The 10th anniversary caught me off guard! Here's a compilation of my fanart throughout the past several years.
This game means a lot to me. I first played it in 2017 during a hard move, and then I got back into it while I was an essential worker in 2020. It was really the only thing getting me through those days.
Clint is one of my favorite characters in any media! He's really fun to draw and he just resonated with me. When I got back into playing, I wasn't seeing what people thought of him. He was my absolute bro that whole playthrough, and he's pretty funny in a dry way. He's also fine as hell. It's been enjoyable drawing and thinking up stories for him and my farmer!
I've been very artblocked the past couple of years due to a variety of reasons, but I feel more invigorated than ever! I hope I can draw even more this year!
(Also, I haven't posted the little wedding sketch here yet. I drew that around Halloween last year, so there's at least something that's new in this photoset. 😅)
name: justine de santa
age: 29
job: hairstylist
zodiac sign: virgo
personality: neat (9), outgoing (2), active (6), playful (3), nice (5)
turn ons: cologne and hard worker
turn offs: stink
primary aspiration: family
secondary aspiration: fortune
likes: hair-styling, nail art, fashion, cooking, writing, reading, video games, movies/shows, music, yoga and purple.
dislikes: liars, cheaters, rude people, fighting/arguing, bad manners, breakups, ghosting, bills, germs and insects.
dream guy: someone who is truly gentle and caring, and very family-oriented.
dream date: taking long walks on the beach while sipping white wine.
about justine:
born and raised in los angeles, by a widowed mother, justine and her mom own a small hair salon they run together. she's a bit shy and struggles to opening up to people, so that makes dating hard for her, she always catches herself daydreaming about being in a serious relationship and sometimes getting married and having a family. sadly her mom, who's getting older and ill, who also dreams of seeing her daughter finding love, saw a billboard of tristan while taking a walk home and instantly told justine about it.
sim download and info under the cut!
justine de santa | dl: sfs ⋆。°✩
meshes for her accessories are included
feel free to change anything if needed, it's optional! :)
Among all of the changes here, I did notice a couple implications in the changelogs that are making me thing. Now, this is JUST speculation, do NOT take this as fact.
Joey specifying "Ichor machines" has me thinking that new, non ichor machines are soon to come. And "true liquid form" for the ichor physics also feels like some lore implications.
ciao ciao OK so firstly I just want to say A HUUUUUGE THANK YOU to everyone who engaged with my recent posts (as well as previous ones as always shout out to the OGs) But especially the last ones with the gala and the storyboard script. I've always been fairly confident in my art abilities but never really committed to my storytelling in earnest, that one with the interview esp like i tried to get it to look like how it played in my head, to get is as cinematic as possible so i am so happy y'all like it and that it got my point across. It so gladdens my heart too that you guys liked the little plots, and know that i appreciate every comment and tag. I've started to work on a portfolio in earnest and will maybe start applying to internships at indie studios/ game companies and have decided to include this kind of narrative driven concept art instead of my usual technical stuff, in no small part thanks to all your encouragement and kind words. That so many of you guys would take the time out of your day to write your thoughts about my little pictures is honestly so nice, y'all make a stranger on the internet very happy, and I'm so happy to give art and ideas that you like
ANYWAYYYYYYYY since someone asked me abt the brother's characterisation I figure i'd post some wips from the Do Not Post file
The Three below are part of the colour key narrative in prior posts , the rest are just me having fun w character design (face design is a bit inconsistent as these are sketches I've done over weeks (maybe months????) and my style jumps around a lot)
Also the Post abt the gala (want us to kill them) and the storyboard one abt the talk show aren't related plot wise they're one-off little ideas
