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66sharkteeth · 1 day

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Weekly thoughts!

Hooboy, the big episode! First off, I think everyone knows by now that you probably shouldn't read these if you haven't read the latest episode, but I ESPECIALLY mean that this week! Talking about some way bigger than usual spoilers.

Phew, this was a big one, both from a writing and drawing perspective. I actually spent a full day on that last panel alone, but writing it took way longer than usual too. Going back and forth between Bell's speech and Jericho's backstory played perfectly like a movie in my head, but it was really hard to portray it as a comic and it was one of the few times I was struggling with the limitations of the format. I think I pulled it off though, since everyone seemed to follow along fine! So while it was probably just a neat scene to everyone else, I'm rather proud of that haha.

As for the actual contents of the episode, I'm also glad everything hit w/ the majority of the audience for the most part. I know a handful were confused about if that was Bell or Jericho who did that, but to those people, I remind you it's been loooong established Jericho can control his extensions (Bell, Charlie, and Claude. Remember, they all took injections of Jericho's blank space?). Also on that note, Bell does not have her own scion... Only Rex and Jericho do. Bell, Charlie and Claude all took injections of Jericho's blank space, thus get to borrow some of his power. I recommend re-reading ep 80 if you need a refresher.

I do consider this ep kind of a big reveal of Jericho's true colors. I mean, you guys have known he's the main villain for ages now, but this is the ep that reveals his "better world for blanks" act is kind of a façade and what he's really seeking is a worse world for humans. The fall of humans benefitting blanks is just kind of a bonus. I'm glad a few people caught onto this with the fact that one of the worst horrors he experienced was having his autonomy taken away from him, then he proceeds to do just that to Bell.

And speaking of Jericho's horrors- Before this season launched, I dropped a bunch of hints about upcoming things. One of them was that the most disturbing scene (in my opinion) was coming up. I was actually referring to what happened to Kallie. I'm not sure if it was as disturbing to everyone else (I totally get like if Claude's leg thing fucked people up more), but being evaporated into nothingness but not dying was an existential dread that really fucks me up haha. If it fucked even a couple of other people up, then I did my job.

I don't have too much else to say about the contents of the episode. It was so hard to bite my tongue for weeks as everyone predicted pretty much every character but Desmond was gonna get it. I'm sorry I don't have too much else to say about him right now given what happened, but I definitely will in the upcoming weeks.

I guess the only other note I have is I might as well address something that bugs me slightly- It's definitely a minority but there's a handful of people who seem done with the series because "too many things go wrong." To which... I'm not sure what to tell ya. I'm fine with critique and criticism to be clear, but honestly, this is one thing I'm actually really confident I'm good at balancing. I'm not sure where people are coming from with "nothing good ever happens in this series" when this season alone has had probably the cutest and fluffiest scenes. Rex has a canon girlfriend, he had his first kiss with her, Desmond was reunited with his sister and learned to accept himself, Lyss learned to move past her trauma and accept blanks, Rex was reunited with Shnee, Rex's scion turns out to be a puppy dog w/ a crush. I'm aware a lot of these got kind of crushed with this latest ep...but that's.. kind of. the. point??? That's how you write tragedy and impactful scenes??

I dunno, maybe this is personal to me because it's ALWAYS bugged me when someone tells me they think a show is bad because it's "too dark." Like no... It's not *bad* because it's too dark, you just don't like dark themes, and that's okay. I TOTALLY get if CoB has gotten too dark for some people- it's definitely hit some hard themes and subjects, but I don't like to accept that as a critique. It just means it's not for you and that's okay. There's a ton of other great comics that are more light-hearted! I think the TLDR of this is it will always annoy me when people say something is bad just because it's not their taste.

Now. That said... everyone is completely valid in their hate of Jericho. I, however, still love him.

#weekly thoughts

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mercurygray · 1 day

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#76 broken pieces for whatever two characters you would like, please.

I have a brainwave that these two needed to share a scene - so here they are.

This was the third date this month.

It felt funny, saying that, that Molly was going on a date, but Billie wasn't sure she had any other word for when a fellow dropped by in a nice suit, picked up a girl in a nice dress, and the two of them went out to dinner.

A date. Could you even imagine? It was Berlin and the war was over and they were going on dates again, real dates, where you spent time cleaning yourself up first and the fellow actually had a front door to show up at. Not like they'd done during the war, where a date could be meeting a guy for dinner in the next foxhole, or sharing a blanket, or watching a fire. Any spare five minutes alone.

But here he was, on the front mat, shoes shined and hair combed. She wondered what they were paying him - his suit looked too nice for Berlin. Everything here was shabby after six years of war, and he looked out of place in the hallway. "Mr. Rosenthal." She opened the door and let him inside before returning to her seat at the table.

"Sergeant Mitchell."

"She's almost ready - she found a run in her stocking and had to change."

He shrugged. "We're not in any hurry."

Billie nodded, and returned cagily to her magazine, glancing up to follow his eyes around the room, taking in the small bits of art on the walls, some of it stuck up with tape, the calendar in the kitchen, the dishes in the drainer by the sink.

George Stout wasn't ever one for running a really military outfit, and the fact that they were Army without the Army meant private billeting rather than barracks. It was just the two of them in the apartment, though there were several other officers in the building, which was run by an absolutely ancient little old lady who knew very little English. (Molly was trying to learn German, just to get by a little with her, but the Army phrasebook wasn't getting them very far.)

He looked a picture, standing there in the front room - you could say that much. He would have looked even more handsome in class As, with that dark dark brown bringing his eyes out in full force and the mustache that made him look like Tyrone Power. An easy charmer, one of the gang would have said. But she'd known easy charmers before. What do you know about him, Mol? Like, really know? Apart from the blue eyes and the curly hair and the manners and the smile and the fact that he can't sing? He's been coming here for a month and what is he? A hotshot pilot and a lawyer and what else? What's he hiding? Where's the catch?

Because there's always a catch, isn't there? With a boy like that. He's too good.

Billie rose from her chair and moved to put her now-cold cup of coffee in the sink. "I don't think she ever told me where you're from, Mr. Rosenthal."

"Brooklyn - Flatbush."

Billie had a sudden desire to call up Ruth and ask her what she knew about flyerboys from Flatbush. "And you still have family there? Parents, siblings? Girlfriend?"

He nodded. "My mother, and my sister." He smiled a little. "And no girlfriend."

