point of conception

By the time Viktor Nikiforov finds Katsuki Yuuri, he is completely and thoroughly touch starved. 

Viktor has been without physical affection for far too long, wanting and wishing for it all the time and not getting it. Yes, he has Makkachin, and most days he thinks to himself that he has no idea what he would’ve done without his faithful poodle over the years–but the lack of people in his life who he could talk to and hug and touch weighs heavily on his heart.  

Naturally, when he finds Yuuri, he gravitates towards him, finds himself absurdly clingy all the time. Viktor is the touchy type anyways, he’s always known that he’s a very tactile and affectionate person, but with Yuuri it’s different. Yuuri lets Viktor hold his hand in public, kisses him goodbye when they part ways,  doesn’t protest too much when Viktor pulls him into his lap–except for the way that he mumbles “Viktor!” in a faux disapproving tone under his breath and blushes a little, but he doesn’t resist. In fact, he always melts into Viktor’s arms like he’s dying for Viktor’s touch as well. 

It’s not always easy for Viktor, though. Sometimes he finds himself reaching out for Yuuri because he’s scared–scared that one day, all too soon, he’ll reach out and Yuuri’s hand one be there to hold his own, that he’ll have to wake up in the morning without Yuuri’s solid, warm form pressed against the length of his own. Sometimes, he finds himself reaching out to touch Yuuri because he needs a reminder that Yuuri is really there, needs reassurance that can only be given by proof that Yuuri is real and solid and warm beneath his hands. 

Yuuri kisses him, holds him, strokes his hair, touches him back like he knows. Like he knows how much Viktor needs this. Viktor doesn’t like to voice his fears out loud, but Yuuri has always been good at being a silent and reliable source of comfort for him. When Viktor crawls into Yuuri’s lap, or rests his head on his shoulder, or idly starts running his fingers over Yuuri’s, tracing every crease and line like he’s memorizing it… Yuuri just accepts him happily, holds him close, lets Viktor soak up his warmth and comfort. 

Viktor feels unbelievably lucky to have Yuuri by his side, but a part of him worries. He’s touch starved and now he’s getting his fill, and every passing day with Yuuri reminds him that he couldn’t go back to being alone again. 

So he holds on, always hoping that he’ll never be forced to let go. 

(anime/yoi only blog:@viktorkatsuki)

Concept: one of those hard-boiled detective novels with the first-person narration, except the protagonist’s internal monologue keeps drifting off on irrelevant tangents, then snapping back to the present in completely implausible situations, leaving the reader to work out purely from context how they got from point A to point B.

anonymous asked:

Concept, based on the 'looking sharp' thing: Hanzo realizes Mcree was flirting with him like an hour afterwards and breaks a bit inside

genji finds him on the floor half an hour later

(first part!!)

prongswhatthefuck2  asked:

What are some good tips for getting started with writing a book? I have a concept but i can't put it into place.

Getting Started with Your Story

There’s no one way to start writing a book. For some people, it’s enough to just jump in and start writing to see where the story takes them. If you’re not too keen on that idea, then here is one process (as in, not the only process) that might help you move beyond your concept. 

  • Concept ≠ Plot

Many writers mistake concept for plot, but they’re actually two very different things. A world where everyone grows up with superpowers is a concept; the plot is what you decide to write about within that concept - the specific characters and what happens to those characters; who your antagonist is and what conflict arises when that antagonist goes after what they want. All of these things contribute to your plot. 

So first, define what it is you actually have at this particular point. Do you just have a concept? If so, you’ll need to take the necessary steps to develop that concept into a plot. 

  • Concept >>> Plot

If you’ve decided that all you really have is a concept, then how do you take it and turn it into a plot? You brainstorm. All brainstorming really amounts to is expanding your ideas. All you’re doing is asking questions about the concept and delving deep into the answers. 

The most simplistic way to start this process, especially if you’re struggling, is to ask one of two questions (or both, if applicable). These two questions: What could go wrong? What could go right?

