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>>19035
Orin was under the assumption the Oni and Satori wouldn't like it, and that they would kill Okuu for her conquer the surface plan.
But her profile points out that her assumption was incorrect. I imagine that there's some resentment but if the reactor had benefited them they probably don't complain much, either way I think their biggest problem is still with Okuu. Especially now that she bombed protesters, but since she isn't trying to bathe the surface in hellfire anymore they probably don't complain much as long as she minds her own buissness.
>>19035
The capital lot seem fairly segregated from the are of the geyser facility/reactor. Could definitely see the kappa living in their own quarters while they work down there, possibly doing tours of a couple of weeks. Then again, possibly isn't too far to commute from their main hideout on the mountain.
Who'd fix leaky pipes, anyhow? Kappa plumbers in overalls with surly attitudes? Maybe a certain earth spider could be an independent contractor since she seems to enjoy building and fixing things. At any rate, I like to think that most of the underground inhabitants would probably just not think about all that industry nearby—it'd only really be noticed if the water pressure/temperature dropped.
>>19041
I've always felt like it would be a fair ways down to get into the more relevant parts of the Underground, even if you have, say, a lift going straight down; one dreads the sort of maintenance such a thing would regularly need.
Though, yeah, some number of them would probably need to be around for a length of time to ensure proper working order. Imagine being some poor sod stuck on repeated shifts down there because nobody else can do your job. There's probably not enough aircon in the world that would make it bearable for extensive periods.
>earth spider
It'd be interesting to know her position amidst other Undergrounders. I'd guess earth spiders in general don't live in the Capital, but who knows? Maybe there are a quiet few, perhaps called upon for help with construction.
The previous thread (>>16503) is necro-locked, so I guess it's time to make a new one. Same deal as last time: Talk about writing, but keep idea solicitations and unsolicited pronouncements of writing orthodoxy to a minimum.
That out of the way, I wanted to talk about something that might be valuable to some. There's a certain orthodoxy around the shape of narratives resembling an arc, needing to be divided in certain ways, etc. that gets bandied about on the internet and elsewhere a lot. It may help some to adopt that thinking, but I've felt over the years that it hindered just as much. Some narratives really just can't be force-fit into that sort of shape, or trying to do so may constrain things to uncomfortable degrees.
Along these lines, I encountered a book by chance called Meander, Spiral, Explode by Jane Alison (https://search.worldcat.org/title/1049791446). It's less writing advice and more a light examination of pieces of literature and how their narratives take on shapes that depart from the supposedly prototypical arc, mimicking patterns found in nature. To some, it may not be wholly convincing, and certain examples do feel slightly contrived, but I think it's still valuable for consideration. For those who struggle with the idea of the narrative arc, this may well be a godsend.
I was drawn into the ideas presented in Meander, Spiral, Explode enough to try and apply them in some of my own writing. If you can get hold of a copy, I recommend giving it a read.
>>19018
>they may have written themselves into a corner or lost sight of what it was that they originally felt like doing and the story [...] became too difficult to set right
Guilty as charged on both counts, and with degrees of planning, too.
>you need to have an ending in mind and work backwards from there
I can see the logic in it, but I think it's difficult to actually pull off. You'd probably have to either stubbornly stick to your decision regardless of story evolution (not a great choice, imo), or be ready to constantly reëvaluate as things shift (pain in the ass). I don't know, though. Never seen a good model of such a plan.
>It doesn't have to be a specific or set-in-stone event either, mind—could just as easily be something like characters taking stock of things or making decisions under the circumstances that have arisen.
I'm not quite sure what you mean here. Your examples seem like somewhat specific events to my understanding. What's the distinction being made? How can those things be less specific or unspecific?
>clear-cut structure
Incidentally, I'm curious how you understand this. When I hear about structure in relation to storytelling, that brings to mind something like a stacking up of discrete "blocks" of story, wherein some relatively independent events occur that still nevertheless contribute at least thematically to a greater "point" or "objective" of a story. That's only one way to conceive of things, of course, and I wonder how others see it. I haven't seen many good examples of story "structure" beyond the usual arc-shaped ones.
>Stories evolve and change even when they're not CYOAs.
I'm also curious on this point. What do you mean, exactly? I suppose it's possible for serialised things that aren't necessarily CYOAs could change, but I can't see the same for something that's just a sing
>>19024
>I'm not quite sure what you mean here.