Notice I didn't ask about a wife. "You still close with them?"

His smile never wavered for a moment. "My mother writes me nearly every week. Sister less often, but she'll put a word in Mom's."

"And your firm, are they - are they taking you back, when this is over?"

"I'm sure they will be." He moved closer to the kitchen and looked her in the eye. "You know, I could provide personal references, if that would take less time, Sergeant. Former commanding officers, friends - my rabbi." He smiled at her surprise. "I'm a lawyer. I know what an interrogation looks like."

Billie squared up, her eyes meeting his with no hint now of gentle prying. If you thought the rabbi was going to trip me up, I'll tell you now I don't care. "I like having all the facts." And the fact is that I don't know you, Robert Rosenthal, and I don't like that.

"And the fact that I like Molly an awful lot?"

See, you say that and I believe you, and I hate that I do. "Lots of guys can say they like a girl, Mr. Rosenthal. Maybe even use the word love. Doesn't mean a thing later. I'm trying to establish intention and motive." There's been a war on. People say things they don't mean all the time. Isn't that why you have a job?

He was watching her with a kind of respect in his eyes, smile tugging at his mouth. "Have you ever considered becoming a lawyer, Sergeant?"

Billie felt off balance at the compliment. "The bar wouldn't have me."

He laughed at her casual brutalism, and glanced down at his shoes, considering his next words very carefully. "When you fly a bomber, the only guys you trust are the other nine in the plane with you. Imagine it's the same in a foxhole."

"After they've given you a reason to, sure."

"Guess I'll just have to work on that, then."

It was then, of course, when they were nose to nose and eye to eye that Molly walked in, beautiful in her dress uniform. "Billie Mitchell, are you interrogating him?"

Rosie stepped back, supremely unconcerned by all of it. "It's all right, Mol. We were just talking. It never hurt to have friends who care."

He calls her Mol. And he calls me Sergeant, because he knows we're not friends yet. That's what Ron did, too.

Billie met Molly's eye with a clenched jaw, almost afraid of what she'd find there. It's what you did for me, isn't it, care? And I never listened. But you're smarter and better than me, and you deserve better, too, better than broken promises and broken pieces of a heart. And if he is what he says, you deserve him, Molly. You deserve the world. And if he's not then I'll bury him.

"No," Molly said, softening a little, realizing what they were saying. "No, it never did." She sniffed and checked the fastening on her purse, fiddled with a button. "Will you wait up?"

Billie shook her head. "You'd better take the key. I'm not going out."

Molly nodded, grabbing the key and its chain from where it hung near the door and closing the door behind her as she and Rosie left. He would ask her, at dinner, what that had all been about, and perhaps Molly would tell him - or not. She fell in love with a guy she thought she knew. It ended like you think it did.

#asked and answered #noneedtoamputate #i have written a thing #mercurygraypresents #tds cinematic universe #masters of the air OC #masters of the air x oc #molly mahoney #molly x rosie #billie mitchell

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yanderepuck · 1 day

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I just found this article

So let me talk about some things.

I saw the Mona Lisa two months ago. I knew what to expect. I know it's not a GIANT painting. The colors aren't bright. It is simply a portrait of an unknown woman. Even while standing there waiting to see it I hear people around me go "so what's so great about this?" "Why is this so popular" "it's so small and there's not much detail"

ITS NOT ABOUT THE PAINTING. ITS NOT ABOUT WHAT YOU DIRECTLY SEE. ITS ABOUT THE HISTORY AND THE TECHNIQUES.

Do you know what was before the Early and High Renaissance?

THE UGLY ASS BYZANTINE ART. GOD I GET SO TIRED OF SEEING IT.

IT IS FLAT. IT IS UGLY. TOO MANY GODDAMN HALOS.

PEOPLE DIDN'T KNOW ANATOMY YET. They were painting to show scenes of the Bible and biblical figures. Leonardo spent YEARS on the Mona Lisa because he was creating new techniques. He was doing the research himself. Hell so was Michelangelo. These two did so many illegal things to be able to portray the human body so accurately. This is why other artists like Raphael were able to paint so much. All they had to do was study these paintings to figure out the techniques.

Leonardo didnt get as much done because he was experimenting with things.

But because that was so long ago these things are common for us to see in paintings. They are expected. It is what makes a good piece of art.

BUT BACK THEN?? IMAGINE BEING AROUND BYZANTINE ART AND SUDDENLY THIS ITALIAN IS COMING OUT WITH ART THAT LOOKS LIKE A REAL PERSON

No I'm not saying Leonardo was the first to do this. But you think to think of it from the perspective of the time period.

People go and see the Mona Lisa as if the Mona Lisa is the only great painting in existence. No. It's not that great from a 21st century perspective. It's average. It's unfinished.

If you truly want to see the Mona Lisa it's honestly better to Google it. You can't get too close to it and so many people are there saying negative things about it

And then there's the Italians in the side saying France stole it

The Mona Lisa will still be viewable if they decide to move it. It will just make the flow of people easier. The Mona Lisa isn't the only painting in that room which makes it annoying for others trying to look at the other paintings

#mona lisa #da vinci #leonardo da vinci #art history

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cloudlessly-light · 3 days

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The darkest parts of me (5/5)

A/N: Thanks to everyone who’s encouraged and read this little story of mine! I’ll be back to posting pure filth soon!

Title: The darkest parts of me (5/5) Summary: They find each other in a dark world where they do twisted things. The only way things could have become more dangerous, is if they were together. Funny how life turns out.

Unsub!Hotchniss AU. Word count: 2,2k Rating: Explicit Warnings (for most or all chapters): smut, descriptions of violence, descriptions of murder, gore (nothing too explicit), mentions of weapons

David Rossi stands in a parking lot looking at the ground where only hours before a man’s body had been lying. A body that knew was a from the murders he’s spent the better part of a year hunting. They had gotten the call early, a quick description of the scene, but witnesses in the diner had described a couple, and he knew they had to go to California to see it for themselves. They had never been so close to catching them.

His phone rings, sounding loud even though there’s people everywhere and he looks down to see Jason’s name flash on the screen.

“Hey.”

“I’m leaving the ME’s now. It looks like a snapped neck, the man was an ex-marine.” Jason speaks as he walks to the car. “Wife and kids at home.”

