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derinwrites · 2 days

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The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

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hwaightme · 3 days

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Cliché

(masterlist)

🥂pairing: jongho x gn!reader 🥂genre: fluff, acquaintances to lovers 🥂summary: normally, you are not one to enjoy clichés, but what can you do when the best man at your best friend's wedding is choi jongho? 🥂wordcount: 1.6k 🥂warnings/tags: unedited, reader is 'maid of honour', puns, jjong-rizz, dancing, much pining, it's giving 80s/90s romcom, flirting, lmk if anything else 🥂author's note: 'chella jjong. that's the post. thank you so much <3 any reblogs/comments appreciated!

It might be cliché. Something you had seen in films and shows many times over. You had scoffed at the pairing and labelled it as a trope tied by tradition and the general public desire for happy endings to everything - despite it rarely ever being the case. But here you were, catching yourself staring a little too long at the best man, and discovering that your heart was beating just that little bit faster, fluttering whenever he whispered one thing or another to you so as to not attract attention from other people who shared the table.

It wasn’t that you did not know Jongho, hell, you knew him very well - or at least the on-stage Jongho, the ace performer Jongho, the legendary vocalist Jongho. Having seen his achievements on the news and having heard stories about him travelling across your social circle, you were well aware of his professional capabilities. You, however, could not say much beyond that. Past common courtesies and the occasional nod in recognition, you had never shared as much as a couple of sentences with the man. Even though he was the groom’s closest friend and your best friend’s, the bride’s, recent but trustworthy acquaintance, he was a mystery to you. A mystery with an infinitely precious smile and a sense of humour that was too similar to yours to be able to hold a poker face.

It all started with a pun on an item in the set course menu for dinner. And then another. And then another, completed by yourself much to his delight. Soon enough, both of you were dissolving into a fit of giggles, sharing the jokes that others either had not quite understood or heard. It did not matter. They were not addressed to them anyways. At least not when Jongho was fully turned towards you, a glimmer in his eyes and a softness so indescribable painted across his features that you struggled to regain your composure.

You were quick to connect over the many things you had in common, and spent some time simmering in each other’s passions, enjoying the stars in one another’s eyes as you delved deeper into details. He was kind, attentive. A listener. But at the same time, no matter what topic you ventured into, even if just tentatively and temporarily, he remained just as transfixed by you as you were by him. Whenever you were worried that you had over-talked your welcome, he would encourage you to continue with a gentle question. In a rapidly descending spiral, you got addicted to his melodic laughter and how his nose would scrunch up occasionally, far too adorable to resist.

Jongho reminded you of old classics, golden autumn sunshine and the sensation of when you get to rest after a long day in your favourite cafe, with a warming cup of the finest brew; perhaps this was because you found out you shared an appreciation for coffee with him. Be it ‘Roman Holiday’ or ‘Singing in the Rain’, Jongho retained a certain something that could not be defined by simply taking in a snippet of the present day. While you referenced recent trends and popular videos spreading online at each other, nonetheless there was something timeless about him. You wondered if this was exactly why his voice was so enchanting. The aura spread from the way he carried himself, to the way he made you feel, to the way he made you wish you did not have to look at anyone else. Dark locks that were elegantly styled to highlight him as every bit a gentleman, pretty espresso-coloured eyes that you had memorised by now, a tailor-made suit and infinite charisma that made you forget you were at somebody else’s wedding.

“I do wonder why we had never spoken before,” you mused out loud as Jongho led you to the dance floor to catch the pace slowing down to gentler, more loving tracks.

“Good things take time,” he took no time in answering, almost startling you as you caught his words.

“Ah I see, needed time for interest to build,” you teased, earning a shake of the head and a shy smile.

“Or perhaps,” he snaked his arm around your waist, and waited for you to position yourself comfortably to join in a slow dance, “to muster up the courage.”

“Hm? Pray tell,” you tilt your head, floating to the music and the sound of Jongho’s voice.

“Well I hardly think that gawking across the room is a good way to get to know someone,” you felt blush rising to your cheeks as you thought back to the times when you would study him or sneak glances at different gatherings where both of you just so happened to be - rare, but astonishingly memorable, at least the times when you could capture him in your vision and imprint him in your mind. When you looked away, just for a split second to regain your composure, you heard a soft exhale and were met with a cheeky grin, “I was referring to myself, but I am glad to know that the intrigue was mutual.”