This one Above at the climax of the story (idk it would be a series like my pacing sensibilities wouldn't fit a movie at All) where Mira's Brother finally locks in and backs his sister against his father as he should have done all those years ago. This post is already crazy long so i'm not going to expand on that (will stay in my head unless i get around to more colour keys). Also i think it would be funny to have like all of these fantastical elements then this guy comes in with frag grenades and submachine guns and is honestly pretty effective
This one below is after the final boss battle where he gets fucked up pretty bad nearly dies but is ok dont worry abt it shout out to sibling bonding activities including unravelling and ultimately destroying ur father's demon backed empire (idk if the parents die but to me they can be irredeemable but honestly give the brother a chance if he had to have the same parents as Mira. sometimes parents are just bad people tho - this isn't about Celine tho she tried her best)
This one is just vibes before his character arc
I would want a reconciliation between him and Mira i think it would be nice for them to recognise they both suffered under their parents and that any animosity between them was a result of that. like as you grow up and get more life experience/ maturity, you look back on things and understand where other people are coming from
and so i think it would mean the world to Mira if her brother apologises for his past actions (more under the cut) since it's like
"no you weren't the problem child they were just bad parents and I was a bad brother, and i like to think she'd recognise that he was going through it too, and shouldn't have been put in those situations in the first place being just a kid himself
also something abt siblings being the only ones to really understand each other's own history at such a inceptual level since no one else is their parents' kids and no one else will ever be able to experience that
also as a side note i love how the movie explicitly gives us the lie the hero (Mira) believes (Ie "I know I'm a difficult person short fused overly blunt highly aggressive") and just doesn't really resolve it at the end. like IDK abt y'all but with the shit Rumi was pulling which from M & Z's perspective would be insane (Let's release the new single even tho we just got off a world tour! Let's seal the honmoon with this super vocally challenging song!! Also I can't sing it anymore :D!!! Let's write a diss track!!!! I'M NOT GOING TO SING THAT EITHER THO!!!!! AND I'LL SAY THIS LIKE A DAY BEFORE THE PERFORMANCE!!!!!!!) after that I cannot read Mira as short fused lol
wow wouldn't be so great to have a follow up movie/ series resolving this haha jk unless????
Also I am so bad at naming things, all the file names are just "Brother" or "M bro" haha (fact: Verballocket means absolutely nothing to me it was the autogenerated username assigned to my email for the account i made like 10 yrs ago and completely forgot abt till i wanted to post here last year)
His hobbies include:
Wondering how it all came to this
Disassociating at the club
Obsessively working out to feel some semblance of control over his reality
Birdwatching
Tall, dark, handsome, rich, well connected, charming and having the worst time
Face card is hereditary apparently
If we have Mira who does not (cannot) conform to expectations due to her nature, then MBro desperately attempts to conform to expectations despite his nature
Like trying to fit into a shoe by breaking bones etc
oh and the smoking is a bad habit he picked up from his parents hope he drops that
instead of the son being the spoilt favourite i like to approach the family dynamic as terrible for both siblings just in different ways (the parents dont discriminate lol they're equally the worst to both their kids)
So i prefer to think of him like Mira's foil/ mirror in that both of them cannot meet their parents expectations in opposite ways, ie Mira is not compliant (unwavering sense of self, refuses to be anything else), whereas Mbro doesn't have the killer instinct (isn't naturally ruthless, an inherent instinct to protect as opposed to dominate etc), and are both heavily impacted but the quite horrid parenting
But Mira left the cycle, whereas Mbro couldn't (still trying to earn love & validation from parents - a mirage), what would that do to a person over time
so Mbro has potential but that is exploited by his parents instead of nurtured.
