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arts-and-drafts · 5 days

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Writing Deaf Character Tips

I’ve seen a lot of fanfic writers ask for tips to write Deaf characters so I thought I would write some out to help make authentic. Also feel free to send ask for any questions!

Deaf characters exist on a spectrum- it’s rare to have no residual hearing.

Deaf characters can’t magically hear perfect with assistive devices. Hearing aids are in the name- an aid. They make it easier to pick up some sounds. They are also expensive and a lot of insurance won’t cover.

ASL- American Sign Language. Deaf characters raised by hearing family might not have access to ASL until later in life. Percentage of Deaf kids educated in fluent ASL is low.

ASL has own grammar and syntax totally different from English, But! It is okay to write ASL in spoken English grammar, especially if you don’t know ASL. We know what you mean!

Avoid Deaf and hearing characters signing and speaking long sentences at the same time. It’s called Sim-Com and ASL users who can do it are rare because sentence structures are totally different. It would be like trying to write a sentence in English at the exact same time (word for word) as someone speaks it in French. Sim-com usually used with SEE and still hard for fluent ASL Deaf to follow.

Deaf characters can be dizzy! Many many Deaf have tinnitus and vertigo. Comes with many hearing loss conditions. Vertigo can also be triggered by flashing lights, heavy bass sounds. (very annoying in the car when driving and someone has loud, shake your car bass)

Deaf characters can also can have balance problems from inner ear issues.

Deaf characters can enjoy music! Many ways to enjoy music besides hearing all of it.

Lip reading is hard. You need to start at the beginning of the conversation, need constant context, and when you lose the thread it’s hard to get back. Many many words look the same on lips that sound totally different. Avoid magic lipreading in characters.

Character doesn’t need to have a Deaf accent.

Deaf character doesn’t need to talk loud. Many Deaf talk very soft because they feel vibrations before the vibrations make audible noise.

Deaf characters can be very fluent in written English and great writers but still have very poor sentence skills when being casual in texting or conversation (like me!) Hard to go from ASL to English brain, and makes you tired.

Deaf characters can use ASL Slang! ASL has colloquial signs that have no direct English translation but we use all the time (peh peh, train go sorry, champ, etc etc) Here are some examples!

That’s all I have for now. Hope it helped!

#ref #didn't know a lot of this!!! thank you!!!#writing disability

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arts-and-drafts · 25 days

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Tips for drawing and writing amputees: The prosthetic needs something to hold onto

Prosthetics need to be able to hold on to the body.

If you're giving your amputee something similar to 99.99% of modern prosthetics, this will be done through a socket. This is a ridged cup made perfectly for the amputee that holds the prosthetic onto the body. Older prosthetics (mostly anything before the 90's) made the prosthetic socket intentionally tight in spots, which is what held it in place. Some people with sensitive skin still use this style of prosthetic but they've mainly fallen out of use in favour for suction sockets. These sockets create a vacuum seal that holds the prosthetic in place. These can work in two ways, either just by forcing excess air out of the socket and creating the seal that way, or for some legs, sucking that excess air out and into an "ankle" mechanism to offer some extra suspension and padding in the step.

Some prosthetics will also use additional measures as well as suction, such as pin-locks, where the amputee wears a sock with a screw at the bottom that clips into a mechanism at the bottom of the socket, or a prosthetic with movable panels that can be tightened via cables running through the socket.

I've used all of these except the pin lock socket, and they all have one thing in common: The sockets need as much space as possible. For prosthetics using suction in particular, this is to spread out the amount of force being applied to the leg. If all the suction is being applied to the end of the stump, it's going to get sore and could even damage the skin. If that same amount of suction is applied to a much wider area, it's going to feel less intense. Likewise, older prosthetics needed as much space to work with as possible too, as applying tight pressure to a small area as opposed to a larger surface to keep the tension isn't good for your skin or muscles in that spot.

For this reason, the sockets will take up all of the space available without limiting movement, meaning they will go all the way up to the next major joint. An amputee who lost their hand through the wrist will have a socket that goes all the way to their elbow. An amputee who lost their leg through or above the knee will have a socket that goes all the way to their hip.

Sometimes, if an amputation is particularly close to a major joint and there isn't a lot of space left between the stump and the next major joint, prosthetists will opt to immobilise the closest joint and take the socket all the way up to the next major joint. This was something I've actually discussed with my prosthetist. My left leg is amputated below the knee, but I only have a few centimetres of space below the knee. That leg occasionally needs revisions, meaning they take the very tip off of the stump to help correct issues with weird bone growth, scarring, infections etc, but if I get another revision, my leg will be too short to comfortably wear a socket, so my knee will need to be immobilised and my leg will become, functionally, an above knee amputation, despite still having the joint. This is rare, but it happens on occasion, showing that sometimes that need for space trumps even the use of a still functional joint. It's really important.

I wanted to bring this up because I see a lot of people draw sockets on their amputee's prosthetics, but they're much too tiny to be comfortable!

I did mention most prosthetics use a socket, but not all do. Some old prosthetics did not have sockets and were held in place using other methods.

