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#i would like to be included in any narrative
loriache · 10 hours
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do you ever think about how delgal never blamed the winged lion for what happened to thistle?
I'll preface this by saying that he certainly COULD have done. most of the arguments that delgal had with thistle about returning the golden kingdom are off-page, and he doesn't seem to have relayed a lot of detail to yaad about how he understood thistle's behaviour.
however.
what we can infer, i think, is that if delgal blamed anything for thistle's increasingly erratic behaviour, it was the influence of "black magic" and power.
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the winged lion is the golden kingdom's guardian deity, and that is how they understand it up to the present - including yaad. the prophecy that convinced delgal to leave the dungeon (which i assume the winged lion intended to use to attract another, more easily controllable, dungeon lord) is likely to be part of a long campaign the lion made of deliberately isolating thistle from the people of the golden kingdon and presenting itself as the victim.
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we see that the lion is convincing, and keeps a facade of concern for thistle long past the point that it has any chance of winning him over - i don't have any doubt it was easy to present this narrative to the kingdom's people, including delgal.
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but isn't it incredibly sad to think that the person who thistle trusted most in the world and did all of this for was unable to see the true victim, between him and the winged lion?
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we see that very shortly upon becoming the dungeon lord, both marcille and laios become lost in their desires. this is standard.
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Laios is only able to get through to marcille because he sees the root of her pain, and understands that ...
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...the dungeon's power is evil.
thistle isn't acting rationally from the very beginning, but it is possible to reach him - if delgal could understand where his desire and his fear stemmed from, and that the winged lion is evil.
Thistle at least seems to know that the winged lion isn't to be trusted. Thus why he sealed it in the book. perhaps he picked up on what it was doing, manipulating the kingdom's people and him both.
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But if he ever said that the winged lion was dangerous, not to be trusted, to delgal, he wasn't believed. to delgal, thistle sealed and misused the power of the golden kingdom's guardian deity. As a student of ancient magic, I believe thistle understands that isn't what the demon is - or at least not all of what it is - even if he doesn't know the details of why it's so dangerous, or that it can devour his desires. But as an 'outsider' to the golden kingdom, despite his (unofficial, i'm sure) adoption, and the fact he's been there most of his life, I doubt his saying so would be received well by the kingdom's people.
As far as we know delgal also doesn't understand the fear that is driving thistle's refusal to let the dungeon go -- the need to be useful that he instilled.
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Even if he doesn't really realise, he is talking to a, at most, 15-16 year old in relative human years, and putting the responsibility for the kingdom on him - it's no wonder this is a weight that Thistle isn't able to let go of. Especially if this is how he attempts to persuade him:
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It doesn't get to the root of why he asked thistle to do this to begin with - the fear of death. It's just "hasn't it been long enough, people want to leave." Well, if they leave, they will die - thistle's right about that! The only way to get him to accept that is what Yaad eventually does on his behalf at the end of the manga.
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To admit that he was wrong to ask to begin with. To ask Thistle to accept loss and death. To accept it himself, truly.
Without doing that, there's no way he'd ever get through to him. So the route he takes - running away from thistle, begging that someone kill the "lunatic magician" - might be the last resort of a desperate man who blamed himself for what happened to his brother. But it's also something he does because he can't understand Thistle, and can't see his pain for what it is or his relationship with the Winged Lion for what it is.
The way that the lion manipulates others' perception to make him the victim and thistle the - well, the 'lunatic', the unstable villain and captor - really evokes DARVO to me. the demon as a metaphor for an abusive relationship. like.... look at this extra:
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and it makes me sad that no-one realised what was going on until it was too late for thistle.
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glossamerfaerie · 2 days
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This is not really a theory, more of a musing… I was looking at the cover art and realized that Silver Flames has the Mask (one object in the Dread Trove), which is an interesting choice. Technically Silver Flames could’ve depicted any of the three objects (Harp, Mask, and Crown) because Nesta uses them all.
But Nesta finds the Mask before the other objects. Nesta wears the Mask three times so far (twice in SF and once in HOFAS), more than any other object. Nesta gives the Mask to Bryce in HOFAS. These points are not unrelated. So I understand why Silver Flames depicts the Mask as Nesta has a special affinity with it. Which brings me to my musing.
