my dad likes to call the stretches of time where you’re not creating “dreaming periods” and says that they’re meant to allow you to absorb all of the beauty, life, and inspiration from the things around you so that when you’re able to create again, you will have fanned your spark back into a flame. sometimes its hard to see those moments as anything but stagnation, but he always says that they’re natural and healthy and needed—things that should be embraced rather than feared.
get yourself a main character whos two primary emotions are "little cunt" and "catatonic with grief"
me when i FUCKING get you *image of two mourning doves cuddling*
YOU THERE
HALT !!!
The way necromancy works is this: Everything in your body — meat, bones, skin, blood — has something like a memory. They remember, in their own way, what it’s like to be alive. Skin remembers the sun. Bones remember what shape they’re suppose to be in. Muscle memory is more than just an idiom.
The way that necromancy works is that the caster puts a little bit of their willpower into a corpse to order the corpse to remember how it functioned in life and obey. This is easiest to do with bones, which have little memory and are easy to trick, and becomes increasingly difficult the more of the original body remains.
To reanimate a full body to your command, you have to have a lot of willpower.
The necromancer checked the map. She checked the map again. She squinted up at the stars, lips moving silently. Then, taking the lantern off its hook, she peered over the side of the little sailboat.
There wasn't much to see. The sea was dark and still as glass, except where the lanternlight turned a patch of seawater a yellowish-green. A tiny fish flitted into the gleam, attracted to the light, and then vanished into the murk again.
The necromancer chewed the inside of her cheek. She sat down again, the boat bobbing gently with the movement, and checked the map one more time. Then she opened the little wooden case on the floor of the boat, which unfolded into a neat arrangement of drawers.
There were. Things. In the drawers. Some wriggled. Others twitched little beetly legs into the night air. A few of them made noises, which ran together into a squeaky, wheezy squeal of horror.
The necromancer twiddled her fingers over the display as she considered her options. Then she grabbed a few of the twitching, wriggling things, held them in her palm and squeezed her hand into a fist as tightly as she could with a squelching noise.
She opened her hand to inspect her work. She breathed the spell into it, and then, holding her hand over the edge of the boat, dropped the spell into the sea.
And that seemed to be it. She sat back in the boat and closed the little wooden case. After a moment she started looking over the map again.
There were a lot of handwritten notes on the map. Each one was connected to a mark and some coordinates; some of them said, "Storm 1457," or "Struck a rock 1483." Others said "Total failure," or “Completely dissolved.”
The note the necromancer seemed most interested in was the one that read, “Battle of Salzstein, 1501.”
The necromancer checked the map. She checked the map again. She squinted up at the stars, lips moving silently, and then she was suddenly thrown down to the floor of the boat as though a giant, invisible hand had crushed her.
Her mouth opened in a noiseless scream.
collapses in your arms princess style after casting the biggest evil most fucked up spell you've literally every seen
You can survive almost anything through the right combination of:
- Bitching and moaning
- Hater-ology
- Doing a goofy little bit about it
- Having a buddy say "that's so fucked up" at intermittent points (you can also be your own buddy)
- Destroying the cursed amulet you carry everywhere, why do you even have that thing
m,y tuube:)