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radio-writes · 1 month

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Congrats on the 300 followers Vien! for the event:

"They were there, you weren't" + "What keeps you up at night?"

Embracing Faded Pages of Tainted Saints

300 Followers Event

Warnings: Mentions of past physical injuries

Tags: Alastor x reader, gn reader, relationship can be read in any way

MDNI

You stood awkwardly at the doorstep of the new hotel, unsure exactly of what to do next.

You knew there was a chance he'd be the one to open the door and greet you, but truth be told you were hoping otherwise. You thought you had worked through all your emotions about him years ago; but standing in front of him now, you realized that was far from the case.

You felt a surge of pressure almost squeezing at your heart, but you tried your best to ignore it as you offered Alastor a small smile.

"Hey, Al. Long time no see." You tried for casual, despite the way things ended the last time you were together.

"How are you—" Al finally spoke, his grin tight as his eyes narrowed at you.

A bright, bubbly woman shoved her way to the door, effectively cutting off whatever Alastor was going to say.

She grabbed you by your hands, and you did your best to shift your focus to her. You listened, responded, and tried very hard to ignore Alastor's burning gaze on you.

You were very swiftly taken into the hotel lobby, brushing right past the tall man. You were introduced to the staff and guests alike, and you painted your best smile as the blonde host swept you here and there. You merely tried to swallow past the lump at your throat as you greeted everyone.

You heard this place offered a chance at redemption, as well as some sort of protection from all the horrors Hell had to offer. You thought it was worth it, that the solace you could find in here would greatly outweigh having to be near Alastor again.

But his mere presence, just knowing that he was in the same room as you again, was already eating at you—suffocating you.

It was like you could feel the sharp stabbing pain across your gut again. The blood—the life—leaking out of you. The desperation crushing your heart.

"I'll take it from here, Charlie, dear." You heard his voice before you felt a heavy hand at the small of your back. "This lovely demon seems to be a little bit overwhelmed. They can do with some rest, don't you think?"

The bright blonde agreed easily, allowing Alastor to quickly guide you along the halls of the hotel and away from all the excited chatter.

"You're alive." Alastor stated, his eyes set ahead of himself as he walked beside you. His hand had retracted from your body, now resting behind his back.

No thanks to you.

"Nope, still dead." You tried to joke, a soft, fleeting attempt at a laugh following it. But you stopped immediately when you realized that, despite his wide smile, Alastor didn't seem to be in the mood for jokes.

"You were bleeding heavily." He said instead.

You tried to keep your responses vague. "Yes, I...I remember."

You've thought about it many times over since your near-second-death experience. How Alastor had always been a dear friend of yours, through life on earth and Hell. How you both knew you were helpless at that time. How it was perfectly normal for him to choose to save himself instead.

You've forgiven him, at least that's what you told yourself. You still saw him as a friend, even after he abandoned you—and that's why you would never let him find out about your betrayal.

You could never hurt him like that.

You thought that this was all so crystal clear to you. That you've long healed this wound, but evidently that wasn't the case.

Just seeing him now. So well poised, so put together, cozying it up with the Princess of Hell. His smile was as you remembered it, and not a hair was misplaced on his head.

He had continued on like nothing happened, like he didn't once leave you to die.

And there was that awful, bitter, anger slowly filling your chest. That nauseating feeling of betrayal that twisted your gut. No matter how hard you tried to stick to reason, to remember all you've resolved in the past years, you just couldn't help but hate how he was able to move on so easily.

The rest of your time heading to your room was silent. Just a constant soft static noise following your steps. You spent that time fighting your base instincts to just jump him, throttle his neck, scream at him.

How could you? How could you just leave me to die like that?

Alastor finally halted by a door, his clawed hand turned the knob and ushered you in.

You looked up at him, smiling once more as you tried to hold onto your more logical side. "I don't know how I feel about you having keys to my room." You try to joke again.

Oh did you miss the times when the two of you wasted hours in hysterics; just exchanging the dumbest jokes you could think of.

But that felt like almost two lifetimes ago.

"This is my room." Alastor clarified.

