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mostlysignssomeportents · 6 days

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Against Lore

For the rest of May, my bestselling solarpunk utopian novel THE LOST CAUSE (2023) is available as a $2.99, DRM-free ebook!

One of my favorite nuggets of writing advice comes from James D Macdonald. Jim, a Navy vet with an encylopedic knowledge of gun lore, explained to a group of non-gun people how to write guns without getting derided by other gun people: "just add the word 'modified.'"

As in, "Her modified AR-15 kicked against her shoulder as she squeezed the trigger, but she held it steady on the car door, watching it disintegrate in a spatter of bullet-holes."

Jim's big idea was that gun people couldn't help but chew away at the verisimilitude of your fictional guns, their brains would automatically latch onto them and try to find the errors. But the word "modified" hijacked that impulse and turned it to the writer's advantage: a gun person's imagination gnaws at that word "modified," spinning up the cleverest possible explanation for how the gun in question could behave as depicted.

In other words, the gun person's impulse to one-up the writer by demonstrating their superior knowledge becomes an impulse to impart that superior knowledge to the writer. "Modified" puts the expert and the bullshitter on the same team, and conscripts the expert into fleshing out the bullshitter's lies.

Yes, writing is lying. Storytelling is genuinely weird. A storyteller who has successfully captured the audience has done so by convincing their hindbrains to care about the tribulations of imaginary people. These are people whose suffering, by definition, do not matter. Imaginary things didn't happen, so they can't matter. The deaths of Romeo and Juliet were less tragic than the death of the yogurt you had for breakfast. That yogurt was alive and now it's dead, whereas R&J never lived, never died, and don't matter:

https://locusmag.com/2014/11/cory-doctorow-stories-are-a-fuggly-hack/

Hijacking a stranger's empathic response is intrinsically adversarial. While storytelling is a benign activity, its underlying mechanic is extremely dangerous. Getting us to care about things that don't matter is how novels and movies work, but it's also how cults and cons work.

Cult leaders and con-artists know that they're engaged in mind-to-mind combat, and they make liberal use of Jim's hack of leaving blank spots for the mark to fill in. Think of Qanon drops: the mystical nonsense was just close enough to sensical that a vulnerable audience was compelled to try and untangle them, and ended up imparting more meaning to them than the hustler who posted them ever could have dreamt up.

Same with cons – there's a great scene in the Leverage: Redemption heist show where an experienced con-artist explains to a novice that the most convincing hustle is the one where you wait for the mark to tell you what they think you're doing, then run with it (scambaiters and other skeptics will recognize this as a relative of the "cold reading," where a "psychic" uses your own confirmations to flesh out their predictions).

As Douglas Adams put it:

A towel has immense psychological value. For some reason, if a strag (strag: non-hitch hiker) discovers that a hitch hiker has his towel with him, he will automatically assume that he is also in possession of a toothbrush, face flannel, soap, tin of biscuits, flask, compass, map, ball of string, gnat spray, wet weather gear, space suit etc., etc. Furthermore, the strag will then happily lend the hitch hiker any of these or a dozen other items that the hitch hiker might accidentally have "lost". What the strag will think is that any man who can hitch the length and breadth of the galaxy, rough it, slum it, struggle against terrible odds, win through, and still knows where his towel is is clearly a man to be reckoned with.

Magicians know this one, too. The point of a sleight is to misdirect the audience's attention, and use that moment of misattention to trick them, vanishing, stashing or producing something. The mark's mind is caught in a pleasurable agony: something seemingly impossible just happened. The mind splits into two parts, one of which insists that the impossible just happened, the other insisting that the impossible can't happen.

You know you've done it right if the audience says, "Do that again!" And that's the one thing you must not do. So long as you don't repeat the trick, the audience's imagination will chew on it endlessly, coming up with incredibly clever things that you must have done (a clever conjurer will know several ways to produce the same effect and will "do it again" by reproducing the effect via different means, which exponentially increases the audience's automatic imputation of clever methods to the performer).