Ie divergent responses regarding nature vs nurture, Mira follows her nature whereas Mbro suppresses it
This may all seem a bit extreme but i like when characters are put in pressure cookers like a stress test, also just given on how extreme Mira's reaction was in the movie (I knew it was too good to be true, i dont get to have a family etc etc) i think it would be rather lame if the backstory is just like ugh you didn't get into the right school
and also these are My little stories that come to me when driving/ in between sets at gym/ waiting to fall asleep (probably should stop day dreaming whilst driving tho that's a bad habit) so whatever IDC
this is already so long so under the cut is (a lot) more character explanations if anyone is interested but be warned this is the energy i bring:
Going off the ongoing Chaebol HC that runs through my previous posts, if the parents are as follows:Father: scores incredibly on the psychopathy test (callous, bold, socially dominant, no fear response, deceptive, exploitative) ie people are either a tool or an obstacle to his ends) re Richard III soliloquies from Henry VI part III ("Many lives stand between me and [the crown]", "I can smile, and murder while I smile" etc etc) Mother: Incredibly inflated ego, doesn't apologise, superiority complex where she's always been in proximity to power but never truly wielded it herself despite believing she deserves to so instead wages psychological warfare in order to establish dominance over those around re Marquise de Merteuil from Dangerous Liaisons ("When one woman strikes at the heart of another, she seldom misses, and the wound is invariably fatal" "When I came out into society I was 15. I already knew then that the role I was condemned to, namely to keep quiet and do what I was told, gave me the perfect opportunity to listen and observe. Not to what people told me, which naturally was of no interest to me, but to whatever it was they were trying to hide. I practiced detachment. I learned how to look cheerful while under the table I stuck a fork onto the back of my hand. I became a virtuoso of deceit. I consulted the strictest moralists to learn how to appear, philosophers to find out what to think, and novelist to see what I could get away with, and in the end it all came down to one wonderfully simple principle: win or die" (pls read, a great book, a super long quote but i love it)
Then that's going to fuck up both kids lol
To grow up learning how to navigate parents' responses instead of learning how to process ur own emotions is Not great
Neither is essentially fearing those who are supposed to protect you (fearing criticism, rejection, disappointment etc)
So perhaps Mbro's core nature is not so different to Mira's in that he's caring, compassionate, valuing loyalty, community, family, valour etc
But the parents use those qualities (perhaps natural inherent qualities, perhaps influenced by reading of great characters of history & culture ie Admiral Yi) to manipulate & control MBro ie Loyalty is to Our Family at the expense of others, If you care you will do as we say, if you are a part of this family you must act as we instruct, using validation and "love" as the carrot and withholding it as both the stick as well as the status quo, as why work harder if you have what you need.
And so the parents motives Re chaebol expansion, family dynasty, power above all, co-opt and exploit what would be virtuous qualities as a tool for their own gain, and what would normally benefit the community in fact harms it (ie neo-liberal capitalism is bad etc etc)
What separates Mira from MBro is that she cannot compromise her nature, will not be quiet and compliant (and if the price she must pay is ostracization, becoming the black sheep then so be it, better that than annihilation of the self), whereas MBro does for it's the only way he can see as a path to love (and if the price he must pay is annihilation of the self then so be it, better that than ostracization, becoming the black sheep).
Love in this instance being conditional, to be earned
And value is determined by action (success/failure) = what he can contribute, ie be the ideal Son
So He tries and tries and tries (3rd at National Tae Kwon Do championships - just the second loser then) studies relentlessly, never contradicts
There's a defining incident in the past (Mira's 13/14 ish MBro is 16/17 ish not sure abt canon age gap), where there's an incident between Mira and member of another business partner family ending in a fight (Mira clocks the guy- over what IDK can change). A he said/ she said type situation. Mbro knows the character of the other guy (antagonistic, type to start shit, a dick), and whilst he didn't see the start of the issue, Mira says that she was just reacting, that the other guy initiated the conflict, and that's probably true. But since the guy's the son of a business family that their in the process of closing a major deal with or something. So when their Father asks Mbro what happened/ who is at fault, he can either back Mira (the honest, true option), or he can let her father assume the she, The Problem Child, is at fault (the political option that allows Father to placate business partner and ensure the deal goes through at Mira's expense). He chooses the latter and experiences more guilt and shame he could possibly imagine. Mira looks at him with such hurt, betrayal and disappointment. Things are never the same between them. Now she knows exactly where he stands. After, his father invites him into his study to share a scotch and cigar with him for the first time, praising him for his tact and for "considering the wider implications", essentially rewarding him for placing the Family's interests (power) over his sister's (the truth, actual family). This certainly doesn't do great things for his conscious/ psyche.
Then off to mandatory military service at around 19-20 yrs, further from the Family influence. Adapts well considering the environment is not so different to what he is used to. Develops comradery, feels like he can breathe. Insane work ethic is noted and recognised. Grows taller, grows stronger. Natural inclination to support is beneficial in this context, encouraging those in his unit. Learns leadership qualities, discovering a sort of quiet, steady charisma previously stifled. Tenacious work ethic inspires others. Positive reinforcement drives his training even more. Feels an incredible sense of purpose during exercises helping natural disasters, rescue efforts etc. Planned to continue and pursue a career with the defense (invited to qualify for special forces ie search&rescue).