This is a "prosthetic" my prosthetist found in his company's back room. He's not sure when it was made, but together we came up with an estimate of it being made around the 70's for a through-hip amputee (meaning someone who's whole leg was amputated with no stump at all)

It's designed so that the user would rest their hip on the cushion and use the handle to hold it in place and move it in time with their walk. This kind of mobility aid isn't often used anymore (me nor my prosthetist have seen one out in the world), and seems to have faded in use during the 80's as sockets were invented that could better hold onto the hip and pelvis for through-hip amputees and the use of wheelchairs for amputees became less stigmatised.

There's also A new type of prosthetic has been developed called the Osseointegration prosthetic, which also doesn't use a socket either. These are very rare as they are incredibly expensive and still very risky, but these prosthetics bypass the socket and implant the prosthetic directly into the body through a rod planted inside one's stump bone. This rod has a clip at the end of the stump, so the external part of the prosthetic can be removed as needed (and replaced). The reason they are risky though is that they are EXTREMELY prone to infection. I only know one person who had this implanted successfully, but he has to be very careful to keep his leg clean or else it will get infected (and it frequently does, he's constantly on antibiotics). Everyone else I know who got it had to get it removed.

With time these implants will get safer, but we are a very, very long way off from that right now.

#extremely helpful ref tysm!!!!!#ref #writing disability

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arts-and-drafts · 2 months

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black history month is coming to a closeeee but i have something that’ll help you draw black characters in any month! if it was helpful then hey… here’s my kofi 😏

#VERY GOOD REF THANK YOU!!!#ref #drawing hair

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arts-and-drafts · 4 months

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What have been some of your big inspirations/points of education* with your comic work?

*could mean learning resources but also just, good advice you got once or improvements to your workflow you figured out

Thanks for this ask!! :]

I went to the School of Visual Arts, where I majored in Cartooning! A lot of what I learned, I learned from Indie Cartoonist Jason Little and DC/Marvel Editor Joey Cavalieri, both of whom taught multiple classes I've taken (mainly fundamental stuff but there were also some extra classes with them like Jason taught my Digital Comics course and Joey taught my History of Cartooning class). I learned how to draw trees from Jason. And from reading Pogo.

I've drawn a lot of inspiration in my storytelling from both Bone and Hellboy, mostly! Both Jeff Smith and Mike Mignola are masters of pacing in comics, and if you happen to be unfamiliar with their works, I can't recommend them enough. Besides those two, the rich, moody internal monologues of Spider-Man: Blue and Spider-Man: Evolve or Die are things I often think about when it comes to dialogue writing. That and (at least when it comes to writing Rouge's dialogue) my older sister. Just, like, in general. Pay attention to how the people around you speak. It helps a ton when figuring dialogue.

Hellboy is getting mentioned again because Mignola's heavy inks are something I like to look over in order to learn from and improve myself. Hellboy, Carl Barks's Donald Duck comics, Asterix & Obelix, Will Eisner's various works, Calvin and Hobbes ALL have this beauty in their inking that can really inspire. Personally, I'd like to get a bit messier with my inking. Messy inks feel so alive. They're so visually interesting.

For colors, I highly recommend this book. I've read it and re-read it as much as possible. It may be for painters, but cartoonists can and should learn from all kinds of art forms. The works of Moebius were also mega foundational for me in learning how to color my comics. The man knew his palettes and how to not confine himself too much to what's "realistic". Speaking of painters (you may roll your eyes at this one) I'm also a fan of Frank Frazetta.

For panelling, I only have one true inspiration, and that's the work of Tess Stone. I grew up reading Hanna Is Not A Boy's Name. It changed how I viewed the limitations of panelling forever. Of course, it may be harder to find that comic these days, so here's a snippet:

Basic advice: really really take your time taking in art that you like, and try to reverse-engineer how it was made in your head. Heck, even if there's art you DON'T like, overall, but has elements you DO like, you can learn from that, too!

Okay! Sorry for rambling! Now here's the thing you're actually here for:

How To Think When You Draw collection of REALLY GOOD tutorials for whatever you need, these guys helped me out a ton when I was figuring the jungle scenes early in Infested.

This Pinterest Which Has Absolutely Everything You Can Possibly Think Of For References And Inspiration Sources.

An Extremely Good Font Site That Is Used By Professionals In The Comics Industry To Letter Their Comics.

The Most Important Book Any Cartoonist Can Read

A Different Book By The Same Man About Making Comics (for free, thanks Internet Archive)

Perspective For Comic Book Artists, thanks again Internet Archive

As for workflow... Man, I wish I could give you any kinda advice on that. I'm struggling with it, myself. I guess I've got two things?

If you have multiple deadlines for, say, multiple commissions or something, or you're trying to put out a weekly comic, but you're also doing something else, break the day up into time slots for each project, and switch the moment it's time to. Keep yourself on that schedule. I'm not very good at this.

I draw pretty detailed thumbnails, so sometimes I'll skip the penciling step in comics and blow up the thumbnail to ink over that. It's faster for sure! It's not always the right solution, however.

Thanks for reading! I hope any of what I've said helps at all!

#ref #as someone planning on going to art school this is a major help!! thank you!!

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arts-and-drafts · 4 months

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Here’s a little Art Tip about a very specific part of the body. Pop a squat and see how it looks on you.

