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creatingblackcharacters · 1 month

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“That One Hairstyle? RETIRE IT!” Black Hair is an Art (pt.1)

(This is part one of two lessons, with this one focusing on how our hair itself! The next lesson will encompass how to incorporate its existence into your writing. It'd be a massively long post otherwise.)

So! Black hair. Black hair is a CENTRAL, ESSENTIAL part of our culture and identity. Writing and drawing it means understanding the vulnerability and trust that comes with access to it, and yes, it is racist to suggest that ‘it’s just hair’ when our hair serves such an important role in our history and art. I already wrote a mini-lesson and ask on the topic, but being aware of what our hair looks like, and what means to us, will help you to understand why we care that you put in the effort to get it right.

Hair Textures

We are not a genetic monolith! However, for the sake of this series, we are focusing on 3C-4C, because 1) it's most likely to be seen in life and 2) least likely to be seen in popular art! When you are creating your characters, consider the style and care for THESE textures. I will get more into this next lesson.

Let's get into SOME of the hairstyles!

Afros (36 Afro Hairstyles)

“So, what’s the phenomenon behind the Afro? Well, it’s our hair in its most natural form, but that’s only part of the phenomenon. It’s a way to fight the status quo without saying a word.”

-Ebony Magazine, The History of the Afro

When nonBlack society hears ‘afro’, they think completely picked out, Black power imagery, political statement. And it was, and is! But in actuality, afros are just the natural hair growing out of a Black person's head. The same way your hair grows out of your head. Our texture. Even my hair is not allowed to be ‘hair’, it has to ‘assign’ my Blackness; my distance from whiteness. Imagine, the hair growing out of your head being automatically associated with how you should be perceived. Just by existing, it is making a statement in a Eurocentric society.

Braids (31 Braid Styles)

There are SO MANY TYPES of braids and ways to wear them. If you can imagine a design, I bet there's a Black braider that can do it!

CORNROWS ARE NOT AUTOMATICALLY BRAIDS! Internalize this! They may be used in the same style, but they are NOT INTERCHANGEABLE TERMS!

Braids are considered a protective style; that is, a hairstyle designed to let our hair 'rest' and grow without having to manipulate it. If you have a Black character that's constantly on the go and/or doesn't have time to focus on their hair, and you want an accurate, more true-to-life experience for them, braids can be a crucial part of character design.

Locs

(Yes, while that link has plenty of examples, it was also self-indulgent. Locs are gorgeous, Black men with locs are gorgeous!)

"Locs vs Dreads": As someone in the loc community, there’s been a push to refer to the style as ‘locs’, rather than ‘dreadlocks’. Some people with the style will not care, but others take it very seriously, so it’s something to keep in mind. There’s a societal stigma behind having locs, that they’re ‘dirty’ or ‘unkempt’ or ‘lazy’ and that is NOT true. Locs are beautiful, and they take far more effort than people seem to want to believe lmao.

Locs, though there is currently a positive revival, are still highly discriminated against. Kids have been expelled from school and even have had their hair forcibly cut off to be allowed to participate in sports. Many places won't hire you if they think your hair is 'unprofessional' or 'dirty', especially if you're a Black woman. To consider yet another example of the hair that grows out of my head 'dirty' is extremely racist.

LOCS ARE NOT BRAIDS!!!!

Locs are also a protective style, albeit a much more permanent one, and one that comes with a long history and culture behind it. Many Black people consider the biblical story of Samson to be a man with locs, and that our locs hold power within them. That not just anyone should be allowed to touch your locs. So, if you're interested in mythology and powers, that might be an intriguing way to go, that would be possible if you had a Black character with locs!

In Professional Media

The lack of awareness and concern about our hair isn't just a fan or amateur creator experience. It is ubiquitous in the professional media world. Black actors, actresses, and models have discussed having to do their own hair when working, because no one would properly care for it on set if it wasn't familiarly white. It’s admittedly grown better- however! After decades of not having options other than ‘stereotypical afro’, ‘box cut’, and ‘white people hair’, it is LONG PAST TIME to stop settling for the bare minimum in Black character design. We can tell when "one of us" (with some sense, at least) wasn't in the room to make decisions in popular media.

If you were curious about the lesson title, here's a current example of what I'm talking about in video games. Tell me if you see a pattern:

This style? The Killmonger? We seent it!!!! It has become the “hairstyle to show I understand the exaggerated swagger of a young Black teen” option, the "I know the Black people!" go-to, and frankly, we are all tired of it. Okay it was cute on Ekko. The Black Delegation DEMANDS the professional video game industry pick something else! We have SO MANY DIFFERENT HAIRSTYLES!

I'll give you an example on the other end (not trying at all; refer to Lesson 1) from one of my favorite games, Hades:

This is my blorbo. My favoritest guy. I’ll fight for Patroclus being Black til the day I die. While I begrudgingly settled in my excitement, I can tell you no one Black with any voting power was in the room at Supergiant when they approved this design. Why? His texture! Locs were such an easy option if they wanted long hair! Locs existed BEFORE Ancient Greece! The man did not have a flat iron while fighting in a war! A good Black designer would have considered that!

To give him a more accurate design, some artists (myself included) lean into giving him locs (one of my favorites is @karshmallow 's Pat; a phenomenal example in caring about your Black characters). It’s something Black fans find themselves doing- redesigning Black characters. That's not something we should have to do at all, especially in media we pay for!

But if you REALLY want your Black character to have straight hair, that leads into the last style of this lesson:

Straight Hair

We do have straight hair. But it’s not straight because it grew out that way! It will still look and be thicker! It might be a wig or a sew-in (human or synthetic), it might be flat-ironed (while relaxed? While natural?) It takes effort to get and maintain straight hair.

'I think it looks better good this way!'

If you catch yourself thinking this, this is a racist statement. Whether you’re aware of it our not, there is a bias towards Eurocentric/white features in our society, and that includes in our media. When you think “I only drew [this Eurocentric hair texture and style] because I think it looks good on them!” I want you to PAUSE and think about the WHY. WHY do you think that this Black person’s natural features are unattractive in comparison to the white hair texture you gave them? And how hurt might a Black peer of yours would feel hearing that you find their natural features not worth drawing because they’re “not attractive”. It requires approaching your own internal biases, recognizing them, and then working to unlearn them. And that means practice! Using references to draw our hair and styles, and growing used to using OUR features on US!

Doing it in Art

Me personally, I think if you think drawing thinner hair textures is easy, thicker hair textures should be a BREEZE. I was curious, so I challenged myself and-

(it took me about thirteen minutes total to do ol boy's hair and it's still not right. I'm sick fr y'all don't even know 🤢)

@ackee has a really good art lesson on the how-tos of drawing Black hairstyles. I highly recommend checking it out, as well as following and supporting a fellow Black artist (who is far better than I!)

Hair Brushes

Finally, an option you can use for painting is downloading Black hair brushes! Vegalia has an amazing array of brushes with different types of curls, locs, and braids at her Etsy store! You can also follow her on social media to see how she applies them, and support yet another amazing Black creative!

I know this was a long one, but you made it! Just keep going. Remember, it's the thought that counts, but the action that delivers!

#creatingblackcharacters #black art #black characters #character design #black hair #black history #black culture

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erideights · 8 months

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Little pieces here and there (3)

Pairing: Buggy x Fem!Reader (One Piece Live Action)

Chapters: one, two, four, five

Word Count: around 2K again.

Warnings: minimum context of the arlong park part of the story (background), MUTUAL FLIRTING, forbiden pinning of them both, Buggy has his body back *wiggling eyebrows*, sexy times

A/N: devil works hard but i'm working harder, every 5 free min i have from work/class/practices i'm writing on my phone, i'ts actually insane and i love it (ROAD TO CHAPTER 4?? If you like this one and want the next one, please let me know!)

Oh, he was mad. He was really mad.

Maybe "sexually frustrated" was a way more accurate term given the circumstances but the feeling was so strong, so visceral, he was sure he was reaching a point where jumping to the sea to end that agony -even if a bit exaggerated, like him always, everywhere and for everything- was justified.

Somewhere in Arlong Park, Buggy could feel the boner pressing his pants, demanding to be satisfied; dirty talk was one of his true passions and when (Y/N) played that card on him, being capable of picturing himself with her on his lap, that damn woman so -actually- close to his face in that moment he was already tasting her lips, her low, smooth voice driving him insane, he could not help it, but get turned on so easily and so strong is been hours, and he's still mad, incapable of stop thinking about that.

That is, perhaps, the reason he feels relief as soon as the sun rises and Usopp is back on the helm again, asking for directions as Buggy, in fact, demands to go faster. Like instead of slicing and dicing his body, his power could control the wind that propelled the boat or the force of the waves against the hull.

(Y/N) ran away just after such a -even if brief- conversation. She may have broken his balls with that dirty trick, but she was equally a victim of her own game. She knew what to say to push Buggy and leave him so stunned -to speak- that the poor clown didn't have the chance to fight back at that moment, not without his body to help him keep her in that kitchen, lift her up on the counter, force her to back down, regret even thinking she could do that to him, and then, only then, yes, fuck her until she wakes up the rest of her little and - according to him - pathetic crew with her moans.

Or so the girl imagined, leaning against the door of her room, eyes closed, heart slightly racing, fighting the temptation to lie down on the bed and masturbate thinking about what had just happened.

Which included him. Him!! What the hell, was she actually losing her mind? All that damn flirting had really gotten into her, for fucks sake, because regardless of her finding him quite interesting when they met, this attraction was something else.

Lately everything around her was something else. Did she really think through the decision of leaving her mercenary life behind and follow those kids to the Grand Line? Did she really think through the decision of flirting back with a psychopath clown?

Because in the end it's just that, right? Flirting. Was nothing else, is nothing else, and will be nothing else. She doesn’t want it to be something more, that's for sure; there's no need for unnecessary complications and extra headaches. In the meantime, it's fun, a bit of a backfire kind of situation, a bit -sexually- frustrating, but fun.

After a good ol' resting night and already some hours into the new day, (Y/N) notices that it's been a lot, since their encounter in the kitchen to be precise, that Buggy not only doesn't flirt with her, but doesn't talk that much or even look at her as amazed as before. Of course, he is, also, way less annoying, which Zoro subtly points out clearly pleased with how calm, nice and silent this morning is.

At some point she shakes her head, knowing, or at least guessing, the reason for this behavior, so she decides to check no one's around and the rudder is locked in the right direction, and then goes to where the bag with his head is, closed probably by the sniper when he got the last indications he needed from him. She opens it, lowering it until the clown's head is free on top of that barrel.

"How are you doing, Bugs?" she starts with a funny little smile, looking intently at him as she leans her back forward to leave her face level with his. "It's been hours I don't hear your raspy voice, I'm starting to miss it."

Silence. Absolute indifference besides the sidelong glance he gives her because let's face it, Buggy is annoyingly proud, extremely, exaggeratedly, but he loves attention. He likes nothing more than receiving it, no matter where, when, and from who, and she could see it as soon as they met.

"Also your silly nicknames for me" She grants, giving in. She would also be mad as hell if someone leaves her as horny as she knew she left him, so she doesn't have any problem being the one to start the tug-war this time.

"Already tired of the shidiots?" He finally asks, almost drily, after a minute; now he is the one to play difficult, huh? "No wonder, they don't even know where to start being pirates."

"Oh, of course, because no one compares to the famous Buggy The Clown, the colorful nightmare or the East Blue." Playful, she retreats a bit, resting her hip in the barrel, arms crossed over her chest.

