#Emile's Writing | Explore Tumblr Posts and Blogs

kakusu-shipping · 6 months

Note

headcanons for dating Kyoya from Ouran? Iirc he was one of my crushes when I first watched the anime as a kid and I always thought his glasses were so cool

Dating Kyoya Ootori Headcanons

He's the kind of guy who says he'd want someone low maintenance, who'd let him put work first, but then you meet his friend group and realize he's full of shit and does need the balance of someone clingy, loud, and high strung. It's comforting to him, familiar.

He could plan a date if you wanted him too, and it'd be classic and romantic and expensive with every little detail and moment planned out, but all of it would be pure "what the internet said a good date would be". It'd be better to tell him what you want to do as a starting off point, and he'd go from there

Gifts are a lot like his date planning as well, he'll get you anything you ask for but if you don't tell him directly what you want, you're getting whatever the top google results for Good Gift for Romantic Partner is. He won't get you something you'd hate or wouldn't use of course, but he figures if you wanted something specific you'd tell him.

All of this changes of course when he's feeling petty. One of the other hosts call him out for being so passive in his relationship? He'll change his tune, get you something perfect you didn't even know you needed until right then, or plan a date to somewhere you'd always wanted to go but never actually considered. He knows you better than anyone else, even yourself, and he can prove it when provoked.

You're probably the only person who could convince him to put down a project before 2am, or even better the only one who could wake him up before noon on a day off and survive the encounter without a verbal lashing. Though you probably still can't actually get him out of bed without good reason.

If he was ever mean to you in the morning he would probably be rather mortified, and would spend the day trying to make it up to you, subtlety of course. Please don't take anything he says before he's fully awake to heart.

He has thousands of photos of you on his phone, btw. And on Tachibana's phone. And a few on Honda's. And maybe a couple on Aijima's as well. He can't help himself, he just wishes to capture every beautiful moment he has with you. He's considered equipping Honda with a professional camera to capture beautiful moments of the two of you together as well. He is the best of the staff at photography.

#Emile's Writing #Kyoya Ootori #Kyoya X Reader #OHSHC X Reader #Ouran High School Host Club #GN Reader #Gender Neutral Reader #Well... really reader gender unmentioned fkgjkfgj #Read the Ouran manga if you haven't anon btw it's SO good and where 90% of my concept gets it's footing #You 🤝 Me #Childhood crush on Kyoya Ootori #I still love him honestly he's such a Guy #The entire Host Club are SO goofy ideal friend group #Just a bunch of bullies all of them #Starting with the headcanon request so I don't have to think of dialog cause my head hurts #Thankyou very much for requesting!!

116 notes · View notes

emile-hides · 2 years

Note

What’s the heart/ camera head character like? What causes their object to switch?

Sense I posted them at 5am this morning I'll reiderate this post is about These Random Object Head OCs

I wish I had a better answer for that second question. When drawing them up I just couldn't decide between an anatomical heart or a camera head. Sense then I've decided on the heart, because I think it's more interesting.

They're very anxious, and almost entirely mute. Not because they can't speak, but because they're incredibly hard of hearing from the constant beating of their heart head, which only gets worse the more anxious they feel as their heart beats faster and harder. They use sign language to communicate mostly.

I was thinking they're some sort of student, photography maybe, but that's just because in the original concept their head was a camera. I want it to be something artsy, indie films, horror movies maybe?

Also for no reason I feel like they have asthma, and use to be on the track team in middle school. Something physical that just got their heart pounding, before they developed asthma I think.

#Thankyou for asking #Thinking OC thoughts #Emile's Writing #I'm not positive on their age but young adult I think. Probably.#19-20 or something?#I think they started as a shota-adjacent kinda character like 11 or 12 #But after working on them mentally I think I'd rather put them in collage-ish age #Just an anxious ex-jock who has no idea what to do with their life #Thankyou again for asking really helps me delve into a character more when someone else wants to know about them

2 notes · View notes

perfectquote · 4 months

Quote

I think I’ve always been half out of my shell and half in. Sometimes I can be extremely wild and sometimes I can be extremely shy. It just depends on the day.

Emile Hirsch

244 notes · View notes

mostlysignssomeportents · 9 months

Text

The art of Daniel Danger

[Image ID: Daniel Danger's art print, 'To all who home to this happy place,' depicting a ruined Disneyland castle in a post-apocalyptic landscape with a statue of Walt and Mickey in the rubble.]

