Ok But If Bruce Wayne Somehow Came Upon Zuko Fresh Out Of Banishment He Would Lose His Mind.

out of curiousity, do you have a concept of what the marks of the last word look like? i find the description of the marks of the many below and of the wither mark really fascinating (also because. theoretically. they’re kind of up to interpretation like for example “three parallel lines” doesn’t specify whether they are vertical or horizontal *) and i was wondering if you had a similar visualisation of what val bears on her skin. (or also like, just a vibe)

* a second question has now occurred to me. do the descriptions only sound ambiguous to us, with no knowledge of prayer mark conventions, or could they actually be drawn differently based on the same description also in-universe? and if so, would every interpretation work, or is there a correct way and shrue should really just have been more precise in describing it?

No, zero idea! I did initially have the concept (which I think we partly recorded and maybe even left in a line or two nodding towards) that Val's marks 'flower' into evidence of the lies she tells - so they change shape as she's speaking and then become photographs or records or film-tape that peel from her in big sloughs of dead skin.

But poetic though that may be, you then have a character who's just sort of dropping giant distracting wads of dandruff in every single scene, which is sort of dramatically inhibiting.

Obsessed with what they're doing with Milchick this season. He's a guy with a job. An evil job. He just got a big promotion. He sees himself as a reformer. But not like, systematically, he just like, smiles a lot and plans little activities. He's being undermined by a teenage intern. He's gracious about The Board's racism. He carries elaborate fruit baskets on his motorcycle while working through the weekend. He averages firing more than one person per week. He dresses great. He almost got the CEO's daughter killed. He delivers even the most outrageous lies with panache. He doesn't have a single true ally. But! he is going to do whatever he has to do!

This is the updated version of this.

The 100% Good ChoiceScript to Sugarcube Guide!

The 100% Good ChoiceScript to Sugarcube Guide is a coding guide meant for ChoiceScript creators looking to use the SugarCube format of Twine. It is meant as a quick start-up and comparison of the different commands and structures between the two formats, including explanations with examples.

The Guide is based on the ChoiceScript Wiki and covers all the necessary commands and informations required to make a ChoiceScript game, and how it translated in SugarCube in terms of formatting, plain code, and macro equivalence. It also includes resources to go further into the formats.

READ & DOWNLOAD THE GUIDE!

The Guide is sectioned into multiple sections:

The Differences between Twine/SugarCube and ChoiceScript

The Command Equivalences (or close substitutes)

The Creation of a New Project, and QoL functionalities (Stats, Saves, Achievements, Settings)

For further details on how the macros/markups/APIs should be used, check out my SugarCube Guide (as it goes into a lot more details). If you are looking for the Tweego Compiler Folder, see this post.

GITHUB REPO | RAISE AN ISSUE | TWINE RESOURCES TWEEGO | TEMPLATES | SUGARCUBE GUIDE

Twine® is an “an open-source tool for telling interactive, non-linear stories” originally created by Chris Klimas maintained in severaldifferentrepositories (Twinery.org). Twine is also a registered trademark of the Interactive Fiction Technology Foundation.

SugarCube is a free (gratis and libre) coding format for Twine/Twee created and maintained by TME.

READ & DOWNLOAD THE GUIDE!

Honestly I think the main thing I can’t look past in s2 is how it offers super simple solutions to incredibly complex and nuanced questions that s1 set up so intricately.

How can someone like Jinx ever become stable or well adjusted? Oh her hallucinations basically cease cuz she just becomes depressed and then before she can get over that brief period of apathy and go back to her psychotic self, she adopts a kid that basically brings Powder back. So the super crazy Jinx we expected to see after the cliffhanger of s1 never gets the chance to form! Isha serves as a plot device to avoid a complicated answer to Jinx’s mental issues and question of identity.

How can Vi and Jinx ever become sisters again after they’ve changed to much, is it even possible for them to reconcile? OH their dead dad comes back and reminds them of the good old days so we can ignore all the present and much more recent shit that has happened! And we’ll just really reaffirm that Jinx is Vander’s kid and not Silco’s after ep 4! This is the easy way out to the sister conflict, literally just reminding them that “oh yeah! We did used to be sisters!” And then Jinx can just die so we don’t need explore a complicated road to recovery that Jinx would have needed to embark on! Wow. What a cop out.

