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physalian · 2 days

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10 More Character Types the World Needs More of

Part 1 was specifically character dynamics, but I’m considering this a sequel anyway.

1. Fiercely independent character’s lesson isn’t to “trust people”

I’m not projecting. You’re projecting. There is a divide wide enough to fit the Grand Canyon between “trusting that someone isn’t lying” and “trusting someone to follow through on a promise”. Most dumpster fire attempts at these characters (almost exclusively women) rely solely on mocking them for the former because “not all men” or something.

Being consistently let down in life makes you hesitant to a) gain friends, b) pursue romantic interests, c) maintain familial relationships, d) get excited about any event that demands participation from someone who isn’t you. None of this is simply a bad attitude—it’s a trauma response. There is no lesson to be learned, and not even exposure therapy can help because it’s a real, legitimate, and common stunt people pull, whether they mean it or not.

So write one of these characters and legitimize their fears, give them someone who proves the exception to the rule, but do not let the lesson be “well they just haven’t found the right person yet”. Even the “right person” can let them down. It's about not becoming a self-fulfilling prophecy by sabotaging a good thing to prove it will inevitably go bad.

2. Conventionally attractive men who aren’t horndogs

I’m going to find every way I can to tell you to write more aces. This is to fight the stigma that attractive people must be attracted to people. Give me gorgeous aces and demi’s, men, women, enbys and everyone in between, who put a crap ton of effort into looking their best, and yet happen to not have a very loud libido. They look good for themselves, and not to impress anyone else.

Give me someone who could have anyone they wanted, gender regardless, and just simply has no interest. Or, they do actually have a significant other, but sex, how hot their partner is, or how horny they are, isn’t their internal monologue. I don’t even care if it’s unrealistic, it’s annoying to read.

And, you know, giving men male characters who aren’t thinking about sex all the time can be good, right? Right?

3. Manly warrior men who also write poetry

A.K.A Aragorn, Son of Arathorn. Just give me more Aragorns, period. This dude is either covered in filth, blood, guts, and the last 30 miles of rugged terrain, or singing in Elvish at his own coronation while pink flower petals fall. A man can be both, and still be straight.

A man can also drink Respect Women juice, you know? He ticks off all the boxes—he’s gentle when he needs to be, not afraid to hide his emotions, kind to those who are vulnerable and afraid and need a strong figure to look up to, resolute in his beliefs, skilled and knowledgeable in his abilities without being arrogant or smug, and the first boots on the battlefield, leading from the front.

4. Characters who are characters when no one is watching

This is less a specific type and more a scene that doesn’t get written enough. This whole point comes from Pixar’s Cars. I. Love. This. Movie. It’s not Pixar’s best, for sure, but this is my comfort movie. The best scene, one that’s so unique, is when Doc (aged living legend) thinks he’s alone when he rolls out onto the dirt race track and comes alive tearing around the oval.

This character’s unbridled, unabashed glee and euphoria at proving to himself that he’s still got it, when he’s completely unaware of his audience, is perfection. Not enough credence is given to characters to just… enjoy being themselves. He’s not doing it to prepare for the climactic race, he’s not doing it for the plot, he’s doing it just to do it, not even to prove Lightning wrong—just for himself.

Give your characters a “Doc Racing” scene. Whatever their skill is. Maybe they’re a dancer, a skater, a swimmer, a painter, sprinter. Just let your character love being alive.

5. Characters whose neurodivergence isn't “cute”

A.K.A. Lilo Pelekai from Lilo and Stitch. Really, her relationship with Nani is peak sibling writing. But Lilo herself is just so realistic with how she interacts with the world, how she interprets her relationships with her so-called friends, how she organizes her thoughts and rationalizes what she can’t quite understand, and how friggen smart she is for an… 11-year-old?

But she’s not “cute”. As in, she wasn’t written by generic Suits who were trying to cash in on the ND crowd by writing what they think will sell, but also making her juuust neurotypical enough to still be palatable by the rest of the audience. Lilo’s earnestness is what endears her to everybody. But also, she doesn’t get a free pass for her behavior, either. Her “friends” aren’t forced to accommodate her and Nani isn’t written as the cold-hearted villain for trying to discipline her.

6. Straight male characters with female friends

Am I double-dipping a bit here? Yes. While I completely understand how tempting it can be, this type of character is in dire need of exposure and representation to prove it’s possible. No weird tense moments, no double-glances when she isn’t looking, no contemplations about cheating on his girlfriend (and no insecure jealous girlfriend either). Just two characters who enjoy each other’s company and are able to coexist in a space and be in each other’s spaces without hormones getting in the way. Peak example? Po and Tigress from Kung Fu Panda.

Let these two rely on each other for emotional strength in times of need, let them share inside jokes, let them have a night alone together at a bar, at home, cooking dinner, getting takeout, talking on the patio in a porch swing… with zero “will they/won’t they.”

7. The likable bigot

I’m actually on the fence with this one but it’s something I also don’t see done often enough and I’m adding it for one reason: Bigots aren’t always obvious mustache-twirling villains and the little things they do might seem inconsequential to them, but are still hurtful. So showing these characters is like plopping a mirror down in front of these people and, I don’t know, maybe something will click. They don’t have to be MAGAs to be dangerous, and only writing the extremes convinces the moderates that they aren’t also the problem.

Example: I have a “friend” who recently said something along the lines of “I have lots of gay friends” followed up shortly by “I don’t think this country should keep gay marriage because it’s a slippery slope to legalizing pedophilia.” You know. The quiet part being that she *actually* thinks being gay is as morally abhorrent as being a pedo. But she totally has lots of gay friends. Including one who was driving her during that conversation. (It’s me. Hi. I’m apparently the problem, it’s me.)

She’s absolutely homophobic, but the second she stops announcing it, she’s a very bubbly person. She’s a ~likable~ bigot and thus thinks she can distance herself from the more violent ones.

