is that a valid source

caring for your love's sign
  • aries: let them be in charge, remind them that you won't leave, give them space to release their boundless energy, never forbid them to speak their mind, promise them the world in return for their time, learn to move quick, don't be afraid to be bold and loud
  • taurus: touch them constantly, worship their lips and eyes and skin, give them perfume, carry them over a puddle, hold their umbrella for them as well as the door to the car or their home, massage them and tuck them into bed, listen to what no one else wants to hear them say
  • gemini: speak, listen, run after them if they leave, don't be afraid to shout or sing along, nudge them, tickle them, beat them playing video games over and over and over, playfight, race in the streets, laugh at their jokes, praise their ideas, never say no, always say yes, never stop moving and dancing and spinning, give them a million kisses a second
  • cancer: hold them tightly against your chest, press your lips to their ear, slow dance late into the night, kiss them deeply, make their bed, don't hold back, ever, speak from your whims and impulses, let them see the workings of your heart, let them read your mind, carry out your promises, ride the fights out with diligence, compromise, keep them close
  • leo: call them beautiful and handsome and adorable, compliment their flaws, lift them to the sky, forget yourself in their presence, bite their lower lip, paint them, write them immortal into your poetry, listen to the rhythm of their heart, show them off, tell everyone that they are yours
  • virgo: take care of yourself and your body first, don't ignore their signs and clues and hints and teases, respect their hard work, drown yourself in their stories and sweaters, make their home yours, be flexible and find leeway, forgive, forget, remember every date and every hour, cooperate, talk about your future, hold each other accountable, keep expectations high, don't fall into the slump of routine
  • libra: be polite and speak kindly, find their sweet spots, hold their hand, take them out at night all the way until the morning, dedicate songs to them, learn their hobbies, idealize and romanticize, be a spectator to their life, a witness to all their important moments, be their biggest fan and their closest confidant
  • scorpio: lock away their secrets, look them in the eyes, stare and hold and breathe, breathe into each other, mold yourself into them, spread yourself out, let them have all of you, drop away your walls, taste them and let them taste you, be honest, only honest, be your most instinctual self only for them, protect them with your strength and your love even if they forbid you to, fight for their attention, keep up
  • sagittarius: cherish your time together, make each moment exciting, be spontaneous, adventure together, support them consistently through their journey and obstacles, surprise them, build a tremendous array of inside jokes, play board games and take them to new places, never stop challenging them
  • capricorn: be their source of comfort and acceptance, show them your dedication, validate their emotions, take them seriously, watch movies together, find your routine, bake things for them, gift them self-care products and roses and chocolates, speak without restriction, love gently and carefully
  • aquarius: recognize their uniqueness, call them different, tell them they're nothing like you've ever seen or will see again, treat your love as if it's a once in a lifetime moment, minute, second, a beat, be their hope, give them attention, be patient, tread carefully around their heart, move slowly, then quickly, then all at once, be their best friend, their newfound family, but don't tie them down
  • pisces: change their world, flip it upside down, open their eyes to new ideas and worlds and feelings, make them laugh like no one ever has, tell them stories, be their muse, support their endeavors, remind them to keep going, wait for them patiently while they come back to reality, make everything feel wild and pure and unreal
  • *note: also check moon and venus*
When you are your own best friend, you don’t endlessly seek out relationships, friendships, and validation from the wrong sources because you realize that the only approval and validation you need is your own.
—  Mandy Hale
Promptis Headcanon

So why does Noctis like him so much anyways?

The whole “he doesn’t treat me like a Prince” is obvious, but so many people act that way towards him (Dino, Vyv, Ardyn, Aranea, Ravus, every side quest person ever…) but they don’t get along quite the same. I think it goes beyond mutual interests (like dogs and video games) too. 

One of the reasons why Noctis likes Prompto so much is because he feels like he’s needed around him. Like he’s doing something right

Imagine growing up, the ever incompetent Prince who can’t even clean up his own candy wrappers, and who had little to no interest in politics. He’s catered to his whole life, and disappointed so many people in his life.

Then there’s Prompto, who’s a little needy, clingy and an obvious klutz, and Noctis finds himself on the other end of the spectrum. 

Prompto tumbles and falls in the middle of a link strike: Noctis catches him and flicks his forehead. Tells him to be careful.

