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wickedsrest-rp · 18 days

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Name: Lara Martins Species: Hunter (Warden) Occupation: Director of Public Relations Age: 41 Years Old Played By: Paige Face Claim: Morena Baccarin

"Don’t thank me. It’s a bad habit to get into."

TW: Parental death

Raised by two wardens, with two hunter dynasties on either side of her family tree, Lara’s family tradition was violent and undifferentiating. All fae were abominations to be wiped from the earth. Her children’s stories told tales of the horrors of the fae, and her earliest memories were of weapons training and lectures on fae. She arrived in Wicked’s Rest at four years old, her parents following family members who asked for help taking out a local aos sí. After seeing the high supernatural activity in the area, her parents decided to stay.

Lara was taught early that knowledge of the fae was a burden for wardens alone. Normal humans could never be told what was going on just out of their sight. With a knack for lying, early in life that task was already often falling to her. One day, she would find herself telling the police just what was going on here, or another, explaining to a bystander exactly what it was they’d seen her family fighting.

But as it often went in her family, her parents died young, when Lara was 14. By then, there was only one living member of her family left in U.S., her cousin Cíntia. Cíntia was only 22 at the time, living on friends’ couches and not prepared to be any sort of mother figure. But after Lara’s parents died, she got her life together for Lara. Cíntia found a day job on top of hunting, got an apartment for the two of them, quit drinking, and picked up Lara’s training. In the following years, Cíntia became a role model for Lara, even more so than her own parents had been.

As Lara grew into adulthood, the two of them formed a vicious hunting team, carrying on the family custom of killing every fae they could find. When Lara got old enough to need a mundane job, a friend of Cíntia’s got Lara a job on Wicked’s Rest’s public relations team, where he worked cover up some of the supernatural occurrences in town. There, Lara sharpened her skills and dedication to covering up the supernatural. For years, she balanced these two sides of being a warden: killing the fae, and hiding them. Both of them, she thought, were part of her family's righteous purpose.

But that was all before Lara met Mae, a fae woman who saved Lara when she was almost killed by a group of trolls. For the first time, Lara thought twice before killing a fae. She couldn’t help but feel this one was different. Kind, and honest, and gentle. Uninterested in claiming bindings. The two struck up a tentative friendship. Soon enough, like something out a storybook, they’d fallen in love.

For just over a year Lara kept up her relationship and being a warden. She should have known better than to try a balancing act like that, but sometimes love makes you stupid. Mae knew Lara was warden, but Lara never told her the full extent of it. Over that year, Lara’s doubts about what she was doing grew. She hesitated more and more before killing fae who looked too human, seemed too kind. More than once that newfound hesitation almost got her killed.

Then one night, Cíntia stopped by Lara’s apartment unexpectedly and found Mae there. Lara tried to stop her, to convince her that Mae was different. But her cousin didn’t care. It was their duty to rid the world of fae. In the fight that followed, Mae and Cíntia were both fatally wounded, Cíntia at Lara’s own hands.

When Lara buried both their bodies, she decided she was done. She quit hunting and instead turned to her career. Hiding the supernatural was the one part of being a warden that still rang true. All the time and care she had once put into hunting, she poured back into her job. By the time the director of public relations for Wicked’s Rest retired, out of their small team, she was the natural pick to take his place. Spinning stories for humans, avoiding panic and paranoia, if she could do that right, maybe some bloodshed could be avoided. After all, she knew what humans did when they saw what walked among them.

Character Facts:

Personality: Competent, jaded, workaholic, pragmatic, secretive

Lara’s music genre of choice is metal, including a lot of heavy metal bands. It’s cathartic. The irony is not lost on her.

Even though she stopped actively hunting seven years ago, Lara finds it hard to leave all parts of the life, since it’s all she’s known most of her life. She still stays in fighting shape, still has hunter friends, and still goes to the 3 Daggers. Those connections often come in handy for staying ahead of the town’s paranormal news.

It wasn’t the reason why she stopped, but she likes that quitting hunting greatly increased the chance she’ll see an old age. She’s even started saving for retirement. Her goal is to save up enough for a nice retirement home where she can win all the other old ladies’ cafeteria desserts in games of high stakes scrabble, or whatever it is old ladies do there.