"Well that explains the swamp." You say bluntly. You walked slowly in, not exactly knowing what you were doing here now.

"I thought we could sit down for some coffee—" Alastor said, closing the door behind him. His hands reached for a coffee pot, but paused before he could reach the handle. "No no, this definitely calls for something much stronger."

He sat down on one of the seats by the fireplace, easily summoning two small glasses and a bottle of rye on the table.

You watched him tentatively, heart tightening at the familiar sight.

There was once a time when nights like this was something you looked forward to—but it didn't seem that way anymore.

Your eyes couldn't help but narrow at how well off he looked. It's like nothing had changed for him at all.

You attempted to be civil, still, and made your way to sit across him. It's was stupid to hold a grudge against him for something like that. What he did made sense, and you shouldn't be mad about it.

Your eyes scanned the knickknacks scattered about his shelves and walls, eyes catching on a wide set of antlers mounted high above.

"That yours or a friend's?" You once again tried to lighten the mood. Whether it was for your sake or Alastor's, you weren't sure.

"We both know I've never been one for small talk, dear." Alastor said, pouring alcohol in your glass before his. He easily downs the drink he poured himself before filling it up again. "How are you alive?" His head tilted.

The moment the words left his mouth it felt like someone emptied a bucket of ice water over you.

The question simply came out of nowhere. Sure you had expected him to ask sooner rather than later, but to jump right to it?

Your half-assed smile dropped just a fraction of a bit.

Looking up at your old friend, the ever charming, ever present smile, you realized that perhaps you were being stupid—and not for the reason you originally thought.

You've been friends with this man since either of you could walk, friends through his stupid murder fixation, friends through his takeover of Hell.

But he left you for dead.

He finally found out that you survived and the first thing out of his mouth was an interrogation?

Where was your fucking apology?

So maybe, just maybe, you've been stupid this entire time. That you didn't need to be making excuses for him. That you didn't need to forgive him. That maybe your anger, your want to hurt him back, was more than valid.

You picked up your own glass and downed its contents in one go, relishing in the familiar bitter taste.

"There's no bed." You noted instead of answering your old friend, your grip was tight around the glass you held. "Where do you sleep?"

"I don't." Alastor answered simply. He moved only to fill up your glass again, but his eyes never strayed from you.

You weren't sure how much truth there was behind his words. Sinners still slept, and no matter how highly Alastor thought of himself, he still functioned the same way the rest of you do.

"What keeps you up at night, then?" You couldn't help but ask.

Perhaps it was an attempt to piss him off. Make small talk, delay from giving him answers.

But as much as you hated to admit it, it was likely because there was an answer you wanted to hear. One caused by that part of you that still hoped for your old friend to show you even just a hint of a conscience.

Perhaps if he gave you that, it would be enough for you to hold onto civility. It would be enough for your to at least honor what past friendship you had with him.

"Nothing in particular, really." Alastor glanced away from you, downing his drink once more. "There's just no rest for the wicked, isn't that what they say?"

You followed his lead, throwing your head back and letting the alcohol burn its way down your throat.

It almost felt like old times when you'd compete with him in old dingy bars.

"Ah, I figured you wouldn't be hung up on it." You held your empty glass in your hands, a finger unconsciously caressing its cool surface.

"My bad, dear." Alastor gave you a faux look of guilt, but the mockery that dripped from his tone easily gave it away. "Did you want me to mourn you for a couple decades?"

You rolled your eyes. "Considering everything we've been through, I'd have expected at least a few years."

You noticed Alastor fill his glass up again, he knocked it back just as quickly as the previous ones.

You both looked like you were drinking your problems away, but it seemed like this was more of a habit. One formed through a lifetime of repetitions.

"I can start now if you'd like." Alastor smiled at you.

Your brows raised. "I am very clearly not dead."

"You might be soon." The static in his voice was heavier, and for a split second you could have sworn his pupils changed to dials.

Your fingers stilled against the glass you held, feeling your skin prickle at the silence that followed.

The wood in the fireplace crackled, and the eerie light coming from the green flames added just a tinge more terror to your situation.