8. The motherly single father

I say “motherly” merely as shorthand for the vibe I’m going for here. “Motherly” as in dads who aren’t scandalized by the growing pains of their daughters, and who don’t just parent their sons by saying “man up boys don’t cry”. Dads who play Barbie with their kids of either gender. Dads who go to the PTA meetings with all the other Karens and know as much if not more than they do about the school and their kids’ education.

Dads who comfort their crying kids, especially their sons. Dads that take interest in “feminine” activities like learning how to braid their daughter’s hair, learning different makeup brands, going on nail salon trips together. Dads who do not pull out the rifle on their daughter’s new boyfriend and treat her like property. Dads who have guy friends that don’t mock him and call him gay. Dad who does all this stuff anyway and is *actually* gay, too, but the emphasis is on overly sensitive straight men’s masculinity here.

Wholesome dads: a shocking amount of single-parents to female anime protagonists.

9. The parent isn’t dead, they’re just gone

Treasure Planet is an awesome movie in its own right, but what’s even better? This is a Disney movie where the parent isn’t dead, he’s just a deadbeat who abandoned his son and isn’t at all relevant to the plot beyond the hole he left behind for Jim to fill. The only deadbeat dads Disney allows are villains and those guys are very vigorously chasing an aspiration, that aspiration just doesn’t include quality fatherhood. Or motherhood. Disney has yet to write a deadbeat mom, I’m almost certain.

I just wrote a post about the necessity of the “dead parent” cliche, but what is perhaps more relatable because it’s more common, and what earns even more sympathy and underdog points for the protagonist? The hero with the parent who left. Then there’s a whole extra layer of angst and trauma available when your hero can now plague themselves with the question of if the parent leaving is their fault. Death is usually an accident. Choosing to abandon your kid is on purpose.

10. Victim who isn’t victim-blamed or told by their friends (and the narrative) to forgive their abuser

Izuku Midoriya lost so much support from me the moment he told his friend, bearing the consequences of domestic violence across half his face, that Midoriya thinks he’ll be ready soon to forgive his abomination of a father. I am firmly in the “Endeavor is a despicable human and hero” camp and no I’m not taking criticism. I audibly gasped when I heard this line and realized Deku was serious. Todoroki needs friends like the Gaang to remind him that he's allowed to hate the man who's actions caused the burn scar across his f*cking face.

I understand that the mangaka apparently didn’t anticipate the vitriolic backlash toward Endeavor during his debut and reveal of his parenting tactics but the tone-deafness of telling a fifteen year old with crippling emotional management issues and a horrible home life that his abusive dad in any way deserves and is entitled to forgiveness on the grounds of being related is disgusting.

Take it back further to a more famous Tumblr dad: John Winchester. Another despicable human who got retroactively forgiven by his sons after his death in a “he wasn’t so bad, he really did try” campaign. It’s one thing if the character believes it, it’s a whole different matter if the narrative is also pushing this message.

Katara is a perfect example: She lets go of her grudge for her own peace of mind and stops blaming Zuko for something he had no hand in, stops blaming him simply because he’s a firebender and he’s around to be her punching bag. She doesn’t forgive the man who killed her mother, because that man doesn’t deserve her forgiveness. Katara heals in spite of him, not because of him, and had she let him off the hook, she would have gotten an apology for getting caught, not for what he did (which is exactly what happened).

#writing advice #writing resources #writing tips #writing tools #writing a book #writing #writeblr #character design #character development #aragorn #pixar cars #kung fu panda #lilo and stitch #treasure planet #atla #katara #my hero academia

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moeitsu · 1 day

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If your only argument for shipping Arthur and John is “well they’re not real” stay the hell away from me.

I’m not even going to get into why IT IS incest. But here’s my take nonetheless:

Shipping incestuous relationships, even among fictional characters, is ethically problematic. It normalizes taboo behaviors and can distort perceptions of healthy relationships. Incest is universally recognized as harmful due to the potential for exploitation, abuse, and genetic risks. Romanticizing such relationships in fiction risks trivializing these serious issues. Choosing to ship incestuous relationships, even in fiction, perpetuates a harmful misconception and undermines the effort to cultivate a respectful and understanding narrative.

Misinterpreting a familial bond between characters raised as siblings as romantic chemistry reflects a misunderstanding of a healthy adult relationship.

It's important to be able to distinguish between different types of relationships. Such as recognizing the boundaries between familial love and romantic love. When people romanticize these sibling-like relationships, it blurs these distinctions. And it creates misconceptions about appropriate relationship dynamics.

This misinterpretation underscores the need for highlighting the role of media literacy in appreciating diverse human connections. Portraying and perceiving these characters' relationship as romantic undermines the value of familial bonds and may foster unrealistic expectations in adult relationships. It's crucial for audiences to acknowledge and respect the various meaningful connections that extend beyond romantic narratives.

I’m sorry if this reads like an essay, but as someone who’s taken media literacy classes in college and grown up in the Superwholock fandom, I have a lot to say on this topic. Engaging with fandoms and media since a very young age has deepened my understanding of how narratives influence societal norms and personal perceptions. It’s fascinating yet concerning to witness how certain portrayals in media can impact a fans interpretations and behaviors.

I want this to be open for discussion, because I think it’s important to promote a healthy and thoughtful consumption of media. As well as contribute to healthier representations and relationships in media and storytelling.

That’s it, goodnight, sleep tight, and be kind.

#arthur morgan #rdr2 #red dead redemption 2 #ao3 #arthur morgan x john marston #morston #john marston #abigail marston #shitpost #shipping discourse #discussion #let’s discuss #rdr2 dutch #rdr2 fanfic #arthur morgan rdr2 #red dead redemption community #red dead fandom #fandom

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flower-boi16 · 2 days

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Lily and Mikila saying that Hunter is bad for being an "overdone trope" is so weird to me because like. Aren't ALL character archetypes over done??? In fact, this same logic can be applied to other characters within the show itself. Luz Noceda is an overdone trope; she's the bubbly "quirky" female protagonist who is also very kind and empathetic.

