Final Fantasy II – Star Wars Where The Emperor Dies And Then Comes Back As The Devil And Then Dies Again And Then Comes Back As God And Then Gets Killed By Obi-wan
Final Fantasy III – Four Orphans Fight A Man Who Threw A Hissy Fit Over His Inheritance
Final Fantasy IV – Star Wars But The Emperor Is A Space Ghost On The Moon
Final Fantasy V – Evil Giving Tree And His Gay Lover Fight A Confused Harem Protagonist And His Princesses
Final Fantasy VI – Star Wars But The Emperor Is Killed And Replaced By The Joker Halfway Through, Racism is Bad
Final Fantasy VII – Eco-terrorists Recruit Man With Padded Resume, Discover Corporate Greed Has Caused Giant Meteor To Be Elected, Hold Recount
Final Fantasy VIII – A Group of Cadets Find Out They All Lived At The Same Orphanage: Amnesia To Blame, Lead May Be Dead
Final Fantasy IX – Star Wars But The Main Characters Are Either Clones Or Princesses
Final Fantasy X – Daddy Issues, the Real Sports Story, With Special Guest Christian Guilt Complex
Final Fantasy XI – Giraffe And Friends Stop The Writer From Erasing This Game
Final Fantasy XII – Star Wars But Half The Bad Guys Aren’t Actually That Bad. Except Judge Bergan, That Guy Is A Dick
Final Fantasy XIII – Being The Chosen One Will Kill Your Dating Life
Final Fantasy XIV – Heroes Saved The World From Bad Gameplay, Bugs
Final Fantasy XV – A Bachelor Party Goes Very Badly
The Melkor/Nienna thing, though??? …I’m intrigued.
It’s one of those ‘long have you been ruminating in my head- years and years- but not a word have I written’. You know those fics.
So during that period of the First Age when Melkor is imprisoned in Mandos, Nienna visits him in hopes of rehabilitation to fuck. In that Tartarus like part of Mandos where Melkor is imprisoned, it is solitary confinement and sensory deprivation. The sense of floating detachment -spatial disorientation- is hard for me to figure out how to tilt one way or the other, because part of the conceit is that it’s pitch dark- Melkor will only know Nienna is even there when she touches him (and Nienna as the goddess of winter as opposed to Vána, Nessa, Yavanna is something that I adore from the calendar and season name hints, so everything about her is that icy touch, that sharp bite of air too cold for human bodies to cope with, but also the strange comforting muffled quiet feeling of a snow-covered place). And only when she touches him, or the drip of her tears, that restores the sense of feeling and spatial awareness to him. And he’s bound, so he can’t initiate anything- major dubcon to this fic, one of the other reasons it has yet to be written. But Nienna is trying to show affection, and part of the ‘meta layer’ of their interactions is that she needs him and his actions, because her role and identity is tied up in the grief and mourning of the results of his actions/rebellions- if he does nothing or doesn’t exist, she has nothing new. Which he taunts her with, and plays on her self-loathing that she comes for him and so desperately needs and desires him. And yet- she knows and he doesn’t want to admit to himself/ave enough self-awareness and weakness to admit- he needs her. He needs an audience to play his acts of defiance to, someone to conquer and dominate, someone to rebel against, someone to brag and lord over. And he is terrified of the possibility that she might not come back, because she’s the only one that is willing to visit him, the only break in the monotonous void, and so he’s trying to calculate how much false change of heart and repentance can he feed to her that she won’t see through so she keeps coming back without admitting to himself how he enjoys her company and secret fear that it might be true. And it’s a Melkor sex fic so have to include an Arises in Might pun, and that his role was supposed to be that who aids and enhances in other Valar’s workings, so he can’t masturbate but can give Nienna a great orgasm …
IDK, you have to quantify what counts as horror. The Baby Eöl Fic is my very slowly written foray into the closest thing to straight horror. It’s easier for me to pepper in horror elements in the Tol-en-Gaurhoth and Angband settings. But pure downer ending horror dark fic? Hard for me to say never, but …it’s a thing that the Old Kingdom series and other fantasy that do have horror elements is very influential for me- but I almost never watch any horror or slasher or suspense films or tv shows (I watched the first few episodes of Fear the Walking Dead, but that was a big anomaly for me, and I don’t watch Insidious or Conjuring or even older horror movies. And the only Stephen King novel I ever read was The Green Mile.) The amount of horror in ASoIaF is about it. Or the sort of graphic violence ‘Hammer Horror’ of the Netflix animated Castlevania. So the Kingfisher in a Cage has a tidbit of the gore and psychological horror, or Wall the Heart. But it’s not my committed genre, so I’m not sure if my efforts would satisfy a craving for horror.
Smut… confessional time. I’m more comfortable with my writing abilities to fake a fight scene and write violence than fake a sex scene. Now are there three contenders for ‘I will write you two and definitely have to pull the AO3 rating up to mature?’ Yes. I just don’t know which will come first: Faron and Faelindis post healing, Ingwë and Ravennë’s first time and it’s cultural mandated exhibitionism, or the Nienna visits Melkor when he’s chained in Mandos for I know you know I know you are just using me for sex and how do I go about writing sensory deprivation-related smut when they’re both Ainur and thus bodies are sort of negligible anyway.
This is based on a little talk I gave to students during a one-week animation crash course at Cambridge a few months ago. The project was to create a character and animate it performing a simple looping dance. I first briefed them on the very beginnings of the process, looking at reference and collecting research materials to inform their creative choices, and explained and demonstrated the basic tools they needed to use, including keyframing, in-betweening, and timing. Then I showed them this clip from Princess Tutu on the morning before they actually started drawing their animations.
I used this bit in particular because I thought it was a really accessible way to demonstrate a key difference between communicating with moving image compared to still image. While many of the same principles apply (in particular, to your keyframes, which I’d already done my best to drum into them), the in-betweens can carry a lot of weight and really change how the action reads.
This is the song that doesn’t end yes it goes on and on my friend Some people started singing it not knowing what it was and they’ll continue singing it forever just because…-My Childhood