Thanks For The Heads Up, Man

i am not kidding when i say that i collect Minecraft splash-texts like they’re Pokémon. /silly

I have a few more but i hit the 10 image limit. Goddammit, Tumblr-/lh

:Author’s Note:

A little something that I have been hesitant and a little shy to share, but this is a fic that I wrote a few months ago at this point, and since the Khori angst comic that I teased a few weeks ago is taking longer than I thought, I decided to treat ya’ll Khori enjoyers with a little something while waiting for the finished comic.

I wanted to write a fic like this in the first place because we needed a Khan breakdown in the show (in my opinion at least), and I basically said, “Fine. I’ll do it myself~! >:3”

(This is more of a self indulgent character study if anything lol)

By the way, a little disclaimer; if the formatting, wording, or pacing seems a little off in some spots, that’s because I was VERY rusty at the time of writing this. I was just starting to get back into the rhythm of writing fics properly after not writing anything for a REALLY long time.

I hope y’all enjoy reading this fic as much as I loved writing it!!

ENJOY!!! >:]]

Breaking Point

A Khori (Khan x Nori) one shot

This story is intended to take place sometime after Episode 8 (post-canon). The Doorman’s are finally living together as a family again, and Nori has a new body now! :DD

TRIGGER/CRINGE WARNING : emotional breakdown, angst, hurt/comfort, implied self hatred, self blame, implied low self esteem, implied lack of healthy coping mechanisms/skills, repression of emotions, bottling up emotions

- - -

Nori and Uzi are having a mother-daughter conversation and Khan is observing the interaction from afar.

Khan is analyzing Nori and Uzi’s expressions— Nori is smiling wider than he’s ever seen, and Uzi is genuinely laughing. He hasn’t seen Uzi laugh like that since… forever.

Khan tries to ignore the scene, but he can’t seem to look away. He slowly walked out of the room.

Nori was happily giggling until she sensed that something in the room was off.

Nori turned her head to look at the spot where Khan was previously standing— he wasn’t there anymore. Nori’s brows furrowed.

Uzi noticed that Nori was partially turned away.

“…What’s wrong, mom?” Uzi asks.

Nori snaps out of blankly staring into nothing and realizes Uzi was talking to her.

“Oh! Uh, N-Nothing. I um…” Nori replies with a reassuring smile on her face.

She glances at the doorway to the other room— which was a very small living area. She turns back to Uzi.

“I’ll be.. right back…” Nori says.

Uzi is confused, but she doesn’t want to question it any further.

“Uh… okay.” She says.

Uzi is of course clueless as to what exactly is the problem, but she does know that Nori doesn’t stop everything like that for no reason. Whatever is going on, it can’t be something good.

Nori pops in on the side of the doorway. She sees Khan sitting quietly on one side of the couch in the small room sitting with his arms crossed— he looked distraught.

“Hey.” Nori calls.

Khan looks up.

“What’s wrong?” Nori asks.

Khan looks back down.

“It’s nothing.” He says.

Nori lifts an unamused eyebrow.

“So you’re totally fine when you suspiciously just left the room silently and now you’re sitting here in the opposite room lookin’ sad?” She asks.

Khan doesn’t respond and instead nervously glances up at Nori but then immediately looks away.

Nori is not buying it.

“Pff. Yeah, right.”

She walks over to sit next to Khan.

“Alright, what’s going on with you?”

Khan sighs before he responds.

“Why did you come back?”

Nori raises a brow.

“Because I care about you and Uzi? Frickn’ duh!”

Nori thought that her teasing would faze Khan at least slightly, but he still stayed silent. He turned further away. Khan was not in the mood for jokes.

Nori switches to a more serious tone.

“I realized that Uzi still needs me. And it was selfish of me to not come back until now.”

She scooched closer to Khan.

“Uzi still loves me, and I still love her.”

Nori pauses. Her expression softens.

“I came back because…”

She reached to gently hold Khan’s hand.

“I still love you.”

Khan was looking up at Nori but he quickly looked back down. He pulled his hand away.

“You shouldn’t..” Khan said.

Nori’s brows furrowed.

“Why..?”

She asked with a frown.

Khan tensed up.

“Because I’m a fraud…”

His voice was almost a whisper. He could barely be heard.

“What did you say-?”

Nori asked, but she was abruptly cut off.

“I SAID I’M A FRAUD!” Khan blurted out.

Nori flinched at Khan’s sudden outburst.

“Do you not understand?! I’m a horrible person!

I literally left you and Uzi for dead in some way shape or form. And do you know what my excuse was?! I blamed it on the Murder Drones!