Her character archetype is actually more over done than Hunter's when you really think about it, especially in terms of Disney protagonists in the 2010s and early 2020s. Amity Blight is also an overdone trope; a bully character who goes through a redemption arc and becomes one of the main characters. Also has abusive parents as a way to explain their behavior and earn them sympathy from the audience. Amity's archetype, like Luz's, is arguably more overdone than Hunter's in a lot of media even outside of Disney.

Of course, this isn't exactly a bad thing; tropes are tools after all, and you can make generic ideas work with the right execution. Luz and Amity execute their respective archetypes well due to them having real depth and development over the course of the show, and, guess what? Hunter also executes his archetype pretty well too.

Story tropes are not inherently good or bad, they exist in every story and can be used effectively to create a compelling narrative, so docking points from a character for being a "over done trope" feels like a very bad faith critique, since, again, this same logic can be applied to other characters within the show.

Lily's only problem is that Hunter is an archetype she doesn't like and therefore her critique is heavily biased.

....Also he's an "angsty white boy" and Luz and Amity aren't. Sorry, I almost forgot.

#the owl house #toh #toh hunter #luz noceda #amity blight #lily orchard #I'm really sick of this women's double standards in regards to this specific character #like when will she just admit that she only hates Hunter for being white and nothing else

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speaknowtaylor · 2 days

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I think I've come to the conclusion for why I feel the need to express that I don't like Travis Kelce or that I don't want to be associated with him. After seeing him liking Trump posts, how he talks about women and how I generally don't like his attitude and behavior I voiced that I personally find this man problematic which led to swifties coming at me with "I think it's way worse that Joe Alwyn said this and that". (Which I agree with that the one thing Joe Alwyn said was ideed a very weird way to point things out but this isn't the point of the post). First of all. Why did my criticism of Travis Kelce made you assume I like Joe Alwyn? This implies that Taylors life is like twilight. The first question someone asks you. "Are you Team Edward or Team Jacob". Secondly, Joe and Taylors relationship was not advertised to me (by third parties). No one wanted me to buy merch of a relationship, T-Shirts, Magazines, Books, sports jerseys. While Taylor was dating Joe, no one of my friends, in the office or online would ask me "Oh you are a swiftie, so have you seen conversations with friends?" Meanwhile I got asked if I've seen the Super Bowl several times. While Joes and Taylors relationship was a topic in the fandom, nobody outside of the fandom really cared about anything. People associated me with Taylor Swift and her music. But now "Tayvis" is the american dream, THE couple and people assume I, as a Taylor Swift fan, should care about that. Why? I like Taylor. I love her and her music. I am well aware that I am her customer and I somehow consume her. Yet I respect and love her as a person that I don't dare to tell her "don't date this man" or anything like that. This is her personal life and personal decision and should not be any swifties or persons business. But what I can do is say "I don't want to be associated with this man. I like HER not him." Because people HAVE associated me being a swiftie with him. I do want to distance myself from this american football world and him. I have every right to say it. If this is something that leads you to have a metal breakdown and confront me with "You don't want Taylor to be happy" or find excuses for the things he said and has done because the do not fit the narrative of your perfect boyfriend story - that's on you. I don't consume Taylor as a fictional character. I do know who her boyfriends are and am aware about her relationships and ups and downs from her songs. But my morals don't change with the man she is dating. I am not dating him. He does not affect my life because Taylor "put him on the map" for swifties. These are real people, I find it scary to be "a fan" of this and defend a relationship I know nothing about. I also would suggest swifties to not fall for him too hard like you did with Joe Awlyn because it seems like you are not really over your parasocial relationship with that man too and it's showing.

#taylor swift #travic kelce #joe awlyn

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karniss-bg3 · 17 hours

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Salute, Larian Studios

Heya folks! It’s been a while, I hope everyone is doing well. I’m breaking my hiatus to discuss the recent announcement made by Larian Studios on their steam development blog. I will add the link here for those who wish to read the blog in its entirety but be warned, there are patch seven spoilers within. I wish to focus on a particular section in the final three paragraphs of the document, which reads as follows:

“Being given the chance to develop a game set in the Dungeons & Dragons universe has been a dream come true for all of us. But as Swen recently confirmed, we won't be introducing any major new narrative content to the story of Baldur's Gate 3 or its origin characters and companions, nor will we be making expansions or Baldur’s Gate 4. As an independent studio since 1996, we value the freedom to follow our creativity wherever it leads. In this case, after six years in the Forgotten Realms and much discussion and rumination, we’ve decided to seize this opportunity to develop our own IPs. We’re currently working on two new projects and we couldn’t be more excited about what the future has in store. It’s still early days - we’ll tell you more about those later down the line. But know that even as our focus turns to these new games, the sensibilities that brought you Baldur’s Gate 3 are alive and well here at the Larian castle. We’re fueled by the very same fire in our bellies, one that drives us to create immersive experiences shaped by your choices, and we can’t wait for you to join us on this next adventure.”

I will admit, when I first read this I felt a tinge of disappointment. As someone who had a lot of hope in seeing some stories continued, Kar’niss especially, this feels like the once open door is now sealed shut permanently. To be entirely fair, I always looked at an expanded Kar’niss story with skeptical optimism; hope for the best but expect the worst. After all, Kar’niss was designed as a throw away plot device that had no real bearing on the over-all narrative. Most of what has been derived of the character is entirely fan driven and not based on anything confirmed by Larian as a whole. Furthermore, there were many fan favorites that had a larger base than our dear drider and chances are even if Larian did decide to do an expansion, Kar’niss still wouldn’t make the cut.

With that said, I respect Larian in their choice. To expand on other characters would cost a lot of money and time. To juggle that alongside making new games would be unrealistic, and I understand their point of view completely. We also don’t know what is going on behind the scenes which could’ve influenced their choices all the more. Over all this situation mirrors the old saying, “Don’t cry because it’s over, be happy that it happened.” I am happy, and grateful. Without Baldur’s Gate 3 this blog wouldn’t exist. All of the amazing interactions I’ve had over several months would’ve never occurred, nor would I have found the courage to publicly publish stories to the internet. While I don’t consider myself an awful writer, I never believed my work was good enough for those outside of my personal circle. To say that my confidence has blossomed over the last few months is an understatement, and I owe that to the fantastic support of those in the fandom as well as those close to me. From the bottom of my heart, I thank you.