Not for nothing, Jim Macdonald advises his writing students to study Magic and Showmanship, a classic text for aspiring conjurers:

https://memex.craphound.com/2007/11/13/magic-and-showmanship-classic-book-about-conjuring-has-many-lessons-for-writers/

There's a version of this in comedy, too. The scholarship of humor is clear on this: comedy comes from surprise. The audience knows they're about to be surprised when the punchline lands, and their mind is furiously trying to defuse the comedian's bomb before it detonates, cycling through potential punchlines of their own. This ramps up the suspense and the tension, so when the comedian does drop the punchline, the tension is released in a whoosh of laughter.

Your mind wants the tension to be resolved ASAP, but the pleasure comes from having that desire thwarted. Comedy – like most performance – has an element of authoritarianism. You don't give the audience what it wants, you give it what it needs.

Same goes for TTRPGs: the game master's role is to deny the players the victories and treasure they want, until they can't take it anymore, and then deliver it. That's the definition of an epic game. It's one of the durable advantages of human GMs over video game back-ends: they can ramp up the epicness by "cheating" on the play, giving the players the chance to squeak out improbable victories at the last possible second:

https://wilwheaton.typepad.com/wwdnbackup/2009/03/behind-the-screen.html

This is so effective that even crude approximations of it can turn video-games into cult hits – like Left4Dead, whose "Director" back-end would notice when the players were about to get destroyed and then substantially ramped up the chances of finding an amazing weapon – the chance would still be low overall, but there would be enough moments when the player got exactly what they'd been praying for, at the last possible instant, that it would feel amazing:

https://left4dead.fandom.com/wiki/The_Director#Special_Infected

Critically, Left4Dead's Director didn't do this every time. As any showman knows, the key to a great performance is "Always leave 'em wanting more." The musician's successful finale depends on doing every encore the audience demands, except the last one, so the crowd leaves with one tantalyzing and imaginary song playing in their minds, a performance better than any the musicians themselves could have delivered. Like the gun person who comes up with a cooler mod than the writer ever could, like the magic show attendee who comes up with a more elaborate explanation for the sleight than the conjurer could ever pull off, like the comedy club attendee whose imagination anticipates a surprise that grows larger the longer the joke goes on, the successful performance is an adversarial act of cooperation where the audience willingly and unwillingly cooperates with the performer to deny them the thing that they think they need, and deliver the thing they actually need.

This is my biggest problem with the notion that someday LLMs will get good enough at storytelling to give us the tales we demand, without having to suffer through a storyteller's sadistic denial of the resolutions we crave. When I'm reading a mystery, I want to turn to the last page and find out whodunnit, but I know that doing so will ruin the story. Telling the storyteller how the story should go is like trying to tickle yourself.

Like being tickled, experiencing only fun if the tickler respects your boundaries – but, like being tickled, there's always a part where you're squirming away, but you don't want it to stop. An AI storyteller that gives you exactly what you want is like a dungeon master who declares that every sword-swing kills the monster, and every treasure chest is full of epic items and platinum pieces. Yes, that's what you want, but if you get it, what's the point?

Seen in this light, performance is a kind of sado-masochism, where the performer delights in denying something to the audience, who, in turn, delights in the denial. Don't give the audience what they want, give them what they need.

What your audience needs is their own imagination. Decades ago, I was a freelance copywriter producing sales materials for Alias/Wavefront, a then-leading CGI firm that was inventing all kinds of never-seen VFX that would blow people away. One of the engineers I worked with told me something I never forgot: "Your imagination has more polygons than anything you can create with our software." He was talking about why it was critical to have some of the action happen in the shadows.

All of this is why series tend to go downhill. The first volume in any series leaves so much to the imagination. The map of the world is barely fleshed out, the characters' biographies are full of blank spots, the mechanics of the artifacts and the politics of the land are all just detailed enough that your mind automatically ascribes a level of detail to them, without knowing what that detail is.