#as someone struggling to draw specifically spideys; god bless you thank you #ref #drawing anatomy

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arts-and-drafts · 5 months

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the angel staying over at my house asked for a nightlight in their room and i told them buddy, don't you produce your own light? what're you gonna do with more? and they said they wanted to see why people like it so much. and also that the nightlight i own is blue and they're been trying to understand color. anyways i think they've stared at it for an hour now

#ough why am i emo over this #original fic

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arts-and-drafts · 6 months

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HELLO HELLO HELLO!! I have many questions about the beauty and the beast au and would love to know more about it!!! Does Martyn join the beast Ren on purpose? (as opposed to being prisoner) Is it Martyn who was wanted for treason? (What did he do?) Do other characters make appearances as townspeople and/or alive household objects?

If you're interested in fics for this AU, my friend Lew (@liloinkoink) has written three pieces for it!

[How Ren got his curse and how it works] [Martyn's near betrayal] [The last day of Martyn's life]

These scenes are very far apart from each other in the plot but should make sense as stand-alone pieces in the story. I believe Lew is also planning to write a little more for Treebark Week so keep your eyes on that!

As a quick summary of how Martyn came to meet Ren in this AU: Martyn runs away from his town, having been labelled a dangerous criminal by Scar for treason (which he did NOT commit! He's just a petty theft!). If he is found, he will be executed. So he runs and ends up lost in the woods. Which is where he stumbles into an old castle.

Martyn, of course, starts to rob the place thinking the castle is abandoned. He needs the money! Plus, he can use one of the old beds and maybe in the morning he can go back to the woods to hunt for food! The old abandoned castle would be the perfect place for him to stay!

Except... There's a beast already living there and he's not too fond of this stranger breaking into his home and stealing his things.

But that's the start of the story! As for other characters, obviously, we already have Scar. The Red Army is also there but they're more like spirits rather than talking objects/furniture as a part of Ren's curse.

#I LOVE THIS AU AAAAAAA #3rd life fic #beauty and the beast au

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arts-and-drafts · 6 months

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Writing disability: The Super-Crip Trope, and how to avoid falling into it's harmful elements

The "Magical disabled person" or as it's often called in disability circles, the "Super-Crip" is the name of a trope in which a disabled character has some kind of magic or special abilities, which is used to mitigate or erase the impact of their disability. While not a mandatory part of the trope, many super-crip characters are also stronger than their peers, specifically because of their disability's impact on their powers. So why is this trope so unpopular among many disabled people? There's a few reasons. The main one is because more often than not, Super-crips who are written by non-disabled people are often treated as an easy way out of actually having to deal with a character's disability, and a shortcut out of having to do the research into how a disabled character would deal with certain situations. When these writers encounter something they think their disabled character can't do, instead of actually talking to people with the same disability as their character and doing research, they just write that its not a problem because "magic powers go!"

In some cases, but not all, their powers all but erase their disability completely, at least from the perspective of it's relevance to the story. While, to my knowledge, this was never in the comics or movies, A good example of this is a "fan-theory" I've seen among non-disabled X-men fans who claim professor X could use his telepathy to walk, functionally bypassing his spinal injury (Or his leg injury, if we're going off some of the comics' timelines). This would functionally erase his disability, making it an example of both the super-crip trope and the miracle-cure trope.

ID: An image of Professor X from X-men, a white bald man wearing a suit, sitting in a silver wheelchair, and another unknown man in a suit standing beside him, framed by a circular doorway, both their faces are partially obscured by shadow. /end ID]

Another reason this trope is disliked is because writer's often have good intentions when using this trope, but they actually end up undermining the points they were trying to make. Often, super-crips are portrayed as badasses in an attempt to show that "you can still be a hero/useful to the plot and be disabled", but the way they portray it usually implies that disabled people, as they exist in real life, aren't useful unless they have something that compensates for their disability or have impossible powers.

So should super-crips be avoided entirely? Some folks in the community think so, but personally, I don't agree. Despite all of what I've said so far, I think there are ways to write characters who technically fit the definition of a super-crip, without it being harmful. There's an argument to be made that "super-crip" specifically refers to harmful version of the trope, so not everyone will consider characters who aren't part of it, but I do, and I think it's important to discuss both the harm this trope can bring, and how this trope can be used in non-harmful ways. Humans (and creatures with human-level intelligence) are adaptable creatures, and in a world where magic exists and especially in worlds where its common, disabled people will find ways to use it to help themselves. but help is the key word there. So let's talk about some ways you can write super-crips, without it crossing the line into becoming harmful. The following are some things for you to consider about your character's disability, how their magic/powers interacts with it, how they interact with the world (and vice versa) and more:

Are your character's powers an aid or a cure?