With Larian closing up the BG3 shop after the next few patches the question becomes, what’s next? For me, I don’t know. Sadly I’ve been swamped lately and it’s not destined to slow down until the middle of May. By then I hope to have a sufficient breather so I can return to projects I’ve left on the back burner in the interim. The Kar’niss blog will remain in place along with all of the archived stories, theories, and miscellaneous posts that are present. I still have a few writing requests that have waited a lot longer than I anticipated, so forgive me for the delay. I may also make a new blog that is dedicated solely to writing and other fandoms of interest. When the time comes I’ll post it here and folks can follow it if they wish but I’ll understand if not. Regardless of what the future holds, I am very stoked with the experiences I’ve had within the Baldur’s Gate 3 fandom. I’m a painfully shy individual and I am not a spotlight seeker by any stretch of the imagination. This section of the internet allowed me to expand my horizons a bit proving that you can indeed teach an old writer new tricks.

I look forward to seeing what is in store for Larian Studios. So long as they stick to their passion for making good games and treating their customers like people instead of money cows to be milked, then I will support every game release that comes in the future. While I’m sad that the many questions I had about Kar’niss will go unanswered, at least the drider will live on through the stories, art and other creative works made by his fans. In that way he is eternal, as are all of the other characters we’ve grown to love over this journey.

I hope to return on a more regular basis soon. Until then drider army, take care of yourselves and thank you for your continued support.

#baldur's gate 3 #kar'niss #bg3 #karniss #drider #baldurs gate 3 #larian studios #steam #essay #writing #I've missed posting here #the chaos on my end should be over soon #I hope

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ask-the-prose · 2 days

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Writing Mental Health With Compassion

I've gotten a few questions regarding depicting characters with mental health challenges and conditions and I wanted to expand a little more on how to depict these characters with compassion for the real communities represented by these characters.

A little about this guide: this is, as always, coming from a place of love and respect for the writing community and the groups affected by this topic at large. I'm also not coming at this from the outside, I have certain mental illnesses that affect my daily life. With that, I'll say that my perspective may be biased, and as with all writing advice, you should think critically about what is being told to you and how.

So let's get started!

Research

I'm sure we're all tired of hearing the phrase "do your research," but unfortunately it is incredibly important advice. I have a guide that touches on how to do research here, if you need a place to get started.

When researching a mental health condition that we do not experience, we need to do so critically, and most importantly, compassionately. While your characters are not people, they are assigned traits that real people do have, and so your depiction of these traits can have an impact on people who face these conditions themselves.

I've found that reddit is a decent resource for finding threads of people talking about their personal experiences with certain illnesses. For example, bipolar disorder has several subreddits that have very open and candid discussions about bipolar, how it impacts lives, and small things that people who don't have bipolar don't tend to think about.

It's important to note that these spaces are not for you. They are spaces for people to talk about their experiences in a place without judgment or fear or stigma. These are not places for people to give out writing advice. Do NOT flood subreddits for people seeking support with questions that may make others feel like an object to be studied. It's not cool or fair to them for writers to enter their space and start asking questions when they're focused on getting support. Be courteous of the people around you.

Diagnosis

I have the belief that for most stories, a diagnosis for your characters is unnecessary. I have a few reasons for thinking this way.

Firstly, mental health diagnoses are important for treatment, but they're also a giant sign written across your medical documents that says, “I'm crazy!” Doctors may try to remain unbiased when they see mental health diagnoses, but anybody with a diagnosis can say that doctors rarely succeed. This translates to a lot of people never getting diagnoses, never seeking treatment, or refusing to talk about their diagnosis if they do have one.

Secondly, I've seen posts discuss “therapy speak” in fiction, and this is one of those instances where a diagnosis and extensive research may make you vulnerable to it. People don't tend to discuss their diagnoses freely and they certainly don't tend to attribute their behaviors as symptoms.

Finally, this puts you, the writer, into a position where you treat your characters less like people and story devices and more like a list of symptoms and behavioral quirks. First and foremost, your characters serve your story. If they don't feel like people then your characters may fall flat. When it comes to mental illness in characters, the people aspect is the most important part. Mentally ill people are people, not symptoms.

Those are my top three reasons for believing that most characters will never need a specific diagnosis. You will likely never need to depict the difference between bipolar and borderline because the story itself does not need that distinction or to reveal a diagnosis at all. I feel that having a diagnosis in mind for a character has more pitfalls than advantages.

How does treatment work?

Treating mental health conditions may appear in your story. There are a number of ways treatments affect daily life and understanding the levels of care and what those levels treat will help you depict the appropriate settings for your characters.

The levels of care range from minimally restrictive and minimal care to intensive in-patient care in a secure hospital setting.

Regular or semi-regular therapy is considered outpatient care. This is generally the least restrictive. Your characters may or may not also take medications, in which case they may also see a psychiatrist to prescribe those medications. There is a difference between therapists, psychiatrists, and psychologists. Therapists do not prescribe medications, psychiatrists prescribe medications after an evaluation, and psychologists will (sometimes) do both. (I'm US, so this may work differently depending where you are. You should always research the specific setting of your story.) Generally, a person with a mental illness or mental health condition will see both an outpatient therapist and an outpatient psychiatrist for their general continuing care.

Therapists will see their patients anywhere from once in a while as-needed to twice weekly. Psychiatrists will see new patients every few weeks until they report stabilizing results, and then they will move to maintenance check-ins every 90-ish days.

If the patient reports severe symptoms, or worsening symptoms, they will be moved up to more intensive care, also known as IOP (Intensive Outpatient Program). This is usually a group-therapy setting for between 3-7 hours per day between 3-5 days a week. The group-therapy is led by a Licensed Professional Counselor (LPC) or Licensed Professional Social Worker (LPSW). Groups are structured sessions with multiple patients teaching coping mechanisms and focusing on treatment adjustment. IOP’s tend to expect patients to see their own outpatient psychiatrist, but I've encountered programs that have their own in-house psychiatrists.