Or it would have if the only emotion you felt wasn't an all consuming rage.

The clear threat hung in the air for a second before Alastor spoke again. "So tell me,"

How long have you been alive?

Why didn't you tell me?

"How are you alive?" He said.

You had no idea why on earth he was angry. What gave him the right?

"We both know the answer to that already, don't we?" Your own smile tightened, teeth clenched hard to keep yourself from growling at him.

You tried to stomp out your anger, but every time you tried to reason that he used to be a friend, you couldn't help but be brought back to that time.

Lying in a pool of warm blood—your own blood. Seeing the exorcists flying down to you, racing to see who could kill you first. Turning your head, using the very last of your strength to reach out to your friend. Watching him stand from your side and melting away into shadows without you.

"Well yes, a deal, of course. But with whom? Not many demons down in this festering tar pit have that much power. You were practically gone, dear."

Ah, so it was a pride thing, you thought. He was bothered that there was someone who could do what he couldn't.

You couldn't hold back from scoffing. "And did that ever bother you? That I was practically gone?"

He paused. The sound of static grew messier for a few seconds before Alastor gave up on his glass entirely. He opted to just grab the bottle by its neck and drank from it.

"You seem like you were hoping it did." He teased as he set the bottle down back on the table. "Shouldn't a good friend be happy I wasn't suffering?"

Your heart clenched, eyes narrowed. The both of you have danced around it this entire time, but it just seemed like there was no longer any way to stop the words as they finally slipped from your mouth.

"Shouldn't a good friend try everything to save the other?"

The accusation, the betrayal, the bitterness, finally dripped like venom from your question.

A heavy tension covered both of you once more. The elephant in the room finally addressed properly, but it seemed neither of you knew what to do with it now.

A beat of silence.

"Then, it looks like we're both such terrible friends." Alastor said, as he sunk back into his chair. You hadn't noticed the tension in his body this entire time, you weren't sure if Alastor himself noticed it either.

But as he rested his head behind him, you noticed something you failed to before now.

He looked...exhausted. His smile was in place, his hair neat, his suit wrinkle free. He looked as perfect as ever; but he looked tired.

You were sure you didn't look any more chipper currently.

You tore your eyes away from the demon that sat across you. "It's been a long night."

"It's been twenty minutes." There was finally a hint of genuine amusement in his tone, but it felt strained.

Like it slipped before he could stop it, a habit formed through decades of banter.

"Twenty too many around you." You simply shut it down.

Still, not one apology. Did he even regret it?

You felt so confused, so conflicted, so angry, and you knew you just had to leave before you did something you would regret later on—whatever that may be.

He looked like he wanted to say something as you got up, but he chose to bring the bottle of alcohol to his lips instead.

It was only when your hand landed on the door handle did he speak. "I would do it again."

It felt like a light went out inside you somewhere.

You didn't turn around.

"I would leave you to die—over and over." Alastor's floaty voice continued. "You were a good friend, but not great enough for me to risk my own skin."

You've known your friend to be quite the liar. He knew what to say and when to say it, and he lived to crawl under people's skin and piss them off.

But at that moment, you knew it was one of the rare few instances where Alastor was honest.

"It seemed like you wanted to know." His normally mocking voice seemed softer. Like it really was just a fact and nothing more.

"The V's were there when you weren't." You found yourself saying. You turned your head to the side just a tiny bit, but still didn't turn to look at him.

The lights flickered and your hand closed around the handle of the door.

"I made a deal with the V's. Everything about you and more, in exchange for my life." You continued, almost unable to stop the words from coming out, really.

"Your defeat seven years ago was my doing."

You really were terrible friends.

"It seemed like you wanted to know, old pal."

You left his room just as the lights fully went out.

#tw: physical injuries #friendly reminder this event has closed #hazbin hotel #hazbin hotel x reader #hazbin alastor #hazbin alastor x reader #alastor #alastor x reader #vien writes #follower event #we went for emotional pain this time around #more subtle than outright choking the man but I feel like having a dear friend betray him as much as he betrayed them would sting a lot mor #i am firm believer that alastor CAN care if he wanted to #but i must admit i made him a tiny bit ooc here bc i had to tone down his sillies for the mood

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armoricaroyalty · 4 months

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Film Grammar for Simmers

What is film grammar?