I think Gwynriel and Elucien books will depict the other two Dread Trove objects in the cover art. I’m not sure which comes first (leaning Gwynriel but I go back and forth). I also think the Harp will become extremely important. Koschei is trapped in his island and wants to get out. Nesta uses the Harp to winnow wherever she wants, including the Prison and warded River House. Koschei isn’t done chasing the Trove, and his top priority is the Harp. The Crown is also useful, but he needs the Harp first.
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Gwynriel Cover: Harp
Nesta found the Harp in the Prison when she heard Gwyn singing in the choir. Can’t get more obvious foreshadowing than that. I also LOVE the secondary meaning to Gwynriel’s love of music and Shadowsinger powers. Plus the way that Az always hears music around Gwyn. 🥹
From a meta perspective, I think Koschei becomes free by the end of this book. If he’s going to become the main villain in the final Elucien book, then he needs to become an actual threat. Can’t be a threat if he’s still trapped in his island.
Color of Paperback Cover and Hardcover Font: Dark Blue. After the bright orange of Silver Flames, I think we’re going to a darker color to match Az’s broody nature. I can also envision a black color as an alternative to match the shadows.
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Elucien Cover: Crown
Honestly, this is more vibes because we don’t know that much about the Crown. But thematically, I like that it connects to Lucien as the secret heir to Day. I think we’ll also get a resolution to the Spring Court situation. Elain is Cauldron-born and potentially has the ability to wield the Crown to help battle Koschei’s forces. It fits.
Color of Paperback Cover and Hardcover Font: Yellow. We’re going back to a bright color after the dark color of the previous book. What better than Yellow, symbol of sunshine and the Day Court? I can also picture a lighter green as an alternative. While I would love Pink to represent Elain, I don’t think it’ll happen because the new ACOWAR cover is a purplish-pink. But maybe if it’s a light pink?
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Of course, I could be totally wrong and the cover art isn’t the Dread Trove. Maybe Az’s book is Truthteller. Who knows? But I like the meta-narrative and themes surrounding the Dread Trove.
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amerricanartwork · 1 day
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Quetzalli on Trafficlights and Birds
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Well @toxictoxicities, it has been done! You gave me the chance for me to give my own interpretation on this matter, and I can’t resist chances to add some narrative significance! I decided to make a separate post on it because what I came up with ended up being long (as always with me), and in case anyone else would enjoy these thoughts.
However before I go in with this essay I've put together I have to give a very important note: These thoughts are gonna be primarily based around my personal interpretations and headcanons for Seven Red Suns and No Significant Harassment. I’m generally a person who needs to know exactly what I’m working with to do something well, and as such my ideas about metaphors, symbolism, and greater narrative significance typically depend a lot on me understanding the characters and ship not just in their general dynamic, but various other deeper elements — what their core desires/fears are, what their backstories/histories are, each of their main character traits and why they are that way, then from there what they see in each other and why their relationship benefits each other in-universe, and what other effect(s) the relationship has or could have on the characters in-universe as well as the greater narrative out-of-universe, with the additional optional knowledge of what the main plot of the story they come from is to possibly tie in important moments. Seeing as you probably aren’t going to explain your Trafficlights interpretation completely to this intense of a degree anytime soon (though I’d absolutely enjoy hearing it whenever it comes!), if I’m going to make some metaphors I think the best option is to just use my current character interpretations so I have this background familiarity, especially since I’ve actually been developing these things a whole lot for my own iterator off-the-string happy ending AU!
Also, I want to say to that if some of these idea sound familiar, it’s because I realized I can actually project some of my previous Lilypad ideas onto this Trafficlights portrayal as well. I feel my Suns and Moon are similar enough in their personality traits that many of the same dynamics and significance could reasonably apply. In fact Tox, I’m gonna admit I actually did take some inspiration for my Lilypad portrayal from seeing your particular Trafficlights and drawing my own conclusions about how that dynamic worked, and overall my depiction of Seven Red Suns is largely inspired by your own take on that character, which I found quite unique compared to the rest of the fandom for being the first one I saw to show Suns as being far less imposing and confident internally than they seem in public. So I guess I am once again coming full circle now!