This is the moment at which everything seems very clever, because your mind is just churning with all the different bits of elaborate lore that will fill in those lacunae and make them all fit together.

SPOILER ALERT: I'm about to give some spoilers for Furiosa.

FURIOSA SPOILERS AHEAD!

Last night, we went to see Furiosa, the latest Mad Max movie, a prequel to 2015's Fury Road, which is one of the greatest movies ever made. Like most prequels, Furiosa functions as a lore-delivery vehicle, and as such, it's nowhere near as good as Fury Road.

Fury Road hints as so much worldbuilding. We learn about the three fortresses of the wasteland (the Citadel, the Bullet Farm, and Gastown) but we only see one (The Citadel). We learn that these three cities have a symbiotic relationship with one another, defined by a complex politics that is just barely stable. We meet Furiosa herself, and learn something of her biography – that she had been stolen from the Green Place, that she had suffered an arm amputation.

All of this is left for us to fill in, and for a decade, my hindbrain has been chewing on all of that, coming up with cool ways it could all fit together. I yearned to know the "real" explanation, but it was always unlikely that this real explanation would be as enjoyable as my own partial, ever-unfinished headcanon.

Furiosa is a great movie, but its worst parts are the canonical lore it settles. Partly, that's because some of that lore is just stupid. Why is the Bullet Farm an open-pit mine? I mean, it's visually amazing, but what does that have to do with making bullets? Sometimes, it's because the lore is banal – the solarpunk Green Place is a million times less cool than I had imagined it. Sometimes, it's because the lore is banal and stupid: the scenes where Furiosa's arm is crushed, then severed, then replaced, are both rushed and quasi-miraculous:

https://www.themarysue.com/how-does-furiosa-lose-her-arm/

But even if the lore had been good – not stupid, not banal – the best they could have hoped for was for the lore to be tidy. If it were surprising, it would seem contrived. A story whose loose ends have been tidily snipped away seems like it would be immensely satisfying, but it's not satisfying – it's just resolved. Like the band performing every encore you demand, until you no longer want to hear the band anymore – the feeling as you leave the hall isn't satisfaction, it's exhaustion.

So long as some key question remains unresolved, you're still wanting more. So long as the map has blank spots, your hindbrain will impute clever and exciting mysteries, tantalyzingly teetering on the edge of explicability, to the story.

Lore is always better as something to anticipate than it is to receive. The fans demand lore, but it should be doled out sparingly. Always leave 'em wanting more.

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/2024/05/27/cmon-do-it-again/#better_to_remain_silent_and_be_thought_a_fool_than_to_speak_and_remove_all_doubt

#pluralistic #writing #lore #series #science fiction #the elaborations of a bad liar #always leave em wanting more #james d mcdonald #guns #pilkunnussija #craft #Silmarillion #sf #Better to Remain Silent and Be Thought a Fool than to Speak and Remove All Doubt #magic tricks #conjuring #narrative #mad max #furiosa

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ivys-garden · 1 month

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More Minecraft ideas, what part of Minecraft needs improvement?

You're wrong, it's ponds.

Ponds, lakes, lava pools. They all suck in Minecraft, they end up just being big holes in the ground with nothing interesting about them that make the landscape ugly and hole ridden

Now you might say “Ivy, literally no one cares” and to that I say, wheesht and accept my ramblings ya donut

So, how do we fix Ponds? It's simply really: make ponds generated structures.

Ponds would now be generated structures taking up one chunk, with an actual human made design to make them, you know, look good. There would be, say, 100 or so different designs to stop them looking to samey (they'd be so small that something like that would be feasible)

Lakes would be done similarly, only with the key difference, they would be made up of 4 chunk “cells”, each making up a corner of the lake.

ponds and lakes in plains or forest biomes would be made of blocks like mud and dirt.