"Film grammar" refers the unstated "rules" of editing used in movies and TV. Different types of shots have different associations and are used by editors to convey different types of information to the audience. Many of these principles were first described in the early 20th century by Soviet directors, but they're used consistently across genre, medium, and even language: Bollywood musicals, English period dramas, Korean horror movies, and American action blockbusters all use many of the same techniques.

Because these rules are so universal, virtually everyone has some internalized understanding of them. Even if they can’t name the different types of shots or explain how editors use images to construct meaning, the average person can tell when the “rules” are being broken. If you’ve ever thought a movie or episode of TV was confusing without being able to say why, there’s a good chance that there was something off with the editing.

Learning and applying the basics of film grammar can give your story a slicker and more-polished feel, without having to download shaders or spend hours in photoshop. It also has the bonus of enhancing readability by allowing your audience to use their knowledge of film and TV to understand what's happening in your story. You can use it to call attention to significant plot details and avoid introducing confusion through unclear visual language.

Best of all, it doesn't cost a dime.

The basics: types of shots

Shots are the basic building block of film. In Sims storytelling, a single shot is analogous to a single screenshot. In film, different types of shots are distinguished by the position of the camera relative to the subject. There are three big categories of shots, with some variation: long shots (LS), medium shots (MS), and close-ups (CU). This diagram, created by Daniel Chandler and hosted on visual-memory.co.uk illustrates the difference:

Source: The 'Grammar' of Television and Film, Daniel Chandler, visual-memory.co.uk. Link.

In film, scenes typically progress through the different types of shots in sequence: long shot, medium shot, close-up. When a new scene begins and the characters arrive in a new location, we typically begin with a wide establishing shot of the building’s exterior to show the audience where the scene will be taking place. Next comes a long shot of an interior space, which tells the where the characters are positioned relative to one another. The next shot is a medium shot of the characters conversing, and then finally, a close-up as the conversation reaches its emotional or informational climax. Insert shots are used judiciously throughout to establish themes or offer visual exposition.

Here's another visual guide to the different types of shots, illustrated with stills from Disney animated films.

This guide is almost 2,000 words long! To save your dash, I've put the meat of it under the cut.

Long shot and extreme long shots

A long shot (sometimes also called a wide shot) is one where the entire subject (usually a building, person, or group of people) is visible within the frame. The camera is positioned far away from the subject, prioritizing the details of the background over the details of the subject.

One of the most common uses of long shots and extreme long shots are establishing shots. An establishing shot is the first shot in a scene, and it sets the tone for the scene and is intended to give the viewer the information they’ll need to follow the scene: where a scene is taking place, who is in the scene, and where they are positioned in relation to one another. Without an establishing shot, a scene can feel ungrounded or “floaty.” Readers will have a harder time understanding what’s happening in the scene because on some level, they’ll be trying to puzzle out the answers to the who and where questions, distracting them from the most important questions: what is happening and why?

(I actually like to start my scenes with two establishing shots: an environmental shot focusing on the scenery, and then a second shot that establishes the characters and their position within the space.)

Long shots and extreme long shots have other uses, as well. Because the subject is small relative to their surroundings, they have an impersonal effect which can be used for comedy or tragedy.

In Fargo (1996) uses an extreme long shot to visually illustrate the main character’s sense of defeat after failing to secure funding for a business deal.The shot begins with a car in an empty parking lot, and then we see the protagonist make his way up from the bottom of the frame. He is alone in the shot, he is small, and the camera is positioned above him, looking down from a god-like perspective. All of these factors work together to convey his emotional state: he’s small, he’s alone, and in this moment, we are literally looking down on him. This shot effectively conveys how powerless he feels without any dialogue or even showing his face.

The same impersonal effect can also be used for comic purposes. If a character says something stupid or fails to impress other characters, cutting directly from a close-up to a long shot has a visual effect akin to chirping crickets. In this instance, a long shot serves as a visual “wait, what?” and invites the audience to laugh at the character rather than with them.