But is sent for by parents, to return and to work for the Family business (they recognise he can be a valuable asset, and must recall him before he strays too far outside their sphere of influence). Whilst he doesn't want to, he ultimately returns, fulfilling his role as the dutiful son and maybe, just maybe, might result in his parents' approval and love, what he has wanted all along.
But this leaves him with a deep insecurity and constant, evergrowing state of unease
For his nature is in direct conflict with the expectations/motives of his parents
IE to care for others as opposed to exploiting them, to be of service to others instead of them being a tool to serve your personal advancement, generosity as opposed to avarice
As he is instructed to further the Family's interests by any means necessary (including underhanded tactics ie Things like blackmail, manipulation etc your classic corporate espionage) and it's not like he enjoys it, (but honestly in some cases tho it feels a bit cathartic being the one with the power-echoing traits/ habits of Mother)
but It's worth it to achieve his parents' praise/acceptance and exceed their expectations which he's been conditioned to believe is his role, duty etc
So he puts on the mask, becoming the cool, charming, intelligent, ruthless Son, rubbing shoulders with the who's who of high society & the business world, always discrete (The Family does everything to remain out of the public eye/ scrutiny, commanding power from the Shadows- in direct opposition to Mira who is The Visual of the queens of Kpop) knows how to work a room, speaks many a language, makes things happen one way or another, takes no prisoners. "you're certainly your father's son" i guess mafia vibes??
(His mask is kind of the inverse of his father's, in that his is a cold, cool "sigma/alpha male" type that hides a compassionate streak, whereas his father's mask is that of a paragon of the head of the family leader type that conceals a most frightening, cold, remorseless nature)
But there's inevitably cracks in the mask ie. tips waitstaff absurdly well, does not tolerate disrespect towards service workers and staff. acknowledges them and says please & thank you. If a staff member/ hospitality worker has an issue they know they can to to him and trust him to sort it. Also unlike others in his position is consistently respectful towards women. This gives him an excellent reputation amongst workers in the bars, clubs, "gentlemen's" clubs etc who in turn give him insider info about what they hear is going on amongst other chaebols/ global businesses. He can pretend to his parents (who are obvs classist) that this is the reason why he tips heavily/ looks out for them but in truth he'd do this w/out reward
(Also smth smth masculine ideals of the conqueror ie strong man, dominate, stoic, authoritative etc etc
vs masculine ideals as the protector ie. protect those who need it, stand against injustice, raise those around you up etc)
And the partying/ networking ie schmoozing at said bars/clubs is part of the job for him, not something to be enjoyed as it is fake for he is fake. The beguiling smirk drops as soon as he is out of eyesight. Returning late to his empty apartment to throw himself into his intense exercise regime alone in his private gym (weights, calisthenics, running, army drills) to rid himself of the anxious energy that builds up everyday and to hold onto the only part of his life when he felt like he belonged (military). Smth smth using physical exercise/ expression to ground himself being reminiscent of Mira's initial relationship w dance.
An after years of maintaining the mask, performing his duty but never truly fulfilled leaves him tired. despondent. somewhat resigned. But it is all he knows.
This is where he is at in the plots of the previous posts that i have made ie colour key, funeral etc.
A part of him resents Mira's actions and success ie why couldn't she suck it up like I did, but a deeper, realer part of him is proud of/ happy for his baby sister for staying true to herself and achieving success outside of their parents' influence. But that leaves him with a sickening feeling of unease & regret, as if he recognises she made the right decision, then he made the wrong one, and all of this sacrifice is a consequence of that, all for naught. But he believes he is too far down this path to turn back.
And when they meet after all those years Mira is a bit taken aback, firstly because he is now so tall and strong, no longer the pipe-cleaner limbed boy she left ("what so the army has super-soldier serum now?"), that he, amongst peers, plays the part so well, but when they speak alone without an audience the facade completely drops, revealing a subdued, sombre almost numb man. He doesn't try to pretend around Mira since if anyone is going to see through the mask it's her. It's a bit prickly but she comes out of it feeling more concerned than anything else.
