couldn't even melt a marshmallow

on AO3, under vomagari !!! | she/her, 19, culinary student | please visit impact.site to learn about global issues and how you can help!

[vomagari]

MASTERLIST

~~~ to keep track of my ideas in an easy-to-find way ~~~

VIDEO GAMES:

- Devil May Cry

Favorite weather

Fortuna's own language

Evil Dante

- Mafia Trilogy

Vito, Alma, and Betty type of found family :)

Vito oneshot - sea change/baptism, the longer version on ao3!!!

M3 fantasy au

Vito as a Ghost Rider

[airlocksandaviariesarchive]

2 genres of fanfiction:

1) put that guy into situations

2) take that guy OUT of situations for the love of GOD let them REST 

[vomagari]

s3 I want another moment of both Syd and Carmy being so overwhelmed with joyous feelings that whatever anxious thoughts they may linger in around each other disperse. That their brains are so rushed from another victory that they almost don't have time to think when they envelop each other in a hug again.

Carmy's strong arms around her shoulders, Syd's forearms and palms flat against his back as if to hold him even closer. For another moment, they know that they each find solace in each other's company.

[sydneys-adamu]

the lingering it’s the lingering that gets me bc carmy and syd are both so obvious about it it’s painful. by those lockers sydney could have just zipped up her coat put on her scarf and left bc like they said there’s nothing to physically do but go home. instead of leaving she turns and waits. and girlie doesn’t even know what she’s waiting for she’s so surprised carmen asks if she’s doing anything. it’s like her brain caught up to where her body and heart gravitated and hit the alarm so she just ran out as soon as it got awkward. as soon as their eyes locked. but she waited because she wanted to see what would happen next, what carmy would say next.

carmy does the exact same goddamned thing when he brings the food out to her. he could have just brought her the food, let her say thanks and left. but he waaaaiiiiits. he waits to see what’s up with her, what’s wrong, he waits to see what sydney has to say next. continuing a conversation that could end, that in a lot of instances would end, but both times they refuse to let it end and it boils down to well I just wanna talk to you I like talking to you I like hearing from you what you have to say matters to me.

and I am begging you to walk with me here I want to connect this to the asl and what carmy defines it as “we’ll talk about this later” and how this is rooted in waiting. this is rooted in the offering of their time, something they never have enough of but still give to the other person or at least want to so badly. we will talk about this later and that conversation is important even if it hasn’t happened yet. they are both willing to wait for it and the changes that will come with it. carmen and sydney both linger in anticipation for someone to make a move, to make things personal instead of professional. it’s not in words, but in the existence of the other person. I’ll stick around for a few extra minutes after work just to talk to you but freeze up when you’re about to ask for more. I’ll bring you food and sit outside with you because you’re upset and it bothers me. I want more time with you however I can get it and yes I will make it as weird as possible in the process and yes it’s because I’m obsessed with you

[vomagari]

Carmy had been awarded Michelin Stars and his name finally got some recognition. But the work he was doing, in which the tiniest serving of food required like 12 hours of prep...it was superficial.

Syd finds love in the food she makes and eats. Recipes aren't moreso equations needing to be figured out, as Carmy sees them to be. To Syd, food is homey and comfortable.

She inspires this somewhere inside Carmy, who has never had a comfortable home life. Food isn't supposed to be presented as a showcase of knowledge, it's an offering of an enjoyable time. And the more time Carmy spends with Syd, the more he's starting to experience how great life can be, both in general and at a possible future home.

[the-moon-loves-the-sea]

I’m increasingly worried by all the people on my dash calling themselves insane for loving stories in the way humans have loved stories our whole history. “The brain rot is spreading” — you mean you were changed by art? “I’m not normal about this” — you were moved by it? You felt human emotions about it? “I’m about to be so annoying” — you’re going to talk about art? You’re going to be passionate? You’re going to think deeply about it? You’re going to feel love for the work of someone’s soul? You are not a consumer and art is not a product to be casually used! You are a human and stories are the beating heart of our humanity! You must feel everything and you must know that it is normal!

[acecroft]

THE EVIL WITHIN 2 ☕️

[moody-clovers]

cmere look at this shit

Idc if it's just a difference in graphics quality bc i will die on the hill that Vergil had curly/wavy/unruly hair when he was younger

Look at that. The little swirls. The charm it added. The drama.