There’s this behavioral economics study that completely changed the way i thought about art, teaching, and critique: it’s a 1993 study called “Introspecting about Reasons can Reduce Post-Choice Satisfaction” by Timothy D Wilson, Douglas J Lisle, Jonathan Schooler, Sara Hodges, Kristen Klaaren and Suzanne LaFleur:

https://www.researchgate.net/publication/240281868_Introspecting_about_Reasons_can_Reduce_Post-Choice_Satisfaction

The experimenters asked subjects to preference-rank some art posters; half the posters were cute cartoony posters, and the other half were fine art posters. One group of subjects assigned a simple numeric rank to the posters, and the other had to rank them and explain their ranking. Once they were done, they got to keep their posters.

There was a stark difference in the two groups’ preferences: the group that had to explain their choices picked the cartoony images, while the group that basically got to point at their favorite and say, “Ooh, I like that!” chose the fine art posters.

Then, months later, the experimenters followed up and asked the subjects what they’d done with the poster they got to take home. The ones who’d had to explain their choices and had brought home cartoony images had thrown those posters away. The ones who didn’t have to explain what they liked about their choice, who’d chosen fine art, had hung them up at home and kept them there.

The implication is that it’s hard to explain what makes art good, and the better art is, the harder it is to put your finger on what makes it so good. More: the obvious, easy-to-articulate virtues of art are the less important virtues. Art’s virtues are easy to spot and hard to explain.

The reason this stuck with me is that I learned to be a writer through writing workshops where we would go around in a circle and explain what we liked and didn’t like about someone’s story, and suggest ways to make it better. I started as a teenager in workshops organized by Judith Merril in Toronto, then through my high-school workshop (which Judy had actually founded a decade-plus earlier through a writer in the schools grant), and then at the Clarion workshop in 1992. I went on to teach many of these workshops: Clarion, Clarion West and Viable Paradise.

So I’ve spent a lot of time trying to explain what was and wasn’t good about other peoples’ art (and my own!), and how to make it better. There’s a kind of checklist to help with this: when a story is falling short in some way, writers roll out these “rules” for what makes for good and bad prose. There are a bunch of these rulesets (think of Strunk & White’s Elements of Style), including some genre-specific ones like the Turkey City Lexicon:

https://www.sfwa.org/2009/06/18/turkey-city-lexicon-a-primer-for-sf-workshops/

A few years ago, I was teaching on the Writing Excuses cruise and a student said something like, “Hey, I know all these rules for writing good stories, but I keep reading these stories I really like and they break the rules. When can I break the rules?”

There’s a stock answer a writing teacher is supposed to give here: “Well, first you have to master the rules, then you can break them. You can’t improvise a jazz solo without first learning your scales.”

But in that moment, I thought back to the study with the posters and I had a revelation. These weren’t “rules” at all — they were just things that are hard and therefore easy to screw up. No one really knows why a story isn’t working, but they absolutely know when it doesn’t, and so, like the experimental subject called upon to explain their preferences, they reach for simple answers: “there’s too much exposition,” or “you don’t foreshadow the ending enough.”

There are lots of amazing stories that are full of exposition (readers of mine will not be shocked to learn I hold this view). There are lots of twist endings that are incredible — and not despite coming out of left field, but because of it.

The thing is, if you can’t say what’s wrong, but you know something is wrong, it’s perfectly reasonable to say, “Well, why don’t you try to replace or polish the things that are hardest to do right. Whatever it is that isn’t working here, chances are it’s the thing that’s hardest to make work”:

https://locusmag.com/2020/05/cory-doctorow-rules-for-writers/

But if I could change one thing about how we talk about writing and its “rules,” it would be to draw this distinction, characterizing certain literary feats as easier to screw up than others, having the humility to admit that we just don’t know what’s wrong with a story, and then helping the writer create probabilistically ranked lists of the things they could tinker with to try and improve their execution.

Which is all a very, very long-winded way to explain why I bought a giant, gorgeous art-print at Comic-Con this weekend, even though I have nowhere to hang it and had sworn I would absolutely not buy any art at the con.

I was walking the floor, peeking into booths, when I happened on Daniel Danger’s booth (#5034, if you’re at the con today), and I was just fuckin’ poleaxed by his work.

http://www.tinymediaempire.com/

[Image ID: Daniel Danger’s ‘It stopped being about the panic,’ depicting a ruined mansion interwoven with the skeletal branches of a tree, with a weeping statue and two human figures]

Now, see above. I can’t tell you why I loved this work so much (and that’s OK!), but boy oh boy did it speak to me. I just kind of stood there with my mouth open, slowly moving from print to print, admiring works like “It stopped being about the panic.”

https://tinymediaempire.myshopify.com/products/2022-sdcc-it-stopped-being-about-the-panic-v4

[Image ID: Daniel Danger’s ‘headlight in the path of,’ depicting a ruined mall with a pair of stags standing at the top of the escalator.]

