your fists clenched and your gaze following your every step, Law could see your hand go to your ribs, along with a grumble, as you bent down to pick up a small cloth and fill it with something that smelled similar to alcohol. As much as he noticed you trying hard, he could see you limping. He watched you smear the contents on one of your cheeks and your arm, revealing some bruises.

You stopped in front of him, letting him analyze. Despite the pain throughout your body, Law's proximity was almost like an anesthetic. If he stayed there, you wouldn't mind spending the day under his gaze. Law took your arm, gently sliding his fingers under the bruise, watching you flinch in discomfort. His hands practically put your arm back in place and placed themselves on the zipper of your jumpsuit.

Your hands placed themselves next to his, pulling the device and opening the entire piece. Of all the times he had dreamed of touching your skin, none had felt like this. He liked to imagine how soft it would be, to think about how your body would shiver, to feel with his own lips every piece of exposed skin, while he heard you ask for more. All the purple spots he had dreamed of leaving on your skin were nothing like the one he saw. Thoughts would need to be put aside at that moment.

His hand knocked down one side of your jumpsuit, showing the large bruise on your rib, which made him hold his breath for a few seconds.

"What else?" his voice was barely audible. He knew there was more to it, but he didn't want to be invasive.

"Just this cut." you took off the other strap of your jumpsuit and let it fall below your waist, showing the wound on your thigh. It wasn't that big, but when you both looked at the place, you understood where all the warmth in your body was coming from. "Shit. It wasn't like this last time I looked." actually it was, you just wanted to spare him the worry.

You adjusted your jumpsuit, leaving the top hanging around your waist. Your eyes searched for Law's, but he seemed to be far away, even just a few centimeters away. For some time, he didn't say anything. His eyes followed one point you had shown and others, looking for other signs. His hands prostrated in front of his body, why had he done that? Why hurt you?

"Law?"

"I...I..." the words seemed stuck somewhere inside him. His hands placed themselves next to your face, a gesture you hadn't received from him yet. "I don't know how to apologize. Forgive me, I didn't want any of this to happen."

"No need, Law, really. I was doing what any of us would do, taking care of our crew, taking care of our captain."

Again the words seemed to have escaped him. He just wished he could hold you and apologize a thousand times, hold you there and heal every little part of you and never allow anything to hurt you again. Some conscious side of him screamed in the background that this wasn't anyone's fault, but the sound seemed so far away to hear, while the picture of what he had done was so close to him.

A few seconds passed, his hands were still on your face, while you just enjoyed the awkward affection you received. He didn't know how to deal with that feeling, it was a guilt like he had never felt. Along with a fear, a need to see you well. There were too many things to deal with and at that moment, he chose to be the most rational one.

"It's infected and may have broken something." Law let his medical side take control of the situation. "Room. Shambles."

Before you even noticed the blue dome surrounding you, the two of you had already been transported to the infirmary. You remained standing in your place as you watched the captain hurriedly walk around the room, collecting some materials and before you could try to get on the stretcher, the two of you were already being taken to another place.

The table full of books, the small window of the Polar Tang showing some little orange fish passing by outside, a cozy bed, even with the sheets spread out. That definitely wasn't your room. You watched Law leave the materials on the table and reach Kikoku. You saw the blue dome again, this time, you knew that he was using his powers to confirm that you had indeed presented all your injuries to him.

"I was worried about your rib, but apparently it was just the bruise. Now about your leg, I may need to redo those stitches and medicate you. I can't let the infection spread."

You knew he was nervous, bordering on anxious, but you had known him long enough to know that stopping him from treating you would be even worse. You had chosen to hide your injuries so that Law wouldn't feel guilty, now that he knew, you didn't have much else to do.

"Law." you called out to him carefully, as he prepared the medication. "Do you mind if I bathe first?"

"Sure, I mean, no problem. Just wait a second." He walked away from the table and piled up some things, which he handed into your hand. "Here's my towel, I also left some clothes in case you want to use them, if you don't want to, that's okay. I can ask Ikkaku..."

"This is perfect, thank you Law." you hugged the small bundle of clothes close to your body.

"Room." again, in a matter of seconds, you were at the bathroom door. "I'm sorry, but your leg is really hurt, you shouldn't force it while walking."

"Okay" unlike the time he had taken you to the infirmary, now he had transported you close to each other, which made the air disappear from your lungs. "Can you wait for me? I mean, you said I wouldn't I should force my leg and..."

"I'll be outside, just call me and I'll be here." Please call me, Law's inner voice practically screamed.

Your shower was much quicker than you expected. Just knowing that he was waiting for you outside made butterflies fight in your stomach. You gently dried your body and took the clothes he had given you. Something that looked like shorts - it might have been underwear, but you didn't worry about that right now - and a black button-down shirt. As soon as you button the last button, you can pay attention to the smell of the fabric. Something soft, woody, you wondered if that was his scent.

"Law?" All it took was a small call and he soon entered the bathroom. Not as discreetly as he expected, his eyes roamed your body. "Can you help me?"

"Of course" your feet left the floor, giving you a few seconds to assimilate that he had picked you up and carried you back to the room. He hadn't done this before, but you preferred to just enjoy the sensation, locking your arms around his neck.