“This wasn’t premeditated.” Dave says as he looks around and realizes that in the dead of night there was no way no one would be able to see the murder take place. “He had recognized the unsubs from the news and went to confront the woman while the man was in the bathroom. He was on with 911 when it happened.”

“So they’re close by.” Jason concluded for him.

“They have to be.” Dave walks around the crime scene as he holds the phone to his ear. “The roadblocks are up, every cop in the state knows to be on the lookout. They won’t get away. Not this time.”

There’s a beat of silence and Dave waits for Jason to say what they both were thinking.

“Let’s hope so.”

“We can’t stay here.” Aaron told her, surprisingly calm considering the circumstances.

“I know.” She says, her bag already packed, her gun cold against the small of her back where it rests in the lining of her jeans. “I think we need to get out of the country. It’s time”

“Where do you want to go?” He cups the back of her neck, the hand that only a couple of hours before had snapped a guy’s neck, was now so gentle as he brushed his thumb over her cheekbone.

“Anywhere we want.” She smiles when she hands him the passports that Clyde had made for them. “As long as we go fast.”

He nods, because they had planned for this, had planned for what they would do if something went wrong. He just hadn’t expected it to happen so soon. But they had a plan, actually had multiple ways to leave and somewhere in the back of his mind he thanks whatever lucky star for Emily’s funds.

She watches as he carries their bags to the car with a small smile. She knew she should be worried, that she should be scared because at any moment they could be found. But she isn’t, she’s excited, a familiar rush running through her at the thought of a chase. It’s a new kind of adrenaline, and she wonders if she’s found another way to get the high she’s always chasing.

They drive on backroads, not caring that the drive would take much longer, because they knew that any highway was a road to getting caught. His hand rests on her thighs as they drive, her smaller one on top of his and when she squeezes it he looks at her.

“Do you feel bad?” She asks and he knows what she means without her having to elaborate.

“We don’t know if that man deserved to die, but he put us in danger. It was worth it.” He offers her a small smile and she squeezes his hand again, a smirk on her face.

“It was sexy.” She says, dark eyes gleaming and he chuckles.

“My dirty girl.” He always loved how much his killing turned her on and it took every ounce of willpower not to put the car in park to have his way with her. But they needed to get to Arizona, from there they’d be able to get on a flight. It was a long drive, hours on the road, and they didn’t have time to stop.

“Once we’re safe, I’ll show you just how dirty I can be.” She feels his fingers dig into her thigh and she grins.

“You think you haven’t shown me exactly how filthy you can be yet, sweetheart?” He chuckles, but there’s an uncomfortable ache in the pit of his stomach, want quickly settling between his legs.

“I still have a few tricks up my sleeve.” She leans over the center console and licks his neck, her teeth grazing the skin there slowly before he urges her back into her seat.

“You’re sure we can trust Clyde with this right?” He asks, needing to think about something else, anything else, than how much he wanted her.

“Yes. He’s already made arrangements, we’re flying early tomorrow morning.” She knew that Aaron didn’t fully trust Clyde, but he had been the only one to help her when she decided to get away from her old life, had helped her again after she killed Ian. If there was anybody she trusted except for Aaron, it was him.

“How did you meet him?” He realized he had never asked her.

“His dad worked for my dad, and when he got older, he just like me, wanted another life. When I decided to leave, when I decided to become someone else, I reached out to him and he lived in the Netherlands, I went there and he helped me become Lauren Reynolds. We didn’t speak again until Ian, but he has connections everywhere, can make anyone disappear and he helped me again.” She didn’t talk much about life with Ian, much less about her time with her parents and she knew Aaron was hanging onto every word.

“Do you think it’s a good idea to still be in contact with him? If he has ties to your parents and your old life?” He knew that Emily was intelligent, that she wouldn’t take unnecessary risks with her life.

“He, just like me, changed everything about himself, he technically doesn’t exist. He made it look like he died in a plane crash years ago.” She took his hand again. “Trust me, we don’t have to worry about him.”

“Okay sweetheart.” He pulls her into a kiss, a quick thing stamped onto her lips that she smiles into. “We better hope we don’t get caught before we get to the plane.” He winks at her, and she knows that he’s finding this just as thrilling as she did.

They had been looking for hours, had every cop in the city out patrolling the streets. But still, the unsubs were gone.

“It’s like catching smoke.” Dave grunts as he sits in the precinct with Jason, a cup of bad coffee in front of him on the table.

“No killer is unstoppable, but maybe we simply got here too late.” He says, his own cup untouched in front of him. “They know we’re after them, they had a head start.”

“What are you thinking Jason?” He looks at the look of sadness on his friend’s face.

“We know that they have money, that they’ve travelled the country for a long time, the woman seems like a ghost, she doesn’t exist anywhere. They’re getting ready to leave the country. And we might not be able to stop them.”

“I’m calling the airports.” The detective that’s seated with them says and Jason nods, but as he looks at Dave he knows that he’s thinking the same thing he is. The unsubs had an escape plan, and now they’re stuck playing catchup.

Emily yawns as she drives on the deserted roads, it was late, they had been driving for most of the day and night. She looks over to Aaron who’s sleeping beside her, his usually intense face as relaxed as it’ll ever be and she smiles. They were getting close to the private airport, they were close to escaping. She wondered what their new life was going to be like.

As she sits there, lost in her own thoughts her phone rings and Aaron grunts beside her as he wakes up.

“Yeah?” She already knew who it was, he was the only one who had her number.

“One of my men saw you passing him about a minute ago. Ditch the car, I’ll have him pick you up.” Clyde’s low voice sounds through the phone.

“Why?” She asks but still pulls off to the side of the road while keeping him on speakerphone so Aaron can hear.

“Because your rental is more noticeable than one of my cars.” She can hear his smirk through the phone. “Leave it where you are, about a mile down there’s a gas station, we’re waiting for you there.”

“What about the car we’re driving now?” She puts the car in park while Aaron rubs his eyes and stretches.

“We’ll make it disappear, it won’t be traced back to either of you. Come on darlin’, no need to be difficult about this.”

She looks to Aaron who nods, seemingly agreeing to the plan and they both get out of the car.

“Okay, see you soon.” She throws the phone to the ground and smashed it. She wouldn’t be needing it anymore.

It was almost 3AM when a young cop comes running into the small conference room they’re sitting in.

“They’re in Arizona! We got a call from a detective, they saw the suspects getting into a car at a gas station.”

