The following are quotes of his during the game. It was too funny not to share.
"everybody is out to fuck me… its like a survival horror but everyone wants to fuck me!"
"Pierrot's just a weird lil dude."
"No he's still not creepy. Just weird." (after the first night scene with Pierrot )
"NOW THIS ONE IS WEIRD" - regarding Harlequin
I asked him what he thinks of Bil and he said "Zero trust."
immediately goes to black tent "Maybe I should have saved for that."
"Ima just see what happens when I keep going to the black tent"
"Maybe if I do it 10 MORE times something else will happen."
*he did do it ten more times nothing happens*
*confuses green tent for cyan tent because he's a man and cannot tell the difference*
When asked for thoughts on the Doctor "how generic looking" (I was offended)
"Of course the doctor in this game has a plague doctor mask"
"Okay maybe he doesn't look generic but its stereotypical"
"Oh he's big."
"NO I AM NOT ENJOYING THIS STOP MAKING SHIT UP. HE"S GASLIGHTING ME! STOP IT!"
"I do not want that pink injection. WHAT DO YOU MEAN YOU ALREADY INJECTED ME? WHY ARE THE ONLY OPTIONS YES?"
"They are all so weird."
"I think they just all wanna fuck me. Why? I just exist."
*has literally 30 saves now*
"CYAN AND BLUE ARE THE SAME DAMN COLOR"
"Oh its this bitch" - abt Bil's tent
"Oh boy" when faced with the mirrors
"Uhoh no!" Pierrot's Mirror
"Oh of course… he's here… fucking weirdo." - Harlequins mirror
"So do they wanna fuck me or eat me? Is this like that cannibal movie we watched? Where its all a metaphor for veganism."
"I prefer Pierrot. He's weird but less than the rest of them" -when I forced him to pick a 'favorite'
"Ticket Taker isn't weird. I just don't trust him. Like innately."
*barely understands what the plays/hall of mirrors was trying to say and I mean BARELY*
"Still weird. BUT… kinda creepy." - thoughts on Jester
"Oh he's going to get sexual now isn't he… he's going to sexually harass me. THE ONLY PERSON WHO HASN'T SEXUALLY HARASSED ME IS MY BOSS."
"The most tolerable one is back." - about Pierrot
"HE"S GONNA EAT ME."
"It's good. Really long for just one chapter. But I am still confused."
"I'd definitely play more when more comes out."
"Reminds me of how they did the lore in Undertale. And I did enjoy that."
Crafting Realistic Car Accidents in Fiction: A Writer's Guide
Welcome, fellow writers, to another installment in my series on crafting realistic scenes in fiction. Today, I'm diving into the intricate world of car accidents and exploring how to portray them authentically on the page.
Car accidents are a common occurrence in both real life and fiction, but capturing their intensity and complexity in writing can be a challenging task. Whether your characters are involved in a minor fender-bender or a catastrophic collision, it's crucial to approach these scenes with care and attention to detail.
In this blog post, I'll discuss the mechanics of car accidents, the physical and emotional effects on characters, legal considerations, and more. By understanding the intricacies of car accidents and how they impact those involved, you'll be better equipped to create compelling and realistic scenes that resonate with your readers.
Types of Car Accidents
When crafting a car accident scene, it's essential to first understand the different types of accidents that can occur on the road. Each type has its own characteristics, causes, and potential consequences, so let's explore some of the most common ones:
Rear-End Collisions: These occur when one vehicle crashes into the back of another. They're often caused by tailgating, distracted driving, or sudden stops.
Head-On Collisions: In these accidents, the front ends of two vehicles collide with each other. They're typically the most severe type of accident and can result in serious injuries or fatalities.
Side-Impact Collisions (T-Bone Accidents): These occur when the front of one vehicle strikes the side of another. They often happen at intersections and can result in injuries to the occupants on the impacted side of the vehicle.
Rollover Accidents: These occur when a vehicle tips over onto its side or roof. They're more common in SUVs and trucks and can result from factors like excessive speed, sharp turns, or collisions with obstacles.