“Hm- so, what made you want to change things up?” you swore that if he were to let go of you right this second, you would probably collapse on the floor.

“A kind piece of advice from your friend in white. Told me that I should probably take my chances,” he tilted his head in the direction of the bride and groom before turning in time to the song.

“Wise words,” for what had to be the first time in your life, you decided to be grateful that your friend had a penchant for matchmaking.

You never quite let yourself drift in daydreams too deeply, be it out of a fear that they would turn into regular escapist paradise or out of despising the sensation of disappointment that often proceeded after entertaining even the simplest idea. But now, you could not bring yourself to avoid anything. If anything, you desperately wanted to dive in, see where the duet could take you.

One song replaced another, and you were still in his embrace, allowing yourself to enjoy the moments trickling by. Butterflies were replaced by a novel serenity, as though no matter what happened, Jongho would still be around. It made you remember something you had read about one time: the premonition of love, the feeling that in the future, you could love a person with your mind, body and soul. And, funnily enough, the realisation did not make you want to bolt in the opposite direction like it usually did. Instead, you leaned closer, and spotted the glints of that same new beginning in Jongho’s gaze.

Were you confident? No, far from it. If anything, you knew that the chances of things working out were rather disconcerting, but you did not mind trying. You could not deny the spark that was between you, nor could you ignore the realisation that this was not a spontaneous meeting of two strangers. If there was something you could choose to regret, it would be not attempting to get to know Jongho earlier; but then again, was it time lost, or a necessary pause that led you to where you were now? As the song blended into another and the two of you stepped away from the dance floor, you noticed you were still resting your hand in his. Shyly, you pulled away, your actions only to be mirrored by an equally flustered Jongho. His airy, melodic giggle made you beam; you struggled to hide it by studying the floor. It was easy to conclude that your efforts were in vain when he reached out to brush his hand over your upper arm, and carefully uttered your name. In the span of the evening, how he said it became your favourite sound.

“I’m not a fact, but I’d love it if you were to face me,” he joked, making you purse your lips in an effort to not crack so quickly.

“Jongho, come on-”

“You must be floored-” you looked up, met with a smug and mischievous grin that melted into relief and an unparalleled radiance. Oh this man and his silly puns. How you were fond of it all.

“Careful, you might just steal the show,” you gestured around you, reminding both him and yourself that you were, in fact, supposed to be celebrating somebody else. Not that you minded the attention and the way in which your heart twirled.

“Mmm, fair. Then, how about… this is our first meeting. First real meeting, I mean. We can be the main event elsewhere, if you agree to join me,” he was hopeful, gaze locked with yours. Music barely reached you, drowned out by his proposition and the steady beat of your growing feelings.

“Are you asking me out, Choi Jongho?”

“Mm, I do believe so. So, will you do me the honour and agree to go on a date with me?”

“How can I resist?”

You smiled as you felt Jongho guiding you into a spin before rejoining the dancing crowd, and happily followed. As you returned a hand to his shoulder and delicately repositioned the other to be palm to palm with his, you could not help but recollect your now archaic musings. Perhaps some clichés were more than welcome, and some things did make you wholeheartedly believe in and hope for your... and his... happy ending.

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thank you <3 to join taglist, send an ask! any reblogs appreciated <3 much love!

#k-labels #kflixnet #cromernet #jongho x reader #jongho fluff #choi jongho x reader #choi jongho fluff #ateez fluff #ateez x reader #jongho x y/n #jongho x you #jongho imagines #jongho scenario #jongho #ateez jongho #ateez #kpop fluff #kpop writing

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essektheylyss · 3 days

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This was entirely tangential to this post from @utilitycaster which is why this is its own post, but the tags made me think about what feels most compelling about Liliana to me, and it's really because there's such an interesting approach to redemption in terms of the sunk cost fallacy to be had there.

