Catch Me Crying In A Dark Ally Way, I Guess. A Confession That Is Far More Heavy Than A Climactic Romantic

Catch me crying in a dark ally way, I guess. A confession that is far more heavy than a climactic romantic one at this point. An admission to fear, although the cause of the fear unknown, out in the open and laid bare to tend to. Kanna's talk with Yuder before this about her own fears and the move Enon made to reveal himself to Kishiar couldn't have been utilized more beautifully.

Kishiar had suspected it for so long, and even after hearing it out loud himself he doesn't move in any way that Yuder doesn't approve of first. That embrace, though. He wants to reassure him so badly.

Tags

yuder aile turning novel Turning kishiar la orr kishiyu

Don’t GOAT Breaking my Heart: an Anti-Hate Meta for Toriel AND Asgore

I’ve seen a lot of hate going around regarding the situation these two are in. Sometimes, in defense of one goat someone viciously bashes the other. It doesn’t have to be like that, though.

TORIEL

It seems like a lot of people are condemning her dislike of Asgore in their defense of him. But…I think we should try to understand her point of view too.

Why is she so mad at Asgore?

It is heavily implied the children he killed were her children, in the same way Frisk is. Maybe for years.

It’s safe to say Toriel didn’t just nab these kids’ shoes and send them on their way. Some or most of them stayed long enough to need to new shoes and grow out of their old ones (or they’d still be wearing them when they left the Ruins) - a process that takes months or years depending on their age. Their old ones were put in the bin. They left, and died in their new ones. Rinse and repeat.

Added to this is the photo frame in the children’s room. This frame is empty; if it were meant for her old family in New Home, it would still have them in it or not be there at all. It’s empty because the children, the humans who occupied the room before, in the picture died.

They were not just children that were murdered; they were her children. The same way Frisk is.

This isn’t just two exes disagreeing over policy; from her point of view, he killed six of her children (only one way into the underground, and that’s the hole in the ruins; Chara fell there too) and was starting on a seventh. It’s understandable that she can’t forgive him.

But did he kill the other 6 humans?

Unfortunately, yes.

The humans made it to Asgore, but they didn’t make it past him.

It seems the other childrens’ items were lost along the way, and scattered over decades, not markers of the childrens’ graves; it’s mentioned that the “faded ribbon” was dropped down a hole. The other items likely met a similar fate; however, all the humans made it Asgore at the end. They did not make it past him.

Why did she take Chara when she left?

She didn’t do it out of spite, but believed that they deserved a proper burial.

Why didn’t she leave the barrier, and kill six people herself?

Toriel never wanted that plan to go through.

Toriel never wanted humans to be killed to break the barrier, even to free her kingdom. She would never have killed anyone to make it happen.

She didn’t call him out because she thought he should have left the barrier to kill more humans, she called him out because he gave everyone false hope and killed people; if four humans died and no others arrived then monsters would still be trapped forever, but the humans would still be dead.

Even when she’s facing down someone who killed her children, she cannot allow someone to take his life. She didn’t just come here to save Frisk; she came to save Asgore. No lives could be taken to exit the barrier. The value of life was absolute.

ASGORE

…and I think we should try to understand Asgore’s plight as well.

He declared war in a moment of devastation.

When Asgore declared war on humanity, he had just lost two children. He watched his son die from the wounds the humans inflicted on him, when he didn’t raise a finger to harm them. Humans who locked them in a hole to rot for thousands of years.

…and then couldn’t take it back.

The kingdom was in despair too; they had lost their prince, they lost their hope for reconciliation with the humans with Chara. He promised his entire kingdom he’d take the humans’ souls and free them.

He saved his kingdom from despair, and by the time his own grief had settled it was too late to take his promise back. He couldn’t take away their hopes and dreams.

He had a duty far beyond six souls of the humans - who doomed them to their situation and murdered his own son after he cared for one of their children - to the thousands of people in his own kingdom. It would have been justified for him to leave the barrier and kill six more humans after he got the first soul, right?

Even after everything the humans did, he still valued their lives.

This is why he didn’t leave the barrier after getting the first soul.