If the patient still worsens, or is otherwise needing more intensive care, they'll move up to PHP (Partial Hospitalization Program). This can look different per facility, but I've seen them to be more intensive in hours and content than IOP. They also usually have in-house psychiatrists doing diagnostic psychological evaluations. It's very possible for characters with “mild” symptoms to go long periods of time, even most of their lives, without having had a diagnosis. PHP’s tend to need a diagnosis so that they can address specific concerns and help educate the patient on their condition and how it may manifest.

Next step up is residential care. Residential care is a boarding hospital setting. Patients live in the hospital and focus entirely on treatment. Individual programs may differ in what's allowed in, how much contact the patients are allowed to have, and what the treatment focus is. Residential programs are often utilized for addiction recovery. Good residential programs will care about the basis for the addiction, such as underlying mental health issues that the patient may be self-medicating for. Your character may come away with a diagnosis, or they may not. Residential programs aren't exclusively for addictions though, and can be useful for severe behavioral concerns in teenagers or any number of other concerns a patient may have that manifest chronically but do not require intensive inpatient restriction.

Inpatient hospital stays are the highest level of care, and this tends to be what people are talking about when they tell jokes about “grippy socks.” These programs are inside the hospital and patients are highly restricted on what they can and cannot have, they cannot leave unless approved by the hospital staff (the hospital's psychiatrist tends to have the final say), and contact with the outside world is highly regulated. During the days, there are group therapy sessions and activities structured very carefully to maintain routine. Staff will regulate patient hygiene, food and sleep routines, and alone time.

Inpatient hospital programs are controversial among people with mental illness and mental health concerns. I find that they have use, but they are also not an easy or first step to take when dealing with a mental health condition. Patients are not allowed sharp objects, metal objects, shoelaces, cutlery, and pens or pencils. Visitors are not allowed to bring these items in, staff are not allowed these items either. This is for the safety of the patients. Typically, if someone is involuntarily admitted into the inpatient hospital program, it is due to an authority (the hospital staff) deeming the patient as a danger to themselves or others. Whether they came in of their own will (voluntary) or not does not matter in how the program operates. Everyone is treated the same. If someone is an active danger to themselves, then they may be on 24-hour suicide watch. They are not allowed to have any time alone. No, not even for the bathroom, or while sleeping, or during group sessions.

Inpatient Hospital Programs

This is a place of high curiosity for those who have never been admitted into inpatient care, so I'd like to explain a little more in detail how these programs work, why they're controversial, but how they can be useful in certain situations. I do have personal experience in this area, but as always, your mileage may vary.

When admitting, hospital staff are the final say. Not the police. The police hold some sway, but most often, if someone is brought in by the police, they are likely to be admitted. They are only involuntarily admitted when the situation demands: the staff have determined the person to be an imminent danger to themselves or others. This is obviously subjective, and can easily be abused. A good program with decent staff will do everything they can to convince the patient to admit voluntarily if they feel it is necessary, but ultimately if the patient declines and the staff don't feel they can make the clinical argument that admittance is necessary, the patient is free to leave. It should be noted that doctors and clinicians have to worry about possibly losing their licenses to practice. They don't want to fuck around with involuntary admittance if they don't have to, and they don't want potentially dangerous people to walk away.

Once admitted, the patient will have to remove their clothing and put on a set of hospital scrubs. These are mostly made of paper, and most often do not have pockets, but I have seen sets that do have pockets (very handy, tbh). They are not allowed to take anything into the hospital wing except disability-required devices such as glasses, hearing aids, mobility aids, etc. Most programs will require removing piercings, but not all of them, in my experience.

The nurses will also do a physical examination, where they will make note of any open wounds, major scars, tattoos, and other skin abrasions that may be relevant.

The patient will then be led to their bed, where they will receive any approved clothing items from outside, a copy of their patient rights, and a copy of the floor code of conduct and rules, a schedule, and any other administrative information necessary for the program to run efficiently and legally.

Group sessions include group-therapy, activities, coping skills, anger management, anxiety management, and for some reason, karaoke. There is a lot of coloring involved, but only with crayons. A good program will focus heavily on skills and therapeutic activities. Bad programs will phone it in and focus on karaoke and activities. Most hospitals will have a chaplain, and some will include a religious group session. I've never attended these, so I can't speak for them.

Unspoken rules are the hidden pieces of the inpatient programs that patients tend to find out during their first visit. There is no leaving the program until the doctor agrees to it. The doctor will only agree to it if they deem you ready to leave, and you are only ready to leave if you have been compliant to treatment and have seen positive results in the most dangerous symptoms (homicidal or suicidal ideations). Noncompliance can look like: refusing your prescribed medications (which you have the right to do at any time for any reason. That does not mean that there won't be consequences. This is a particularly controversial point.), refusing to attend groups (chapel is not included in this point, but that doesn't mean it's actually discounted. Another controversial point.), violent or disruptive outbursts such as yelling or throwing things, and refusing to sleep or eat at the approved and appointed times. All of this may sound like the hospital is restricting your rights beyond reason, but I've seen the use, and I've seen the abuse. Medications are sometimes necessary, and often patients seriously prefer having medication. Groups are important to a person's treatment, and refusing to go can be a sign of noncompliance or worsening symptoms. If someone is too depressed or anxious to go to group, then they're probably not ready to leave the hospital where the structure is gone and they must self-regulate their treatment. Violent or disruptive outbursts tend to be a sign of worsening symptoms in general, but even the best of us lose our tempers from time to time when put into a highly stressful situation like an inpatient hospital stay. The hospital is supposed to be a place of healing, for many it is. But for many more, it is a place of systematic abuse and restriction.