Single-Vehicle Accidents: These involve only one vehicle and can occur due to factors like driver error, adverse weather conditions, or mechanical failures.
Understanding the different types of car accidents is essential for accurately depicting them in your writing. Consider the specific circumstances of your scene and choose the type of accident that best fits your narrative and the characters involved.
Wounds and Injuries Based on Position in the Car
In a car accident, the injuries sustained by occupants can vary depending on their position within the vehicle. Let's explore the potential wounds and injuries for passengers in different seating positions:
Front-Seat Occupants:
Driver: The driver is often at higher risk for injuries due to their proximity to the steering wheel and dashboard. Common injuries include head trauma, chest contusions from the airbag deployment, and knee injuries from impact with the dashboard.
Front Passenger: Similar to the driver, the front passenger may experience head, chest, and knee injuries. Additionally, they may sustain injuries to their arms and legs from impact with the dashboard or door.
Rear-Seat Occupants:
Middle Seat: In a rear-end collision, the middle-seat occupant may experience whiplash injuries due to the force of impact from behind. They may also sustain injuries to their head, neck, and spine.
Side Seats: Rear-seat passengers seated on the sides of the vehicle may be at risk for injuries to their head, neck, and shoulders from impact with the interior of the car or other passengers.
Back-Seat Occupants:
Rear Middle Seat: Similar to the middle-seat occupant in the rear, injuries may include whiplash and impact injuries to the head and neck.
Side Seats: Back-seat passengers seated on the sides of the vehicle may experience injuries to their head, neck, and torso from impact with the car's interior or other passengers.
Understanding the potential injuries based on seating position can help you accurately depict the consequences of a car accident in your writing. Consider the dynamics of your scene and the positions of your characters to determine the most realistic injuries for each individual.
Realistic Severity of Injuries in Car Accidents
While car accidents can result in various injuries, it's essential to maintain realism when portraying the potential severity of these incidents in your writing. Here's a breakdown of some severe outcomes and their plausibility:
Coma:
Plausibility: Entering a coma following a car accident is rare but possible, especially in cases of traumatic brain injury (TBI). The severity and location of the head trauma significantly impact the likelihood of a coma.
Circumstances: A character may fall into a coma if they sustain severe head injuries due to significant impact force or if they experience prolonged loss of oxygen to the brain.
Death:
Plausibility: Fatalities can occur in car accidents, particularly in high-speed collisions or accidents involving multiple vehicles. However, the likelihood of death depends on various factors such as the force of impact, the use of safety measures, and the overall health of the individuals involved.
Circumstances: Death may result from severe injuries to vital organs, excessive blood loss, or traumatic injuries that are incompatible with life.
Severe Injuries:
Plausibility: Severe injuries like multiple fractures, spinal cord injuries, or internal organ damage are more common in high-impact collisions. The extent of these injuries varies based on factors such as the speed of the vehicles and the use of safety restraints.
Circumstances: Severe injuries can occur when individuals experience significant force during a collision, leading to trauma to the bones, spine, or internal organs.
When depicting severe outcomes in your writing, it's crucial to consider the plausibility of these scenarios given the specific circumstances of the car accident. Strive for authenticity and realism while maintaining the integrity of your narrative.
Character Development and Plot Implications
In addition to accurately portraying the physical consequences of a car accident, it's crucial to consider the broader implications for your characters and storyline. Here's how car accidents can impact character development and plot progression:
Trauma and Psychological Effects:
Survivors of car accidents may experience a range of psychological effects, including post-traumatic stress disorder (PTSD), anxiety, and depression. Explore how the trauma of the accident shapes your characters' emotions, behaviors, and relationships in the aftermath.
Consider how individual characters cope with their experiences differently. Some may seek therapy or support groups, while others may resort to unhealthy coping mechanisms like substance abuse or avoidance.