She’s never thanked anyone in her entire life, even if she knew they were human. It was how she was raised. Some of her employees think this makes her a little cold.

She personally writes most communications from the city that explain the completely sensible and non-supernatural reason for the latest unusual happening in town. Along those lines, she often writes town PSAs to try to keep people safe without clueing them in to what’s really happening.

She still keeps around a gun and stock of cold iron bullets. She hopes to never have to use them again, but in the end, if it’s her or someone else, she might. She has that retirement waiting.

#bio #taken #human #taken human #hunter #taken hunter #rose tinted #parental death tw

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judgeanderson · 5 months

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Hey Judgey, how many bucks would it take to get you flashing your ass?

"Ask that again and my partner there will shut your mouth." Anderson reply with a cold stare, yet her tone had a slight embarrassment to it. The nerve of some people... She would never do that. Not at least for under twenty bucks when she would be out as Rose.

#answered #rose tinted

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trollcafe · 2 years

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Jawska, at what point would you feel comfortable asking Sio out on a date? He's clearly into you, what's the hold up?

"Wait. Backtrack for a second, hold on."

"Why would Sionah be into me? Are we thinking of the same Sio? I think I'd be able to tell if Sio was into me..? You must have the wrong person."

#jawska speaks #ghost.ask #rose tinted #the joke is jawska canNOT tell when someone is flirtinw him<3

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meganekkotwi-lek · 5 days

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I cant be the only one who couldn't stand the Game Boy Advance and DS subpar audio quality.

#rose tinted

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person-who-likes-stuff · 1 month

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My god, rose tinted glasses sure are something. I was just thinking about how I missed how nice it was back in 2022. Yep. 20 freaking 22.

#mine #rose tinted

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tapwrites · 2 months

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Experiential Description

As writers, it can be difficult to know what to put in, what to leave out. What to include, what to skip. What is too much detail, what is not enough. We can get carried away describing an object for pages, or setting the scene for what seems like the whole chapter before anything happens. How abstract is too abstract? How concrete is too much?

How can we find the right balance?

Feedback is always a good way of figuring that kind of thing out, dialing things in to balance it just the way we want it. But there's a certain way of looking at writing which gives a whole new dimension to what it means to write, and also helps a lot with this question.

The writer is a transcriber of experience.

Let me explain...

Think about what is happening as a person reads a story. They see text. They turn it into meaning. The meanings string together to form an experience. The experience of being in another world, of observing people doing things, of feeling explosions knock them off their feet, of having their first kiss.

No matter how you look at it, no matter what style we prefer to write in, we are providing the reader with an experience.

Often the experience we want to give is from one of our characters. We call this the "viewpoint" character.

Or it could be from the "viewpoint" of the narrator, a nebulous all-seeing observer from the shadows that only exists for us to see the world through--or more than that if we want to get fancy.

It could even be some theoretical person we imagine in the scene, purely to be able to put ourselves in their place and think about what it would be like to be there--to experience witnessing whatever goes down in the scene.

We want the reader to have that same experience. To know what it's like to be our viewpoint character in this moment, or at least imagine what it would be like to be there in the room when it all goes down.

This is how they immerse themselves in the story; they pretend it's real, and "remember" being there. How? By taking the text and forming such an experience in their own minds.

The better the text reads like an experience the reader could have within your world, the easier it will be to translate the text into an experience. And the easier it will be form them to immerse themselves in the story.

Now, how does that apply to descriptions?

Think about something you have experienced many times: walking into a room.

When you walk into a room, do you pick up on every tiny detail, scan and analyse every "pixel" you see? Or do you glance about and get a general sense for the space? Probably the latter. At least at first.

So which would describe a human experience of entering that room better: a few pages describing every object in the room? Or a brief overview of the space to give the general idea?

It was a small room, lit only by a crack in the curtains at the far end. The walls were dressed in peeling wallpaper of a long out of fashion floral style, and the two armchairs were positioned to try--and fail--to hide old tea stains on the rough carpet beneath.

Now, that might change. If you were stuck in a waiting room for more than a couple of minutes, you'll probably get bored. You could start studying what's around you, looking around for something interesting. Or poking around whatever's there.

