Reading All 19 Days Chapters In Two Days, I Actually Got To Understand The Plot A Bit Better. At First

Trese Official Trailer (in english)

For your nerdy consideration...

This upcoming Netflix animated series is based on the Trese comics by Budjette Tan and Kajo Baldisimo — the story is set in Metro Manila and centered on Alexandra Trese, a detective that deals with supernatural beings from Filipino myth and folklore.

The show is headed by Jay Oliva, developed by BASE Entertainment, and stars Shay Mitchell and Liza Soberano as the titular Alexandra Trese (English and Filipino dub respectively).

It comes on June 11 on Netflix.

[playing twister]

Han Sooyoung: Yoo Joonghyuk, right hand red.

Yoo Joonghyuk: *ends up on top of Kim Dokja*

Kim Dokja: Alright, you are doing this on purpose, aren't you?

Han Sooyoung: I stopped spinning like, 15 turns ago. Honestly I'm surprised you guys didn't notice sooner.

Gen was scared but not anymore

I looked back at all scenes with Gen in Tsukasa Empire and I noticed interesting thing. Gen would never stay on Tsukasa’s side because he NEVER felt comfortable there. He looked actually scared and always with his guard up. He never smiled in genuine way. He kept his distance. He wasn’t fine with Tsukasa’s plan. I actually think Gen wore bags with fake blood not since he found Ishigami Village but since he noticed how messed up Tsukasa is. He wore that to protect himself in Tsukasa Empire and it just happened to be more useful against Magma. I really feel bad for Gen. He looked miserable around Tsukasa only looking for chance to escape.

But then he joined Senku’s group in permanent way and his whole attitude changed. He started to smile in genuine way. He felt comfortable and that let him enjoy spending time with people. He started to mess around without fear of getting hurt by some meathead who wouldn’t understand the joke. Gen himself even said that Senku’s side is the safest place on the world. He is really happy now.

Haliya was a warrior goddess who would wear a mask of gold to hide her beauty. 

 In Philippine Mythology, Haliya was the name of a lunar goddess. She was said to be so beautiful that the sea goddess Bakunawa fell in love with her and sought her affections.

Writing advice #?: Have your characters wash the dishes while they talk.

This is one of my favorite tricks, picked up from E.M. Forester and filtered through my own domestic-homebody lens.  Forester says that you should never ever tell us how a character feels; instead, show us what those emotions are doing to a character’s posture and tone and expression.  This makes “I felt sadness” into “my shoulders hunched and I sighed heavily, staring at the ground as my eyes filled with tears.”  Those emotions-as-motions are called objective correlatives.  Honestly, fic writers have gotten the memo on objective correlatives, but sometimes struggle with how to use them.

Objective correlatives can quickly become a) repetitive or b) melodramatic.  On the repetitive end, long scenes of dialogue can quickly turn into “he sighed” and “she nodded” so many times that he starts to feel like a window fan and she like a bobblehead.  On the melodramatic end, a debate about where to eat dinner can start to feel like an episode of Jerry Springer because “he shrieked” while “she clenched her fists” and they both “ground their teeth.”  If you leave the objective correlatives out entirely, then you have what’s known as “floating” dialogue — we get the words themselves but no idea how they’re being said, and feel completely disconnected from the scene.  If you try to get meaning across by telling us the characters’ thoughts instead, this quickly drifts into purple prose.

Instead, have them wash the dishes while they talk.

To be clear: it doesn’t have to be dishes.  They could be folding laundry or sweeping the floor or cooking a meal or making a bed or changing a lightbulb.  The point is to engage your characters in some meaningless, everyday household task that does not directly relate to the subject of the conversation.

This trick gives you a whole wealth of objective correlatives.  If your character is angry, then the way they scrub a bowl will be very different from how they’ll be scrubbing while happy.  If your character is taking a moment to think, then they might splash suds around for a few seconds.  A character who is not that invested in the conversation will be looking at the sink not paying much attention.  A character moderately invested will be looking at the speaker while continuing to scrub a pot.  If the character is suddenly very invested in the conversation, you can convey this by having them set the pot down entirely and give their full attention to the speaker.

A demonstration:

1

“I’m leaving,” Anastasia said.

“What?”  Drizella continued dropping forks into the dishwasher.

2

“I’m leaving,” Anastasia said.

Drizella paused midway through slotting a fork into the dishwasher.  “What?”

3

“I’m leaving,” Anastasia said.

Drizella laughed, not looking up from where she was arranging forks in the dishwasher.  “What?”

4

“I’m leaving,” Anastasia said.

The forks slipped out of Drizella’s hand and clattered onto the floor of the dishwasher.  “What?”

5

“I’m leaving,” Anastasia said.