There have been plenty of comparisons between Liliana and Essek, but I don't think they're really situations that can be compared. Essek had done one horrible thing (that was of relevence to the story; it is implied that he's taken other actions that he feels were wrong, but we don't know what those entail nor do the Nein care enough to ask, so per narrative convention, they do not matter for analysis) and was only still involved in it to the extent that he couldn't take it back, so to survive he had to continue covering his tracks. But he was also incentivized to otherwise act in alignment with the group that was not those on behalf of whom he had made terrible choices, because he was still living in the Dynasty, and as such wasn't actively perpetuating those actions beyond the cover up.

Liliana on the other hand is acting with the Vanguard and has been furthering if not personally committing atrocities on their behalf for a number of years, continuing to the present. Like Essek, she believes her involvement in the cause to be a difficult choice that was made for noble reasons, and now can't see a way out. But she is also relieved to be told to stay, though at the point that they discuss her leaving, she is alone and outside the immediate range of contact or oversight from the Vanguard. It seems reasonable that she could disappear with a decent headstart, and perhaps become untraceable quickly enough to be safe from anyone following. With this context, returning to the Vanguard with the intention of feeding information to the opposition feels like the riskier choice, but crucially it is the devil she knows.

I actually liken this more to Cassandra de Rolo than Essek. Cassandra was manipulated against her brother by the Briarwoods, but this was also spurred by having watched Percy seemingly leave her for dead. There are legitimate reasons why the Briarwoods, as the people who rescued her and then kept her alive for many years, are the easier option in which to place her trust. She knows what she's getting from that vantage point and how to handle it. She doesn't inherently have faith that someone she only knew as a young and helpless child, who ran from the hardships she's faced, would have the strength or willingness to do what she has found necessary for survival.

I think that Liliana's actions are more willful, not least because she was not a child nor in mortal peril when she joined the Vanguard, but she sees herself as having made difficult choices when only faced with difficult options, and I do think they have been difficult. She didn't want to leave her family; she doesn't want to hurt the young Ruidusborn under her care; she is probably genuinely sorry that innocent people were considered a necessary sacrifice for what she sees as the greater good. It is psychologically taxing to feel as though one is always picking between bad options, which is a significant contributing factor for why people buy into a sunk cost for so long. And over time, those hard decisions become easier, because you know what to expect from the outcome. Though Liliana is well aware that she might be killed for a misstep among the Vanguard, she already knows how to act to maintain their favor, but how she might be received on Exandria by those fighting the Vanguard, even with the Hells vouching for her, is anyone's guess.

This is a very real reason why people remain in cults and struggle to push back against this kind of conditioning: because the decision to leave feels more immediately perilous than the decision to stay. (On a certain level making these kinds of choices and actions habitual is a fundamental basis behind a lot of military conditioning.) And if you are acting in the interests of your own survival, but that survival comes at the cost of that of countless others who have not, in fact, made any threat or harm against you to begin with, then is the nature of your survival morally defensible?

This analysis isn't a question of whether Liliana will commit to her role as double agent and turn fully against the Vanguard, or even which one of these is a "better" story; this is about what the story might say if she doesn't. Yes, she might commit to a different path than the one she's on and make an effort to redeem herself, but it is also a perfectly coherent and interesting story if she doesn't.

#sometimes it really feels like people just. pick a character name out of a hat #and then decide that that character must get what the person feels they deserve regardless of the rest of the existing text #instead of like... considering the text for the story that has already been told and what it might still say from that vantage point #cr meta #liliana temult #essek thelyss #cassandra de rolo #critical role #anyway do not know admittedly how coherent this is but I gotta finish up my work day so I'm posting it. yolo

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another-clive-blog · 6 months

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clive au idea: he hits his head really hard at the casino (when he gets punched by bostro), and he gets some kind of amnesia. when he wakes up, from what he can gather from the others on who they think he is, he starts to genuinely believe he is future luke.

Angst angst angst- Alright I was excited about this one so I tried to make both fanarts and fanfiction hehe. Both are under the cut !! ('Do you like the color of the sky ?' Type of post ndjvdhcd probably SO LONG)

A fair warning tho, I drew on paper and photos destroyed my colors. I'll wait for nice natural sunlight next time...

Alright SO the fun thing is that I've actually done the part we were talking about lol, so without any further ado :

Soooo yeah. Next Google search : How do I tell my kind but sometimes provocative apprentice that he's actually the villain we were looking for.....

