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Inner beauty

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CGs from the tgs teaser that we haven't seen in game yet

These first two were actually posted on their twitter too so I was able to grab cleaner versions of them from there. the rest are all stuff i screengrabbed from this teaser

these are all probably cropped from cgs that'll appear in their chapters, since that was the case for gregor, rodya, and sinclair's.

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ok guys im gonna go to sleep early tonight so i can finally get good rest gnight :)

ⓘ Fact check: This user intends to go to their room and take apart their old Yamaha EZ-200 keyboard in their underwear.

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'a portrait of queerness in egypt by jérémie chegrane' - document journal june 2023

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Entry 235: How I see the Intuitive functions

Ni

The function of probability. Ni is by far the most internal and indescribable function. It also has the most grandeur of all the functions. It works diametrically to Se, turning information and data into insights and understandings by filtering through experience, generalities, trends, and knowledge.

Compared to the other functions, it can see the farthest into the future with reliable precision so long as it is supported well. On its own though, Ni is helpless, judgmental, and narrow-minded. It acts on a singular mode attempting to contort the real world into its eternally-evolving framework. Like Ne, it works in futuristic terms but with a more decisive and narrow scope of view, therefore it tends to be more far-reaching but prejudicial. Ni can be described as probabilistic.

I associate Ni with passive introspection where unconscious realizations from external data bubble up until they reach a threshold of consciousness.

Image credit

Ni is associated with a magnified vision and this convex optics diagram portrays why.

Ne

The function of possibility. Ne is the most expansive and sporadic function. Compared to the other functions, it has the most breadth and scope. It works in opposition to Si, transforming past experiences into potential. 

Ne can see all the likely events in a situation with comparable weight. On its own, Ne is scattered, random, and directionless. Ne acts on multiple modes attempting to account for all the branching points from present events. Like Ni, it works in futuristic terms but with more openness and broad scope of view, therefore it tends to be wide-reaching but shortsighted. Ne can be described as possibility.

I associate Ne with active theorizing where unconscious data from internal understandings branch out into potential insights.

Image credit

Ne expands from one focal point into many, and this is what this concave optics diagram shows.

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that moby dick post about "if i don't end this story, then you are still alive in some way, you aren't truly dead" hits the core of what lcb ishmael's trauma is imo. we've yet to see her chapter, of course, but we know she's been job-hopping before joining limbus co. to find survivors of her "hellish voyage." she's described by the game's text as "obsessive-compulsive" bc she will not - or perhaps cannot - let go of something without understanding it. and what is trauma but a wound? wounds can be healed. wounds can be examined and fixed, surely. they can be dissected and understood. there must be some meaning to what she's experienced. there must be a conclusion, an aftermath, a moral or a lesson, some form of catharsis to be had. someone must still be alive to help her make sense of what she's seen. she must find them. the world must make sense again.

"that bastard" must still be alive because if they aren't - what does ishmael have? how can she heal this festering wound she's been left with?

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television graveyard (art by @cybervoidgirl on Twitter)

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Cyno Lore in his demo: he's a cop and he likes justice

Cyno Lore in Archon Quest: He was a cop until he realized that the Akademiya is up to something and left for justice

Cyno Lore in Story Quest: he's back to being a cop and it's a rough job ig but justice is important

Cyno Lore in the limited time event Windblume that takes place in Mondstat where he just happened to be visiting for a vacation: With the spirit of Hermanubis and his background as a dessert dweller he could have very well be subjected as a an experiment among those of the Akademiya. However through the compassion of a certain professor he was given the tools he needed to be one of the very few desert children that had received education while learning a way to control the ancient power that had once caused him great misery and strife. Driven by his strong sense of justice and through his professors help, he then became the General Mahamatra though he still faces the blatant discrimination due to his background leading him to have a tough exterior with very little genuine connection to anyone. Also, he thinks TCG is really rad and goes out of his way to share this hobby as a way of growing closer to someone.