“What?”  Drizella shoved several forks into the dishwasher with unnecessary force, not seeming to notice when several bounced back out of the silverware rack.

See how cheaply and easily we can get across Drizella’s five different emotions about Anastasia leaving, all by telling the reader how she’s doing the dishes?  And all the while no heads were nodded, no teeth were clenched.

The reason I recommend having it be one of these boring domestic chores instead of, say, scaling a building or picking a lock, is that chores add a sense of realism and are low-stakes enough not to be distracting.  If you add a concurrent task that’s high-stakes, then potentially your readers are going to be so focused on the question of whether your characters will pick the lock in time that they don’t catch the dialogue.  But no one’s going to be on the edge of their seat wondering whether Drizella’s going to have enough clean forks for tomorrow.

And chores are a cheap-n-easy way to add a lot of realism to your story.  So much of the appeal of contemporary superhero stories comes from Spider-Man having to wash his costume in a Queens laundromat or Green Arrow cheating at darts, because those details are fun and interesting and make a story feel “real.”  Actually ask the question of what dishes or clothing or furniture your character owns and how often that stuff gets washed.  That’s how you avoid reality-breaking continuity errors like stating in Chapter 3 that all of your character’s worldly possessions fit in a single backpack and in Chapter 7 having your character find a pair of pants he forgot he owns.  You don’t have to tell the reader what dishes your character owns (please don’t; it’s already bad enough when Tolkien does it) but you should ideally know for yourself.

Anyway: objective correlatives are your friends.  They get emotion across, but for low-energy scenes can become repetitive and for high-energy scenes can become melodramatic.  The solution is to give your characters something relatively mundane to do while the conversation is going on, and domestic chores are not a bad starting place.

Lately I’ve been drawing Sano and Anina how they might appear in my novel, which means they tend to look simple – and sometimes even a little ragged – because they were pretty much broke throughout 90% of the novel XD. I wanted to draw them in Kataman colours but with a little more flare than usual. So, if they were a little more well off, they would probably wear something more like this.

And is it just me, or does Sano look younger every time I draw him XD? He really is canonically 16. He’s just… under-nourished and super-sheltered (and also super optimistic) which makes him look really young.

My next piece is an AU, and I’m really excited to get working on it!

supreme forces of the universe.

THE BAKUNAWA

It holds the universe in its coils of void. Time rides on its back, flowing outwards in a spiral. It wishes to devour the moon and plunge the world into eternal night.

A primordial force of chaos and disorder, the Bakunawa has the power to dissolve anything. It makes itself felt in the physical world through anything that spirals - tornadoes, whirlpools, snakes biting their own tails.

IN THE MIDDLE OF SUMMER

The parched earth cracks. Sweltering air rises in ripples. The droning cicadas announce his arrival. It is almost high noon.

He is the Heat Haze Boy.

The Heat Haze Boy represents all that is hot, bright, and restless. One of the twin forces acting on the universe, those under his sway are passionate, ambitious individuals, though with a tendency to be belligerent and hyperactive.

A STORM SIGNAL, RAISED

A cold wind blows from the southwest. In the distance, rolling thunder like a drumbeat. The chattering geckoes whisper her name. Rain is coming.

She is the Monsoon Girl.

The Monsoon Girl represents all that is cold, dark and flowing. She is the counterpart of the Heat Haze Boy. Those under her sway are dedicated, patient individuals, though with a tendency to be depressive and sentimental.

Like twin siblings fighting over a toy, the two constantly wrestle for control of the universe. All of creation is caught between their tug-of-war. However, when not in conflict, the two are known to collaborate - the world and all its creatures was born from the combining of their powers.

I made some free-to-use Dr Stone icons! If you want to use them, all you have to do is credit me somewhere on your profile ^^

Reblog if you call the wind by whistling.

I had the habit of whistling the call of birds when the wind is saturated. It’s not like I believe in it, but oftentimes, I suddenly feel the wind coming after one set of call. I learned it from the elders, and I’m still seeing some youth do it.

One time, I was with a non-local friend (he’s Filipino, just very westernized) and we were walking under the harsh sun with no wind. I whistled, and a gush of wind came. He asked why did I do that, to which I answered while the wind brushed my hair, “I’m calling the wind.” with such a serious voice I might be a diety. Later on I realized he doesn’t know about our force of habit, and since I didn’t want to be seen as crazy, I said, “FORGET ABOUT THAT! IT WAS A FORCE OF HABIT AROUND HERE.”

So yeah, we whistle for the wind. The only being in the universe you can whistle for.

In Philippine Mythology, Mayari is the one-eyed moon goddess of war, beauty, strength, and revolution. By @porkironandwine on twitter