the dialogue is quite suggestive no

RPG Maker Fever Undead and Deranged

Warning:This article may contain spoilers and the content inappropriate for children…or may not contain.But get the children away from the screen just in case.

Good morning! Or is it already evening? Meh, as if it matters…cellar, where I’m chained and writing my articles  is pitch-dark 24 hours per day. So, today we’ll learn how to make friends, control the undead and have a happy dream ( with some experimental drugs involved).Now then, shall we get started?

1. 1bitHeart

Alright, here goes our first title, made by the author of Alice Mare and LiEat series. 1bitHeart is an adventure game, where your goal is to make as many friends as possible . Game plays similar to Ace Attorney series, but with some QTE-scenes, while setting and atmosphere is kinda similar to TWEWY.You can make 49 friends in total, all of them have unique appearance and personality. Plot of the game is pretty good, dialogues are well-written and sometimes hilarious. Besides, every dialogue has it’s own mood supported by stylish well-chosen music track and quality voice acting. Additionaly I want to praise 1bitHeart’s presentation, since  both artwork and sprites are extremely beautiful .

2. The Boogie Man

And here comes the Boogeyman, the Boogeyman comes for me. Here comes the Boogyeman, he’s gonna take me in my sleep…Nah, actually not. Here comes the latest installement in our favourite  the Strange Men Series. This time with the fully voiced in-game cutscenes (and skippable as bonus). The Boogie Man stays true to series and plays like classical horror-adventure with action cut-ins. At some point of the game you can even play as our old friends -David and Sophie, but new protagonist Keith is quite notable too (he’s my personal fav to be honest).Overall the game makes very good impression, the story is interesting and dialogues are bright and entertaining (with many references to previous games).

3.  END ROLL

I’m not the sensitive type, but  even I was kinda hesitant to play this game at first, since it has waaay too many suggestive content, supported by quite a lot of graphic violence.But after beating it I can state that this game is totally drugtastic. END ROLL plays like quality role-playing game and somewhat reminds the wild mix of the Gray Garden and Re:Kinder, but with better story-writing and gameplay I believe. Game has plenty of  unique dungeons (all of them has some plot-related meaning behind it) as well as tons of optional content, which along with well-designed and interesting characters make END ROLL very enjoyable.

4. Guuzen ~ Ningyou no ito

What? Don’t tell me you’ve never heard about the rite named “doll’s prayer” .You’ll forget all of your worries and  path to the Heaven will open before you. But the place, our heroines’ve found themselves in, can be hardly called Heaven. I wasn’t expecting much from this game, but it turned to be quality horror with beautiful character designs, memorable soundtrack, logical puzzles and surprisingly mature story. The game reminds us that we’re often starting to value something only when it’s already lost.Sadly, right now  Ningyou no ito is only available in chinese, japanese and russian.

5. Liar Jeannie in Crucifix Kingdom

Yet another full-fledged role-playing game has made it to my list.And kinda tough, I must say. Imagine what if Dark Souls was the turn-based RPG with cute nun as protagonist and you’ll get Liar Jeannie… more or less.Unlike many RPGs, this one doesn’t  have any levels, and your stats and basic skills fully depend on your current equipment (by the way, every item in this game can be equipped). A special mention is deserved for game’s bosses - there’s a few main bosses and a lot of optional ones -all of them have their own battle tactics and require some thinking before acting ( especially Pleiades Knights-you want to defeat them, trust me).Also, if things during the fight will become real ugly, you can always summon expendable monsters as your allies (or living shields,heh).

6. At the Tale End

Here we have a game, which looks like a regular fantasy-adventure, but only at first. Plot includes our standard party of heroes (fighter,mage,priest and thief), cursed princess and battle with the local dark lord.But each of these elements plays very different from your typical fantasy stories.At the Tale’s End is definetely a unique experience, a role-playing game in it’s original meaning, without countless random battles, but with a certain weight of responsibility for your actions within a narrative.Also this game has detailed and interesting world as well as quality animated cut-scenes.

7. Pocket Mirror

A long-awaited Pocket Mirror has been finally released this year. And I’m amazed with  enormous amount of work made by the  team of developers.When it comes to game’s graphic, Pocket Mirror is stunning. Beautiful artwork and memorable soundtrack help to create this mysterious, unique atmosphere of dark fairy tale. And with that Pocket Mirror has some gameplay issues. You see, while some puzzles are interesting, most of them is quite uninspiring, some of the locations are pitch-dark and hard to navigate.And with that plot of the game is quite complicated,but doesn’t make much sense,if you don’t pay close attention to numerous in-game notes and letters.This game is definetely not bad,but still leaves some feeling of unpolishness.

8. The Maid of Fairewell Heights

Despite the fact that story of the Maid takes place at the haunted apartment complex, this game has no horror elements. Maid feels more like comedy anime straight from ‘90s. Gameplay (along with main character’s outfits) varies depending on the room your’re currently exploring. Starting with regular cleaning you can end up playing detective or running the shop. Game has bright illustrations, good humour and overall is pretty good.

9. Libretta

I’m sure everyone knows that beside translating games vgperson also makes their own, and Libretta is one of them..This game  definetely gives an interesting experience. While playing similar to Ib, Libretta has it’s own unique atmosphere and somewhat complicated plot, where everyone can find something for themselves (or so I think). Libretta has memorable soundtrack and interesting puzzles, requiring some thinking from the player Also playing shirigories between chapters is kinda fun.

10. Imaginary Friends

Imaginary Friends is a classical rpg-horror-game with quality visuals, well-thought puzzles and some minor chasing scenes. While story lacks originality, it’s still interesting to follow, since charactrers are nice and game has several endings. Game is about 3 hours long and leaves mostly positive impression. So, if you like old-school rpg-horrors-be my guest.

11. Red Trees

While having some minor horror elements, Red Trees stays warm and relaxing adventure game with humorous and ironic view on horror genre and quite unexpected ending in a way. Graphic style of the game and whole atmosphere of a local town is somewhat reminiscent of Mother series.Gameplay is quite simple and consist from few “find-and-bring-to-the- right-person” puzzles, which can be easily solved in 30 minutes or so.