Discharge processes can be long and arduous and INCREDIBLY stressful for the patient. Oftentimes, they won't know their discharge date until the day of, or perhaps the day before. Though the date can change at any time. The discharge process requires the supervising psychiatrist to meet with the treatment team and then the patient to determine if the patient had progressed enough to be safely discharged. Discharge also requires a set outpatient plan in place, such as a therapy appointment within a week, a psychiatrist visit, or admittance into a lower level of care. This is where social workers are involved. Patients are not allowed access to cell phones or the internet. They cannot make their own appointments with their outpatient care providers without a phone number and phone access. Some floors will have phone access for this reason, others will insist the social worker arrange appointments and discharge plans. Social workers are often incredibly overworked, with several patients on their caseload.

The patient cannot be discharged until the social worker has coordinated the discharge plan to the doctor's approval. Most often, unfortunately, the patient rarely receives regular communication regarding the progress of their discharge. I've been discharged with as much as a day's notice to two hours notice.

Part 2 Coming Soon

This guide got longer than expected! Out of respect for my followers dashboard, I will be cutting it here and adding a Part 2 later on.

If you find that there are more specific questions you'd like answered, or topics you'd like covered, send an ask or reply to this post with what you'd like to see in Part 2.

– Indy

#writing advice #writing tips #writing resources #writeblr #amwriting #asktheprose #ask the prose #writing mental health #mental health #writing with compassion #writing mental illness #writing compassionately

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lemotmo · 2 days

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I think yall are seeing it as him leaving, because that's what you want. They haven't written all the episodes, there is still a very real chance he'll be around.

Okay, nonny. I'm about to leave for work, but I really wanted to reply to your ask, before I leave.

First of all, goodmorning. Hope you'll have a great day today.

Second, I meant it when I said that I really like Lou. I'm sure he's a great guy and he seems happy to be part of this Buck storyline.

However, you're right. I don't really want him to stick around for very long. And that's my right, isn't it? We can't all like the same things. That would make fandom a boring place. See, for me, and mind you, this is only my humble opinion and I recognise that I could be wrong, he really is there to just be a plot device. Most plot devices don't stick around too long on 911. We've seen that in the past.

I've been honest that I really don't vibe with his character Tommy and the Buck/Tommy storyline. Do I want Buddie? Sure, of course I do. But I can appreciate other storylines if they serve the narrative. So I do actually don't mind Buck/Tommy for now because it has been clear from the beginning that Tommy is there to serve a purpose. He needed to be the strong confident guy to help Buck out of the closet. That was his purpose.

Buck is still on that hamster wheel at the moment, the only difference it... this time it's a guy he's dating. Tim has stated in an interview that he wants Buck off the hamster wheel. Well, up until now this hasn't happened.

So yes, I do think Lou won't be in that many more episodes. I guessed 7x07, but you're right, it could be a little longer. But in the end, he will leave. So, let me turn this around on you:

"I think y'all are seeing it as him staying longer, because that's what you want."

See what I did there? It's the same thing. None of us know what's going to happen on the show. So, we'll let ourselves be surprised. If you're right that he's staying on a few episodes longer, I will be a little disappointed, but I'll be fine because I'm a grown woman who has no time to hate or bash on characters or ships. If I'm right, I'm sure a lot of people who like Tommy and Buck/Tommy will be disappointed as well. And that's also fine, because, just like me, you'll move past it eventually.

Let's just wait and see for now. And remember, it's okay for people to speculate about characters, ships and story arcs, as long as they stay respectful towards them. And that is all I've been doing.

#911 asks #buddie #lou ferrigno jr #Tommy Kinard #911 abc #I'm getting too old for this sh*t #Bucktommy story arc

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aheathen-conceivably · 2 days

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Ok so I read the post on your thoughts on Gio and the American Dream and I hate to say it … as an immigrant, I understand him.

I also come from a culture where women tend to their male partner's needs and I don't believe he wants to turn Jo into a subservient wife. He fell in love with a lively, free, and wild Jo and loves that aspect of her.

At the end of the day she loves him too so why would she leave? I understand she doesn't like to be dependent of him but where else would she go? There are no parties or glamour, which was her whole thing, anymore. At least the farm offers stability in the economic crisis.

Point is, I understand Gio as an immigrant, but don't understand Jo as a woman.

BABES! We’ve got another one…

(As in me being touched and having no other means to say how much I love y’all takes other than to give them a standing ovation in GIF form).

But you know…there’s a whole lot to break down here, friend, especially about Jo. I think you know what that means! Under the cut we go….

First and foremost, I very much appreciate you saying you understand that aspect of Gio. I did in part write him as a commentary on the immigrant experience in America (filtered through his own personality/character of course), and so to know that is relatable means a lot to me. I don’t think it’s a spoiler to tell y’all his journey is far from over, and you can already see the cracks in his outlook beginning to form. Whenever Jo is depressed he says this quite vividly:

Because you are very, very correct. This isn’t about molding Jo into some subservient housewife, or even eroding those exact qualities that he loves in her. This is about Gio attempting to square what he’s been taught/believes will bring his life happiness and meaning with his own experience and emotions. It’s about the myth of the American dream and the perfect housewife and the very real struggle of those things existing as actual, lived realities.

Because at the root of it, Gio is amalgamating an understanding of his own family unit and what he knows he doesn’t want in this country. He has seen another methods of “making it” in America, and so he thinks if only he can make the “right” choices, he can avoid that, and become the respected and happy man that he wants to be.

Now onto Jo, boy oh boy, Jo….

I think one of the core misunderstandings here is that Jo wants stability. This is kind of the crux built into her desire for control and her never-ending failure to achieve it. She wants to control her surroundings, to make sure nothing and no one can hurt her, but she also wants to feel in a way that is hard to find in a stable, heavily domesticated life. On the flip side, despite whatever imaginary dream Gio has, he’s the same way. They both want a life filled with excitement and new experiences, new people and rushes of emotions. This is one of the ways they differ heavily from Antoine and Zelda.

Now on one level, this is simply the way Josephine is. She’s high energy, fun loving, and insatiable. But on a deeper level, this is tied into her experiences not only as a woman, but as a daughter. She has a brief moment of clarity in that last post where she realizes:

Now I have chosen not to go too in-depth on Josephine’s trauma, but you can see her lay out the course of events here and also her deep hesitation to any of it here. Josephine is still only a teenager in that second post. Her mother not only told her things like that (“this is the weight that prejudice and expectation have placed upon us”) but also “what do you want to be then? Some glorified maid to a man?” (Which, frankly, I can write another Ted Talk about the juxtaposition here, but I think ya'll can pull some threads).

