AU Where Mrs Cormaci More-or-less Adopts The Bane And He Lives In Ares's Cave And Visits Regularly In

The Underland Chronicles, and everything is the same except people refer to the Underland as "down under", and everyone from the Underland has really strong Australia accents.

Gregor: *Falls into the Underland*

Multiple 5ft cockroaches: G'day mate!

Gregor: *Terrified screaming*

Me: Listen, we don't believe in Wicca stuff

My brain: Yup

Me: We aren't spiritual in any way, and don't believe in superstition

My brain: Correct

Me: And we only bought that book on magic for reference when writing

My brain: That was our intention

Me: ...so why do we want to try Wicca magic?

My brain: Just shut up and build the altar

*Taking notes*

Making Fight Scenes Sound Nicer

Euphonics is all about how the words "feel". By incorporating certain sounds, you can influence the mood of the passage.

Mood: Foreboding

use words with 'ow', 'oh', 'ou', 'oo' sonds. These are good for building tension before the fight.

moor, growl, slow, wound, soon, show, show, grow, tow, loom, howl, cower, mound.

Mood: Spooky

use words with 's' sounds, combined with an 'i' sound.

hiss, sizzle, crisp, sister, whisper, sinister, glisten, stick.

Mood: Acute Fear

use word with 'ee/ea' sounds, with a few 's' sounds.

squeal, scream, squeeze, creak, steal, fear, clear, sheer, stream

Mood: Fighting Action

use short words iwth 't', 'p' and 'k' sounds.

cut, block, top, shoot, tackle, trick, kick, grip, grab, grope, punch, drop, pound, poke, cop, chop.

Mood: Speed

use short words with 'r' sounds

run, race, riot, rage, red, roll, rip, hurry, thrust, scurry, ring, crack

Mood: Trouble

use words with 'tr' sounds to signal trouble

trouble, trap, trip, trough, treat, trick, treasure, atroscious, attract, petrol, trance, try, traitor

Mood: Macho Power

If you wan to emphasize the fighters' masculinity, use 'p' sounds.

pole, power, police, cop, pry, pile, post, prong, push, pass, punch, crop, crap, trap, pack, point, part

Mood: Punishment

If your fight involves an element of punishment use 'str' sounds

strict, astride, strike, stripe, stray, strident, stroke, strip, instruct, castrate strive

Mood: Defeat

use 'd' sonds

despari, depressed, dump, dig, dank, damp, darkness, drag, ditch, drop, dead, deep, dark, dull

Mood: Victory

use 'j' and 'ch' sounds

joy, cheer, jubilant, jeer, chuck, chariot, choose, chip, jest, jamboree, jig, jazz, jive, rejoice, rejoin

In print, the effectiveness of such euphonics will be very subtle, and it can only serve as an embellishment to what you already have.

Don't use or replace words for the sake of achieving euphonic effects, but this can be something to keep in mind when you are editing your draft!

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noted

Body language cues for a few emotions

Happiness:

Smiling genuinely, with crinkles around the eyes.

Open body posture, with relaxed arms and shoulders.

Leaning forward slightly towards the person or object of interest.

Making eye contact with a warm and engaged expression.

Anger:

Tightened jaw and clenched fists.

Furrowed brows and narrowed eyes.

Standing or sitting with a rigid and tense posture.

Pointing fingers or aggressive gestures.

Raised voice or speaking through gritted teeth.

Sadness:

Downcast eyes and a drooping posture.

Slumped shoulders and shallow breathing.

Avoiding eye contact and withdrawing from social interaction.

Sighing or a subdued tone of voice.

Tearfulness, with watery or red eyes.

Fear:

Widened eyes with dilated pupils.

Raised eyebrows and a tense facial expression.

Frozen or rigid body posture.

Backing away or seeking physical distance from the perceived threat.

Trembling or shaking, especially in the hands or legs.

Surprise:

Raised eyebrows and widened eyes.

Mouth slightly agape or forming an "O" shape.

Leaning forward or recoiling backward in response to the surprise.

Quick inhalation or gasp of breath.

Rapid blinking or blinking more than usual.

Disgust:

Curling the upper lip or wrinkling the nose.

Narrowing the eyes and raising the upper eyelids.

Turning the head away or physically distancing oneself from the source of disgust.

Covering the mouth or nose with the hand or a tissue.