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5 tips to write less cringe

Do you ever look at something you wrote and let out an audible “yikes”?

No shame, it happens all around. There’s always parts of our writing we wish would improve. Here are my best tips on what to pay attention to in order to avoid this.

Know your whys Knowing why you’re telling a story is still one of the most underrated “tips” out there. You’ll tend to solve 99% of your problems if you just know the reason you’re telling the story, and what specific thematic idea you’re actually trying to deliver.

Indulge in subtext Subtext can be a life-saver. If you’re going into a scene that you don’t know how to tackle, lay out the subtext first.

What is each character trying to achieve?

What is each character feeling?

What does each character want to avoid?

What’s the underlying conflict of the scene?

Are there any thematic arguments you could express that will make the scene feel more relatable?

Immerse yourself in description It’s easy to blaze through a scene when you know where your plot is headed, but allow yourself

Use:

- the senses to immerse readers into the scene

- internal reflection to allow readers a look into the inner workings of your character!

Don’t rush things When we know what we want our story to deliver, it’s difficult not to rush into the scenes we really want to write, or the twists we really want to reveal. But you need to allow yourself the space to build these storylines out and let them grow on their own time!

Read more In whatever way you wish to strengthen your writing, the absolute best way is to find books with similar genres, topics, or styles that you aspire to. Read them with understanding and if you like elements of the author’s writing, figure out how they got there.

Did you hear that my biggest baddest resource for writers is out now?

3 extensive workbooks for writers with easy story theory, step-by-step planning process, and dozens of fully customizable templates.

The Character Bible

The Plotter’s Almanac

The World Builder’s Chronicle

Find them through [the link here] or below!

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Introduction

Creating a unique and authentic voice for your characters is an essential part of writing compelling fiction. Whether you're writing a short story or a novel, your characters' voices need to be distinct and believable in order to engage your readers. But how do you find that unique voice? In this post, we'll discuss some tips and tricks for developing your characters' voices and making them stand out from the crowd.

Creating a Backstory

One of the best ways to develop your character's voice is to create a backstory. This backstory should include details about the character's upbringing, relationships, and life experiences. By understanding your character's background, you'll be able to better understand how they would speak and interact with others.

For example, if your character grew up in a wealthy family and attended an elite private school, they may have a more refined way of speaking than someone who grew up in a working-class neighborhood. Similarly, if your character has experienced trauma or hardship, they may speak in a more guarded or defensive manner.

Using Dialogue

Another way to develop your character's voice is through their dialogue. Pay attention to how your characters speak to one another and how they interact with others. Do they use slang or profanity? Are they verbose or succinct? Do they interrupt others or listen carefully?

Creating unique speech patterns and quirks can also help to differentiate your characters. For example, one character may use a lot of metaphors in their speech, while another may speak in short, clipped sentences. These details can add depth and complexity to your characters and make their voices more distinct.

Experimenting with POV

Finally, experimenting with point of view (POV) can also help you find your character's voice. Writing from different perspectives can give you a better understanding of each character's unique voice and personality. For example, if you're writing a novel with multiple POV characters, try writing a scene from one character's perspective and then rewriting it from another character's perspective.

By doing this, you'll be able to compare and contrast the different voices and get a better sense of each character's personality. You may even discover new aspects of your characters that you hadn't considered before.

Conclusion

Creating a unique and authentic voice for your characters is crucial for engaging your readers and bringing your story to life. By creating backstories, using dialogue, and experimenting with POV, you can develop your characters' voices and make them stand out from the crowd. Keep experimenting and trying new things, and you'll soon find the perfect voice for each of your characters.

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Can I get prompts for a situation where someone has to kill someone they love - but its to help them?

I haven’t seen stranger things but I feel like this may be for it….

• character has to end their suffering when they’re s/o or bestie has fatal injuries

• omg their s/o begging them to do it “please, I can’t. It hurts too much!”