"Quit the sarcasm doll, you know I'm right." Well, he was, in fact, right. None of them had real experience in the whole i-wanna-become-a-pirate thing, still, they were doing pretty good to be newbies. She was quite proud of them.

"I cannot wait to have my body back" he then murmurs, adding before she could say anything else about her new friends. "To do what?" She asks, you know, like she didn't know.

"Take a guess"

"Recover your spotlight? Find a new crew and a way to enter the Grand Line to go search the One Piece and be the king of the pirates?" (Y/N) mocks, clearly enjoying being the annoying one this time.

"Yeah, yeah, yeah'' Buggy rolls his eyes, scoffing. ''All that, but not before making you regret what you did last night." To that accusation she gasps, resting her right hand over her chest "What did I do last night?"

The clown falls silent again, but his mood is completely different. Right now he's not pissed off, it's obvious that this time, instead of flirting with her in a casual and natural way, he’s thinking what to say, choosing carefully his words to return a fraction of the effect she had on him hours ago.

His eyes darken, and his voice goes octanes lower and raspier. "Sweetheart, there will be no possible escape from what I plan to do with you. At the slightest opportunity I will make you cum on me so many times you will be the one to find the One Piece without needing to go to the Grand Line, but first…'' He pauses, breathes, and lets it go calmly, like the intimidating, psychopathic calculator she saw at the circus and not that flirty cartoonish version she got to know on the ship. ''you will beg for it."

She knows she shouldn't surrender to this type of tease, but she also can't and doesn't want to avoid it. Getting heavily carried away, without thinking about it twice, one of the girl's hands slides to the back of his neck, slipping under the bandana, and tugs his hair aggressively as she leans in again to speak close to his face. He grunts in pure satisfaction, closing his eyes for a second. Of course (Y/N) is, once again, taking advantage of the fact that he cannot defend himself no being more than a head, and the fact is that he enjoys like a condemned bastard those small but intense gestures the girl has given him since they met at the circus.

He can't wait to break a woman like her. And oh, he will.

"Are you sure about that?" Hearing distant steps, someone from the crew coming out on deck and climbing the stairs, she gets some distance from him, acting naturally, closing the bag again around his head. "My expectations just skyrocketed, I hope you don't disappoint."

By the end of the day, the Konomi Islands begin to appear on the horizon, and as soon as they set foot on them, shits get really serious. The situation of the poor people who live there is heartbreaking, so for two days, no one dares to make a single joke, Luffy's usual energy and bubbly positivity is nowhere to be seen, and of course, the interactions of (Y/N) and Buggy are reduced to = 0. The clown's head is no longer of any real use to them, and it’s poor Sanji, the new recruit, who’s carrying it around just in case.

At least until they reach Arlong Park.

Again, (Y/N) is not exactly the type of mercenary expert in martial arts and although she knows how to defend herself, fighting like Zoro or Sanji is, in few words, impossible. Her only advantage is being very, very fast, and knowing how to use the scenery to her advantage, so it doesn't take long for her to hide here and there among the different tents and attractions in the area to get rid of the most straggler fishmen, with a knife she got long ago during one of her jobs, capable of cutting their tough skin easily.

Everything happens so fast and is so chaotic that apart from some screams and blows in the background and having seen Usopp running towards the forest, (Y/N) is completely unaware of what is happening in the main complex.

A strong pull on her left arm activates her flight or fight response as one last fish falls dead to the ground in front of her. Raising the knife, in a quick movement, she tries to defend herself by aiming at the stranger's neck, although in vain; a pair of lips whose red has already been worn for days impact against hers, stealing her breath, a small moan escaping her. Eyes wide open, she barely registers the blurry color of Buggy's nose when two strong hands squeeze her hips as if the life of the clown depended on it, pushing the girl against the wall of the building behind them, cornering her without any type of delicacy.

She hadn't heard from him since they reached the island. Hell, she didn't even know he had got his full body back and was already so close to it that air was unable to pass between each other.

Of course, the moment the clown's head joined the rest of himself -the feeling much better than he remembered- he fucked off his captors and decided to flee. Not before making a vital stop along the way.

The ideas about how to proceed with her once he was whole were very, very different in his wild fantasies, but when he saw the girl's back, he knew that the only thing that would -partially- calm his yearning would be to kiss her before disappearing as fast as possible. To taste her lips, to feel her warmth.

Still not recovered from the shock of the kiss, Y/N doesn't remove the knife from the clown's neck, but he couldn't care less; quite the opposite. He is so turned on and waited so much -again, exaggerated- for this he doesn't know yet how he will be able to break the kiss, take distance from her, and run away.

Passionately carried away, moved by his most primitive instincts, Buggy sneaks one of his legs between hers, pressing in between them as Y/N inhales through her nose and her free hand flies to his vest, pulling it a little.

It wasn't the time, nor the place, to think about fucking that asshole, but damn, after all the teasing and the tension and the adrenaline of the fight--

And just when she starts fully giving in to him, he retreats just enough, panting a bit, and looks at her now red, stained lips, eyes darkened and full of lust. Just like hers.

"Hate to leave you like this sweetheart but I have things to do and places to go. I don't want people relating me to Arlong, I would hate the bad press on my persona." He whispers, cracking his usual cruel, playful smirk when he finally puts some distance between each other.

‘’It's time to exit stage left.’’ Buggy adds, theatrically raising both hands in the air. ‘’I promise I’ll see you around.’’

And like this, he stars running away again. Where? She doesn't know, or even guess at this moment, too busy registering the kiss in her memory, the way his lips felt on hers, how his nose pressed her cheek the entire time, or his hands grabbed onto her for dear life.

Bastard.

''You better'', she whispers to herself.

#buggy x reader #buggy the clown #buggy one piece #buggy the clown fanfiction #buggy x you #op buggy #one piece live action #one piece x reader #captain buggy

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ask-the-prose · 9 months

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Do Your Research

This phrase is regularly thrown around writeblr and for good reason. It's important to research what you are writing about to know what to include, what can be fudged, and how to depict whatever you're writing. I see "do your research" most thrown around by well-meaning and highly traditionally educated writers. It's solid advice, after all!

But how do you research?

For those writers who don't already have the research skills necessary to write something comfortably already downloaded into your brain, I put this guide together for you.

Where do I even start?

It's a daunting task, research. But the best place to start is with the most basic, stupidest question you can think of. I'm going to talk about something that I already know a lot about: fighting.

When researching fight scenes, a great way to start is to look up what different weapons are. There are tons out there! So ask the stupid questions. What is a sword? What is a gun? How heavy are they?

Google and Wikipedia can help you a lot with these basic-level questions. They aren't great sources for academic articles, but remember, this is fiction. It doesn't need to be perfect, and it doesn't need to be 100% accurate if you don't want it to be. But knowing what is true to life will help you write well. Just like knowing the rules of writing will help you break them.

You may find in your basic research sweep that you have a lot more specific questions. Write them all down. It doesn't matter if they seem obvious. Write them down because they will be useful later.

How To Use Wikipedia Correctly

Wikipedia is a testament to cooperative human knowledge. It's also easy to edit by anonymous users, which means there is a lot of room for inaccuracies and misleading information. Wikipedia is usually pretty good about flagging when a source is needed or when misleading language is obvious, but Wikipedia itself isn't always the most accurate or in-depth source.

Wikipedia is, however, an excellent collection of sources. When I'm researching a subject that I know nothing about, say Norse mythology, a good starting point is the Wikipedia page for Odin. You'll get a little background on Odin's name and Germanic roots, a little backstory on some of the stories, where they appear, and how they are told.

When you read one of the sentences, and it sparks a new question, write the question down, and then click on the superscript number. This will take you directly to the linked source for the stated fact. Click through to that source. Now you have the source where the claim was made. This source may not be a primary source, but a secondary source can still lead you to new discoveries and details that will help you.

By "source-hopping," you can find your way across the internet to different pieces of information more reliably. This information may repeat itself, but you will also find new sources and new avenues of information that can be just as useful.

You mean I don't need a library?

Use your library. Libraries in many parts of the US are free to join, and they have a wealth of information that can be easily downloaded online or accessed via hardcopy books.

You don't, however, need to read every source in the library for any given topic, and you certainly don't need to read the whole book. Academic books are different from fiction. Often their chapters are divided by topic and concept and not by chronological events like a history textbook.

For example, one of my favorite academic books about legislative policy and how policy is passed in the US, by John Kingdon, discusses multiple concepts. These concepts build off one another, but ultimately if you want to know about one specific concept, you can skip to that chapter. This is common in sociological academic books as well.

Going off of my Norse Mythology example in the last section, a book detailing the Norse deities and the stories connected to them will include chapters on each member of the major pantheon. But if I only care about Odin, I can focus on just the chapters about Odin.

Academic Articles and How To Read Them

I know you all know how to read. But learning how to read academic articles and books is a skill unto itself. It's one I didn't quite fully grasp until grad school. Learn to skim. When looking at articles published in journals that include original research, they tend to follow a set structure, and the order in which you read them is not obvious. At all.

Start with the abstract. This is a summary of the paper that will include, in about half a page to a page, the research question, hypothesis, methods/analysis, and conclusions. This abstract will help you determine if the answer to your question is even in this article. Are they asking the right question?

Next, read the research question and hypothesis. The hypothesis will include details about the theory and why the researcher thinks what they think. The literature review will go into much more depth about theories, what other people have done and said, and how that ties into the research of the present article. You don't need to read that just yet.

Skim the methods and analysis section. Look at every data table and graph included and try to find patterns yourself. You don't need to read every word of this section, especially if you don't understand a lot of the words and jargon used. Some key points to consider are: qualitative vs. quantitative data, sample size, confounding factors, and results.

(Some definitions for those of you who are unfamiliar with these terms. Qualitative data is data that cannot be quantified into a number. These are usually stories and anecdotes. Quantitative data is data that can be transferred into a numerical representation. You can't graph qualitative data (directly), but you can graph quantitative data. Sample size is the number of people or things counted (n when used in academic articles). Your sample size can indicate how generalizable your conclusions are. So pay attention. Did the author interview 300 subjects? Or 30? There will be a difference. A confounding factor is a factor that may affect the working theory. An example of a theory would be "increasing LGBTQ resources in a neighborhood would decrease LGBTQ hate crimes in that area." A confounding factor would be "increased reporting of hate crimes in the area." The theory, including the confounding factor, would look like "increasing LGBTQ resources in a neighborhood would increase the reporting of hate crimes in the area, which increases the number of hate crimes measured in that area." The confounding factor changes the outcome because it is a factor not considered in the original theory. When looking at research, see if you can think of anything that may change the theory based on how that factor interacts with the broader concept. Finally, the results are different from the conclusions. The results tell you what the methods spit out. Analysis tells you what the results say, and conclusions tell you what generalizations can be made based on the analysis.)

Next, read the conclusion section. This section will tell you what general conclusions can be made from the information found in the paper. This will tell you what the author found in their research.

Finally, once you've done all that, go back to the literature review section. You don't have to read it necessarily, but reading it will give you an idea of what is in each sourced paper. Take note of the authors and papers sourced in the literature review and repeat the process on those papers. You will get a wide variety of expert opinions on whatever concept or niche you're researching.

Starting to notice a pattern?

