80s Horr Movie Out In The Woods

I love these colors

carrieaf_ on ig

I thought this was about worms for a second

Imagine you're just some funky little dude living in your society deep underground, perhaps the place of your birth (from dust we come and to dust we shall return, right?), perhaps just a last refuge from the invaders above that come into your domain and slaughter your people and take your resources. Although, as you get older, you begin to realize that your people do an awful lot to encourage it and very little to actually stop it, and regardless of who started it--a childish line of reasoning given that the answer is lost to time--the fact of the matter is that they are scared of us, and we are scared of them. They can survive conditions we can't, and so can we. They are monsters to us, and we are monsters to them.

So your people creep out of what shadowy hiding places they have left and slaughter the Others from above and are slaughtered, and you....you are left curious...? You aren't a warrior, like so many of your people. You don't want to fight the Others. You don't really mind them, at all. You think they could be interesting, if they weren't so scary and/or scared of you. You are both the monsters under one another's beds. You don't get into magic either. Fighting the Other by those means appeals to you just as much as by brute strength. No, you get into collecting, and selling, and trading. Money has its uses, be it money from the Others, or money from your people. And maybe you're a bit more curious then you expected, because one day....oh, one day you don't just creep out of the shadowy hiding places like the rest of your people. One day, you leave the ground. It's rainy, or dark, or snowy, maybe. Humid enough for you to be comfortable, and in conditions that the Others don't seem to like at all.

You collect more of their things. A magnifying glass, maybe, or some of their money. You are religious, and maybe this came from the Others as much as it did your people, though your devotion is from yourself. You go out more and more often, braving the Others' domain just as they brave yours, sneaking around where they drive through throngs of your people in a violent effort to claim/conquer/escape. You never could tell. You still can't.

And one day you find a nice place very similar to where your people live, all humid air and dark corners, but lonely, deserted of both your people and the Others. You set up your shop here, amongst these abandoned tunnels. Sometimes your people come. Sometimes those that are neither your people nor the Others come. The world is full of mysteries and magic, and many of them visit you, and you are well on your way to becoming another spectacle too. It's lonely. Maybe. You never fit in with your people, though, and you'd much rather have this ease of exploring the Others' world at night without a brash of warriors yelling slurs at you as you go up, so you shoulder it when you can't relish in it.

And explore you do.

Up you go at night. In winter. During the rain. Anytime the Others have deserted their town, you'll be there, collecting, exploring, buying and selling.

Until one day, one of the Others finds you.

They startle you.

They take your magnifying glass.

It's your fault. You dropped it. But not just that! They take your privacy, as it turns out, because they find a way into your tunnels not long after they start peering into them and rattling the chains, and what's more, they want to do business with you as much as any of the other curiosities that frequent your shop. They're one too, you begin to realize. A curiosity.

They begin giving you gifts. They come to talk sometimes. Not to look at your wares. To talk. In a way, this is even more befuddling than the gifts. And oh, what gifts they are! They honor you. Pamper you, if you're allowed to say it, and you hope that you are. This Other is kind to you and swiftly becomes your friend. They protect you as a secret, hide you from their people.

And you know....

....you know somewhere, in the back of your soul, or more blatantly when it comes up in conversation, that this is an Other that goes Down and battles your people. Not just that. They slaughter your people. Hunt them for sport. Eradicate them for the safety and sake of their people.

But maybe you love them, in as much as you love anything, and in as much as your people love, which seems, from what you have seen on your hauntings, a very different thing than how Others love. But even so, you start to love them, and your Other starts to love you too, finds it in them to show it to you as you would one of your people, even if this is not what they feel or how they feel.

And one day they do you the greatest honor of all. It took them toiling. It took them time. It took them travels. It took them blood--theirs and that of your people. But they bring you this gift, a very precious gift, and ask you to live with them, up out of the tunnels you've dwelt in, ask you to live with them as a secret. One they want to keep as close as possible.

You have heard the Others chatter the word marriage to one another through the open windows of their shops and tavern at night, and you don't know what it means, or what your Other has to do with it--though when their name comes up in This Sort of Gossip you do not like it--but you think that maybe it means something like this. And you hope that your Other treats it as such. You will leave if they do this thing, this marrying, to someone else, and it might not break your heart because you are not an Other and you do not experience that way, but O, you would live with them no more.

But that hasn't come to pass yet, if it ever will. So you go to their lands. You build yourself a home. You see them work. They see you work.

And sometimes they gather food and potions and weapons and go down to your old home, to the mines, and you know they are slaughtering your people, and you know they must pass through where all the other Others live to get there, and you know your existence is their precious secret that guarantees your safety only so long as they keep it faithfully, and you stay. You stay there. Because this Other knows you better than your people and better than solitude, and because you want them there. And your Other stays with you, even as they face, each time, a cousin of yours, or an old neighbor, or a sibling, or a mentor, or a peer, or a stranger, and are attacked, each and every time, and see it in you that you could attack, could creep into their house easily at night and lay waste to them while they rest as Others must. And your Other stays.

