Confuzledwriter - :]

obsessed with the idea that katsuki just never thinks about romance at all bc he doesn't deem it important so when he first comes across feelings of wanting to be by izuku's side "for the rest of our lives" he just assumes it to be a twisted form of high-commitment long-term rivalry or something lmao

___

mitsuki: what you said to izuku in the hospital.. was basically a proposal, wasn't it? its rare to see you so sappy.

katsuki: ? proposal for what

mitsuki: ..marriage?

katsuki:

katsuki, only just remembering that the concept of romance and marriage exists:

katsuki, slowly coming to the realization that his feelings towards izuku are not only of rivalry: oh

———

Imagine having been born in 1905... And all your life it doesn't fucking stop. The Great War, the Spanish Flu, and then you go out of your mind for 7 years. Everyone is traumatised and nothing matters. Then another crash. And then the rise of fascism, and the War to end all Wars didn't and it's 1945 and you're just about still there. You may have fought or ferried the boys from Dunkirk or sabotaged the Nazi occupiers or worked in the factories and put out fires during the Blitz and you're lucky to be alive, because not all your friends made it. But you are and finally, fucking finally, it stops. It stops. You are tough as nails and you can put that strength to work into building something and you do, and people have cars and can buy icecream and you have a pension fund and the kids have money of their own and no nightmares.

I want that for us. I so want that for us. I want to be the generation that has seen fucking everything and is like a MRSA bug and unfazed and when that Cheeto finally dies, I want us to. Plant the gardens and clean the seas because we can and we want to and we remember some joy, some time of trust even when it got broken and we can say to the 20 somethings "let us show you what we can build, how it can feel."

And maybe Gen beta will take it all for granted like the boomers did, but we can give Gen Z and Alpha some peace because we, and Gen Z and Alpha have seen the Dark Times and fuck that noise.

We are so fucking back.

Instructions unclear, they’re boyfriends now 🤷🏻‍♀️

screen cap redraws

games (mostly text-based) about houses and places-- exploring them, haunting them, feeding them:

childhood homes (and why we hate them) - after a decade, you return home.

return - a text-based horror game about coming home.

singing from the far side of the hill - about a trans woman, homeless after a bad breakup, who rents a stranger's spare room. it's a decision she comes to regret.

anatomy - Explore a suburban house, collect cassette tapes, study the physiology of domestic architecture.

leave house - leave house

the open house - We at Northtree Real Estate (in partnership with Optix Dynamix Labs) are proud to present our new, state-of-the-art, open house simulator!  Come and take a quick tour of 15615 Hollow Oak Lane, a familiar and comfortable showcase home in one of our premier developments!

what girls do in the dark - This little game is based off one of the greatest fears they had as a teenage girl: showing up late to a stranger's slumber party.

unbecoming - a sonically-textured interactive horror fiction exploring cycles of trauma and unspeakable forces of nature in a mythic rural American landscape.

13 laurel road - an interactive fiction game about the relationships we have with places and reconciling with trauma. You play as a young man named Noah who has been tasked with picking up some things from his cousin’s old house.

domvs - a gothic mystery game in which you rely on your environment to uncover the truth.

flesh, blood, & concrete - you find yourself in a vast, empty apartment complex.

i am still here - a short, unconventional ghost story and vignette reflecting on the end of a long lockdown.

vacant - Film a ghost-hunting show.

bkdk scribble #2

Take Two Pt 8

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Writing Notes: Character Development

Rick Riordan's Writing Tips

Rick Riordan:

Character development is paramount for me. I firmly believe that plot and character development must occur simultaneously. Plot cannot be left to chance. Neither can characters be automatons who carry out actions envisioned in the author's master plan. Below are some things I try to keep in mind when developing my characters:

RICK RIORDAN'S TOP 5 TIPS ON CHARACTER

Define a character first through action, second through dialog and description, never through explanation.

A character should be primarily defined by the choices he makes, and the actions he takes.

How does he respond to violence?

How does he respond to love?

Secondly, a character must be vividly but deftly describe through his speech, and through the initial view you give the reader.

Never stop to explain who a character is when we can watch him in action and decide for ourselves.

Be impressionist rather than realistic.

Describe characters as Dickens did – with a single deft stroke.

A laundry list of physical traits is realistic, but it is neither memorable nor compelling.

A jarring metaphor for the character, or a focus on one mannerism or physical trait, can be very compelling.

Example: She was a human tornado.

Do not be afraid to use real people as models, but do not be constricted by your models.

It is very natural to use parts of ourselves or the people we know when creating characters.

Do not be afraid to do this because someone might get mad at you.

At the same time, let your character develop.

Do not force them to do what the real-life model would do.

Characters seldom end up exactly like the real people they are based on.

The reader does not have to be told everything you know about the character.

It may be critically important to you that your character has blue eyes, or went to Texas A&M.

But if these details have no part in the story, the reader will not care.

Leave them in your subconscious.

If you are having trouble figuring out a character, fill out a character profile, or do some journaling in that character's voice.

Your character must act, not simply be acted upon.

We care about characters because we are interested in the choices they make.

We want to boo the villain, cheer the hero, and cry with frustration when the tragic figure makes the wrong move.

A character who does not act, but simply receives information and is acted upon by outside forces, is not a character who will compel the reader.

Remember, plot is what the characters do next.

If the characters do not create the plot, the plot is hollow.

Here's a character profile worksheet I sometimes fill out if I'm having trouble understanding a particular character I've created:

Character Profile

Name:

Height:

Age in story:

Birthplace:

Hair color, length, style:

Race/nationality:

Regional influences:

Accent: (include voice, style of speech, slang, signature phrases or words)

Religion:

Marital status:

Scars or other notable physical attributes:

Handicaps: (emotional, physical, mental)

Athletic? Inactive? Overall health?

Style of dress:

Favorite colors:

How does the character feel about his/her appearance?

Brothers/sisters:

Relationship with parents:

Memories about childhood:

Educational background: (street smart? Formal? Does he/she read?)

Work experience:

Occupation:

Where does the character live now? Describe home (emotional atmosphere as well as physical)

Neat or messy?

Sexual preferences/morals/activities:

Women friends/men friends:

Pets?

Enemies? Why?

Basic nature:

Personality traits (shy, outgoing, domineering, doormat, honest, kind, sense of humor):

Strongest trait:

Weakest trait:

What does the character fear?

What is the character proud of?

What is the character ashamed of?

Outlook on life (optimistic, pessimistic, cynic, idealist)

Ambitions:

Politics:

How does the character see himself/herself?

How is the character seen by others?

Do you like this person? Why or why not?

Will readers like or dislike?

Most important thing to know about this character:

Present problem:

How it will get worse:

What is the character's goal in the story?

What traits will help/hurt the character in achieving this goal?

What makes the character different from similar characters?

Why will readers remember this character vividly?

Source