Ponds and lakes in deserts (or oases if you want) would be made up of grass and sand

Ponds and lakes in tundras would be frozen over on the top layer of the water and with clay spawning around the water

Now, let's see some things that can be found in ponds and lakes:

Frogs

Nothing new here, frogs and frogspawn are most common ponds, pond frogs also only come in the green frog varietie.

Perhaps the oasis can have a desert rain frog variant that gives a purple frog light

Toads

Toads and toad spawn can be found in lakes and ponds in forest and plains biomes. Toads emerge from toad spawn in the same way frogs do. Toads have an exaggerated size, being double the size of the frog

Toads come in several colours (Green, Brown, Yellow, Orange and Lime) but these colours do not harbour any game mechanics (in other words: sorry but there are no toadlights)

Toads will eat all mobs with wings, that being the Parrot, Chicken, Phantom, Bat, Bee and the player if they are wearing an elytra, so watch out.

All the aforementioned mobs are scared of Toads, making them and effective deterrent to phantoms in particular

Cattails, Reeds, Rice, Algae and Papyrus

I'll just do all the plant life stuff at once (these will generate dependent on the pond or lake cell)

Algae is a new decorative blocks that can be placed on water

It will connect to other blocks, creating an unbroken surface across the water

Algae has a bright green hue and can be found in both ponds and lakes with the same frequency

Papyrus is a new plant that spawns naturally in the oasis, it is used as a more efficient way of making paper as it can be bonemealed and only one papyrus is needed to make paper

Rice is a plant that grows in water in lakes and ponds spawning in cherry groves.

Rice can be used in two recipes:

Rice Bowls:Putting rice, a bowl and any meat together will craft a rice bowl

This food source that can be eaten twice, eating the meat and then the rice

Sushi: putting rice, dried kelp and one fish into a crafting table creates Sushi, a foodsoarch that can be eaten instantly without playing the eating animation, not very nutritious but good in a pinch

Cattails are a purely decorative plant found in ponds and swamps

Reeds are more common around rivers and lakes, being a fern like plant that grows two tall.

Reeds can be used to craft a new item: Pan Pipes

Combining 3 reeds and 3 string will create pan pipes, these can be played to draw passive mobs towards you so long as the button to play them is held down.

Pan Pipes can also calm neutral mobs like wolves, iron golems and bees, but doing this instantly focus the Pan pipes into cool down

Pan pipes have a cool down double that of the Goat Horn

Bagpipes

By putting Pan Pipes, 3 iron nuggets, 3 red wool and 3 green wool together you can make Bagpipes.

Bagpipes have durability on top of having the same level of cool down as Pan Pipes. Bagpipes cannot be enchanted.

Bagpipes have the ability to PERMANENTLY pacify all hostile mobs in the chunk the player is in.

Bagpipes will break after 10 or so uses

Willow and Palm

Willow and palm are new wood types, Willow spawns around lakes and ponds and Palm spawns around oases.

Willow has a dark Bluish-green colour, complementing mangrove, where as Palm is a desaturated pale white

(These will generate depending on the pond or lake cell)

(Part 1/3)

#minecraft suggestions #minecraft ideas #minecraft #ponds #part 1 #part 1/3 #the beginning

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kitocrystal · 1 month

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I made an attempt at swapped Bendystraw, because I was bored.

l'll explain a bit on what details I gave them.

I made them swap some features while also keeping some of their more known traits.

Bendy has a flask instead of cigarette boxes. His outfit is a bit more sleek, those boots are combat boots, and I gave him a leather jacket as a replacement for Cuphead's coat.

He still has his goggles as a hint towards his interest in mechanics and machinery. Also my headcanon of him being able to keep things in his shadows after his fight with the chicken nugget has a play in why there's not much pockets on him. He learned this during his stay with Black Hat.

Cuphead I tried to make him look somewhat younger, which I THINK I succeeded? Anyway, Cuphead still has a love for animals, and decided to give him a slight interest in gardening (don't ask me why, I dunno), hence the pockets. (They contain some treats, gardening tools and medical supplies)

He doesn't smoke here because there's no Flug to intentionally bother. His fashion is… I have no clue how to describe it, but his boots are regular boots unlike Bendy’s.