And would you look at that !! The fanfiction takes place right after that last picture <3

"Professor ? What is wrong ?" Big Luke asked, confusion written all over his face. Not concern. Never concern.

Layton should have known.

"You have to tell him, Hershel," Dimitri simply said, another nail in the coffin. He was right, of course, but that didn't make things any easier.

"Professor ?" Little Luke asked, his eyes worryingly going back and forth between the two men.

Well, it was too late to turn back anyway.

Big Luke must have felt it too, because he tried to back away at the last possible second. "Wait, wait, wait-"

A sharp inhale. Composure. And onward we go. "You are not actually Luke Triton."

"I'm not ?!" The actual Luke Triton yelled in anguish.

Layton kept his eyes on the silent young man who was now looking at him with an intense something that he couldn't quite describe. "Your name is Clive Dove. Your parents died in a tragic accident 10 years ago. They were collateral victims of a failed experiment ran by Dimitri's colleagues."

Big Luke whipped around, glaring daggers at Dimitri, and for a brief second Hershel thought that his memory had come back all at once.

It had not. "Tell him he's wrong !!" Big Luke commanded with a sheer anger that only seemed to incriminate him more.

Dimitri shook his head, the same tired sadness he did everything with heavy in his eyes. "He is telling the truth. You told me yourself, because unlike me you were there that day."

"No !" Big Luke insisted before the Professor cut him off.

"Clive, you then got adopted by a nice lady called Constance Dove. She-"

"Stop it !!" Big Luke yelled. Had they lost their minds ?? He would remember if his parents were killed. He wouldn't just forget the last memories he had of them ! No, no, no- Brenda and Clark were alive and well, little Luke had told him that. The professor and that Dimitri guy were just- just making up lies, testing him ! The Professor had been suspicious of his sudden memory loss, and Dimitri was a liar through and through.

They were lying, and he knew exactly how to prove it.

"If I'm not Luke Triton, then what am I doing here ?" He asked, because well- why would he be a part of Dimitri's vicious plan when the guy supposedly murdered his supposed family ? Why would he introduce himself as a Future Luke trying to stop Professor Layton, thing that he had apparently done ? And had he just conveniently ran into the Professor and stayed by his side by sheer luck ?

He crossed his arms smugly. All of these theories fell apart the second he was thought not to be Luke Triton. Checkmate, Professor. You won't fool your apprentice this time.

Layton looked him dead in the eyes. "You are the mastermind behind this whole thing."

...Hu ? Well it was a good question, but he wouldn't exactly call himself a mastermind-

"What do you mean, Hershel ?" Dimitri's voice cut through the silence, and for once he sounded alarmed : Big Luke somehow knew that it was strange to hear so many emotions at once from him.

"We have known for some time that someone else was manipulating Dimitri," Layton admitted, "but we couldn't quite find who. I am afraid we may never get confirmation with your unfortunate situation, but I do believe you were behind all of this, Clive."

"Stop calling me that," he snapped, "and stop telling such stupid theories !"

"You kidnapped those scientists and you told them to work on these weapons-"

"Weapons ?! Is that true, Clive ? This was never a part of our plan, we-"

"But I'm not sure what the final product is supposed to be. It must be something rather enormous, a new kind of weapon or a fortress-"

"Enough !!" Big Luke screamed. "Aren't you done already ?! I thought you were a brilliant man, but you're as pathetic as the rest of them !!"

A gasp. Little Luke took a step back, then another. He looked- he seemed betrayed, and disheartened, and he quickly ran to the professor's side.

Big Luke remained silent- almost. He suddenly was made aware that he was panting, his whole body uncontrollably shaking. He ran a hand down his cheek and surely enough, it was wet.

Most likely sweat than tears.

He looked around. The professor and Luke were finally silent, eyeing him like he was a predator about to strike. Dimitri had gone quiet too, but more in disbelief than anything. It was finally quiet, and yet there was a buzzing in his mind that was deafening, like something was going to snap soon and go off.

He squeezed his eyes shut. Luke Triton- Clive Dove.

Nothing. Not a single memory in sight. His parents, whoever they were, were gone from his mind- possibly gone forever.