Medium Shots

Medium shots are “neutral” in filmmaking. Long shots and close-ups convey special meaning in their choice to focus on either the subject or the background, but a medium shot is balanced, giving equal focus to the character and their surroundings. In a medium shot, the character takes up 50% of the frame. They’re typically depicted from the waist-up and the audience can see both their face and hands, allowing the audience to see the character's facial expression and read their body-language, both important for interpreting meaning.

In most movies and TV shows, medium shots are the bread and butter of dialogue-heavy scenes, with close-ups, long shots, and inserts used for punctuation and emphasis. If you’re closely following the conventions of filmmaking, most of your dialogue scenes will be medium shots following the convention of shot-reverse shot:

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To keep long conversations from feeling too visually monotonous, consider staging the scene as a walk-and-talk. Having two characters move through a space can add a lot of dynamism and visual interest to a scene that might otherwise feel boring or stiff.

Close Ups

Close-ups are close shots of a character’s face. The camera is positioned relatively near to the subject, showing just their head and shoulders. In a close-up, we don’t see any details of the background or the expressions of other characters.

In film, close-ups are used for emphasis. If a character is experiencing a strong emotion or delivering an important line of dialogue, a close-up underscores the importance of the moment by inviting the audience to focus only on the character and their emotion.

Close-ups don’t necessarily need to focus on the speaker. If the important thing about a line of dialogue is another character’s reaction to it, a close-up of the reaction is more effective than a close-up of the delivery.

One of the most iconic shots in Parasite (2019) is of the protagonist driving his employer around while she sits in the backseat, speaking on the phone. Even though she’s the one speaking, the details of her conversation matter less than the protagonist’s reaction to it. While she chatters obliviously in the background, we focus on the protagonist’s disgruntled, resentful response to her thoughtless words and behavior.

In my opinion, Simblr really overuses close-ups in dialogue. A lot of conversation scenes are framed entirely in close-ups, which has the same effect of highlighting an entire page in a textbook. The reader can’t actually tell what information is important, because the visuals are screaming that everything is important. Overusing close-ups also cuts the viewer off from the character’s body language and prevents them from learning anything about the character via their surroundings.

For example, a scene set in someone’s bedroom is a great opportunity for some subtle characterization—is it tidy or messy? what kind of decor have they chosen? do they have a gaming computer, a guitar, an overflowing bookshelf?—but if the author chooses to use only close-ups, we lose out on a chance to get to know the character via indirect means.

Inserts

An insert shot is when a shot of something other than a character’s face is inserted into a scene. Often, inserts are close-ups of a character’s hands or an object in the background. Insert shots can also be used to show us what a character is looking at or focusing on.

In rom-com The Prince & Me (2004) (see? I don’t just watch crime dramas…) the male lead is in an important meeting. We see him pick up a pen, look down at the papers in front of him, and apparently begin taking notes, but then we cut to an insert shot of his information packet. He’s doodling pictures of sports cars and is entirely disengaged from the conversation. Every other shot in the scene is an establishing shot or a medium shot or a close-up of someone speaking, but this insert gives us insight into the lead’s state of mind: he doesn’t want to be there and he isn’t paying attention.

Insert shots are, in my opinion, also used ineffectively on Simblr. A good insert gives us extra insight into what a character is thinking or focusing on, but a poorly-used insert feels…unfocused. A good insert might focus on pill bottles on a character’s desk to suggest a chemical dependency, on a family picture to suggest duty and loyalty, on a clock to suggest a time constraint, on a pile of dirty laundry or unanswered letters to suggest a character is struggling to keep up with their responsibilities. An ineffective insert shot might focus on the flowers in the background because they’re pretty, on a character’s hands because it seems artsy, on the place settings on a dining table because you spent forever placing each one individually and you’ll be damned if they don’t make it into the scene. These things might be lovely and they might break up a monotonous conversation and they might represent a lot of time and effort, but if they don’t contribute any meaning to a scene, consider cutting or repurposing them.

