Reblogged kaywavy
nsfw lyrics warning! 😵
yea yuhhhhh haha pitch vriska ftw!
Reblogged
Astarion fuckers hear me out:
Tav/reader/partner is autistic, has particularly bad sensory issues that impact their sex life. Astarion pulls the whole "I'll sleep with you for my own gain" thing. But instead of the yes, he's expecting, they get all anxious and shy about it. They want to sleep with him, but they think as soon as they explain theres some hard limits are things that have to be done differently because of their autism, he'll just back out. But they explain anyway, and Astarion is all "well... not my plan but I can work with it"
This results in slower, much more communication driven and careful sex than he's ever had. And suddenly, for the first time in years, it clicks in him. This is what it should be like. Careful at first, proper communication, the focus is on making each other feel good, safe and comfortable. For the first time in years, he enjoys it. Because they're giving him the same careful, communication driven treatment hes giving them. Cue "oops I fell in love with the person I was trying to manipulate"
He ends up genuinely caring for their well-being and comfort during sex, willing to put some of the kinker stuff aside for their comfort. And he gets the same care in return, teaching him to enjoy it again. They get overstimulated? He'll stop. He gets too flashbacky? They stop. Its about comfort, pleaure and trust, and that's how it should be.
Through having to accommodate their sensory issues, and them giving him the same care in return his warped view of sex is rewritten into something healthier.
Reblogged gzgkxg
Nothing more embarrassing than accidentally using a big word wrong because now I'm simultaneously both stupid and pretentious, the worst combination of all time
Reblogged metroid-fusion
Reblogged dirksgrayson
disco elysium being free on epic games today is evil as fuck. i beg of you guys just pirate it, the amount of claims on the free game will still tell the assholes who stole the game from the devs that Oh We're Still Relevant :). just pirate it. my christmas gift to you! pirate disco elysium
my fucking christmas gift to you (links to an internet archive listing)
Reblogged genderfeel
Walter wide was many things but it is extremely funny how he neglected his own flesh and blood teenage son in order to be an even worse father to a wholly different guy
Reblogged
I voice 14 different characters in THE ELEPHANT available now on HBO Max, this was such a unique, fascinating experience. Three different creative teams led by Pendleton Ward, Rebecca Sugar + Ian Jones-Quartey, and Patrick McHale each worked separately on segments without seeing what the others were doing, essentially an animated version of Exquisite Corpse.
Jordan Jensen voices the lead character, and Maria Bamford and I play ALL the other characters. Getting to work with all these incredible creators was a dream come true for me, and it was one of the most unique recording processes I've ever been a part of, just working with three different creative teams in succession and weirdly knowing more about the entire project than any of them individually, since none of them were allowed to know anything about the other segments. I'm very grateful to be a part of such a cool project
Reblogged inbabylontheywept
V.E. Schwab's advice for creating memorable characters - works for both protagonists and villains
This is really good advice.
It also ties neatly into the simplest version of the formula for getting people emotionally engaged with your characters: or how to build the moment in which your character starts moving from their initial state to the state in which they'll start changing their own lives.
First, you figure out the one important thing the character believes that they're wrong about. There's usually a core misperception that they haven't examined. Once they're forced to engage with it, it'll start to change everything about their perception of the world they're inhabiting and/or the people in it.
Then, as V.E. says, you identify the character's great desire and their great fear: the thing that character wants more than anything, and the thing or situation that terrifies them, and that they'll go to any lengths to avoid.
And having identified these two objects or situations, you build a situation in which the two forces will be in close, direct opposition to one another... then drop the character down in between them, and squeeze. Those two opposing forces become the jaws of a vise... and you crank the vise more and more tightly closed until the character has no choice but to acknowledge those opposing forces, and start (even in a small way) to deal with the pressure being exerted and push their way through.
This does not have to be, initially, a great climactic moment. In fact, it works better if it's not. It's more effective if your character has a brief low-intensity brush with these conditions-in-conflict early on. That way, when your big resolution scene comes along about two-thirds or three-quarters of the way along through the story arc, you'll have set up a resonance between that earlier hint or intimation of what's to come, and the really big blowoff. Your readers will recognize the resonance—the throb of tension between the two occurrences, like the vibration of a plucked string—and will find satisfaction both in the true resolution having been partially telegraphed earlier, and in how it's now being experienced and resolved in full.
This approach also allows you to set up more minor resonances between the realization of the conflict and its final resolution. These can serve to bind the structure of the work more closely together: to make it look (and be) less like a series of loosely strung-together plot events, and more like a unified whole, in which ripples of story business flow backwards and forwards, interpenetrating and influencing one another, and hinting at the big one to come.
But none of this can happen until the paired and opposing what-do-they-most-desire, what-do-they-most-fear axes have been defined. So that's a subject it's smart to spend some while thinking about (and for all your characters, not just the major ones), to be sure you're getting it right.
It's not unusual to get the wrong answers, or merely superficial ones, while you're still working out what's actually going on with the characters. So take your time. Eventually you'll find a set of answers that feel unquestionably right... and you can then nail those down in your notes and get on with making the kind of "good trouble" for your characters that will see them made complete.