He couldn’t state outright that he didn’t want to kill them to the kingdom, and plunge them back into the horror of being trapped in the dark forever. But he still hoped to never kill another one, even after they kept coming. Even after the sixth. If he could avoid killing even one, he would. To this end, he even instructed his scientists to find any other way to break the barrier, without a single other person having to die.

For the record, here’s how he looks at Frisk when he sees the very last soul he needs to free his people from millennia of imprisonment that they never deserved:

He takes two steps back and stares at Frisk in utter horror. There’s a long silence. He actually panicked when he saw Frisk.

And how many times does he try to to spare your life?

Translation: Please don’t come into the next room.

“If not, I understand. I am not ready either.”

Translation: Please turn back.

There’s still time.

And when he finally does fight you…

He holds himself way, way back. He has the ability to one-shot you. He has the potential to not get a scratch on him from Frisk’s tiny LV 1 self. What’s going on here?

Because they are made of magic, monsters’ bodies are attuned to their SOUL. If a monster doesn’t want to fight, its defenses will weaken. And the crueler the intentions of our enemies, the more their attacks will hurt us.

This is how much he doesn’t want to fight you. Along with holding back his last attack, so you can only ever die if you’re already at 1 HP.

So why’d he destroy the mercy button?

He doesn’t really want to win either. And in the event he loses, he doesn’t want mercy. If Flowey doesn’t show up…

He dismisses his idea of living with Frisk peacefully as a fantasy, says Frisk and his other human child “have the same look of hope in your eyes”, thinks Frisk could be the Angel of the delta rune prophecy, and believes they can free everyone from outside the barrier. He then takes his own life.

He was not wrong to want to spare the humans.

Despite their souls being necessary to free everyone, It’s important to understand the stakes here. With each successive soul, he is not just looking down at the possibility of taking another child’s life when they show up. If he gets 7, he will no longer have an excuse to stay below ground. He will have to break it. He will then have to destroy the lives of billions to let his people on the surface.

but if one shows up….

If a human shows up in his castle, it is because they want to leave. The confrontation is then inevitable, because they have to take his soul to do that. He never hunts them down. But if it comes to fight, he has a duty to fight and try to take their soul, for the entire kingdom. Their hopes are riding on him. So he killed them.

…and the barrier really couldn’t have been be broken without 6 of them, and the souls of every monster underground except Napstablook.

I think it’s possible to appreciate the agonizing position Asgore was put in, as a person so gentle he couldn’t even painlessly take the lives of humans, who killed his son and trapped them underground, with the hopes of the entire kingdom, and the destruction of an entire species, resting on his shoulders to do it.

I think it’s also possible to appreciate the position of Toriel, who has lost several of her children to his hands, and can’t forget it or forgive it, but still believes he deserves mercy.

It’s no competition. Please love both of the goat parents. Neither are bad people and they’ve been through too much.

Bonus: Are they ever ever getting back together?

They are not ever ever getting back together.

…but he’s still smiling in the end, isn’t he?

Tags

undertale toriel asgore

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redibanni

2 years ago

How to write romantic tension

Here are some of my best tips to write a romantic build-up! (I believe all of these are inspired by a couple in my current project, oops!) Happy Valentine’s to everyone!

💜 Disagreements

Nothing shouts romantic tension better than when one of the characters is annoyed by the other’s habits or opinions. Usually this stems from a personal issue, or even form knowing they’re attracted to the other person!

If character A smokes, character B could be annoyed at them because they used to smoke themselves, but subconsciously the complaints are just an excuse to keep the conversation going.

💜 Arm’s length

Try to keep your characters at an arm’s length from each other, and experiment with the tension you can create at a distance. This will make any closer moments MUCH more impactful.

If character A is usually polite and respectful of personal space, but in an emotional moment they lean a tad too close, that strikes character B much harder.

💜 The turning point

What is the point where it becomes obvious to your characters that they like each other? You don’t have to immediately seal this in a kiss or a confession. Play with how this knowledge subtly changes their behaviour with one another.

Character A may get progressively flirtier or bolder when they realize character B is completely accepting of their advances. They may start to do “coupley things”, like hand-holding, or subtle comfort touches, without even having to talk about “where they’re at.”

Did you know I’ve got a Youtube channel? Watch my first few videos now! Subscribe through the [link here] or below!