Prompto trips and hits the ground while they’re out camping: Noctis bends down, puts the camera away and makes sure he’s alright.

And Prompto thanks him so much throughout the game, when other people are just constantly berating him. Like he needs to focus more, get stronger, make better decisions. But with Prompto, his life seems a little less like it’s falling apart, because for once, he actually feels like he’s in a position to help someone else, and using his own power. For once, Noctis is good enough for someone too. He even caters to him (at least, if you let him) like taking random pictures, heading to the closest hotel when he’s tired, actually heading for the chocobo races, etc.

I mean, Prompto wants to be seaside supermodels? That’s really gay, but if that’s what Prompto wants, then Prompto will get it. Anything for Prompto.

Tldr; the real prince in the relationship is Prompto.

When you are your own best friend, you don’t endlessly seek out relationships, friendships, and validation from the wrong sources because you realize that the only approval and validation you need is your own.
—  Mandy Hale
When you are your own best friend, you don’t endlessly seek out relationships, friendships, and validation from the wrong sources because you realize that the only approval and validation you need is your own.
—  Mandy Hale 
APRIL 3: Hayley Kiyoko (1991-)

From “Girls Like Girls,” to “Cliff’s Edge,” to “Sleepover,” Hayley Kiyoko has been giving us gay bop after gay pop, and so, we’d like to take today to celebrate the indie pop princess’s 26th birthday. Happy birthday Hayley!!

Although most of us have fallen in love with Hayley through her music career, she was also gracing our television screens long before many of us would have even thought of ourselves as girls who liked girls. Born April 3, 1991 in Los Angeles, Hayley was born to be an entertainer; her father is a comedian and an actor, while her mother is a former figure skater turned choreographer. Hayley first found herself in the spotlight at five years old when she began appearing in commercials and ad campaigns for companies like Slim Jim, Cinnamon Toast Crunch, and JC Penny’s. Throughout her acting career, Hayley has starred in films such as Scooby Doo! The Mystery Begins, Scooby Doo! Curse of the Lake Monster, and Lemonade Mouth and has also been featured in television shows The Fosters and CSI: Cyber.

Despite the lengthy acting resume, music has always been Hayley’s first love. She began taking drum lessons when she was just six years old and was producing her own drum charts by the time she was eleven. After a brief stint with the musical group The Stunners, Hayley started releasing her own music in 2013 with the debut of her first E.P., A Belle to Remember. The song “Girls Like Girls” from her second E.P. This Side of Paradise served as a public coming out party. In an interview with Paper Magazine following the release of the “Girls Like Girls” music video, Hayley had this to say:

“When we shot the music video for ‘Girls like Girls,’ I felt like I was finally telling my story for the first time. The yearning feelings I had and also the feeling of being so alone. I think that’s why people connected with the music video. Not only because they too have experienced deeply liking someone, but also the sadness and longing that comes with it. You could be around so many people, and still have the feeling of being so alone and misunderstood.”

Hayley’s refusal to play coy or to reduce her sexuality to subtext is what has garnered her the huge following of young girls she has today. There are two things you can count on when you listen to a Hayley Kiyoko record – the insatiable need to dance around your bedroom, and the eerie feeling that you yourself wrote the lyrics sometime long ago in one of your prepubescent diaries – Hayley Kiyoko is to gay girls what Taylor Swift is to straight girls, a vital and viciously loved source of validation.  

-LC

Through the cosmic kaleidoscope snapshot 

Aries:

Something in her nature is always preparing her for war. It could be with lovers, employers, teachers, or parents. It could be with herself and if she is staging to the world the woman she admires in herself. Her heels thunder through the hallways and she can raise her voice higher than the ceiling. When it comes to self expectation, her standards are quite high. She is not afraid of assertion, protecting her femininity, or defending herself against any force or feature. Every piece of herself that she has built has taken work. Libra may be the White Queen, and indelible charmer seemingly loved by the world. But the Red Queen in Aries is life and aliveness, choking at the excitement of everything, vivid, glorious, spirited, and… bonkers.

Taurus:

Taurus have a talent for beautifying everything they put their hands on, so you can almost imagine their paintbrushes stroking everything in tactile delight and leaving colours behind that nobody has seen before. Even her physical body is a canvas, she can be experimental with personal style, use meditation to create harmonics in her body, create gourmet cuisine and help flowers grow. It is her godly artistry, the substance of her inner world that gives rise to mosaics and masterpieces, the paintbrush hands that spindle thread into gold.