Expressing verbal disgust through phrases like "ew" or "yuck."

These are just some examples, and individuals may display variations in their body language based on their personality, cultural background, and the specific context of the situation.

funny skeletons are the peak of internet humor

October can’t come soon enough

Cutting through the pain? *Begins to cry tears of laughter that turn into tears of sadness*

To anyone in the TUC fandom who has looked at AHS and skipped it because they heard the ending is happy...

... and then assumed that it's just a wish fulfillment "ideal reality" kind of outcome of the TUC story that cuts all of the depth, pain, and realism ... Go back and read it right now.

Because that is not what AHS is. Not even close.

AHS is not "my version" of TUC where I just change whatever I dislike without regard for themes or characters in the original. Far from it. One of the main goals I had was actually to give more of the Underland. More characterization (that aligns with canon, although some characters develop in a different direction because of shifts in circumstances), more worldbuilding (that coincides with canon, adding onto it), ... just more, period.

The best way I can describe what it actually is is honestly saying that AHS is to TUC like Marvel's "What if ...?" is to the MCU. It is quite literally a "What if Henry had survived his fall at the end of "Gregor the Overlander"?" And I kid you not, 95% of the changes in the story, compared to TUC, are simply a result of exactly this change.

But the entire plot of the final book is different, right? Well, I didn't say that the consequences of that one change weren't substantial. They are. Without spoiling too much I can only say that Henry happens to be an optimist, and it also happens that an optimist was exactly what the TUC story needed to achieve a happier outcome.

Anyone who has actually read my version of the CoC plot will tell you that it is far from ideal, perfect, or pain-free. A lot more happens in the actual plot, but most of those new events are there to serve the dark, violent nature of war. There's so much talk about loss, and sacrifice, exploration of (also the dark side of) heroism, and whether "for the greater good" is worth it. There's corruption and death, injustice, and grappling with unkind fates and alienation/rejection.

Now, I will admit that I did put less emphasis on the societal pressure aspect of CoC, but mainly because that theme is a huge part of AHS 2 already, and it did not really fit this part of the story anymore. Instead, "Gregor against society" becomes "Questers against society" (quite literally, since they are — small spoiler — banding together to actually overthrow Solovet and bring about change.)

BUT ... if there is corruption, death, and the violence of war, how is it happier then? How can it have a happy ending?

Very simply because it is not only corruption but also redemption. Not only death and suffering but also growth and gain. Not only violence and breaking of relationships but also companionship, hope, and mending of relationships.

... The main change that happens to be so powerful it can give this series a happy ending without disrespecting or abandoning its original gritty violent core is ... a shift in mindset toward the positive. For Gregor, but also for everyone else. One of the main themes I added is the exploration of the double-edged nature of things: Everything has good and bad consequences. What we take away from it is what we choose to focus on.

Now you might see better what I meant by "All this series needed was an optimist" earlier. If there were someone to remind people of the bright side, to remind Gregor that his rager power does not make him evil and that he is never alone or choiceless, to embody this hopeful outlook and bring it out in everything ... I promise to you that this is all it would have taken.

And this is what I'm giving you.

Like from a year ago but I never finished so I’m posting it now! Based on that one classical painting where the guy is getting enchanted by the faerie princess. I don’t remember it now, she’s on a horse.

slus

Sluts can be found in Seattle

Huh, people seem to like this idea. Might do a one-shot based off of this. I need something to clear my writers block anyways. Thoughts?

The Underland Chronicles, and everything is the same except people refer to the Underland as "down under", and everyone from the Underland has really strong Australia accents.

Gregor: *Falls into the Underland*

Multiple 5ft cockroaches: G'day mate!

Gregor: *Terrified screaming*

I understand that this is not my usual shitpost, so look away now regulars (if you exist), but the rules on r/ocpoetry are a bit overwhelming, so here ya go:

Can you see the devil?

Can you see the devil?

He's in a row of masks

Holding a baton

Behind a wall of glass

Can you see the devil?

He's pouring himself a drink

Polluting the crowd

Pushing them to the brink

Can you see the devil?

He's sitting in a leather chair

His footstools are starving

But he really doesn't care

Can you see the devil?

He's pounding the table

Preaching blood-red hate

From the bar to the stable

Can you see the devil?

Look across the gap

Find yourself a bridge

Then simply look back

~~~~~