“Just give up. You know I’m going to win anyway,” A shouted over the roar of the wind.
B laughed, the sound like bells, their gaze not leaving the plunge over their dragon’s head. “You sound pretty confident for someone who’s going to be in second place.”
A scoffed. “You wish you could be first.”
“I didn’t say I’d be first!” B called. “But if I’ve going down, you’re going down with me.”
And then B jumped off their dragon. A screamed in horror, curving their dragon down towards the dark, glittering sea towards B. But just as they grew close, B’s dragon caught them, swooping underneath all of them.
A felt instant relief — but the spike of panic had made cracks throughout their entire chest, it felt like. They faltered on their dragon, almost losing balance and falling off themselves. Their dragon slowed, beating giant wings to perch on a craggy rock formation jutting out of the sea.
Calm, A’s dragon murmured soothingly into A’s mind.
How many times do I have to learn the lesson that I should start the story when the story starts instead of trying to tack on introductory worldbuilding?
Seriously. My instincts about when to start the story are almost never wrong. But I always assume the first scene in my imagination requires set-up that people outside of my imagination don't have. So I tack on an intro to set the mood and to set up the plot and characters and world. And it's boring. When I should have just started where I wanted to start so I could weave explanations into a scene where things are actually happening.
ok but i think my favourite thing about brads Bathroom Moment in breaking brad is just how under-dramatised it is. and i know i talk about danny pudi’s acting a lot but it really is that brilliant and his facial expressions really do well the scene. imo too often in media we see a mentally person in this sort of breakdown situation as being super melodramatic and it’s usually a tear filled scene with emotional music and dramatic camera angles. but in mythic quest it’s literally just brad in front of a mirror shit talking himself. no fancy melancholic shots. no sadness fuelled yelling. heck not even any tears. and that’s personally what makes it feel so much more realistic. because when you do have that Moment irl it’s not all artsy and there’s no soft piano score. when it’s just a single-shot frankly bland monologue with more emotion repressed instead of expressed it becomes so much more personal and relatable to the viewer. or at least to me it does. it makes you go ‘hey ive been in that situation before holy shit’ because mythic quest perfectly illustrates what that situation is in the first place without needing to be flashy. also it says so much about brad as a character but that’s a whole ass essay for a different time. what im trying to say here is that something like brads Bathroom Moment is more relatable than a grand dramatic breakdown scene because it’s more realistic/feeds into the viewers own experiences and it also allows itself to focus more on character depth. if you know what i mean.
Me on the floor making dial-up internet noises because I might have fixed some of the problems I hated in this chapter, but oh boy I sure created more of them
How long has the Xin and Huey story been in the making? How much has changed since then? (you don't have to be very detailed, just the general timeline of major changes). And is everything (ABSOLUTELY EVERYTHING) canon in the extras comic? (Very important information for the next theory video I'm making)
Hoo boy ok so, I've had the characters since like, 2013(10+ years now whEEZE), and had story ideas for them since back then too. Obviously it has morphed significantly since then as I grew as an artist/writer. Some elements I liked may carry over or inspire stuff now, but overall it's verrry different. Also I like to entertain ideas that definitely don't make sense in the main storyline, so I kinda relegated them to AUs(you've already seen 2 of them lol).
As for the extras comic, I originally intended them to fit in AFTER a "season finale" of the main comic. I will say though, for the main story, I have a big picture idea of where the story is going...so big plot points like main characters' backstories, how they met, etc. are pretty solid and I did like to hint at some of it in the extras. But smaller details and how EXACTLY they will unfold is still subject to change. So all that is to say, I started the extras comic back like...3 or so years ago, and I intended it to plausibly fit into the main timeline. But it's possible some small details might become irrelevant as I'm working thru the main story.
This house is an old one. It has lasted throughout the decades, through several families that had their own stories and lives. The children who inhabited the house have grown up and grown old, have borne their own children, and died. Yet, this house has outlasted them all.
Inside this house is a cupboard, and that cupboard knows the families even more intimately than the house. The cupboard is located in the living room, just beside the archway that leads into the kitchen. It has witnessed people’s most private moments, permanently placed in between the two most used rooms of the house. Not through any will of its own, of course. It couldn’t stop watching if it tried, and it has.
The cupboard doesn’t know how it came into being. It doesn’t remember its creation. The first thing it knew was a pair of young eyes staring inside its glass doors, marveling at the emptiness. The girl that owned the eyes hardly had any memories herself. Her family moved away after only a few years inside the house, but the cupboard can still remember the look on the girl’s face when her parents said that they couldn’t take the cupboard with them.