Gemini:

Gemini is rarely hesitant to hide her lack of fasciation or interest with certain people. She has a sophisticated social conduct but this deteriorates when she finds her company bland and tedious. She can abandon long term relationships and friendships without hesitation because she embraces the change of fresh perspectives. Her intellect cannot hide its need to ravage even greater thinkers, and it’s unapologetic in doing so. It’s always about ensuring the mind does not lapse into a mere moment of boredom, because this would mean that the Gemini is left with nothing but billions of thoughts, and they blow up like anxious butterflies.

Cancer:

The Mother Goddess in Cancer is a formidable figure of biological and spiritual activity, the waters that birth and cradle all life. But there is different sort of light or essence in Cancer, one that the inner child refuses to let go of. It is her intimacy with this internal child, the scarab, that gives her the anointed and sacred mother’s touch. The scarab was anciently regarded as a ‘very tiny cosmos’ as it symbolised entrance into the material universe. This ‘tiny cosmos’ is still active inside Cancer. It’s why she can believe that mermaids exist and immerse herself in make believe. It’s why she can enjoy simple pleasures like colouring in and eating cookie dough. Mother and Child divided and reunited by light itself. 

Leo:

The Leo can be so whipped by the crack of the ego that it can be absolutely impossible to accept criticism or failure. The Leo seeks out validation, because love and affection from other people act as a source of nourishment. She needs credit for playing her role with prestige, sometimes openly, and sometimes secretly. These words of acclaim liven her heart and energise her spirit. But this can be fleeting, and only for only a moment. The ego is always flocking close by, waiting to whisper its discouragement or dissatisfaction, hovering with poisonous thoughts that are sure to contaminate any sort of praise she received.

Virgo:

Nothing she ever accomplishes seems good enough for her mind, it slices through her like cutting criticism. The memory of every mistake that she’s ever made inundates her head and sounds like demons cackling. And this pursuit of perfection is ultimately altruistic, she only wants to be perfect so she can be perfect for others, so she can be recognised and praised, so she can hear something other than criticism. This relentless conditioning by her own mind causes her sensitive physical body to respond, she can become trapped in rituals and routine for which she sees no sense, it’s just like a compulsive ceremony to manage the onslaught.

Libra:

Libra is the ruler of the 7th house and the descendant as the sun sets. These shadows begin to dilute the personality, it requires all-consuming social needs and trepidation when faced with isolation. Libra is ultimately energised socially and activated in the pursuit of forming relationships, maintaining contracts, and upholding law. The Libra temperament can be quite unpredictable. They can experience sudden and confusing ruptures of energy that their airy mind is unable to interpret. This is when you see the shaky and tantrum energies of Libra rise from dissatisfied cardinal forces

Scorpio:

Deep down in the halls where Hades rules there is a throne glistening in sea and soul, the throne for the Princess who valiantly guards the threshold with ferocious winds and demons coursing through her hair. The blood of her fought battles tattooed into her skin, her eyes ablaze with the power and prestige of ruling the underworld. That’s no easy task for someone who thought she was a mere girl, the duty of taking souls on journeys and extracting lies and traumas like a psychic surgeon. She oozes magnetism and prowess, her presence is as noticeable as her absence, and in some way she is always watching, observing, and calculating. 

Sagittarius:

She safaris in tourist sites and ancient burial lands, the more I understand about the world she figures, the more I will understand about myself. She spots marks on atlases and sees her own heritage. She hears a language never spoken before but understands everything. She sees her own reflection in the Great Barrier Reef. She feels her heart rise with the sun. She adopts new cultures like her own. Change can be the Sagittarian’s only constant, and as the world spins she madly tries to keep up with it. She can be ravenous when her mind is hungry. She just wants to find her true self so it’s not so empty. 

Capricorn:

It was also Capricorn who is illustrated by the cloaked grim reaper, their melancholy is not romantic, but it carves out a wound in them that summons magnificent healing energy, an intimacy with pain and suffering that is pure wisdom at its core. For this, she has a unique rapport with death, and she hears the reminders of immortality louder than anyone. It’s this mutual understanding that she has established with death that generates her sorcerer’s knowledge, herbs, tonics, and angelic curatives, but also rituals. And this can be why the Capricorn repeatedly or compulsively carries out personal rituals, there is a calling in her being for return to the wind, trees, salt, and sun and once again become the crone.