With a few steps inside the room, he placed you lying on the bed, pulling a rod further to the side, only then did you notice the hanging IV.

Law bent down, reaching your arm level, cleaning it with a small piece of cotton. He looked at the wound on your leg. In silence, he cleaned the area and took some bandages, placing them across the entire length of the wound. The contrast between your warm skin and his cold hands was strangely comfortable. You wished they would last a little longer there.

"I think we can leave these stitches for another day, but I need you to take this medicine. It's an antibiotic, the infection is small, but I'd rather take care of it soon." He pulled the small needle, seeing your face pale. "I'm sorry darling, but it's the best option we have."

Darling.

That word would echo in your mind for a long time. The fear of the needle that was about to come into contact with your skin eased when you saw the care he took with each gesture.

"Just don't look, okay?" He waited for you to close your eyes. "Just a few seconds and that's it. You'll feel sleepy, but that's normal. As soon as you wake up, I'll bring you something to eat."

He got up and started to adjust the pillows on the bed, the ones that were around and under you. His hands rested around your body, his body was on top of yours, even without any immediate contact. It was inevitable not to get lost in his eyes, or see him do the same with yours. You would like to engrave that in your memory, forever.

"Are you comfortable?" his face still had the same tense expression from the first moment he found you in the room.

"I am, I promise." you replied, in a burst of courage, you brought your hand to his face, touching his cheek. "Law, what worries you so much?"

He walked away, sitting at the foot of the bed. You just straightened up so you could look at him. His tattooed hands took off his hat, fingers tangling against the dark strands.

"I can't deal with the fact that I did this. I did this to you. Of all the people that could have been there, I hurt you." he grumbled, turning so he could look at you. "You do not understand."

"Actually, I understand." your answer left him stunned for a few seconds. "But don't blame yourself, you didn't choose this, captain"

"I know, but at the same time..." he huffed, trying to find the right words, which scratched his insides every time he looked at your scourged face. "You understand me, huh? I mean, I don't just see you as a crew member and something tells me you don't just see me as your captain. And knowing that of all the things that could have happened, I hurt you. I promise compensate you for everything."

"About what you said, about what we see in each other." your thought was interrupted by a long yawn. "What should we do about this?" You made to get up, but the IV attached seemed to transmit drowsiness straight to your body. Your eyes were already starting to get heavy.

"That we can deal with this later. You took care of me, now it's my duty to take care of you. For that, you need to rest." His hands reached yours, giving a slight laugh when he saw you fighting with your own eyes, wanting to leave them open. "I promise not to hurt you again or let anyone else hurt you."

Before you fall asleep for good, you can feel his lips on your hand.

[bubblegumbarbie33]

the great thing about Derry girls is that the audience doesn't know shit

like, I'm sure if you're an Irish or English viewer you have a bit more context for some of the historical jokes and holidays and the like

but plot threads like James' mother, micelle's brother, and the fact that Erin's sister just sort of exists in the background are barely explained but they don't need to be

because the point of the show isn't to espouse upon every little mystery of Derry, each character's inner turmoil, the backstory of every extra- hell, we don't get much of a backstory for the main characters! I don't think we even meet Michelle's father- and we never see the inside of any of the main five's houses besides Erin

this show is slice of life in its purest form

we are dropped into the first day of school in Derry in season one, and we leave on the day of the vote in season 3, when the girls are thinking about going off to college or university, that's it. we're merely a viewer. these characters aren't performing a show for us, we're peeking into their lives.

anyway its really late and I love Derry girls

[too-fond-to-be-fearful]

Been thinking recently about the goings-on with Duolingo & AI, and I do want to throw my two cents in, actually.

There are ways in which computers can help us with languages, certainly. They absolutely should not be the be-all and end-all, and particularly for any sort of professional work I am wholly in favour of actually employing qualified translators & interpreters, because there's a lot of important nuances to language and translation (e.g. context, ambiguity, implied meaning, authorial intent, target audience, etc.) that a computer generally does not handle well. But translation software has made casual communication across language barriers accessible to the average person, and that's something that is incredibly valuable to have, I think.

Duolingo, however, is not translation software. Duolingo's purpose is to teach languages. And I do not think you can be effectively taught a language by something that does not understand it itself; or rather, that does not go about comprehending and producing language in the way that a person would.

Whilst a language model might be able to use probability & statistics to put together an output that is grammatically correct and contextually appropriate, it lacks an understanding of why, beyond "statistically speaking, this element is likely to come next". There is no communicative intent behind the output it produces; its only goal is mimicking the input it has been trained on. And whilst that can produce some very natural-seeming output, it does not capture the reality of language use in the real world.

Because language is not just a set of probabilities - there are an infinite array of other factors at play. And we do not set out only to mimic what we have seen or heard; we intend to communicate with the wider world, using the tools we have available, and that might require deviating from the realm of the expected.

Often, the most probable output is not actually what you're likely to encounter in practice. Ungrammatical or contextually inappropriate utterances can be used for dramatic or humorous effect, for example; or nonstandard linguistic styles may be used to indicate one's relationship to the community those styles are associated with. Social and cultural context might be needed to understand a reference, or a linguistic feature might seem extraneous or confusing when removed from its original environment.

To put it briefly, even without knowing exactly how the human brain processes and produces language (which we certainly don't), it's readily apparent that boiling it down to a statistical model is entirely misrepresentative of the reality of language.