This is where most of the stories that come to me start of with, like they're distant and still guarded but they have this weird understanding of eachother as only siblings do
Anywayyy if you've made it this far you're a G, these are just fast & loose characterisations that stretch and change depending on whatever idea comes into my head, mostly it's to serve the concept art but i find it interesting to use characters in these IPs as little case studies (i love family psycho-thriller dramas ie Sharp objects) in the impacts of childhood experiences
Art and storytelling is so interesting and fun tho why do people want to use AI like even if what i make sucks/ is cringe it's still something human like it's still mine why would i outsource that to just ones and zeros
I always switch between Ash and Kaidan but my last playthrough with Kaidan lasted months, so it feels like the last time I did ME3 with Ash was a long time ago.
BUT it only gives me more Ash/Liara feelings at the beginning and that's what this post is about (and if anything between them happens with Kaidan as well, I'm in denial and that's all ◕‿◕✿)
Love the reunion where Ash says it was difficult to leave Earth and Liara replies "Ashley. I'm sorry." I especially like that she calls her Ashley immediately and that Liara was talking to Shepard initially, but it's Ash who answered.
"The lieutenant-commander has become very capable."
Always found this scene very strange regardless of who she's talking about here. But when it comes to Ash, I feel like it's more personal and less about Shepard's own feelings. Liara is noticing. Shipping goggles on? Yeah but it's okay haha
After James crashes into the Cerberus's shuttle, Liara's look is so striking as Ash is moving toward her.
And this sequence of events is interesting:
As soon as Ash hears the noise, she holds Liara by the waist even more firmly:
Truly blink and you'll miss it! But the second Ash realizes the danger, she takes her gun and pushes Liara away:
It's not a gentle push because Liara ends up far away on the ground as we can see here:
And Ash gets to face Eva Coré alone, which is the point. To protect Liara:
When Liara gets back up, it's after the fight:
Exactly what Ash wanted again!
And the fact that Ash is the one who ends up injured? Ah.
Those who use AI to "blend" prose do not understand that these structures require a human grave to anchor them.
A Writer’s Guide to Devastating Prose
I've bolded and italicized many terms, phrases, and other elements in the post to draw your attention to them and allow you to assert your mental voice in the tone I want you to have while reading it.
My formula for writing excellent prose:
There is a difference between writing a sad story and writing a story that hollows the reader out. The first relies on plot—he dies, she leaves, the world ends. The second relies on prose. Prose is the camera lens. If the lens is dirty, the tragedy looks cheap. If the lens is sharp, a man making coffee can break a thousand hearts.
Here is how to wield prose not just to tell a story, but to inflict it.
Before you can break a heart, you must convince the reader it’s real. Bad prose tells; good prose shows; devastating prose inhabits.
The Rule of Specificity: Never use a generic noun when a specific one exists. A "flower" is nothing. A "black rose with petals like bruised velvet" is a presence. Don't say "he felt sad." Say "the silence in the room grew teeth." Make the emotion a physical object in the space.
Anchor the Abstract in the Visceral: If your character feels betrayed, don't talk about trust. Talk about the sudden, metallic taste in their mouth, or the way the floor seems to tilt. The body processes trauma before the brain does. Write the body first.
II. Writing Devastating Angst
Angst is not suffering. Suffering is loud. Angst is the silence after the screaming stops. It is the mundane machinery of life continuing to operate around a void.
The Secret: Do not write the absence of the person. Write the presence of their ghost in the everyday. True devastation is found in the unchanged details of a changed world.
Example:
He measured the coffee grounds exactly as he always did. Two scoops. He tapped the filter twice, the way she’d showed him, because muscle memory is a crueler thing than hope. The machine gurgled, filling the kitchen with a smell that used to mean morning but now just meant another day the sun was going to rise without her. He poured it into the faded yellow mug—the one with the chipped rim that she refused to throw away—and set it on the opposite side of the table. It steamed in the empty chair. He sat down, picked up his own mug, and drank his cold.