I think this is already more than enough words, but I just felt the need to give those prefaces as context for all of these ideas. With that being said, I hope you like at least some of these!
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Option 1: Birds as Freedom
From what I’ve read, a common symbolism for birds is freedom, which to me is easy to see because of their signature flight ability. Flight can be considered the mode of travel with the greatest freedom because it’s not restricted by landmasses (or even planets, if you include space travel), and because flying is literally defying, or “freeing oneself” from gravity, one can easily associate it with weightlessness and thus being carefree and without worries or negativity.
With any off-the-string iterator story, it’s easy to give going off-the-string a positive significance because it’s literally the puppet “freeing itself” from the limited confines of their chamber, and by extent the limits imposed upon them by the Ancients. This is further supported by how some iterators in canon do appear to perceive their cans as a limitation or cage, as evidenced by the broadcast dialogue. In fact, I've heard No Significant Harassment is one of these very iterators, so I imagine he’d absolutely want to go off-the-string so long as he has a good incentive to. 
To relate this back to birds, you could very much use a caged songbird as a metaphor for the iterators; beautiful, brightly-colored creatures “raised” in captivity and trapped in boxes to serve other people, once “singing” out their ideas from within to those people, but now just giving those “songs” to each other. Thus, going off-the-string (perhaps to the Emergence facility in your AU) could be seen as these “birds” finally flying free to be with one another “in the wild”, finally able to fly and live their lives more fully as they were denied for so long. So regardless of any other symbolism, Trafficlights — and any other off-the-string iterator ship by extent — leaving their cans could be seen as them “flying free” together from the restraints forced upon them.
However, I’ve also recently realized another freedom symbolism besides freedom from the Ancients’ restrictions, and that’s freedom from their own. This is something more impactful to my Seven Red Suns, who like Moon, is also someone who hides a lot of his true personality for a more polite, proper, and dignified public persona, shoulders a lot of weight he isn’t always able to handle alone, and puts lots of limits on himself and what he’s “allowed” or “supposed” to do, albeit for entirely different reasons. Now contrast that with Sig, who although he also hides a lot of his true feelings and knows when to dial it down, is someone who is a master at breaking rules and going against convention. In fact, I like to imagine it’s literally in his nature (er, programming) to think outside the box, generating all sorts of different ideas to solve problems that don’t always totally follow outside rules or what’s “typical” for using a certain item. 
When you bring these two together, I imagine Sig could absolutely be the one to encourage Suns to let loose more, letting down his proper and and uptight persona to show more of his emotional side and explore things he didn’t allow himself to before (like I said, this is one of the ideas that works with Trafficlights as well as Lilypad)! It’s as if Suns is a bird too used to living in the cage and afraid to truly fly again, and Sig has to coax him out into embracing that freedom. You could even take this with the idea of iterators not being used to romance, a restriction Suns absolutely puts on himself and even others because he believes a “proper” iterator isn’t supposed to have such deep attachments, of which romantic love could be considered the worst because it’s both breaking Karma 3 of Companionship and can directly lead to Karma 2 of Sexual Intercourse, so it’s essentially a double-risk. But again, Sig is willing to explore these new feelings, and now that they’re off the string and can love each other more physically and directly than ever, what better time could there be for Suns to “spread his wings” and fly alongside him?
Option 2: Birds as Passion/Romance
To me, the second biggest symbolism that birds can have is that of passion and general romantic ideas. Technically all birds could have this association because feathers and wings in general are pretty showy, so spreading one’s wings could just as easily be a gesture of great emotion and expression as it could be preparing to be free. In addition though, whereas the previous point was more related to songbirds, this seems to correlate more with birds of paradise especially, who have the most colorful and varied plumage of the bird kingdom, thus making it easy to say they’re “showing their true colors” without fear. Some birds of paradise, particularly parrots/parakeets/macaws/etc. are very social creatures by nature, so it’s even easier to draw the connection between their vibrant plumage and social behavior with being expressive and outgoing.