Will Zaun and Piltover ever be able to escape the cycle of violence that plagues them that is rooted in complex systemic oppression and inequality? Is violence the answers? Or will it only perpetuate more conflict? How can compromise come about with the rising extremism on both sides? How can Zaun and Piltover ever progress while acknowledging the horrors of the past, but still retaining optimism for the future? OH! Let’s actually just not even BOTHER exploring Piltover/Zaun at all!! They’ll team up to fight foreign 3rd enemy (literally foreign cuz Noxus is literally another nation interfering) and an incredibly simple exploration of forgiveness is the answer! Definitely not cliché as crap.

Complex questions, basic, uncomplicated answers. I simply wish the writers had chosen to prioritize themes and exploring interesting nuances more than big plot climatic style battle in the end. I see visions of nuance there, but they fall flat cuz of the fast pacing and what plots the story chose to prioritize, which don’t organically continue the setup from s1

And the season doesn’t do enough to properly explore these answer to justify them answering those questions. They use plot point through plot point to force the characters to where they need them to be without doing anything interesting with them to explore these complex themes from s1. and after speeding through all these arcs and themes they turn around and pretend like they perfectly answered these questions without putting in any of the work to bother exploring them

What would Ronin's response be if the MC he thinks is just an innocent writer is actually a serial killer lmao?

he'd find it so fucking hilarious! he'd live for it.

FOR ANY WRITERS OR THOSE WHO LIKE GOTHIC LITERATURE

I found this. It's basically a huge list of how to write in a gothic horror-like style. It gives you words to use, and what types of adjectives to put down, and it explains them rather than just giving you a list too. I hope someone beyond myself finds this useful because holy shit am I going to use this tool

Severance is about rebellion, about people who were literally created to obey finally questioning and breaking through that conditioning. There’s a storyline about someone doing a complete 180 and choosing to rebel when they realise they have a child that they’re not allowed to see, and I love that the storyline wasn’t given to the female lead, but to a previously comic male character. There’s a storyline about breaking protocol because for the first time ever you have fallen in love, in intense, overwhelming, impossible love, and I love that the storyline wasn’t given to the female lead, but to a pair of awkward old guys. The storyline about grief and guilt also goes to a guy, to the male lead.

I love that the female lead is the only one whose radicalisation comes entirely from within, the person motivating her is her, she’s not doing it for anyone else, she wants her freedom, and failing that, she wants bloody revenge even at the cost of utter self-destruction.

I maybe have too many iwatex ocs at this point…

Character details below the cut

given that prayer marks seem to be routinely engraved on acolytes/sacrifices themselves, what is the status of (non-votive) tattoos in tsv? could they be used by victims/surviviors of illegal worship to cover prayer marks (like some do for scars)? or to neutralize them? or conversely, would they not interfere with a prayer mark at all, and then could they be used by illegal god worshippers to hide them? or are they looked down upon or regarded with suspicion/wariness? do they even exist???

I think yes to almost all the above - I imagine that former worshippers might cover up unwanted prayer-marks by transforming them into a new design, but not as a mechanical cure-all - they might then sometimes find that the new design is somehow being incorporated into the manifestations of the god as it haunts them.

(i.e. Change that barbed-wire tattoo into a nice harmless rose because you want to be rid of the military-boundary deity you used to follow? Surprise, your family are all twisted up in a maze of horrible wire with red roses sprouting from their mouths!)

Suspicion of any iconography whatsoever would definitely be a society-wide issue, and contribute towards the prevalence of straightforward propaganda that we see in the show.

hermes in hadestown is the exact opposite of an unreliable narrator. a tortured narrator. a little *too* reliable. incredibly aware of exactly what is happening at any given moment, vaguely spoiling it for you in the beginning, despairing every second of it. but ultimately motivated to continue to tell the story over and over and over with a smiling face for the sake of the audience, and for the sake of the characters themselves, singing it again to keep them alive. knowing how it will end, but singing it again so that the cycle may restart and eurydice may come back to life. enduring the misery of it all, over and over, holding the knowledge of what will come to pass but continuing anyway to see orpheus happy just one more time before it all goes down in flames again.