Going back to my example about a world where everyone grows up with superpowers. If I were to ask the question “what could go wrong,” I’d end up with a whole list of possibilities. 

  • The powers suddenly disappear
  • People start abusing their powers
  • Someone figures out how to steal powers
  • A hierarchy of strong vs. weak powers develops, creating superiority/inferiority dynamics
  • Someone is born without a superpower

There are many more possibilities I didn’t even think of here, but any one (or more) of these could become a plot. Choose one that sounds interesting, and then ask yourself “and then what?” 

Say I choose: Someone figures out how to steal powers. Then what does that person do? Do they recruit people to do the dirty work for them? Do they work alone? Do they hoard these powers and barter them for other goods? Do they attempt to enslave people? Do they attempt to take control of institutions? What do they do?

Your goal is to take your ideas and turn them into actions taken by characters. People doing things. And each piece you add will usually lead into another. If you went with the idea that this character is stealing powers and essentially selling them for other goods, you’d have to ask yourself follow-up questions. First, who are they selling to? Why would anyone buy a new superpower if they already have one? What uses would they have for additional ones? What is the key demographic that this person is trying to reach? Secondly, what are they selling them in exchange for? Money? Favors? Souls? What is this character getting in return?

Now that you’ve examined potential actions that the character takes, you’ve also exposed potential new characters. 

  • People they’re stealing from
  • People they’re bargaining with
  • People that try to police these crimes
  • People that try to copy this character’s process

At the beginning of this section, I talked about using “what could go right” as another optional jumping off point. This is a good path to follow if your concept is already really negative. For a concept where someone is killing people for some pointed reason, you might ask “what could go right” and explore ideas where the killer is caught and brought to justice. 

The point of all this is to think about change as a means of taking your idea from concept to plot. A concept is static - it doesn’t move, evolve, or change. By developing a plot, you’re forcing the concept to be challenged in some way. If you think about it that way, you’ll be able to formulate conflicts, and the people that orchestrate and fight against those conflicts. 

On that note, I think we’re ready to move onto the third piece of my graphic above. 

  • Plot = Character Actions and Consequences

At this point, you have sketches for characters. You’ve got this nameless, faceless person that is stealing the powers, and all these other nameless, faceless people that I listed above. In essence, we have character concepts. And just like we turned our initial concept into a plot, we have to turn these character concepts into actual characters. 

The basics are the easiest way to start. You figure out their name, their gender identity, their age, their appearance, some brief backstory and personality traits. I personally prefer the simplest questionnaire that I put together back in the early days because it hits on the poignant pieces of a character without overwhelming you with 100s of questions. 

Now that you’ve given your character concepts names and faces and potential behaviors, you start to consider how one character’s view of the world inspires them to take certain actions, and you then think about how those actions affect your entire story. 

We already kind of talked about the motives of the power thief in our example, but definitely delve deep here. On the surface, this character seems bad - stealing from people and then selling what they steal. But depending on what it is they’re getting in return, could we not argue that this character is a supernatural Robin Hood? Maybe instead of selling, they’re giving, and maybe the characters they’re stealing powers from are people that abuse and misuse their powers. Character motives can take a plot and turn it on its head, forcing you to reconceptualize everything. And that’s okay! That’s part of the process.

But separate from that idea, if we have a character concept of someone whose powers were stolen, and after developing their basic backstory, we discover that person’s name is Rose, and she has an especially close relationship with her brother. So when her powers are stolen, how does this affect her life? Was she using her powers to keep her brother alive and protected? What she using them to keep a roof over their heads? Was she using them as part of her job, as a means of providing? What happens to her life when her powers are stolen? And what will Rose do about it? Whatever Rose does will impact the story. If she does nothing to get her powers back, how does she solve her problems and does that make for a good story? If she does decide to act, then you’ve moved onto a new plot point to dive deeper into.