“They have help.” Jason stands up at the same time as Dave.

“But they won’t be able to board a plane. Everyone knows to be on the lookout.” The cops says, his voice hopeful.

“They have money, connections. They’re probably flying out from a smaller airport, one that won’t be stopping them if given enough money.” Dave explains as they start to walk through the precinct, they didn’t have a lot of time.

“Like a bribe? But that’s illegal.”

Dave smiles at the other man’s innocence and squeezes his shoulder.

“Money will get you anywhere, kid.”

“Come on, we need to get there, we’re calling the team in Arizona on the way.” Jason is already holding the phone to his ear as he urges Dave to follow him. “We’ve got them.”

“The cops are coming, the whole fucking cavaliere.” Clyde says with a grin on his face, clearly enjoying the situation.

“How do you know?” Aaron asks as he sits on the small private plane next to Emily who’s leaning into his side, his arm around her shoulders.

“I have men everywhere, and I’ve gotten three calls already.” The British man looks at them with something close to glee. “You did always know how to make things interesting, darlin’”

Emily rolls her eyes but still smiles at his words. She feels Aaron’s hand tightening on her upper arm and she looks at him in amusement. She found his jealousy sexy, she always had, and he always wanted to put his claim on her, always wanted her to feel like his.

“Thank you for helping us out.” She says to the man across from her.

“I’ll always like helping an old friend out. For a fee that is.” He winks at her and she shakes her head at the way all Clyde always wanted was money. She takes the suitcase beside her and slides it over the table, her eyebrow arched as she waits for him to open it.

“That should be more than enough.” She swears she sees his eyes light up at the sight of the bills in neat stacks in the suitcase. “Now, get us out of here.” Her gun rests on the table and she picks it up casually and she feels Aaron tense against her side, always ready to back her up if needed.

“No need to get violent Em. You’ll be in the air in less than thirty.”

“We’ll have to be quicker than that.” Aaron says as he looks out the window where he sees blue lights in the distance. “We have to go now.”

Dave doesn’t think the devastation of making it only minutes too late would be something he’ll ever get over. He will never forget seeing the small plane take off, a shadow of a man looking back at him from the air.

He wouldn’t give up on finding them, but realistically he knew that he might never do. There was no trail where they had gone, no transactions to look into, no bank accounts, not even the people helping their unsubs had their real identeties. It wouldn’t have mattered if they did though, they were gone. All of them.

Aaron smiles his thanks at the bartender as he grabs their drinks. The sun was hot on his skin, the sand soft as he walked in his flipflops towards the sunbeds where Emily was laying. She looks up at him from behind her glasses, her skin shining from the lotion and sweat and he licks his lips at the sight.

When he hands her the colorful drink she had asked for, she sits up in her chair. She clinks her glass with his, a smile on her face. “We made it.”

#hotchniss #hotchniss fanfiction #hotchniss smut #aaron hotchner x emily prentiss smut #aaron hotchner x emily prentiss #hotch x emily #aaron x emily #criminal minds smut #criminal minds fanfiction #aaron hotchner smut #aaron hotchner fanfiction #emily prentiss smut #emily prentiss fanfiction

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lazuliquetzal · 3 days

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Whee Fight Scenes! (This Is A Seirei no Moribito Advertisement)

For the past couple of years I have been almost exclusively writing fanfiction for action-fantasy video games which has led to me developing opinions on writing fight scenes. I used to hate writing them because what even happen fight, really, like what the hell??? But now I’ve learned to tolerate them! Sometimes I even enjoy writing them! So now I will share my wisdom with you.

(Disclaimer: This post was written so I could avoid writing a fight scene.)

My credentials: I occasionally write fight scenes in my action-fantasy video game fanfictions, and I have seen Seirei no Moribito the anime several times. I do not claim to be an expert on fight scenes, but I do claim to love Seirei no Moribito to bits.

Part 1. The Set Up

There’s this excellent anime about a mercenary on a life-long quest for redemption who ends up taking a cursed prince under her protection. It’s about unraveling propaganda and colonialism, and also about kicking ass. The first time I watched this anime, when I got to the episode 3 rice field fight, I thought, “holy shit, I see now that a good fight scene requires not only a kick-ass fight, but also narrative/emotional build up in order to give the scene weight and tension.”

Like, lots of anime have excellent and extremely iconic fights, but this was the show that really made the writing aspect of it stick in my brain. Seirei no Moribito is also an adaptation of a book, which might why this stood out to me: the way its fight scenes are constructed are not as reliant on the actual visuals so much as they are on everything else (the animation for the fight is gorgeous, too, like, just watch this show please it’s so good). That said, I haven’t actually read the book. But I have seen this show several times and the rice field fight gets me so hype.

(And also every other fight scene. I’m never over episode 13. If you have to watch only one (1) episode of Seirei no Moribito, watch episode 13. But also, don’t do that. Watch the entire thing you coward.)

Anyway. What’s going on in Seirei no Moribito episode 3?

Part 1a. The Narrative Stage

Ep3 is early on in the series. The rice field fight is not the first action scene, but it is the first fight scene. This is what we know going in:

Balsa, our main character, is a formidable mercenary with a practical mind and a strong sense of honor. She has sworn to protect Chagum, the prince of the Empire. Her goal is to keep Chagum alive at all costs, because saving his life is crucial to her personal goal of redemption.

The Emperor (Chagum’s father) has dispatched his elite warriors to kill the prince, as they believe that he is possessed by an evil water spirit. Their goal is to kill the prince because the evil water spirit is a bad omen for the empire, and they believe that killing the prince will save the kingdom.

Balsa’s spear is damaged, and she is outnumbered. She has the disadvantage.

We are, of course, rooting for Balsa and Chagum at this point in the story. Balsa’s our main character, she’s super cool, and child assassination is a bad look. We know that Balsa is strong: we’ve seen her do athletic stunts, and it’s been alluded to that she is extremely skilled with the spear. This fight is the first time we get to see her use it, so it’s very exciting to the viewer. We want to see her in action.

Part 1b. The Emotional Stage

Chagum doesn’t have much of a personality at this point: we know he’s a child prince, and we know his dad wants to kill him. So we don’t know him well, but he’s already sympathetic due to circumstance.