On the surface, this is moody, post-apocalyptic stuff, heavily influenced by classic monster/haunter tropes, but it’s shot through with hope and renewal and the sense of something beautiful growing out of the ashes of something that has toppled. There’s real “(Nothing But) Flowers” energy in “Headlight in the path of”:

https://tinymediaempire.myshopify.com/products/sdcc2023-headlight-in-the-path-of-v2

[Image ID: Daniel Danger’s ‘We are no longer able to protect you,’ depicting a ruined factory with a coming-apart sign reading ‘We can no longer protect you forever,’ and a statue of a sword-bearing angel.]

Danger isn’t just a

very

talented artist, he’s also an

extremely

talented craftsman. As a recovering pre-press geek, I was (nearly) as impressed by the wild use of spot color and foils as I was by the art, like in “We are no longer able to protect you”:

https://tinymediaempire.myshopify.com/products/sdcc-2022-we-can-no-longer-protect-you-forever-v3

[Image ID: Daniel Danger’s ‘made of smoke and chains,’ depicting a ruined landscape with a pair of derelict subway trains at the foot of a hill on whose peak is a rotting mansion. A pair of human figures, holding hands, are approaching the mansion.]

Danger himself calls this work “weird sad hyper-detailed artwork of dreamy buildings of ghosts and trees,” which is a very apt description of this work, as you can see in “Made of smoke and chains”:

https://tinymediaempire.myshopify.com/products/made-of-smoke-and-chains-mist-preorder

So I looked at this stuff and sternly reminded myself that there was no way I was going to buy any art at the con. Then I walked away. I got about two aisles over when I realized I had to go back and ask permission to take some pictures so I could put a little link to Danger in my blog’s linkdump, which he graciously permitted:

https://www.flickr.com/search/?sort=interestingness-desc&safe_search=1&tags=danieldanger&min_taken_date=1687478400&max_taken_date=1690156799&view_all=1

[Image ID: Daniel Danger’s art print, ‘To all who home to this happy place,’ depicting a ruined Disneyland castle in a post-apocalyptic landscape with a statue of Walt and Mickey in the rubble.]

But then I got all the way ass over to the other ass end of the convention center and I realized I had to go back and buy one of these prints. Which I did, “To all who come to this happy place,” because fuckin’ wow:

https://tinymediaempire.myshopify.com/products/sdcc2023-this-happy-place-v6-foil

This was unequivocally the best thing I saw at this year’s SDCC, but I also got some very good news while there, namely, that Emil Ferris’s long, long-awaited My Favorite Thing Is Monsters Vol 2 is finally on the schedule from Fantagraphics:

https://www.fantagraphics.com/collections/emil-ferris/products/my-favorite-thing-is-monsters-book-two

It’s coming out in April, which gives you plenty of time to read volume one, which I called, “a haunting diary of a young girl as a dazzling graphic novel”:

https://memex.craphound.com/2017/06/20/my-favorite-thing-is-monsters-a-haunting-diary-of-a-young-girl-as-a-dazzling-graphic-novel/

If you are or were a monster kid or a haunter, this is your goddamned must-read of the summer. It’s a fully queered, stunning memoir for anyone whose erotic imagination intersected with Famous Monsters of Filmland.

(Also, if you’re that kind of person and you’re in the region, you should know about Midsummer Scream, a giant haunter show in Long Beach; I’ll be there on Sunday, July 30, for a panel about the Ghost Post, the legendary Haunted Mansion puzzle-boxes I helped make:

https://midsummerscream.org/

Now Favorite Thing book two was the best news, but the best experience was watching Felicia Day get her Inkpot Award and give a moving speech:

https://en.wikipedia.org/wiki/Inkpot_Award

And then learning that Raina Telgemeier also got an Inkpot; I love Raina’s work so much:

https://memex.craphound.com/2016/10/04/ghosts-raina-telgemeiers-upbeat-tale-of-death-assimilation-and-cystic-fibrosis/

[Image ID: A photo of me with Chuck Tingle, who wears a pink bag over his head on which he has written ��Love is Real.’]