I guess he discovered hair gel or had undergone enough Woe to take the life out of his hair after you know. Grueling torment.

U still slay king but really... Why you gotta use the Got2B

[daisanfar]

*alex turner's voice* LAAAAADIEES

[daily-prompts]

I need everyone’s best character advice. STAT.

[foresttheblep]

Know what they want, What they're scared of What/who they love What/who they're willing to sacrifice

Also their breaking point, what shit do they have to be dragged through before they give up everything just for it to stop. And if they regret it or not,

[everybodysangel]

Start with something you do understand about them and branch off from there. Personally, I find it easier to write for characters that have some aspect of my personality, amplified and then manipulated into something new or different. Or maybe we share some aspect of childhood. We don't have to be the same people, but my experiences are something I can understand and use to shape new people.

[she-who-fights-and-writes]

Knowing your characters’ limits and how to exploit them is essential for creating tension, and for writing excellent fight scenes/final battles.

Under what odds is your character able to win? What is their greatest strength?

Now take that strength away.

How do they account for that? Is it possible to still win, or is that strength all they have?

An acrobatic fighter who is shot through the leg. A knight whose trusty sword shatters. A sorceror who runs out of spells and elixers. A dragonrider whose steed is felled.

Find the limit and push past it! That’s how to raise the stakes!

[heywriters]

when expanding on a main character, it helps to think about how the side characters feel about them.

do other characters trust them, and should or shouldn't they? what do they base that trust/distrust on? how does this affect the main character if/when they find out they are [dis]trusted? who laughs at them behind their back? who is privately rooting for them? who frequently forgets they exist and who is the first to notice them when they enter a room? what would it take to change any of these opinions, and how good/bad would the effects of those changes be on the main character?

[avidcollectorofdust]

To YOU it’s bad writing. To ME it’s a very nuanced piece of work that explores subtle intricacies without outright saying it. And also it’s bad writing

[ryanthel0ser]

Alright everyone, get on the delusional train

[ryanthel0ser]

Dante's care for Nero is something that is so important to me

The absolute joy Dante has after learning about Nero is something I'm never going to get over.

"...though Dante really didn’t care one way or another - he’d never expected to earn actual money from a job that came from Lady, after all - and what he’d ended up finding in Fortuna was something that no amount of money could buy."

Even though he self-imposes this separation between them due to his own experiences with losing those he cares for (his mother, Vergil, several friends like Nell Goldstein), it doesn't bother him as much because he's just so relieved and happy to know he's not the last one. He still has family and that's what matters to him.

It's so obvious to us that in DMC5 Dante is doing everything he can to get Nero away from the whole situation because he doesn't want to lose Nero. Yes, fighting your father to the death is bad but I think it's clear Dante's true reason is that he knows Nero cannot win against Vergil. He doesn't want to even run the risk of putting Nero in danger, but V throws a wrench in that plan by bringing Nero and to make the situation worse, Nero's lost Devil Bringer.

It's not till Nero backhands him with his DT that Dante is forced to see that Nero can handle himself. He'll be okay. That comfort is what lets him go with Vergil to stay in the Underworld, he knows he doesn't have to worry about Nero.

[small note cause I don't know how to fit it in]

The two times we see Dante's actual level of care instead of the front he puts up is when he says Nero's name. The first is in DMC4 when he shouts for Nero in the Savior, which is the first time he ever says his name. We get that moment of fear, that "please be okay" that goes unspoken but is heard in the way he calls out Nero's name. The second time is when Nero stops Vergil and Dante and we get a "Nero?" It's a mix of shock, disbelief, and possibly some relief at seeing Nero exhibiting such power. I half-wonder if Nero's demonic presence that Dante had felt before had faded when he lost Devil Bringer and that this moment is the first time Dante is sensing it since then, and it's stronger.

[prototypelq]

YES TO ALL OF THIS BUT IT IS ALSO SO MUCH WORSE IN DMC5

Dante, can absolutely make an Educated Guess as to What his dear brother will hunt down first and foremost when he returned. And he can certainly put two and two together as to who is the Current wielder of Yamato, which will lead him to conclusion to how Nero's arm became displaced.