I was differentiating between something like "Bilbo accidentally comes across the ring and pockets it" which is a distinct event that is easily understood in the context of plot with something more circumstantial and reactive that adds to the story and narrative but isn't an a to b to c event in the plot hence, "could just as easily be something like characters taking stock of things or making decisions under the circumstances that have arisen."
>clear-cut structure
I meant this in the most naked of senses: thing a leads to b leads to c ... leads to the ending. Mapping that out in advance in full isn't necessarily helpful, I think, as it can be something of a straitjacket. I can't offer much in terms of theory or analysis when it comes to the various ways stories are structured—I simply haven't taken the time to break down the many things I've read into what I think are their constituent parts and my experience with books that do is that they're opinionated and prescriptive, to the point of ignoring things that don't conform to their paradigm.
>What do you mean, exactly?
As far as I know no one is capable of foreseeing every aspect of a story and keeping that conception in an immutable fashion in their mind. I've never seen an author ever talk along those lines; working out scenes, character dynamics, specifics of language etc are subject to change as a work is produced and then perhaps edited many times. Stories of any length are not done in a single sitting and, even so, ideas and thoughts naturally arise in response to what is done and how we see those things. This is true even without input from others; votes, reader comments, editors, spouses, imaginary personas, and whomever else can and do affect thoughts and feelings about a work even if indirectly. Time passes—sometimes weeks and months—between entries, revisions, or drafts and so things naturally change and evolve.
>>19026
I guess I'm still not quite understanding the distinction being made. My understanding of what constitutes an "event" is simply something happening in the context of the story/plot. Isn't everything kind of circumstantial on some level? I mean, if Bilbo wasn't in the right place, he'd never find that ring. Of course, the story also wouldn't really progress, but all the same. I don't know. I find it hard to conceive of how a particular set of "things happening" can be outside the general movement of, uh, things.
...then again, I'm still not sure I can disentangle notions of plot versus story.
As to structure in the sense of a particular ordering of things, I suppose it can be limiting if adhered to rigidly. That said, I've experimented with trying to "shape" a narrative in a specific way with... well, difficulty but also minor success. That's been largely very short stuff, though. I don't know how it would even begin to apply to something at scale.
And there is a certain "mainstream" of writing on, uh, writing that clings to the idea of a story being in an "arc" shape, even though the source of that is more analytical conception than anything. I see the appeal of having certain decisions be pared down by default, but I've had little success trying to work that way.
Let's continue the customary character discussions thread. Just like before, every week, everyone will have a new Touhou character to discuss. If you have anything at all to say, or just enjoy thinking and talking about Touhou, by all means, share your thoughts.
You can comment with your interpretation of the character's personality and outlook, your opinion on what they stand for, story ideas you have for them — anything goes. This is a writing-focused board, but no specific angle or approach is mandatory. You don't have to write a lot either — a small message is just as good, just make sure it's something fellow participants can latch onto or expand upon. As well as just sharing your thoughts, please don't forget to engage with other posters. It's fun to read what others have to say, and starting a conversation helps you shape and enrich your own view.
Apart from the obvious, here are some things you might want to consider:
The boss fight, if there is one — there can be a lot of personality to things like spellcard names and bullet patterns.
The music theme — to help you set the mood, at least!
The character design — visuals are the first thing you see and what you remember them by, after all.
The mythological/cultural inspiration — it can fill in a lot of blanks in an interesting way.
Changes over time — whether in the source material or the fandom.
That's just to get you thinking.
But either way, don't be afraid to speak up. Happy discussing!
>>18650
>I wanted to comment on your argument, maybe even dive in... now that I've read it — we're thinking in such different paradigms it's nearly pointless. Simply look at this:
>two? three?
Three I think. Me, my usual conversation partner, and some other guy.
The quota you were responding too isn't from me, but I don't think you, me, or my usual partner have all that different a perspective. Incidents are largely theater, Gensokyo is a dark setting, everybody is a hypocrite. Although I do believe outsiders do die unlike what you and others say, so they die alongside the people who break the rules/law.
Neither do I really think Reimu is a good or evil person, the situation is more complicated than that and boiling down to good and evil is boring and isn't something I'd want to write in a story. Which is why I don't argue for Reimu being a good person, I don't think she is and the idea of Reimu being a good person without any moral complexity, questionable decision, or moral grayness doesn't interest me. At the same time, Reimu have no internal conflict us equally unappealing to me.
But to answer your question, is such a peace worth it?