Aquarius:

Aquarius is the sign of Blue Light Christ Consciousness, they are residents of the mental plane, the realisation of the inner light and kingdom, the awareness of truth and oneness with all beings. The jagged waves of their symbol represent light, not water, and electrical impulses that pass through one another other like telepathy. Aquarius contains this knowing in her jug of water, but she maintains physical form. Like a mermaid, she dwells in mysterious waters, but in true to her airy nature, her head remains in the clouds.

Pisces: 

She wrote a severe contract for earth before incarnating as Pisces. And God knows this, so her support system is rich and active. It’s ensured there are angels, guides, ancestors, and spiritual mentors always on call, this is why so many Pisces make natural spiritualists, healers, witches, and clairvoyants. The 6th sense is how she perceives, feels, knows, and understands the world. The ocean is vast and largely undiscovered, in a spiritual sense it symbolises everything. This is the experience for Pisces. The intensity of containing such spiritual mass is too harsh for a physical body. So the Pisces has many bodies she can swim into.

-C.

I’ve gotten quite a few asks recently wanting to know what my issue with Dungeons & Dragons 5th Edition is. You’ve probably seen my grumbling about edition-warring a time or three, so I want to clarify that that isn’t where this post is going. I think 5E has a lot of fantastic ideas, and I wouldn’t hesitate to recommend it to new players. The problem I have with it isn’t that I don’t like what it’s doing; it’s that I see a lot of great game design ideas lumbered by a conscious refusal to take them to their logical conclusion - or, in other words, it’s not that I think 5E goes too far, it’s that I think it doesn’t go far enough.

(Fair warning: a lot of this is going to be really jargon-heavy game design stuff that normal people probably don’t care about. That’s your cue to check out if tabletop RPG meta isn’t your cup of tea!)

To start off, there’s a concept in game design - applicable to both video games and tabletop games - called “mechanical engagement”. Basically, it’s what it sounds like: how and when the player is called upon to make rules-based decisions. Some games have high mechanical engagement, in the sense that players are given lots of rules-based “toys” to play with and expected to interact with them frequently; other games have low mechanical engagement, meaning that there are fewer rules-based “toys”, and fewer player-facing decisions about how to deploy them.

Moreover, in games that have roles or classes, different roles within the same game can offer different levels of mechanical engagement. It’s tempting to think of this in terms of low mechanical engagement = basic and low-powered, high mechanical engagement = advanced and high-powered, but this ain’t necessarily the case; you can see this phenomenon in action in the sphere of video games in, say, 2D fighters, or multiplayer online shooters. You have characters/roles with complicated and demanding execution, and characters/roles with simple and straightforward execution, and the former aren’t necessarily more powerful in practice, in spite of being more demanding to play.

The reason this happens is because a player’s preferred level of mechanical engagement is totally independent of any other axis of play (e.g., preferred role, preferred aesthetics, etc.) Some players like having lots of rules-based knobs and levers to play with, and they’ll gravitate to roles that will give them that even if there’s no actual benefit - i.e., even if it obliges them to work harder just to get to the same level as players in roles with lower mechanical engagement. Similarly, some players just want to press buttons and watch stuff explode - they prefer low mechanical engagement.

There’s nothing wrong with either preference, and one of the major perks of playing a tabletop RPG with class/role-based character creation is that it allows you to accommodate different preferences in terms of mechanical engagement within the same party. You can have players who want to juggle lists of special abilities as long as their arm, and players who just want to hit things with swords, and they can play at the same table - everybody wins. Again, remember that this is totally separate from wanting to play a “low powered” or “high powered” character; the level of mechanical engagement that a role demands is a different axis from how big its numbers are.

Now, one of the perennial issues of fantasy tabletop RPGs in general and D&D in particular is tying particular levels of mechanical engagement to particular role aesthetics. In many iterations of the game, if you want to play a role with high mechanical engagement, you have to chuck fireballs, and if you want to play a role with low mechanical engagement, you have to be a sword-slinging meat shield. A player who wants high mechanical engagement but also likes swords is liable to be told, both by the game’s text and by other players, that she’s Doing It Wrong - and so, for that matter, is a player who wants low mechanical engagement, but also wants to set stuff on fire with her brain.