And thus a statistical model is unlikely to be able to comprehend and assist with many of the difficulties of learning a language.

A statistical model might identify that a learner misuses some vocabulary more often than others; what it may not notice is that the vocabulary in question are similar in form, or in their meaning in translation. It might register that you consistently struggle with a particular grammar form; but not identify that the root cause of the struggle is that a comparable grammatical structure in your native language is either radically different or nonexistent. It might note that you have trouble recalling a common saying, but not that you lack the cultural background needed to understand why it has that meaning. And so it can identify points of weakness; but it is incapable of addressing them effectively, because it does not understand how people think.

This is all without considering the consequences of only having a singular source of very formal, very rigid input to learn from, unable to account for linguistic variation due to social factors. Without considering the errors still apparent in the output of most language models, and the biases they are prone to reproducing. Without considering the source of their data, and the ethical considerations regarding where and how such a substantial sample was collected.

I understand that Duolingo wants to introduce more interactivity and adaptability to their courses (and, I suspect, to improve their bottom line). But I genuinely think that going about it in this way is more likely to hinder than to help, and wrongfully prioritises the convenience of AI over the quality and expertise that their existing translators and course designers bring.

[ms-demeanor]

Going off that post about nutrition and science, I'd love to hear what you think of the 5:2 diet/The Fast 800 and its creator, Dr. Michael Mosley. For context: in order to get an NHS-funded breast reduction (it's a gender thing, but also just a general quality-of-life thing), I need to be a certain BMI, so I've been referred to a weight management clinic. The lady I've been seeing initially just put me on a low-carb diet (130g or less of carbs per day, with an aside from her about how bullshit Keto and BMI limits for treatment are), but now she's said that, if I wanted to speed up the weight loss, I should include the 5:2 diet: 5 days in a week where I eat "normally", and 2 fast days in which I restrict myself to 800kcals. I did a little looking into it myself, and found that 5:2 - which I HAD heard about before - is now being sold as part of "The Fast 800", with Dr. Mosley being the creator of it. I was shocked by that, because I was already a fan of Dr. Mosley's work (he has a podcast called "Just One Thing" that I really liked, and thought contained reasonable-sounding advice), and yet having a diet plan that he's clearly making money off of does immediately make me feel suspicious. I've borrowed his "The Fast 800" book from the library, both to find out more about the diet I've been put on and to see if it's at all backed by evidence, and he does cite a bunch of scientific studies which seem to back up his ideas, but I don't know how valid they are, and I don't just want to accept them at face-value (especially since he's a "we got fat completely wrong in the 80s, therefore we should eat a Mediterranean diet!" types). Obviously I'll go with what my weight management lady suggests, since she's obviously more qualified to talk about it than I am, but I am curious to know what you think, and whether I'm right to be distrustful of all of this.

I am, generally speaking, against any diet for rapid weight loss. They're not sustainable so people gain the weight back (often with more weight getting added on).

There have also recently been findings that suggest that BMI cutoffs for top surgery are detrimental to patients as patients in higher BMI categories are more likely to have minor complications like UTIs or to be readmitted, but are not likely to have major complications or be at risk of significant harm from having top surgery. I don't know if anybody will listen if you bring up that study, and I know that GCS is fraught in many places for many reasons.

I'm also just.

I'm so mad. I'm so fucking mad! I'm so mad about this!

One of my best friends is a guy who was pressured into a pattern of disordered eating and unhealthy exercise in order to qualify for top surgery; since then he has not been able to eat in a healthy way and has struggled with alternating between exercising to the point of harm and other destructive behaviors that make him unhappy and unsafe. And he didn't need that. He didn't need any of that! He needed a very safe surgery that had perhaps a slightly higher risk of minor complications at his size and instead he got top surgery and an eating disorder! I hate it! I'm so fucking mad about it!

Also as near as I can tell Michael Mosley qualified as a psychiatrist in the 90s, spent very little time working as a psychiatrist, and then became a media personality. From what is visible on his website and every biography I've found for him he apparently doesn't have any background in nutrition beyond whatever is standard for someone in medical school (which is NOT MUCH).

Hey I just looked at his website and this is straight-up fucked up.

Anybody recommending an 800 calorie a day diet for 2-12 weeks in a context that is not heavily medically supervised can fucking choke. That is *ridiculously* dangerous and the website says that this can improve insulin resistance but there are a shitload of studies about people on crash diets like this *developing* insulin resistance (oh hey like my friend who became prediabetic after his rapid significant weight loss).

Also in regard to the studies he cites on the website, the "two years later patients are still going strong in their diabetes improvements" it's really important to put shit like that in context

at 5 years 13% of the original intervention group were in remission from their type two diabetes; the average weight loss experienced by the intervention group as a whole was 6.1kg compared to 4.6kg in the control group. That's 1.5kg lower for the people who went through a twelve week medically supervised very low calorie diet compared. That's an average difference of 3.3 pounds between "starvation diet" and "no diet" for the Americans in the audience.

Yours is the second comment I've seen that has been leery of the Mediterranean diet, btw, and the Mediterranean diet is fine. It's very achievable and not super gimmicky and is based on very reasonable reassessments of fat, not the hardcore "you are fine to eat 100g of fat a day" kind of attitude that you get from the keto crew. There isn't really one Mediterranean diet and it certainly isn't low carb (which the bits from Mosely's website seem to indicate it is).

