𓆣 SIX CULT CAPTAINS OF THE THOUSAND SONS 𓆣

Unbound Monsters - Moon Vagrant

Seemingly following some purpose, the Moon Vagrant wanders the North mostly peacefully. However, should anything interrupt its path in any way, the Moon Varant will react less than peacefully.

MTG Tutorials #34: The Legend Rule and the Planeswalker Uniqueness Rule

Trans clue memory unlocked:

My whole 7th grade had to learn how to Swing dance. We all had opposite gendered partners to dance with, and kept the same partner as each Gym Class went by. The girls got these sweet coloured poodle print skirts to wear during the dance routines. I was jealous of them. I loved the poodle skirts. I didn't understand why I enjoyed them so much because wearing them was for girls, so they weren't for me. Clearly.

Beasts of the Putrid Hills, II

After starting Fem HRT I am much more aware of smell and it has an effect on me. Before, all I knew was "bed bath and beyond is a headache zone, avoid at all costs", but now I have a candle that smells like "English Pear" and I smell it OFTEN in order to calm down. AND MY HUSBANDS ARMPITS SMELL SO GOOD WHEN HES SWEATY IT MAKES ME MELT. He smells so sweet. He thinks it's icky. Silly man 🤦‍♀️

Come to Brazil, we have real, actual happiness.

In Brazil people were like this waiting to see across the spiderverse

Source

This kind of slaps.

Today's budget commander sleeper is one that was already featured in our series on Wilds of Eldraine, but I feel like this is the most underrated card in the set for commander, so it gets a standalone post, this card should see play beyond decks that want tapping effects.

In limited, the crown is excellent by virtue of being a tapper. Having something that removes an attacker from combat every turn at instant speed and isn't easy to remove as an artifact is stellar there. You almost never want to cash it in for card draw because it's doing its tapping job.

In commander, this dynamic flips on its head. Tapping one thing is a nice upside on the card, will keep you alive sometimes, but not something you'd use a slot in most decks for. However, the sacrifice ability scales with the number of players, it takes into account the tapped creatures of every opponent. This is really good. For a total of six mana, payable in installments, on the typical board, you should be able to draw reliably what, three to six cards? Given that the tapping is free on your turn, you can even tap an additional creature before cracking it, netting you an extra card, and if you wait before cracking it, you can pay 1 to tap a creature at end step then crack it on your turn for card draw.

Now, is it the best card draw ever? No, but as far as mass card draw effect, this beats almost everything in red and white, and a good bunch of Black's too. And you incidentally get a tapping effect while you wait on your big card draw spell, which is quite an upside.

If you want a mass card draw effect to refuel your hand outside of blue (and green), at mid-power tables that often have a lot of creatures running around, take another look at this card. It's relatively easy to deploy early and cash in later, or in the late game just cast as a mass card draw spell.

Oh, and it's a 3-drop, which means sun titan, Sevinne's Reclamation and Goblin Engineer are all able to grab it back for more card draw if you want to. It's currently under half a dollar, the set has only been out for a month, and I already got three copies that all found homes in decks that wanted one among my collection

Cutter's Guide to Planar Locations

Cutter's Guide to Planar Locations I'm going to have some fun writing excerpts from a planar travel guide. Lots of them! #ttrpg #dnd #planescape #ExuberanceToshwidger

Greetings traveller, and welcome to this humble travel guide of the sights and sites of the Infinite Planes of Existence. Within this series of reference books I hope you’ll find accurate information that aids you in your journey should you choose to ‘hop a portal’ and hang with the ‘bashers, factols, and knights of the post’ found out in the Planes. First to introductions – this author’s name…

View On WordPress

How To Write Good Dialogue (Part 1)

I'm gonna start this by saying I'm not trying to sound like a know-it-all. I am just tired of posts like these being absolutely fucking useless. I am aware this is basically me screaming into a void and I’m more than okay with that.

This guide is meant for intermediate screenwriters, but beginners are also absolutely welcome. :)

(about me)

-♠︎-♠︎-♠︎-♠︎-

I've noticed a rise in film students who want to make films that have no dialogue. Probably after your professor showed you Doodlebug, right? Fuck that.

I'll make another post about writing a short film, but all you need to know is: Don't waste the audience’s time. Most of these no-dialogue shorts have very little substance and take way too long to tell the shortest possible story. Not a good idea.

Useless Dialogue

Plain and simple, don't write useless dialogue. Useless dialogue is dialogue that just doesn't fucking matter. Dialogue matters by having ✨subtext.✨

What is subtext? Subtext is the meaning behind the action. That's it.

If I tell you that I love you and I got big doe eyes while I say it, it means I love you. If I tell you I love you through a clenched jaw without looking at you, I don't necessarily love you right now.

Simple, right? Great.

Now think about the subtext behind every line. Does your character mean what they're saying? Are they doing it to get what they want? What is going through their mind as they say it? As long as you know your character, you’ll have these answers ready to go. If you don’t, you’ll figure it out eventually. Just keep writing.

When you write your character walking into a Starbucks and saying, "One venti iced coffee," does that do something? Why do I need to see someone's boring Starbucks order? Do I need to know that your character's boring? Why are you writing a boring character? [Of course, in the rare situation where this is some revealing clue to the massive crime investigation, then it makes sense.]

