My pug "purrs" -- like satisfied noises when he gets petted in a particular way -- and it's been 2 years since I got him and it's still funny/adorable until now.
Again TL;DR ahead
@iris, I feel like the weightiness from getting scared is actually because you are scared (i.e. the cowering, running away + Yiana being protective), so not rushed there. Same with anger (the demand option). I think the lack of weight/shortness/rushed aspect is if you do decide more neutral options (precisely because they're neutral)?
For example, if you're fascinated by the beast, the text reads:
> How strange, how magnificent! You've never seen anything like it before. Could it be the beast that stalks the forest? Does it belong to the Sorcerer? What is it doing here?
> Your hands are shaking. Your shoulders are shaking. Your heart is shaking. There's nowhere to run. What is there to say, to think? What do they want?
If you compare the previous page, it's very action heavy:
> It snakes into your shack, black eyes burning. It's nearly as tall as the Sorcerer. It's teeth are as long as daggers.
> After that, everything happens so fast. Father slumps and pales, defeated. Sina is horrified, her mouth hanging open in a silent scream. Yiana pulls her knife out of her belt and brandishes it like a weapon.
So I suppose keeping up with the mood/atmosphere is one way of keeping that energy up? I mean there is nothing wrong with the choices, but I suppose juggling the way the introspection sounds is a way to help? Like if you choose fascination, the tenseness of the scene comes from the disjoint of how chaotic the outside is (everyone is panicked except her), but that being said the follow up probs doesn't leave enough room for it to play out in full? Idk what else to say but for options like that is to let it 'breathe'
(again ramble-y thoughts please forgive)