#fanart #kitos art #babtqftim #bendy and boris the quest for the ink machine #babitim #babtim #bendy and boris in the inky mystery #bendy #cuphead #bendystraw #swap au #an attempt was made #take these posts as compensation for my absence

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phonydiaries · 8 months

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In the Heat of Battle - P x Reader

Requested by @amethyst-huntress

Notes: The premise of this fic was requested by Amethyst-Huntress and I started absolutely foaming at the mouth at the idea, so huge thank-you’s are in order for that nugget of inspiration. Unfortunately, same as last time, I have still barely progressed through the game thanks to my lack of patience and skill, so please forgive that both of my fics take place extremely early in playthrough. Other than that, thank you all for reading and I hope you enjoy!

—

Where is that damn puppet? You think to yourself, teeth gritted at the deadly inconvenience standing in front of you.

In the dark and the rain and the constant buzzing noise of Krat, you admit it's easy to get turned around. Even traveling with a companion -in your case, with Gepetto’s puppet- it’s easy to lose track of which gloomy alleys you’d already traversed. Even standing back to back, nudging each other with your elbows, even checking in every so often,“You still with me?” It was easy to get lost. But now, standing face to face with a candelabra wielding automaton and a rabid mechanical dog, you’re not feeling very generous towards your puppet companion. He’s probably searching for you in a frenzy at this very moment.

Ha.

Fat load of good it does you.

The automaton winds up and its eyes flash red across your face. Target locked. The candelabra comes crashing towards your head, but it's met instantly with the clanging cold steel of your sword. The automaton stumbles backwards. Its head cocks unnaturally to the side and you hear something whir, as if in frustration, beneath its face. It winds up again to strike you, but you’re quick and clever; you land a blow in the dead center of the loathsome thing's torso. A sick crunch of metal echoes as you draw the sword out of the brand new gaping cavity in its chest. The automaton sinks to its knees. You look down your nose at it, satisfied at your own skill. The enemy looks to be shutting down, but in a quick, almost desperate motion, its hand shoots towards your foot, grasping wildly. It's cold fingers close around your ankle, but you quickly stamp it out with your free foot. The automaton lets out a weak mechanical wheeze as its hand is crushed beneath your boot. For good measure, you take the hilt of your sword in both hands and slam the base through the miserable things forehead. It crackles, then collapses finally on the ground. You smile darkly at its now lifeless shell. Perhaps a little early.

A sharp bark cuts through the air and your head snaps to attention. Shit. You forgot about the damn dog. Before you have the chance to raise your sword again, the dog lunges at you. Razor sharp teeth clang dissonantly together and the sound ripples against the glistening walls of the alley. In an instant, you’re knocked to the wet, muddy ground; the iron paws of the mutt are already upon your chest. The mongrel snarls mere centimeters from your face, black oily fluid spilling from its mouth as if salivating. You groan and struggle beneath its weight but regain your grip on your sword just in time to catch its rabid jaw. The dog bites down on your blade, thrashing its head to either side. You strain against its unnatural strength, attempting to pull your weapon free. In one fell swoop you’ll rip it free and decapitate this fucking thing. Your fingers curl tighter around your hilt, you ready a strike, suck in one sharp breath and then-

You freeze.

A second blade appears, glinting in the gaslight, right between your eyes. Thick black fluid goes splattering across your face. The mutt goes limp, its full weight crushing your lower torso. A gasp is pushed from your lungs and you roll to the side, quickly shoving the robotic corpse away from your body. You kneel, palms pushing into the slick ground. Your heart is thundering beneath your shirt as you swallow frigid air hard and fast. When you finally catch a breath, you turn your head towards the owner of the blade; Pinocchio, your companion. He wipes the rapier against his trousers, cleaning the sludge from its razor sharp surface. You huff, blowing matted wet bangs out of your face.