My point is, character concepts come from plots, but characters themselves often create plot, as their decisions and mistakes and successes create new outcomes. So if I could modify my original flow chart:

Before you develop something, you conceptualize it. You have a concept, then you make it a plot. You have concepts for characters, then you make them characters. And those characters end up driving your plot, to the point that this happens:

Plot inspires character. Character inspires plot. And it just keeps going around and around and around. Breaking it down into these pieces helps organize the process, but developing a story is rarely this neat and tidy. You’ll get ideas that don’t make sense, ideas that aren’t cohesive, characters you don’t need, characters that piss you off, problems you can’t solve, or plot points you’ve committed to that you no longer like…it will be messy. But it’s your mess, and the more you work on developing your own process, the more it’ll make sense to you. And it’ll become easier to know how to go about fixing it when something’s not right. 

Have fun with this process! It’s supposed to be fun. When the pieces start to become clearer, you’re able to put them together in a rough outline. And once you have a rough outline, you can start writing, and really see it take shape. 


on Big Deal Moments in Discworld

Guards! Guards! has one of the first Big Deal Discworld moments for me, and I’m not very good at articulating what that means.

The moment I’m thinking of is the dragon’s speech to Wonse – “we were supposed to be cruel, cunning, heartless and terrible. But…we never burned and tortured and ripped one another apart and called it morality.” That’s a passage that always makes me stop and reread it a couple of times. And it’s a small moment – it’s the only time we hear the dragon speak at all, and it’s a speech that has no bearing on the rest of the story. It could have been taken out of the book entirely and nothing would feel like it was missing. But the fact that it’s there is a Big Deal moment. The great big monstrous antagonist’s judgment of humanity is unavoidable in its accuracy.

And the Discworld series is full of moments like that. Sometimes it’s just one line, sometimes it’s a full scene, and most of the book is so full of shenanigans coming so quickly one after another that you don’t always see the Big Deal moments coming. We think of Pratchett as a humor/satire writer and yes, the books are hilarious, but in between the jokes are these Big Deal moments that casually rearrange our perspective and stick with us even after we think we’ve forgotten.

Then there are the other Big Deal Moments, that are Emotional Meteorite Strike Moments (e.g. the phrase “that is not my cow” can now instantly put me in the fetal position) but I’m having a hard enough time describing this one as it is so I’ll probably go on a tirade about those ‘round about that One Part in Feet of Clay. (You know the one.)

so I said something about mezato and takenaka having the eccentric shounen detective vibe and guess what

yep its an AU

in which mezato is an independent reporter who’s famous for not knowing what fear or common sense is when it comes to investigation, and takenaka is a telepath trying to stay alive

pointers under the cut

Keep reading


Why doesn’t anyone — in drawings or fics or whatever — ever address the fact that any AU-name references an infinite number of timilines???

Note: Despite what this comic seems to suggest, it’s not recommended to ever try using Ink as a multiverse taxi. For your own sanity and safety.

(Ink belongs to @comyet. Sorry for constantly dragging him into explaining and questioning multiverse rules.)

From a Certain Point of View

Or, how Ben Kenobi’s boldfaced lie prevarication saved the Galaxy (but not in the way he thought it would).

Part One

  • Shortly before the beginning of ESB, Luke accidentally winds up in the past, conveniently appearing right next to Anakin Skywalker, new Jedi Knight. 
  • After convincing Anakin that he is indeed his son from the future – this takes a great deal of time and no small amount of effort – Luke begins to warn him about the Dreadful Future that awaits the galaxy… only to be returned to his own time/universe before he can finish the story.
    • But hey, Luke is sure that Anakin won’t have any problems figuring out the Emperor’s true identity. At least he was able to get across the important information, yeah? 
      • At least he got to warn his father about Darth Vader.
  • There’s just one little problem: Luke doesn’t know that Vader is the same person as Anakin Skywalker.
  • So when Luke warned his father that some student of Ben’s was going to go Dark Side, destroy the Jedi, betray and murder both Ben and Anakin himself, and probably kill Luke’s mother while he’s at it, Anakin drew the obvious conclusions:
    • #1: He (Anakin) is the only padawan Obi-Wan has ever had.
    • #2: If that Dreadful Future of his son’s is to come true, that obviously means that Obi-Wan is going to take on another padwan in the near future. 
    • #3: Therefore, in order to prevent the nightmare that is Luke’s world, all Anakin has to do is make sure that Obi-Wan never gets another padawan.
      • Easy, right? 
        • …Right?