Anyways, I think Krobus is a fuckin crazy character.

I've re-read Frankenstein, and i have 2 thoughts:

Henry deserved better

It's a lot sadder than i remembered

Petition to get birdie a phone

compilation of doodles of some dream derived ocs.

Renard is a private investigator with shapeshifting abilities inherited from their mother’s side. “Birdie” is a human teenager who is experiencing some circumstances. They are both nonbinary

Birdie would like a new phone for christmas so they can stop bugging Renard for theirs

@dunmertitty transgender GAY sex

Your 20s are for looking back to your childhood and thinking "huh, that sure was fucked up, they shouldn't have done that to me."

Your 30s are for looking back to your 20s and thinking "huh, that sure was fucked up, I shouldn't have done that to myself."

Ooh, very interesting dynamic!

exploring their dynamic more hehe

Me, trying to figure out how to say my name, but it's late so: tommorrow problem.

This is still so cool though

Updated: Kishite-Shabalic Script and a bit of the Kishic Language: Basics including an expanded list of nouns and verbs

I made this before but looking through it again I missed some things and made some mistakes, and so here is an updated version of this for y'all! As with the Kishite spoken language, the Kishic script descends from and is largely identical to the Shabalic script, thus the term Kishite-Shabalic. Kishite-Syllabic is one of three scripts used in Kishetal along with Kishic hieroglyphs (reserved for religious/cultic purposes) and the logographic Shetalic script, which has fallen almost entirely out of favour.

The Kishite-Shabalic script is syllabic, thus each symbol is representative of one syllable composed of a consonant and a vowel. In addition there are characters which serve as punctuation used to symbolize the conclusion of a thought, in similar fashion to the Latin "." and "?", and the presence of a proper noun or divine status. Though it should be noted that these are not always actually used.

Unlike the Shetalic script which is traditional formed using styluses pressed into clay, Kishite-Shabalic is typical written either through carving or the use of charcoal/ink.

Shetalic is shown below on the left with Kishite-Shabalic on the right, both say the same thing.

Keep reading for more linguistic babbling!

Vowels

As a general rule when transcribing the Kishite script, when two of the same vowel are put next to one another, they are treated as a single vowel, rather than elongated as we might see in English with words like book or meet or feat. Two different vowels, such as O and E, E and A, and so on, are almost never put directly beside each other. In the rare instances when this does occur the "stronger" of the two vowels will cover the other. The order of strength from least to greatest is as follows:

i-e-a-o-u

The vowels of the Kishite language are pronounced phonetically

Thus:

I as in sweet or pin

E as in egg

A as in palm

O as in coat

U as in tool

e.g. the substantive adjective "the Mighty" Urjali- + -ul (substantive ending) Urjaliul Urjaliul Urjalul (OOr-Jahl-OOl)

Special Note: One important differentiation between the Shabalic language and the Kishite language is that the Kishite language allows for the placing of multiple consonants in sequence. Take for example the Kishic name Ninma, in its original Shabalic form it would be Ninama (NI-NA-MA). Because of the fact that Kishite does have this trait, it has developed its own unique form of punctuation, the vowel drop. When placed below one of the syllabograms shown above, it cancels out the vowel, in essence rendering it mute. Ninma could alternatively be spelled using the formulation NI-IN-MA, similar to how Narul was spelled above, this is largely a matter of personal preference. The more traditional (Shabalic) form is often times considered more in keeping with nobility.

Sentence Structure

The Kishic language primarily follows a subject-object-verb structure.

Naru(u)l Nina(a)ma kimagiga(a)s Narul Ninma kimagigas. Narul Ninma carried. Narul carried Ninma.

Tamel kim(u)unur fabiguta(a)s Tamel kimunur fabigutas Tamel gates broke. Tamel broke gates.

Otilya (there is no -ia symbol in Kishite) Korithub luku ga. Otilya Korithub luku ga Otilia Korithia from is. Otilia is from Korithia

Enni Wi tuba chi Jahubur horu jawishaga The wind down the Mountain hard blows. The wind blows hard down the mountain.

Noun and Adjective Declensions

The Kishic language system consists of the following cases: nominative, genitive, dative, accusative, and possessive (the Shabalic language includes an instrumental case), and distinguishes between two numbers (singular and plural) and four genders, Masc/Neutral (undefined groups or individuals), Feminine, Inanimate, and Divine.