As for the romance element, to me it seems birds are commonly used as such symbols already; there’s doves and swans being symbols of love often included in some way at weddings, words like “lovebirds” referring to lovers as well as one of my favorite words, “twitterpated”, which means to be very smitten and infatuated and also has a clear bird-based association and maybe even origin. But then there’s the idea of songbirds singing to each other, which I think is a particularly romantic idea which plays into one of my favorite shipping tropes I call, “answering the call”. So far, I like to describe it as when someone is looking for companionship and romance for a while, either openly or as a subconscious desire, but is eventually found and “answered” by someone willing to love with them. It’s such a romantic idea to me because it often includes so much loneliness and sometimes even tragedy before, making that moment where they finally find someone all the more sweet!
Okay, now to bring this back to Trafficlights. Starting with the first idea, I think it’s easy to associate Sig with these kinds of birds, especially macaws and such, seeing as I imagine he can be just as “colorful” both literally and personality-wise, and cares deeply about his relationships in a similar manner. But even then, like I mentioned before Sig can sometimes feel like he needs to hide those feelings because others don’t fully understand him and he doesn’t want to risk creating tension (although hiding his feelings like that kinda does anyway). 
To resolve this, I’ve decided to use what I imagine Sig would appreciate and value in Suns that would evolve the relationship past friendship to romance, that being that Suns was one of the first people besides Moon who believed that Sig’s ideas and his dedication to his friends could be something more, something better and used for good. My Suns is defined largely by his perfectionism and endless drive to make things the “best” versions of themselves. In my timeline of events he already helped Sig in that way during a pretty important moment, not to mention it’s just really inspiring how much Suns cares about trying to bring about the “best” for everyone. On Sig’s end, this is how they at least developed a friendship, and in this alternative what would cause that appreciation to evolve to romance eventually. In fact, in my headcanon it was the combined efforts of Moon first understanding Sig’s feelings and Suns helping to perfect his role in his group, with both of them working really hard to help him find new belonging with the Local Group, that was what got Sig out of his “rough patch”. Thus, in a way, Suns directly helped Sig make new connections, “spread his wings”, and “find a new flock”, which can easily be the main reason why Sig would fall for Suns.
Now, what about Suns? Relating him to birds and passion also hinges largely on another pretty crucial headcanon about my Seven Red Suns, which is that he is secretly a huge romantic with a passion for the fine arts. In addition to striving for an “ideal” world at all times, he appreciates art and the deeper symbolism within. However, because of what I said earlier about Suns placing a lot of high standards on himself, he doesn’t actually make art of his own, believing it’s “not an iterator’s place” to do such a thing themselves because it’s not in their purpose. But even then, he can’t help himself from seeing things artistically and drawing his own conclusions about things.
That being said, I imagine Suns could have a strong appreciation for birds in particular; their beauty, combined with their flight, makes them seem as though they’ve already “ascended” on some level above other animals. On top of that, I think Suns would come to see Sig as sort of a bird himself! Maybe a big green macaw with the most beautiful plumes who’s also far more intelligent than others think. But even more so, when it comes to what Suns appreciates in Sig that causes him to fall in love, I imagine it’s how Sig is the only person who sees through his facade for who he really is. Everyone else around him seems to either put him on a pedestal, with their own high expectations to follow, or is intimidated by his grandeur into avoiding much direct contact. Again, however, Sig naturally thinks outside the box and challenging people’s ideas, so it’d be pretty easy for him to break down some of Suns’s diplomacy to show that more emotional side (another idea that I use in Lilypad as well). No Significant Harassment is the one person Suns feels like he can be himself around, helping him realize that even those parts of him he hides make him “perfect” by virtue of being his real and unique self. It’s like Suns is a great eagle, looked up to and feared by other birds as a large bird of prey and thus lonely and pressured to soar above all else, and only the surprisingly smart macaw is able to lower his guard, helping him see he’s just as beautiful and inspiring on the ground as he is soaring high in the clouds. 
