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3 yrs ago
Current Fuck yeah, girlfriend. Sit on that ass! Collect that unemployment check! Have free time 'n shit!
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4 yrs ago
Apologies to all writing partners both current & prospective. Been sick for two weeks straight (and have to go to work regardless). No energy. Can't think straight. Taking a hiatus. Sorry again.
3 likes
4 yrs ago
[@Ralt] He's making either a Fallout 4 reference or a S.T.A.L.K.E.R.: Clear Sky reference i can't tell
2 likes
4 yrs ago
"Well EXCUUUUSE ME if my RPs don't have plot, setting, characters, any artistry of language like imagery/symbolism, or any of the things half-decent fiction has! What am I supposed to do, improve?!"
4 likes
4 yrs ago
Where's the personality? The flavor? the drama? The struggle? The humanity? The texture of the time and the place in which this conversation is happening? In a word: where's the story?
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I guess this is my way of saying I didn't want it to die.

I had 2/3 of that post sitting in a Notepad++ file and while I was very bored recently I decided ... why not finish it?
Why must the venom of regret pump bitterest in the vein while the heart already suffers to throb? Why, in children's stories, do the ghosts of the past haunt only the most ruinous, the most forsaken abodes—the mansions and attics where their happiness moldered? Khvresh wondered. In this sordid, sleepless place, wondering was all he could do to squander his immortality in some final, desperate pastime. But why not? All hopes for redemption or redress had long fled the hole he now infested. Its ground was salted with the crumbs of old, dead dreams.

These walls, shelter from the sun, sheltered too from the stars. Emerging from the earth, Khvresh found at times that entire seasons had waxed and waned with nary a thought for he; he, who once lorded over death, and rot, and despair, and entropy itself. Desert flowers burgeoned and wilted. Summer storms flooded the roads and swept away their detritus, and the sands drank them up again. And none of these things—indeed, no one in the world—watched for the parting of Caurgast lips, doted on Caurgast decrees, sought Caurgast consent. The world had buried them and forgotten. Though they yet lived, already they were inhumed. Yet, and Khvresh anguished to even acknowledge it, his was not the greatest tragedy to befall one of their race. For even this subterranean hell afforded him three comforts still, three more than some could savor in the ashes of Solomon Kane's holocaust. First—the vampire's boon and his bane—gone was the need to count time, measure the angle of the sun, tiptoe round half-lit dwellings fearing the baleful rays which leaked in.

Second: though scarce and scattered, prey, when it came, was easily felled. In some undutiful belief that they had only brigands and wolves to fear on the roads, or that the western vampires who fled through their lands followed in the same feeding traditions as the native counterparts, caravan bosses still armed their guards with weapons of steel and wood; toys, for all the good they did. There should have been some food left, Khvresh remembered, now that food and humans domineered his thoughts. He rose from hammocks of camel hide, nailed to rock and strung around stalagmites. Blind as an earthworm, but probing the all-familiar surfaces with taloned feelers, he dragged his belly along the clenching clefts like meat wriggling down a throat; he crawled until the cavern yawned high and wide, like he had splashed into the stomach of the earth.

The Caurgasts had made of this cavern something like a master foyer, and its lowest corner was their larder. An eons-old drip, drip, drip from the toothy ceiling had shallowed out the rock, while a heap of putrescence had dyed it a maggoty grey-green. Hunching over the bones, Khvresh pried them apart with his hands, and cracked them open against the points of the stalagmites. But scraps of cartilage and crumbs of marrow would not sate any vampire, never mind one who had supped the blood of kings, not so long ago. (How long had it been?) He scooped up more bones, turning them over in his hands, feeling for the slimy, spongy give of flesh neglected in past feedings, missed by greedy teeth. What he found was but a flap, but it was meat, and he swallowed it whole and felt it sliding greasily down his throat, more greasily than he through the craggy tunnels. And what a pathetic meal it made. It barely silenced Khvresh's panting and scraping, the din of some flogged beast. Mustering enough backbone to creep up to the mouth of the cave, and seeing from the reddish and shadow-streaked sands that the sun smoldered in the west, he turned, and, having no other choice, scanned the antechamber for his third comfort, the one he treasured most. Though two others no doubt hid and amused themselves elsewhere in the black, impermeable network of their asylum, the third shivered nearby, also watching the light. She had her knees pulled up against her chin, and she rocked back and forth on her buttocks. She looked terribly anxious, in the way of children guarding a closet door for spooks.

"As the sun rises, so too must it fall again," said Khvresh reassuringly, "my darling Lornhir." He knelt to run his hand through her hair, finding it, like his own, matted and greasy. Under his touch she remained taut, and neither this nor his promise, cooed into a soot-smudged ear, stirred her from her angst.

"Say," Khvresh continued, "what about a hunt? Would that lift your spirits?"

Not even this, however, could tempt Lornhir from her mesmerism. Something in particular—or nothing at all, and the oppressive weight of this absence—kept its clinch over her terrored heart; a corner of the cavern had become fecund, a breeding-ground for her nightmares. But Khvresh could fill the shadows with teeth and talons, too. He could play just the same song over his prey; even when the heart was stagnant, and beatless, and just as black as his.