There was a mantle on the long wall of the room, covered in plastic nick nacks from cereal boxes and Kinder eggs. Little men with funny hats. Pigs playing golf. A moon with the face of Elvis embossed in it.

So, more detail may come over time. But not as soon as we enter a space.

That's just how human brains generally work. They notice the big obvious things, the things that catch their attention, the things that are different.

A way to sum up this concept is...

What do they notice, and why?

A woman burst into the room, a big floppy yellow hat wobbling about her head as she locked eyes with his.

If there's no reason to notice her shoes, they don't notice her shoes. So don't describe her shoes. Maybe they can't see the bow at the back of her dress. So don't describe the bow.

The temptation is, you've written out a list of details of how this character looks, and you want to use them all. It's easy for that to turn into a list of facts--as it is literally based on your list of facts in your worldbuilding document.

What you want is to step away from that, and think about the experience of the viewpoint character seeing this. Or what the reader would notice if they were in the room.

This woman might be so captivating--or menacing--to the viewpoint character that they just don't take in much else about her in this moment.

Or they may notice only a few smaller details that make her so captivating.

Her steel-grey eyes glared fiercely. It felt like she was boring into his soul with her stare. He gulped.

If she's wearing a lot of jewelry, maybe they notice that. The bigger things are more noticeable, so have them be noticed first. But they don't notice the gun she's holding subtly at her side.

...Unless something brings their attention to it.

She smiled. "With me or without me?" He opened his mouth but couldn't speak. They were hot on his tail, but could he trust her? Who even was she? She tapped a nail on something at her side. He looked down at a small handgun, half hidden in her skirts. Her tone became more urgent. "You coming or what?"

If you want them to notice something, contrive some excuse for them to notice it. Draw their attention to it. Make it enter their experience.

But if there's nothing else that would catch your attention, just stop. That's fine. That's how we work as humans too. We pay attention to what is immediately obviously important, and then our minds wander.

This gives you a nice natural equilibrium for how much detail to put into your descriptions. Match what you'd notice, what you'd care about as the viewpoint character in this moment. Give them that experience through how you describe things.

Another aspect of this is, it is a person's experience. Not the same as the reader's, not the same as the omniscient writer's... it comes from a person within the scene who has their own thoughts and feelings in this moment. And their own thoughts and feelings on what they're observing.

Sure, you can simply describe a sunset in a factual way--"The sun was low, the sky and clouds tinted orange." But if you saw the same sunset when you just proposed and she accepted you'd experience this moment of seeing a sunset very differently to if she'd rejected you.

This is exactly what the idea of "rose-tinted glasses" is all about. The way you feel colours the way you see things.

These thoughts and feelings warp how we see the world, and how we'd describe what we see or even the situation in general. What words would the character use that reflect those inner feelings? Ask yourself...

What does it feel like to see it?

The blood red of the sunset stained the sky. vs The sky blushed as the sun dipped below the horizon.

Reading a description of the same thing makes you the reader feel those different things, doesn't it?

What would you think about what you're seeing?

They were running out of time--the sun was already setting! vs It was so calm here above the canopy, so peaceful as the sun set. There was no way to tell there was a war raging below.

This is a good way of working exposition into the prose, while also grounding the description to something that matters to the story.

What do they notice, and why?

Hills wave across the horizon, villages of people gathering in the crooks of forests. vs The older towns looked run down from here, showing their wear. How many would survive what was to come?

Different characters may notice different things, too. An architect student may dwell on the Elizabethan decorations at the head and foot of the columns nearby. A world weary con man may pick up on the interactions and power plays between people as he passes them by.

There's a classic exercise to practise writing in this way...

Write about one of your characters walking through a space, and then write about a different character walking through the same space. How does their individual interest change how it's written, what they point out? But you can take it a step further. Have characters with different backgrounds or areas of expertise. But also characters in a different frame of mind. Feeling different things. What happened just before that affects how they see their hometown? What are they anticipating will happen when they reach the end of the street? What is happening as they move through the market that makes some things more important to them than others?

As a personal aside, I really like using light in my descriptions. For setting the vibe of a scene:

A brightly lit ballroom in the sun vs A dark gargantuan ballroom, lit by nothing but a sputtering candle

And also for directing attention:

Light glinted off a blade, as he threw a knife that seemed to come out of nowhere!