When Balsa and Chagum get to the rice fields, they are almost home-free. They’ve spent a lot of effort trying to redirect the emperor’s warriors and the plan almost worked. We are extremely close to safety, so the fact that this is when the emperor’s elite catch up is very tense and frustrating.

All this puts the audience in the mindset of: oh man, they’re so close, I really need Balsa to win! I don’t want the kid die! You can taste the safety, you are almost there—it’s the type of tension that gets you invested in the outcome of the fight.

Part 1c. The Physical Stage

The first half, and the faster-paced portion of the fight takes place in a rice field at night (a classic). Wide open, with water to splash in, and nowhere to hide. It’s right on the edge of the thick forest, which gives Balsa and Chagum an immediate goal: get to the denser terrain so that they might break line of sight of their pursuers.

The second half of the fight is less of a fight and more of a close-up, emotional moment of action. It takes place in a clearing by the edge of the forest.

The physical location of the fight ties in with the short-term goals of the characters: the open field forces Balsa into direct confrontation even though she wants to run, and the clearing by the edge of the forest gives Jin (one of the emperor’s warriors) the illusion of privacy when he tries to kill Chagum, and it gives Balsa cover to hide until she can intervene.

Part 1 – TL;DR

Even before you get to the actual fight, the setup of the fight has inherent tension and intrigue. One can reasonably assume that Balsa and Chagum will survive, because this is episode 3 of a 26 episode anime. But you don’t know if her damaged spear will hold out. You don’t know why the emperor wants Chagum dead. You don’t know if Balsa will kill the emperor’s guards, or if she’ll be able to make a clean getaway with the prince. All these uncertainties create mystery, which creates tension. And tension is what makes the fight fun.

Part 2. The Purpose

I mentioned earlier that this is the first actual fight in the show.

It’s the payoff for a bunch of little questions that have cropped up so far. How strong is Balsa? Is she good enough to win, even when outnumbered? What does her fighting style look like?

A lot of action stories have big fight early on, and that’s because a well-done fight scene squeezes in a massive amount of characterization. In this fight, we learn a lot about Balsa, and we learn a lot about the Emperor and the difference between the Emperor and the people who work for him.

Some questions that get explored: How do they think under pressure? What kind of fighting do they do? Are they strategic? Reactive? Brute force or trickster? How do they solve problems? How far are these people willing to go to achieve their goals?

There’s a moment in this fight when Balsa is wounded, and the emperor’s warriors retrieve Prince Chagum. Balsa ends up retreating into the forest. Jin says something along the lines of: she’s a mercenary, she works for money and she’s already been paid; she won’t risk her life to come back and get the prince.

But she does. Even though she’s been wounded, and even though she had the perfect opportunity to walk away, she comes back and saves Prince Chagum at the expense of her own health. Balsa keeps her promises; Balsa’s personal quest for redemption is more important to her than her life. We know her, now!

Fight scenes are great for characterization because it’s a deviation from status quo. A person’s default state is not “battle,” and stories thrive on extraordinary circumstances. “How does this character change/act/perform under pressure?” is a really great characterization question, and a fight scene is the opportunity to show the answer rather than tell it.

Fight scenes are also great for thematic debate. You get the opportunity to literalize the conflict between different philosophies via characters fighting each other. EZ story moment. You know that one Howard Ashman quote about how, in musicals, the characters sing when they’re too emotional to speak? That’s what fight scenes are to me. The characters fight when they can’t talk to each other.

And then, of course, a fight scene is also moving the plot along. The conflict is happening, information is being exchanged/discovered/buried. Some characters life, some characters get hurt, some characters die. A fight scene is a way to physically bring characters to the state they need to be in for the story to progress (in the right emotional state, the right physical state, the right location, etc). Lots of things going on, which is good—you want all of your scenes to be purposeful.

Part 3. The Details

All of that had to do with the zoomed-out, overall story view of the fight (how the fight fits into the overall story). I am now going to continue to gush about the episode 3 rice field fight up close (how does the fight scene work in isolation). Because Seirei no Moribito rocks.

Part 3a. The Setting

I already mentioned the open rice field/dense forest dichotomy and how that affects the characters’ short-term goals. It’s also a great choice to establish Balsa’s superior technical ability with her spear. The rice field is wide open and relatively flat—no obstructions or distractions, with everyone on equal ground. There are no tricks to pull, no environmental quirks to exploit: this is a clean fight between Balsa and the emperor’s warriors. When she comes out on top, it’s because she’s better than them.

Depending on the character, it might be better to change the terrain. Have the stealthy warrior fight in a forest, where they can appear and reappear and use their sneakiness to their advantage. Put a trickster in a situation where they can improvise traps. There is an aspect of your character that you want to show off, so set the stage so that they can show off. It’ll be totally badass and fun.

Part 3b. The Short-Term Goals

When you read a story, you can reasonably assume that the protagonist will stay alive (especially if you are not near the end of the story). Knowing the outcome can make a story stale if you're not careful. You can lose tension if there’s no risk. Some stories try to create a world/tone/atmosphere so that anyone can die. A lot don’t because that’s a little depressing.

My friend @yellowocaballero has an excellent post on this regarding OP protagonists, but to summarize: if you know the protagonist is always going to win the physical fight, you have to make the win condition not about that. Balsa isn’t OP, but giving characters goals beyond “win the fight” can make a fight so much more interesting.

In the rice field fight, Balsa does not have to defeat the emperor's warriors: she has to get Chagum and herself away alive. Her goal is to make a clean getaway. When the warriors show up, she makes the decision to confront them, and her goal is not just to win, but to win so decisively that they won’t be able to follow her. When Chagum gets caught, she changes her goal to ‘keep him safe at all costs, no matter the harm done to myself’, and she gets seriously wounded. She can succeed in some goals, but fail in others, and the story reacts and keeps changing. It’s the same principle behind why rolling a nat 1 is so entertaining in D&D. The more you fail, the more creative you have to get.

Part 3c. Monkey Brain

There is just something so cool and so satisfying and so fun about seeing a character kick ass. There is also something very cool and very satisfying about seeing a character get beat up. The rice field fight has it all: Balsa kicking ass, and also getting beat up. It’s fun! Fight scenes that know exactly why they are cool are just so good. Hell yeah, overindulge and use every single weapon despite how impractical they are. Yes please show someone pulling off an unrealistic move for the coolness factor. Absolutely include the explosion-that-would-definitely-kill-but-doesn’t.