So, no, honestly I don't think much of Mosely and I'm very sorry you're in this situation, that sucks and I hate that they're refusing you treatment until you undergo an exceptionally difficult and potentially harmful weight loss excursion.

I know you're probably stuck with that and it's bullshit and I think it fucking sucks and unfortunately the medical advice you're likely to get is "eat in a significantly disordered manner at least until it is time for surgery" and it blows. That just fucking sucks.

If you're looking for rapid weight loss that you don't plan to sustain (and you shouldn't plan to sustain it, it won't stay off) you may want to look into body building forums for how they discuss cuts. It's still disordered eating and it's still not healthy, but at least they're effective and can tell you what supplements will keep you from becoming malnourished while you prepare for surgery. This is a terrible idea. I don't actually want to give this advice to anyone but bodybuilders are the exact kind of people who know how far and how fast they can push weight loss while having an awareness that it isn't really good for them and it won't stay off.

I cannot overstate enough how much I hate the thought that people are being encouraged to rapidly starve themselves in order to prepare to recover from surgery. I am so sorry and I'm so mad and

[inkskinned]

im gonna start a fight; and, at the same time, i need you to take this in the most good-faith way possible, but:

videos that involve body-checking and intentionally (and uncritically) show a mealplan of an unhealthy number of calories are just a revamped version of pro-ana food diaries.

and yeah, i know there's arguments. i address some of them under the cut. but at the end of the day, we're just coming back to romanticizing mental illness; we've just found a better platform for it.

this is already something we've done. we knew it was wrong and tried to stop it. and tbh. it just wasn't enough.

there are people who argue "well, what if you have an eating disorder, you can't help it if you don't eat!" except that as someone with an ED; we are not infants. we know what we're doing. part of having an ED is that you are like, maybe too self-aware. even if we can't help our own food choices, we don't need to fucking romanticize the disorder - something we've been warning you about since 2013. there are hours of setup, filming, and editing that go into these videos. they do not happen to fall into place randomly. there is a reason they are pieced together to be beautiful, bright, inspiring.

there's this woman who pretty much only posts daily plans under a normal amount of calories, and everyone defends her saying but it's better than nothing! and i'm like. except she opens those with images of her showing off her body and provides no context in the video or caption that suggests that she believes what she's doing is unhealthy. she has hundreds of thousands of followers on a platform designed for young kids and teens. i refuse to believe that by accident her content just happens to be cheery advice on "healthy" versions of starving.

for any other symptom of mental illness, we would be incredibly enraged by this kind of placid acceptance of a "tips and tricks" fast-start guide. imagine if people posted pink & pretty videos saying "best places to cut yourself" as if it was a fucking storytime. we, as a society, are so fucking fatphobic that we would rather accept blatantly harmful displays of self harm than admit that we are obsessed with a hyper-thin body type.

i am not suggesting someone never talks about their disorder. i talk about mine. actually, it's a plot point in my book.

here's the difference: i recognize it's a fucking mental illness. i am very careful to never mention a specific weight, eating pattern, or calorie plan. i always make sure to position it as something that ruined my fucking life. i do not put cheery music in the background and hearts and sparkles over my worst moments. i do not film it in bright light. i do not start each passage with an image of a thin body followed by "here's how to look like her."

eating disorders should not be framed as aspirational. and the problem is that society worships the "after" image, so long as you don't get too sick. there is a reason so many people who quit being "influencers" will later admit - i wasn't eating well that whole time; an obsession with food was completely destroying my life.

we let any uncredited, uncertified person write the most backwards, fucked up shit about how to get the body you desire! because the underlying, secret belief is: well, at least they're thin! and the real thing that fucking gets me each time - they make fucking money off of it. their irresponsibility and societal harm literally pays off for them.

"why do you care so much." "don't like it don't look." "so what if people experiment with new ways of thinking of food?"

thank you for asking. we're about to get extremely personal. it's because when i was 18 i discovered "thinspiration"/"thinspo." and it absolutely influenced, shaped, and codified my pre-existing eating disorder. i went from having some troubling habits and traits to being incredibly unwell within what felt like a matter of days. there were actual pages designed to train me on how to have an ED correctly. it was all so suddenly easy. i was sick; and the nature of the illness meant - i wanted to be sicker.

it takes an average of 7 years for a person to fully recover. i know this personally - even now, 10 years from the worst of it, i still fucking struggle. i am so much happier now and i eat what i want and i literally don't think about food at all (19 year old me would shudder) and yet - i still fucking know the calories of plain toast with butter.

an eating disorder is one of the deadliest types of mental illness. over 1 in 4 people with an ED will attempt suicide.

and i'm sorry. i just do not see the exchange rate of "high rate of engagement" versus "the value of a human life."

[meatballlady]

It's time for the fandom to start Looking Where the Furniture Isn't

For a bit of background, one of my irl professional responsibilities is to identify and avoid making undue assumptions. There are a LOT of things that we humans assume. We assume that terminology means the same to other people as it does to us. We assume everyone has the same context of a situation we do. We assume that we aren't missing any information.

We operate on the information we have.