12. The Stairway

Like Red Trees this game is also recommended for players, who’ve already tired from jumpscares, explinct content and overthinking bizarre puzzles. This game has simple yet nice story, unique visuals and some easy logical puzzles.So, if you want to neatly spend 30-40 minutes of your time, try and climb The Stairway to see what’s awiting you at the very end.

13. Friendship

The most fitting description for Friendship would be “horror for the beginners”, since it can surprise or startle you only if you haven’t played any other rpg-horrors before. In fact Friendship doesn’t stand out much compared with better quality school horrors ( like Misao or Amayado Bus Stop ).But it doesn’t mean that the game is bad-Friendship is a good way to spend 30 minutes seeing how strong attachment to a friend can turn simple game into yandere-horror.  

14. By Ourselves

 And here comes our closing title about two former classmates, who’ve found themeselves trapped in the room. Game is only 10 minutes long and basically is one big locked door puzzle. You find the first hint and then successively exploring the room for the way out. Game has two endings determined by how much attention you’re paying to your comrade in distress.

foŗgo͏tt͝e҉n͘
( antisepticeye )
 foŗgo͏tt͝e҉n͘

@emghost23: Hey, I have a script suggestion for anti if that’s okay? Sorry if you get a lot of these. It’s dialogue from one of the endings of ‘Five nights at Candy’s 3’ and I thought it could fit anti quite well. I had to change it up a bit to make it fit a bit better, but it’s still largely the same. You don’t have to use it if it doesn’t fit your vision of the character. Thanks anyway :)

Lo͞ok ̵at̡ ͞mè. ͠I͝ ͢j̢uşt̷ w̛a̶n̢ted t͟o͠ ̢h͢e͏lp͏. I wa͏s͡ y͢ou͟ŕ ͟fri̶e̛nd̶. ́Yo̵u͘ ͝s͘o̢ ba̧d̷ly want̨èd ̧t̛o̸ fór͞g͠e̢t҉ me, aǹd I̧ ̨d͢ǫǹ’t ̡k̛n͜o͏w͟ w҉h͞y͏.͟

I̸ o̢nce͟ b͜ro̴ugh̛t̕ y̢óu̶ h̕a͢p̢pin̵ess̸.̴ B͠u҉t̢ ̧no͠w al̸l ͟I b͘ŗin̴g y͡o̸ù i̵ş s͝o͠rrow. I̛’m ́u̡nw͏an͘t̛ed,̨ ͝an҉d͟ ̨u̴n͏wa͞nt҉ed ̛męm͞o̵rie̡s bec҉o̷m̷e…͘ ni̧gh̛t̶m̧are̡s͡.
͝
T̕h͢ey̶’͡ll͜ kee̕p ͝c̵o͝miņg baćk̴, s͝top̡ping̨ ҉y͜o̧u̴ f͏ro͟m̀ ̡e̛ve̛r re͞me̷mb͘er̨i̶ng͞ ̕the ̴t̴rùt̢h̸. I was͟ you͘r w͜ay̴ o̡f gett̕i͟ng̕ ͡rid ̛of̀ them͝.͞ ̵An͢d no̷w̕ ͠t̡h͟ey,̢ a҉ńd ̷I, ͝wi͏ĺl h̕aun͏t͟ y͘o̵u ҉for͞ev͝e̸r…̸
̴
…҉But ̀I h͏av̧e̡ a ̴solutio͠n.́ Y̕oų cąn͟’t ͏p̕os҉s͡ib̧l͞y̡ ̛h̷a͟ve͞ an̡y̢ n͜i͏gh̨tma̧re͏s..̕ ͝
if͜ y̷o̧u̶ ͘can’̛t̶ ͡s͝le̡ep.̕ 

No ͠nigh̕tmar̴es… o̶t́h҉e͡r͞ than ḿe. ́Don͡’͝t ͝w̢or̀ry a̶b҉o͏ut͜ m͡e҉ tho̴ug̸h̷.̛ I̵ w͠ill s̕tay ͡h͠e͏r͝e and wat̡ch̸ ̧you͢.͢ ͝Forev͝èr.͞ It’̕ś ̵ir̛o͏ni͠c͞, ̧r̡e̵aļly. You̡ ͟w̛a̢ntęd to ͟f̢org̡ét ͢m͠e ͢s̵o̶ b́adl̢y͢. B̶ut ̕nơw, b̀ec͟a̶use ҉of͜ ͟w͏hat ̷you’ve҉ tur̷ne͏d̀ ̸me͟ i̧n̸t̷o, I’͟ll ́b̴e a ͞thou͡g̶ht hid̶dęņ ͟i͡n t́he͘ ̧back͠ ̵of ̕y͟our͡ m͏i̧n͞d.͞ A͟ ̢feel̕i̡nģ of̴ ̕r͞eśtle̵s͠s͢n̨e͘s҉s҉ t̀h́a̢t you̵’̵l̕l ̨NĘV̡ER̶ b̴e͞ ̧abl̛e͡ ̢to̶ ge̸t́ r͝íd̀ ̕of̴.͢

Tru͟t̸h ͘i̛s,͟ I͞ ̵c͞an͘’́t k̴ee̛p̴ ͜y̢ou aw͟ake ̵f̵o̴rev͏er.͏ ͢But I ̧c̨an̷ ̛st͜ill ͠keep͘ ́y͝o̸u ̵a̸w͜ake, ̷e̶v̨èry t͏im҉e̴ ͠y͝o͟u͜ cl͝os͡e ̨your ͜eýes̴.͘ A͞nd̨ eve͞r̶y͞ ̴ti̡m̧é yo̷u ̸d̷o͝, ̴y̛o͞u̢’̛l̨l bȩ st̡ar͞i͜n̵g̡ ́d҉i͡ŕectl͘y̧ i̕nt͠o m͞in̴e͟.̨

Writing Tips #6: Punctuating Dialogue (Advanced Skills)

Hello, everyone, and welcome back to another installment of Writing Tips. Today, we’ll be discussing advanced dialogue punctuation (for more basic skills, please refer to episode 5). Let’s get started.