YouTube

The Plottery

I'm a fiction writing coach with a special focus on the power of outlining, and I'm here to help you go from an idea to a polished manuscrip

Tags

writing writing advice not a fandom

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redibanni

2 years ago

Isekai

The story this world was created for didn’t pan out, but I still love it. So I sent a visitor from our world to this one, who is not delighted to find that instead of a clear conflict between good and evil, she is confronted with something very different.

The priest led the way into the great hall. “It is strange to me,” he said chattily, “that you do not know the gods. Surely there is no place so far that the gods do not hold sway there.”

The stranger cleared her throat. “I do not… know that I do not,” she said carefully. “By other names, or seemings, perhaps… but I would know them as you know them.”

“Ah, I see. Yes, that I can understand.” The priest smiled. With his long grey hair and beard flowing over a white robe, he looked like a small, spare saint himself, genial and contented. “Then I will tell it to you from the beginning.” He walked up the length of the hall, and gestured to the two statues that stood on either side of the great altar, with the gold-leaf sun and hammered silver moon on the wall above it.

“There are eight gods,” he said, and his voice settled into the cadence of one repeating an old teaching. “And no one of the eight stands alone, but always as one of a pair. First among the gods stand Elu and Surm, whose aspects are those of Life and Death. There are those who say that they are the parents of the other gods, and others who say that they are only the oldest, but all that the others are springs ultimately from them.”

“I see.” The stranger looked up at the statue on the left, who stood by the golden sun. “Elu… life… is perhaps the one I know as the Mother.”

“Yes, for all life comes from a mother.” The priest nodded, also gazing up at the statue. It was beautifully crafted, perhaps twice as tall as the stranger, a vivid portrayal of a woman of middle years, with the rounded belly and hips of children borne, the plump limbs of health and plenty, lines of wisdom and of humour on her face. She wore a loose robe, and a crown of leaves and flowers on her long hair, and fruit and grain filled the basket in her hands. “Elu brings life, and all that lives, from the greatest beast to the smallest, from the richest fruit to the smallest seed, from humankind to a flower that blooms and dies in a single day.”

He turned to the other statue, Surm. This was a man, also of middle years, but he wore armour, and carried a bow in his hand. “And Surm, her opposite and equal, who closes the circle. Where there is life, there must also be death, and Surm rules over all forms of death. He is a warrior, and a hunter, and also a healer, as is Elu, for the healer stands between life and death. Surm is the ending, as Elu is the beginning, but in truth they are the two halves of a circle, for from death life comes again, and from life death is born.” He gestured up at the sun and moon. “Elu is the first of what we name the sunward four, and Surm of the moonward, for the sun and the moon, like the gods, are a pair, opposite and yet united.”

“I see. Who comes next?”

“Of the other three pairs, the order in which they stand varies. They are all of equal status and importance, as gods, but in different times and places some may take a greater hand than others.” The priest moved back a few paces. “Here, the second pair are those we call Kord, the sunward, who represents order and creation, and Kaos, the moonward, who represents chaos and destruction.”

The stranger looked from Kord, a statue of a man holding a chisel and a measuring rod, his robes perfect, his braids as straight as the rod, to Kaos, a woman all disorder, from her wild curls to her ragged motley to her very pose – while Kord stood erect, Kaos was dancing, one foot raised, ribbons flying about her. “Good and evil?” the stranger asked, frowning.

“No, order and chaos.” The priest frowned too. “All the gods have their aspects of both good and evil, of course. Elu creates life, and she is the mother of the devouring wolf or bear just as she is of the lamb or the kid. Surm brings death on the battlefield, but also peace after long life and ease after suffering. Kord is the god of order, of precision, of law and of rule, of measurement and of numbers. But Kord is a sterile god, and life does not thrive under his governance.” He turned to wild, laughing Kaos. “Kaos reigns over destruction, it is true, but not all forms of disorder are destructive. She is the song of the bird and the frisking of a foal as well as the destruction of the earthquake or the tidal wave, and she rules over weather both good and bad. She also rules the human heart, its loves and hates, and she brings both joy and sorrow.”