“I had that under control.” You say sharply. P cocks an eyebrow at you, unconvinced. You feel your face burn in annoyance. “I did!” You insist, “Had you given me just one more minute I would’ve been fine. And probably less covered in this.” You jab your weapon in his direction, flecking dark oil across his shirt. He shoots you a slightly apologetic smile.

He knows you can handle yourself, he does. He just worries. You can’t blame him; you do the same thing. You’ve gotten quite close on these arduous journeys, saving each other's skins more times than either of you can count. As you wipe the sludge from your face, P extends his hand to you and begrudgingly you take it. Swiftly, he helps you to your feet. His eyes flicker up and down your face, narrowing on your cheek. He licks the thumb of his legion hand and streaks it across your cheek, lifting the remnants of black. You scrunch your nose up at him.

“Eugh- enough-” You whine, swatting the hand away. “Where did you run off to anyways?”

Pinocchio’s legion arm gestures behind his head. You squint through the darkness at the distant yellow lights of Hotel Krat up ahead. You grimace. It’s further still than you thought. “I don’t suppose you found some kind of underground shortcut?” P shakes his head apologetically. You both sigh, knowing you’ve got plenty of dangers yet to face before you’re given any time to rest. These days spent traveling have taken their toll on your bodies, but you’re at least grateful to have a friend in the gloom of Cerasani Alley. Your sword slides neatly into your belt as you walk ahead of Pinocchio. “Back to it then.”

As the two of you push forward, you notice a concerted effort on your companions' part to stick close to your side. At any strange noise or eerie shadow, P reaches for your hand. You squeeze back in reassurance that all is well. A bit unnecessary? Sure. But you don’t fight it. It’s much preferred to losing the poor boy again.

Drawing closer to your destination with only a few minor scuffles to slow you down, you reach a dilapidated fairgrounds. Sickly yellow light bulbs buzz overhead and cast an ominous glow across the entire scene. A ghostly music box melody plinks and permeates the air. You look to P quizzically.

“You’re sure this is the right way?”

P takes in his surroundings and gives you a curt nod. You grimace in reply. This decrepit place gives you the creeps.

Together you silently weave through wooden cutouts of circus performers, checking carefully for hidden enemies. It's suspiciously quiet, save for the phantasmal carnival music that grows louder as you approach an iron gate. Another barrier. Excellent.

“P?” You step aside and gesture to the locked gate. Pinocchio smiles slyly at you, boyishly pleased that there’s still a few things you can’t do without him. You want to roll your eyes, but you watch reluctantly impressed, as deep violet energy crackles around his fist. In one swift swing, he punches through the gate and leaves a smoking crater where the lock once sat. He shoots you a sharp smile, satisfied with himself.

And then you feel something. A great mechanical thud rippling beneath your feet. Your heads snap in unison towards the source and your eyes go wide at the sight of the staggering monster in front of you. At least 3 times your size looms the Parade Master, constructed of decaying parts and craquelured paint. Its massive fist alone is as wide as your body, and sways heavily at its side.

You unsheathe your blade, and its weight sinks your shoulders. It's not ideal for speed you admit, but the vindication after landing those obliterating killing blows to your enemies is unbeatable. Keeping your eyes locked on target, you whistle to catch Pinocchio’s attention. You started doing this early on. Whistles were a good line of nonverbal communication when you couldn’t afford a glance in each other's direction.

“Flank him?” You suggest. Pinocchio whistles quick and sharp in agreement. Your fingers tighten around the great sword and your chest thrums with anticipation. You jut your chin in the direction of your common enemy. “After you.”

Without looking, you know his brows are furrowed together in deep focus. You can perfectly visualize the way he lures the puppet away, his steps meticulously timed and graceful. As you wind your way behind the thing, you hear the clang of P’s rapier against tarnished metal. Your enemy rears its arm back, and you follow suit striking its vulnerable back with a satisfying SHUK! You yank the blade out of its now damaged shell and catch the briefest glance at your companion and oh. Oh. The way he looks at you.