My research methods may not necessarily work for everybody, but they are pretty standard practice. You may notice that throughout this guide, I've told you to "source-hop" or follow the sources cited in whatever source you find first. This is incredibly important. You need to know who people are citing when they make claims.

This guide focused on secondary sources for most of the guide. Primary sources are slightly different. Primary sources require understanding the person who created the source, who they were, and their motivations. You also may need to do a little digging into what certain words or phrases meant at the time it was written based on what you are researching. The Prose Edda, for example, is a telling of the Norse mythology stories written by an Icelandic historian in the 13th century. If you do not speak the language spoken in Iceland in 1232, you probably won't be able to read anything close to the original document. In fact, the document was lost for about 300 years. Now there are translations, and those translations are as close to the primary source you can get on Norse Mythology. But even then, you are reading through several veils of translation. Take these things into account when analyzing primary documents.

Research Takes Practice

You won't get everything you need to know immediately. And researching subjects you have no background knowledge of can be daunting, confusing, and frustrating. It takes practice. I learned how to research through higher formal education. But you don't need a degree to write, so why should you need a degree to collect information? I genuinely hope this guide helps others peel away some of the confusion and frustration so they can collect knowledge as voraciously as I do.

– Indy

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writingwithcolor · 4 months

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What Makes an Ethnic Villain "Ethnic" or "Villainous?" How Do You Offset it?

anonymous asked:

Hello WWC! I have a question about the antagonist of my story. She is (currently) Japanese, and I want to make sure I’m writing her in a way that doesn’t associates [sic] her being Asian with being villainous. The story is set in modern day USA, this character is effectively immortal. She was a samurai who lost loved ones due to failure in combat, and this becomes her character[sic] motivation (portrayed sympathetically to the audience). This story explores many different time periods and how women have shown valor throughout history. The age of the samurai (and the real and legendary female warriors from it) have interested me the most, which is why I want her to be from this period. The outfit she wears while fighting is based on samurai armor, and she wears modern and traditional Japanese fashion depending on the occasion. She acts pretty similar to modern day people, though more cynical and obsessed with her loss. She’s been able to adapt with the times but still highly values and cherishes her past. She is the only Asian main character, but I plan to make a supportive Japanese side character. She’s a history teacher who knows about the villain and gives the protagonists information to help them, but isn’t involved in the main plot otherwise. Are the way I’m writing this villain and the inclusion of a non-antagonist Japanese character enough to prevent a harmful reading of the story, or is there more I should do?

Why Does Your Villain Exist?

This makes me feel old because David Anders plays a villain with this kind of backstory in the series Heroes starring Masi Oka.

I think you want to think about what you mean when you say:

Villainous (In what way? To whom? To what end?)

Harmful (What tropes, narratives and implications are present?)

I’m relatively infamous in the mod circle for not caring too much about dimensions of “harm”. The concept is relative and varies widely between people and cultures. I don’t see much value in framing motivations around “What is less harmful?” I think for me, what matters more is:

“What is more true?”

“Are characteristics viewed as intrinsic to background, or the product of experiences and personal autonomy?”

“Will your portrayal resonate with a large audience?”

“What will resonate with the members of the audience who share the backgrounds your characters have?”

This post offers additional questions you could ask yourself instead of “is this okay/not okay/harmful.”

You could write a story where your antagonist is sly, sadistic, violent and cold-blooded. It may not be an interpretation that will make many Japanese from combat backgrounds feel seen or heard, but it’s not without precedent. These tropes have been weaponized against people of Japanese descent (Like Nikkei Japanese interned during World War II), but Japan also brutalized a good chunk of Asia during World War II. See Herge’s Tintin and The Blue Lotus for an example of a comic that accurately showcases the brutality of Japan’s colonization of Manchuria, but also is racist in terms of how Japanese characters are portrayed (CW: genocide, war, imperialism, racism).

You could also write a story where your character’s grief gives way to despair, and fuels their combat such that they are seen as calculating, frigid and deeply driven by revenge/ violence. This might make sense. It’s also been done to death for Japanese female warriors, though (See “Lady Snowblood” by Kazuo Koike and Kazuo Kamimura here, CW: sexual assault, violence, murder and a host of other dark things you’d expect in a revenge story).

You could further write a story where your antagonist is not necessarily villainous, but the perceived harm comes from fetishizing/ exoticizing elements in how her appearance is presented or how she is sexualized, which is a common problem for Japanese female characters.

My vote always goes to the most interesting story or character. I don’t see any benefit to writing from a defensive position. This is where I'll point out that, culturally, I can't picture a Japanese character viewing immortality as anything other than a curse. Many cultures in Japan are largely defined by transience and the understanding that many things naturally decay, die, and change form.

There are a lot of ways you could conceivably cause harm, but I’d rather hear about what the point of this character is given the dilemma of their position.

What is her purpose for the plot?

How is she designed to make the reader feel?

What literary devices are relevant to her portrayal?

(Arbitrarily, you can always add more than 1 extra Japanese character. I think you might put less pressure on yourself with this character’s portrayal if you have more Japanese characters to practice with in general.)

- Marika.

When Off-Setting: Aim for Average

Seconding the above with regards to this villainess’s story and your motivations for this character, but regardless of her story I think it’s also important to look specifically at how the Japanese teacher character provides contrast.

I agree with the choice to make her a regular person and not a superhero. Otherwise, your one Asian character is aggressively Asian-themed in a stereotypical Cool Japan way (particularly if her villain suit is samurai-themed & she wears wafu clothing every so often). Adding a chill person who happens to be Japanese and doesn’t have some kind of ninja or kitsune motif will be a breath of fresh air (well, more like a sigh of relief) for Japanese readers.

A note on characterization—while our standard advice for “offset” characters is to give your offset character the opposite of the personality trait you’re trying to balance, in this case you might want to avoid opposites. You have a villainess who is a cold, tough “don’t need no man” type. Making the teacher mild-mannered, helpful, and accomodating would balance out the villainess’s traits, but you’ll end up swinging to the other side of the pendulum towards the Submissive Asian stereotype depending on execution. If avoiding stereotypes is a concern, I suggest picking something outside of that spectrum of gentleness to violence and making her really boring or really weird or really nerdy or a jock gym teacher or…something. You’re the author.

Similarly, while the villainess is very traditionally Japanese in her motifs and backstory, don’t make the teacher go aggressively in either direction—give her a nice balance of modern vs. traditional, Japanese vs. Western sensibilities as far as her looks, dress, interests, values, etc. Because at the end of the day, that’s most modern Japanese people.

Sometimes, the most difficult representation of a character of color is making a character who is really average, typical, modern, and boring.

- Rina

#writeblr #Japanese #Japanese women #Villain #antagonist #tokenism #characterization #representation #stereotypes #immortality #superheroes #supervillains #asks

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crowleyholmes · 8 months

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Hello friends, lovers, hereditary enemies, and fellow Good-Omens-brain-rot-afflicted!

Inspired by some lengthy conversations and the need for reassurance regarding a renewal for season 3, the lovely Eena @michaelsheens and I have decided to start a little Project!

(Sorry, Crowley, we had to…)

THE NICE AND ACCURATE PROPHECIES* WEEK

Running from SEPTEMBER 25TH to OCTOBER 1ST, it’s all themed around season 3 and the assumption we’re gonna get that renewal. (Manifesting, baby.)

✨ THE PLAN ✨

Every day will focus on a theme around which everyone who wants to participate is encouraged to create any kind of content they want to! Art, fanfic, edits, playlists, speculation, meta, go nuts!

(Also please don’t worry if something doesn’t fit neatly into a day’s theme; they’re only meant to give somewhat of a prompt and structure. Ultimately it’s not that strict and serious, we just wanna see your stuff :))

✨ HOW TO PARTICIPATE ✨

Share whatever your big heart and massive brain comes up with and use the tag #gomensnaap

(It’s like a long nap or something.)

You’re also welcome to give shoutouts to other people’s work you love and want to celebrate, but please make sure to link and credit properly (!!!)

Most importantly: have fun <3

✨ THEMES ✨

(under the cut)

DAY 1: “And there will be great lamentations.”

Let’s talk the Second Coming! We start off and warm up with everything plot-related. Theories, meta, crack ideas, let’s hear your thoughts on where you think the Big Main Plot is going to go!

DAY 2: “I can make a difference!”

For day two, let’s focus on Aziraphale’s arc in season 3. Did he go to Heaven with a plan? Or is he winging it? (Pun only somewhat intended.) Was he threatened or manipulated or both or neither? Will he tell Heaven just where they can stick it or can he actually succeed? What’s in store for our favorite angel?

DAY 3: “Hated by Heaven, loathed by Hell. How will our hero cope?”

Day three is all about Crowley and what we think he’s going to get up to. Is he going to go drink himself senseless and have a good cry? Go snek and hybernate for a bit? Hang out with Muriel and do some tempting? Does he have a plan and how will he cope being on his own?

DAY 4: “There was magic abroad in the air…”

Let’s talk Ineffable Husbands! How are Crowley and Aziraphale going to resolve things between them? Will there be a massive fight? Radio silence for days/weeks/months/years? Will they learn to Actually COmmunicate? Will there be grudges, grand gestures, secret meetings, a big rescue mission from either side?

DAY 5: “Extreme sanctions.”

On day six we wanna make ourselves anxious, sad and upset. (As one does.) What thing that may or may not happen in season 3 are you most worried about? Dark/depressed/evil/etc Crowley? Memory-wiped/brain-washed/archangel Aziraphale? Book of Life? How could Neil & Co hurt us the most?

DAY 6: “Do you…want a hot chocolate?”

After day 5’s spiral, it’s time for a metaphorical treat. What are you most looking forward to in season 3? What do you really want to see? Headcanons coming true? Scenes you wish for? Things that’ll make you wanna name your cat/dog/fish/insert other pet here Neil Richard Gaiman or Sir Terence David John Pratchett?

DAY 7: “It’s starts, as it will end, with a garden.”

Finally, to finish it all up, let’s speculate about the end of season 3. How do you think we’ll leave this story? Will things just go back to how they’ve always been? Will there be peace? Earth hidden from Heaven and Hell with a big 500 Lazarii miracle? Aziraphale and Crowley turned human? Or will they get their cottage in the South Downs for the rest of eternity?

#good omens #good omens 2 #good omens season 3 #good omens speculation #gomens #crowley #aziraphale #david tennant #michael sheen #neil gaiman #goodomensedit #goodomensgifs #goodomensfic #good omens fandom event #let's manifest season 3 friends!!!! <3 #ineffable husbands #ineffable beurocracy

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amerricanartwork · 7 months

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Fat-Shaming

Technically, Pebbles is right here, but I think it's about time he got a taste of his own medicine!

This is technically the first true comic strip I've done... ever, it seems! I've had it in the works for at least a week, and I'm really enjoying how it turned out! It was inspired by a Reddit post I found comparing these two characters, and this silly scene just popped in my head as a result, since that part of the Gourmand campaign where Pebbles makes little side-insults about your weight will never not be amusing to me. Probably requires more context to get than the previous, but I hope you still found it funny!

Also, a headcanon of sorts below, if you want some more serious ideas:

I like the idea that Five Pebbles has a particular disdain for Gourmand, not just because he's the polar opposite in many ways, but because Gourmand represents everything Five Pebbles and the Ancients sought to overcome: indulgence, attachment to the pleasures of life, attachment to family, having low aspirations, accepting your place in life, accepting life in general the way it is.