Divine beings such as gods and certain spirits as well as the Sun, Mountains, Rivers, and the Sea are always referred to in the Divine gender. Some monsters also fall under this category. (Water Bi (Inanimate), Lake Bi (Divine))

Objects which are not and have never been alive are rendered in the Inanimate gender. This can get confusing in some instances, for example while the word corpse Nahoku would utilize the masc/neutral form, the word bone, hashudi, would utilize the inanimate. Another example of this is the word Oli which can mean either blood or wine based on whether it utilizes masc/neut or inanimate declensions.

Not all inanimate objects are rendered into the inanimate. Words like spear shukala use the masc/neutral. This group typically consists of weapons and tools. The stem used will depend on the root word.

Plants as a rule are always rendered into the feminine.

Cities and countries are neutral.

Royal Titles have a specific declension.

A few examples of declension are given in the tables below.

Sample Verbs

Verb stems always end with -i. The exception to this is the verb to be, which rather takes the form of the conjugation, thus the first person singular indicative present sample or "am" would be wa.

Talk: Akki

Breathe: Ki

Eat: Ushki

Struggle: Nari

Sleep: Eshsi

Fight: Orishri

Hunt: Pabakazi (Literally Bow art(ing))

Dance: Irteti

Kiss: Mishuzi

Copulate (and the more vulgar equivalent): Seshiti/Tu(u)ki

More verbs will be provided below.

Verbal Conjugation

There are two conjugation groups within Kishite verbs, the ha/za/hi-conjugation and the wa/ya/wi-conjugation. Which conjugation is used is dependent on the verb in question, typically words with a Shabalic root use the wa -conjugation while words derived from native languages more often use the ha -conjugation.

Within the Kishite language there are two voices (active and medio-passive), three moods (indicative, subjunctive, and imperative), three aspects (perfective, imperfective/continuous, and simple), and three tenses (Past, Present, and Future)

The present tense can be identified by -i/-a/-u/-o, past by -as/-os/-us, and future by -ad/-id.

Indicative: Used for Stating facts and thus the mood of reality.

Active: The Subject is the agent of the verb.

Mediopassive: The agent acts as a reflexive agent of the verb (acting upon itself) OR the subject is the target of the verb.

Present Simple Active: Narul is hungry Past Simple Active: Narul was hungry Future Simple Active: Ninma will not be hungry Present Simple Mediopassive: Narul is accompanied by Ninma/ Narul cleans (himself). Past Simple Mediopassive: Narul was accompanied by Suru Future Simple Mediopassive: Narul will be accompanied by Mikrab Present Perfect Active: Narul has slept Past Perfect Active: Narul had slept Future Perfect Active: Narul will have slept. Present Perfect Mediopassive: Bop has been carried Past Perfect Mediopassive: Bop had been carried Future Perfect Mediopassive: Bop will have been carried Present Imperfective/Continuous Active: Narul is walking Past Continuous Active: The Deep Sun used to speak Future Continuous Active: Zatar will be fighting Present Continuous Mediopassive: Bop is being carried Past Continuous Mediopassive: Bop was being carried Future Continuous Mediopassive: Bop will be being carried

Subjunctive: Used for stating "unfacts", wishes and prayers, possibilities (may or might), hypotheticals, and opinions/judgements.

There is no Future conjugation for the Subjunctive, rather future events are expressed in the present through the use of may or might.

Additionally the Subjunctive is used for the following:

Jussive: used for suggestions and negative commands: What "should" or "should not" happen used only in the first person," we should leave/we should not leave" esh = should, na(e)sh = should not

Indefinite clauses: (if/until/whenever/whoever/however) ek = if, ekib = until, kowa(a)b =whoever, bowa(a)b = whenever, lowa(a)b = wherever, mowa(a)b = however

Purpose Clauses: "So that/ in order that" am = so that/in order that

Doubtful Assertions: "May not/Might not" er = may/maybe, na(e)r = may not, eb = might, nab = might not

Certain Future Assertions: "There certainly will..." erna = certainly (literally without maybe), na(e)rna = certainly not

Present Simple Active: We should run/ Narul wishes for rain Past Simple Active: Narul wished for rain Present Simple Mediopassive: If Ninma is stopped Past Simple Mediopassive: If Ninma was stopped Present Perfect Active: Narul has wished for rain Past Perfect Active: Narul had wished for rain Present Perfect Mediopassive: If Bop has been carried Past Perfect Mediopassive: If Bop had been carried Present Imperfective/Continuous Active: Narul is wishing for rain Past Continuous Active: Narul used to wish for rain Present Continuous Mediopassive: If Bop is being carried Past Continuous Mediopassive: If Bop was being carried

Imperative: Used for orders or commands/strong requests

Imperative is only conjugated in the second and third person singular or plural. Imperative is only used in the present and future, not for the past. Orders in the past are expressed as indicative. There are only Perfect and Imperfect Imperatives.