Part 3 — TL;DR

If you want the fight to be cool, make it cool! Set it in a cool place! Give your characters opportunities to show off! Make it interesting by changing the win conditions! Conflicting goals forces characters to prioritize and it makes scenes fun!

Part 4. Words???

Unfortunately, as mentioned, Seirei no Moribito is an anime and I haven’t read the book so I cannot analyze and gush about its prose in this section. Otherwise, the advertisement would continue. You’re safe for the moment.

Re: prose, there’s probably a post out there that goes over the language of fight scenes better than I ever could. I write with the diction of a middle-grade author because I read PJatO too much as a child and it rewrote my DNA. This is not a bad thing, this is just a fact. So I’m just gonna fire off fight scene writing advice I heard from around:

Filter words — if you want a more immersive reading experience, you want to avoid filtering the action through the narration. So use sentences like: “Her arm hurt” as opposed to “she felt her arm hurt”. But if you’re trying to distance the reader, like recreating the feeling of shock/dissociation, then filter words would help achieve that effect.

Make the rhythm of your prose match the energy of the fight. Short and choppy feels fast in the brain. Long and wordy feels overwhelming. Fragmented sentences and run-ons are chaotic. Customize the vibes.

Establish the important details of the setting beforehand so that you don’t have to stop the action to describe the specific placement of a relevant tree stump. I think I heard this one from Brandon Sanderson on a podcast somewhere, but I think about it a lot when I write because blocking is hard enough and it's even harder when you have to stop and attempt to translate the movie in your head into words. I can’t tell you how to block a fight scene. We need to find someone else who is smarter that can tell us.

Part 5. The Point

Fight Scenes are Fun, actually. They can be really effective if you set them up properly! If you know what you want to do with them, you can arrange it to be as cool as possible! You don’t have to be in a visual medium to make fights fun. You just have to figure out how to translate the cool bits into prose, which I think is mostly done through giving your fight cool shit on both the macro story level scale and the micro scene level scale.

Also, watch Seirei no Moribito.

#i got a comment somewhere that was complimenting my fight scenes which. thank you! fight scenes stress me the FUCK out #but i do think i've gotten a lot better at them since i've started writing so i figured i'd write something about what i learned #and by what i learned i mean. gush about #seirei no moribito #tav this is not a response to your one post about fight scenes earlier that was a coincidence #lazuli talks #writing

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filia-floris · 1 year

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#that's why you shouldn't let him live alone in your aus as i did #the cats are good and warm and stuff #but they can't resolve your problems #or your old bad habits #...also feels like my mind will forever wander on one of those pages #because i spent too much time with this scene #(absolutely willingly)#danganronpa #ryoma hoshi #drv3 #ndrv3 #danganronpa v3 #nika tries to draw #ryoma's cats #tw eyestrain #filya doing doings #nika's art

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alexassanart · 3 months

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favourite scenes from pacific rim 3 💙

#please don't look at me i spent WAY too much time on these......#also really hoping i don't accidentally give anyone false hope since tragically pacrim 3 only exists in my head #you can definitely tell which scenes were drawn first lmao #because it started as just a fun exercise before spiraling out of control #anyway. enjoy i guess. don't look too closely #maybe you'll even be able to extract my post-uprising-fic-tropes-greatest-hits plot from these #pacific rim #newton geiszler #hermann gottlieb #newmann #my art #fanart

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autumnsxxangel · 8 months

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SandRay are an homage to Wong Kar-Wai's Happy Together and in this essay I will..

...actually explain it because I see people catching his homage's to Western queer media, but not really his shout outs to Eastern queer media.

I assumed there would be allusions to Happy Together when I first saw the trailer, but this last episode centered around Ray really cemented it for me. After all, why would P'Jojo reference all these Western queer shows and not talk about what is probably the most iconic piece of Eastern queer media ever?

Wong Kar-Wai & Happy Together

For some background information, Wong Kar-Wai is a famous and insanely influential Hong Kong filmmaker. If you're a film nerd, you probably know who he is and recognize his style. If you like film and metas, I would recommend watching some of his stuff because afterwards, you'll realize just how much influence he still has on modern media, especially in Asia. Stylistically, he's known for rich color grading; thematic usage of music; an unending sense of nostalgia, heartbreak, and missed opportunities; and dialogue that mean nothing on the surface because everything meaningful is boiling just under, left unsaid (If you've watched Everything Everywhere, All At Once, the entire actress universe sequence was an homage to Wong Kar-Wai). His actors always do a phenomenal job because so much of what they need to portray can't be communicated through words. It makes sense why SandRay, aka FirstKhao, were chosen to represent Happy Together as they are the strongest actors out of the group.

Happy Together, simply summarized, is about two men, Ho Po-Wing and Lai Yiu-Fai, who are in a very tumultuous relationship. They end up in Argentina because they wanted to visit the waterfall that's on a lamp that they own. They get lost, end up using all their money, and have to figure out a way to get back to Hong Kong. While there, they break up, get back together, and break up again.

The movie was released in 1997 and is still ranked as one of the best queer movies of all time. The two main characters are played by Tony Leung and Leslie Cheung. You might recognize Tony Leung as Simu Liu's dad in Shang-Chi. Leslie Cheung was in Farewell, My Concubine, and was famously a bisexual man with a long term male partner. This is significant because it was virtually unheard of to be out and open at that time (he made his relationship public in 1997 though he had mentioned bisexuality in earlier years), especially in Hong Kong which was, and still is, very homophobic. Leslie received a lot of hate for his sexuality and androgyny. (If you're interested in learning more about Leslie as a queer Asian figure, this is a good video essay that goes over his work and his life).

Sand as Lai Yiu-Fai

Fai's, and in turn Sand's, character can be summed up by one line, "One thing I never told Ho Po-Wing was that I didn't want him to recover so fast. Those were our happiest days."

Both Fai and Sand are very static, straightforward characters. They stay above board for the most part and work a variety of jobs to survive. They have their morals about what is right and wrong, which unfortunately is both of their downfalls.

In Happy Together, Wing breaks up with Fai because he is bored with the relationship. He basically says, "I'm bored being with you. Let's break up. If we happen to meet again, we can try again." Then he leaves Fai stranded on the side of a highway.