I also like to think part of it comes from jealousy — this fat, lazy animal barely scratching the surface of civilization is both able to enjoy all the pleasures of life AND ascend whenever he wants, meanwhile the near-godlike supercomputer far more intelligent than this creature could even hope to fathom in a century is stuck just standing there, abandoned by his creators, trying to solve an unsolvable problem while he literally rots away? He'll hardly admit it, but it really does feel quite unfair, if you ask him.

-.-.-.-.-.-.-.-.-

I'm curious to see how my ideas for Five Pebbles evolve over time. As of now, I actually have like, half the campaigns to finish still (did Survivor and Monk, and just about to complete my Gourmand run), so my ideas of his character may not be the most accurate right now. From the glimpses I've gained through fanart and such, there seems to be so much more to the story of the Ancients and their iterators, and it's tragic at that. Needless to say, though I usually don't like tragedy, I'm very curious to see the rest of that story...

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wonustars · 6 months

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𝘚𝘦𝘶𝘯𝘨𝘤𝘩𝘦𝘰𝘭 ’𝘴 𝘓𝘦𝘵𝘵𝘦𝘳𝘴 (𝘵𝘦𝘢𝘴𝘦𝘳)

“𝘸𝘩𝘢𝘵𝘦𝘷𝘦𝘳 𝘵𝘩𝘦 𝘸𝘪𝘯𝘥 𝘸𝘩𝘪𝘴𝘱𝘦𝘳𝘴, 𝘢𝘭𝘸𝘢𝘺𝘴 𝘵𝘩𝘪𝘯𝘬 𝘰𝘧 𝘵𝘩𝘦𝘴𝘦 𝘸𝘰𝘳𝘥𝘴. 𝘪’𝘭𝘭 𝘵𝘳𝘢𝘷𝘦𝘭 𝘵𝘰 𝘵𝘩𝘦 𝘦𝘯𝘥 𝘰𝘧 𝘧𝘰𝘳𝘦𝘷𝘦𝘳, 𝘫𝘶𝘴𝘵 𝘵𝘰 𝘣𝘦 𝘸𝘪𝘵𝘩 𝘺𝘰𝘶” - 𝘮𝘢𝘪𝘬𝘦𝘦’𝘴 𝘭𝘦𝘵𝘵𝘦𝘳𝘴 𝘣𝘺 𝘫𝘶𝘴𝘵 𝘩𝘶𝘴𝘩

story inspirtation came from this poll pairing: c.sc x reader word count: estimated ~10k+ (this teaser: 983 words)

genre: friends to friends with benefits to lovers, slowburn, angst, fluff, smut (mdni)

summary: You and Seungcheol have been friends ever since you were kids. Growing up as neighbours, experiencing all the horrific adolescent moments in high school, and now going to the same University together. Even though you’ve denied it many times to your friends, part of you has always had feelings for him, not that you would ever say it out loud. He is the one person you can trust with anything and everything. So what happens when he propositions the idea of becoming friends with benefits? (the plot maybe change a little while i’m continuing to write but the overall theme will stay the same <;3)

tags: bestfriend!seungcheol, nonidol!au, university!au, female!reader, mutual pining, slow burn so painful you'll feel it in your toes, they are one year apart, SLIGHT like extremely miniscule wonwoo x reader (for the angst mwahahaha), seungcheol is a jealous jealous man, they're both idiots, jeonghan is a menace as always, seungcheol has a lot of pride, so does the reader, (i'll add more once its finished lol)

warnings/smut: this will be added on in the full post.

taglist: open! send an ask, dm, or comment to be tagged for when i post the full fic.

notes: long time no post everyone.... a LOT of people voted for an s.coups story on my poll so i'm here to deliver mwahahahaha...ALSO im so proud of the banner i made like udek i love how it looks hehhehe, i spent a good hour or so on it T-T ! i really have an urge to write a longer story, so idk when i'll be finished because it may take me a while to finish so sorry in advance. I just started writing and I was playing Mikee's Letters by Just Hush during it and so i thought id incorperate the song into the story, but barely lol (its a tagalog song so sorry if the translation is a lil rough my tagalog is not the most accurate). this story is SOOOOOO self indulgnet that it should be criminal lol BUT im really excited to write this and im really excited to share it with everyone,,, but first i actually got to finish it hehe. talk to u soon, mwah <3!

As long as you could remember you and Seungcheol have been attached to the hip. Even though he was a year older than you, you couldn’t remember the last time you spent a day without him. You’ve been in each others lives ever since then, starting all the way from the young, bright age of 5, when you and your family moved into the small, humble house across his. Although your parents weren’t very well off, Cheol was. It was an odd thing that you two were neighbours because his house was much more grand, and nicer kept than yours. This didn’t really bother you growing up though, he always made you feel like an equal.

Seungcheol has been with you through it all, the petty fights in middle school to the pains of adolescence in high school. He’s seen you at your worst, like the time you tripped and fell trying to impress a cute guy at school, which resulted in a nose bleed. You were so embarrassed but at the end of the day Cheol was there to help you clean your bloody nose and pick you back up. A true night and shining armor, which was practically his brand. He was the one to patch up your heart, breakup after breakup. Always your shoulder to lean on when you’re feeling down, and especially when you’re happy.

A man and bestfriend like Choi Seungcheol didn’t come around very often, and you took notice of that since you were young. You cherish every moment you have and will have with him. He is a true gentleman with a heart of gold. He’s handsome, smart, rich and caring. Every single box on your list is ticked off when it comes to him. Yet, you know that no matter how hard you love him, you will only ever be his bestfriend. The girl he sees as practically his younger sister. The bittersweet feeling of being so close to him tugs your heart till its torn. It took you a long time to accept that all you’ll ever be is his bestfriend, and even now, you’re still trying to accept this fact.

...

Seungcheol has always seen himself as your best friend. The man that will be there for you when you have no one else to turn to. He has never seen you as more than his best friend, his y/n. He is a man who never second-guesses himself, always keeping a strong-willed sense of mind. Every time one of his friends asked him if he had feelings for you, he would simply answer no; and that you were like a younger sister to him.

That first year was lonely for him, he didn’t really know anyone and all his classes kept him away from socializing. The only thing that seemed to have stayed constant was you. You face-timed him at least once a week before he went to bed, never forgetting to remind him how much you missed him, and how much you cared for him. In the simplest words, you were his rock for that first year.

Seungcheol was never warned about how lonely and jarring your first year could be. The change in place, people, and most importantly the change in the fact that you weren’t there experiencing it beside him. He was never one to believe clichè sayings, but he finally understood what the saying “distance makes the heart grow fonder” really felt like. He had gotten so overwhelmed from the loneliness he even began to write you letters, ones he would never actually send out, as cheesy as it sounds. But knowing that he was addressing them to you brought him some type of solace in that first year.

A year later you came to study at the same university, and he was elated, to say the least. Finally, he had thought to himself. The one person he hadn’t been able to see, smell, or touch for a year was finally going to be in his proximity.

Unlike Cheol, you were only able to go to this school through bursaries and scholarships, your parents simply just couldn’t afford to send you to school in a different city otherwise. It reminded you how lucky Seungcheol was to receive support from his parents, getting and going to school was nothing he had to ever think twice about. You knew you could’ve stayed with your family, and gone to school closer to your house, but with Cheol away, it just wasn’t the same. Nothing had felt the same since he left. But this didn’t matter to you the moment you felt his arms wrap around you again.

You stood there in the airport all alone, eyes searching for a head of freshly dyed blond hair. The moment you heard his voice call your name, you knew you were finally home.

“Y/n!” An excited, deep voice calls out for you.

You whip your head around to see him. The man you hadn’t seen in so long, the man you were so desperately in love with. Your best friend.

“Cheol!” A squeal escapes your lips, you run to him. He pulls you into a tight hug, wrapping his large hands around your smaller frame. Swinging you around like crazy, a laugh bubbles up from your throat.

“I’ve missed you so much y/n.” Cheol exasperates as he hugs you tighter, leaving a kiss on the top of your head.

“I’ve missed you too Cheol…” You whisper into his chest, breathing in his expensive cologne, not caring that you are in public; staying there to embrace him for a weirdly long period of time. “Never leave for that long again.”

#seventeen x reader #seventeen smut #seungcheol x reader #seungcheol smut #scoups smut #scoups #seungcheol #choi seungcheol #seventeen fanfic #seventeen fluff #seungcheol fluff #scoups fluff #scoups angst #seungcheol angst #seventeen angst #wonustars ✧ ﾟ. {works}#wonustars ✧.* {fics: seungcheol’s letters}

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prince-kallisto · 4 months

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Crowley’s “Piece of My World”: The Twisted Storyteller of Twisted Wonderland

This is a continuation of @moonlightequin1’s and I’s previous theory right here regarding Realm Dominance and “Piece of my World!” For further context, I recommend reading that one first. And to @camrastuff, I hope this post answers your questions on our take of Crowley’s magic!

Ray and I truly discussed a lot about Crowley and what the purpose of his Unique Magic could be for. As a small recap of the previous theory, we think that theme song for TWST, “Piece of My World,” is the name of Crowley’s Unique Magic. This is all tied back to Realm Dominance, a rare and ancient class of magic brought up in Book 7 regarding Malleus’ Overblot powers and how he puts everyone in his barrier asleep. Crowley’s “Piece of My World” has not only created the pocket dimensions inside the dorm mirrors, but may also have a similar potential to Malleus’ magic- as in it could take over the whole world.

It’s the “Villains’ World,” right? A world where there is a “true happily ever after.” A world where the OG Disney Villains won and are viewed favorably as a good people. But the game acknowledges that this isn’t the truth- through Yuu. Why can Yuu see the truth behind the Great Seven’s actions if it wasn’t accurate to Twisted Wonderland’s lore? That’s where Crowley’s Piece of My World comes in. Ray and I think that Crowley has been using his magic all along, and is quite literally the key and heart to Twisted Wonderland. Crowley constantly being associated with a bird with a key in its mouth is far more literal than it seemed.

Crowley IS creating the current world as we know it- through Realm Dominance that can literally change the world to what the caster desires. He is creating this artificial “happily ever after” for the students of NRC, where they can prosper and live as the people they are because of the deeds of this Great Seven. This world is not meant to be, but if he can imagine it, he has the power to change it.

Ray pointed out to me that so many of the game mechanics reference storybooks. The main game storylines are literally called “Books,” and blot is a very inky substance as well! And in the opening animation, there’s a very quick set of frames of an open book and spilled bottle of ink, before flashing to an image of NRC and then Crowley, in that order. The animation may be trying to hit that Crowley is literally writing the story of Twisted Wonderland. Crowley even points out that mages write or draw to improve their magic! Magic is all about imagination, after all.

But like Leona said about Azul in Book 3: magic is not invincible and has its limits and weaknesses, no matter how powerful it may seem at first. “All Magic’s got a loophole.” I think this is especially applicable on a world scale, where the magic is highly instable. It’s why the conflict of RSA vs NRC still exists, as a sign of the world where the villains lose. It’s why Yuu has the dreams and the visions of the actual villainy in Disney canon regarding Great Seven- they are able to see through the cracks of Crowley’s magic because they are an anomaly in Twisted Wonderland.

This all sounds too good to be true at first, especially for Crowley who is notably morally grey character throughout the storyline. He has little to no qualms of using Yuu as his pawn, with sly threats of removing Ramshackle, food, and money from them if they don’t carry out his dirty work. He’s very detached from someone who is the protagonist of the game. But that’s exactly what still makes Crowley a flawed character despite deeply caring for the rest of his students- he is willing to sacrifice the few for the majority.