With fascination?

Admiration?

It’s something greater, deeper than that. Your heart skips. But you shake yourself out of distraction, startled at the sound of your own voice calling out. Your lips move before your mind has time to catch up.

“MOVE!”

Exactly as you shout it, P dodges a strike from the Parade Master. The brute’s fist lands in the brick pavement, blowing a hole through it instantaneously. You gulp at the thought of your companion lying there instead, crushed. Your skin goes cold.

No. Never.

Knowing neither of you can afford another lapse in attention, you suck in one long loud whistle between your teeth. The Parade Master whips itself around to face you. Two huge lamp-like eyes glow sickly in your direction. This was intentional. You can distract for now and give your ally a moment to catch his breath. You ready both hands on your weapon and take a step back. The monster lurches forward, its steps accompanied by a horrid clanking sound.

“Get over here you fucking rust bucket…” You mutter grimly under your breath as the space between you and the looming threat of death shrinks. You breathe deeply and steel yourself, heels digging into stone. You watch carefully as the puppet rushes towards you, arms swinging wildly. Just when the behemoth is about to crush you beneath its huge frame, you duck between its legs and emerge from behind. There’s just enough time to land a solid blow. P’s rapier crosses with your greatsword, both your weapons plunging into the deteriorated creatures back.

“This one’s mine, P.” You snap, pulling your blade from its fresh wound.

“Mine.” P parrots with a smirk, retrieving his rapier as well. Being a man of so few words, you can't help feeling amused even given the circumstances. This is good. The beast is growing weaker. If you can both keep level heads this will all be over soon, you think to yourself.

At least until your enemy decapitates itself.

Your jaw drops as the Parade Master rips its own head from its massive shoulders. It wields its shiny new weapon like an enormous mace and swings it your way. It makes contact with the ground, and the impact alone is enough to shake your balance. You dive to the side, narrowly avoiding collision with the wall. You struggle to recalibrate, to size up the situation while keeping yourself out of the range of attack. You hear P whistle pointedly across the arena, waiting on your instruction. Your mind races for a plan and comes up blank.

“Hold on!” You shout, “Just- Just hold on, I’ll think of something.” You’ll have to if you want to leave this place in one piece. There’s nowhere to run. Nowhere to hide. All you can think to do is attack. And you do; your blade leaves white hot gash marks on the enemy, but it hardly seems to be enough against such a terrible and towering foe. You’ve angered it now, and it’s in a total frenzy. The Parade Master swings its massive head in your direction again and you raise your sword to block it. Half a second too late.

As your weapons collide, the impact sends you to the ground. You gasp at the sharp pain that shoots through your skull. There’s a ringing in your ears and a soft dark edge to your vision. You struggle against unconsciousness and fight to keep yourself upright. Things are moving slow; trails of light obscure the events unfolding in front of you.

You comprehend something catching the Parade Masters' attention, you watch the goliath wind up, you hear something cry out, and then hear nothing at all. A sick feeling churns in the pit of your stomach and bile rises in your throat. Something’s wrong. You search the scene frantically for your ally. Your line of sight flickers from the Parade Masters head to the ground slick with rain. Your throat tightens. With his face turned to the ground, his eyes fighting to stay open, lies Pinocchio. His rapier skitters across the stone, coming to a sudden halt beneath the foot of the Parade Master.

Something flashes through you, anger, grief, adrenaline; whatever it is, it propels you forward. Your weapon is suddenly weightless as you skid between the monstrous puppet and your companion. The head of the Parade Master collides with your sword and the sound echoes through the arena with an arresting ring. You breathe hard in disbelief of your own courage. Your teeth are bared and your furrowed brow is sticky with sweat.

“Don’t. Touch him.” You command, and you swear even your mindless enemy hears it. A deep guttural sound is forced from the very bottom of your lungs as you thrust your weapon through the center of the automaton's body. It doesn’t die, but you hear something inside it break, and the creature slows significantly as if becoming too heavy for its own armature.