To cap yesterday off, I also ran into @ChuckTingle, which is as fine a capstone to a successful con as anyone could ask for:

https://www.flickr.com/photos/doctorow/53065500076/in/dateposted/

If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/07/23/but-i-know-what-i-like/#daniel-danger

530 notes · View notes

thehopefulquotes · 3 months

Quote

I think I’ve always been half out of my shell and half in. Sometimes I can be extremely wild and sometimes I can be extremely shy. It just depends on the day.

Emile Hirsch

210 notes · View notes

thoughtkick · 4 months

Quote

I think I’ve always been half out of my shell and half in. Sometimes I can be extremely wild and sometimes I can be extremely shy. It just depends on the day.

Emile Hirsch

369 notes · View notes

resqectable · 3 months

Quote

I think I’ve always been half out of my shell and half in. Sometimes I can be extremely wild and sometimes I can be extremely shy. It just depends on the day.

Emile Hirsch

155 notes · View notes

stay-close · 2 months

Quote

Every day, in every way, I’m getting better and better.

Emile Coue

83 notes · View notes

surqrised · 2 months

Quote

Every day, in every way, I’m getting better and better.

Emile Coue

71 notes · View notes

peanutjinan · 6 months

Text

I really appreciate moments like these where we can see the Eden kids act like genuine little kids. Not only Anya and Becky, but also background characters that typically don't get much of the spotlight like Emile and Ewen.

Endo really captures childlike excitement and enthusiasm in small moments like this one.

Also, I think it is a good thing that Damian has friends like them, who look at the world with childlike excitement and wonder. The boy needs this kind of influence.

#emile elman #ewen egeburg #spy x family #spy x family manga #manga spoilers #eden kids appreciation #appreciation for the writing on the kids

77 notes · View notes

soluminarystarfish · 10 months

Text

hc: yall know how sinners retain some aspects of their IDs personality a bit after they switch back?

Sinclair instinctively laughs at whistling wind instead of jumping.

Hong Lu has the urge to sharpen the knives or other such blades on the bus.

Ishmael has the WORST migraine known to man and CAN'T stop craving beef noodles.

#not writing #limbus company #emil sinclair #hong lu #ishmael

172 notes · View notes

kakusu-shipping · 6 months

Note

Monty x reader would be cuteee~

But also i wanna see your littol guy with the animatronics!!!i like seein your widdol guy

I've had a concept that can do both at once for a while now so I might as well use that.

Lost and Found

Monty X GN Security Guard Reader

In which you ignore protocol on a whim

Patrols in the Pizzaplex were always very dull for a night shift employee, especially sense the head security guard, Vanessa, gave you explicit instructions not to talk to the animatronics.

There was never a break in at the Pizzaplex, anyone locked in after closing are always found basically right away, and every square inch of the main floors are patrolled by Staff bots who are basically walking motion sensors.

Recently you hadn't even bothered to patrol the floor anymore, and instead find yourself crashing in the Security Tunnels until your shift ended. Tonight included.

You made your way to Monty Golf through the underground maze, as you'd found the muffled golfing music relaxing, when a distant sound caught your ear. Something you were sure the dayshifters were much more use to than you were.

Crying.

A child crying.

You checked the time; almost 2am. If they'd been left here when the doors had shut at 10 surly someone would have already found them by now and reported them to Vanessa, right?

You picked up the pace a little, turning off course and following the sound. Around a few more corners, you found the source.

Montgomery Gater stood over a very small child in a very big sweater, who was currently sobbing his little eyes out.

The animatronic looked rather freaked out, glancing over his shoulders, motioning with his hands for the child to calm down, repeatedly softly shushing them to the best of his ability. You'd heard he was stiff around the kids sense his upgrades to join the band, but this was pitiful.

"Monty? What's going on?" You asked as you approached, tucking your flashlight back into it's holster on your hip.

Monty whipped around to face you, knocking into the child with his large tail as he did so, "Nothin'!" He got defensive immediately, a soft growl to his voice, which just made the loud screaming of the now collapsed toddler next to him even worse.

You walked passed him and helped the kid up. He was small, with round cheeks and big sopping wet eyes. His hair was white and messily cut, which was hard to tell with how wild and curled it was. He wore a child's 2XL daycare sweater you'd seen in the gift shop a few times, with the sun Daycare attendant's cartooned face on it, and one sock.

"Are you okay, baby?" You asked softly, patting his very unkempt hair, "Did the big bad gator scare you?"

"Hey, I ain't bad!" Monty squatted next to you, "He was cryin' BEFORE I found him, just so you know."

You looked at Monty, "Did you contact Vanessa?"