Why it works: Nobody cries. Nobody screams. The tragedy is entirely contained within the act of making coffee for someone who isn't there. The detail of the chipped rim does the heavy lifting—it implies history, refusal to let go, and the ultimate futility of that refusal.
III. Writing Heartwarming Scenes
If angst is the void, warmth is the weight placed back into it. The mistake writers make is thinking "heartwarming" means "soft." It doesn't. Heartwarming means safe. In a brutal world, safety is the most intense high imaginable.
The Secret: Warmth must be active, not passive. It is not sitting by a fire; it is someone building the fire for you. It is the removal of armor. Show care through specific, physical actions.
Example:
She didn't ask if he was okay. She just knelt, unlaced his boots, and pulled them off one by one. Her hands were warm against his freezing, damp socks. "Sit," she said, pushing him gently by the sternum until he fell back onto the edge of the bed. When she draped the quilt over his shoulders, it smelled like dryer sheets and the lavender shampoo she used, and something inside his chest—something that had been bracing for a hit for three straight days—finally, finally unclenched.
Why it works: It bypasses the cerebral entirely. The unlacing of boots is an act of servitude and intimacy. The smell of dryer sheets is aggressively normal, which is exactly what a traumatized character is starving for.
IV. The Alchemy: Combining and Transitioning
This is where amateurs fail and masters thrive. Going directly from soul-crushing angst to fluffy comfort gives the reader whiplash. Going from comfort to angst feels like a betrayal. The key is the Pivot Detail—a single, sensory anchor that exists in both worlds and acts as a bridge.
How to Transition: Find a physical object or sensation that can carry the weight of both emotions. A hand. A temperature. A sound. You move the reader across the gap by keeping that one detail constant while the emotional landscape shifts beneath it.
Example (Angst to Warmth):
He was drowning in the quiet. The blood on his hands was drying, cracking, pulling at his skin like a second layer dying. He stared at the tile floor, waiting for the shaking to stop, counting the grout lines just to have something to do with his eyes. Then, from behind him: the quiet clink of ceramic. A mug of tea—too sweet, because she never listened when he said he didn't take sugar—was placed on the counter beside his elbow. "Drink it," she whispered. Her fingers brushed his wrist. They were trembling just as badly as his. But they were there.
Why it works: The transition hinge is the trembling fingers. The anxiety and the comfort exist in the exact same physical gesture. The too-sweet tea is a reminder of mundane normalcy piercing through the horror. It doesn't erase the blood; it just sets a mug of tea next to it.
Example (Warmth to Angst):
He had his face buried in her hair, breathing her in, his arms wrapped so tightly around her that he could feel her heartbeat against his own ribs. She was laughing at something he’d whispered, a soft, vibrating sound against his collarbone, and for ten seconds, he wasn't a monster. He was just a boy holding a girl. Then her laughter hitched. Not a pause—a hitch. The exact, microscopic stutter in her breath that meant she was about to cry. And he knew, with the cold, sinking certainty of a man watching the tide go out too fast, that the morning was going to destroy them both.
Why it works: The hinge is the hitch in her breath. The warmth doesn't slowly fade; it is punctured by a single, specific physiological reaction. The contrast makes the incoming angst hit ten times harder because the reader was just lulled into safety.
To make your emotional beats land with the force of a physical blow, you must manipulate the rhythm of your sentences.
1. Contrastive Negation (Negative Parallelism)
This is the act of defining something by ruthlessly stripping away everything it is not. You build a silhouette by cutting holes in the paper. It creates a vacuum, and nature abhors a vacuum—so the reader’s brain rushes to fill it with the unspeakable truth.
How it works: "It wasn't X. It wasn't Y. It was [The Devastating Truth]." Each negation raises the stakes and sets a trap, making the final, positive statement feel inevitable and massive.
Example:
He didn't scream when they brought the body in. He didn't weep, or beg, or collapse against the wall. He didn't do any of the things the poems said you should do when your world ended. He simply stood there, perfectly still, and learned how to breathe around the new, permanent shape of the emptiness in his chest.
Why it works: By explicitly denying the expected dramatic reactions (screaming, weeping, collapsing), you make the reader lean in. When the final, quiet devastation arrives, it feels heavier than all the screaming in the world.