That was the line that he could not allow Vergil to cross. If Urizen attacked Dante, or just the city again, I think they could go back from there. Dante would have been dissapointed for sure that his dear brother has learned absolutely nothing after everything he's been put through, but those offences could be forgiven.

Touching Nero though? Dante's precious nephew, who he craves to get to know but won't, because he cannot allow him to get hurt and get sucked into the family curse? Oh hell, no.

I believe DMC4 plot was enough to prove to Dante Nero can actually handle himself, but in the grand scheme of Vergil returning this won't matter. Nero is nowhere near enough to take on Vergil, and yet this is exactly what Urizen did. Urizen here is making Dante's worst fears come to live in more ways then one, and he is nullifying the 'protective' effect Dante's separation was supposed to have.

Dante didn't contact Nero too much, and he Still got hurt. By his own father no less.

When Vergil crossed that line, that was the moment the deal was sealed for both of them. Dante saw that Urizen was truly irredeemable and knew he could not survive the aftermath of killing his brother, again. That was the moment their fates were sealed.

Except then Dante lost, and the last thing he saw before that was one-armed weakened spitfire of his nephew, fresh out of hospital, trying to fight back.

Of course his reaction to waking up a month later was extreme in response to all that. He felt about it strongly enough to voice it out loud to V(ergil) even, only to have him retaliate with, again, Dante's worst fear of not being enough and loosing his family again.

So yeah, Dante is burning through all the fuel he has to be the first to fight and end Urizen before Nero has even a chance to intervene. Because trying to talk him out of this would require explanations, and Dante's not doing that, not unless he has no other choice. Which, obviously, his dear brother, forced him to make and spill everything to Nero is one, simple, phrase. (love Reuben delivery there so much, he practically barks the words in Nero's face to get this quickly over with, dammit I already miss him from the new anime)

Vergil's reaction to Nero is also why Dante can...go back a little from his raging and hurt state of mind to think about what's actually happening right there, right now. It's why he starts seeing hope for Vergil there, and after seeing that chance he cannot throw it away, never again.

So yeah, Nero is extremely essential to everything DMC5, thanks for coming to his text barf

[vomagari]

NO BECAUSE IMAGINING DANTE RUSHING OVER TO NERO AND KYRIE'S PLACE WHEN HE GETS WORD OF WHAT HAPPENED TO NERO IN THE GARAGE.

Dante can't bring himself to see Nero once he arrives and instead, he opts for checking the garage to get an idea of what happened. Blood isn't an issue for him and it never has been but...this is Nero's blood and it is everywhere. His vision blurs for a moment and he braces himself against the garage door.

When it comes time to see the kid, Dante still lingers on the sidelines. Kyrie is at Nero's bedside with her clothes just as bloody. She's leaning over him, head on his chest and eyes closed. Nico is on the other side of him, doing her best to change the gauze on what's left of his arm.

Dante barely knows the kid but in this moment, watching his nephew seemingly lifeless, he decides to stay. He decides that he'll keep watch and do whatever is asked of him, anytime. He won't be going anywhere, not even if Nero tries to push him out himself.

[willgrahamscock]

there’s absolutely nothing better than reading a 100k word fanfic, that is until you remember you have a body that is starving, thirsty and incredibly sleep deprived and hasn’t used the bathroom since the sun set 8 hours ago

[willgrahamscock]

me cross eyed and seeing double:

[ryanthel0ser]

Both Nero and Vergil share that pursuit of power, with Vergil having it be his driving force in life and Nero literally hearing a voice telling him he needs more power once his devil arm activates.

The difference between them is the core reason as to why they pursue power.

Vergil pursues power because he wants to eliminate any weakness within him after the demons attacked him as a child. He feels that he is the only one he can rely on and because his weakness is why he can't protect himself. It's a selfish pursuit, something he acknowledges during his time as V.

Nero pursues power because he wants to be able to protect the people he cares about. "I will endure the exile, anything to protect her" (DMC4) and "I couldn't protect Credo, to this day I still hate myself for not having enough strength" (DMC5). It's a selfless pursuit, something that stems from his own selfless nature.

[murraysiskind-deactivated202406]

I'm like if an eccentric genius was fucking stupid

[jaxcian]

evil wife