I don't know and I'm not sure Reimu is entirely confident in her answer either and I think that's interesting. It's something interesting to explore in a story. So to jump off of that really metal idea of Reimu becoming the little living shrine of the Hakurei god. I think that would be a good place to explore that idea.
For instance, maybe as Reimu undergoes physical and mental changes, she comes to believe it isn't worth it. So in order to repent for her crimes and ensure Gensokyo is destroyed she kills herself at the perfect moment, right in the middle of her transformation. When the Hakurei god is mortal enough to be killed and Reimu is godly enough to make sure she can drag it down to hell with her. Of course her friends and self interested Youkai try to keep her from committing suicide but Reimu succedes anyways and ends up
>>17987
Speaking as a collaborator on that one, it would have been hard for Kinu to finish since the writer, uh, didn't plan much and lost interest in figuring it out after a while. Rural Concord ended up being something like a spiritual continuation, even if it wasn't strictly the same.
Here's another story I haven't seen anyone bring up:
>>/border/31609
The premise is pretty interesting as far as "walk around and survey Gensokyo" stories go, and it's short and sweet. No need to artificially heighten stakes for the sake of a forced plot or neatly tie up everything with a comprehensive conclusion, just a quick, cozy stroll with some fun character interactions. There's not too many stories that (tangentially) touch on the gyrations of the afterlife, so there's that too. Reading it shouldn't take that long for most considering it's pretty short, so there's not much reason to not. More CYOAs ought to be as small-scale and focused. Maybe more would finish like this one.
It’s time for another site event, this time around with a change of format. Something compact but no less fun to read and write!
Participating
Anyone can participate as a writer and/or a reader, and all skill levels and types of interests are encouraged. Prospective writers are to submit a piece by the end of the submission date and everyone, both writers and readers alike, are encouraged to comment about the stories and discuss them. Feedback and critique is always appreciated! As with most site events, the idea is to have the community participate and make things lively.
The tradition is to have people submit entries anonymously, so as to not taint perceptions and color feedback, but this is just a suggestion. The main goal of these events remains to encourage the community to create and for everyone involved to have fun.
Duration
Writers will have a month to prepare their entries and a thread will be created for submissions. The deadline for submissions will be 2025-07-24. Any late entries might not get commented upon by your fellow THP users, so make sure to do your best to have everything ready by the deadline!
Format
This time around, instead of going by themes, I thought it would be interesting interesting to experiment with format. This exhibition is centered around the concept of flash fiction. There’s a few different takes on what that means exactly but for our purpose it means that the entries for this event ought to seek to tell a story within a 1000 word limit. It’s a change of pace from the usual and I think that not only is it useful for writers to attempt different sorts of stories as an exercise but that constraints can make for all sorts of creative solutions.
Below you'll find a few examples of stories that can be considered flash fiction. These authors are all ones whose works I have enjoyed and are not necessarily known for the format. There's a range of styles and approaches on display in the pieces:
Last bit, and then I'll talk a bit about my story!
22. just ignore this one
- It reads like an interesting creepypasta but okay!
23. Cyberpunk: Lunatic Red (Reinsen in Cyberpunk 2077)
- I'm not familiar with this franchise either. I wonder why Reisen took so many pills too, I thought she'd probably be more careful with those
24. (Unnamed Alice Short)
- I like the interview format, since you can imply so much about the interviewer and the interviewee.
- I like the interpretation that Alice is from Makai and that she was sort of made there, that when she went over to Gensokyo she was essentially already set as a person. I also like how Alice here is a bit fogged up with her memories, which suggests something magical
- The ellipsis use here is a little too much for me, but I like how it's used to show the significant pauses in the story, like the pause before 'big things'
- The characterization of Alice as having a bit of a mimetic desire is interesting. Her explicit denial of loneliness at the start is really nice as it shows she's probably very worried about being lonely. I get the impression that Alice is still very much seeking, and that's a nice melancholic feeling to evoke
- Overall an enjoyable melancholic short about Alice
25. Would you like to know more?
- I think this is the Starship Troopers style? I see the irony in it. I've never played Helldivers either, so I can't speak to that game, nor have I read any Warhammer 40K books
- I like the bits about recommended usage, since it evokes scarcity
- I'm not sure about the bits of speech interspersed since that makes me a little confused about the format. Is this some sort of propaganda broadcast being interrupted by a drill instructor? Also, I'm not sure why some terms are italicized and some aren't
- I like the recursive promotion of Reisen into infiltrator
- Overall, I'm not sure about this one.