“I see.” The stranger did not sound as if she saw, but she looked thoughtfully at Kord and Kaos before they moved on to the next pair.

“On the sunward side, Sugulahna, the neighbour, the kinswoman, the ally, the friend, the loyal one.” This statue was young and vigorous, with a cheerful smile. She wore a simple tunic, and held out an open hand. “Sugulahna is the goddess of unity, of trust, of loyalty. When she stands with her brother Kord, they watch over cities and towns, and places where many people must live together in order and harmony. With Kaos, she signifies love and friendship, the ties of family and the bonds of loyalty. In her benign aspect, she is generosity and faith. But turned aside, she is the selfish partner, the treacherous lover, the ungrateful child, the usurper and betrayer. She is all that is best and worst in those around us.”

“One who can give great pain and great joy,” the stranger commented.

“None can give greater.” The priest nodded solemnly. “And on the moonward side stands Vu’uras, who is often called ‘the Stranger’.” The statue could hardly be called a statue, exactly, for no face or clear form could be discerned under the enveloping robes that might as easily have covered a clothing-stand as a human figure. The only sign of the body underneath was a single slender hand extending from a sleeve to clasp a traveller’s staff. “The Stranger is the Other, the traveller, the foreigner. The Stranger, when standing with Kord, is the diplomat, the envoy, the spy. With Kaos, the chance-met helper or kindly passer-by… or the bandit. The Stranger is sexless and unknowable, and yet the Stranger delights in the sharing of knowledge.”

The stranger smiled slightly. “Like me. A stranger chance-come, who knows nothing but wishes to learn?”

“Indeed, just like.” The priest moved on to the last pair of statues. “Here you see, on the sunward side, Teadmised, who is the god of knowledge and learning. Teachers, scholars, and the wise are all in his domain, and he is said to have created all means of record-keeping, from wall paintings and lore songs and tally marks to the written word.” He beamed up at the statue. Like the priest, Teadmised was an old man, long-bearded and a little stooped, with a lean, kindly face. He was wrapped in a long robe with a stole, and carried in his hands a scroll and a brush. “Teadmised is the god of wisdom. His benign aspect brings invention, and art, and joy, but his reverse is deception, and error, and lies.”

He turned to gesture at the moonward goddess. “This is his sister Salahdused, who rules over mystery, and secrets, and the unknown. Vu’uras and Surm’s realms both overlap with hers, for death and the stranger both partake of the unknown. Salahdused is the hardest of all the gods to understand, by her very nature, and thus is most often the one distrusted, or considered ‘evil’ as you put it.” He patted the base of the statue. It portrayed another hooded figure, but unlike the Stranger’s, this hood did not conceal a slyly smiling face, and the sleeves of the robe fell back to show slender arms, one hand raising a lighted lamp, the other cradling a wrapped bundle against her hip. “Certainly the unknown can be dangerous, and secrets can wound. Her domain is darkness and the sea, hidden caves and deep water and secret places, all dangerous to humankind. And yet she is also the goddess of luck, which is its own kind of mystery. She can bring ruin and betrayal and death, but she is also the unknown friend, good fortune unlooked for, and aid when all hope is lost.” His voice softened. “It is Salahdused who brings misfortune, and hope, and to whom we all turn at last, with curse or with plea. And when her father Surm comes, to guide the dead onward, it is Salahdused who holds up the lamp to light the way.”

“A goddess we all need, though we may not always be grateful.” The stranger looked up and down the lines again. “They are *all* the known and the unknown, are they not? On the sunward side, in the light of day, stand Life, Order, Family and Knowledge. On the moonward side, Death, Chaos, the Stranger, and Mystery.”

“Yes, exactly!” The priest sounded pleased. “Not many people see that, without being told. That is why they are ordered so. Some people think it is because the sunward are kindlier, but it is not so. It is only that they stand for what we understand. And under the moon, which waxes and wanes, stand the gods who rule over the unpredictable and unknown.”

“Most people… where I come from… equate light with good, and darkness with evil.” The stranger tugged absently on her braid. “But your gods are… more complicated than that.”

