If I Know Your Artstyle Correctly, You Drew Shrignold X Coffin Dhmis Fanart A Few Years Ago

Yeah I love manipulating my friends for my own gain, the gain is called "hanging out", obtained via such cruel tactics as "showing interest in stuff they like" and "being generally complimentary and charming"

I don't usually interact but ford. buddy. that is NOT normal

Dear Mr. Pines Since you are a scientist specialising in the weird and supernatural, I have an inquiry in regards to this subject.

Recently I have been having rather weird thoughts about consuming human flesh. I wanted to ask if that is a sign of demonic possession or if I am simply a freak.

(The flesh in question is very fresh and raw; if that is in some way relevant, I'm unsure if the flesh being cooked would be better or worse.)

Please answer at your earliest convenience.

With best regards.

—?‽??? ?‽????‽

Haha!

Curious Asker—That is all apart of being human, I believe. Who hasn’t had such thoughts? The mind boggles!

We’re all freaks!

Just—Don’t act on it.

Maybe.

…

Depends.

me when someone makes me like a ship JUST because of the good name. ghhh old man yaoi is taking over

[I just thought of a ship name for bill, ford, and mcgucket

hear me out

biddleford]-mod

A character concept that I'm actually surprised I haven't seen more, now that I think about it:

A character with a tragic past who's beautiful in an unthreatening, pitiful sort of way, who goes "wait hold on, people think I'm cute?" and immediately goes drunk with power. Having a whole villain arc getting corrupted by the power of being just so tragic and pathetic that people can't be mad at them. Someone who's been accustomed to always being the one who's blamed and punished no matter whose fault the problem was suddenly discovering that actually they could get away with murder by being so big-eyed and sad.

And once they figure out that they can just Poor Little Meow Meow their way out of anything, they do. Going from being genuinely skittish and timid into pretending to do so merely as an act, manipulating the shit out of everyone and avoiding all suspicion because Look How Sad And Wet And Pathetic I Am, of course they couldn't do any harm to anyone ever.

And if one person finally does see right through that act and puts puzzle pieces together of how there's been just too many suspicious coincidences and accidents that only one person would actually benefit from, they confront the Tragic Little Act directly, one-to-one, to say "I'm fucking onto you and your shit"

And suddenly they completely snap out of their timid, pathetic presentation to give a big, wide, sickening smile like "no-one's ever going to believe you."

reblogging for the word play

⋆✴︎˚｡⋆ 𝕿𝓲𝓶𝓮 𝓲𝓼 𝓪 𝕽𝓾𝓵𝓮𝓻

𝓽𝓸 𝓶𝓮𝓪𝓼𝓾𝓻𝓮 𝓽𝓱𝓮 𝓭𝓪𝔂. ⋆˙⟡

Aym and Baal negotiate dinner

i like notifications

Reblog if you want Asks/Messages from your followers in your inbox

once i learn to express any strong emotion without bursting into tears it’s over for y’all

Yup returning to necromancy, I’m so back. And you’re so back, and you’re so back, and you’re so back, and you’re

How I write for the narrator (long post)

This isn't perfect advice, this is just what I do to make him sound canonical.

Every good fictional character has their own rhythms and cadences for how they speak. Word choice and pacing have a certain flow when spoken aloud. I notice in the script there are patterns that repeat. He has a tendency to do rapid fire "no"s, for example.

(ex. "Are you really just doing this for the achievement? Click a door five times? Is that all that you think an achievement is worth? No, no, no, no, no." 

"Oh, no! Oh, no no no no no no no no no no no no, not again." (when the player re-enters the broom closet.

"NO! No! No, no, no, no, no, no, no! This isn't right at all! You're not supposed to be here, yet! This is all a spoiler! Quick, Stanley, close your eyes!" (adventure line when it leads you back to the monitor room)

Another pattern he has is switching between really short sentences and longer ones.

"Stanley waited. Hours passed. Then days. Had years gone by? He no longer had the ability to tell.

But the one thing he knew, for sure, beyond any doubt, was that if he waited long enough, the answers would come. Eventually, some day, they would arrive."

There are other patterns he has too, but they're kind of hard to put into words.

The narrator is also a dramatic MF, so when emotions run high, he really amps up what he's talking about.

"The moment he entered his manager's office, Stanley froze in his tracks. Not a living soul anywhere. Could he really be all alone? This was too much for Stanley to take; too much for any man to take. He fell to his knees, bursting into half-moans, half-sobs... the guttural retching of life from a man denied any hope, any reason to keep going." (Narrator, what the f*ck. we're- we're just standing here)

and

"No! He refused to believe it. He couldn't accept it; his own life in someone else's control? Never! It was unthinkable, wasn't it? Was it even possible? Had he truly spent his entire life utterly blind to the world?" (narrator~, your showmanship is, well, showing~)

He's also a sarcastic boi, which I usually downplay because I prefer the narrator's sweeter side. But it's still there.

"You too?! Unbelievable. I'm at the mercy of an entire species of invalids. Perhaps there's a monkey nearby you can hand the controls to? A fish? A fungus? Look, you can hammer out the details; I'm not particularly picky."

or

"Okay, I think we all know the drill by now. Blah blah blah, dark secrets, the keypad, Stanley pushes some buttons, oh hey, look, it's a new passageway! Quelle surprise!"

Another thing to think about is word choice. The narrator is someone I'd describe as erudite. He uses large words a lot. An example of large words that I can pull from the script include: "momentum, "warrants recognition", " examination of structural narrative tropes", "Physical malady", solace, catalyst, immense." And this is just from a quick glance at the script. I admit, it's a tricky balance. You want him well spoken, but not a jackass, unless you're specifically writing him to have maximum pretentiousness. Try and find words that not everyone knows, but can guess based on context if they're too lazy to look the word up. Eventually you can fine tune it.

The more you practice this stuff, the more intuitive it becomes. These days, when I write him, I can hear whether or not it sounds like something he'd actually say. and I think there was a post that modmad talked about when writing characters. There's a voice inside that will tell you whether or not what you're writing fits his character. "Listen to that voice, that's the character speaking" or something like that.

And a small confession: I keep the script open when I write these things in case I need to refer back to him or check in to see if what I'm writing fits. I don't have the entire script memorized (yet)

Again, this isn't a perfect system, but it's how I do it.

And if it seems like I've got a particular knack for it... I'm an english major who reads character analysis papers and looks at linguistic styles for fun. I love thinking about what makes characters tick. I have major original ideas that I'll one day write about. It's my dream to one day write professionally. I think it would be hilarious to be at a convention 10-20 years from now doing one of those author Q&As and tell the audience that I used to run a headcanon blog. I imagine the crowd would go wild at hearing that. I love writing, it's my other special interest/gen