So when you see Josephine’s struggle with control, this is heavily rooted in bodily autonomy. Now all things considered, Josephine has managed to make great strides toward reclaiming this and reasserting not only her sexuality, but also her sense of self in her body. Gio knows this. We see him recognize and respect it quite clearly in that last post. He’s been part of that process for her, and that only adds another element of love, trust, and safety between them.

But on a fundamental level, neither Gio nor Josephine has made the connection between that trauma, her own personality, and why she hates her life now so much:

Here’s the issue right now: Josephine doesn’t feel like she’s living her own life. We have seen how she would like to live in the 20s not just in the parties and glamour, but when she was managing bands. She wants to be fulfilled professionally, through helping people/places she believes in and bettering her own life by bettering theirs. That’s how she gets her joy, and that’s what she would chose to do if given the chance.

And right now, she does not feel like she gets to chose. You’re correct in that part of that is coming from the current economic situation. Again, she sees that herself here. She knows what demons are waiting outside her window, and how easily poverty can make them rearise. That only makes it worse. It doesn’t make the smell of bread (domestic security) any better or more comforting. It makes it bitter, because she didn’t chose it. She was backed into a corner by circumstance (and, as she can sense, by the choices men made for her without telling her), and now she feels like she can’t say no. That’s her ultimate trigger.

Now whether or not that loss of control is simply perceived, or should be offset by how “lucky” she is to be in a stable position in such precarious economic times, we might all have different options on. Even more, I’m sure each of us would answer differently for ourselves in that situation. I know I would. But for Josephine? Not only is this a life she will never find joy in, because even without her trauma, she is an ambitious, restless, and outgoing person with different goals for herself; but that added memory and pain makes her reaction to it all the more volatile.

Perhaps most importantly, Jo feels as though her life is being controlled again, whether by Gio, the reality of the world outside her window, or by her own guilt/love that makes her feel beholden to the people around her (just like it did to her mother). Because you’re right, she does love him. She wouldn’t leave because she doesn’t. If she leaves now, it would leave because she panicked, because she feels like she’s lost all the autonomy she worked so hard to regain and she’ll never feel the fulfillment she felt when she was successfully independent ever again. That’s the element I hope we can understand, even if it’s not what we would do.

#okay THAT might be my longest Ted Talk yet 🤣#which if you’re actually reading you really deserve a tshirt let’s be real #and I’m so very sorry they’re so long #I try and infuse them into all the posts but like to condense it and write it all out clearly can be so helpful sometimes #for me too let’s be real #and like I want them to have a real solid base before we move into ~the great unknown~#anywho there’s a number of threads I could have touched on here that I didn’t for ~time~#but if you’d like to go through the #Josephine Duplanchier extra #tag there’s some good stuff there too 😉#Giorgio Mistretta extra #also #*ahem*#does it REALLY offer stability in the economic crisis?#y’all remembering what I’m remembering? 😬#ain’t a true American dream without a healthy serving of debt aint it

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diazfox · 3 days

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(A tentative guess about your BuckTommy vs Buddie post)

I guess a big part of it is because it's canon ? It's canon and it seems to work, and it seems to be make Buck calm and fluffy and happy in a healthy way, which is what a lot (all ?) of us want. So we can get behind that, for now.

Your "why not a similar support behind his exes / fetishizing MM relationship" question is valid and i think the difference is because it's the first time someone Buck dates seems to really fit with him without having something that we can pre-shot is going to be a problem, and the first time he goes into a relationship (getting myself ahead of things there) without it being to heal something in him ? And as I've read other people point out, Tommy's not silo-ed out, he has a backstory with the Begins episodes, he is friends with some of the 118, so it makes him less of a plot device than Buck's female exes.

And about the second part, the fetishizing part, i think sadly it's just a real thing that happens here, on tumblr and in fandom spaces : men are seen enjoying being together and fandom smooches them together together. One could even argue that it's the same for Buddie, wanting them to be together together when canon just factually says they are BFFs. I don't think anyone is erasing anything, but all that is canon about Buddie is that they are BFFs (a lot can be read as more that friends but ultimately it's with shipping goggles on, only - i'm not a very optimistic person, though).

I guess some of us think that if they didn't make Buddie happen for this long, then it may be because it is meant to stay on the fandom shipping side ? And we're given this incredible chance to have a canon lgbt character with an unusual story of self-discovery that doesn't happen a lot in tv shows so we're just enthusiastic to go with the flow ?

And if it turns out that the writers have the guts to get Eddie his own self-discovery journey, and if that later leads to Buddie happening somehow, then I think all BuckTommy shippers will be glad that it finally happened, and that it is canon, and is finally the Truth.

damn, thanks for your insight! i do see how things being canon and properly canon (like Tommy having a "backstory") can cause shifts in perspectives looking into the future.

i 100% understand why some might think buddie is a form of fetishization too. ngl i've seen strong arguments like "why can't 2 male characters share a strong emotional bond platonically? why does it have to lead to romance?" i guess my main reason for bringing up fetishization with respect to bucktommy is the fact that they are quite lacking in the "strong emotional bond" department. so it feels pretty much like "2 hot guys kissing and touching each other hell yeah" to me.

but i realise i'm overlooking the fact that this is bi buck's first relationship, though. i forgot to consider the fact that majority of this support for tommy comes from the fact that this is the first love interest of buck's to whom he can give all of himself and get twice as much with all the freedom in the world AS A BI MAN. thank u for putting me on to the fact that i've been misinterpreting this enthusiasm to some degree.

thats not to say that just bc something is canon or just a headcanon everything is set in stone. writers and actors themselves have made it very clear time and time again that audience reactions and engagement matters when it comes to plot development. in your own line of thought, right until 7x 03 they didn't make bi Buck happen for so long. so would u say it was meant to stay merely on the fandom shipping side? i just think the possibilities are endless, and maybe we as a fandom can try to have a bit more resilience to see through fan-originated storylines instead of a "i'll just go with whatever is canon bc it's easier" ethic.