“Good and evil are not real things,” the priest said simply. The stranger looked at him, and he smiled gently. “I do not mean that they do not exist, but they are not… of the world. Birth, life, is real. Death is real. They exist, they have substance. A measuring rod or the wildly rolling debris of an avalanche are real. Family is real. Strangers are real. A story or a written word are real things, as are the sea and caves and deep water, be they understood or not. And all of those things may bring about good or evil, depending on circumstances. They can be used for good or evil. But good and evil are not, in themselves, real things.”

She nodded slowly, looking at the gods. “So to you… good and evil are in the effects. The aspects. The intent. Not… powers, in themselves.”

“Yes, you understand.” The Priest bent to pick up a dead leaf from the ground, which might have fallen from a shawl, or blown in through one of the high windows. “Take this leaf. If it fell on a stony street, it might grow wet, and slip under a foot, and cause injury or death. If it fell on barren ground, in its decay it would render the ground a little less barren. Here on the floor of the temple, it might cause additional trouble to a sweeper… or provide a priest with a timely example, thus doing me, and you, good.” He smiled. “But the leaf’s nature does not change. It is just a leaf. How, in its falling, it affects others… that depends entirely on circumstance.”

“I see.” This time, she sounded as if she did understand, and she took the leaf and held it gently. “And what of people, priest? Are they not good or evil?”

“Of course they are. Mostly one, or mostly the other, or more often a mixture of both in some degree.” The priest shrugged. “But that a matter of choice, and of intention, and even then it is very rare that an action does not have effects both good and bad, whatever the intention. To come upon a man robbing another man, and to intervene – well, from the point of view of the man who was being robbed, that is a good action. From the point of view of the robber, it is a bad one.” He smiled serenely. “As the proverb says, the storm that sinks a ship may bring rain to the fields.”

The stranger was silent for a time, seeming to consider, and the priest waited patiently. When at last she spoke, there was a note of frustration in her voice. “I have never known a faith, or gods, so adamantly to set their faces against certainty.”

The priest laughed. “Oh, if it is certainty you want, Kord is in accord with you. He loves certainty. One will always be one, and a square will always be a square. An arch correctly made will not fall, and a law followed will bring order. There’s great comfort in certainty! But certainty is the enemy of growth, and invention, and change, and so Kaos dances through Kord’s order, bringing destruction and growth and change.” He folded his hands over his belly and looked up at the sun and moon on the wall, his voice gentling. “I think that what you are seeking is not certainty but simplicity. An easy answer. The good and the evil. But what is real is never simple, and the gods least of all. All we mere mortals can do is the best we can, with what we have.”

The stranger sighed. “I know that you are right,” she said. “But the other would be easier.”

“It is not the responsibility of the gods to make your life easy,” the priest said, a little tartly. “It is the responsibility of the gods to make life possible. The rest is your own affair.”

Tags

not a fandom

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redibanni

2 years ago

On Love Languages

Reference: https://5lovelanguages.com/learn

For me, og!Cale’s love language is Acts of Service. The website defines this as: For these people, actions speak louder than words. I think it fits Og!cale very well since we all know he pretended to be trash without even saying anything to anyone. He also hid his hurts and isolated himself because he foolishly thinks it was for the best while swallowing his issues thinking that he was being selfish. Of course, he also swallowed his further hurts when the Molan duo decided to follow Choi Han. I think for people like og!Cale (and like me) with this type of love language, what was needed the most is Quality Time (def: This language is all about giving the other person your undivided attention.) and Words of Affirmation (def: this language uses words to affirm other people.) from people who claim to care and love him. I think Quality Time with Deruth suffered ever since his mom died because Deruth and og!Cale was in two different places. Deruth was having a new leash of happiness and og!Cale (I’m assuming) is still grieving and also has to contend with the fact that Deruth has a new family. Plus, Deruth has to blend his family and I’m not sure he did a good job at that.

Anyway. Words of Affirmation are a bit tricky since (for me) that would be like enabling his ‘trash’ person but I would have expected some one-on-one talks with his father (and initiated by Deruth like yo, be a parent) would not be too much to ask/expect. (I don’t know if that happened in canon so let me know if I'm talking out of my rear). I definitely won't mind an intervention because I’m a believer in either solving the problem or they all go no contact since everyone isn’t on the same page. Either stop the misunderstanding right there or suffer the effects of misunderstanding together. Misery does love company even in families.