The first, and one of the most important things to consider, is if your character's powers function like an aid or piece of assistive tech, or a cure? If you boil it down, is the magic helping them or "fixing" them? This can be a cure in the literal sense, as in giving an amputee the ability to shape-shift to get their limb back, or a functional cure, meaning the power essentially by-passes the disability, like the above mentioned professor-X fan-theory. It's not literally curing him, but it might as well be. In a world where this magic or super-powers exist, it's perfectly natural that a character might use the magic to lessen the impact of their disability, but it shouldn't erase it entirely. Give the magic a trade off, make it imperfect. You character can cummon a magic prosthetic, but there's a time limit on how long it lasts for, or their magic needs to recharge it. A wheelchair using mage might be able to engrave magic runes on their chair that allow them to pass over rough terrain, but only to a certain extent. It might allow them to go up-stairs, but it can only be used so many times per day (and make sure you show the times where they need to get up the stairs, but have run out of uses!) Things like that.

Is the power directly tied to their disability?

Is the power you're giving the character directly tied to their disability? There's 2 ways you could read this, and both should be considered. 1. The power is something you, as the author, gave to them specifically because it would help mitigate their disability (e.g. giving a character without arms telepathy so they can still pick things up/hold things because you couldn't figure out how they would be a badass swordsman without it) or 2. Does this character, in universe, have their power specifically because of their disability? e.g. Did our arm amputee develop telepathy through sheer-force of will because they really wanted to be a swordsman, and their determination manifested as telepathy/A god gave them the powers because they felt bad for them/a wizard taught them how to do it because they were inspired by the person's perseverance? If the answer to the first one was yes, perhaps reconsider and do more research. If the answer to the second one is yes, proceed with a lot of caution. Generally, if the powers originate from someone feeling sorry for your character, being inspired by them or anything to do with their determination and perseverance, I'd recommend changing that. However, if the powers came from your character having to adapt something to to their disability, that is really a case-by-case basis thing. Sometimes it works, sometimes it doesn't. your success with it will depend on the character, the setting and the specifics of how.

Is this power common, or is this character the only person in the cast/only person we see with this ability?

Is the power you're giving your disabled character rare, or even unique? It's fine to give your disabled characters powers that are common within the world, but if they're one of the only people who has that ability (or similar abilities), ESPECIALLY if it directly helps mitigate their disability, you might want to reconsider that choice. In a world where everyone can fly, it would be weird if your wheelchair user couldn't without an explanation. But if no one else in the story can fly except your wheelchair user, it starts looking more like you just gave them that power so you don't have to think about accessibility in your world. If you really must give your disabled character the rare/unique power, consider making another character with a similar disability but no/more common powers so you aren't just avoiding the issue, or making the power not related to/impact their disability directly (e.g. giving your leg amputee super-hearing.)

Does this power solve a wider access issue in your world, or does it just make it easier for your character alone?

As a general rule of thumb, if you are writing a story where you don't want accessibility issues to be a thing (e.g. a story set in a utopia), focus on fixing the environment, not the characters. Instead of giving your wheelchair user the ability to fly upstairs, give the buildings ramps and lifts. That way, its a solution for everyone with that disability, no matter their access to things like magic or technology. When talking about super-crips, this is especially important, doubly so if your character's power is rare! I made a (mostly joking) post ages ago about an idea for an earth-bender character in the Avatar universe, who gets fed up with republic city being inaccessible and starts earth-bending all the stairs into ramps. This solves the accessibility issue for them, but also makes their environment more accessible for others without bending to get around. Of course, not every disabled character will want to help/care to help others, but often when non-disabled people write disabled characters with powers, they kind of forget that their character won't be the only disabled person in this world. It often feels like they honestly think fixing things for their character means there's no problem anymore, and that's not the case.

Avoid, "I may have [insert disability here] but I can still do stuff because of my power!"

By this, I mean give your character other ways to address issues relating to their disability than just their powers. One funny example I remember reading in a writing group I was a part of was this author who was bragging about how their paralysed character could still drive a car because they had electrokinisis (the ability to telepathically control electronics). Aside from the fact that wouldn't work on all cars - including the one their character drove, since not all cars have electronic components controlling their acceleration and brakes, the way they described it was extremely complex, and overall not worth the effort when the real-life solution, hand controls, was much, much easier and the setting allowed for easy access to that kind of tech. When I pointed this out to them, they said they had no idea hand controls were a thing, and they had no idea that real disabled people could drive. They thankfully changed it, but there's 2 things to take from this: 1, double check that disabled people can do the things you assume they can't, your magic solution might very well not be needed, and 2. variety is important regardless. No one device, or in this case, magic power, should act as a one-size-fits-all solution. IRL disabled people have lots of tools to help us, I have 2 sets of prosthetics for different tasks, a wheelchair, a grabby claw (for reaching things on high shelves when using my short legs and wheelchair) and hand controls in my car (or at least I used to but we won't get into that lol). My prosthetics won't "fix" all my problems, I need other tools too. keep this in mind when it comes to magic too - it shouldn't be the only thing at your character's disposal.

There's nothing to compensate for.

Remember, don't treat your character's disability as something they need to make up for (especially if they "make up for it" using their powers). Your disabled character is allowed to make mistakes, they're allowed to have flaws both related and unrelated to their disability, they're allowed to not be good at some things, and they don't always have to be the best at whatever their roll in the plot is. In most stories, they should be on par with the other characters, or at least in the same ball-park, but as I mentioned before, a lot of stories don't let disabled characters fail. In order to justify them even being present, they are often made out to be the undeniable best, almost to mary-sue levels of perfection and super-crips especially fall into this issue a lot. They can be good at things, but balance it out, like with any other character.