Can’t you see?! I only care about myself! I blame all of my problems on everything but myself!

…I never deserved Uzi. I never deserved you. …I made you and Uzi’s lives a living hell. All I’ve done for both of you is make your lives unnecessarily harder.

All I am is a pathetic coward who would rather run away from their problems instead of solving them.”

Khan paused for a short moment.

“…When I saw you two laughing together, and.. being genuinely happy, it… made me see that… I can’t make Uzi happy even if I try.

I should have been the one in your place, Nori. You and Uzi would have been better off without me. …I’m sorry.”

Khan went silent again like nothing happened.

“Khan…”

Nori said.

“I know that you’ve made mistakes. But…”

She reached to hold Khan’s hand.

“That doesn’t make up who you are.

We have all done something stupid in our lives at least once.”

She humorously snorted.

“I know I have. Don’t beat yourself up about it. You set way too big of standards for yourself.

You tend to bite off more than you can chew. Trust me, I’ve seen you do that many times before.

Cut yourself some slack. I think you’ve been through enough emotional burnout for one whole week.

The whole point I'm trying to make is that..”

Nori paused for a moment. She held Khan’s hand tightly around her palms.

“You don’t need to be perfect for me to love you.”

Khan was finally fazed.

Nori continued.

“You have good intentions. You have shown me things in myself that I would have never seen if you did not come into my life. And I am incredibly grateful for that.”

Nori lowered her voice to make it sound as comforting as possible.

“You are an amazing person, Khan. And I want you to know that.”

Khan was shaken by Nori’s words.

“I..”

Nori smiled as tears formed in her eyes.

Khan’s entire body began to tremble and he panted heavily. He clutched onto his chest, and pulled his other hand away.

Khan held the side of his head. A warning symbol flashed on his visor in the place of his left eye that said, “REPRESSED EMOTIONS UNSTABLE”. His frantic panting turned into whimpering. He tilted his head down and sobbed.

Nori’s eyes hollowed for a few moments. She fully turned herself towards Khan and immediately pulled him close to her.

Khan sobbed in Nori’s arms as she gently rubbed his back.

Khan hasn’t cried like this in a very long time. He has been hiding his true emotions for way too long at this point. It was about time he broke down.

Both stayed in each other’s arms for a while. Khan eventually slowed down his sobs. He leaned against Nori’s chest, tears still streaming down his visor.

Khan blinked slowly. He looked, and felt, completely defeated. He felt like he didn’t have any energy left to cry anymore. He was exhausted— physically and emotionally.

Nori had her hand gently resting on top of his head.

“Are you okay now?” Nori asked.

“I…”

Khan paused.

“No… I-I’m not…” His voice wavered.

Khan sat up and wiped the tears from his visor. He crossed his arms against his midriff. His eyes slowly drifted away from Nori’s gaze, and he turned his head away.

“Hey.”

Nori gently turned Khan’s head towards her.

“You matter. Never forget that.”

Khan sniffed. He finally cracked a small smile.

Nori smiled back. She fully embraced Khan. He actually hugged Nori back this time. Both stayed in each other's arms.

“Nori…?” Khan mumbled.

“Yeah?” Nori replied softly.

Khan lifted his head to look into Nori’s eyes.

“Thank you.”

Nori smiled. “You’re welcome.”

She gently grabbed either side of Khan’s face and gave him a small kiss.

Khan flinched as he felt his core whir in surprise. He was blushing so hard he thought he was going to overheat.

Nori didn’t say anything else. She just smiled.

Khan finally snapped out of his flustered trance and leaned back into Nori’s arms.

Both held each other close.

Fin~

- - -

:Authors Note #2:

If you have made it to this point,

THANK YOU SO MUCH FOR READING!! :DDD

By the way, it wasn’t mentioned in the story, but after Nori paused the conversation, Uzi decided to just end the convo there and go her separate way lol.

I was just too lazy to describe anything further without accidentally making the sequence too long or making the pacing seem stiff and awkward lmao-

Much love to y’all! <3

-ruf >:3

I was bored in science and accidentally made a dca oc oops

His name is Pewter (because pewter is a grey metal alloy)

He was made in the 1960s, so by fnaf sb He would be about 70+ in physical age and 20+ in mental age. He doesn't have any color in his design, only black and white. He is fully mute because he was never given a voice box, so he speaks in sign language

His arms don't have elbow joints, more so a robotic tube surrounded by Cotton and fabric ontop, making his arms flexible and soft. His legs do have joints, but still have cotton stuffing the inside of his pants around his actual legs

His hat his held up by metal wires and more cotton to make it soft

This one was also made by Nuzipilled! :DD

(also, I remember seeing dub of I think this same comic somewhere on YouTube and it was credited to Nuzipilled. :3)

Hey does anyone know who the OG artist is for this comic?