You risk a glance over your shoulder. P looks like absolute hell, covered in grime, barely staggering to his feet. Your chest tightens at his condition, but he’s alive.

Alive. It’s enough.

The enemy screams in frustration, rippling orange flames and black smoke billow from the place its head once sat. You stare at the hilt of your great sword, still lodged in its heart.

“P, your sword-” You start, but your ally is already on it, your strategic minds miraculously attuned. He sends the rapier sailing -now free of the parade masters foot- towards your open hand. It whips past your head and slides perfectly into your grasp. With what's left of the enemy in your sights, you take a running start.

Time seems to slow; the taste of victory teases you. Your head is about to collide with the hulking hunk of metal just as you raise your boot and dig its heel into the hilt of your great sword. Its placement serves as a stepping stone, and you scale the furious beast. You clamber up its torso towards its shoulders and feel heat radiating from the inside. It burns your hands, which grip the edge of the cavernous socket of its missing head. The monster thrashes beneath you like a wild bull, desperate to throw you off. You tighten your grip, the white hot metal searing your palm. You force yourself to ignore the pain as you raise the rapier and plunge one final devastating blow into the blazing cavity. You feel the rapier obliterate whatever mechanism kept the Parade Master alive, and it crumbles finally beneath you.

Atop the shoulders of your freshly slaughtered enemy, you fall forward with a deafening CRASH. Your body tumbles to the ground. Your grip on the rapier goes slack. Exhaustion ripples through you, and you surrender to its sweet embrace.

You hadn’t even realized you’d lost consciousness until your eyes flutter open, met by the stunning blue gaze of your companion mere inches from your face. For a moment you forget yourself, the urge to sink into his arms is so tempting. But your pride wins out and you scramble into an upright position, barely awake. Pinocchio lets out a sigh of relief and you see his shoulders relax. Had he been just as terrified as you were at the prospect of losing him? Did that same dread sit in the pit of his stomach?

Your head swims with what-ifs, but you have no energy to find their answers. With strength that you’re shocked to still possess, you throw your arms around the puppet. Your fingers clutch the wet fabric of his shirt as if he might disappear the moment you let go. His body tenses at first, then melts under your touch. You feel his head settle between your neck and shoulder, solid and secure. Silently breathing in the smell of him feels like waves of relief crashing over your head.

You wish the journey could end here in the peace and quiet of this embrace, but you feel him begin to pull away and your heart sinks. Face to face with you, his eyes search for signs of damage, for something to mend. His hands find yours and you hiss involuntarily. His eyebrows knit together in concern. You try not to grimace.

“It’s nothing.” you promise, “Burned my hand, that's all.”

P looks down at your hand and cradles it gently in his own. With painstaking care, he lifts it to his mouth and places a feather-light kiss in your palm, then on each of your scraped and bleeding knuckles. He looks up at you through those thick raven-wing lashes and you notice a trace of your blood left on his lips. The sight makes your head swim and it takes the entirety of your willpower not to catch his mouth with yours. Your posture stiffens as you try to regain your composure.

“Well it’s not far now, is it?” You ask, deflecting back to the mission at hand. “There will be plenty of time to patch each other up at the hotel. Right?” You offer, already stupidly aching for the return of Pinocchio’s delicate touch. He blinks a few times, as if he were struggling to focus himself. But he nods enthusiastically. You feel a smile creep across your lips.

As you leave the destroyed fairgrounds behind, you let your good hand slip into that of your companion. The two of you venture forth, certain to never lose track of the other again.

—

If you read this and enjoy it please let me know! Seeing your positive comments and tags absolutely warms my heart and motivates me to keep writing. Thank you so much to those of you who took the time to leave me some kind words on my last fic <3

#this was so fucking fun to write #lies of p #pinocchio #pinocchio x reader #hurt/comfort #lop #lies of p pinocchio #lies of p fanfic #pinocchio x you #lies of p x reader #my writing

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