i made this blog so i could be embarrassing and hyperfixated without consequences hooray
(ノ◕ヮ◕)ノ*:・゚✧
warning tho as a result i will be embarrassing and hyperfixated here 100% of the time no exceptions
RMH
Aqua Utopia|海の底で記憶を紡ぐ

Love Begins
Peter Solarz
d e v o n


#extradirty

JVL
we're not kids anymore.

izzy's playlists!

Origami Around
todays bird
Sweet Seals For You, Always
AnasAbdin

blake kathryn
2025 on Tumblr: Trends That Defined the Year
I'd rather be in outer space 🛸
Not today Justin
Cosimo Galluzzi
seen from Switzerland

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@itstotallyaphase
i made this blog so i could be embarrassing and hyperfixated without consequences hooray
(ノ◕ヮ◕)ノ*:・゚✧
warning tho as a result i will be embarrassing and hyperfixated here 100% of the time no exceptions

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How to Fix Underwriting
1. Slow down at emotionally important moments.
Big emotions need space to land. If a scene feels rushed, pause the plot briefly to show how the moment affects the character.
2. Add reactions, not explanations.
Instead of explaining what a character feels, show it through physical responses, hesitation, or small actions that reveal emotion naturally.
3. Ground every scene in the senses.
If a scene feels thin, add one or two sensory details—sound, texture, smell, or temperature—to make the moment feel lived-in.
4. Let thoughts interrupt action.
A line of internal thought can deepen a scene without slowing it too much. Thoughts show stakes, fear, longing, or conflict beneath the action.
5. Expand consequences, not events.
You don’t need more things to happen—you need to show what matters. Focus on how events change relationships, decisions, or self-perception.
6. Strengthen setting where emotion peaks.
The environment should echo or contrast the emotion of the scene. Setting is not decoration—it’s emotional reinforcement.
7. Add specific details instead of general ones.
Underwriting often relies on vague language. Swap “they argued” for one sharp line of dialogue or a specific breaking point.
8. Let dialogue breathe.
Short dialogue exchanges without pauses can feel flat. Add beats—silence, gestures, interruptions—to give the conversation weight.
9. Show transitions between scenes.
If scenes jump too quickly, readers feel disoriented. A brief transition helps establish time, mood, and emotional continuity.
10. Clarify stakes early in the scene.
If readers don’t know what can be lost, scenes feel empty. Make sure the character wants something specific and fears losing it.
11. Use the “what are they feeling right now?” check.
After each major beat, ask what emotion is dominant in that moment. If it’s missing on the page, the scene is likely underwritten.
12. Expand scenes that feel “too clean.”
If a scene resolves too neatly or quickly, it probably needs more tension. Messy emotions and unresolved feelings add depth.
ok team lets go (also that is so kind of you to say thank you <333)
Disclaimer that i am largely self taught in this area, so there may be gaps in my knowledge
(also, as far as I know, this is still color theory, just more advanced. I might be wrong! nobody in the notes seems to know what it's called so I may also be one of those nobodies)
gonna post my entire stickman reaction pic collection
throwing in a few more I have :3
✨️✨️
no, YOU'RE out of touch. I'M out of time