You don't have to use all of these points, but they are still worth at least considering. For example, Toph fails all of these points except the first three. Despite that, she's still one of my favorite disabled characters in media, even if she's not perfect, and I'm not alone in thinking that. I've seen lots of other disabled people say the same about her. Which of these points you should use will depend on your story, character, setting and tone. As I've mentioned a few times now, the key is striking a balance. At the end of the day though, these are only general pieces of advice and a lot more factors go into making a character like this work. only disabled people will be able to tell you if you've pulled it off, and that's where beta-readers and disabled sensitivity readers come in!

Also, remember, these kinds of tropes don't just apply to the more common/well-known disabilities like amputations and wheelchair users, that's just what I have experience with! Be sure to research any disabilities your character has to ensure you are not falling into these tropes.

#writing disability #ref #thank you op!!

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arts-and-drafts · 7 months

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Limits of the Human Body

Body Heat = 107.6 F

Cold Water = 40 F

Hot Air = 300 F

High Altitude = 15,000 ft

Starvation = 45 days

Diving Depth = 282 ft

Lack of Oxygen = 11 minutes

Blood Loss = 40%

Dehydration = 7 days

#OMG BLESS YOU #ref #extremely useful!!!

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arts-and-drafts · 7 months

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Dialogue tips that actually work:

You are not writing a movie (ignore this if you are). The reader doesn't need to know every word the characters say for the duration of the story. Less is more.

Dialogue can happen within the prose. "And they awkwardky discussed the weather for five minutes" is way better than actually writing five pages of dialogue about the weather.

Balance your dialogues. Surprise yourself with a monosyllabic answe to a dialogue that's ten sentences long. Don't be afraid of letting your character use half a page for a reply or nothing at all!

Don't write accents phonetically, use slang and colloquialisms if needed.

Comma before "said" and no caps after "!?" unless it's an action tag. Study dialogue punctuation.

Learn the difference between action tags and dialogue tags. Then, use them interchangeably (or none at all).

Don't be afraid to use said. Use said if characters are just saying things, use another word if not. Simple. There's no need to use fancy synonyms unless absolutely necessary.

Not everyone talks the same way so it makes sense for your characters to use certain words more often than others. Think of someone who says "like" to start every sentence or someone who talks really slow. Be creative.

Use prose to slow down the pace during a conversation.

Skip prose to speed up the pace during a conversation.

#ref #thanks op!#writing dialogue

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arts-and-drafts · 7 months

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nasa employee: oh hey u guys are back early astronaut: moon's stuck in a time loop. nasa employee: what? astronaut: *loading a pistol* moon’s stuck in a time loop. do you have extra ammo? this won’t be enough. nasa employee: enough for…what? astronaut: *finding extra clip of ammo, pocketing it, and getting back on the rocket-ship* don’t worry about it!

nasa employee: oh hey u guys are back early astronaut: moon's stuck in a time loop. nasa employee: what? astronaut: *emerging from supply closet with a space harpoon, getting back on the rocket-ship* moon’s stuck in a time loop.

nasa employee: oh hey u guys are back early astronaut: oh hey u guys are back early astronaut: moon's stuck in a time loop. nasa employee: what? astronaut: what? nasa employee: how did you know what i was going to say? astronaut: *punching in key pad code for base evacuation signal, getting back on the rocket-ship* i told you…moon’s stuck in a time loop. *red warning lights begin flashing*

nasa employee: oh hey u guys are back early astronaut: moon's stuck in a time loop. nasa employee: what? astronaut: *rifling thru bookshelf of operating instructions, selecting one that says “AIRLOCK MANUAL OVERRIDE INSTRUCTIONS,” getting back on the rocket-ship* moon’s stuck in a time loop.

nasa employee: oh hey u guys are back early astronaut: moon's stuck in a time loop. nasa employee: what? astronaut: moon’s stuck in a time loop. hey, do you have anything to eat? i’m starving. *opens random drawer, finds nothing, closes it* nasa employee: a time loo- uh, we don’t have food in here…we can’t…eat in the control room, only the break-room. astronaut: *sighs* nasa employee:…my lunch is in like 10 minutes, though, and if my lunch is actually STILL THERE and not STOLEN, AGAIN, i can share it with yo- astronaut: nah, that’s ok…no time. *loading a pistol and getting back on the rocket-ship* or…too much time. but thanks, anyway. OK, bye! *alarm begins blaring* nasa employee: you’re…welcome? wait, a TIME LOOP?!

nasa employee: oh hey u guys are back early astronaut: yup. nasa employee: …? astronaut: *sitting down next to nasa employee* so…do you ever like…wonder what the meaning of life is? the secrets of the universe? nasa employee: aren’t you supposed to be ON the MOON?! *alarm begins blaring* nasa employee: hey, what the hell is that? astronaut: that’s the code red override klaxon. moon’s stuck in a time loop. oh, and there’s an explosion imminent. But don’t worry, we can deal with that tomorrow. So, you have any siblings? *pulls beer out of space suit, cracks tab* want a drink?