The buzzing had stopped by now, but the anguish had not.

#Hope this was okay !#I had fun with this #Thank you so much !!#clive dove #hershel layton #Not tagging the others because not present enough #professor layton and the unwound future #professor layton and the lost future #unwound future spoilers #lost future spoilers #my art #my writing #Ask #Good au #Very good AU idea actually

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katabay · 1 month

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desmond & friends modern day assassin sequences…..I miss you……..

#specifying ‘and friends’ because I hate William Miles with my whole heart and he is not included in this sentiment #anyway vaguely this is nyc so the cops are probably wasting taxpayer money by fucking around in the subway #komiks tag #assassins creed #shaun hastings #desmond miles #this is almostttttttttttt shaundes #but I didn’t continue the dialogue far enough to make it really flirty. There’s a hint of flirting happening.#someday I’ll have to actually do a longer form fan comic to land my favorite ship AND my favorite narrative elements in the same #go (the horror and dialogues on free will and what we owe each other past/present/future & also what failure means AND-)#this ties into my second favorite relationship dynamic: clay and desmond. obvious. clay might live in my head rent free a little more than #Desmond does because that end of game reveal in AC1 is a top 10 games experience to me and I think about it all the time #ANYWAY IM OFF TOPIC NOW. desmond picks up snacks at a bodega on his way back

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bibiana112 · 10 months

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One of my favorite character traits that Junpei has is how as much as he's protective and caring to his favorite people and impulsively jumps into danger to help others if he has an opportunity to without wanting anything in return and highly values the promises he makes he just seems to also always be more curious than he is sensible or empathetic, he gets so caught up on the horrors he sees but he has such a hard time looking away, he's right to analyze and be intrigued by the ninth man's remains but he stands around staring at it until he pukes, in the showers you can interact with the wall behind which lies "Snake's" corpse and he will pick up more details about it each time you click on it until he has to mentally rip himself away because it's not that he can't keep looking at it it's that he better look away and focus on getting out, and the way he talks to Clover about the body with every minutiae she wouldn't want to hear is like his brain connects faster to his mouth than it can connect to his sense of morality sometimes which I guess turned out to be a good thing in this one case or just good common sense in general like there's other minor things he blurts out at times, he's stated to not have tact be his strongest suit, he's insensitive on accident trying to fumble through interactions even if he's entirely confident on what he's saying he's soo sharp when he has a goal in mind but he's soo dense if he's trying to just exist my man is so traumatized and his brain always seems to default to taking the most of any given situation in as possible to desensitize himself instead of any other response and sometimes it pushes his mind to be so single mindedly entranced on not ending up that way too that he'll describe a mangled body in excruciating detail to a grieving relative even if that's his friend and even if he feels guilty about it immediately as soon as he catches up with what just left his mouth instead of staying in his thoughts

#I did it I made a post about Junpei without talking about the Kurashikis!!#I am... still doing that here in the tags because that's how this train of thought started but... akdhsk #like I just started thinking how even in the everything is fine and junepei still has the capacity to be a healthy couple AU in my head #he would still have moments™ like this #how he would make invasive little questions about uncomfortable things to reminisce about #not realize he's overstepping right away not deal in the best way with Akane's meltdowns if she's doing bad enough to have them #kind of like in door 3 as in still being touchy and stuff but nothing bad on purpose #nothing like pushing her around like I still can't believe he canonically does in zero tiem dilemma #but yeah basically that's it that's the post I like Junpei a lot despite not being as present in my every waking thought as other character #and I love this about him love that he isn't just completely heroic that he has to struggle a bit #he's a protagonist that feels so generic for the first few minutes but he's anything but the more you play #I love how No One in ze is a good flawless person the way stories usually portray #they have quirks and hang ups that they are capable of doubling down on or turning for the worse under circumstances that push them to #again not. really including zerotiemdillema on that one but you get what I mean #zero escape #zero escape spoilers #999 spoilers #junpei 999 #junpei tenmyouji #every character in this series who ultimately wants to do good has to struggle so much with the horrors around them and in themselves for i #and then there still aren't right simple answers and they still try for the slim possibility that things can be okay this time and I love i #escape room convention but it's a time loop

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