• they have to kill their s/o before a transformation takes place

• maybe they’ve been corrupt and lost themselves and they have to be killed to protect everyone else but they’re s/o has to do it

• or you can go full Star Trek and be like “the needs of the many out way the needs of the few” and have them be sacrificed to save everyone else.

• character who has no quality of life anymore begging they’re s/o. Maybe a “it’s selfish to keep me around just for yourself.” Line

• twisted Jigsaw like madman gives them a choice, kill ur s/o or watch your family/ team die

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Prompts for characters that come back to life but they're really different than their s/o remembers them?

I love this! I just did some elements that you can apply towards the character to spice it up.

Hair color: so I’m thinking that maybe the resurrection process ends up bleaching part or all of their hair white. I’m kind of thinking of “freeze branding” that is done on cattle that kills the hair follicles and they only grow back white if you wanted some scientific reasoning. (Jason Todd is a good example of this)

Memory loss: maybe the character was resurrected without their memories and they take on a new identity and switch teams (ie villain to hero or hero to villain)

New abilities/disabilities: did they resurrection process leave them stronger or with new/altered abilities? Did the resurrection process cost anything to them? Do they now serve the one who raised them from the dead?

New purpose/ vendetta: I don’t know if you’ve ever seen the movie “the crow” but basically this guy and his fiancé gets murdered and a crow resurrects him for one night because the crow was like “that’s ain’t right” so he can go around and enact revenge. Maybe your character is going to avenge himself or someone.

There are so many elements to make a story that’s truly yours, especially with something that isn’t done a lot you should totally make it your own!!

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Reminders for new ao3 users (in no particular order):

- filter your searches like you would on a library website or in an online catalogue

- don’t post placeholders, fic searches, or recommendations as fics. DON’T! It’s against ao3 TOS

- there is no algorithm. ao3 sorts by date posted/updated unless you filter with specific search criteria

- ao3 is a non profit. that means it doesn’t sell ads to make money — it only survives on donations. this is why it can show you so many fics without ever flashing an ad or pop up at you!

- report fics that break TOS when you see them (I.e., placeholder fics, searches) to help other users navigate better

- the tag “dead dove, do not eat” doesn’t equate to gore/awfulness automatically. it is a complementary tag that enhances current tags. E.g., if the fic is tagged “gore” and “dead dove, do not eat” the author really wants you to mind the gore tag

- most fandoms have a variation of “no beta, we die like (x character)” and they all link back to the “No beta” tag

- publishing a new fic sometimes means it won’t show up in the fandom/pairing tag for a few minutes

- subscribers receive update emails at different times, depending on when you update/publish your fic. there’s no good way to predict when an e-mail will be sent — it can be in 30 seconds, or two hours later

- some fics are restricted by authors to those with ao3 accounts only. if you see a blue lock in the upper right corner, that fic is only visible to logged in ao3 users

- you can block commenters now! this didn’t use to be a thing

- updating a fic just to stay at the top of the pairing tag/fandom tag is a dick move. unless you’re legitimately editing or adding chapters, this just annoys readers and fellow authors, and people will skip over your fic

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How to Write Characters With Romantic Chemistry

Writing great chemistry can be challenging. If you’re not super inspired, sometimes the connection between your characters feels like it’s missing something.

Here are a few steps you can consider when you want to write some steamy romantic chemistry and can’t figure out what’s blocking your creativity.

1. Give the Love a Name

Tropes have a bad reputation, but they can be excellent tools when you’re planning or daydreaming about a story. Giving the romance a name also assigns a purpose, which takes care of half the hard plotting work.

You can always read about love tropes to get inspired and think about which might apply to the characters or plot points you have in mind, like:

Friends to lovers

Enemies to lovers

First love

The love triangle

Stuck together

Forbidden love

Multiple chance love

Fake lovers turned soulmates

There are tooooons of other tropes in the link above, but you get the idea. Name the love you’re writing about and it will feel more concrete in your brain.