Later, he reappears in Fai's life. The first encounter is a fight, much like Sand and Ray's first meeting in the bathroom. The second encounter is because Wing gets beaten up. He goes to Fai because he knows Fai will feel obligated to take care of him and he does. It becomes the beginning of their rekindled relationship.

Similarly, Sand has a strong sense of obligation. There are already metas out there about how Sand has a bit of a hero complex. He sees Ray too drunk to drive and he had to step in. He doesn't just take the keys and order a taxi. No, he takes the keys and drives Ray. Sand sees Ray being all sad and pathetic and he can't stop himself from helping. It makes him feel useful. It makes him feel needed.

Both of these men are caretakers. They show affection by providing care. Sand ends up cooking for Ray just as Fai cooks for Wing even when he's sick. As an added bonus, they both make fried rice.

Both Sand and Fai are characters that stand completely still. Ray and Wing always know where to find them. Sand can always be found at YOLO and Fai is at his apartment. Because of this, Ray and Wing come and go as they please. They know that Sand and Fai will take them back...until they finally don't.

Ray as Ho Po-Wing

Starting on a base level, both characters are bratty, needy, promiscuous, spoiled, and selfish. But most importantly, they both share a love of fluffy cardigans.

(I also have a theory they keep putting Ray in wife beaters as an homage to the 90's HK cinema style because otherwise...I just don't understand why, as a rich asshole, he's always in wife beaters. By Thai BL logic, he should be in shirts with too many buttons unbuttoned.)

Wing and Ray are both the ones controlling the pace and direction of the relationship. They come when they need someone to nurture their wounds, both physically and metaphorically. They leave when they're bored or have things they deem more important. They both initiate intimacy and won't take no for an answer.

Wing does this by first trying to join Fai on the couch and then chasing after him to the bed and begging him to let them sleep together.

Ray does it by continuously getting Sand to get in the car with him and then using his puppy dog eyes.

They are both also very, very pouty.

Wing's line is "We could start over". He says it every time he comes back after he's the one that ends the relationship. Fai always fights taking him back, but he always does it anyway.

Ray doesn't really have a line yet (unless you count his "na na naa~"s) but he bats his eyelashes and so far Sand has given into him every time. Sand keeps trying to set boundaries, but the moment Ray begs a little bit, Sand crumbles like a house of cards and lets Ray have whatever he wants.

Relationship Parallels

Wong Kar-Wai is known for making movies about star crossed lovers who are meant for each other, but aren't meant to be together.

Like Wing and Fai, Sand and Ray fill in each other's cracks in a way that complements each other. However, because of the nature of the cracks themselves, them complementing each other is exactly what makes the relationship so toxic. One stays and one goes. One takes and one gives. One is steady and one is flighty.

Most of what I wanted to say about the parallels between their relationships is in the character comparison. What I'm more interested in is the future of SandRay's relationship, especially if they continue to parallel Wing and Fai's in Happy Together.

Obviously, Wing and Fai don't end up together at the end. It wouldn't be a Wong Kar-Wai movie if they did. What is interesting is that Fai's relationship with Wing eventually pushes him into becoming something angry and spiteful. Once Wing heals, Fai knows that he'll become bored and want to leave. In an attempt to get him to stay, he steals and hides Wing's passport which is insane because they are both gay men stuck in a foreign country where they don't speak the language.

Wing, of course, leaves anyway.

There is also a third character, Chang, whom Fai ended up liking. These new feelings are what eventually pushes Fai to leave Argentina and move on from Wing and move on with his life.

The question is, if SandRay follows that same path as Happy Together, what will be the passport that Sand tries to hold over Ray and who will be Sand's Chang?

Stylistic Parallels

Smoking

Making Ray and Sand smoke is definitely an homage to Happy Together with the added bonus of being a metaphor. For the most part, we rarely see characters, especially main characters, smoke in Asian media because smoking is reserved for 'bad' characters.

Cigarettes in Happy Together represent boredom. Fai and Wing smoke at the beginning before they rekindle their relationship because they are just moving through life. Once Fai and Wing get back together, cigarettes stop making an appearance. It isn't until their relationship started deteriorating that we see the men smoking again.

This can also be said about Sand Ray's relationship. They started their 'involvement' with cigarettes. However, the last time we actually see them smoking is in ep 2 right before they hook-up. Since then, we have not seen either of them smoking. This probably means that we'll see one or both of them smoking again when their relationship starts to break down.

(In the preview for ep 5, there is an ashtray in the background on the balcony so let's see if Boston finding out about them is a catalyst for them to start breaking down.)

And of course, there is the added homoeroticism of asking for a light.

Ray's Opening and Closing Scenes

Ray's episode is really what made me go "I see you P'Jojo".

Ray's episode starts with a shot of him isolated and in emotional pain. The camera is claustrophobically close and it keeps moving around. He has a little voiceover opening. It's calm, it's contemplative, it's a little existential, and it is irrevocably sad. If that is not a Wong Kar-Wai staple, then idk what is. Even the song that starts playing gives me 80s, 90s Cantopop vibes.

Ray talks about how Mew being his emergency contact and the one he goes to. Fai talks about how Wing always comes back to him and says "Let's start over".

The movie and the episode ends with both of them once again isolated, alone. They've been through an emotional journey and they've technically moved on. But there's always the idea of not being able to fully let go in Wong Kar-Wai's movie. So just like how Fai has physically removed himself from Wing, but not emotionally, has Ray actually fully removed himself from Mew?

Cinematography

Then there's just a collection of scenes that reminded me very heavily of Happy Together and Wong Kar-Wai's style. I would have added pictures from his other movies for comparison, but Tumblr only lets me put 30 images in a post and I don't want to make a 2nd post.

This scene is specifically from the 1st trailer so I hope they keep it in the show.

This one I call the inevitability of falling. Both Sand and Fai realize they're fully committed to their decision to take care of Ray and Wing here.

The end title card

Actually, all of the end title cards give very Wong Kar-Wai vibes. Look at that saturated, neon color grading. Look at the elongated shots. The intense feeling of isolation.

I'm assuming we'll get all the characters at one point, but so far it looks like the end credit cards indicate who the narrator of each episode is.

Anyway, that's it for me! Sorry it was so long and rambling. I tried to organize my thoughts but as I was thinking, more thoughts would pop up and I'd get distracted. If you made it this far, thanks for reading!