Useless dialogue is any dialogue that has no meaning or purpose in your script. Delete and move on. You don't need to write entire conversations or scenes that bore us, just write what we care about.

I took a class once where my professor called a version of this "trimming the fat." Get us into your scene and out of your scene in as little time as it takes to have it achieve its full purpose in the script.

[P.S. You don’t “inject” subtext into your lines. Idk who started that vernacular in subtext teachings but I hate it.]

Show vs. Tell

I remember a glorious fight I got into with a Redditor last year about show vs. tell… TL;DR: Dialogue is “show” if you write it with intention and subtext. If someone says that dialogue is inherently “tell,” they’re wrong and can go fuck themselves.

Dialogue that is “tell” is expositional dialogue. But, hot take: Exposition isn't just in dialogue. It’s also those annoying clichés that make you roll your eyes in the theater (which we just call clichés and not exposition). I’m sure every professor I’ve had will disagree with this and then get me into a long conversation about it, but let’s ignore that for right now.

Have you ever seen a movie where a character rubs an old, worn-out photo of a young girl while looking depressed? That's exposition. That character has a dead daughter. No shit.

Clichés are incredibly annoying. We all know that. Assume that any cliché you see - in this context - is exposition and try your best not to write it. (Tropes are different and sometimes necessary, so I’m not talking about that.)

Point blank: When you have subtext in your lines, they are "show,” not “tell.”

Before moving on, I'll bring up that while technically the dead daughter photo is subtextual, it is as close to the character saying “My daughter is dead,” as you can get. Don't treat the audience like we're fucking stupid.

The First 15

If you don’t know what the Inciting Incident is, please look up “3 Act Structure” before reading this.

The first 15 pages of your script is the part that comes before the Inciting Incident. This is the part you want to get right because, although people probably won’t leave the theater, they will absolutely find something else on the streaming service they’re using. The people making said movie will also just toss your script in the trash before it’s even produced, so it's best to get it right.

Dialogue in the first 15 generally follows the same rules, but carries a heftier additional rule. All dialogue in the first 15 minutes must, must, must tell us something about your character.

Remember when I talked about that boring Starbucks order? Why is your character boring? Don’t write that. Don’t write nice characters. Or pleasant characters. Or friendly characters. No one cares.

You want empathy. This does not mean “relatable.” It means “empathetic.” There is a difference.

I personally relate to Vi in Arcane, but I empathize with Theo in Children of Men. Both are excellent, but one personally resonates a bit more with me. You cannot write a character that deeply resonates with every single person, it is impossible.

With each line of dialogue, you must be saying something about your character that generates the empathy. Instead of telling you how to do this, I’ll direct you to a movie that will do better than an explanation: Casablanca.

Watch how Rick interacts with the world. What kind of man is Rick? Watch what he does, what he says, and how he treats people and himself. Watch that empty glass on the table. Watch his contradictions. Everything. Those things matter and it’s what makes you want to watch Rick for the entire duration of Casablanca.

“Realism”

This is maybe more directorial, but make your characters human enough, not too human.

Too human is when you’ve tried your best to capture all those little life-like speech patterns. You know, the ones that no one fucking cares about.

If your character coughs, they’re sick. If they clear they’re throat, they’re uncomfortable. If a bruise isn’t going away, they’re going to die. Simple.

Every moment on screen matters. Everything the audience sees is meant to lead them to a conclusion. Not the conclusion, just a conclusion.

The realism you want is in the choices your character makes, not how many times they say “Uh,” in a sentence.

Conclusion

Dialogue matters and should not be treated lightly or without care. Once you have this all engrained in your mind, dialogue should become effortless.

If you want an excellent way to think about this, Robert McKee's Story has an excellent chapter that helped clarify this all for me. Here's an excerpt and the context.

Warning, spoilers for Chinatown.

"If I were Gittes at this moment, what would I do?"

Letting your imagination roam, the answer comes:

"Rehearse. I always rehearse in my head before taking on life's big confrontations."

Now work deeper into Gittes's emotions and psyche:

Hands white-knuckled on the steering wheel, thoughts racing: "She killed him, then used me. She lied to me, came on to me. Man, I fell for her. My guts are in a knot, but I'll be cool. I'll stroll to the door, step in and accuse her. She lies. I send for the cops. She plays innocent, a few tears. But I stay ice cold, show her Mulwray's glasses, then lay out how she did it, step by step, as if I was there. She con-fesses. I turn her over to Escobar; I'm off the hook."

EXT. BUNGALOW-SANTA MONICA

Gittes' car speeds into the driveway.

You continue working from inside Gittes' pov, thinking:

"I'll be cool, I'll be cool ..." Suddenly, with the sight of her house, an image of Evelyn flashes in your imagination. A rush of anger. A gap cracks open between your cool resolve and your fury.

The Buick SCREECHES to a halt. Gittes jumps out.

"To hell with her!"

Gittes SLAMS the car door and bolts up the steps.

Story by Robert McKee, pg 156

The context of this page is McKee's way of explaining how to write characters. I found it very helpful.

-♠︎-♠︎-♠︎-♠︎-

Thanks for reading! I probably forgot something, so I made this a “part 1.”

I hope this helps someone since I’m really tired of finding short films on YouTube that are all fucking silent. The few who have done it well have been copied to death, so please write some dialogue. I promise you it’s so much better if you do.

Asks are open! :)