#911 #911 on abc #evan buckley #buddie #911 abc #eddie diaz

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doomed-era · 17 hours

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I Ramble About Revali and Groose

i don't actually expect people to care about minor characters or side characters in any other media franchise i'm in, but with loz i tend to get annoyed with people if they clearly only care about zelda and link, and it has to do with how the games frame side characters post-fujibayashi

so revali and groose are part of a common ongoing narrative trope in zelda games of someone who's on the good guy team but is somewhat antagonistic or "mean" to link for whatever reason. you get this with mido and (somewhat) with tetra and her crew and midna. the difference between these characters and groose/revali is in why they don't like link. mido is pretty much a bully who has never liked link because he's just different from the other kids—he is an eternal child, so this makes sense —tetra is skeptical that link can actually do anything in the forsaken fortress initially, and midna wants to use link (and to extent, the legend/narrative itself) for her own ends.

groose and revali don't like link because he's the main character, and they're right. groose clearly despises link because while he's exceptionally lazy and disinterested, everyone likes link, and the youth succeeds even when he doesn't try. later on, this turns into frustration that link is part of some grand scheme and he's...just not. he is a secondary character in-universe, and according to impa the best thing he can do is help on the sidelines. he is a big help, and a very lovable character in his own right, but he's fundamentally trapped in his own narrative.

revali is VERY similar to him in this regard, except he's aware that he's a supporting character (a champion) from the start, and hates link specifically for it. unlike groose, he never really does anything about it besides be somewhat snide, and eventually admits that link might be an okay hero when the rito champion is dead and can't do anything besides fire a big laser anyway. link has been groomed since he was a child to become a knight: his father's a knight, he pulled the master sword when he was twelve, iirc he might have joined the royal guard at an extremely young age, and everyone seems to have a great deal of respect towards him. revali is an extremely skilled archer and pushes himself to the limit, but he wasn't born into it or led down that path like link, so he has to play second fiddle.

now, I don't think characters being side characters is bad. I don't think revali or groose even being side characters is bad. but I certainly don't like how it frames their desire to be more than that as...well, bad. it really reinforces my reading of post-skyward sword games as correct; characters are expected to know their place in the narrative and not strive for more or try to break out of their little boxes, and if they do, they're villainized or it's treated like a character flaw. I don't think they were necessarily right to resent link for something that's ultimately out of his control, but what else are they gonna do?

but, according to the narrative, the only thing they can do is help those chosen by the gods, those chosen to lead, as they were chosen to bend to their will. they are cosmically unimportant, and they will never be worth paying attention to. the reason i tend to prefer people who actually look at characters that aren't link and zelda and try to examine them is because they're kind of going against the narrative itself, which really wants to push the idea that only zelda and link are important, ganon is just there to be an adversary and doesn't have any real grievances, and the only thing that matters is keeping hyrule and hylian supremacy intact.

#glider rambles #zelda meta

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kyouka-supremacy · 4 months

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Again the sickness speaking but here's something that has been going through my mind since forever:

I feel like a good way to mitigate a lot of discontent with the doa arc ending and in general the whole Dazai-being-flawless issue bsd has going on is by comparing bsd to Sherlock Holmes by Arthur Conan Doyle. Please bear with me for two minutes.

When Sherlock Holmes was being published, people were intrigued and enamoured by Holmes' brilliant and charming, crimes-solving figure. People read the stories for the pure joy of being left gaping at his superhuman wits again and again; they didn't want to see him fail, they wanted to be shocked and amazed by his genius. When Holmes died and then came back, nobody lamented it being unrealistic, because realism was not what people were reading the books for! They were reading to be impressed, to cheer for the hero and then take satisfaction in seeing him turn out victorious. That's the author-reader deal that was made there: to impress and to enjoy being impressed.

As of recently I feel like we've been asking from bsd something it never promised us in the first place. Maybe it's just not that kind of series! Maybe it's more about surprising the reader with how the hero is going to make it and less about highlighting his flaws and insecurities. And like, that's okay! That's why Dazai getting away with it isn't it him getting away with it “again”, it's just how bsd is; in a way, it's what makes bsd bsd.

I think it really clicked with me like it never did before when I watched the last episode of season 5; because the arc ending felt so shocking and unpredictable, very deus-ex-machina trope, a little underwhelming in its lowering the stakes that were there the whole time, and yet so extremely on brand with bsd, I didn't even have it in me to be disappointed. It was so similar to the Guild's arc ending and even more to the Cannibalism arc ending, and maybe it really is just a pattern, maybe it really is what bsd aspires to be, and that's okay too.

Also, I can't stretch this enough: if it's not your cup of tea, that's fine. I can't say it's mine either. But I feel like criticizing bsd now for how it's always been falls quite short, because it really feels like demanding from it what it never promised to deliver in the first place. That's just as far as my current perception of the series goes, though, so feel free to disagree with me on this.

#Btw this is not me comparing Holmes character with Dazai character.#Holmes character is something Dazai character will never be (respectful of women)#The also real difference between Holmes and Dazai is that one author loathes the character with everything that's in them–#and the other author loves the character with everything that's in them #I've also briefly mentioned before that Atsushi is a very Watson-like figure in the way it uses as someone deeply human‚#sympathetic to the reader and that the reader can see themselves in‚#plot device so that Holmes has someone he can explain his deduction to and with his awe further underlines and uplifts Holmes' genius #Also sassy #osamu dazai #bsd #bungou stray dogs #bsd s5 #Wow and here's me putting my season 5 thoughts down after three months. Took a raging fever for me to do so #To be fair when the episode dropped everyone was a bit crazy over the ending for one reason or the other #So back then I felt like waiting things to chill out first #mine #I often find superfluous to end posts with “feel free to disagree with me on this” because it's so obvious and expected it goes unsaid #But I suppose sometimes it bears repeating...

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