Yuu quite literally is not from this world and was brought here unwillingly, and Grim is an artificial creature (a magical and likely forced fusion between an animal and a Direbeast) with no knowledge of his own past. Crowley also consistently refers to Grim as a “monster,” whereas the other characters through main story more respectfully call him a Direbeast and are overall chill with him.

Yuu and Grim are not the people Crowley is trying to save. They are pawns he picked out on purpose to sacrifice and serve the greater good, even if his plans don’t serve in THEIR best interest. But how exactly are Yuu and Grim Crowley’s pawns? Why does Crowley let the students Overblot if he’s trying to save them?

This is where to oh-so famous Time Loop theory comes it. It’s a popular theory that Twisted Wonderland is “looping,” with a world-ending calamity that forces the story to restart. This disaster is currently theorized to be Phantom! Grim seen in the prologue. Yuuya in the TWST novel also starts off with experiencing this event, referring to Twisted Wonderland as being a “wasteland from the start.” Hehe the way it says “anything that had ever been was merely an illusion.” I feel rather validated with this theory now \(//∇//)\

If Crowley is truly using Realm Dominance across the entire world, twisting its history and its people, he may essentially be “rewriting” the world over and over again in order to reach the happy ending. Crowley’s magic isn’t invincible- there must be a point in time where everything comes to a breaking point. The truth keeps forcing the nature of their villainy to light and bringing them to a bad end, because villains aren’t meant to have a happy ending. But he keeps going, turning back the pages to achieve a good ending.

Yuu has the dreams of the canon Disney villains and their crimes because that’s the truth behind Twisted Wonderland. It is also why in Book 5, they have a flashback of Phantom Grim. It’s not Yuu seeing the future- it’s Yuu remembering the previous versions of Twisted Wonderland before Crowley restarted the story. Yuu was brought into this world from a whole different one by the Black Carriage, a system Crowley has control over. Crowley is essentially writing in a new character into the story to help save the others. The Dark Mirror even considers Yuu a “blank slate.” It doesn’t matter if Yuu perishes or receives a bad ending, as long as everyone else is saved. As long as Yuu can be the “Beast Tamer” to control Grim and being the others together, that’s all that matters to Crowley.

Edit: I’d like to add I got a bit carried away with this point haha! I think Crowley’s relationship with Yuu and Grim is far more complex- and not him being a heartless person. It’s a very strange mix of Crowley indeed having a level of care Yuu (notable in the novel where he’s very kind to Yuuya and supports him in a gentle manner because of Yuuya’s skittish personality), but also willing to take a level of risk for their fate. There is the possibility that no manner what happens to Yuu in the world of Twisted Wonderland, they can be returned to their own world safe and sound. It’s just an overall complicated relationship, because Yuu’s distrust of Crowley in the main story has certainly grown, and I can’t blame them. There’s many sides of Crowley they just can’t see from their perspective, with Book 4 definitely feeling like a final straw of sorts. I hope Crowley’s care can come to light one day, because there’s a lot more there than he lets on.

Him trying to save the students seems ironic with all the Overblots going on at NRC, doesn’t it? But that’s exactly his way of saving them, while also sacrificing Grim. The Overblots, while extremely life threatening, have served each character and their respective dorm mates a lot of purpose. They've all grown more into their own people since their incidents, even it some progress doesn't seem as notable at first. And I think this extreme way of emotional outlet has improved the characters magic quality as well, from what we can judge from Book 6 and STYX. The characters working together to defeat the Titans and then Overblot! Idia and Phantom Ortho, to even Vil sacrificing himself for Idia. It’s so much progress!

If there is a bad end the students are forced to confront, Crowley is preparing them for the worst. Their magic levels, their bonds, how to face Overblots when there is no one else to rescue them. He is trying to prepare them for the future they must face and surpass in order to reach their happy ending. Because even if Crowley himself prevents the individual Overblots, the bad ending will always be inevitable, so he’s essentially brute forcing it for the slight possibility a good ending is near. It’s like Vil said in Book 6: even if there’s a 0.001 chance, it’s better than zero. In an older theory, I elaborate far more on the idea that I think Crowley is even causing the Overblots on purpose 👀

This where Grim comes in. Grim is eating all the Overblot crystals, crystals that Crowley knew about and was trying to collect himself. Crowley could easily intervene whenever Grim eats the crystals- it’s quite literally a running gag in the main game that Crowley pops up whenever he wants and conveniently at critical points of the game! How does Crowley know when to show up when there’s conflict or the characters are asking questions and confused? As the “storyteller,” he is essentially popping in the aid the characters and coax them towards the storyline they’re supposed to go to. But he won’t involve himself in the actual story, as he’s essentially an omniscient narrator, who knows things that the characters and the MC themselves don’t.

So back to Grim, Crowley doesn’t intervene because Grim is essentially storing all the blot inside him, preventing any contamination of the already unstable world of TWST. Grim is already a magical fusion between an animal and Direbeast, and I wouldn’t be surprised if the 1000 year old ancient magic used on him was done to force his body to be capable of retaining all the blot. Phantom Grim is a creature made up of parts from all the Overblots, like a Jabberwocky. In Alice in Through the Looking Glass (Official sequel to Alice in Wonderland. “Coincidentally,” the Looking Glass world is a world where everything is opposite as it should be) , the Jabberwocky is a creature that can only be slayed by the Vorpal Sword.

Ray and I think that Crowley’s plan is for the characters to slay Grim, as he is the disaster preventing them from their happy ending. Swords have become more prevalent in Book 7, with Silver and the Dawn Knight and even RSA’s logo being the sword. Since the Jabberwocky can only be defeated through very specific circumstances, it goes that Grim is the same way too.

But if Crowley is in control of the world, why not stop Grim himself? That’s exactly the thing- his magic is not invincible. Grim is an accidental side product of Crowley rewriting the world to be the Villains world. Grim must be the culmination of consequences for doing such a drastic thing with magic, and will always exist in every version of the story. He is the blot, he is the “ink” that’s being used to write these pages. It is the one primary thing that Crowley cannot overwrite, no matter his control at the omniscient narrator. The only way to not have Grim is not change the world at all, which is not what Crowley wants.

I know this idea seems complicated and overwhelming haha! Ray and I got pretty overexcited and yelling at each other through DMs, but it’s different trying to thoroughly word this out for theories! I will post the third and likely final part to this MAIN theory soon, which Ray also wrote a thread in Twitter. There’s so many side parts to this theory to cover, as we think it’s critical to the end game. Thank you reading all the way!! \(//∇//)\ I love hearing everyone’s thoughts and questions! ^_^

#twisted wonderland #twst #twst theory #twst analysis #twst dire Crowley #twst Crowley #dire Crowley #twst grim #twst phantom grim #twst yuu #kallistopost

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genericpuff · 8 days

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I've been seeing you say/speculate Rachel Smythe has been cut loose from webtoon, could you elaborate what you mean by that?

It's only a tinfoil hat theory that people should take with MOUNTAINS of salt (seriously, I'm more likely to believe that Rachel really is just done with LO), but there's a general suspicion that LO wasn't meant to end here and that Webtoons decided to cut the cord. I've made a post about it before but some new stuff has surfaced since then.

1.) The announcement the series was ending was made quietly at NYCC and not shared to either Webtoons' socials or Rachel's socials.

The only way fans initially knew about the series ending was through a screencap from the Discord where someone else who had been attending NYCC passed on the info from a Q&A that LO would be entering its final arc.

For a good while the only other way to know the series was ending was through the Discord, a Cosmopolitan article, and my own post.

Though it sounds odd for a series to get cancelled halfway through its third season, it's not uncommon for Webtoons to suddenly axe series while they're on their midseason hiatuses, it's happened before. So there's a general suspicion that Rachel may have found out during NYCC that LO would only be given one more arc.

2.) The actual finale announcement was made in a text post on Instagram that suddenly announced it would be ending on May 11th, despite the fact that there was still lots to wrap up in the story.

What this implies is that Rachel was given one more arc, with no concrete end date... until Webtoons told her to wrap it up in a limited number of episodes, hence why despite us knowing it was in its final arc, the end date still felt too soon. This is also supported by the fact that her initial announcement was vaguely "early/mid 2024" - she couldn't give a more accurate end date because she didn't plan for the actual ending.

3.) Things that Rachel has said implies that she was either hoping for the final arc to go on longer, or that she didn't think LO was going to be ending now.

(that "nothing is set in stone" quote further supports the theory that she may have been hoping to get renewed in spite of the lukewarm ending announcement - that the only reason the announcement was so quiet was because WT hadn't fully committed to it yet and wanted to see how the series would do upon its return; now that they see it falling behind to other series, it might mean WT became more sure in their decision to cut it and gave her an actual deadline to wrap it up by.)

4.) Webtoons has stopped promoting Lore Olympus despite it ending.

Any promotional spots that it has gotten have been stuffed into the dead zone of the banner reels (seriously, anything past the 3rd spot is practically useless because it takes actual committed scrolling to get there vs. the first 1-3 banner spots which can be seen as soon as you open the app/site) and the banner art itself does not in any way advertise the series being in its final arc. These banners also only seem to be appearing for a day at most, compared to the days upwards of weeks they used to get.

Webtoons also hasn't been doing any sort of promoting on their socials for it. Considering The Mafia Nanny has been consistently beating out LO in the top rankings for weeks now, and that LO's rating and view count is still dropping, it appears that Webtoons has finally given up on shoving it down people's throats and put their focus elsewhere.

Again, this is all tinfoil hat speculation, so take it with massive doses of salt. Considering this is Webtoons, I wouldn't be surprised if they finally decided to put LO out of its misery, but this is also Rachel and I wouldn't blame her in the slightest if she finally wanted to be done with it after the past two years of people clowning on it. And I say that knowing I, myself, am a clown LOL

Either way, I feel like either outcome is plausible in its own ways, but whatever is the true reason, it doesn't change the fact that LO is ending and has 3 episodes left to wrap itself up. And whatever comes after will likely involve the launch of Inklore which was estimated for the spring.

#lore olympus critical #anti lore olympus #lo critical #anon ask me anything #anon ama #ama #ask me anything

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lxkeeeee · 11 months

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WHAT IS LOVE FOR ME?

—wanderer x fem! immortal reader

synopsis: aunt buer just giving the wanderer another therapy session.

genre: angst with no comfort but also kind of fluff, short story.

notes: established relationship, lovers to strangers. I'll be making a male version of this soon.

“Now, my next question is... What is love for you?” Buer or also known as Nahida asked the young man who was currently laying down on the couch she has inside the Temple of Surasthana, a notebook in her hand. She wanted to know or get an idea of what Wanderer feels or knows about certain emotions or feelings, curious if his understanding of human emotions are accurate despite not having a beating heart of his own.

Wanderer's eyes widened, not expecting the question. He scoffed and rolled his eyes at the smaller girl—the archon of sumeru.

“Just another useless human emotion, an emotion that could be considered as a weakness because you'll have to rely on someone and making you vulnerable.” he answers nonchalantly as his mind is racing. It's not a useless emotion, in fact it was the most wonderful feeling he has ever felt. It's true that love makes you weak but when she held him despite his hands stained with blood from countless innocent people he had killed—but then again her hands are also stained with blood and he couldn't help but be putty in her embrace as she whisper sweet nothings in his ears, caressing him during his vulnerable state. Love helps you find people who could understand you, who would cherish you and would burn the world for you. Is what he thought in his mind.