#ofts #only friends the series #only friends series #sandray #ofts meta #only friends meta #happy together #i have to post this now because if i dont ill keep writing and ive already spent too much time on this #if anyone has other screenshot comparisons post them #because there are a few more scenes that give me major wong kar-wai vibes #but im too tired to look for them now

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lbhslefttiddie · 5 days

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youve heard of sex flowers get ready for the flower that makes you into a celestial shoujo herione complete with particle effects you cannot turn the fuck off and creates a wifebeam so powerful it can incapacitate and maim and keeps making you burst into tears and fall on your ass which makes the wifebeam More Powerful and you also cannot turn this off either. and is also still, sort of, a sex flower

from one of my favorite fanfictions, Celestial Afterglow by elanor_pam, a fic that defies description in the best possible way

#arts #shen qingqiu #svsss #listen im not saying that ive spent a cumulative half a year reading this fic and then trying to make an arts for it #and then getting frustrated and stopping because i couldn't figure out how to make sqq shimmery enough #but like. im not NOT saying that #this is the FOURTH time ive started something for this bitch it haunts my fucking dreams and yet the opalescent glittery sqq evades me #perhaps you o unlearned fool look at this and say hmm that's too many colour layers and glowy effects but oh how wrong you are #if it doesnt make you literally fall over yourself at how otherworldly and radiant he is then there is room for improvement yet #perhaps you look at this and you think Wow!!! this gives me literally NO ideas what this fic is about #well Let Me Tell You. i have no fucking idea how to summarize this fic #its not often the tags in a fic give me pause but i saw this and as i read the tags i was increasingly just like What #but i have no idea how to describe it. the tags arent NOT accurate but i was SO unprepared for what happened in like an extremely pos way #if i were tagging this i think i would give it the no archive warnings apply label if that matters to you #the author seemed they wanted to leaned towards over caution rather than risk missing anything re tags because This Is A Weird Fic #but oh my fucking god #i am gripping you by the shoulders i cannot stress enough how charming it is #brilliant characterization especially with airplane in the first scene #and also so much fucking funnier than i thought possible for the general setting summary tags and buildup #its just. ough. its good

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mwagneto · 5 months

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a thing about rtd's era that i really really love seeing again is how he will usually wrap up the plot 10 or even 20 minutes before the episode ends and then the rest of that time is just dedicated to the characters talking to each other and dealing with their emotions and situations. like instead of a last minute win and a two minute goodbye they always get these massive spans of time to really get into everything emotionally and it always makes the episodes hit even harder

#this is rly on my mind since i just finished rewatching s3 too and like. the end of the #world plot wraps up in like 30 minutes the rest is just the characters talking to each other it's so good. houghhdgdgh #like they always leave so much time for everyone to just. HAVE CONVERSATIONS. and every #character has so many little things they do like for example martha calling up the ppl she #met during the year that never was.. like. you could say those scenes weren't necessary coz they #dont add anything to the plot and they really dont! we coulda spent that time on the Big Bad Villain. and yet it's a #much better use of that time because it makes everything feel so much more real #yes these ppl wont even remember meeting martha but here they are. they're okay and she cares abt them so much #same with the new ep like the plot ends at like minute 40 the rest is just them hanging out😭😭😭 it's so good....#doctor who #14th doctor #10th doctor #15th doctor #rtd #the giggle

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thisloveislikeabattle · 7 months

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SandRay is just AkkAyan spelled differently

I've lost count of the number of rewatches I've done of The Eclipse since watching it six months ago for the very first time, but once Only Friends started airing I haven't done any rewatch, just because all my thoughts these past weeks have been obsessively about Sand and Ray

BUT yesterday I found myself watching it again after months and when I got to episode 11 it hit me: SandRay's dynamic when it comes to taking care of each other is the same as AkkAyan's but backwards.

Let me explain, I was watching this specific scene

And this thought came into my mind: "If in The Eclipse it's Khaotung's character that takes care of First's character, especially when it comes to emotional needs, in Only Friends it's actually the opposite with First's character taking care of Khaotung's character"

Since then I haven't been able to stop noticing all the ways Ayan and Sand mirror each other when caring for their partners

Ayan looked at Akk, and saw something extraordinary. He saw this beautiful broken boy, who was hurting so much and doing it all wrong, he saw him holding on to a very thin thread just on the verge of letting go. Ayan saw all the love Akk needed, and despite being very broken himself, he never ever let go of him.

Akk did bad things and said awful stuff and pushed Aye away time and time again, and still Aye stayed right were he was and held him up every time Akk hit the ground.

Showed him how despite all his flaws, all his mistakes, he was still someone worthy of love.

And so throughout their journey Ayan gave his heart and soul, took all the love he could muster and stood firm by Akk's side, no matter what.

Ayan made no excuses for Akk's behavior, held him accountable, called him out when he was doing something wrong and at the same time offered Akk all the support he needed to get out of that bad place because he knew how necessary it was to have a support system.

And isn't that exactly what Sand has been doing with Ray ever since he first saw him, left alone, drunk as hell, getting into his car without any concern for his life?

Just like Ayan, Sand has found this special fragile boy who needs lots and lots of love. And where Akk wanted acceptance and to be good for others, Ray only wants to be loved and to be someone's priority for once in his life.

Even the little things Sand does for Ray. And yes, we joke about Ray being Sand's spoiled princess, but before Sand came into Ray's life, did anyone ever treat him with this much care and affection? No.

Lighting up his cigarettes, cooking for him, helping him with his helmet, driving him around, changing his dirty clothes when Ray is too passed out to care, going after him no matter what Ray said or did, shaving him...

Yes, Sand is a natural caregiver and perhaps acts of service are his love language, but to me the point is that Sand is able to see the full potential Ray could reach.

Sand knows how precious he truly is; with patience and love and care, with someone by his side ready to fight the battle with him, someone who will not give up on him, Ray may one day be able to blossom into this wonderful person that he is capable of being.

Until that moment comes, Sand will be there for him like no one ever has before. Because Sand looks at Ray and sees someone worth fighting for, someone worthy of love.

And yes, I am aware that Ayan and Sand are very different characters, they are at different points and have different expectations when it comes to relationships.

Even the way they handle things when it comes to love is different: Ayan is very much open and ready and unafraid to communicate what he wants from Akk, while Sand is emotionally constipated, with his walls all up, still falling hard but refusing to admit it even to himself.

Yet the way Ayan and Sand care for their loved ones appears to me as the very same.

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