In the mediopassive form the imperative is translated as "Let them/you" for the first person of this the subjunctive is used "I/We should"

Present Perfect Active: Stop Future Perfect Active: You will stop Present Perfect Mediopassive: Let it stop Future Perfect Mediopassive: Let it be stopped. Present Imperfective/Continuous Active: Always stop Future Continuous Active: You will always stop Present Continuous Mediopassive: Let it be stopped (continuously) Future Continuous Mediopassive: Let it be stopped (continuously)

Additionally, the verbal system displays infinitives and participles in the present and past tenses.

Prounouns

There are four genders of pronouns; Masculine, Feminine, Neutral, and Divine. Objects with the Inanimate designation are given neutral pronouns. Only deities receive divine pronouns, other entities and places in the divine categorization will typically receive feminine pronouns, with the exception of celestial bodies which always receive masculine pronouns.

It is considered improper to address both royalty and deities with pronouns, as such there are no specific first or second person pronouns for the Divine category.

Articles

As with pronouns there is no "inanimate" article group, rather inanimate subjects are given masc/neut articles.

Stay Tuned for the ridiculously long Dictionary post that will be coming soon(ish)!

This post and the dictionary post are why, despite being back, I still haven't been all that active. I'll respond to a couple tag games tonight and I'll try to do more tomorrow. I'm still planning on doing the Korithian Recipes! Money is just tight at the moment so I'm waiting for paychecks!

If y'all notice any mistakes or typos in this, send me a message so I can fix them! Same goes for if you have questions!

@illarian-rambling, @mk-writes-stuff, @kaylinalexanderbooks, @willtheweaver, @patternwelded-quill

@elsie-writes, @elizaellwrites, @the-ellia-west, @the-octic-scribe, @the-golden-comet

@finickyfelix, @theprissythumbelina, @autism-purgatory, @diabolical-blue , @tildeathiwillwrite

@katenewmanwrites, @leahnardo-da-veggie, @paeliae-occasionally, @melpomene-grey

@drchenquill, @marlowethelibrarian, @winterandwords, @phoenixradiant, @pluttskutt

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@treesandwords, @the-golden-comet

I was walking on a rather remote beach when I came upon this Whip eel drying up in the sun. These are intertidal eels that can actually handle themselves out of water for a bit, but it’s not normal for them to be fully exposed in direct sunlight like this. The tide was at least six hours from coming in and I felt like this eel was in distress, so I made the decision to dig him out and return to the ocean. His body was too delicate to be simply pulled from the hole without injury, so I got to digging.

This endeavor took about 40 minutes as the eel was quite long and difficult to excavate. Also had to continually refill my temporary eel pond to keep him from drying out entirely while I worked.

If you are an eel aficionado like myself, please enjoy this silly little video of the relocation process set to some jaunty royalty-free disco music.

This concept reads like a crack-fic tacken seriously and I love it for that!

You know that scene in John Wick 2 where he (John Wick) gets hit by a car and then he immediately fights the assassin driving that car, Cassian, and then they battle for like sixty minutes on the streets of Rome, shooting over cars, knife fighting, falling down a whole flight of stairs, and then grappling and grabbing each other on the cobblestones, yelling and grunting like a bunch of dudes having good old fashioned fun, and then finally they end up smashing right through a window and coincidentally landing in the assassin hotel "safe area" where they're not allowed to fight anymore...

and then they go and have a drink together?

I thought they should've fucked.

So I wrote a book about assassins who do that sort of thing regularly. Check it out here.

But I added what the scene was lacking, besides the fucking part...

Demons.

The scene for anyone who doesn't remember or doesn't know it.

This book has:

an improbable amount of badass, LGBT, demon summoning assassins (the absolute best of the best being transgender).

a scott pilgrim style plot, involving one pansexual demon summoner having to fight all 7 of his exes for the sake of his newest contract.

a nonbinary weather controlling demon, trapped on earth. also, one of the exes.

a blind smartass with a nasty mouth and nastier eye-related powers.

a city on the brink of annihilation, trapped by forces unseen and unheard and unknowable.

the most bombastic and ridiculous magic system ever constructed by man.

and maybe...just maybe...an angsty gay time loop romance (the best narrative trope) but you didn't hear that from me.

It's dark, it's humorous, it's romantic, it's riddled with absolutely insane fight scenes, and most importantly...

It's unabashedly queer and unrealistic and silly and yearn-y.

And I'd really appreciate if you'd help an indie author out, with a sale or a reblog! Agents and publishers told me that it was too queer for regular audiences...and that the concept was just not very compelling.

They might be right, but it still had to exist. I still had to make it, anyway. You know. You have to make the art that you want to see in the world.

Anyway.

Sorry for the long post...you can check out my website for future releases.

And last thing: Character commission of the MC, our lovably slutty pansexual assassin Sebastián Monterey:

And cheers! Sorry for the long post. Have a good night.

It gives me bibically accurate angel vibes