1. Combining narrative beats with dialogue tags. In the previous post, we discussed how to properly punctuate dialogue tags (he said, she said, they asked, etc.) and narrative beats (body language, non-vocal responses, etc.) Of course, there are times when you want to use both techniques at once. In this case, you want to punctuate the dialogue like so:

g.) “I can’t believe you did that,” she whispered, staring at him in horror.

h.) He turned to her and said, “We’re going to need more explosives.”

i.) “Well,” she said, eyeing him appreciatively, “that went better than I expected.”

Each of the above examples handles this technique in a slightly different way, but you’ll notice that the punctuation is consistent with that of dialogue tags, rather than narrative beats. In this structure, it can be helpful to think of the dialogue tag acts as the main course, while the narrative beat is more of a side dish (which is not to say that your side dish is any less nutritious or delicious than your main course, but much like the main course at a fancy restaurant, the dialogue tag gets priority.)

And because I am sneaky, I have nested another set of dialogue lessons into these three examples. Example G is the vanilla version of combining narrative beats with dialogue tags. It’s the format you’re most likely to see, and the most easily constructed.

But look at Example H. Rather than coming after the dialogue, as you’ve seen in previous examples, the dialogue tag (and narrative beat) come before the dialogue. The punctuation is very similar (a comma to conjoin each segment of the sentence), but you’ll notice that the first word of the dialogue is capitalized. Dialogue like this is basically a complete sentence nested within a larger sentence, and is punctuated independently (except when followed by a dialogue tag, in which case the period at the end of the dialogue becomes a comma, as we’ve discussed.)

Example I is even more complicated, with the dialogue split into two separate pieces by the tag/beat combo. In cases like this, you want to insert the tag/beat where there’s a natural pause in the dialogue (usually at a comma). But because you are continuing the dialogue after the tag/beat, you end the tag/beat with another comma (as we saw in Example H), then continue the dialogue as if there had not been any interruption (by which I mean, do not capitalize the first word of the second segment of dialogue). Here are a few more examples of how to do this correctly:

j.) “I hate to break it to you, mate,” he said, setting his hat on the bar, “but it might be time to admit defeat.”

k.) “You know,” she said, “it probably would have been faster to walk.”

l.) “I don’t normally say this,” the man grumbled, peering down at her, “but that was some damned fine shooting.”

Note, however, that if you split the dialogue at the end of a sentence, you end the following tag/beat with a period, not a comma, then punctuate the next snippet of dialogue as normal. Examples:

m.) “That wasn’t quite what I had in mind,” she said, pulling her shoes on. “I was trying to suggest we look for answers ourselves.”

n.) “If you don’t clean your room right now, you can forget about going to the park,” his mother said, hands on her hips. “Honestly, the things I put up with around here …”

o.) “We could always kill him,” she suggested, frowning when her girlfriend looked at her in horror. “What? Why are you looking at me like that?”

2. What to do when the dialogue goes on for multiple paragraphs without a break. This is a fairly rare occurrence, since most of the time, it’s pretty easy to sprinkle in a response from another character to break up a monologue, but you may find occasion to use it, so here’s an explanation: When a single character is speaking for more than one paragraph at a time, without any sort of narrative beat or interruption, you punctuate it like this:

“See, Leah was a fine young woman. Had a mouth on her, sure, and she could shoot a man dead in the eye from a hundred paces, but she had her chips in a row, if you take my meaning.

“Cindy, now, she was a different beast. Mean as a rattlesnake, and just as quick. Why, I’d rather go into a gunfight unarmed than cross her. And that’s not even takin’ into account that dog of hers. Meanest sumbitch I ever did see.”

Notice that there is no ending quotation mark after the first paragraph. This indicates that the dialogue is not yet finished. Note also that there is an opening quotation mark at the beginning of the second paragraph, which acts as confirmation that the dialogue is indeed still going on. And then, at  the end of the second paragraph, when the dialogue actually is over, there’s a closing quotation mark. As I said, it’s rare for dialogue to go on for more than one paragraph without some sort of interruption, but it does happen, so it’s best to be prepared for it.

3. Quotes within quotes. Another situation you might run into is having a character quote something another character has said (or mentioning something, such as a poem, song, or short story which would ordinarily be in quotes). Fortunately, this one is pretty easy: you follow the same rules you would with any regular piece of dialogue, except that instead of putting it in double-quotation marks, you put it in single quotation marks (note: with British English, the reverse is true). Here are some examples:

p.) “And then she said, ‘Well, I just don’t know what you’re talking about.‘ As if she really didn’t know! Can you believe that?”

q.) He leaned back in his chair, expression thoughtful. “Yeah,” he said in his gravelly voice. “I remember the first time I met her. Up on stage, singing an operatic version of ‘Second Chance.’ Damned beautiful, she was.”

r.) “You’ll find ‘The Raven’ on page two-hundred sixty-four of your textbook,” the teacher said.

And that’s pretty much everything you need to know about punctuating dialogue. Please let me know if you have any questions or would like clarification on any of the above points. In the future, I will post lessons about how to write dialogue itself, but that’s a ways off yet. For now, I hope you found this post helpful, and thanks again for reading.

anonymous asked:

Theory: max's parents sent him to camp for praying the gay away (one of the things they do actually offer in the commercial) hence why he hates the camp so much

Ooooh, very interesting!

Honestly, I have considered this as an option in the past, but never had that much evidence to really support it. Looking back, there are scraps here and there to suggest Max was at Camp Campbell for this reason. The first is in episode five. Journey to Spooky Island. when Max says this line: 

Just teenagers from the Church Camp working on those repressions again. Not that I’d know anything about it, being a kid and all. 

This bit of dialogue, while seemingly just a throwaway line on the surface, is very substantial to this theory. It not only shows Max clearly knows more than people think he does on this issue, but also suggests he has gone through them personally. There were a few other pieces I thought might be able to fit in with this theory, but they were such minor things that I felt didn’t really help solidify this theory.

Anyway, I certainly think this theory is quit possible, and I may even revisit it if season two gives us any further hints towards it.