@ilovekhori

HEHE TYYY 😈‼️‼️‼️

sorry lol- mostly projecting onto Khan more than anything 💀 /lh

Nah, but seriously, I just write him like that (or really any character that I think is appropriate for it lol-) because I think he deserves to show weakness for once.

How I personally see his character is that he either thinks he literally can not afford to show any kind of vulnerability simply because of his reputation, OR he seriously just has NO IDEA how to handle his emotions so he thinks he can just brush them off without processing them first.

I see him as the type of person to mask his emotions a lot; like forcing himself to act way too positive which ends up making him look very disingenuous and fake. And it definitely has become obvious at this point (and has been implied many times in the show) that he has really bad coping mechanisms like repression and literally locking away his issues behind a door and calling it a day.

Like- bro is NOT OKAY and has many problems (like PTSD, and probably anxiety and depression 💀 /lh) but I love the wet cat of a man anyway cuz he’s genuinely trying his best :]

But hey, that’s just my opinion and you are free to have your own! /gen

Also, if you have any suggestions on how I could better write his character, plz tell me!! I would love the advice!! :DD /gen

AUSGAHSGAHDHQUAHAHSHD TYSMMMMMMM AUGHGGGGG- SO GLAD YOU LIKED IT- CRASHING TF OUT RN- 😭😭😭😭😭😭😭😭😭😭‼️‼️‼️‼️‼️‼️‼️‼️💥💥💥💥💥💥💥/vpos

@traumatizedartist @nemoofunknownparadigm

My Fandoms!

☆ : Main Hyperfixation!

♡ : Secondary fixation!

Amanda the Adventurer

Baldi’s Basics

Bendy and the Ink Machine

Murder Drones ☆

Five Nights at Freddy’s

Furby

The Amazing Digital Circus

Minecraft

Cuphead

Tattletale

Super Mario

Poppy Playtime

My Pride

The Owl House

I may add more in the future! Keep a look out for them! >:3

[ Currently updated as of 3/10/25 ]

Here's a less lazy more in my art style Jax doodle. And I somehow felt motivated enough to actually color it and shade it.

And a SaD Springtrap doodle I did just now. I was too lazy to color it lmfao.

Ironically they're both rabbits lol.

uh- bye.

a non-selective plan for the resurgence of fic commissions

Novels are not movies.

Visual media has taken on the world by storm. It’s the next big thing in the evolution of humanity, maybe. It’s quite certainly changed the way we entertain ourselves. And with the recent spread of short-form content, visual media has also become cheap, disposable, and easily accessible to the masses—perfect recipe to make a product famous.

Alright, I’ve been a little too dramatic, lol. But for real, I’m one of those who’s severely addicted to Instagram Reels. Whenever I’m done scrolling, I feel like I’ve completely wasted my time—I could have read a novel, watched a movie, or caught up with my favorite mangas. But instead of all those ways to relax—and believe me (pwlease) that I only open Insta to relax, when I’m free—I just waste my time.

I love my novels and manga, mind ya, so when I catch myself wasting precious time that I could have instead used to consume them, I cuss myself. And then I go scroll some more Insta, because I’m an absolute idiot.

Anyway, back to the topic. Visual media has absolutely taken over our lives. I won’t go into the debate of whether this is a good thing or not, but we all can agree that it’s an undeniable fact. Video is everywhere.

Because—and lemme repeat myself—it’s cheap, disposable, and easily accessible today.

And because of such exposure to video storytelling, beginning authors forget that novels are not a visual medium. Yep, here goes my rant.

***

#01 - The Problem

The problem is simple—these kids have too much access to their smartphones. And these smartphones are filled with videos, like a dustbin with its lid hanging on because of all that garbage overfilling it. (Damn, I sound like a boomer.)

And therefore, when these new authors begin writing, they can’t help but imagine a sort of movie or a TV show as their story. And that’s where the problem is—novels are not supposed to be movies.

Movies are a visual media. That means they’re composed of pictures. Images. But guess what novels are composed of?

Text. Words.

It seems pretty basic. I mean, everybody knows this distinction. But what they don't know, however, are the implications of this distinction.

Personally, I began writing with film-novels too. And those novels are bad. Genuinely. I cringe at the fact that I could even mail editors and believe they’d accept them. Good thing they never did.

What’s a film-novel, though? Well, the idea is pretty clear—it’s a novel, but imagined in the form of a film. So, it’s like a film, but in text.

It’s like you’ve written the film as a novel, instead of writing it as a screenplay or something, maybe.