There was an ask before season 2 aired asking whether many of the plot points had been revealed by the clips (which almost all took place during the first half of the first episode). Neil's response was something like "oh you sweet summer children you know nothing yet." And boy was he right.

Neil Gaiman is a master of controlling assumptions. Just look at his Tumblr askbox replies.

Here's a few s2 examples of assumptions we all made (as I'm starting a rewatch):

Why did Crowley do the (very fun and distracting) apology dance? You might say it was because he walked out on Jim, but he never specified, did he? And Aziraphale was surprised that he proposed they would hide him "together"

How did Shax get a rumor about something going down in the Up (presumably) before Gabriel even went downstairs?

Did Jim need to bring Aziraphale something other than the box? He never actually specifies; Aziraphale just assumes it's the box.

Why did Aziraphale assume Maggie could feel [Michael, Uriel, Saraquael] arriving?

Why does Aziraphale say Heaven would notice even a small miracle? Crowley is seen doing a miracle before their large miracle (traffic light), and later Aziraphale makes the guy leave the table at the pub

To go deeper:

Are we assuming that characters are telling the truth? Example: "Miracles don't work like that," "[Extreme sanctions] was just something we said to frighten the cherubs" etc.

Are we assuming that nothing of note happened between apocalypse v1 and s2? (ex. the claims that Crowley didn't tell Aziraphale about the trial in heaven despite him referencing it in s2s1) What if we the audience are just jumping in near the end of this story?

Are these assumptions correct? Or are we just working with the information that we have?

Now that I'm looking for it, there's also SO many corrections of assumptions (usually for the sake of a joke, but still) (these are just the ones that happen while I type them out while watching e2):

"Can I be a blue one?" "You haven't annoyed me yet" "But can I be?"

"You recognized [Michael, Uriel, Saraquael] those people who were in the shop just now?" "Of course, they were in the shop, just now!"

"oh my god!" "blasphemy, angel, that's not like you", "no, oh, my god"

Many of the themes were about hiding things in plain sight: the kids (and kids), Jim, "aim for my mouth but shoot past my ear." Clue (1985) was heavily referenced in the lead-up. The whole point of that film was looking at what was going on elsewhere. Looking where the furniture isn't, you might say.

The more I watch s2, the less certain I am that any of it makes sense on its own.

I'm currently combing through it to see if there are any discrepancies with where people are (easiest example is when Crowley just disappears from the bookshop while they're reviewing the Job story). It'll be a lot of data and might not lead anywhere, but I'll definitely share once I finish looking into it.

I will also honestly admit that these things are all circumstantial, and I could be going insane. But they just keep cropping up all over the place. I've got a lot of time before S3 comes up and I intend to investigate the furniture. And try to not make assumptions.

[zionworkzs]

Alright, let's talk about this scene in S1 Ep3:

Let's take this line by line, shall we? I added in some stage directions so we can see the acting choices alongside the dialogue (because this scene!!! this scene!! there is so much unsaid and communicated via body language).

*Crowley gets into his car and Aziraphale miracles inside*

C: *surprised*

C: What are you doing here?

A: I needed a word with you.

C: What?

A: I work in Soho. I hear things. I hear that you're setting up a...

A: *looks at Crowley*

A: caper. To rob a church.

C: *looks away from Aziraphale*

A: *concerned* Crowley, it's too dangerous. Holy Water won't just kill your body, it will destroy you completely.

C: *annoyed* You told me what you think. 105 years ago.

A: And I haven't changed my mind. But I can't have you risking your life. Not even for something dangerous. So... *pulls out thermos* you can call off the robbery.

C: *looking at Aziraphale, clearly surprised*

A: Don't go unscrewing the cap.

A: *not looking at Crowley anymore*

C: *looking between the thermos and Aziraphale* It's the real thing?

A: The holiest.

C: *attention fully on Aziraphale now* After everything you said?

A: *nods, still not looking at Crowley*

C: Should I say thank you?

C: *still looking at Aziraphale*

A: *pointedly NOT looking at Crowley*

A: Better not.

C: Well, can I drop you anywhere?

A: No. Thank you.

A: *briefly glancing at Crowley*

A: Don't look so disappointed.

A: *looking away again*

A: Perhaps one day we could, I don't know. Go for a picnic.

A: *looking at Crowley now*

A: Dine at the Ritz.

C: I'll give you a lift. Anywhere you want to go.

*silence, and the longest amount of time Aziraphale looks at Crowley this whole scene*

A: You go too fast for me, Crowley.

*both looking at each other for a beat before Aziraphale exits*

OKAY SO HOLY HECK

I feel like this scene gets boiled down to THAT line we all remember (and we'll get there), but I feel like the whole scene and the context is so so important if we want to understand THAT line.

So the background info:

1862 AD - London, St James Park: Crowley asks for holy water.

1941 AD - London: Aziraphale meets with Nazi agents inside a church. Crowley swoops in to save the day (and the books). We have the magic show and the lovely candelit dinner afterwards.

This scene takes place in 1967 in Soho, London presumably.

So, since 1862 when Crowley first asks, Aziraphale has been thinking about this request of his. Aziraphale presumes in 1862 that Crowley wants the Holy Water as a "suicide pill," and Crowley never corrects this assumption.