Keep reading

anonymous asked:

Agreed, Jaspethyst is underrated but... aren't they relatives?

nah man, i wouldnt ever say that pearls or quartzes or even diamonds that are the same type of gem are related because I see it as more of a race of gems (sort of like elves, dwarves, etc; they have similar features but are not all family) 👌✨

cartoon characters aren't real, they don't have rights and they don't need to be protected

how did we reach a point where this is a concept that most of tumblr doesn’t understand, I mean dear god

eliariellis  asked:

It's kind of sad how beautiful the concept art/scrapped art is but in comparison to the actual game,, the game is toned down?? Don't get me wrong I love the game but it seems Disney really limits itself in its own creativity by toning it down for no reason? I'd like to hear your opinion on this, love your blog BTW!!! Have a nice one✌

While there is a lot of stuff that could have been used and a lot of missed opportunities, I have to disagree on this one. Disney didn’t “limit itself”

The problem with the Epic Mickey franchise isn’t that they were “limited” as Disney gave Junction Point a lot more free reign than most other companies they’ve worked with. It’s that they started off drawing more than they could actually handle, and then the artwork got leaked, even though it clearly wasn’t going to be the final product. They ended up having to make a lot of changes, but kept showing the public their unfinished work, setting people’s expectations ahead of time.

By leaking the artwork, the fans who don’t understand that concept art usually doesn’t make the final cut, began whining about them “toning it down” when their darker artwork was nothing more than an experiment while the developers were still trying to decide what angle they wanted to go with for the game. Heck, a lot of it was leaked before Warren Spector found out making Oswald a villain was a terrible idea!

…not that the Disney company should have had to have told him…it should have been obvious Oswald should never be a villain…

(cough COUGH)

As explained in The Art of Epic Mickey (beautiful book, BTW, highly recommend it) they decided to go with a more toon-like Wasteland rather than the hardcore steampunk dystopia angle they originally considered, because they still wanted it to feel like a Disney universe, and the steampunk dystopia didn’t feel Disney-like at all.

Also, on this blog, for the most part I’ve been showing you the good ideas from the concept art. If you look at all the concept art, there’s a lot of stuff we should be HAPPY didn’t make it into the game. They were going to make Mickey look like an edgy angry teenager at one point:

Yeah. That was going to be Mickey…making dramatic Shadow the Hedgehog poses. (”Where is that D*** Rocket Gear?!”)

CGI is a much more difficult process than 2-D purists make it out to be. Many of the animatronic ideas were nearly impossible to model, let alone animate, and would have delayed the game by several years trying to make. Some of them wouldn’t have been able to do much, such as the “lifters”

Oh no….they’re picking Mickey up…..and looking at their models, that’s all they can do….pick things up….they can’t even throw… in fairness they did make a model that would have worked much better, but it still looks too slow to be a real threat.

And then there’s this thing:

That’s just overkill. To anyone who’s ever rendered anything in 3-D: Can you imagine having to spend days making this thing, and then having to rig and animate it? It’s a nightmare, and was scrapped for a reason. And you know, I used to think this thing looked scary, but looking at it now, it’s the most ridiculous thing I’ve ever seen. Mickey could probably just spin by it, and it would fall over and be unable to get back up.

The point I’m trying to make is it’s unfair to judge a game’s progress by it’s concept art. Concept art rarely makes the final cut, and usually is made in the earliest experimentation stages of the project. There’s a lot that goes on behind the scenes we don’t know about. Most of these decisions weren’t made by Walt Disney, but by Junction Point themselves.

Now, if you want to blame Disney for not giving them enough time to fully work on Epic Mickey 2 while overhyping the game more than they hyped the first one, then yeah, I’d agree Disney screwed up, there…although Junction Point did try way too hard to pander to the crowd…and by crowd I mean “the people complaining about the first game over every little detail”