And then there’s the idea of “answering the call”. I’ve already seen your Trafficlights will probably play out as a slow burn, with Sig and Suns harboring growing feelings for each other for a while but only really acting on it once Emergence kicks in. In this case the dynamic would be mutual, with both of them longing for a deeper connection, but perhaps not realizing it until this timeline. I imagine Sig would be the one more conscious of this desire though, seeing as he openly seeks connection with others, so it’d be as if he’s a lonely songbird wanting to sing out but never getting an answer. And then of course, when Suns finally does respond it’s that much more poetic!
Trafficlights as Rio (spoilers, by the way)
OKAY HEAR ME OUT, I just have to include some words on this because this movie, this freaking movie is not only one of the two that kickstarted my love of birds but is what started this whole Trafficlights-as-birds-symbolism thing for me.
To give some context, if you don’t already know I am someone who not only loves making metaphors and symbolism with my ships, but loves finding associations between them and outside music or stories. I often look for connections to the old Disney animated fairytales, but I really end up doing it to all sorts of animated stories that I believe have pretty universal themes.
That being said, if there’s any association I’d make for Trafficlights as I currently see them, it’s to Blue Sky’s Rio and some of the scenes from that story. Firstly, Blu as a character already somewhat parallels my Suns in that he’s awkward and not the best at interacting with others. Not to mention his inability to fly, which came from him never getting a chance to embrace his emotions before being captured and taken from his home, could be paralleled to Suns’s bottling up his emotions, especially since flight in that film is directly related to feelings of happiness, love, and freedom, so Suns in a way is also “stunted” in his emotions. Meanwhile Sig on the other hand is more like Jewel, someone who at least understands his emotions a lot better and thus “knows how to fly”, and who resists others’ attempts to cage him and tries to get his partner to do the same. Like Blu Suns refuses at first, his logic and desire for a dignified self image getting the best of him being able to let loose in any environment where he isn’t surrounded by close friends. 
Then there’s the freaking “Hot Wings” scene, which takes the most responsibility for this association of mine. Largely because the two side-characters, Nico and Pedro, also seem to carry a dynamic with their lyrics that just reminds me of Suns and Sig, respectively, a lot (honestly I just thought about it on a whim one day and I can’t unsee it now…). Not to mention the entire scene is about pretty birds dancing, which given you’ve also made a decent number of drawings of Trafficlights dancing together, I think is just super fitting. And then Jewel’s singing once again brings back this idea of freedom and showing one’s emotions and love, with the remaining question being whether or not Blu can eventually unlock this feeling inside him despite his fears and fly up with her. This is something I think could work with Trafficlights, at least how I see them, for even if Suns can be more emotional around Sig and maybe his friends, he still has trouble doing so in public, not always liking the pressure of being “perfect” but not wanting to risk looking like a fool around everyone who looks up to him.
It works even better with one of the later scenes in the film when Blu and Jewel finally manage to cut the chain keeping them together, which causes Jewel to immediately lift into the sky with the pure joy and euphoria of once again being free to fly as she pleases. However, Blu is left looking up at her as she flies with their friends, and you can tell he’s both realizing again just how beautiful she is and longing so much to join her in the sky, yet still unable to fly. Once again I can’t help seeing Suns in Blu’s place, looking at Sig having fun and being so carefree, loving the feeling of being off-the-string, and him thinking Sig so beautiful and wanting to join him too. And eventually, just like Blu does in a true “answering the call fashion”, he is able to “spread his wings” and they finally can fly away together!
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Okay, I think that’s all I have to say for now on this topic. This essay, excluding the preface at the beginning, is 2498 words! I think that might be a little bit more than my Lilypad essay! I really hope it delivered!
But even then, this was so fun to do! Even though Trafficlights isn’t my main ship and isn’t going to happen in my own AU, I’ve recently been looking to better figure out Sig and Suns’s relationship anyway to understand why they’re at least friends with each other. Of course there are some other factors in their relationship, some of which I’ve edited out for the sake of these ideas because it throws a bit of tension in the dynamic that could compromise its ability to work as a ship, but this was still an important aspect and I’m glad to have gotten a chance to develop it! And then of course, a reason to think about ships as well as shamelessly plug one of my favorite movies ever is also very nice!