Nahida's small hand immediately scribbles down into her notepad before looking at him, “Are you sure? Because it seems to me that you have different answer in your mind considering how you looked at your memories when you've recalled them. But if you're not ready to share then I suppose I could not force you.” Nahida says as he sighs before deciding to ask another question, “Okay, next ques—”

“Her.” he softly whispers, cutting the smaller god off, eyes staring at the ceiling of Temple of Surasthana, a noticeable empty feeling in his chest that only she could fill.

Nahida can only look at him in silence, not bothering to tell him that a tear escaped his eye, “What is love for me you may ask? My answer is her.”

She who had seen his struggles yet continue on supporting him.

She who had experienced the same amount of betrayals as he did and decided to never leave his side.

She who had married him on a random day when they were still wandering around Inazuma.

She who killed for him.

She who would burn the world for him.

She who loved him more than she how she loved herself.

The woman who could fill the empty gap of where a heart should be in his chest.

The woman who he betrayed as he was far too selfish to even think about her as he wanted to achieve godhood.

The woman who no longer knows him or his history with her.

Wanderer breathed deeply, his voice shaking.

“Love for me is her.”

⊰᯽⊱┈───── ✧ ─────┈⊰᯽⊱

#genshin impact #genshin fanfic #fanfic #lxkewrites #scaramouche x reader #scaramouche genshin #scaramouche genshin impact #genshin scaramouche #scaramouche angst #scaramouche #my malewife wanderer #i hope i can still get wanderer my bbgurl #wanderer x reader #wanderer #genshin wanderer

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septembercfawkes · 5 months

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The True Purpose of Antagonists

Hear the word "antagonist," and it will likely conjure up images of "bad guys," like Darth Vader, the Joker, or Mother Gothel; and even a simple search online will reveal that "antagonist" is often defined as a person, group, or even specifically, a character.

None of these things are completely accurate, though. An antagonist is not always a "bad guy." In Death Note, the antagonist is actually the true hero. The antagonist also doesn't have to be a person or a group. In The Martian, the antagonist is the Martian landscape.

Truthfully, any well-written story will be loaded with antagonists. Sure, there may be what we think of as the "main" antagonist. But in order to be a good story, there will be lots and lots and lots of antagonists.

The problem is, so many of us have a narrow view of what an antagonist is.

Yeah, it can be a "bad guy," or another character, or a group.

But it can also be a storm, a computer, a rock, a substance, or even one's own sleepiness.

When we broaden our understanding of the antagonist and comprehend its true purpose, we can write better stories.

Because we can write better plots.

And if you've been with me for a while, you may know I consider "antagonist" to be the second element of plot, with "goal" being the first.

At the most basic level, there are just three types of goals (this will be a review for some of you, but it's better to have a review than leave newcomers in the dark).

Obtain something.

Avoid something.

Maintain something.

The last type often gets a bad rap, because when handled poorly, it can make the protagonist appear passive and the story feel plotless.

In reality, though, it's only a problem if it doesn't have an antagonist.

Just as the other two are problems if they don't have antagonists.

If I want to obtain a trophy, and all I have to do is show up somewhere (i.e. "a participation trophy"), the story doesn't have much of a plot.

If I want to avoid zombies, and nothing is making me go near zombies, the story doesn't have much of a plot.

And if I want to maintain my perfect lifestyle day after day after day, and I don't have thoughts of death, burned breakfast, and suddenly flat feet upsetting my paradise in Barbieland . . . the story doesn't have much of a plot either.

(*It should be quickly noted, though, that some goal types may overlap, depending on the story. For example, Barbie wants to avoid flat feet in order to maintain her lifestyle. So don't get too nitpicky with categorizations 😉.)

At the most basic level, the antagonist opposes the goal.

It is what is blocking, resisting, or pushing the protagonist away from the goal.

You want a trophy? Well, you have to beat the other football team (antagonist).

You want to avoid zombies? Well, your sadistic neighbor is planning to lower you into a pit of them (antagonist).

You want to maintain a perfect lifestyle? Well, let's give you some terrible cellulite (antagonist).

Essentially, the antagonist's role is to create (or be the) problems and obstacles in the protagonist's journey. It creates (or is) the resistance to the goal.

This means that something that is mildly annoying the protagonist probably isn't going to cut it.

Sure, you may argue that it is something the character wants to "avoid," but for the story to be great, the goal needs to be significant, which means the antagonist needs to be significant as well. (And by "significant," I mean it carries meaningful consequences.)

The antagonist may be a direct opponent. The sadistic neighbor wants to lower you into a pit of zombies. You don't want to be lowered into a pit of zombies. You and your neighbor's goals are contradictory.

Or it may be a step out from that. The protagonist and antagonist have the same goal, but they can't both succeed. Each football team wants the trophy, but there can only be one victorious team.

Or it may be more indirect. Gloria isn't trying to ruin Barbie's life. She just has her own goals, and her path--her journey--happens to be ruining Barbie's perfect life.

Sometimes the antagonist isn't intentionally targeting the protagonist.

Regardless, what remains the same is that the antagonist is opposing the protagonist's goal. And for it to be most effective, there isn't an easy, foreseeable way for them to each get what they want (because what one wants somehow opposes what the other one wants.)

This is necessary to create proper conflict within the plot.

Now, as I mentioned above, any solid story will have more than the "main" antagonist. And some stories don't seem to even have one "main" antagonist (such as Hamilton). But whatever the case, there should be regular antagonistic forces.

As I've talked about previously, most stories have big goals that can be broken up into little goals. These often make up scenes (or even acts) in a story. In order for it to be a strong scene (or act) though, it almost always still needs an antagonist. It needs a goal and antagonist to create conflict.

When we think of Star Wars, we often think of the Empire, or Darth Vader, as the antagonists, but if we look at the story by acts or scenes, we see that, while these may be the "main bad guys," they may not always be the current antagonistic force. And they certainly aren't the only antagonistic forces.

For example, initially, Luke's goal is to get off the farm and go to academy--but it's not the Empire that is preventing him from doing that. It's his uncle. In the beginning, Luke's uncle is his antagonist.

And when Luke is trying to get back to the Millennium Falcon, and he falls in a garbage compactor, the garbage compactor and the creature (the Dianoga) become his antagonists.

Likewise, almost none of us would point to Gloria as the main antagonistic force of Barbie, but she is certainly an antagonistic force within scenes (and arguably, for Act I, though we don't yet know her).

This is why it is so important to broaden our perception of antagonists while also refining our understanding of them.

If Luke just easily left the farm and encountered zero problems whatsoever, or Barbie just continued maintaining her perfect life, it would be boring.

Maybe not right away.

But it would hit all too soon.

We need an antagonist for almost every scene, even if it's temporary.

It's the protagonist encountering the antagonist that creates the rising action of conflict in the scene.

And the antagonist does not need to have ill intentions. The antagonist could be a friend or ally who has good intentions.

For example, say Character A needs to get information from Character B (goal), but Character B doesn't want to give it (antagonist), because it will deeply hurt Character A. Even if both characters want what (they think) is best, they still have opposing goals, so there is still conflict. At the end of the scene, either Character A succeeds, or Character B succeeds. They can't both get what they want.

Similarly, the protagonist and her ally may both want to go to London to defeat a villain, but within a scene, they may have opposing ideas of how to get there. The protagonist wants to take a plane, and the ally wants to take a boat. Within a scene, the ally may be the antagonist for the protagonist.

And worth mentioning is that the antagonist may not even be aware it is the antagonist. Character A may need information from Character B, but Character B may be so distracted with his toddler, that Character A is struggling to get it from him. Character B may be oblivious to Character A's distress. Character B is still the antagonist (well, and arguably so is the toddler, who may also be unaware).

Likewise, a flood will not be aware it is the antagonist. But if it's blocking or creating problems for the protagonist on the way to his goal, it's the antagonist.

Consider a character who needs to stay awake to keep watch over camp . . . but his sleepiness is getting to him. Guess what? His sleepiness is the antagonist. He is his own antagonist.

In short, antagonists can show up in a lot of different ways, and there should be lots and lots of them. Whenever an entity is blocking, opposing, or pushing the protagonist away from the goal, it is acting as an antagonist--even if it's not the big baddie.

Make sure your story is full with them.

#writing tips and tricks #writing tips #writing help #writing tip #writer #writing advice #writing reference #writeblr #writing #fanfic

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gracexthoughts · 3 months

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Okay, I have a lot of thoughts about the Percy Jackson show and the discourse I have been seeing about it. This is going to be long and possibly all over the place but I just want to share. If you disagree, that’s fine. Just don’t hate because you have a different opinion. Deal?

I want to start this by saying I am a new fan. I did not read the PJO books when I was a kid. I watched the first two episodes when they came out in Dec purely out of curiosity and was just immediately in love with the world. So in true ADHD hyperfixation fashion, I devoured Percy Jackson and the Olympians and Heroes of Olympus books and I am currently on Book 1 of Trials of Apollo. And maybe it's because I am a newer fan but a lot of the gripes I see about PJOTV just don’t make sense to me and I feel like they really are just rooted in nostalgia. Watching the show and all the interviews of the cast and crew, it is clear to me they wrote this season with the intention and hope that they would get to make all 5 seasons, and possibly even further. I can see how all the changes make sense when looking at the narrative as a whole. They are really setting up this world and this story in a way that I think lends more to the future of this narrative better than The Lighting Thief book does.

I also want to say I have yet to find a book to screen adaptation that is beat for beat accurate. So much of what works in novels, especially novels told in first person, just does not translate to third person screen adaptations. Ultimately, literature and film/TV are art forms and what works for one may not work for another and the creators are allowed to make changes, especially when it is for the overall good of the product.

To start, the exposition dumping didn’t really bother me that much although I agree it is there and noticeable. Now, I watched the first two episodes before reading the books but after reading the books, I think the exposition is just as noticeable in the books as it is in the show. Percy walks into this world without knowing or believing in any of it. In the book, he learns about this world through the people around him explaining it in dialogue. It is just condensed a little more in the show which makes it feel a little heavier. Nonetheless, fantasy tends to have a lot of exposition because there are a lot of things you as a reader/ viewer need to know at the start of the story. It is part of the nature of the genre, especially when it is intended for a younger audience. Exposition that seems clunky to an older viewer is probably not going to feel the same way to a younger audience member (which is the target audience).

The biggest complaint I see, and disagree with, is that the kids are “too smart which ruins the suspense.” Annabeth has been at camp since she was 7 and it is clear, both in the books and the show, she is determined to prove that she is strong and capable and intelligent. She has been training to go out on a quest since she was 7 years old. Annabeth would have been studying these monsters and these myths so of course she can figure out the traps. They aren’t that hard to figure out, even for someone who isn’t super knowledgeable about Greek mythology.

Grover’s job is a protector of demigods. It makes sense he knows these myths like the back of his hand. I imagine that after Thalia, Grover would have studied and worked so hard to prove he was ready for another chance. Grover in the books also fell a little flat in The Lighting Thief to me because it seemed like most of his personality was just to be scared and funny until later books. I love what they did with Grover in the show because he feels like an actual character with his own goals, intelligence, trauma and authority.

Now onto Percy… I have so many thoughts about Show Percy so bear with me.