nasa employee: oh hey u guys are back early astronaut: do you know frank in IT? nasa employee: what? astronaut: do you know frank, who works in IT? nasa employee: yeah, but why are you guys back so early? astronaut: moon’s stuck in a time loop. call frank, tell him there’s a virus in the security patch and the system’s compromised. then get the hell out of the base. nasa employee: wait what? what? where are you guys going? astronaut: *loading a pistol and getting back on the rocket-ship* back to the moon. it’s stuck in a time loop. call frank! nasa employee: *picks up phone* ugh, straight to voicemail. i wonder wha- *alarm begins blaring*

nasa employee: oh hey u guys are back early astronaut: *grim silence* nasa employee: i said, you guys are back early…hey, what are you…? astronaut: *randomly opening drawers until they find a pair of scissors and some duct tape, getting back on the rocket-ship* moon’s stuck in a time loop.

nasa employee: oh hey u guys are back early astronaut: moon's stuck in a time loop. nasa employee: what? astronaut: *loading a pistol and getting back on the rocket-ship* moon’s stuck in a time loop. *sticks head back out the door of the rocket-ship* by the way, if you go to the break-room in exactly 2 minutes and 45 seconds, you’ll catch the person who’s been stealing your lunches for the past two weeks. nasa employee: what?! WHO IS IT?! *alarm begins blaring* nasa employee: *running for the break-room* FUCK!!!!

nasa employee: oh hey u guys are back early astronaut: moon's stuck in a time loop. nasa employee: what? astronaut: *sits down, sighs, pulls a beer out from their spacesuit* moon’s stuck in a time loop. nasa employee: …ok, and? hang on, how did you get a beer? you can’t have that in here. astronaut: what do you know about project floyd? nasa employee: I mean, the usual amount? i’m not really on the project anymore, why? *alarm begins blaring* astronaut: COME WITH ME TO THE ROCKET-SHIP, we don’t have ti-

nasa employee: oh hey u guys are back early astronaut: yeah. moon's stuck in a time loop. nasa employee: what? astronaut: *loading a pistol and getting back on the rocket-ship* moon’s stuck in a time loop. see you tomorrow. maybe. nasa employee: WHAT?!

nasa employee: oh hey u guys are back early astronaut: moon's stuck in a time loop. nasa employee: what? astronaut: *sighs, rubs hands over face, and loads pistol, before getting back on the rocket-ship* moon’s stuck in a time loop. and, uh…you should call your mother like you’ve been meaning to. and tell her you’re not actually mad and that you will come to dinner tonight. you’re gonna be hungry. nasa employee: wait, what? WHAT?? how do you know my mom?! why am i gonna be - *alarm begins blaring*

nasa employee: oh hey u guys are back early astronaut: moon's stuck in a time loop. nasa employee: what? astronaut: *grabbing two pistols, an extra box of ammo, a pair of scissors, some duct tape, a space harpoon, and a booklet of operating instructions that says “AIRLOCK MANUAL OVERRIDE INSTRUCTIONS,” starting to get back on the rocket-ship, but dropping everything with a horrendous clatter* FUCK! goddamn moon’s stuck in a time loop. *alarm begins blaring*

nasa employee: oh hey u guys are back early astronaut: moon's stuck in a time loop. nasa employee: what? also, hey, where’d you get that duffel bag? astronaut: *grabbing two pistols, an extra box of ammo, a pair of scissors, some duct tape, a space harpoon, and a booklet of operating instructions that says “AIRLOCK MANUAL OVERRIDE INSTRUCTIONS,” shoving them into the bag, and getting back on the rocket-ship* moon’s stuck in a time loop.

nasa employee: oh hey u guys are back earl- astronaut: *grabs nasa employee and kisses them passionately* nasa employee: what? WHAT?! astronaut: *loading a single pistol and getting back on the rocket-ship* moon’s stuck in a time loop, sweetheart. nasa employee: what?!? astronaut: a time loop!!! i love you!!! get out of the base!!! stay alive!!! nasa employee: *presses fingers to lips, confused but intrigued, as alarm begins blaring*

nasa employee:…. nasa employee:… nasa employee: ho hum what a regular day at the office *alarm begins blaring* nasa employee: what the hell is that?!

nasa employee: oh hey u guys are back earl- astronaut: *grabs nasa employee and kisses them passionately* nasa employee: what? what?! WHAT!?!? also, hey, where’d you get that duffel bag? astronaut: *grabbing two pistols, an extra box of ammo, a pair of scissors, some duct tape, a space harpoon, and a booklet of operating instructions that says “AIRLOCK MANUAL OVERRIDE INSTRUCTIONS,” shoving them into the bag, then cupping nasa employee’s cheek with free hand* moon’s stuck in a time loop. nasa employee: the moon’s stuck in a what?! astronaut: a time loop, sweetheart, but we don’t have much time ourselves, so you have to listen to me RIGHT now nasa employee: *faintly* …“sweetheart”?! astronaut: in 2 minutes and a few seconds, you need to go into the break-room and find frank. nasa employee: wait, frank from IT? astronaut: yes. nasa employee: how do you know he’s gonna be in the break-room? i can’t just call him at his desk right now? astronaut: how do i know this?! because, one, time loop, ok? and…also…because…heismaybetheguywhohasbeenstealingyourlunchfortwoweeks nasa employee: that BASTARD i KNEW it astronaut: BUT THAT’S NOT WHAT’S IMPORTANT RIGHT NOW. hey! listen to me! go in there, catch him red-handed with your burrito, and tell him lunch is on you FOREVER if he goes RIGHT NOW and checks the last security patch - because there’s a virus and the whole system’s compromised. then you need to get the hell out of this base, ok? nasa employee: …ok. ok. and…and what about you? astronaut: *cocking pistol and getting back into rocket-ship with duffel bag* me? i’m gonna shoot for the moon.