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take your final bow
That infamous prison escape.
big announcement for the waa
I think it's time we start having higher standards for "anti-war" media
People on this website will praise a piece of media for being anti-war and the piece of media in question will have the radical anti-war messages of "war is bad because American soldiers get traumatized in it" and "war is just senseless violence where both sides are fighting for no reason and i don't know why it happens because no one benefits from it" and it will be about a real-life war fought by the U.S. to defend its imperial hegemony where the U.S. military killed 1 out of every 7 of the opposing country's population.
Extremely funny to see people on this post giving shoutouts to Mash as an example of good anti-war media because the thing that pushed me to make this post was seeing someone praise Mash for "having a great antiwar message and a surprisingly diverse cast for the time" when in reality its "great antiwar message" amounts to going "war is bad because both sides are Doing A Senseless Violence" about the fucking korean war
FMA is a great example because it's both one of my favorite animes of all time AND a piece of media that will make me think less of anyone who tries to frame its anti-war messaging as progressive. Like. It's a work that very consistently prioritizes the feelings of the perpetrators of a genocidal war over how their actions affected the people on the receiving end of it! And it's an inexctricable part of how the show communicates its themes, because it's a work of art whose narrative, for better and worse, is primarily concerned with the perspective of wrongdoers over the suffering of the people wronged by them! And in many of the situations it covers this is an interesting perspective to explore, but it's also pretty undeniable that using this framing and thematic focus to cover an imperialist war inevitably leads to a narrative that textually treats the middle-eastern-coded victims of genocide as a backdrop for the story of the european-coded imperialist soldiers that perpetrated their genocide!
[standing up boldly] I don't think pearl actually fumbled rose though
everyone makes the joke posts about how if they fumbled a bbw to a soundcloud rapper they would also start eating their own organs but i don't think pearl actually fumbled rose under any definition. pearl inspired some of the most positive changes in rose's life and rose spent thousands of years loving being with her while also fully convinced that she was undeserving of her. you have to place the whole thing with rose dating greg in context of the gem timescale. it's canon text that rose was occasionally dating earth men during the course of their time on earth, not as some sort of monogamous break-up situation where she would leave pearl each time, but where her gem relationship with pearl was one long ongoing thing, and humans were the cute little aliens she sort of objectified and treated as a novelty to occasionally date before she got bored of them/they died/whatever. rose presumably did not in any meaningful way drop pearl for greg, she just deprioritized spending time with her--which pearl was fine with at first, because she was fine with being deprioritized for novelties that might only last a few years while she'll last for thousands. pearl became upset and envious after she realized that rose actually cared about this one in a way more comparable to how she cares about pearl. but this didn't happen because she fumbled rose by any reasonable stretch of the term. this happened because even after reinventing herself once thanks to pearl's idea, rose still believed that she hadn't really changed, and hated herself, and saw herself as unworthy and undeserving of the people around her, and was very suicidal. she was so enamored with greg and with humans because she saw them of being capable of changing & growing in a way that she believed she was fundamentally incapable of. and so she decided to kill herself through the route that involved what she perceived as reinvention into someone beautifully capable of that growth. pearl just simply could not have done anything about rose still privately having those hang-ups or about the fact that they're both gems. I Do Not Believe It Was Pearl's Fumble When Her Wife Killed Herself

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[guy who has never let anything go in his life voice] the most annoying part of the bill cipher gjinka phenomenon is that no one has ever actually captured what that character would look like as a human person fully devoid of supernatural qualities. white blond besuited bills are out of vogue now but people keep the same spirit alive by drawing him young and short and usually with some degree of hashtag genderfuckery because that's what They're into personally but if you look at his canonical characterization we're talking about someone 1. old as balls 2. who acted as a mentor for someone in his 30's 3. with the most pathological defensive measures against criticism known to man 4. and an annoying, disruptive sense of humor that mostly revolves around making people uncomfortable.
that isn't a fashionable transmasc in his 20's. that's a postgraduate professor who got his teaching license taken away for getting a little too into new age occultism and selling coke to students. come on now
go buy a lottery ticket because I'm never doing some shit like this again
if you say anything about shipping in the tags I am going to materialize in your house and beat you senseless
old drawing from... 2019 or 2020?
trucy!!!!!
What if Apollo dissed Phoenix after 4-1

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Founding members of the Mikage Seminar
the thing about merlin and arthur is that, while yes there are lots of moments we can point to in the show when arthur is an utter arse to merlin, he is in fact — and especially based on what arthur knows — incredibly accepting and indulgent of merlin, about everything from his more seemingly benign quirks (intense strangeness... see: woodworms) to his more serious transgressions (apparently disappearing for days at a time for, *checks notes*, a drunken bender) and arthur just. lets him. by series 4 especially. merlin gets away with murder (which, to arthur at least, is an idiom)
and the thing about that is! i think merlin sees this as arthur ultimately not caring, further evidence of arthur not seeing him, and of arthur dismissing him as ultimately unimportant, in the grand scheme of things. but it's actually because arthur has just decided to dismiss whatever it is he has to, to have merlin in his life.