But you’d ask me—why? Why is it even a mistake? Everybody has a different writing style. And to that, I’d tell you one thing—the audience. The audience is different. The media is different. You can’t expect a cinephile to read your book. And since it’s not like a professional novel, a (Googles the correct term) bibliophile certainly won't.

So, who’s gonna read your story?

No one—because it’s neither a film, nor a novel. It’s a film-novel, an illogical mix of the two.

Everyone drinks water, and everyone likes ice-cream. But you can't… No, I’m not even completing that sentence. Ew.

Anyway, you get the idea, lol.

***

#02 - Identify

So, what does a film-novel even look like?

And for that, ladies and gentlemen, I present to you,

The lean figure was standing on the other side of the railing three floors up on the ground of the school building where children below were shouting and kicking football upon each other, wearing white football jerseys. The figures, as they ran all over the ground, seemed very small as I looked at them. The goalkeeper of the right side, who was just beneath my white shoe, kicked the ball so hard that it flew in air and went directly to the other foot of mine. The other players shouted “Whoaaa!” as they saw the ball flying. But suddenly, two of them looked upwards and saw me. One of them pointed towards me and then shouted, “Hey, who’s he?!” All the other players started walking towards that boy who was in the middle of the field with their heads tilted up above on me. Another one shouted, “Hey! What’cha doin’, eh?!” My narrow eyes, which had dark spots beneath them, looked at the boys from behind my spectacles. I then moved my head a little up and saw my shiny gakuran jacket fluttered by my shiny yellow colored buttons as the wind started blowing from my left side. I was able to feel the wind dancing upon my soft skin as I closed my eyes and turned my head upwards. I took a deep breath, and then exhaled it out with my mouth. I then again took a breath. This time, when I exhaled it out with my mouth, I was able to feel the saliva of my mouth upon my lips. I tilted my head and turned towards my arm, which was trembling a little. Both of my hands were still holding the railing of the school’s rooftop. I then turned left and then looked on my other arm. “Hey! Get down!” One of the persons from beneath shouted. I turned my narrowed eyes towards the ground, the teachers, a large gang of footballers and students, and some even workers had gathered in a circle. I turned my head towards the front. I looked at a couple of brown colored and blue-green colored houses in front of me, which stood high and mighty. Beneath them was the clear blue sky.

A wall of text!

Warning: you don’t really need to read all of it. But you probably did, lol.

Anyway, it’s the opening scene from one of my first novels. And, as much as I hate to say this—it’s pretty sh*t. It has a lot of problems—no paragraph divisions, for example, as well as a lot of grammatical mistakes too. But the biggest problem with the text is that it’s just images.

Reading this text, I dare you to highlight one single sentence that might tell you anything about the narrator.

The narrator is narrating the motions, not the emotions.

(Damn, that was a dope line to say, man.)

The narrator is only telling you about the images and actions and dialogues and thoughts. Even though it’s in first-person POV, you feel distant from the narrator. And, even in third-person POV, authors are supposed to make sure the distance between the narrator and the reader remains at a minimum.

That’s how you get a film-novel—that’s filled with scene-descriptions, actions, and dialogues. There’s no narrations in it. The readers don’t know the thoughts of these characters.

***

#03 - Is it really a problem, though?

Well, you might ask me—is it really such a big problem?

Heck yeah.

The reason is pretty simple, actually—no one wants to read a film-novel. These novels are filled with only descriptions and actions—that’s too much of mental effort. these novels make their readers keep on imagining stuff, and no reader wants to do that.

Because it’s easier to look at pictures than to imagine them based on text. And that’s why your film-novels won’t work.

See, you need to understand this—novels are different than film. Sure, novels are a form of storytelling too, and they do include visual effort, such as descriptions, action, and all that. But, all that is not the main selling point of a novel.

The main selling point of a novel is the emotions. Emotions captured in words, in situations—caught in context like a butterfly in a child’s hand. Films can display emotions, but novels put those emotions into words.

Narration is what forms the greatest part of a novel. Narration is where a novel actually shines. Narration is what the readers come to read.

And, as you could guess, films don’t narrate. Consider this,

And rain made him feel like crying. He gulped down, trying to keep the lump of his throat in check. He couldn’t cry in the middle of so many other kids. They’ll ask questions, and what will he say to them, huh?

He was sorry.

For what?

For everything he did. And for everything he didn’t.

The day had just begun. It’d be long before it ends, y’know. He just couldn't wait for it to end. There was no lifting up his mood. Not until tomorrow.

How do you display this in a film? The answer—you can't. However hard you try, you can't.