26. One Shell Too Many
Sen here! Before anything else, 'tom' in the context of my entry is related to 'tomboy', so a 'tom outfit' is an outfit emphasizing more masculine, angular stylings. In my headcanon, it's the equivalent here of a woman with her hair cut short and wearing a turtleneck with pants, sort of the Audrey Hepburn look. Rabbit fashions!
I hope that clears up the mystery and I apologize for confusing everyone.
I vaguely promised a self-review somewhere up-thread. There's not terribly much to say since I've gassed on about thematic matter in responses to others, but I suppose I can make a quick remark about the writing process.
Unlived was a fairly deliberately written piece in a way that I feel other works of mine haven't been. I started from a fairly basic core conceit — someone looking up at the summer sky and feeling wistful — and tried to derive a narrative from that. The choice of Youmu as a central character came from a slightly murky place, but it was a sort of process of elimination of characters I felt could feel wistful about anything; I was also deliberately avoiding Mountain characters this time, as I hew rather close to them in writing. I perceive something of a purity and simplicity of feeling in someone like Youmu, and the starting place was that simplicity in drawing on the longing felt gazing up at the nighttime sky in summer. The rest was a question of what she would long for and how that would manifest, not to mention how to practically tie that up in a thousand words. I feel the construction of it was like an essay in some ways, and I wasn't very sure of it as a story as I was writing. As I've said elsewhere, I felt I may have been beating the audience over the head with thematic ties like the strings, cords, and so on, not to mention the endless severings and cuttings. There were certain bits where I fell victim to trying to be too economical with words in service to the word count, and I ended up being a little awkward in terms of wording. In some ways, I also feel I might have been a bit too simplistic in my approach to portraying things, but I also believe it was suited to the format. Anything more involved would have called for a longer story, so there was little I could really do in that regard.
Ultimately, I'm not sure of my prowess at flash fiction, nor do I feel an especial affinity for the medium, but I did have fun with it on some level. Being able to keep a certain strong focus on a single idea made writing, something rarely simple for me on a certain basic level, straightfo
Ah. Finally, you're here. Why am I not surprised? Your coming was foretold...
Hello and welcome to Lucky (Pervert) Draw, a 2025 Lewd Shorts Writing Competition!
Keeping the terms dead-simple:
- 5 weeks to work on your entry, from right now till May 23rd.
- Submission window of 3 days, from May 23rd through 25th.
- Followed by a week-long voting period, with results on the 1st of June.
That out of the way, your theme this year is:
- Whispered Oracle of Hakurei Shrine -
... Wait. Huh? What does that mean?
Elementary, my dear Writeson! It means your task this time is to delve into the newest Touhou print work, Whispered Oracle of Hakurei Shrine, and pervert any of the information contained therein into a titillating short. Whether it is the character's fortune coming true or a titbit from ZUN's commentary; whether the fortune applies to the character themselves or somebody having drawn it; whether it is the in-universe fortune slips effecting the events in some magical, lewdical, mysterious way, akin to Occult Balls or Ability Cards - is up to you. All is fair in divination. Just don't taunt the shrine maiden.
Of course, since the book is rather new and its translation is, in a word, ongoing, I encourage anyone with relevant resources to chip in below. Otherwise, however, nobody's to hold anybody accountable for misunderstandings arisen from misinterpretation or MTL. Let's all READ THE FUCKING PRINT WORKS, as the adage goes, but let's also give ourselves the cross-lingual slack. Again, pipe up below if you've doubts or are adamant about one fact or another.
The reward, as always, is a short featuring the winner's character of choice, set within the contest's restraints. If there are 5 or more serious entries, runner-ups can count on consolation illustrations as well.
>>18163
>>18164
Ah, shoot. That's what happens when you, ah, over-focus on, er, certain areas of the picture over others. An easy fix at any rate, if you at all care:
https://files.catbox.moe/el7p3u.jpg
>I had a more silvery hair colour in mind while I was writing it
My thought process went: eagle -> bald eagle's the popular depiction, innit -> so, a smoothed-down, white-ish dome with some kind of yellow/orange accent to evoke the beak. Come to think of it, perhaps looking at bald eagle pictures stuck him with yellow eyes in my head.
>August/September
I'll drop a note and pop the question somewhen closer to that time, then.
>AO3 version
Planning on that soon? I'd like to include a link once I chuck these up in the usual places, some time, finally, eventually.