(Incidentally, this is one of several areas where core-book 4E solves a real and recognised problem in the most hilariously unsubtle manner imaginable, by bashing every role into exactly the same level of mechanical engagement. Which is fantastic if that just happens to be your preferred keel, because now you can play and enjoy every role - and terrible if your ideal toybox is too much larger or smaller, because now every role is an equally bad fit for you.)

5E brings a couple of great ideas for solving this problem to the table:

1. It introduces a series of “tutorial levels”, where each class‘s abilities are introduced gradually over the levels 1-3, reducing entry barriers, leveling out the learning curve, and allowing folks to “try on” different levels of mechanical engagement more easily; and

2. It introduces system of templated archetypes whereby particular classes/roles can be “tuned” to different levels of mechanical engagement, making the same basic set of roles accessible to players with a broader range of preferences in terms of mechanical engagement - and, critically, the choice of template doesn’t have to be made until after the previously mentioned “tutorial levels” are complete.

Sounds great, right?

The problem is, it only applies to fighters and rogues and related classes. Clerics and wizards - i.e., the full-featured spellcasters - don’t get any “tutorial levels”, are obliged to choose their archetypes at first level, and all of their archetypes are about equally complicated - to the point that, for example, the lowest mechanical engagement cleric you can build has more rules-based toys you’re obliged to wrangle at any given level than the highest mechanical engagement fighter.

In other words, the game turns around and goes some distance out of its way to reinforce the very problem that this design pattern is meant to solve!

This pattern is repeated in several other places. For example, one of the long-standing disagreements among the fandom is whether D&D should primarily support epic, globe-trotting “high fantasy” or gritty, street-level “low fantasy” as its default tone. It’s as much a question of rules as it is of flavour text, so it’s hard to do both - but 5E gives it the old college try, which is a frankly fascinating decision. How does that play out?

Unconventionally, 5E does it based on character classes: you literally have some classes that are built out of high fantasy tropes, and some classes that are built out of low fantasy tropes, with the result that you can have characters who basically hail from totally different genres of fantasy fiction running around in the same party. This isn’t necessarily a bad idea; there are lots of inspirational sources that setup could describe - I mean, just look at The Lord of the Rings. If that’s not a prototypical case of high fantasy characters and low fantasy characters partying up, I’ll eat my hat.

This’d be another great opportunity for the archetype system to shine - but again, we see this obnoxious wall slamming down between “martial” and “magic” classes. This time it goes the other way: fighters and rogues default to low fantasy genre assumptions, and have access to archetype templates that can dial them up to high fantasy - but clerics and wizards default to high fantasy and don’t get anything to adjust that.

Tellingly, the high fantasy archetypes for fighters and rogues basically operate by bolting half a wizard to the side of their respective classes. You end up with a strange dynamic where some characters from a given piece of genre source material are valid inspirations, but not others - e.g., you can be Merlin, but not Lancelot; Gandalf, but not Legolas; Medea, but not Achilles. Again, we see this reactionary notion that only spellcasters are allowed to play in the big-kid sandbox; the game’s text openly acknowledges as much by flat-out stating that only full-progression spellcasters are relevant when determining which tiers of play a party can engage with. And again, the tools to fix that are right there; the game just doesn’t deign to pick them up and use them.

I could keep going, but I suspect I’ve harped on long enough that y’all get exactly where I’m coming from here. It’s like… these are not new problems. Maybe not all players care about them, but it’s nearly universally acknowledged that they exist, and it would have taken so little effort to address them - the game literally developed the perfect tools to do so, then didn’t use them. It drives me crazy to see a game come so close to what could have been a legitimately revolutionary take on the genre, then deliberately stop juuuuust short of the goal line.

anonymous asked:

I’m not sure if you’re someone who gives writing tips, if not that’s okay. I get it. But I was curious. If you’re having a dialogue where the character is ranting, the words are kinda just flying out of their mouths and it’s a lot of words, how would you format that? Like, would you put it all in one paragraph, do you interrupt it with an action (s/he said, waving wildly) or would it just be dialogue?

I do as often as I can! I get a lot of asks, so I apologize to those whose questions I don’t get to :( But I enjoy talking about how I do things/what I’ve learned! Just keep in mind that writing is an art and, like all art, there’s no one true way to do something. So everything I suggest is just that– a suggestion!

Lots of Words Rants!