Relationships and Interactions:
Car accidents can serve as catalysts for changes in relationships between characters. Consider how the accident affects the dynamics between family members, friends, or romantic partners. It may deepen bonds as characters support each other through recovery, or it could strain relationships due to guilt, blame, or unresolved trauma.
Explore how the accident impacts interactions between characters who were involved in the collision and those who were not. Guilt, survivor's guilt, or resentment may arise, leading to conflicts or shifts in allegiances.
Plot Progression and Conflict:
Integrate the car accident seamlessly into your plot, ensuring that it serves a purpose beyond a mere plot device. Use the aftermath of the accident to drive the narrative forward, introducing new challenges, conflicts, or revelations for your characters to navigate.
Consider the long-term consequences of the accident on your characters' goals and aspirations. It may derail their plans, force them to reassess their priorities, or propel them into unexpected directions.
By exploring the psychological, relational, and narrative implications of a car accident, you can enrich your story and deepen your characters' development. Embrace the complexities of their experiences and use them to propel your plot forward in meaningful ways.
I hope this blog on Crafting Asexual Romance and Navigating Emotional Intimacy in Fiction will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.
Looking For More Writing Tips And Tricks?
Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!
i think everyone should thank Siobhan Thompson and give her 100 million dollars for her performance of Contesse Madelaine d’Artois and having some fun positive polyamorous sapphic sex representation happy pride
the way brennan included a mini rant about a funny owl monster statue in the templers' basement knowing that the absurdity of it could lead to batchild plucking out the ruby and furthering the plot
You know the. You know the Femme Fatale "I grew up with 10 brothers so I know how to fight" character?
That's
That's Roy Mustang
Just the opposite.
Roy "I grew up with 10 sisters so I know how to disguise covert information reconnaissance as flirting" Mustang.
"I grew up with 10 sisters so I know how to weaponize my sexual charm to disarm others and win favor."
Roy led every higher-up to believe he was just a fuckboy and a manwhore in this for his own ego and that they shouldn't view him as any kind of violent revolutionary like "no sir I'm just a slut."
I'm surprised I didn't say this in the original post but to specify: Roy Mustang grew up in a brothel, specifically he grew up adopted by a woman running a brothel where, specifically, all the women there are in the business of covert information reconnaissance by playing escort to important politicians.
Which. is an absolutely batshit primary character backstory to mention once, late in the series, and then immediately move on from.
And actually Hiromu Arakawa did it so well that every single fan interpretation of Roy Mustang for the FMA03 anime treated him as an honest to god man-slut. Bought his whole act hook line and sinker.
And you do, in fact, need to get further into the manga/Brotherhood to realize he is just acting like a slut because surely a true and honest hand-to-god slut like this guy wouldn't be overthrowing the government.
(this came out of a conversation in the comments on a previous post about an author threatening to stop updating a fic because of lack of engagement)
So there’s this idea that fic writers should write for themselves and not care too much about stats or engagement,
and i totally get the sentiment behind that. if writing becomes entirely about stats and external validation, something important does get lost - creative freedom and joy, conviction in your own writing
but i also think:
“i write for myself, but i post for others.”
because posting fic is not only self-expression. it’s social. ao3 is called an archive, but emotionally it often functions as a community space.
people post for connection, for participation, for others to bear witness to their pain and trauma and grief,
and i don’t think most people are asking to be admired so much as acknowledged. there’s something deeply human about wanting another person to encounter something that mattered to you and go:
“ok, yeah, I see what you were trying to say. I see you.”
especially because fanfic is often people processing very real feelings through fictional characters at a safe distance, one step removed,
and then uploading that deeply personal thing into a shared archive and hoping somebody else might connect with it.
And i think that’s why it hurts so much when you summon up the courage and post a fic into the void and you get nothing back,
here is your daily reminder to COMMENT ON THE AO3 FICS YOU READ! it goes such a long way, especially if it’s a multi-chapter work and you can only leave kudos once. ANYTHING is an acceptable comment—emojis, keyboard smash, screaming, in-depth analysis! i promise you, the writers want it ALL