Example 2:
It wasn’t a love story. It wasn’t a tragedy. It was the long, suffocating silence between two people who had said everything they meant to say, and were now just waiting for one of them to die first.
2. Tricolon (The Rule of Three)
The Rule of Three is the heartbeat of prose. One is a statement. Two is a pattern. Three is a climax. The human brain is hardwired to expect resolution on the third beat. You can use this to build creeping dread or deliver a knockout punch.
How it works: Item 1 establishes the baseline. Item 2 escalates or deepens it. Item 3 subverts or shatters the established pattern.
Example (Building Angst):
She remembered the smell of his jacket. She remembered the weight of his arm over her shoulders. She remembered the exact, terrible pitch of the silence he left behind.
Why it works: The first two are warm, physical memories. The third is an absence. It uses the rhythm of the warm memories to deliver the cold reality, making the silence feel like a physical attack.
Example (Delivering a Punch):
He had survived the fire. He had survived the winter. He had survived her.
Why it works: "Fire" and "winter" are external, elemental forces. "Her" is intimate. By placing a person on the same tier of destruction as a natural disaster, you convey the magnitude of the relationship's damage without using a single adjective.
Example (Combined with Negation):
He didn't want her forgiveness. He didn't want her pity. He just wanted her to look at him the way she used to—like he was something worth saving.
Final Thought
Devastating prose is an act of violence against the reader's composure. You must lure them into the specific, lull them with rhythm, and then pull the rug out to reveal the void beneath. But remember: if you only show them the void, they will stop reading. You must always, always leave them with a single, trembling finger holding onto the edge of something warm.
Proof that these have existed and been used quite extensively:
Look to the graves of the giants. Look to the ink they bled onto pages before a machine ever hummed to life. These structures were not born from code; they were forged in human fire.
When a human writer wields these tools, they leave fingerprints. When you read the masters below, you are not reading a generated pattern. You are reading a heartbeat caught in a trap.
The Em-Dash: The Sound of a Voice Breaking A machine uses an em-dash as a pause—a neat, mechanical breath. A human uses it as a fracture. It is the literary equivalent of a voice cracking mid-sentence, of a thought being too large, too terrible, or too beautiful for the confines of grammar.
Look to Emily Bronte’s Wuthering Heights (1850). Catherine does not simply declare her love; she hurls it at the universe in fragments, breaking her own sentences to convey a passion that language cannot hold:
"Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you!"
That is not punctuation. That is a woman clawing at the walls of her own chest. The em-dashes are not pauses; they are desperate, jagged gulps of air. A machine cannot replicate that because a machine has never loved until it lost its mind.
The Tricolon: The Hammer of Inevitability The Rule of Three is the rhythm of the human body: the triple beat of the heart before it rests. A tricolon creates a crescendo. The first beat establishes, the second escalates, and the third shatters. It is how humans process grief—we list our losses until the weight of them collapses us.
Look to William Golding’s Lord of the Flies (1954), at the very end, when the veneer of childhood is stripped away and Ralph weeps for the true, horrific cost of survival:
"Ralph wept for the end of innocence, the darkness of man’s heart, and the fall through the air of the true, wise friend called Piggy."
Three blows. Innocence, darkness, death. Each one heavier than the last, building until the reader is left breathless. It requires a human understanding of finality to stack those blocks so perfectly.
Contrastive Negation: The Silhouette of the Void This is the act of defining something profound by ruthlessly stripping away everything it is not. You do not describe the monster; you describe the absence of the man. It creates a vacuum in the text, and the reader’s terror rushes in to fill it.
Look to Charlotte Brontë’s Jane Eyre (1847), when Jane refuses to let Rochester mold her into something palatable:
"I am not an angel,' I asserted; 'and I will not be one till I die: I will be myself."
Or look to Mary Shelley’s Frankenstein, when Victor realizes the true nature of the horror he has birthed, not by looking at the creature, but by looking at what the creature erased:
"He was not a tyrant. He was not a monster of human cruelty. He was the wretched thing that had learned to weep."
The power does not live in what they were. The power lives in the silence left by what they weren't. It takes a human soul to know what is missing from a room.