EPILOGUE:

nasa employee: so, how many loops in total? astronaut: i mean, it was hard to keep track. somewhere around six months, if i had to guess. nasa employee: damn. astronaut: yeah. nasa employee: and in those six MONTHS, the best zinger you came up with was “shoot for the moon”? astronaut: hey, you know what, i had some other stuff on my mind! nasa employee: i mean, i guess. it sounded like you found time to flirt with me each time. astronaut: yeah, like i said. other stuff on my mind. *they look at each other, blush, and look away* astronaut: sooooooo. you’re sure your mom is cool with me coming over for dinner? nasa employee: can’t make the day any weirder. plus, i owe you for ratting out frank, right? astronaut: he did help us save the world; we can’t be too mad at him. nasa employee: you’ve had a little while to get over it, i might need some more time. and it wasn’t even your food! astronaut: ok, that’s fair. what if i buy you lunch to make up for it? nasa employee: hmm, when? astronaut: tomorrow? nasa employee: well, i’ll have left overs from my mom, and you might too if you play your cards right. day after tomorrow? astronaut: honestly, anytime is good for me.

*FADE TO BLACK*

#this is beautiful #original fic

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arts-and-drafts · 7 months

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Hermittober Day 6 - "Bread"

ao3 link at bottom

sorry i didnt oost day 5 its on ao3 im just not proud of that

[fall 28 year 3]

to be frank, saying that tango can’t cook is an understatement. besides boiling water and maybe an egg or two, he burns nearly everything that he tries to cook. and that’s where jimmy comes in. when the fall harvest rolls around, and bundles upon bundles of golden wheat line their barns, jimmy takes it upon himself to use as much of it as he can. with tango’s massive sweet tooth and tendency to act like a toddler around a full cookie jar, jimmy enjoys baking almost as much as tango enjoys trying everything he makes.

this harvest, it happens to be bread. and not just generic loaves of white bread, no. their kitchen is filled with all sorts, sizes, and shapes of bread. whether it be sourdough, pastries, rye, or even focaccia, tango doesn’t think jimmy’s ever made something that he doesn’t like.

today, it happens to be some sort of spiced bread. jimmy always refuses to tell tango what he’s making. tango watches as he whisks together butter and sugar in a bowl, and if his eyes happen to linger on jimmy’s freckled forearms, he doesn't have to know.

normally, jimmy doesn’t ask tango to help with his baking endeavours. but when eggs are involved, tango is suddenly the best cook out of the two of them. every time jimmy tries out a recipe that contains eggs, tango has to crack the eggs for him. call it a lingering avian instinct, or even an aversion to the slimy egg whites, but jimmy hates cracking eggs. so tango does it for him. every. single. time.

when the eggs have been added into the batter, jimmy kicks tango out of the kitchen, with the excuse of not wanting to spoil the surprise. tango pouts but relents, sulking off to watch a rerun on their beat up television set.

eventually, the smell of cinnamon fills their house, and despite jimmy’s best efforts to keep the bread’s contents a surprise, tango eventually finds out. it’s truly surprising how many times jimmy has made tango’s favourite treats without him noticing, but this time really takes the cake. jimmy had walked into the living room with cinnamon on his nose and pumpkin bits on his shirt. and yet, tango had just unknowingly kissed him on the cheek and grinned when a blush made its way across his face.

they sit on the couch and half listen to whatever show is being ran. tango tinkers with some gadget that he’d gotten from maru a while ago, and jimmy braids his hair while he tinkers. despite the white noise of the show playing, it’s a moment of peace between them.

until-

the kitchen timer breaks the moment and tango bolts up, racing to the kitchen. with the joy of a child on christmas day, tango nearly rips the oven door open (without even turning it off, the irresponsible child , jimmy thinks) and grabs the pan inside. and behold– inside is a golden loaf of spiced pumpkin bread. tango squeals in joy and tackles jimmy in a hug, momentarily forgetting about the bread on the counter.

any loaf of bread, whether pumpkin or plain, couldn’t compare to jimmy anyway.

#THIS IS SO SWEET 😭😭😭#3rd life fic #trafficshipping #team rancher

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arts-and-drafts · 7 months

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Everybody Knows That Dom Has Depression Except For Dom

It’s what it says on the tin, fellas.

———-

“And I have a couple of pre-made meals for you too!” Miranda heaves a giant refrigerated bag onto the table, beaming at Dom as she rips open the velcro and starts pulling out stacks of tupperware containers.

“Pre-made…?” Dom ventures, watching with growing wonderment as the stack of containers continues to grow. That bag must be bigger on the inside.