(apologies for no visuals, my computer is being a butt today for some reason) 

seamusaran  asked:

How aware do you think Stannis is of his part in Renly's murder? A lot of people seem to think he was unapologetically on board with the whole thing but his dialogue after involving Renly's peach always suggested to me it was more a case of that while deep down he knows he had something to do with it he avoids thinking about it and has quite deliberately not dwelled at all on the idea of who killed Renly. I.e. he is remaining wilfully ignorant of his involvement.

That’s basically my read on it too.

Stannis’ behaviour at the parley between him and Renly and before seems to me that even if he has some Melisandre-inspired belief that Renly’s doomed, he doesn’t know when and where that doom will come about. Catelyn III, ACoK, tells us in its first few paragraphs that Stannis’ foragers have been cutting down trees for siege towers and catapults; Catelyn IV, ACoK tells us that he’s got his battle lines sorted out for the inevitable attack. From Catelyn’s outsider perspective, and that of everyone else on the field, it sure looks like Stannis intends to fight it out in battle.

Davos II, ACoK, of course, is the chapter with the best discussion of the issue of Stannis’ guilt, and I’m willing to take Stannis at his word here, given how the opening of his conversation with Davos shows how he values honesty.

Davos had come too far with Stannis to play coy now. “Last year they were Robert’s men. A moon ago they were Renly’s. This morning they are yours. Whose will they be on the morrow?”

And Stannis laughed. A sudden gust, rough and full of scorn. “I told you, Melisandre,” he said to the red woman, “my Onion Knight tells me the truth.”

In this context, I really don’t think Stannis would return Davos’ honesty with deliberate lies of his own. So when he confesses to Davos that he dreams about Renly’s murder (giving enough details for the reader to know that some part of Stannis was definitely involved), I’m inclined to believe what he says.

First, there’s how the topic of Stannis’ whereabouts at the time of Renly’s murder even came up in conversation.

“I have no doubt that Cersei had a hand in Robert’s death. I will have justice for him. Aye, and for Ned Stark and Jon Arryn as well.”

“And for Renly?”

In response, Stannis starts talking about where he was and what he was doing. That alone would indicate that at this point in time, after the fact, he feels he bears some kind of responsibility.

“I was still abed when he died. Your Devan will tell you. He tried to wake me. Dawn was nigh and my lords were waiting, fretting. I should have been ahorse, armoured. I knew Renly would attack at break of day. Devan says I thrashed and cried out, but what does it matter? It was a dream. I was in my tent when Renly died, and when I woke my hands were clean.”

He’s still talking about those battle plans. It seems from this that his expectations were to be fighting that morning, not watching Renly’s army splinter following their king’s murder. I really don’t think Stannis had knowledge before the fact - at most, I think Melisandre told him “this is some magic to assure your victory tomorrow.”

After the fact, however, it also seems Stannis knows in his heart that this was more than a dream (”and when I woke my hands were clean”), and really does not want to connect all the dots. As he summarises the matter twice in Davos II, “[Renly] brought his doom upon himself with his treason,” and in the parley with Cortnay Penrose,“the Lord of Light willed my brother die for his treason.” Much easier to think of it as divine retribution.

Giving Great Critique

Receiving constructive criticism of my work can be great. It helps me hone my skills and keeps me conscious of my efforts as a writer. Also, it shows devotion from the reader: they want to help me improve (which is lovely when done constructively!) 

However, one very important part of this is pinpointing examples in the story where you think a potential issue may have occurred. It helps me hugely!

Basic: “I felt Mycroft’s characterisation was a bit off.”

As critique goes, this is a bit nebulous. It lets me as a writer know something didn’t sit well with you, but it doesn’t help me pinpoint and evaluate the issue.

Better: “Some of Mycroft’s dialogue in chapter three didn’t seem to mesh with how we see him in canon.”

This is more helpful. Not only does it suggest that dialogue is the problem, but it gives me a rough location so I can look at it again and see what I think.

Best: “I felt that Mycroft wasn't quite in character. For example, in the scene after they pull Sherlock out of the brothel, Mycroft is talking in Lestrade and uses the phrase “Down with the kids” unironically. While I could see him saying that, it would only be as a joke, perhaps with a raised eyebrow or a bit of disdain. I thought you might want to know it pulled me out of the story a bit.”

Brilliant. The commenter has narrowed it down to a specific scene and has even been able to put their finger on what the problem was. That means it’s really easy for me to and take a look, judge it for myself and either work with their suggestions or otherwise fix it.

Even if you just felt something was off throughout the story, picking one particular part that made you think that and highlighting it can be super helpful. It gives me somewhere to start looking and improving, and you can bet I’ll get right on it. Vague critique is far less actionable, and unfortunately nine times out of ten it doesn’t really help. I can keep the issue in mind as I continue to write, but that’s about it.

On typos: If you find a typo and want to tell me about it, the best way is to copy the sentence where it occurs and enclose the problem in brackets e.g  “The cat jumped on [it’s] chair” 

This is because while some typos are really distinct, others are not, and if the story is a long one then something like the example above would be almost impossible to find.

(Also, sometimes a mistake can be staring me in the face, but because I have spent so long in the guts of the story, I cannot see it for looking. Putting it in brackets means I don’t lose my mind looking for a mistake I’ve gone brain blind to!)

I can’t speak for other writers, only for myself, but giving examples from my story about where you think the problems are is hugely beneficial, and really makes it feel like the commenter is eager to help me polish and improve my work.

Okay so I’m doing my favorite daily activity again, which is thinking procrastinating extremely important work and thinking about the season 2 soundtrack.

So far, we’ve heard at least 5 of the 7 new main tracks (lets exclude the background/atmospheric stuff likely featured on disc 2 for now).

APETITAN obviously is the beast titan theme, heard throughout numerous instances in ep 1-4, the episodes where BT was more or less responsible for the ongoing action. 

YouSeeBIGGIRL or Call of Silence is the new Vogel im Käfig ft Gemie, used during Ymir’s transformation in 5, and the RB transformation in 6. Personally, I’m suspecting it to be Call of Silence, only because its a more general title. Honestly its just a guess though, could be either.

attack音D is what I suspect to be Counterattack mankind 2017, heard twice in ep 2 and once when Eren was standing up to Reiner in 7 before becoming the flying titan. 