A cool thing about this whole writer-reader relationship is... they are involved too. We're writing text that they are interpreting into their own version, their own experience.

So while we can't (and shouldn't) give every detail of everything they would sense if they were in our scene... they have their own experiences, their own real memories to draw on. They will naturally fill in the gaps.

We tell them about a run down music hall... and even if we don't explicitly describe it, they can fill in the texture of the wood floor, the sound footsteps make in the empty hall, the smell of decades of parties and dancing sticking to the walls.

And that actually makes it more real to them. Because part of that completely fictional place is made up of completely real places they know.

Those gaps may be filled a little differently. If I say "sports car" you'll easily conjure an image of a sports car, even if it has a different colour, different shape... maybe you have a specific brand or model in mind that I don't.

But whatever they're visualising in their head is way more real than anything you could describe in the text. It has real world physical lighting and reflections, the undulations of the body panels are perfect and beautiful, the colour has a brilliant vibrance in the sunlight, or moonlight, or whatever place the reader put that car in.

And they'll do that for you, make the world more real for you... for free!

There's a saying in horse riding: "Give the horse its head." When terrain is tricky and hard to navigate through when there's a horse in the way so you can't see it... remember that the horse knows how to walk. The horse can see what's down there, and knows how to move over tricky terrain. So don't try to control every step, by pulling their head this way and that... give them some slack, let them do their thing, give the horse its head.

(Note, this is my understanding of it, but I'm not a trained rider.)

The reader knows how to imagine things. The reader knows what a sports car looks like. Don't hold onto their brains so tightly that they get bored of the over-detailed descriptions. Give the reader their head. Let them fill in the gaps.

Now, if you later assume certain things about this sports car, like it's yellow and has a spoiler on the back... it's going to be real awkward for the reader if they've imagined something different when you gave them some wiggle room.

Their brain, even if it's fast and subconscious, has to rewind and playback the scenes with a yellow sports car instead of the red sports car they had in mind. That takes them out of the flow, it breaks the reality of what they were experiencing.

So, don't just leave it wide open to whatever they fancy--define what needs defining, if you rely on some unspoken context be sure to plant it earlier when you first showed them that detail.

(Read more about the idea of context and continuity.)

But also, it's okay for there to be gaps. Let them fill those in with their own imagination and experiences to the table. Let them make it real for themselves.

Metaphor can get to the heart of the vibe.

Descriptions can use metaphor and simile to help indicate these more abstract "vibes."

The car crouched in the old garage, as if ready to spring to life at any moment despite the dirt and dust sheets that covered it. Beside her, her husband snored like an agitated hippo.

Though using metaphor simply to describe the thing isn't so useful.

The car was as red as a rose.

What is that even trying to say? A rose can be red. A car can be red, like a rose can be red. But it's not clear there's anything meant by the metaphor beyond that.

If the meaning you're going for is "it's red," then you can just say that rather than imply there's some deeper meaning that makes the reader scratch their heads trying to interpret it.

In theory you can twist it to have some meaning if you wanted to, with some more context around the description. But without that, it'll only serve to confuse the reader and waste time.

Make sure a metaphor adds to the experience, not just reiterates it.

Verb choice can describe more than the action itself, too. Actions can include metaphor.

Light sliced through the room. Light poured in through the open curtains. Light beat down upon them, making them squint and squirm.

The verbs "sliced," "poured," and "beat" don't really make literal sense. Light "shines," and that's kind of it I guess? But we understand that the light is shining... in a "slicing" kind of way, and so on. These metaphorical verbs give very different impressions of the light, how it feels to see it, or be in it. The verb itself "describes" that feeling, describes an emotion. Makes the action more experiential.

These ideas apply just as well to any description, any scene, any situation really. Think in terms of the experience of being there, and try to give the reader that.

This actually means a more "lossy," incomplete representation than you may think. A representation "tainted" with the person's biases, feelings, all of that stuff--that's what makes it feel like a real experience. Seeing it through their lens. The slight wonkiness we bring to the table as subjective beings.

Real, hard facts don't make it feel more real. It's the ways reality bends to our perception that makes it feel real and grounded. Or to look at it another way, our goal isn't to make the world feel real and concrete, but to...