"I tried." The gator huffed, "Somethin's jammin my signal." Monty did a motion that mimicked someone picking their ear with their pinkie, but he both didn't have an ear nor anything worth picking out of it.

"Probably just the way it is down here," You suggested, standing up with the child in your arms, "Let's get back up on ground level and figure it out from there."

Monty nodded and stood up as well, following you as you made your way to the stairs to Monty Golf.

Once above ground, Monty tried again to contact the head security guard, but still nothing.

Technically at this point, you were supposed to take any lost children to items to lost and found and leave them there. It basically functioned as Vanessa's office, and she would eventually show up and handle the situation, but just leaving a kid in an office all alone for who knows how long didn't sit right.

You glanced at the kid, who was doing a lot better now that he was out of the dark tunnels, staring in awe at the fairy lights of Monty Golf.

"Lemme try my walkie." You said, and then passed the toddler off to Monty, who very clumsily took him, "hold this."

"Wha- Hey!" Monty barked at you as you stepped away, you could hear the child laugh at Monty's frustrations, so at least he wasn't scared of the gator.

Just like Monty though, all you were getting was static. The stupid walkies were always junkie anyway. Fazbear was always looking for costs to cut after all.

Now what..?

"Hey," Monty suddenly was right behind you, "No luck?"

"Nothing," You answered Monty, putting your walkie back and turning fully to face him, "Guess we should head for lost and found." You reached for the kid, only for Monty to take a step back from you.

You blinked, "What?"

"What?" Monty echoed you, now two steps away.

"You... Don't want to take the kid to lost and found?"

"I didn't say that." Three steps.

You motioned to the distance between the two of you with an annoyed look.

Monty shifted his weight, still clumsily holding the kid an arm's length away from himself, "..I think it's a bad idea." He finally admitted.

"Why?"

He glanced away, the toddler looked between the two of you, very confused. You felt the same way, but decided to give it up and sighed.

"Alright, but we have to do something with him." You watched at Monty turned to you, shocked you'd agree to go against protocol like this. You were too, to be honest. But, you figured he had a good reason. "Any ideas?"

Monty looked at the kid in his hands, who stared back at him with big, blank eyes. "..The daycare?" He suggested.

You thought on it for a moment, "...It is a place built to hold kids, I suppose..." You walked over to him, finally taking the child from his clumsy grasp, "What do you say? Wanna go meet Sun and Moon?"

The kid's face lit up as he gripped onto your shirt, he nodded rapidly and smiled a wide, jagged toothed grin at you.

You nodded, and headed back down into the maintenance tunnels with Monty close on you heels.

It didn't take long to get to Daycare from Monty Gold through the tunnels, so long as you know where you're going. Which you admittedly did not. But Monty did, and was more than smug about getting to lead you around.

In the daycare the child you'd found quickly lept from your arms and ran to the pickup doors, pulling them open and running inside, calling loudly for "Mr. Sun". When the door slammed closed, you were unable to get them to open again, which was worrying for several reasons, and probably should have been more of a concern, but you let it go when Monty's hand slammed against your shoulder blades with a chuckle.

"Good work, Boss." Monty smiled down at you, "I really didn't expect you to help me get away with that. Thanks."

You rolled your arm, which stung, and looked back at Monty confused, "Get away with... What?"

Monty smiled a toothy grin, "Don't worry 'bout it. Just know ya did good."

You probably would have pressed more if your watch hadn't started going off, signaling the end of your shift already.

"4am already, huh? I'd offer to walk ya to the door but y'ain't supposed to talk to us animatronics anymore, are ya?" Monty turned and made his way back to the maintenance tunnels entrance, "See ya tomorrow night, Boss. Don't tell ol' Vanny 'bout this." He waved over his shoulder.

You gave one more glance to the Daycare door. Inside you could hear the Daycare attendant. His usual anxious voice, muffled and distant, twinged with relief.

You decided you'd done the right thing, even if you didn't really know what you'd done, and made for the main entrance to daycare.

Maybe Monty could explain exactly what you'd done right tomorrow.

#Emile's Writing #Hhhhh it's bad it's bad it's nothing and it's bad don't ask me to include my S/Is again I'm so clunky with them with Reader inserts involve #I'm clunky with them in general fkdgjkdfgkjdf #This one could have a sequel if you're interested but it'll take me a hot minute #Cause I really gotta stew on how I want to write Monty more #Monty X Reader #FNaF Monty #Montgomery Gator #Self Insert fanfiction #Little guy me... Don't worry about it

57 notes · View notes