ERENthe標, according to Fuku-Shuu, means Eren the coordinate, which is pretty appropriate considering we’re getting the coordinate this season. And since that’s arguably one of the most epic, monumental, large scale intense sequences in the whole manga, it’d be appropriate to give it a theme matching its proportions, which, so far, I suspect to be the track that plays just before RB transform in ep 6 (Reiner revealing his arm, Mikasa slicing and dicing). This definitely is not part of Vogel, we’ve heard portions of Vogel in ep 5 that were covered by this track in ep 6, so its definitely its own thing (can also briefly be heard during the herring scene). It’s probably my favorite track out of all the new ones so far and if it doesn’t play during ch 50 I’ll punch a goat.

Barricades is the upbeat track heard in PV2, which we haven’t heard at all in the season. There is a slight possibility that, when Connie was preparing to leave Rakago behind, the opening notes of that song started playing, but we’re not sure. Quite frankly, I’m starting to get worried about where it’ll end up being placed: it’s way too upbeat for anything starting chapter 48, but too fast paced to only be applied in the middle of some dialogue sequence. The only possibilities I can think of are some sort of extended departure from the wall next episode, or perhaps some point in ch 47 (RBY leaving, SC pursuing maybe). Other than that…I’m out of suggestions where the track would work out. 48-50 are WAY too dramatic for anything really upbeat. 

This leaves us with two tracks yet to be confirmed/heard. son2seaVer….I don’t even know what that means, but that’s not exactly unusual with Sawano. We know it’s not credited to have a vocalist, but that’s not to say there won’t be vocals at all: background vocals, even if by his main singers, aren’t always credited by Sawano. Another track we’ve yet to hear would be the 2nd Gemie track, the one  that isn’t Vogel 2017 (my money on it being YouseeBIGGIRL/T:T). This one definitely has vocals, and we definitely have yet to hear them.  

Those two tracks ultimately are the biggest questions marks left. I was hoping we’d hear some of them during the AT fight, but the 2nd movie OST took over. So….next episode maybe? Hopefully? Pretty please?

We still have a few undetermined tracks used in the season though. An atmospheric background piece at the end of ep 2 when Connie returns to Ragako, which reappears during the RB/Eren talk about the hometown in ep 6, and a little later when Reiner reveals their identities. Another atmospheric track is used in the opening scene of ep 3 in Ragako, it reappears in ep 5 during the snowstorm and ep 6 when Ymir is lifted up the wall and a bit further. There’s a new piano track playing during the yumikuri scene at the end of ep 5, which is pretty damn lovely. Last thing is an ambiance thing playing when Historia is yelling from atop the tower just before CAM 2017 starts, but that could be just the natural prelude to the new CAM. I find it unlikely that any of these tracks are part of the main tracks mentioned above, and suspect them to be the additional tracks listed on the 2nd disc.

Conclusion: we have two main songs that we haven’t heard at all, and we should look forward to them. 

Where does Chihaya’s and Taichi’s relationship stand, as of now?

An anon asked me a similar question very, very long time ago and I have been meaning to answer it. I’m seriously terrible at giving prompt replies, gomen. But there was another reason as to why I didn’t reply immediately. At that point of time, the manga was still focused on the team matches and we hadn’t seen proper interaction between Chihaya and Taichi after the incident in Chapter 138. I say proper because I do not really count Chapter 164 and 165. Taichi and Chihaya barely exchanged any words and those chapters were more in relation to his disappearance and apologies to his teammates. In that sense, I couldn’t really figure out how Chihaya and Taichi would act around each other. However, with the latest chapters, specifically 174 and 175, I have been able to get a better grasp as to how they are now.  

I think what is clear to everyone is that they are no longer the same as they were before. In fact, after Taichi’s confession, this was one of the first things that I expected. That there was no way they could revert to the way they were before, even if they reconciled and started talking to each other again. Taichi’s confession would be one of the major turning points in the manga. A lot of things decisively changed, ended, began after it, and it is undeniably shown in the narrative. Taichi’s and Chihaya’s relationship would be one of it. I believe that this is precisely why Taichi was so afraid to confess to Chihaya in the first place. Because he, too, knew of the consequences if the confession turned on its head. Which it did, of course. So, what exactly is their relationship now? Is there any way to term it? The way their relationship is being depicted now, in my opinion, can mean two things. And that will be analysed in the bulk of this post.

Keep reading

anonymous asked:

Hey, I agree with you that there needs to be some confirmed bi characters on the show, I'm really hoping for jake or rosa, especially as Stephanie Beatriz says she wants it. Do you have like a list of all the moments that suggest any of them are bi? I can think of some for Jake and I know there are loads of others, but I can't quite conjure them to mind.

omg now I kinda wanna make a vid comp of this lol

I just reblogged one for Jake, but I’m afraid I’ll miss moments for the others!

  • I think Rosa’s is mainly subtext? I don’t think there’s any evidence in dialogue, but there’s plenty of looks/Dianetti moments
  • Gina I can most recently think of asking Amy if she wants her to teach her how to kiss
  • Amy’s is mainly during Four Drink Amy, basically openly hitting on Rosa and Gina

anonymous asked:

Dialogue prompt between two guys in a high school corridor? One of them is short-tempered but smart, with Russian origins, the other is quite childish and is trying to trigger a fight by making some rude comments. Thanks! Your blog has been a great help for my writing.

Hi! I’m sure I can come up with something.

****

“Hey Commie! You hunted any fuckin bears lately?”

[Character B] rolled his eyes. “We don’t hunt bears in Russia. You must be even dumber than you look.”

****

“Yeah, here we have to work for what we have, instead of mooching off other people’s hard work.”

“Yes, and thank God for that. If lazy people could mooch, you’d be latched onto me like a leech.”