Make the experience of the world feel real

...by giving the reader concrete details, in the way a person seeing them would see them.

Seeing such descriptions as more than descriptions, as character, as history, as emotion... makes the descriptions part of the story, part of the experience. It has more meaning than a list of facts.

It becomes worth writing, worth studying and finessing. And it becomes worth reading, worth experiencing for the reader. Worth reading.

#light #description #adjective #verb #action #experience #emotion #feeling #thought #lense #lens #rose tinted #notice #immersion #observe #sense #metaphor #simile #exercise

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mythbringer-mayhem · 3 months

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Comic wip?? Idk

To be honest, I haven't been able to draw shit recently. The stuff I have, I've struggled with. I've been working on this Radioapple comic for a little while, but I dont really like how it's turning out-

I'm posting this anyways, I'm going to redo this. Probably in a more sketchy style so I don't give myself more wrist problems then I already have-

I like the concept of the comic, just not the execution, hopefully I'll get the full thing out to my liking soon enough :p

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deanpinterester · 1 year

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i cannot stress this enough: if your reasoning for clowning on the mcu is "they overwork their cg artists and animators" i 1000% guarantee that a show or movie you have been stanning for years also abused their artists and you just haven't heard about it because the production companies aren't in the spotlight like mcu productions are. that cartoon for kids? that incredibly animated movie? that non-marvel superhero movie? i've seen people declare their hatred for the way the mcu treats their workers and then turn around and gush about a show that i know for a fact was hell for the artists attached

and no this is NOT me saying "this means you should stop hating on the mcu uwu" it's me saying you gotta be aware that this shit is an INDUSTRY WIDE PROBLEM. you CANNOT "fix" it by refusing to watch mcu movies and feeling good about it. you have to be aware that it's EVERYWHERE. why do you think so many animation and vfx productions are sourced in canada? in india and the phillipines? we are not unionized.

i know it's hard to face the idea that your favourite show might have been made unethically especially when you've spent so much time hating the mcu for doing the same thing. you don't have to start hating your favourite show. just like...be aware. don't be smarmy about it. don't claim without research that a beautifully animated movie Must mean the animators were not working 16 hour days and weekends. i do think we can fix this 👍 but we can't fix it if 90% of us don't even realize what the problem really is

#uhhhh me #with the recession coming up a lot of my coworkers have come out of the woodworks to talk abt their experiences #and i feel like i've been wearing rose tinted glasses abt my company (bc i work here and i like my supervisors!)#i knew ofc that aniamtion studios here aren't always on the up and up but i did Not know how bad it got #and it just! sucks! that whenever ppl online talk abt shitty treatment of artists they're only talking in regards to the mcu

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madootles · 8 months

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dramatic eyes. dramatic lips. drama on the cheeks.

sketch

#the fuck's a look??#this show keeps making me cry happy tears #this show made me cry last season when ed and stede kissed. Now I'm crying because LOOK AT IZZY! LOOK AT WEE JOHN!!!#please for the love of god only look at this with the night light filter on. forgot my screen was tinted yellow and the colors are FUCKEDDD #ya ya It’s la vie en rose I didn’t check my references my b my b je regrette ok #our flag means death #ofmd #our flag means death spoilers #ofmd season 2 #izzy hands #wee john feeney #ofmd s2e6 #this show brings me so much joy especially now when everything is so hard in real life.#they just get to be queer with their pirate friends #skdfjhskhgjfnlisadfhlksjdfh;sk #art #fan art #the first time in a while I've been inspired to make art :_) I love

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dalishthunder · 2 months

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The following days were a blur between moving and starting up at the ranger station. The first few days of your job were just an orientation, showing you the ropes, introducing your team, and getting you settled into the position. Most of the rangers were new, apparently the two previous forest rangers from Kepler has both gone down to Brazil to replant the Amazon. Kudos to them, but that was… not helpful for you. Not that you were a forest ranger, it just would have been best if you had one that had significant knowledge of the area instead of recent transfers or other very new people.

Oh well.

Today at least you’d been able to start collecting soil samples. Work from the ground up and all.