“Yeah, meals that are already cooked up and ready to go,” Miranda explains, finally setting the bag aside and walking around to open the fridge. There’s plenty of room inside for the castle of tupperware, “So you can just pull one out, stick it in the microwave, and you’re all set! It’ll be great for those days when you’re too tired or worked too late to make something.”

Keep reading

#AUGH THIS IS SO FUCKING GOOD #OH MY GOD #the cozy scene with miranda and watching tv with cody were so fucking good #aaauughhhhhh this is fucking amazing i love this i love this #micoverse fic

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arts-and-drafts · 8 months

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Ugly Things (Dream SMP)

(In which Tommy and Wilbur have a fight. I've always been morbidly captivated by Pogtopia and the stress it put on everybody involved before the 16th, so this is a little 'what-if' writing exercise of a night that may or may not have occurred :) enjoy!)

CWs: Smoking, mentions of violence

Tommy wakes himself up by coughing.

There's a disgusting itch in the back of his throat, and his sinuses are filled with tobacco stench. Bleary irritation spurs him to get out of bed, his body protesting every movement.

Tommy has gotten very little sleep since making Pogtopia their base, and every time he wakes up he is sore from the thin mattress barely making the stone floor any more comfortable.

All this to say he treasures any sleep that he can get, and he is pissed as hell that he's woken from it.

He knows without needing to check that the source of the smoke is Wilbur. Tommy sets off to find him.

It's not exactly hard; Pogtopia is remarkably simple once you know your way around, and there's only a few places you can go for privacy.

Just as he suspected, he finds Wilbur in the farthest side of the ravine by the nether portal, absently smoking a cigarette as he stares into the purple gateway. Tommy pulls his shirt up over his nose in disgust.

"I thought you said you were gonna quit."

Wilbur startles, and turns. His face is gaunt and shadowed in the faint glow of the portal.

"What are you doing up?" Wilbur ignores Tommy's statement. His voice is scratchy and hoarse. Tommy scowls.

"The fuckin' smell woke me up, dickhead." Tommy grumbles. "The portal isn't like a window."

"Sorry." Wilbur says. He doesn't sound sorry at all. "I can't exactly go outside."

"You could not smoke." Tommy presses, irritable. It's too fucking early for this.

Wilbur's face is a mask of indifference. Tommy knows it's a mask, because he knows Wilbur. To anyone else, it would be a real expression. Real apathy.

Tommy knows that it's hiding something.

"It helps me." Wilbur says. It's a conversation they have had a million times over. Tommy narrows his eyes.

"Well, it hurts me." Tommy snaps, the last of his sentence petering into a cough. Wilbur's face goes stony.

"You'll be fine. Go back to sleep, Tommy."

Somehow the words snap Tommy right awake.

Maybe it's built up anger that makes Tommy summon his water bucket from his inventory. Maybe it's misdirected grief at the fact that they're hiding in this shitty fucking ravine in the first place. Maybe it's a lot of things.

Whatever the reason really is doesn't matter. Tommy still throws the water on Wilbur before the man can register the action.

Wilbur finally shows real emotion in the form of sputtering and stumbling, nearly tripping back through the portal.

His cigarette is out, and his glare is piercing hatred. Tommy meets it unflinchingly.

"What the fuck is your problem?!" Wilbur yells. His voice is grating and cracks with emotion, and it riles Tommy up in turn.

"You told me you fucking quit!!" Tommy yells back, raising his voice to match Wilbur's. Their shouts echo off the walls until their voices are just ringing noise in his ears.

"Fucking Christ, Tommy, that doesn't mean you get to waterboard me!!" Wilbur screams. He's pissed good and proper, like Tommy knew he would be.

"'Go back to sleep, you'll be fine.'" Tommy throws Wilbur's words back at him with a sneer, and Wilbur throws back his fist.

Tommy flinches before his mind catches up with what the hell Wilbur just did. For a fleeting second, Wilbur's face displays raw emotion; horror, then anger, then finally settles back into the mask.

Wilbur lowers his arm with a practiced breath, and without another word, turns and walks right through the portal. Tommy is alone, and suddenly extremely aware of how he positioned his bucket like a shield in that split second of reaction.

Against his brother. His brother, who had never before come that close to hitting him in earnest.

Tommy's eyes sting horribly, and he fights back tears in favor for stomping back to his bed. He isn't fucking sorry. Wilbur was the one being a goddamn asshole.

Tommy throws his bucket to the ground as hard as he can, and then kicks it away for good measure. The clanging echoes up the unforgiving stone walls, mocking him. They look like teeth in the torchlight, as if the ravine is just a gaping maw waiting to swallow him whole.

He feels an ugly thing in his chest that he knows he needs to cry out, but he won't give Wilbur that fucking satisfaction. Instead, he throws himself onto his mattress, wincing at how the stone floor digs into him like the padding isn't even there.

Wilbur is gone for a long time. Tommy pretends to be asleep when he finally hears the man come back through the portal, and listens for his breathing until it's evened out into sleep.

Wilbur is still pissed off from the night before, obviously.

But he wakes up to find his and Tommy's mattresses pressed together, and his previous anger sticks in his throat.

He doesn't throw away his cigarettes.

END.

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