****

I hope this helps! If you need anything else, please feel free to ask. - @authors-haven

How to Turn a "Blah" Scene into Something Bold

anonymous said: Hey! So this is a quick question regarding setting a scene. In my novel, the characters travel a lot, so they end up spending quite some time in a car. I do want some information to be delivered during these scenes, but I’d like to avoid “talking heads”. I’m not really sure how to have the characters do something in a car though. Do you have any advice on this? Or do you suggest I skip these scenes altogether and deliver the dialogue in a different setting? Thank you! (:

Hi. Oooo. I LOVE this question to be perfectly honest. To have a lot of dialogue is not a bad thing, but I understand your frustration, to look back and have pages and pages of long cuts of dialogue just looks weird. I say don’t be afraid of it. In fact, embrace it. I would suggest making these car scenes really unique. 

Tips to Turn a “Blah” Scene into Something Bold: 

A lot of writers might frown at this but, if a scene is really feeling mundane, it might help to write it differently. I don’t mean changing the setting or what is physically going on, but to make the scene look different on the page. I recently read a book - The Supernatural Enhancements by Edgar Cantero - which I’m pretty much always going on about, that is written entirely out of odd perspectives, which in turn, are formatted uniquely on the page and it’s a trend I’ve seen in many modern novels since. Here’s what I’ve got.

  • First thing that comes to mind, if it’s just dialogue in a car scene, make them entirely just talking heads. Maybe include one line about the car to show where they are and then move into an almost script-like format where the dialogue is most clearly displayed. Like this:

Bob: You’re over the speed limit.

Martha: I told you we’re going to get to Boston on time. Don’t judge my methods. 

Bob: I’d like to be alive by the time I get to Boston.

  • Otherwise consider a strange, objective perspective to write from.For instance, a security dash-mounted camera that happens to hear their conversations. A sort of fly-on-the-wall perspective. It’s one thing that is so slightly strange to the reader that it adds interest to a scene that you might say is not actually interesting. 
  • Still just want to go with a “novel-like” approach to the scene?Yeah, if these last few ideas are a little too avant-garde for you, I would suggest telling these scenes in the 3rd person perspective, following the thoughts of a different character every time you write a similar scene. This way, you have to not only give the information you intended to include, but give this character enough thought and voice that the scene will feel a lot less like a talking heads. 

Hope this helps! 

anonymous asked:

So I was listening to some Origins banter like the nerd I am, and was listening to the bit where morrigan tries to seduce Sten. He eventually gives in and starts talking about how she might need armor and a heated iron crowbar, and how Qunari teeth can even cut through metal. Now it's entirely possible he's messing with her, but what if he isn't? Just how careful do you think Bull has to be with non Qunari partners? Now I'm worried about my Trevelyan.

LOL! I love that dialogue, I laughed so hard the first time I heard it.

Morrigan: You seem so deep in thought, my dear Sten. Thinking of me, perhaps? The two of us, together at last?
Sten: Yes.
Morrigan: I… what did you say?
Sten: You will need armor, I think. And a helmet. And something to bite down on. How strong are human teeth?
Morrigan: How strong are my teeth?
Sten: Qunari teeth can bite through leather, wood, even metal given time. Which reminds me, I may try to nuzzle.
Morrigan: Nuzzle?
Sten: If that happens, you’ll need an iron pry bar. Heat it in a fire, first, or it may not get my attention.
Morrigan: Perhaps it would be better if we did not proceed.
Sten: Are you certain? If it will satisfy your curiosity…
Morrigan: Yes. Yes, I think it is best.

I am quite certain he is just messing with her. Morrigan had been jokingly making comments in party banter a few times, flirting with him, which he had discouraged. Sten has a very deadpan humor and I suppose this was him deciding it was time to have fun with it and also shut her down.

So, I don’t think you’d really need to be concerned with sexual relations of a non-Qunari with a Qunari. Dialogue from Iron Bull suggests he has bedded many non-Qunari with no mention of any damage to them.

And of course: “I will never hurt you. Not without your permission.”

Now, if you /want/ to headcanon some rough sex, of course, that’s certainly up to you!

Movies To Watch

Thank you all who responded on my question about what movies you would suggest to watch! Your cooperation is most precious!

Here is what you’ve sugested so far:

Sovietpic: 17 Moments of Spring is a classic, so you can get a good insight into Soviet culture, and since its about WW2 an American would understand a lot of it and pick up on stuff quick.

thepsiioniic: i’ve watched sections of Solaris, and it was both interesting and had some pretty simple dialogue at parts. C:h

rukino: Try to start with Soviet films from the 30s-50s (and a little bit of the 60s). The diction tends to be quite clear and there is enough written about most films of that era online that if you miss something you can find it out easily. Also there tend to be subtitles available. Many such films are on youtube, via the Mosfilm, Lenfilm etc. youtube channels. The language, although not exactly simple, is certainly going to be easier to understand than the naturalistic/slurred (depends on your point of view!) Russian we see in more modern films. I personally enjoy watching short Soviet propaganda films because they tend to be very simple with clear and straightforward ideas. The terms will be familiar to any student of history, even casual ones. My favourite films for learning Russian were Moscow doesn’t believe in tears (Москва слезам не верит) (on youtube with English subs) and The Irony of Fate-May your steam be light (Ирония судьбы - с лёгком паром) I would also suggest The Fall of Berlin (Падение Берлина) But the first Russian language things I watched were cheburashka and nu pagodi! And also Masha i medved’ Маша и медведь! Kids cartoons! :)

hyacinta: День радио was a fun movie. We watched it with our russian teacher once.

social-slutterfly: A favorite of mine is 9th Company. It’s on Netflix. I’ve also found Russian versions of Frozen and Paranorman online. Gotta do a little digging, but they’re all there.

igorisme: I know this is not what you asked, but moved to NYC from St. Petersburg when I was 11 and learned English by watching cartoons with subtitles. Watching the same ones over and over was key. Try “Ну погоди” и “Винни-Пух”, but there are many more.

Victor Svec on Twitter also suggested Баллада о солдате.

Thank you everybody! You were extremely helpful!

anonymous asked:

fics involving dance?

we have a tag!

but here u go bc dance fics are my fav

Better With You By My Side 

Dan and Phil are both sons of rich families and are sent to ballroom dancing lessons. Because there is a shortage of girls, Dan and Phil end up as partners. Phil really doesn’t want to be there and Dan doesn’t either, but is so frustrated by the fact Phil doesn’t want to dance with him he is determined to get him to.