I am sure that Deruth and Violan have tried, but the only thing that gives me a good picture of that effort is to support Og!cale while he is being purposely self-destructive (I don’t know if this is a good idea) and throw money at him (something that I am way too much familiar with). Again, if there is any info I missed, I would love to be corrected.

So, what do think of og!Cale's love language? Do you think he would have been better if he has a different one aside from Acts of Service?

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redibanni

2 years ago

Cale, upon feeling the sensation of something like a parents warm hand, immediately deduces that danger must be nearby and that it isn’t to be trusted

That’s super depressing wtf

Tags

trash of the count's family tcf lcf lout of the count’s family I’m on chapter 182 bro this is depressing

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redibanni

2 years ago

You know what??

De-aged Cale where its roksoo right??

He's sitting there anxiously as the adults discuss what the do with him. It's happening again. He knows they're going to get rid of him like some old, unwanted toy.

His stomach gurgles and growls. He keeps his eyes trained on the shoes everyone is wearing, ears burning. How embarrassing... He's usually better than this.

He jumps when a pair of shoes move in front of him. It's hard to hear what's going on when the cotton in your ears keep blooming. Suddenly, he's face to face with an old man... whose smile is.. pretty scary. Not that he'll say anything about it though. He can't figure out where to place his eyes. Adults don't like it when he looks at them in the eyes. They say he's being defiant, that they don't like the way he looks at them. But then they don't like it when he doesn't look them in the eye, something about finding the situation unimportant. He doesn't know what to do... So his eyes jump from meeting the old man's and back to things around the room. Back and forth, back and forth.

"young master," the man starts, "why don't you follow my son to the kitchen? My son, Beacrox, will get you something good to eat."

Oh! He can do that. He's been in kitchens before, so he willed himself to meet the man's gaze one last time before giving a small, but firm nod. Then, he hops off the plush couch and trails after the guy who must be Beacrox.

This man is stoic looking and not much of a talker. It's okay though, he isn't much of a talker either. They walk in silence to the kitchen, he tries to keep his breathing in check as he jogs to keep pace with the man. His steps must be too loud though since the man turns towards him and then slows his pace. So nice!!

Even when they get there, the man still hasn't said anything. He stands at the doorway, unsure of what he's needed for. The kitchen is clean... Extremely clean. How will he earn his food? What is he supposed to be doing here??

We makes his way up to the counter where he finds a rag. That'll do!! He takes it and wets it in the sink before making his way back to the sitting area. He drops to his hands and knees and begins to scrub at the already clean floor. The adults at home say that even if it looks clean, it's never clean enough! So surely this should be enough to earn his keep.

He hears a clatter and startles as the knife falls to the floor. The man's face isn't stoic anymore. The man is mad?? Is he cleaning wrong?? Roksoo is scared.

The man storms up to him and begins to reach out towards him. Roksoo fails to hold back a flinch. He's messed up, adults don't like it when he's scared. He squeezed his eyes shut, in hopes of hurting less.

Nothing comes. The pain never comes. Only a warm hand on his head?? He slowly opens his eyes and meets Beacrox 's. There's nothing, but hurt and eager swirling in the man's eyes. Why's he sad? Roksoo doesn't understand.

"young master..." Beacrox sounds strained. Again with that weird title.

Roksoo wordlessly watches the chef try to string together words. His own throat feeling too clogged up to ask what he did wrong.

He manages though.

"why.. why are you sad?" His words come out like small croaks. It's getting hard to speak again. Adults don't like it when he can't speak.

Beacrox's eyes just fill with more hurt, hurt, hurt as he opens and closes his mouth uselessly.

He seems to figure out what he wants to say though.

"young master, why are you on the ground?" Beacrox keeps his voice soft, keeps his tone open and forgiving.

"I didn't know what else I could do," he confesses like he's sinned. His eyes make their way back to anything other than the other's.

Beacrox brews silently, waiting for his master to finish his thoughts. Beacrox doesn't like where this is going.

"how else can I earn.." roksoo's palms feel sweaty where they're clenched at his sides.

"I don't deserve food yet," roksoo's words are firm and believing as he meets Beacrox's eyes.