While I was reading the books, I was confused as to why Sally didn’t teach Percy about Greek mythology. Book Sally seemed to just hope Percy being attacked by monsters and going to camp isn’t going to happen or just assumes that when it does happen, Percy will figure it out. Sally always knew what would happen to her son, at least to some extent, so why wouldn’t she do everything in her power to prepare her son for this life she knows is inevitable? I loved the addition of her teaching Percy about Greek Mythology and Ancient Greek because it makes so much sense because I never saw her as a just “sit back and wait” kind of character. Percy is her son, her baby, her miracle. She is terrified for him (which we see in EP 7 in the flashbacks) and, to me, it makes sense she would do everything in her mortal power to prepare him in a way that doesn’t scare him or reveal to him who he actually is. (It is also such a beautiful call back to Rick telling his son these stories as a kid, like I just think that is beautiful).

While on the subject of Ancient Greek, I saw someone complain how Percy doesn’t inherently know Ancient Greek in the Olympus scene in EP 8. “Poseidon and Zeus looked at each other. They had a quick, intense discussion in Ancient Greek. I only caught one word. Father.” - The Lightning Thief, page 343. This moment was literally pulled straight from the book! Percy talks about Annabeth tutoring him in Ancient Greek in the book (The Lighting Thief, page 107) and I loved how the show changed it to be his mom that taught him because of the previous reasons I gave above.

In general, Percy is an unreliable narrator. We see that in The Last Olympian when Rachel painted him defeating Antaeus. Percy is shocked at how he looks. We also see this in Heroes of Olympus where he is constantly talked about as this powerful and sometimes scary person whereas Percy never describes himself as anything other than kind of mediocre. Percy is constantly underestimating his intelligence and power in his POV because at his core he is still an insecure kid who was bullied and uses humor as a defense mechanism. But no matter what he thinks, he is smart and powerful and capable and I love that we get to see that in the show because it isn’t in first person.

In the books I was constantly frustrated that they weren’t seeing the traps. Aunty Em’s is so clearly out of place and weird and creepy but the Book Trio just ignores it? Also the Medusa story change was beautiful and needed and added so much depth to what was a very simple scene in the books. The Crusty’s scene was jarring at first, but in hindsight it didn't bother me either because Hermes told them about the entrance. Why wouldn’t he tell them about the trap too? The way Hermes is portrayed, I get the sense that he really wants Percy to succeed, in the books and show, and that he is holding onto hope that somehow, someway, he can still save his son. Why would he send them somewhere just to lead them into a trap that does not benefit Hermes in any way? (And us not seeing that conversation happen is showing and not telling BTW)

Also, the overall claim that Percy, Annabeth and Grover know everything is just… wrong. (@pareiwheeler made a post about this that really made me realize this so go read their post too: https://www.tumblr.com/pareiwheeler/740600563986808832/theres-know-mystery-or-suspense-they-know) They know the small things but the big things? They didn’t think Luke was the thief, they didn't know it was Kronos, they didn’t know they would lose the fourth pearl, they didn’t know the casino would mess with time, they didn’t know the shoes were a trap, etc etc. They walk into these situations thinking they are prepared, thinking they know everything they need to but they DON’T And that is where the suspense lies, in the overarching storyline that is the driving force of the plot. Not in these moment to moment scenes that are not the main conflict.

Now onto the smaller changes that, in my opinion, benefit the overall narrative of this story.

Missing the solstice deadline: Not only is Percy choosing to continue the quest despite missing the deadline such a great character moment for him but this ups the stakes so much!! Zeus and Poseidon are currently at war for the last two episodes of the show and even if they don’t talk about it much, that knowledge is still there in the characters' heads and in the viewers’. Every moment they take in the Underworld, you are watching with the knowledge that war is raging above. And it's a great way to show the kind of hero Percy is and what he will become. Percy doesn’t care he “failed” because he didn’t come all this way just to run back to camp with his tail tucked between his legs because that is not Percy. Percy sneaks out of camp twice to go on quests he was not invited on because he will not let someone’s rules get in his way while he is protecting people he cares about. Percy doesn’t want war to happen so with even the slightest chance he can stop Zeus and Poseidon, he takes it! Also the addition of Poseidon stepping in and saving Percy from Zeus was beautiful.

I also loved that Poseidon gave them 4 pearls instead of 3 because such a small detail shows how Poseidon cares about Percy and Sally. And, plot wise, it didn’t change anything. Percy still left the Underworld without his mom. But starting with 4 pearls gives them hope that they actually can complete the quest AND save Sally. Percy leaving the Underworld without Sally is so much more impactful in the show than the books because of this tiny detail change.

The fact that the pearls take them to the east coast rather than the west coast works well too. I loved that they returned to the cabin because of how important that cabin is not only to Percy and Sally but also to Poseidon.

Hermes being added to the Lotus Casino and bringing in Luke’s background earlier on was beautiful and Lin Manuel Miranda’s performance was one of the standouts for me. It is such a beautiful moment and you can see the anguish in Hermes at his feeling powerless and I think it sets up Percy learning about Luke’s family in The Last Olympian in a great way. This is one of those moments where you can tell the writers and showrunners are playing the long game with this series.

Last but not least, the change in the betrayal scene. I love it. I do. Not only in the changes in the way it happens but how they characterized Luke. Luke clearly does not want to hurt Percy, he wants Percy to help him and to come with Luke because he cares about him. The prophecy states “You shall be betrayed by one who calls you a friend” and Luke in the book didn’t really seem to care about Percy or view him as a friend at the end of it. But Show Luke? He cares about Percy and he is heartbroken that Percy doesn’t side with him. Also the addition of Annabeth hearing Luke’s betrayal first hand was brilliant, in my opinion. Not only were Walker, Charlie and Leah ACTING but it was so much more impactful that Annabeth sees Luke turn and chooses Percy in that moment. And I don’t think it will change much of Annabeth’s actions in the future because you can see how hurt she is and how desperately she still wants him to come back and be good.

Anyway, I think the show is brilliantly done. That isn’t to say it doesn’t have its faults but nothing is perfect and if you were expecting this show to be 100% perfect then I think you just set your expectations too high because that is not realistic.

If you made it to the end of this, I love you. The Percy Jackson brain rot is real and if we don’t get an S2 announcement soon I’m going to riot

#percy jackon and the olympians #percy jackson #pjo tv show #pjo fandom #pjo series #pjo spoilers #pjo #pjo disney+#pjoverse #percy series #annabeth chase #grover underwood #poseidon #sally jackson #percy jackson and the olympians spoilers

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cheeekycharchar · 8 months

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"Shame and guilt have followed humanity since Adam and Eve disobeyed God in the Garden of Eden."

Good Omens; a story of an Angel that can't accept love because of shame and a Demon that can't accept forgiveness because of guilt.

"It'd be funny if we both got it wrong, eh? If I did the good thing and you did the bad one."

An in-depth analysis of an Angel suffering from shame and a Demon wracked with guilt.

Let's dive deeper below the cut!

[Now I'm going to lay down a lot of facts, definitions and minimal psychological babble and I want you, as the reader, to view this through your GO nerd glasses. Also, I want to express that I am not a therapist or religious in any way- this was all done as academic research for the fandom's sake cause I can't shut my brain up. I tried to organize it the best I could. ..sorry it's so long but I swear it's worth the read through! ;)]

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• Shame is the painful emotion you have when you perceive that you are not good enough in some way. Entirely self imposed and only known to you, shame can be an unpleasant self-conscious feeling often associated with negative self-evaluation. When shame is chronic, it makes you believe that you are fundamentally flawed, defective, dishonorable, immoral, or improper.

• Guilt is a negative feeling of worry or unhappiness that you get because you have done something wrong. It's a moral emotion that occurs when a person believes or realizes- accurately or not- that they have compromised their own standards of conduct or have violated universal moral standards and bear significant responsibility for it. When guilt is chronic, it can be a toxic emotion that could cause a person to take on unjust responsibility if things around them go wrong. They are quick to accept that everything is their fault even though it isn't.

While guilt is about wrong actions, shame is about being wrong as a person.

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In academic psychology, shame is associated with avoiding failure and its consequences while guilt is connected with forgiving and improving one's self, along with making amends.

Guilt and Shame are often confused for each other but there’s a big difference between the two. Guilt can help you understand how your actions impact others, but shame is an inward-facing emotion that reflects how you feel about yourself. (And I do realize that Aziraphale may, at times, feel guilt and Crowley can also feel a sense of shame. But the main motivation behind majority of their characterizations and actions throughout the series are both coming from these two different feelings.)

Guilt can help you move forward while shame keeps you stuck in the past. [such as the "We could have been.. us." and "You go too fast for me." scenes] And the only way to rid themselves of these negative emotions is through recovery with unconditional love and forgiveness.

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• How Aziraphale represents the concept of shame •

Shame tricks you into believing that you aren't good. That you are worthless. Not that you've done something bad, but that you are bad. Ever since Aziraphale gave away his flaming sword, he started to question himself. But it wasn't until he outright lies to his fellow Angel's about the true fate of Job's children that he truly believes he has fallen- that he violated God's word and lied (again). He believes there must be something truly wrong with who he is as an Angel. He's a flawed creation of God and he feels a dreaded sense of deep shame from this.

Feelings of shame can also present itself in different types such as, Chronic Shame (negative emotions all the time that you aren't good enough), Performance Shame (feeling as though you are inferior compared to others) and Shame from Unrequited Love (this is a feeling of not being good enough for another person T^T).

Shame is a harmful, negative emotion that when internalized enough can result in an overly harsh evaluation of oneself.

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Next, let's take a closer look at what defines shame and how it operates through Aziraphale:

• Being Defensive is a way to avoid taking responsibility for our behavior.

"I don't need you." "And the feeling is mutual!"

• Perfectionism is the unrealistic desire to be perfect and is often a defense against shame. If we’re perfect, no one can criticize us; no one can shame us. We keep up a front that looks good to the world. We may spend a lot of time attending to our dress and looks.

"I do have standards."

• Apologizing constantly. Shame can prompt us to be overly apologetic and compliant.

"I did the 'I was wrong' dance in…"

• Procrastination can occur from a deep hidden shame. If we consider pursuing something and it doesn’t turn out well, we might be paralyzed by that feeling. If we never try, then we don’t have to face possible failure and subsequent shame.

"You go too fast for me, Crowley.."

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Next are the four category behaviors resulting from shame:

• The Hot Response These are things you do when you feel ashamed and defensive, such as lashing out in anger or attacking the other person to deflect attention from yourself.

"I don't even like you!" [always resorts to being defensive in any argument]

• Behaviors to Cope With or Conceal the Shame These behaviors include doing things to make yourself feel small, trying to avoid being the center of attention, or not sharing your thoughts or feelings. Concealing yourself is a method of self-protection.

[always awkward and can't speak openly around other Angels]

• Safety Behaviors to Avoid Shame or Being Discovered This category of shame behaviors might be things like apologizing, crying, or avoiding conflict. People who have a tendency toward being emotional or avoiding conflict may be more likely to engage in safety behaviors.

"Why? What's wrong? I mean.. if there is something wrong.."