Your last stop for the day had been the Eastwood Campground and RV park on the outskirts of the forest, which you had expected to be fairly empty given that it was still early in the year, spring hadn’t quite yet sprung, buds still forming into tiny new leaves. However, an old Winnebago still sat plugged in. Probably someone stopping on a road trip.

You paid it no mind as you worked, putting the last of the vials into your pack and pulling out your water. Now you just had to head back to the station and get everything sorted and cataloged and-

The door to the RV opened, the tall, slender man who’d waited on you at the lodge stepping out. He didn’t seem to take note of you as he stretched, arms reaching for the branches, back cracking, shirt riding up over the bottom of his stomach exposing the gaunt figure beneath.

Continue reading on AO3

#taz indrid cold #indrid cold x reader #Rose Tinted #odt #thunderous applesauce #x reader

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wickedsrest-rp · 1 year

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Name: Rose-tinted Species: Human (Non-powered), Hunter (Any) Status: TAKEN (Lara)

That time the sky filled with orange smoke days? Odd light scattering. And those vampire attacks? Those were cultists. Whether or not you believe in the supernatural (or are part of it), you have the lofty task of convincing Wicked’s Rest’s residents that there’s nothing out of the ordinary going on. The job requires some especially creative spins, but as a journalist, local government’s PR, or similar, you craft explanations that leave even some of the most superstitious more at ease. Even if the town’s notorious cryptids bring in a good number of visitors, there’s a very delicate balance between mysterious and terrifying, one you toe with great skill.

VIEW OPEN HUMAN SKELETONS

#rose tinted #taken skeleton

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judgeanderson · 1 year

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Rose was once again the entertainment at the Velvet Room club in the redlight district, Larxene having brought her her and set her up, but leaving her alone to go socialize with the other doms at the club. She wore the hot pink wig that distinguished Anderson from Rose, a pair of (small) heels, and some sexy black-lace leggings. Beyond that, a spreader bar keeping her knees far apart and her pussy exposed, a pair of soft leather shackles chained to the wall to keep her arms above her head, and a ball gag to muffle her complaints. Larxene did give her a little device to keep in her hands to alert her dom if needed (either for horny or consent issues), so she was comfortable knowing the with a push of a button, Larxene would come running.

A few patrons had had some light fun with her already, groping her breasts or fingering her pussy, but she had yet to cum, coming close a few times but being edged by the doms at the club. Her next audience was a group of three girls, all of them with elegant blue hair and similarly colored puffy dresses. They looked similar in the face, maybe sisters? One of them knelt down in front of Rose while the other two leaned against the wall on either side of her, the center one moving her hand close to Rose’s pussy and using a hooked-fingers motion to wordless ask permission to finger her. When Anderson gave consent (likely too eagerly given how on edge and desperate she was) the azul lady giggled and nodded, easily slipping two fingers into her dripping pussy and going to work.

As Rose twitched and mewled while the middle one fingered her, slowly but so skillfully, the other two began having their fun too. They each took one of Rose’s tits in hand and began to kiss and lick her cheeks and neck. The attention of three women, who were happy to let her cum, quickly overwhelmed Rose after a good hour of edging and the middle one soon got to watch as her cum gushed out around her fingers. All three of the giggled, sweet but oh so cruel~ The one stood up and let one of the others have a turn, this one pressing her lips against her drenched pussy and beginning to lick as the first one began sucking on Rose’s nipple. They were gentle with her, so soft, but between the three of them working her, these kind ladies were going to break her~

Some time later, Larxene finally checked in on Rose and giggled to herself as she watched the three of them have their way with a dazed Rose, who was completely cum drunk at this point from far to many orgasms at the three’s gentle hands. “Ladies. Lovely to see you again. I see that you’ve met my wonderful pet. Rose, the Azul Sisters. Ladies, Rose.” Larxene playfully made introductions, the sisters parting to let Larxene at Rose to begin undoing her restraints. “Alright, time to take you home. Say thank you to the nice ladies for making you cum over and over~” She casually ordered as she slung Rose’s arm over her own shoulder to help her walk on weak legs and the gag was out of Rose’s mouth.

Written by the lovely @nobodyofsparks

#Rose #submission #rose tinted #I love this thing to bits <3 #Their weriting is always amazing

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