Human 

Dan is a dancer, but it is his best kept secret. Moving to a new college results in new friends, new hobbies and a new outlook in life; but what does it really mean to be human? A series of strange and seemingly unconnected events unfold that all seem to link back to Dan’s mysterious new boyfriend, etc.

Warnings: Minor character death, violence, drugs and alcohol, some bullying, mental illness (mostly recovery though, and with not a lot of detail)

DANCE WITH ME, DAN?

Phil is and classic dancer ,Dan is an karate teacher. One day Phil doesn’t have any company to practice and Dan accidentally entered Phil’s hall. 

I Like To Dance 

It started off as a hobby, something that Dan just did when he was alone. He’d just put his head phones in, shut his door and make sure no one could hear him, then he’d just let go. He could do it for hours before he got tired, and afterwards, he’d still want to do more

Dancing Dreams

Phil is the son of a school dance instructor. Sometimes, he helps out in the class and all of the girls fawn over him. One day, his mum instructs the students to find a partner and choreograph a dance in two weeks. Dan is once again left without a partner, so Phil volunteers.

Warnings: Self harm/self hate, bullying, smut

The Dancer And The Gamer (fem!phan)

Phil’s final ballet show is fast approaching and all she can do is practice. She never seems to find herself away from the school’s gym hall where she practices for hours on end every day. That is until she’s disturbed one day during practice by a certain brown haired girl.

Word count: 9000

THE WORLD IS UGLY BUT YOU’RE BEAUTIFUL TO ME

Trigger Warnings : Mentions of alcohol
Description : Chris and PJ convince Dan to attend the annual school dance with them and arrange for Phil to be there at the same time. Dan and Phil dance together to a My Chemical Romance and are utterly infatuated with each other.

Stolen Dance

 Piano teacher Dan Howell has a crush on a pretty co-worker that he wants to impress, and when he finds out she’s a dancer, he figures it can’t hurt to take dance lessons. But when he gets to the studio to meet his instructor, things don’t go quite the way he planned.

Warnings: Internalized homophobia; use of homophobic slurs; alcohol; use of alcohol as a coping mechanism; sexually suggestive situations and dialogue. Word Count: 14.3 K

GRACE AND ALLEGANCE

 Dan is looking for someone to dance with at the school talent show because he does ballet but he doesn’t know anyone else that does. He later finds Phil, the shy nobody that is usually seen being bullied, in the gym and doing ballet better than Dan could do it himself. Phil doesn’t want to dance with Dan at all so Dan has to find a way to convince him to dance with him at the talent show and at first Dan tried bribing him and being less than nice but they become friends and theres kisses

~i

Hey, Stardew Valley fans!

Do you love all the wonderful characters you can marry, but find the actual romance part of the game rather lackluster? I know I feel that way! So I’ve taken matters into my own hands and am working on a mod that adds extra super cute, fluffy, make-your-heart-go-doki-doki romance dialogue for every romanceable character, heavily inspired by the Harvest Moon style of hearts dialogue. I’d really like some help, though!

I’m looking for a beta reader, of sorts, to lend me a hand with weeding out typos, making sure my writing is easy to read and comprehend, and ensuring all the new dialogue is in character. I’m also totally open to suggestions in regards to what lines I add.

I literally just started this last night so I’m not very far along (I currently have 8 lines for Sam and that’s it), and I haven’t quite decided the scale of what this project will be (I’m hoping to keep it a summer thing, but we’ll see).

Requirements are pretty loose; I just need someone with good grammar/spelling skills and a solid familiarity with as many Stardew Valley marriage candidates as possible. There really isn’t a slot limit for this, either; I can use all the help I can get!

If you’re interested please message me via ask, IM, reply, etc… whatever suits your fancy on here~ And if you’re not interested, a signal boost would be appreciated. Thanks!

drumstick00m-deactivated2016061  asked:

Do you think Pearl was grown exclusively for Rose? I always thought Rose chose her after so many rejected and returned her. Did Peridot say something to suggest otherwise. Always felt Rose choosing her would be a better theme. Pearl seemed to want to live for another as long as it is on her own terms and for someone who wanted her. Still an unhealthy choice Pearl made, but it was still her choice.

I….honestly have to wait and see where this goes in the show, I think, because no matter the circumstances, it would seem Pearls were made and conditioned to be owned, and as-is, that squicks the absolute bejeezuz out of me in a Rose/Pearl fluffy shipping sense. :T It has vibes of Stockholm Syndrome. Pearl couldn’t make decisions “on her own terms” back then. Her thoughts would always be influenced by her conditioning and the hierarchy of Homeworld.

I can’t see any positive way around the very real power imbalance there, aside from Rose encouraging individuality but keeping her distance to foster that. If the Rose=Pink Diamond theory pans out, even moreso. 

I’m not saying that Rose abused the power imbalance, but even with good intentions it would still be there. Pearl had no sense of self-worth. She wasn’t even created to have a sense of self-worth. Rose was kind to her, so she idolized Rose for that. But her world still revolved around Rose, serving Rose. She was “nothing”, Rose was “everything”. I can’t see how that made a basis for a healthy romantic relationship. Tragic in a “things that could have been” sense, hell yes. But not healthy in practice. Because the thing is, that sense of servitude was ingrained into Pearl until just recently, implied by the dialogue in Friend Ship. Before the fight with Garnet, she was “just a Pearl”. That would suggest that for the duration of her time with Rose, she had not honestly internalized a sense of self-worth, only worth in terms of how she could serve Rose. “Do It For Her” in Sworn To The Sword backs that up.

Given Rose’s own difficulty in understanding relationships, she might not have even known how to help Pearl see otherwise.

I never quite understood Rose’s regretful tone when she said “I know you do” to Pearl in the flashback at the end of Rose’s Scabbard. Now I feel it falls into place, although in a really sad way. Rose could see the potential of a wonderful individual in Pearl, but knew that Pearl only still saw herself as an accessory to Rose’s accomplishments and would only worshipfully follow that in whatever way was necessary–which she did. Rose loved “her Pearl”, but she couldn’t in the way Pearl loved her. Pearl would never be truly free that way.