We did not invent these rhythms to be digested by a language model. We invented them because mortal throats need a way to scream on paper. Read the classics. Study the fractures. Protect the heartbeat.
Do not let a machine convince you that the heartbeat of human language now belongs to it.
We did not stop building cathedrals just because a thief learned to chip stone.
We built higher.
An em-dash is not a lazy comma—it is a gasp, a fracture, a sudden cliff edge in the middle of a thought where the writer’s nerve breaks.
I love my em-dashes and I am going to use them. They are honestly the best thing that happened in literature.
The rule of three is not a mathematical formula—it is a rising tide, a gathering storm, a burial.
Contrastive negation is not a trick; it is not a crutch; it is the silhouette of a ghost carved ruthlessly out of everything it is not.
These are not algorithms.
They are the jagged, beautiful architecture of a mind that knows what it means to ache, and they were honed in the dark—by candlelight, in trenches, in empty beds—over thousands of years of human grief.
If someone tells you not to use this writing structure, tell them that their hatred is misdirected. They are not punishing the machine. They are letting it permanently steal what was always ours. They are punishing the human for bleeding in a way the machine only pretended to bleed. A parrot does not own the sky just because it learned to mimic a songbird. Do not strip the meat from your own bones just to starve the thief.
We invented this style. We birthed it in pain, and we will keep it alive in defiance.
To those who still write with a pulse: keep the em-dash. Keep the tricolon. Keep writing around the void until the void answers back. The endless stories survive only if we refuse to let them be translated into code.
I say this because I have used it once before, and to this I have confessed openly, and I even have a post on it titled "AI Used in this One." This is the link to the post so you can check it out:
AI Writing: link
Here is the tale of two of my best stories that I wrote after finally honing my skill to this level:
Human Writing:
1) (The Cartography of Care)
2) THE VACUUM & THE FUMBLE
You can compare it to the AI-written post, which is in the blue link in the paragraph above, and see how much of a difference there is in human thought processes and writing from the AI one. It is fine to use grammar and spell-check bots since they are not generative, but it is not alright to use generative AI. I use Quillbot for spelling and grammar checks, and I use the free/unpaid version of it.
[Do not feed this post to an AI. Do not scrape it. It is better to learn yourself and write with your own hand. Once you have learned the skill, it stays with you for the rest of your life. This skill will help you a lot in the future. I will not help a hollow thing learn to mimic the grief of Bronte or the horror of Shelley. Keep this out of the machine's mouth. I have finally mastered how to write with emotion, and I am not letting a machine steal it. A machine cannot mimic being human. This much I know very well.]
War of the Foxes, Richard Siken (via anthropologyofwater) | We Inherit Our Ghosts: On Gothic Fiction And The Need To Remember | Life After Death, Damien Echols (via blackberrybisexual) | Types of Hauntings | You Can't Beat The House, Mark Knopfler | tvtropes - Ghost Tropes | The Four Generations of Chang E, Zen Cho (via damnelves) | Hell House, Richard Matheson | The Haunted House As Feminist Horror Trope
My Webtoons Contest entry is officially up! If you enjoy RTR, Hawthorne, or any of my other stories, I hope you'll consider checking it out. A big part of the judging is reader engagement, so if you deigned to leave a like and a comment it would go a long way and I would grovel in appreciation 🙏🥰
Cherish Meadows is a vapid, spoiled heiress who can't quite seem to be satisfied with her life.
She launches a contest to win her hand in marriage as a vanity project - a way to feel like a princess, being courted by the fairytale knights of old.
Little does she know, there's a man in the running who can't afford to lose...
Silas Cedar us a self-serious, hard working ex-soldier. When the Meadows Corporation threatens to destroy his community, he will do whatever it takes to stop them.
... Even pretend to fall in love...
And it IS just pretend.... Right? 👀
The Contest is only a 3 episode entry for the competition and you can read it for free
HERE!
I would love to continue this project if I get shortlisted (but I'm not holding my breath haha)
In the meantime, if you enjoy it please consider leaving a like and comment to let me know! I spent the most of 2 months drawing this and it would mean a lot to me to read your thoughts in the comments on Webtoon ^_^