So you have a character who’s saying a lot of words in a big rant! 

1. Static unbroken rant. The benefit here is that the reader, generally, naturally reads this very quickly! It’s probably what you’re looking for when you say “a lot of words” and it definitely stuns both the reader and the other characters! For example:

“You want to know what I think,” she says, mouth a thin line. “Right. Okay. Well I think it’s interesting how you only look for an opinion when people owe you something. I think it’s really convenient that you wait until you can deny someone something, something like basic human rights, before crowd sourcing validation and then you think that it means shit when they don’t speak against you. I think you’re a coward and that no amount of intimidation or ass-kissing will break through the denial you’ve got going on. So if you’re looking for me to tell you that you’re a hero or that we can’t do this without you, you should wait until you actually have something on me.”

The silence is deafening as she takes another sip of her coffee, Damien’s mouth opening and closing as he tries to come up with a response. He looks around the table, hoping to see similar shock, and receives another unpleasant surprise when no one will meet his eyes.

There are two problems that I’ve had with the Big Wall of Text. One, it can lose the reader! Despite emotion or content, it’s easy to skip from the first sentence or two to the last line or two. Some readers will read it quickly, but others might skip it entirely.

Second, with no physical movements, it can be hard to get back into the scene, especially since unbroken rants w/o movement generally end in silence.

2. Active Unbroken Rant. Breaking up a rant with action keeps the reader’s attention and makes them read a little closer. It also has the benefit of giving the rant some texture by escalating or deescalating the emotion in each part or by providing emphasis.

“You want to know what I think.” She shakes her head. “Right. Okay. Well, I think it’s interesting how you only look for an opinion when people owe you something. “

Damien’s jaw tenses and she can tell that he wants to lean away from her as she stands, looming over the table, coffee forgotten. All around them, the other rebels are staring at her wide-eyed.

“I think,” she continues, biting off the ends of her words, “that it’s really convenient that you wait until you can deny someone something, something like basic human rights, before crowd sourcing validation and then–” she bares her teeth “– you think that it means shit  when they don’t speak against you.” 

He doesn’t look away from her, not to the left or right where his devoted followers are, as usual, sitting uselessly. She can barely stand it.

Her words come faster now, like a flood after the damn has been broken. “I think you’re a coward and that no amount of intimidation or ass-kissing will break through the denial you’ve got going on. So if you’re looking for me to tell you that you’re a hero or that we can’t do this without you, you should wait until you actually have something on me.”

So with breaks for action/reaction, you get a scene that’s a little more urgent than the one without action. Action helps the emotion build in the rant whereas the static rant feels more like a slap in the face.

The downside here is that you have to build the tension and keep everyone’s  body language appropriate to the scene.

3. Broken Rant (active or static). So it’s a rant and you want the fast-talking character to be the star of the scene. Seems counter-intuitive to have another character talk, but it can actually help speed up the reading of the scene while also showing that this rant is dominating it. For example:

“You want to know what I think,” she says. She shakes her head. “Right. Okay. Well, I think it’s interesting how you only look for an opinion when people owe you something.”

Damien jerks like he’s been slapped. “What is that–”

“I think,” she continues, giving no indication of hearing him, “ that it’s really convenient that you wait until you can deny someone something–”

“Hey–”

“–something like basic human rights,  before crowd sourcing validation and then you think that it means shit when they don’t speak against you. I think you’re a coward and that no amount of intimidation or ass-kissing will break through the denial you’ve got going on.”

The silence rings around the table, the tension so think between her and the other rebel that no one dare move.

Eliza leans forward and picks up her coffee. “So,” she says, still staring him down, “if you’re looking for me to tell you that you’re a hero or that we can’t do this without you, you should wait until you actually have something on me.”

The little interjections from Damien, and the way I’ve broken them off, shows that things are happening very quickly. It’s a broken back and forth that both ups the tension and the speed!


Hope this helps! If you have any more questions feel free to drop by, I’ll try and get to them asap :)

  • Stiles: *gets stabbed with a sword*
  • Stiles: What the fuck?
  • ...
  • Peter: *gets stabbed with a sword*
  • Peter: *shrugs* That's fair.
  • ...
  • Scott: *gets stabbed with a sword*
  • Scott: Not again.
  • ...
  • Theo: *gets stabbed with a sword*
  • Theo: Are you going to want this back or can I keep it?