This may all sound super silly and maybe none of it works with your Emergence Trafficlights, but regardless this was seriously such a fun opportunity, and I’m glad you gave me a reason to do this! I would love to hear your thoughts on or additions to all this, if you can!
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ganondoodle · 4 months
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so guess what they released more interviews and i think given what a writing shitshow totk was and what they have been saying in all these interviews is actually painting a really bad picture; i dont have the time, nor the energy to go over every detail
but they were commenting on people wanting the more linear format back and aonuma himself basically said that he thinks people who feel like that do so only bc of nostalgia and "Why do you want to go back to a type of game where you're more limited or more restricted in the types of things or ways you can play?"
what .. the fuck, more freedom DOESNT automatically mean better??? like ... restriction can be a GOOD thing just as tooo much freedom can be BAD?? like in totk??? are you fukcing shitting me- what the hell are games even for then, has he had an awakening to the fact that he actually just loves sandbox games without realizing it???? im not playing fucking zelda for a sandbox, especially not when its advertised as a somethign else
its pretty clear that they want to keep this format going with everything they say there, ... maybe it really is over huh
also i hate how they kept talking around answering anything about story/lore; they go asked how ganondorf even connects to ganon since theres nothign about it in game, and all they got out was welllll we dont wanna say anything bc its up to the player; about every question you got the answer of "make somethign up yourself" which is just ... its really clear they dont actually care but dont want to say everything is meaningless actually, so they try to be vague about it and with doing that really just confirm they didnt think about it and they dont care- so no lore actually matters, nothing thats been said or established has any meaning bc they will get rid of it the second it crosses paths with their new -more freedom equals better- philosophy, they say its bc they want you to be "free" to think up anything but apparently dont realize that when there are no rules, no consistent lore or anything that it ROBS it, it stops having meaning, its fun to connect dots only when there are rules you need to work with and dots to connect in the first place, when you have an established world with its restrictions it drives you to think more creatively about things- but when there are no rules?? its fucking boring!! thats what it is!!
when you discard all rules i wont care to get invested into anything bc i know it will not be considered again, be done away with without any reason and wont have influence on coming or previous games ... bc there are no rules, anything is possible and everything can be changed any second, so nothing matters
(they also talked about the many viral videos of those very few dedicated people that make godzilla mechs in totk and how happy they are about that- i get that to some extent, but the way they kept talkign about it really just felt like it confirmed my suspicion that that whole mechanic was mainly implemented to let people do that since that gets shared around en masse making it seem like that is why people enjoy it while neither the game nor the narrative are build around it in any way ..)
it just makes all the time i spend thinking, feeling and theorizing about zelda like a true waste of time, bc nothing matters and there are no rules-
i am someone who greatly enjoys working with and around established lore/rules, its fun to me to recontextulize things by being smart or creative with it all without breaking anything or as little as possible of the established things!
if i wanted to do just do anything i want I COULD HAVE ALREADY DONE THAT bc theres nothing actually stopping anyone to just make up what they want! i DONT need canon to lose all rules for that??!!
maybe ill have to make myself believe the franchise ended with botw on a good note ... ono
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errorbrainloading · 1 year
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Can you frigging believe the original ending had Goncharov Thelma and Louise him and Katya off a cliff 18 years before Thelma and Lousie was a thing? Thank god they didn't end up going with this. probably would still be taught in film classes but for all the wrong reasons XD
Transcribed below read more
EXT. THE CLIFF ROAD OUTSIDE NAPLES - MIDDAY
Goncharov’s car barrels away from the manor, a sheer drop to one side of the road and a solid rock wall on the other. Birds scatter from the disused, winding road into an overcast sky. Below, waves CRASH onto the rocks.
INT. GONCHAROV’S CAR – MIDDAY - CONTINUOUS
Goncharov steers the wheel with one hand, the other holding Katya’s. By the look on her face, his grip is too tight. Katya’s right hand clutches the beaded bag in her lap with similar force.
KATYA: He deserved it.
GONCHAROV (almost simultaneous): I never expected this from you.
Goncharov’s gaze flicks from the road in front to the rearview mirror throughout. While he’s distracted, Katya’s free hand quietly opens her handbag and slips inside to rest on the handle of Andrey’s gun.