>>18167
>an interpretation of the peanut trees
Admittedly a bit of an afterthought on my part, and I realise those nuts are the size of award-winning apples, but I wanted something visible there. Yanno?
Figure this would be a good place to ask being a Touhou image board lol, I've been on the lookout for some rules for Gensokyo D20 that weren't archived, Mainly it's rules for monstrous races like Satoris and Vampires (His words not mine lol) and the Magic Items, as these weren't saved by the Internet Archive as they're Word Documents rather then part of the site it's self
https://web.archive.org/web/20160704213434/http://gensod20.alotspace.com/index.html
PDF I made of the archived stuff from the site: https://archive.org/details/gensokyo-d-20
Just realized I forgot to say what it even is, Gensokyo D20 is a Touhou D&D 3.5 conversion.
Have you tried asking the Touhou Subreddit? Or maybe /jp/ now that 4chan is back online?
>>18013
I remember his posts. He's already been to both, as well as /tg/ and, IIRC, an altchan or two. From what I gathered, most of the rules were found saved elsewhere except for the ones he specified which unfortunately seem lost. About the only thing you could do is try tracking down the author for them, or do your best to homebrew up those monsters and magic items.
It’s time for a new thread to continue the character discussions. After talking to the other people involved, I’m taking over the hosting duties and you can expect a new character to be randomly chosen every week starting from now on.
For convenience’s sake, I’ve set up a page showing the current character and past selections. It should be easier to keep track of previous discussions going forward.
Information on how this thread works and other details will follow in the next post.
>>17973
People said the same about several touhous with little lore, and yet Satono/Mai and Nemuno produced very interesting discussions in the end, leaning precisely into the personal interpretation angle.
>>17976
Exactly!
Also, PC98 characters have the benefit of there not being all that much to know in the first place. Their in-game appearances are basically what they are, you won't even have to do a lot of reading or anything. Which is why I'm suggesting it! The barrier to entry is lower for people who may not really engage with the cast outside of a few favourites, but may still want to comment. And it's just fun! Old works are fun, th1 especially is very fun to talk and think about.
Well, are we going to get new characters to discuss? The irregular discussions thread seems to be active enough, even if people aren't writing huge posts every time. If Teruyo is fed up and doesn't want to run the discussion thread, should someone else take over?
It’s time for another site writing event. This time around, it’ll roughly coincide with the site’s anniversary in April.
Participating
Anyone can participate as a writer and/or a reader, and all skill levels and types of interests are encouraged. Prospective writers are to submit a piece by the end of the submission period and everyone, both writers and readers alike, are encouraged to comment about the stories and discuss them. Feedback and critique is always appreciated! As with most site events, the idea is to have the community participate and make things lively.
The tradition is to have people submit entries anonymously, so as to not taint perceptions and color feedback, but this is just a suggestion. The main goal of these events remains to encourage the community to create and for everyone involved to have fun.
Submission period
Submissions will start in a month from now. So, on 2025-04-03. A thread will be created for entries and there will be a 2-day window for any stories to be counted as part of the event. Yes, you can post something later than that, but the idea is to have everyone on equal footing when it comes to getting comments and feedback.
Themes
These events are normally centered around some theme. Entries ought to contain elements of them but what qualifies is up to the discretion of the writer. These themes are meant to spark inspiration or help writers along and how broadly or specifically they are implemented are up to the writer.
The themes of this exhibition coincide with THP’s anniversary and are celebration and commemoration. What these mean in terms of a story or the characters involved is up to the writer but the general idea is to have some sort of event or process in which characters, or maybe Gensokyo as a whole, participate. Yes, it can be something straightforward like a birthday or a party, but also a festival of some sort, a ceremony, or anything with some sort of meaning for the participants. Or, just as e
>>17891
Mystery Celebrations author here. A huge thank you for taking the time to analyze the prose of my writing, and for rewriting the paragraph to illustrate your points. I'll definitely reserve some time to learn more about storytelling and rhetorical techniques. I think it'll be valuable knowledge for both reading and writing.
I wanted to focus on the house at the very beginning because I like to have a very good stage for whatever scene is in play. The house was going to be the main setting of my work, after all. I wanted to set the stage and the tone and hook at once. Hook? Yeah, the hook was intended to be the setting of Yukari's house itself, since its still a mystery in canon. But as others have said, thats a trapping of fanfiction - presupposing that your readers are familiar with the material.