So, Aziraphale is under the impression that in 1967 he is giving Crowley a tool to use for his own destruction, if it comes to that.

He goes against Heaven and, from our understanding, steals Holy Water so he can give it to Crowley.

The implications of this are DEEP and COMPLEX. Because this is the FIRST time we see Aziraphale directly go against Heaven without any kind of moral out. He isn't saving Job's children. He's literally defying Heaven to protect Crowley from doing something stupid.

It's a purely selfish action that directly goes against Heaven.

This is HUGE for his character. And as I've talked about a bit in this post, I think by this point, Aziraphale was fully aware he was in love with Crowley.

This, THIS, is proof of his devotion to Crowley. Going against Heaven overtly to supply him with something he believes Crowley will use to end himself.

You can see Aziraphale's guilt and concern in this scene simply through how he choses when to look at Crowley and when to not (michael sheen, I'm in ur walls).

He looks at Crowley concerned when he talks about the church heist. He says as such. That he thinks it's too dangerous. He pointedly DOESN'T look at Crowley once he hands over the Holy Water. Like he can't bring himself to come to terms with what he's done. (Looking out for the person he loves by giving them a means of their own destruction.)

And this little interaction:

C: Should I say thank you? C: *looking at Aziraphale* A: *pointedly NOT looking at Crowley* A: Better not.

He doesn't want Crowley to thank him for what he perceives to be a sin. For giving him the ability to end himself. It hurts Aziraphale to think about. I think, even being in the car near Crowley hurts Aziraphale then.

Then we get the exchange at the end.

Crowley offering to drop Aziraphale off, which the angel denies.

Aziraphale clearly reading Crowley's disappointment and offering a fantasy of the future he doesn't believe they have in an attempt to cheer the demon up.

A: Perhaps one day we could, I don't know. Go for a picnic. A: *looking at Crowley now* A: Dine at the Ritz.

He looks at Crowley for the briefest of moments when he says "dine at the Ritz."

These things that Aziraphale is offering are normal, human pastimes. Nothing grand or overtly romantic. Just, a picnic. Dinner. It goes to show us how deeply Aziraphale loves humanity and recognizes that same love in Crowley (even if their love presents itself in different ways).

He's saying: one day, when I'm not me, and you're not you, we can do the things humans do. We can be simple.

And then, of course:

C: I'll give you a lift. Anywhere you want to go.

Crowley says this line almost desperately. He wants to stay in this moment. He wants to draw it out. This moment where this angel he's befriended cares for him so deeply that he'd risk everything.

I haven't talked much about Crowley in this scene because at this point in their relationship, and I know this is controversial, I don't think Crowley is in love with Aziraphale here.

I talked about it in the aforementioned post, but it's my interpretation of Crowley's character to be naturally distrusting of others. Which makes sense given his history.

I don't think he's in love with Aziraphale in 1967.

But I think he recognizes Aziraphale's love for him, even if only for the briefest moment. He sees Aziraphale's willingness to save Crowley from himself and knows that there is something there.

But he is SCARED. Big scared. And he doesn't know how to deal with the influx of information being presented to him.

And I think he reads between the lines of Aziraphale's words. He hears Aziraphale say: one day, when I'm not me, and you're not you...

I'll give you a lift. Anywhere you want to go. Is Crowley saying: You're saying we have to be different people, but we don't. I can take you right now to a picnic, to the Ritz. Nothing has to change. We can be us.

And Aziraphale says:

A: You go too fast for me, Crowley.

You go too fast for me, you treat life like a speedrun to get to the good parts. Hell, Crowley slept through the 19th century because he wanted time to move forward. Aziraphale recognizes this. He's in love with this demon who won't slow down and appreciate the mundane, human things that Aziraphale treasures. He goes too fast. He never settles down.

And I think this is a gross misunderstanding of Crowley's character on Aziraphale's part. He thinks Crowley is too fast and never settles down. Changes his hair, his clothes, his accent. But the clothes and the hair are all set dressings to Crowley. They are distractions from how set in his ways he truly is.

Crowley is s l o w to everything.

So slow that it scares the shit out of him and he overcompensates by re-inventing his image every chance he gets. He wants to blend in with his surroundings so he can be just like everybody else.

It's a deep self-hatred most likely instilled in him since before his Fall. He was not good enough for Heaven. He isn't bad enough for Hell. He can't even pass as a human because of his eyes. He doesn't fit anywhere.

So he could never fit with Aziraphale.

He doesn't even see it as an option.

Not yet, anyway.

Aziraphale misunderstands this as Crowley being unable to take time and care and put work into things that truly matter. Aziraphale thinks that they can't be together because they are too different. No matter how much he loves Crowley, Crowley is, and will always be, just a few steps ahead of him. He will always be just out of reach.

This scene is Aziraphale's confession and subsequent realization that they can never work.

This scene is Crowley understanding Aziraphale's feelings and his inability to process his own.

This scene is devastating. Because it's another miscommunication. It's a clear example of how these two understand each other, and, even after 6000 years, don't understand each other.

[whetstonefires]

See I don't necessarily disagree with what seems to be the primary reading that Yue Qingyuan's shifu fucked him over, caring nothing for his needs or preferences and only for whether he was useful. That makes sense, it ties into plenty of the generational and societal themes of the story. It fits.