I want to emphasize: insert shots aren’t bad, but they should be carefully chosen to ensure they’re enhancing the meaning of the scene. Haphazard insert shots are distracting and can interfere with your reader’s ability to understand what is happening and why.

Putting it all together

One of the most basic principles of film theory is the Kuleshov effect, the idea that meaning in film comes from the interaction of two shots in sequence, and not from any single shot by itself. In the prototypical example, cutting from a close-up of a person’s neutral expression to a bowl of soup, children playing, or soldiers in a field suggests hunger, worry, or fear, respectively.

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The Kuleshov effect is the essence of visual storytelling in a medium like Simblr. You can elevate your storytelling by thinking not only about each individual shot, but about the way they’ll interact and flow into one another.

Mastering the basics of film grammar is a great (free!) way to take your storytelling to the next level. To learn more, you can find tons of guides and explainers about film grammar for free online, and your local library doubtless has books that explain the same principles and offers additional analysis.

Happy simming!

#armorica tips #armorica ooc #i finally got off my ass to finish this guide which i started back in August right before I got extremely sick and ended up in the hospital #anyway....hope you enjoyed this post which was a veiled excuse for me to complain about how people overuse close-ups and inserts #and i can't tell what's happening in their stories ;fdsklsjadf;laksdf #Youtube

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tvlandofficiall · 2 months

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yet another deltarune cafe collab (ft. spamton, susie, lancer, and noelle!)

#ooc #spamton #lancer #susie #noelle #deltarune #you can also kinda see alphyne and mtt if you look closely... i had to crop the image for scale so you can kinda see em

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mitsuki91 · 5 months

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Okay but you know what could really destroy Snow?

Seeing Lucy Gray slowly starting to fall out of love with him. Lucy Gray knowing him so well she starts to be repulsed by him. The pain and disdain and the masks she has to wear (expecially if they are in the Capitol and she depends on him) in order to survive... With him because she has no other option. Lucy Gray, who put trust above everything, slowly starting to lie to his face, to hyde the fear and the pain behind fake smiles to make him happy with her.

And he will see this. He will see because, as always, as they are connected by the stars, as they are both performers, he can read her as she can read him. He can see her pulling back from their love story.

So. He may think that he want her to be caged, because so he can feel safe. But in reality he can not. In reality, he needs her to choose him. Everyday. They have to be a team. They have to be alone against the world (even if that means they have to perform to find a place in that world). He has to know, to feel sure, to feel warm about the fact that his Lucy Gray wanted him and wanted to be with him in the same way he wanted to be with her.

He has to be sure they truly love each others.

Or he is going to be insane. After all, he already did. One trace of doubt - he lost it. He lost it so bad.

But betrayal in a so giant way is a thing; a thing that set him in a rage, that make him spiraling without control and do despicable things in a matter or seconds.

Slowly see your only love slowly fade away? This is another type of pain who can drive one mad in a more subtle way, because he still had hope he can just fix things and surerly he will do it. Just a little time. Just a little patiente. He will do it. But in reality she fade. More and more far away. And panic arise, day by day.

So yeah, Coriolanus Snow was a boy in love, and as a boy in love (the first time I must add) wanted to cage her loved one, to control her. It's normal to feel this way when you love someone, because you want the other one to love you the same. But it's a passing thought, not a real one, because physical possesion doesn't mean owning someone's feelings, and he knew this. Deep down he knew. And he wants Lucy Gray's love above everything else.

Seeing her simply perform their love story to him will be too much.

#coriolanus snow #lucy gray baird #meta #snowbaird #this is why everytime I read him as a cold and possessive bitch who only wants to own Lucy Gray's “body” I feel so much ooc #this is not him #he will never be satisfied only to close her behind a door and fuck her #you all are overanalyzing one possessive thought one teen have once the first time he fell in love #and foget that everyone at some point thought something like this #expecially as a teen #in a first love situation #if you deny it I know you are lying #no one is so pure not all the love is platonic or an agape love #coriolanus snow meta #I have strog and deep feelings about this #the ballad of songbirds and snakes #tbosas #rant #coriolanus snow rant

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