That could also explain why Garnet would encourage Rose and Greg to seek a deeper connection instead of coaching Pearl in Story For Steven. Garnet actually seemed outright disgusted by Pearl’s possessiveness. If Garnet’s not down with it, you know something is up!

To be honest I’m more than a little surprised the parts of the fandom who are quick to cry “problematic!” at ships aren’t all over this revelation–and overreacting to it, as per usual. >>

Elven Ears

((There were a lot of posts about that, but recently a couple of ideas came to my mind and I want to share. Because elven ears are very important. For academic reasons. *cough*

  • I totally dig the idea that elves can move their ears and signalize their mood this way. When they are alarmed or happy, ears perk up, when they are distressed, they drop. That goes without saying.
  • Elven ears are also sensitive. And when an elf is aroused they actually become harder – probably to make potential caresses a bit easier. This applies to both genders, male and female.
  • Because of that, elves do not pierce their ears, because if done unskillfully, that makes the nerves numb and not responsive to touch, and in overall, they see something like this as an utterly barbaric thing. The fact that humans and other races pierce their ears is terrifying. So elven jewelry don’t have earrings, but ear cuffs.
  • I somehow suspect that drow females do pierce their ears – to get rid of a weak point that doesn’t really have any practical use aside sexual satisfaction and communication; and not being able to move their ears properly during conversation is a great way to hide true intentions, you don’t let your body language betray what you really think or feel. This is also the reason why male drows are forbidden to pierce their ears (Jarlaxle probably did that only to shock others and after a long time of preparations to not hurt any of the more important nerves). In Sshamath, where drow males are in charge, probably nobody pierce their ears at all, purely for not lowering the quality of a potential sexual intercourse.
  • According to the extremely funny dialogue between Sand and succubus Blooden in NwN 2 game, apparently the longer ears are, the greater talent/intellect of an individual. Reactions to that suggestion among elves themselves vary. Those with visibly long ears just smile smugly, those with shorter ears get angry and yell that it’s utter rubbish. (It is rubbish, though, but the myth as every myth is quite popular and the comparisons of ears’ length are very common, also among elves. Of both genders.)
  • Elves totally use the phrase “You have short ears!” as an insult. And more racist elves call humans, half-elves and other races “short-eared”.
  • Praising the elf that their ears are beautiful and/or long is a huge pride boost.
  • Bonus for gloriousleadersand: Illindriel’s ears are much longer than Sand’s. That’s why necromancer has long hair, while Sand always takes care to choose a hairstyle that would prevent covering his ears with long locks, to create an illusion they are bigger and longer. If you dare to suggest his brother has longer ears, be prepared to sit through a long, irritated lecture that this rumor is false, by believing in it you are an insufferable, uneducated moron, and aside from that, his ears and Illindriel’s are “exactly of the same length”, so even if that stupid myth was true, but of course it ISN’T, this fact would have nothing to do with it.
RTTE Season 3: Episode 5

The Hiccstrid is strong with this one.

The much awaited, and partially spoiled, Hiccstrid episode.

I was really excited for this episode after the promos were released, especially to see one of my many OTPs getting some canon love. First off, some moments were incredibly sweet, like all the times Hiccup caught Astrid from falling, when he carried her in his arms, and when he could tell from a single glance at her face that something was wrong. 

Every single expression of concern on his face was beautifully animated, and so palpably real. Kudos to the animators on that one. 

A person’s reaction when someone they love is in danger is the greatest testament to that love; and it works so well in storytelling because the writers are not telling us through dialogue that Hiccup loves Astrid. Rather we see it in how he reacts. This was superbly done.

What she says: I’m fine
What she means: I’m dying of pestilence

That said, as someone who waited through four seasons of Dreamworks Dragons for some hiccstrid development beyond the mostly platonic stuff we’ve gotten so far, the last thing I expected from this ship was a line as cheesy as “I can’t imagine a world without you in it.” Yes I know these guys are teenagers, and the cuteness of that line is not at all out of place; but perhaps the cheese is. Maybe it’s just me, but I much preferred the other line Hiccup uttered: “For me,” and it’s counterpart by Astrid, “Not for me.” These dialogues were subtle and yet made it crystal clear where these kids’ hearts lie (with each other).

One great thing about this episode was that even though the focus was on the pairing, the main plot was still being furthered. More on that in a second.

Now of course, hiccstrid wasn’t the only thing in this episode. The beautiful serene but agoraphobic Buffalord was quite frankly adorable. 

I completely understand Tuff’s reaction to it, and if circumstances had been less dire, our dragon-loving geek Hiccup might have been more open to the suggestion of keeping it—if not for its uncharacteristically violent refusal to leave its island of course.

Please, dad, can we keep him? I promise to feed him and walk him everyday!

This brings me right to the other search party after the Buffalord. The Grimborn brothers. Well, mainly Viggo. Astrid’s illness wasn’t just a plot device to make the hero realize how deeply he loves her. Rather, it was a direct result of the villain’s actions, because plot. Spreading the Scourge so he can produce the antidote and profit from it? Such evil. But so interesting. Yet another feather in the cap for my earlier argument about how Viggo is so much more evil than someone like Dagur. If Dagur is chaotic neutral, Viggo is lawful evil. And in my opinion, lawful evil is the most formidable of adversaries.

I can’t end this review without mentioning my favorite Thorstons. One of my complaints in previous seasons was that the twins and Snotlout were being used as comic relief. But I am SO happy with the twins this season. They are insanely creative and talented, and have something unique to contribute in almost all the episodes so far in season 3. Astrid would have died twice if not for their input—once when they deciphered the map and again when they identified the Buffalord’s herbs. My smol children are finally getting the credit they deserve.
*happy sigh*

In fact, it seems as if a lot of what I wanted to see in RTTE is happening. Case in point: I always LOVED seeing Hicclegs bonding, particularly when they geek out together. And this season has already given me four scenes of that, only five episodes in! 

Overall, could the episode have been better put together? Yes. Was it a great installment in a great series? Yes, of course – both plot-wise and feels-wise.