"Lornhir, your brother hungers. Hunt for him." He reached under Lornhir's skinny, girlish arms, and wrested her up until she had nowhere else to look but at him. "Food! Hunt!" he screamed, spittle now dotting her cheek.

How had it come to this? Khvresh could forgive the mortals and infant races for forgetting his name; the Caurgasts, as far as the world knew, had been vanquished, exterminated, over thirty years ago. But his own sister? Even she no longer feared him?

But just as he moved a hand to strike her, Khvresh swore he saw another shift, far in the reaches of his eye's periphery. Where something in the shadows yawned and stretched, like it rose from a deep, deep slumber. And for a moment, one moment, he and Lornhir were as like in heart as they were in flesh and blood. He understood. He shared her terror.

Lornhir dropped from his hands and scampered to his feet, cowering behind his bare and grimy legs.

"Shah-Cthaumaphon," muttered Khvresh, the name threatening to choke him as it surged up his throat like vomit. "He has returned?"
Expanding on what @Bork Lazer said, I could summarize my view simply by saying: you're allowed to make readers uncomfortable. You have the opportunity, you have the right; in fact, if you're trying to say something important about a real, difficult topic, then, to be honest, you have the duty.

Come and See isn't the best anti-war film ever made because it's polite, it's fair/balanced, and it holds wittle baby's hand through a gentle acclimation into the topic. It's the best anti-war film ever made because it does none of that. It forces you to watch women and children be locked in a church before molotov cocktails and grenades are thrown through the windows. The camera lingers on the church until well after the screams have stopped. You see a man still squirming and writhing when his blackened body has been pulled from the char. You watch a woman be dragged behind a Jeep, then stumble out ten minutes later with blood and semen dripping down her legs. You watch rape, infanticide, desertion, treason, and the expected, comparatively tame act of putting bullets and shrapnel in people. Experiencing human cruelty at its peak is crucial to the film's message.

... or you look away from the screen, which in itself proves its point. Because if you're the type to look away from a movie when it gets uncomfortable then you're also the type to look away when your politicians order the deaths of thousands in combat, and war-criminals have torched an Iraqi village, and hundreds have been reduced to widows, orphans, and refugees. You might even be the type to glorify war when it's clean, convenient, thousands of miles away; when it chases noble abstracts like "honor" and "justice"; less so when you have to face the reality of what devastation war wreaks upon flesh-and-blood people.

Could such a story be told through euphemism, innuendo, trigger warnings, and censorship? Maybe, but it would be a diluted, de-fanged version of the story we ultimately got.

The brutality and the horror need to serve a purpose, though. Violence for the sake of shock value, edge, or worse, popcorn entertainment, is a waste at best, and a travesty at worst, a hollow, meaningless effigy which infantilizes the audience and dehumanizes the people who actually suffer such things all around the world.

TL;DR Dark imagery and themes are good when making the audience uncomfortable serves a greater artistic purpose; bad when they're superfluous or superficial.
The scenes which always floor me are the ones which make me sympathize for fictitious people. Negative emotions especially, where I hate a cruel character, and pity his victims, and regret the decisions they have made which I, the omniscient reader, know will turn out badly; these drive me up the wall in the best way. And it's like, how can you know a story is completely made-up and fake but still invest emotions in it anyway, you know? But that's the hallmark of great fiction. You care despite knowing, on some objective level, that it's a waste of emotional energy feeling sorry for people whose lives and whose pain aren't even real, because these fake people and fake events feel just as human as you are.
@The Mad Hatter American recipes measure by volume, not by weight, so it'd be an easy matter of buying an American measuring cup. Of course, whether you'll have to sift your solids or dump them in wholesale will be a matter of trial and error (thus why measuring by weight is the master race, as you no doubt know).
Honestly, your measurement scales are so odd. Are all your cups the same size? Or are they like our "deciliter" cups? I can never figure it out, despite really trying. I've been wanting to do some amazing recipes that I've found around on the internet, but I just can't wrap my head around it. Maybe you know and can enlighten me? Then I can share some of my recipes. I have the best recipe for rasberry muffins with flavored buttercream frosting.


"1 cup" is an American customary unit equating to 8 fluid ounces by volume.

Any and all baking should happen by weight, because the customary system is not precise enough to measure out the exact ratios needed to achieve the chemical reactions happening in dough to the right quantities. So I'd buy a cheap $12 kitchen scale off Amazon and find recipes that weight themselves out in grams instead.
In Ask an Admin, v2. 6 yrs ago Forum: News
If you want to discuss bans do it in PMs.

If you want to talk specific bans feel free to PM me. More than happy to discuss them there.

There's a reason you don't want these discussions to be held in a public space. Will we receive an explanation of these reason(s) or will we be left to conjecture?

Cool. Nice version of reality.

Oh, okay. Makes sense, thanks.
Yeah. I don't want it to die either.
He needed some time between posts in the first thread, too. That in itself isn't a big deal.

The reason it puts me in a difficult spot however is that he made it clear he had plans involving my character. So I'm waiting as long as I can to give him the opportunity, but it's starting to seem like I should simply continue with my original plan instead. I could have another post up soon-ish.
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