GONCHAROV (CONT.): What you did, what Sofia did. That I can understand. You couldn’t have known what we had planned. But why would take matters into your own hands again when the first time nearly got you killed-
KATYA (cutting him off): I’ve never known you to hesitate. Always a man of action! And I’ve spent my whole life keeping up with you, so why do you still think I’m naïve?
Goncharov throws her hand down to clench the wheel with both fists, and the car swerves dangerously close to the cliff edge as he looks behind them once again. The road is empty. Inside her bag, Katya’s hand tightens on Andrey’s gun.
GONCHAROV: Joe is dead because of you!
KATYA: Joe is dead because of your fear. Why now? Of all the times for you to freeze – the bay, the manor. We were there, Goncharov! So close to everything we’ve worked for!
GONCHAROV (angry, incredulous): We’ve worked for?
KATYA: I have bled for this just as much as you have!
GONCHAROV: Yes, you’ve bled for this empire, and that tears me apart. But have you lived for this, have you died for it?
Goncharov’s frequent looks to the rearview mirror finally pay off as a dark car swerves around a cliff behind them and begins to catch up. He does not acknowledge it aside from accelerating, and Katya does not notice it.
GONCHAROV (CONT.): I have lived a hundred lives to get this far, and died a thousand deaths, but every day the sun rises and I crawl from my grave to dig a new one. That won’t be your end. I will bury myself for every sunset and rise for every dawn, but I refuse to bury you.
As he speaks, Katya slowly withdraws Andrey’s gun and lets her handbag slip to floor of the car. Goncharov’s broken watch slides silently from the bag as it falls, and both land next to her feet, white shoes still stained with blood.
KATYA (resigned): You already have. For years I’ve been your ghost and your shadow and your pretty little smokescreen. When was the last time I was the Katya you married? Do you remember? Because I don’t.
Goncharov stares intently at the rearview mirror, and a hint of fear enters his face as the dark car gains on them. When he looks to Katya and finally notices Andrey’s gun in her hand, the fear and hate and panic slip away. He is left empty.
GONCHAROV (softly): I remember.
Katya levels the gun at him, hand steady.
KATYA: Remember her, then. And mourn.
Goncharov pulls the wheel sharply, sending the car tumbling over the cliffside. At the same time, a GUNSHOT rings out.
EXT. THE CLIFF ROAD OUTSIDE NAPLES - MIDDAY
The dark car rolls to a stop steps from the cliff’s edge. Far below, the waves CRASH over rocks and a scattering of debris. Katya’s pale yellow scarf floats on the water.
The driver-side door opens, and Joe’s distinct white and blue brogues hit the dirt. The man wearing those shoes walks to the cliff. A car door SLAMS, and a woman wearing Sofia’s black stilettos joins him.
SOFIA (OFFSCREEN): Could have been cleaner.
JOE (OFFSCREEN): Give yourself more credit, darling. I’d say that worked just fine.