>>17892
>But as others have said, thats a trapping of fanfiction - presupposing that your readers are familiar with the material.
My own issue with that mindset/approach is less about familiarity with material being adapted as much as a presupposition of investment by default in particular understandings/interpretations thereof. For instance, I'm not invested in, say, Alice and Marisa being friends unless a very good reason is established within the narrative; i.e., the onus is on the writer to show how that's true and why we should care, not simply tell us that's the case or take it all as a given.
My comments part three.
On Alcohol & Oceans
Sorry, I don't really get it. It's just not a very Touhou-like piece to me. Everything's so surface-level. I don't think Alice is the kind of person to waste emotions on berating herself for mis-timing the fuze on one doll, for example, considering how many she must go through a month. She care a lot about her craft, sure, but she's ambitious about it and, like, owns it in a way that I feel should indicate a more robust attitude towards setbacks. Maybe she just happens to be a sorry drunk, but that doesn't mean that any reason to be sorry is as good a reason as any other, you know? Or, like, Kokoro has personal pronoun confusion and doesn't understand what drinking is? I don't really buy it. Feels like it takes too much of a generic "artificial and/or alien plural-self ingénue" template. Murasa's depressed because she was randomly reminded of the ocean by a total stranger she wanted to fuck? It's all this superficial stuff that's way too easy to reach for, draped over characters who talk and think and act like they could be in fanfiction for any other piece of media.
It's just a bad match for me, I guess. I don't really have anything constructive to say. Maybe the same thing I said to the Ranout: Chen Buren author—try and go beyond just walking and talking and set dressing, and try to actually delve into being. Like... I can't help but compare it in my mind with Sinker, another Ichirin/Murasa piece from elsewhere on the internet. The Murasa there still kind of talks like a fanfiction character; I guess it can't be helped; but on a deeper level she doesn't think that way. Her background informs what she uniquely is and what she uniquely needs, and what happens in the story is driven by that. It's importan
Bero-bero baaaaaa~! Did I surprise ya?! Did I?
Hello everyone, and welcome to the first Spooky Month Writing Contest! I’m the Contest Mascot, Kogasa!
Welcome everyone. I’m the host for this contest, known on here as Gooboi. Halloween is a rich time for stories to be told; the most famous of all witching hours. And with Touhou’s repertoire of ghosts and goblins, there’s plenty of fun to be had with them.
Readers beware, you’re in for a scare! :P
THEME
So, I’m sure you’re all wondering, what’s the theme of this competition? You ready for a truly spectacular spooking? Nyeheheheh… this contest’s theme is the Mysterious Masquerade!
In less catchy terms, the theme is things not being quite as they appear. This can be taken any way you like. It could be anything from characters wearing poorly-matching halloween costumes, to an emotional barrier someone’s hiding behind. Of course, you can go with any number of horror-themed ideas. Maybe a particularly cruel youkai is hiding among innocent humans, or someone steps into a party not realizing that they’re one of the dishes… or perhaps, someone who was once human or youkai finds themselves on the other side, and has to maintain their previous status at grievous risk to themselves? There are many, many possibilities…
...Gee. A story about humans becoming youkai. I wonder what inspired THAT suggestion. >:P
CONTEST RULES AND PRIZES
The contest will run through October. Submissions will open with a new Shorts thread on the 28th of October, and continue until the very end of the month! After that, voting will proceed until the 7th of November!
1 Entry per author, 1 vote per voter.
Considering the entire theme of my story, it only felt fair for the contest reward to feature one last Satori fakeout.
But in all seriousness, thanks for being our artist, Kosu. The art you've provided for R/R and USiL both has been fantastic, and as I had no particular ideas on a Mystia story myself, I decided to outsource the problem. And, as per usual, Gooboi's done a terrific job with it - the misadventures of little tiger Mystia were a joy to both read and edit.
And with that... thanks to everyone who was part of the contest, thanks to Gooboi for hosting it, and I'll see you guys when I've got something else written. Until then.
>>17840
I, personally, loved it. Mystia is the sort of person to use the jeweled pagoda as a fuel source for her stove.
My one question is how Kyouko got sent to her.
I'm not crying, someone's chopping onions!
This was completely unexpected and it absolutely made my day, my whole week, everything.
I have to thank both of you, I can't find words to thank you enough, this meant a lot to me!
It's always a pleasure to draw stuff for the worlds you have gifted us, and I'm always happy to help you in any way I can.