But iirc we don't actually get enough information to know that's what happened.

And the thing is it would be so in-character and also thematically appropriate if Yue Qingyuan absolutely did not explain his goals or why he was working so hard, because it was private and shameful and he didn't expect any sympathy, and there was a high risk of losing everything if he blabbed.

And also if he engaged with the existing ruleset with which he was presented, i.e. 'can't go off on your own on personal business until you've mastered your sword,' in the most negative and controlling manner possible, as absolute commandments.

He's a different kind of guy but he comes from the same background as Shen Jiu! It fucked him up also!

He is very very very not a guy who trusts the system to make allowances for him--even once he has all the power he 'does what he wants' and 'makes selfish choices' as a conscious transgression; not something he has a right to do, just something he can get away with so he's gonna. (And ofc he spends almost all the latitude he grants himself on sqq.)

And even less is he a guy who opens up easily.

He isn't too proud to ask for help or pity, so much as he just doesn't expect to get any.

So in this interpretation, he understood that rule as a non-negotiable barrier in his path, the target to overcome, and focused all his considerable will and talent on overcoming it through the sphere of action he felt he had control over.

And fucked himself up bad.

Whereupon his teacher, possessing absolutely no context for this dumb shit their star pupil pulled, did the only thing they thought might work to save his life, paying in the process no attention to the raving of someone deep in a psychotic break.

Like, I feel like there should have been a better, kinder medical option, but I don't know for sure that there was, so I can't say with certainty this was the kind of cruelty that derives from not caring enough.

And it really would be kind of elegant and so typical of Yue Qingyuan's fundamental tragedy if the real mistake was 'not confiding in anybody' the whole time.

And he was just so deeply sunk into the understanding that explaining and asking were useless that, even looking back, it never really occurred to him that maybe his mistake wasn't 'fucking it up when trying too hard to solve everything on his own' but 'assuming there was no help to be had, and that he had to do it all on his own.'

Like. What if this really could all have been avoided if he'd just trusted and communicated with the adult in charge of him? But of course, of course his history of trauma (neglect, child abuse, exploitation, being the One Responsible for the younger kids whom he could not keep safe) meant he was absolutely not going to do that.

It was basically impossible. For the person he was, the person the world had made of him. And that's always been the core tragedy the whole novel circles back upon.

People can only ever be themselves, and so very often the elements of self that let them survive until now are that which dooms them, that means they need someone else to intervene if they're ever going to be saved. Because your personal doom is always the thing from which you can't save yourself.

[redslug]

Coloring tutorial I guess

That's my most default shading style, a hybrid of line drawing and painted shadows, and I'll tell you exactly how to get this look. But before we start, you need a weapon This is my main brush for basically anything, including line art on days when I don't feel like switching to something actually intended for inking. It's a lightly textured square brush with color variation on every stamp. Intended for Procreate but you can always just rip the alpha texture out of the file and use it for a brush in any drawing program. That out of the way, let's go. I'll use the same line art as the one in fluff tutorial. Set the line layer to ~60 or so opacity and get to blocking in the base colors of your character. The jitter brush will introduce some color variation on it's own, but changing the color occasionally will add more visual interest.

After this I add a multiply layer on top and dab orange or red in places where we might be able to see the base of the hairs or peek at the carapace underneath.

It's places where hair parts and where it's shorter. This accent color works great on joints as well. Example of the thing I'm going for in real life:

Especially visible behind the head. It's not present on every moth to be fair, but I like to add these accents even where it wouldn't make sense, just because it looks nice. Even on insects without hair. Block in the eyes and mandibles now, best if it's on separate layer.

Now, the actual funny tricks begin. If you're one of the people who only use multiply or add blend modes, stop it, get some help Understanding the math behind blend modes is gonna get you a long way. My lineart is set to subtract more often than not. I find it produces juicier and more colorful results than multiply. I want to give this picture a warm orange feeling, so the color of my lines should be the opposite - blue.

And, subtract.

Perfect, but not quite. We can push the lines to an even softer feeling. Take the line layer, copy it, invert the color and set to multiply. I then throw gaussian blur on the resulting copy and reduce opacity until the lines bleed into the surroundings just a little bit.

On to actual shading. People who shade without getting in some background first scare me, so let me throw something together real quick.

A simple gradient will also suffice for this use. We just need some information on which colors are present in the surroundings. Copy your background, bring it on top of your character layers and gaussian blur it real hard. Set it to multiply, remove all parts of the layer that go beyond the pixels of the base color layer. Adjust opacity until the character fits in the background.

Let's identify the light sources. In this case it's only the sky, but it produces two distinct colors - soft blue lighting comes from the top, slightly stronger red comes from behind. The blue light I set to exclusion blend mode because it felt most appropriate in this case. Both add and screen looked too strong to be the light coming from such dark sky.

In this lighting context the lower part of the body will receive less light that the upper part. I use the green of the bushes set to multiply to darken the bottom.

The character is surrounded by all kinds of soft light, but it can't get everywhere. It's time to add ambient occlusion, or contact shadows, for those without a 3d background. Anywhere where there is a crevice or surfaces almost touch, a soft shadow will form.

I do it on a multiply layer with a neutral gray-green color. Gray because any color light isn't really getting in there and green because the fluff is somewhat transparent and whatever light does pass through it gains a greenish hue.