The man's eyes seem to tremble as he processes what roksoo had said.

(Beacrox wants to skin whoever taught his young master this. He wants to make them beg for the sweet release of death as he slowly guides them towards it. Having them teeter on the edge of death and consciousness).

He snaps out of thought, saving them for later. The others will be hearing of this, they can all come up with the plans together.

"young master," Beacrox hopes his words will reach the boys heart, "you deserve everything."

He watches as the boy takes his bottom lip captive between his teeth. How the boy clenches at the hems of his shirt and tries to calm his breathing. How the boy is trying to blink away tears, but is failing.

"you are worthy" he whispers, removing a glove to pat roksoo's head. Beacrox looks seconds away from jumping back and escaping. Roksoo let's put a shaky laugh at the thought.

Right now it's hard to believe, but.. he wants to. He wants to believe that Beacrox is right. He'll try...

But he still follows Beacrox back to the counter and begs to help. He feels too antsy not doing anything.

All he's handed is a small bowl of snacks and he's told his job is to finish them by the time the meal is done cooking. He feels his heart swell. Roksoo feels like his heart is doing flips in his chest. He feels so safe.

Feeling like I probably post too much on this,, but I will.. continue. :)

Tags

tcf lout of the count’s family kim rok soo cale henituse kim roksoo beacrox molan de aging

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redibanni

2 years ago

Is it actually possible for people to respect the idea that I’m just not personally impressed with Berdly as a person right now?

I’m not a fan of how he interrupts Noelle constantly, how he spent most of chapter 2 putting Kris and Susie down and call them stupid to their faces, just to turn around and relationship-zone Susie after she turns out to be cool, trying to get her alone constantly and then trick her into giving him a kiss.

He’s going to have to treat Kris, Noelle, and Susie with some actual, non-crush-related respect, as people, before I’m going to consider liking him. That doesn’t mean I want him dead or don’t acknowledge that he values Noelle.

This is not a character everyone has to like or it’s immoral somehow or you get to call them stupid for not liking him. Stop sending me fanboy asks trying to covert me Green Eggs and Ham style.

What part of “there’s nothing wrong with him, he’s just annoying” makes people think harassing them into liking him is okay?

Tags

deltarune berdly I respect that damn bro berdly is straight up controversial character

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redibanni

2 years ago

Ralsei’s Astral Projection habit - it’s not about us.

It’s about Susie.

Twice now, Ralsei pulls Kris aside and asks them to think about what Susie’s doing.

People have theorized this is to “get alone time away from the Player”, but I think he actually does this because he’s trying to communicate something about Susie to Kris.

“Astral Projection”?

Both Kris and Ralsei act like they’re viewing/have viewed Susie’s scenes.

In Chapter 2, Ralsei is alright with Kris not viewing Susie’s scene if they’re not interested.

If doing the Snowgrave route, Kris will skip Susie’s scene by themself, and Ralsei, after initially being flustered, will say, “As long as Susie’s happy”.

So that’s why - what?

Keep reading

Tags

deltarune woah them kris dr ralsei susie warm and fuzzy they are so FRIENDS!

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redibanni

1 year ago

How to write a negative character arc

Here’s the simplest way to break down the building blocks of a negative character arc in your novel!

Here’s the A-Z on negative character arcs

It’s totally possible to pull off a negative character development, for ANY person in your story, whether that’s a side-character, villain, or the protagonist.

Here’s something no one tells you, but it’s actually fundamentally simple.

You can do this with a very easy formula. Typically, a positive arc means that you set out with one main character flaw/issue, which that character overcomes by the end of the story.

So all you need is:

a flaw your character NEEDS to overcome

a goal they WANT to achieve

For a positive arc, they’d succeed at their NEED. Then maybe their WANT as well. For a negative, they simply never fulfil their NEED.

This means they never overcome the flaw they are supposed to face. In fact, they ignore it so confidently, it becomes a PROBLEM. They will never truthfully own up to their mistakes.

This is where you can let it get worse, let it develop into fatal flaw, and let more issues arise from it. As for their WANT? They’ll usually put their external goal above everything else, and dig themselves even deeper into personal disarray, where they won’t recognize themselves any longer.

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