Such narrations are where the art of novels shine. Such narrations are what differentiates a novel from a visual media.

***

#04 - Is it really a problem, though? (pt.ii)

All this talk constantly reminds me of Cormac McCarthy’s The Road. It’s a literary achievement and really experimental in a lot of stuff that it does. For example, the novel has no dashes or apostrophes—and it’s not like these punctuation marks were not needed, they’re just not used. So, you’d find a lot of grammatical mistakes throughout the text.

And also, one thing that McCarthy ignored—and that’s relevant to the discussion we’re having—is that there’s literally zero narration. Zero.

McCarthy adopts a style that’s similar to a third-person POV, and is kinda like how I used to write when I was little—just with paragraphs and better scene-descriptions and action-descriptions. A lot better, as you can observe if you read his work.

Anyway, he didn’t have any narrative elements in his text. So the readers don’t really know what these characters are thinking or planning to do. They just know that these characters are somehow surviving.

I don’t wanna give away most of the plot of the novel, but the basic premise of the novel is that there’s a father-son duo who’s been caught in this apocalypse-type situation, and are traveling down the road to the south part of the country to escape the harsh winters that the north experiences. The novel doesn’t reveal a lot—the readers don’t know the names of these characters, the thoughts of the characters are hidden most of the time, and you don’t know what actually happened that most of humanity is dead and society is completely gone.

Now, McCarthy did it for a reason. A scarcity of punctuation marks reflects a form of scarcity in the scenery around them. Because most of it is, well, gone. Humanity is gone, and stuff is decaying. You don’t find fresh food anymore. Scavenge all you want—one day, all the canned food will expire, and there will be nothing to eat. Except fruits and veggies, that need to be grown somewhere. And nobody likes the latter, honestly.

And the scene-descriptions are so tough to read. They’re an actual pain. I have had a really hard time deciphering most of it, because the vocab is too high, and probably the sentences do not flow into each other easily. I can’t say anything about the sentences if I don’t understand them, y’know.

But, man, maybe that’s how it’s supposed to be. Maybe that’s why McCarthy wrote the descriptions in this way—to symbolize the mental stress that the characters go through as they experience this world, this form of reality that they were not meant to be in.

And maybe the novel is so lacking in narrations because the characters’ minds have gone numb. They’re forgetting language. With almost zero human interaction most of the time, they are forgetting how to think and interact in words. You lose the skills you don’t really use anymore, y’know. And these guys are so obviously depressed, so they don’t think about the world. They are used to the sad reality they live in. No point in complaining how bad the food is if that’s all you’re gonna eat all your life.

So, a scarcity of narrations tell you a lot about the story and its characters. It reflects something, it symbolizes something. The Road is a masterfully crafted piece of prose, please don’t get inspired to write in this style just because. This style won’t work on most of the stories.

Yeah, just because he wrote like this means you can too. Let me tell you, dear reader, that all of what we call rules are meant to be broken. Nothing is absolute. But here’s the catch—you can’t break the rules just because you don’t know how to apply them.

Authors need to learn these rules, because that’s what constitutes most of the written prose. That’s what forms the basics of the craft. So, learn them, understand them, and know how to use them. And then make a conscious decision not to use them.

See, these rules are like tools or weapons in your arsenal. And you need to keep your arsenal ready for everything. And then, you can decide which weapon to use, when to use it, and how to use it. Because you don’t know what sort of idea hits your head next and you’d suddenly need some of them.

***

#04 - Solution

So, how to make sure your novel actually comes off as a novel and not a film-novel? Unfortunately, the answer to that question… is that I don't know.

I know this sounds so absurd, but it is what it is. As someone who’s so recently started studying prose, I know this problem exists, but I still don’t know how to fix it. You could say I know my novels are film-novels, and I’m trying to fix it. But I, personally, am having a lot of trouble with it.

However, one way I can recommend is to write from your character’s POV, not your POV. You probably imagined your story as a film, but that’s now how you’re supposed to write it. Get into your characters’ head, see what they’re seeing, and write that.

But it’s tough. For me, at least. I always find myself going back to my old ways, and I think I need to re-write almost all of my scene-descriptions and actions because of it.

Lol, how ironic.

***

Conclusion

Yeah, and that’s it. I hope you liked this blog. Sorry I hadn’t posted in along while, I was going through a writers’ block. Stuff is happening these days, y’know.

Anyway, I’ll see you again in a couple of days, with something new. Bye-byee!

REAL ‼️‼️ glad I’m not the only one who thinks this lmao /pos

khan texts incredibly professionally with proper grammar, capitalization, etc. while nori texts like a scene kid on myspace in 2005