Last step, red rim light from the fading sunset behind the character.

Since it's rim light I just work with normal blending mode. Setting it to add or something of the sort would make the rim light brighter than the source of the light. And it'd be odd.

And that's it. I usually throw on some post processing in Snapseed. Pull some curves, throw on a bit of grain, etc. But it's a topic for another time.

In conclusion, try to think about the environment more when shading. What route does light go through to reach where you're coloring? Did it reflect off of any colored surface? Did it pass through something transparent to gain a different hue? What color shadow would this ambient lighting produce? Go have fun with your colors now.

[your-name-is-jim]

TOS fans, you may want to read this comic series!

Sooo I recently read this series of comics called Star Trek: Year Five, published in 2019-2021 by IDW Publishing; I heard it was good, but I didn't expect it to be that good!

If you haven't read it, I suggest to check it out! (it's also not hard to find it if you get what I mean)

The art overall is great and, more importantly, the characters act like themselves and there are several references to their canon backgrounds, past and future experiences! What I absolutely loved was also seeing a lot of "old faces" from TOS show, as well as mentions of events from the series and the movies.

As the title suggests, the story takes place during the last year of Kirk's five-year mission on the Enterprise. I'd like to tell you more, but I enjoyed the surprise of a lot of things I didn't expect, so first of all I'll post a few pics without major spoilers from the first 11 issues (there are 25, so you still have a lot to discover!):

I especially love how Bones and Sulu are drawn, they really look like them! Scotty and Uhura too, but that depends on the artist. Speaking of them, if you like a little Scotty/Uhura, this series has something good about it!

The joke about Kirk thinking there's something strange with the way the Klingons look now cracked me up. LOL

Also, I'm not sure Chapel would call McCoy "Bones", but she is very right in that panel. :)

The last panel is classical James T. Kirk's ass appreciation lol

Sulu has a love story with an alien who doesn't understand human genders and uses they/them pronouns. As someone who headcanons TOS Sulu as attracted to any gender, that was great to see :D

I'm also posting this "end-of-the-episode" panel because it's just perfection. TOS in a nutshell. Aww, look at Kirk and Spock just looking at each other! <3

I must say, you may be a little disappointed if you expect to see many moments with Kirk and Spock together, BUT the scenes they have together are really good! I won't say anything more, just read until the end and you'll see! :D

By the way, this series has a Valentine's Day extra, which is the only part where Kirk has a love interest (a female original character). Yeah, you heard me: in the main story, Kirk doesn't have new romances with anyone; Sulu is the one who gets all the action! ;)

The Valentine's Day issue is not linked to anything else and I don't think Kirk's female love interest is mentioned outside that story, so you can easily skip it if it's not for you. However, even if I can't say I'm especially happy with that story, I personally found something interesting there, for example this:

I think I saw this out of context once, but I didn't know where it was from, so sorry I'm just going to lose my mind thinking about ladies or GENTLEMEN in Kirk's life and Kirk not correcting her about his sexual preferences. Anyway, I might make a separate post someday about this special from a Kirk/Spock shipper's perspective, because I do have a lot of thoughts about it :)

So, if you haven't read Star Trek: Year Five, I hope I convinced you to check it out! I hadn't been lucky with other Star Trek comics before, so I had almost lost hope to find something good… and then here it was! Something that made me feel like it was really written with a lot of love for The Original Series! I really needed it!

If you decide to give it a try, I'd love to see your thoughts and see your favorite parts! I hope you enjoyed this little review. :)

[saraswritingtipps]

how do i write a character using sign language?

Hello here are some Tipps ✨

1. Research Sign Language: Start by researching the sign language that your character uses. Sign languages vary from country to country, so identify which sign language is relevant to your character's background.

2. Consult Deaf and Hard of Hearing Individuals: To create an authentic representation, it's important to consult with individuals who are deaf or hard of hearing. Seek their insights on sign language, Deaf culture, and the experiences of people with hearing impairments. This will help you avoid stereotypes and misconceptions.

3. Develop a Backstory: Create a backstory for your character that explains their relationship with sign language. Were they born deaf, or did they lose their hearing later in life? How did they learn sign language, and who taught them?

4. Show, Don't Tell: When writing a character who uses sign language, show their communication through actions and dialogue. Describe the signing gestures and expressions, and convey the nuances and emotions of their interactions.

5. Include Interpreters: Depending on your story's context, you may need to include interpreters to facilitate communication between your signing character and those who don't know sign language. Describe how this interaction works within the story.

6. Highlight Cultural Aspects: If your character is part of the Deaf community, explore the cultural aspects of that community, such as shared values, customs, and experiences. This can provide depth to your character and the narrative.

7. Diverse Personalities: Just like any other character, make sure your signing character has a unique personality, with strengths, weaknesses, goals, and motivations. Avoid reducing their identity solely to their use of sign language.

8. Respect and Sensitivity: Approach the portrayal of a character who uses sign language with respect and sensitivity. Be cautious not to sensationalize their deafness or make it the sole focus of their character.

9. Subtitles and Descriptions: If your story is written, consider using subtitles or descriptions to convey the signing character's words and expressions to the reader. This allows you to depict both the sign language and the dialogue in a way that's accessible to all readers.