2. Develop Your Characters

You should always spend time developing your characters individually, but it’s easy to skip this part. You might jump into writing the story because you have a scene idea. Then the romance feels flat.

The good news is you can always go back and make your characters more real. Give them each their own Word or Google doc and use character templates or questions to develop them. 

You should remember to do this for every character involved in the relationship as well. Sometimes love happens between two people who live nearby and other times it happens by:

Being in a throuple

Being in a polyamorous relationship

Being the only one in love (the other person never finds out or doesn’t feel it back, ever)

There are so many other ways to experience love too. Don’t leave out anyone involved in the developing relationship or writing your story will feel like driving a car with only three inflated tires.

3. Give the Conversations Stakes

Whenever your characters get to talk, what’s at risk? This doesn’t have to always be something life changing or scary. Sometimes it might be one character risking how the other perceives them by revealing an interest or new fact about themselves.

What’s developing in each conversation? What’s being said through their body language? Are they learning if they share the same sense of humor or value the same foundational beliefs? Real-life conversations don’t always have a point, but they do in romantic stories. 

4. Remember Body Language

Body language begins long before things get sexy between your characers (if they ever do). It’s their fingertips touching under the table, the missed glance at the bus stop, the casual shoulder bump while walking down the street.

It’s flushed cheeks, a jealous heart skipping a beat, being tongue tied because one character can’t admit their feelings yet.

If a scene or conversation feels lacking, analyze what your characters are saying through their body language. It could be the thing your scene is missing.

5. Add a Few Flaws

No love story is perfect, but that doesn’t mean your characters have to experience earth shattering pain either.

Make one laugh so hard that they snort and feel embarrassed so the other can say how much they love that person’s laugh. Make miscommunication happen so they can make up or take a break. 

People grow through their flaws and mistakes. Relationships get stronger or weaker when they learn things that are different about them or that they don’t like about each other. 

6. Create Intellectual Moments

When you’re getting to know someone, you bond over the things you’re both interested in. That’s also a key part of falling in love. Have your characters fall in intellectual love by sharing those activities, talking about their favorite subjects, or raving over their passions. They could even teach each other through this moment, which could make them fall harder in love.

7. Put Them in Public Moments

You learn a lot about someone when they’re around friends, acquaintances, and strangers. The chemistry between your characters may fall flat if they’re only ever around each other.

Write scenes so they’re around more people and get to learn who they are in public. They’ll learn crucial factors like the other person’s ambition, shyness, humor, confidence, and if they’re a social butterfly or wallflower.

Will those moments make your characters be proud to stand next to each other or will it reveal something that makes them second guess everything?

8. Use Your Senses

And of course, you can never forget to use sensory details when describing the physical reaction of chemistry. Whether they’re sharing a glance or jumping into bed, the reader feels the intensity of the moment through their five senses—taste, touch, sight, sound, and smell. 

Characters also don’t have to have all five senses to be the protagonist or love interest in a romantic story. The number isn’t important—it’s how you use the ways your character interacts with the world. 

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Anyone can write great romantic chemistry by structuring their love story with essential elements like these. Read more romance books or short stories too! You’ll learn as you read and write future relationships more effortlessly.

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Y'all have gotta start making more posts about the fact that Andrew Ryan is canonically a short king. Literally everyone in the bioshock universe should be taller than Ryan and it makes Ryan angry to no end. Fontaine hears about Ryan and says he sounds pompous, but the second he actually meets Ryan face to face, and sees how itty-bitty he is? It's over. The war of Rapture is already completely lost because it was sparked by one (1) short joke from Fontaine.

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HBO Max: so basically we're going to erase most of our shows as a tax dodge in a week and you can't stop us

A Youtuber who makes two hour long & strangely ominous video essays about Lost Media: it'll all be on Archive dot org by the end of the week you son of a bitch. Also the forbidden original pilot of Caillou and the French dub of the long sought after August 27th, 2001 Spongebob bumpers