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The Impact of Feeling Shame:

• Makes you feel like you are flawed or there is something wrong with you

"I'm like you now. A demon. I'm a fallen angel.." • Can lead to social withdrawal

[spends most of his time in the bookshop alone] • May cause you to become defensive and shame others in return "I'm an angel! And you're a demon!" • May cause you to inflate your ego to hide the belief that you don’t have value

"Well, I am a great deal holier than thou. That's the whole point." • May leave you feeling empty, lonely, or worn out

"But I thought you said it wasn't [lonely]?" • May lead to lowered self-esteem

"I'm.. soft." • May make it harder for you to trust other people

"Obviously, you're lying. You're a demon. That's what you do." • May lead to perfectionism or overachievement to try and counteract your feelings of shame

"If I can just reach the right people and resolve all of this-" "That's not going to happen! How could somebody as clever as you be so stupid!?" • May cause you to engage in people pleasing

"Doing good again, Angel? "Oh, hardly counts. Purely for selfish reasons." • May cause you to avoid talking because you are afraid to say the wrong thing

[trying to explain to Metatron in S1 without revealing too much] • May cause compulsive or excessive behaviors like overworking, excessive cleaning, or having too high of standards in general

[non stop research all day and night to look for the antichrist by himself]

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• How Crowley represents the concept of guilt •

Guilt is what you feel after committing a specified or perceived offence/crime/bad action. It's typically attached to a feeling you experience when you do something wrong on purpose or accidentally and can regret that action. Guilt can be morally ambiguous.

"Well, maybe there is something to be said for.. shades of grey?" "..Shades of dark grey."

Signs of guilt are unique but these are the most common (again there are many but these I thought related to Crowley the best):

• Low self-esteem

*sighs* "Don't bother..."

• Excessive attempts at reparation [Crowley always trying to secretly help humanity when he can]

• Being unable to meet someone’s gaze

[Covering his eyes not only hides his snake eyes but also his guilty feelings]

• Anxiety "We are fucked!" [and we all know TV!Crowley is 100% more anxiety ridden than Book!Crowley is lol]

• Trouble sleeping [Sleeps too long (100 year nap from book). Or can't get comfortable sleeping (from S1 deleted scene)]

• Depressed mood

"What's even the point.. everything seems.. pointless.."

• Avoidance of people, places, or events linked to the cause of guilt "I'm not going to be joining their team and neither should you!" [doesn't want to return to Heaven or Hell and is "on his own side" to avoid them further] • Shifts in energy levels [can be giddy/jumpy one second to morose/moody the next, etc]

• Emotional outbursts

"I'm just so angry!"

• Appetite changes

[took up drinking alcohol even though its unnatural to]

• Making amends [spends every moment since Eden trying to secretly do good despite the hellish consequences]

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Defense mechanisms against feeling guilty can become an overriding aspect of one's personality. (These are also related to trauma response.)

• Displacement is a defensive tool that may take the form of blaming the victim or taking your feelings out on others.

"You know what you've done. You've disappointed me."

• Projection is sharing the unacceptable feelings/qualities onto others, thereby being less alone with it.

"But that sounds.." "Lonely?"

• Self-harm may be used as an alternative to compensating from one's past transgression. Not just physical self-harm but not allowing yourself to enjoy opportunities or benefits as a result of uncompensated guilty feelings.

[always holding himself back for 6k years from saying what he truly feels and won't allow himself to be with Aziraphale the way he really wants]

• Repression is subconsciously blocking or forgetting harmful/traumatic memories. "Right.. looking at where the furniture isn't.." [doesn't remember his time in Heaven in detail- whether from trauma response or just had his memory wiped]

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Behavioral responses to guilt can be associated with the moral of their character. Feelings of guilt can prompt virtuous behavior.

"You shouldn't test them to destruction.."

People who feel guilty may be more likely to: • Exercise restraint [holds his true feelings back for Aziraphale for centuries]

• Avoid self-indulgence [only really has his car and plants in the end]

• Exhibit less prejudice [is more open and accepting of other's sins - such as helping during the Scottish bodysnatching scenes]

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Guilt can prompt reparatory behaviors (actions to make amends) to help alleviate these negative emotions. People tend to engage in these reparatory behaviors toward the persons they wronged. Some religions theorize that forgiveness of sin (even those committed by accident or ignorance) is exclusively through repentance.

Crowley, being the wily serpent that tempted Eve to eat the forbidden apple of knowledge and subsequently getting her and Adam kicked out of paradise on Earth- and thusly creating the first sin of humanity. Right away, Crowley feels guilt from this.

After all, he was just told to stir up some trouble and had no idea the consequences of his first temptation on the future generations of human existence. Ignorantly doing something considered wrong and getting exiled.. this mistake would forever haunt him. He knows the pain and trauma from unwittingly doing something insignificant and being punished severely for it (such as asking questions or eating an apple) yet he accidentally made the first of God's new creatures "fall" in their own way from Eden. It's because of this guilt that Crowley spends the next 6000 years secretly rebelling against Hell to help humanity in any way he can to redeem himself.

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That's why their first conversation (post Fall from Heaven) on the wall of Eden was SO important to their relationship with each other and themselves.

"Oh, I do hope I didn't do the wrong thing." "It'd be funny if we both got it wrong. If I did the good thing and you did the bad one." "No. No! It wouldn't be funny at all!"

I think the reason Crowley always seems to be one step ahead of Aziraphale (in more ways than one) is because, in a sense, guilt is easier to resolve from than shame.

If you acknowledge your mistake and the person chooses to take the steps to improve and change for the better, then they can recover from those negative feelings. They can work through the guilt by repairing the transgression or learning from it.

Whereas shame can only intensify inwardly and be harder to face because your mind is telling you that you are the bad thing, that you are the mistake. This makes it harder to overcome. And the only way to truly recover from shame is unconditional love and forgiveness- for yourself.

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“Instead of your shame, you shall have double honor, and instead of confusion, they shall rejoice in their portion. Therefore in their land, they shall possess double; everlasting joy shall be theirs.” (Isaiah 61:7)

And in S2.. we can see they both hold regret for their actions at the end of episode 6. If you look at every choice, ever misstep, every argument and their occasional confusion in understanding one another, you can see how Aziraphale was written with shame as a main part of his personality and Crowley written with guilt.

Two feelings that are often confused for one another but differ slightly in their own ways. The motivation behind every word they utter and every action they make throughout the series is built on the foundation of these two fundamentally negative and often traumatizing feelings.

There is a possibility to recover from shame and guilt and I have a feeling that S3's plot line will be all about recovery.

And that's what the concept of that Second Coming storyline might be all about. The New Testament says, "In Jesus Christ, God took upon Himself the sins of the world and died on the cross to pay mankind's debt" (Rom 6:23). "Those who repent and accept Christ's sacrifice for their sins, will be redeemed by God and thus not guilty before Him. They will be granted eternal life which will take effect after the Second Coming of Christ" (1 Thess 4:13–18).

A second chance. Forgiveness and Recovery from Sin.

And what is the story of Adam and Eve if not about humanity's Original Sin?

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Remember, after all is said and done, the antidote for shame is love, and guilt is cured through forgiveness.

Two things a certain Angel and Demon struggle with accepting from each other but are more than willing to give to one another.

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[…There! I made myself sad again, lol. Thank you for reading this far! Sorry it was crazy long but I really enjoyed putting this all together into semi-comprehensible words (though stupid tumblr made me delete a bunch of pictures I had as examples…). Also, on a final side note- if you are ever experiencing overwhelming shame or guilt in anyway (which can result in depression or worse if not dealt with) please make sure you reach out to someone or seek professional help in some way. Take care, everyone! ^-^]

#Good Omens #Good Omens meta #Good Omens theories #Good Omens speculations #ineffable husbands #ineffable idiots #Crowley #Aziraphale #sorry it's so long.. it was longer #and had more pictures #but stupid tumblr restricted me lol #give me season 3 or give me death #good omens analysis #Neil Gaiman #Terry Pratchett #david tennant #michael sheen #I THINK I CRACKED THE CODE lol

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utilitycaster · 10 months

Text

Level 10!

You may or may not know the drill:

Corrections about actually wrong items or major omissions are welcome. "Um, actually"-ing because I did not list every single spell or feat available or speculate the exact same things you did is not.

Because the cast usually does a brief video shortly before the episode for level-ups now (as they did today!), rather than announcing it at the end of an episode, this includes speculation and a bit of editorializing on my thoughts for the next few levels. This isn't necessarily meant to be accurate to what the cast will do, so don't quote me on it - it's just my thoughts on what I think might make sense or will be interesting. Those thoughts may very well change significantly as the story continues.

Anyway, level 10: it's a subclass-centric level for most of the players.

Chetney: His rogue level means he's blood hunter 9, which means Grim Psychometry, the coolest ability, which grants advantage on knowledge checks surrounding tragic or dark histories, with the potential for the DM to grant visions. Looking forward: assuming Chet keeps moving forward with blood hunter, L10 is a big one for him, as his speed increases by 5 feet, he gets another blood curse, and he gains a +3 (INT modifier) to all physical saves.

Laudna: She took a level in sorcerer, so she gets another sorcery point and another spell, this time up to 4th level; I drafted this post a while back and forgot to check the spell list for sorcerer so you're invited go nuts on your spell thoughts in the notes! Looking forward: Look. I've covered my mechanical concerns about this multiclass. Personally, had I been playing a character with this build from level 3 in a party with another sorcerer, I'd have stopped at 3 sorcerer levels and leveled exclusively in warlock. However, she's now 7 levels into sorcerer and so stopping that to go warlock will probably hamstring her mechanically, especially since the 6th level Undead feature is not terribly impressive. I think one last warlock level might be good for the ASI and the known spell, since warlocks have a more interesting spell list, and it makes narrative sense at this point now that Delilah is reawakened, but then I'd probably continue to take the rest in sorcerer. I AM very interested in how Laudna will deal with Delilah since I don't see her getting another undead patron to replace her, but that's so speculative that I'll hold off until something changes.

FCG: FCG gets a new cantrip, a new 5th level spell slot, and the ability to roll for divine intervention, which promises to be a fucking trip (complimentary). Looking forward: 6th level cleric spells, which he'll get at level 11, have a lot of bangers, but I am personally most invested in FCG's Heroes' Feast.

Fearne: with a 9th level in druid she gets access to 5th level spells, and her circle spells are Mass Cure Wounds and Flame Strike, both of which are excellent. As always for druid levels, Little Mister's HP goes up by 5. Looking forward: I'm assuming Fearne's continuing with druid levels, and if so, the level 10 feature of Cauterizing Flames allows her to use the death of a creature (enemy, ally, or bystander) to create a spectral flame that can either heal or harm others who enter that space. This is amazing and I'm excited.

Imogen: At level 10, she gains another cantrip and another metamagic option. I personally think subtle spell is the best one (and given the Vanguard's tendency to collar mages they dislike, could be huge if they come into conflict), but quickened, which Laudna has, can also be clutch. Looking forward: Chain Lightning does seem like an apt spell for her to take, but personally I'd love True Seeing as more interesting and higher utility while still thematic.

Orym: At level 10, he learns two more maneuvers, and his superiority dice become d10s. There are a ton of maneuvers and I will freely admit I don't know them all, but I do like the idea of Commander's Strike (let Ashton and Chet do more damage), Distracting Strike, or Maneuvering attack. Looking forward: Level 11 grants Orym three attacks per turn, which is really the most fun fighter feature.

Ashton: Level 10 is a path feature level, and we don't know the details of their subclass, so it's up in the air! I'm excited to see what it is. Looking forward: level 11 grants relentless rage; if he drops to 0 HP while raging (for the record Ashton has only gone out 3 times; two were during the Otohan fight and one in the Ratanish fight) he can make a con save to remain conscious.

#bells hells #critical role

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