The cupboard remembers its second family. The cupboard didn’t know how long it was between families, but it could feel the dust collecting on its handles. This time there were two young boys, and they carried the spirit of youth in their eyes. The cupboard saw them grow taller, noticed when they didn’t spend as much time running back and forth from the front door to their rooms. It saw the whole family gather around the box in their living room, heard the box announce things that didn’t mean much to the cupboard, but to the family obviously did. The woman parent clutched her hands to her mouth, and the man parent bowed his head. The taller child (because the cupboard will always think of its kids as children, no matter how much taller than the cupboard they grow) grabbed the shorter one and pulled him into a hug. The parents joined, and though the cupboard didn’t know why, it felt like something big had happened. The shorter one went away for a long time after that, and then the woman parent opened a letter that made her very sad and made the rest of the family very sad too. The cupboard never saw the shorter boy again.
The cupboard remembers its third family. A man and a woman, both with gray hair, came along. They didn’t move around a lot, but they took good care of the cupboard, and it learned from the house that they took care of it too, up until the man didn’t get up from his chair more than once a day. People would visit and talk to him but he didn’t always respond. The woman would spend time just staring at the man. Sometimes she would open a book and point out pictures to him. One day the woman didn’t help the man move out to his chair in the living room. Instead, one of the young people who came to visit most often came over with others that the cupboard had never seen before, and together they carried the man outside. The woman stayed after that for a while, but the cupboard knew what it looked like when people left without plans to return.
The cupboard remembers its fourth family. There were kids this time. Kids meant a liveliness that the cupboard hadn’t seen the last time it’d seen its boys. But these children’s parents weren’t as kind as the boys’ parents. The man parent would strike the children if they acted like children, and he would do the same to the woman parent if she tried to stop him. The cupboard had to watch it all, and never before had it tried to stop looking. Not long after they arrived, the woman parent emerged into the living room with a long object in her hand. She walked up behind the man parent. A loud noise sounded, and the man parent fell forward. She knelt down beside him before talking into the machine on the wall. Strangers came over and took her outside. The children screamed for her, but they were grabbed by more of the strangers and carried out of the home. For a while afterward, so many people came and went that the cupboard no longer knew who its family was. And then no one came around for a long time, and the cupboard heard from the house that the people were talking of knocking down the house where it stood.
The cupboard knows its fifth family. They saved the house from being destroyed, and they saved the cupboard too. They are young. With them, they brought a hairy creature almost the height of the cupboard itself. The cupboard hears them refer to the creature as their child, but it doesn’t resemble any of the cupboard’s other children. The woman has a round stomach, and the cupboard hears her and the man talking to it sometimes. The cupboard doesn’t know why, but it thinks that there’ll be more kids running around the house soon enough.
This house is an old one, and the cupboard inside it is an old one too. Both have seen several families in their years. The cupboard doesn’t know how it got here, or why it is different from all other cupboards. But it does know that whatever the reason, it’s glad that it was chosen. The cupboard misses its kids. The cupboard does not miss some of its adults. The cupboard wants to forget some things, but it can’t. The cupboard is glad that whatever made it did so because the cupboard knows that it's been given a wonderful gift: the cupboard knows sentience, and so it knows kindness and evil and joy and misery. It knows humanity and the uniqueness that makes humans human.
started writing this off-the-cuff fic (that's always how it starts for me, isn't it?) and stayed up way too late working on it last night
and then it filled my mind all night to the point that i slept like garbage and obvs i want to keep going but also, it was never supposed to be like this
Do you guys ever go "This project is just going to be for fun and I'm NOT going to spend hundreds and thousands of hours making in depth lore and explaining every single thing"
And then suddenly you've spent like 5 hours writing about how werewolves and vampires work and your eyes feel like they're going to fall out but you NEED to know right this minute where in the mouth spit comes from because you need that information for your vampire lore
[ID: a 4 second video of wilbur soot standing on a gray background with a crumbly or drippy pattern in a darker gray, and an effect that looks like scratches on old film. he's an avian man with grayong brown hair and dark gray feathered ears and down across his nose and cheeks, wearing an emerald earring on his right ear, a red stud with a gold bar hanging from it on his left, a red and gold sash over his hair, and round glasses with red lenses. his eyes are not visible behind them. there's a gold halo behind him. near the two second mark, wilbur glitches out and the halo flickers. when the glitches end, ghost bur is standing in wilbur's place and the halo returns to normal. ghostbur's skin is light gray, he's missing wilbur's earrings and sounder shawl, and his glasses are cracked. there are also large tears in his sweater, stained blue with his blood, and forget-me-nots floating around his wounds. end ID]