CUT TO CREDITS
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bumblingbabooshka · 9 months
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-Remembers how T’Pring looked as she watched Spock & Chapel vanish into the bathroom together after seeing them kiss on the bridge (which she knew was for a mission and didn’t hold against them but perhaps she could sense something there since they do have feelings for one another), maybe attempting to calm herself and her suspicions as she’s left alone again (and later finds she’s been left out entirely this whole time) and how she doesn’t know that Spock almost told Chapel he loved her then and there, with T’Pring in the other room waiting, and how Amanda and Sevet both think she could have more confidence in herself and how T’Pring thought that she and Spock were in this together (her holding his hand, subtly letting him know to pour slower so the tea flowers would bloom correctly, a whispered ‘well done’, the ritual is over mother) and how mere hours after she expresses to Spock how she feels: Like he doesn’t trust her, like he doesn’t care to include her in his life, how she’s trying her best to show him that she will accept him wholly, how she wants to be his partner instead of an adversary or an obstacle, after all this he’s found Chapel within the hour and is kissing her.-
#I've seen people say 'it's not technically cheating because-' and once you've hit 'technically' in MY opinion it's pretty much cheating#'taking a break' isn't synonymous with being able to kiss/have sex with other people - that's something that needs to be discussed#in my opinion...BUT ALSO. Even STILL. Not even a goddamn DAY went by.#T'PRING!!!!!! SAVE MY GIRL T'PRING!!!#Can you imagine hearing your fiancee who you ostensibly like tell you (very vulnerably - especially for a Vulcan: I didn't mind this bc I#personally assume that Vulcan partners WOULD discuss and talk through feelings though probably with a different goal than humans)#that she feels hurt that you seem to not want to include her in your life and that she feels you should take a break#and then IMMEDIATELY going to find the girl you have a crush on to tell her that you and your fiancee are taking a break and that you feel#bad about it and then IMMEDIATELY after that you're KISSING her??????#didn't feel TOO bad about it then huh!#Anyway I'm not earnestly like incensed I'm tv angry on T'Pring's behalf - love the drama bc I'm experiencing SNW from a very particular POV#I will only be angry if they make T'Pring into the bad guy somehow (like if the NARRATIVE says this is correct)#also off topic but I personally think star trek has had enough 'Vulcan culture is bad and restrictive' episodes/talking points - Enough.#Find some joy and peace through connection to an alien culture PLEASE.#I get it humans are great humans are so much freer and happier than Vulcans humans rule - Enough.#-turns to camera with a smile- anywaaaay I watched the episode once and I couldn't rewatch it for this post so <3#if any of this is wrong just chalk it up to bad memory <3#snw spoilers#idk how long an ep has to be out for that to apply#also just so everyone knows - I /do/ think it's stupid that Spock forgets how to act Vulcan when he turns fully human#but I also just expected it since star trek writers LOVE bioessentialism#I have NO doubt that if Spock turned Klingon he'd suddenly start talking about honor and being rowdy despite those things being#learned and cultural v_v#I SAY ALL THIS...and I DID like the episode! I'm complicated <3#<- just likes episodes with fun hijinks as their thesis and also T'Pring is there
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leofrith · 8 months
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acv hate on my dash and i can't even be mad about it because they make some good points 😶
#like yes it was extremely fucking weird to have us play as a viking with all the violence that entails#while conveniently sidestepping any real consequences for that violence or contending with the results of that violence#because you're too afraid that lingering on it for too long might make your protag look bad#it's like they suddenly decided that their audience is too stupid to deal with moral ambiguity. in the moral ambiguity franchise.#this is once again drifting towards my forever argument that making these games rpgs was a mistake#or rather making these games *half-assed* rpgs was a mistake#and weakens the narrative bc there's never any meaningful follow through for any decisions#including some of the decisions that we the player don't even get to make ourselves#like i think having a set narrative would eliminate a lot of the problems with this game's writing#because they clearly weren't willing to take the rpg elements all the way#also just... make it smaller. there's too many arcs and too many diversions from the main narrative#which while a lot of them admittedly have some fun character moments they probably should not have been required to advance the main story#and with no mission replay or ng+ it's just so prohibitive to replay unless you're like me (deeply mentally ill and in love with eivor)#the point being that dissonance has always bugged me about this game. i could fix her i could fix her i could fix her#anyway. hi i'm gonna go do that ask game now ajdgjhdsf#the nerve pain last night was making it difficult to be on the computer. tbh it also is right now but we soldier on 🫠#ky posts text#ac.txt
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cannibaltranssexual · 11 months
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hi jason! sorry if youve answered this before, but what does aaoc stand for? i love the posts that you tag as such so im curious :]
its my tag for posts that remind me of my wip fic(s) !! i havent 100% settled on what to name the series yet but pretty early on in development i stumbled upon that passage by julian k jarboe (from the book everyone on the moon is essential personnel) that goes
Why does God create grapes and wheat, but not wine and bread? God does this because God wants us to share in the act of creation. To be how you made me, to become how God made me, though you, I can remake myself. You and I: we are already only whole, and shifting towards the divine.
and the author also has a tweet relating this concept to transsexuality and youve probably already seen one or both of these floating around on tumblr already but whatever i just wanted to center my t4t hannigram fic around these quotes cause theyre just. so good.
so yeah it stands for "an act of creation" except it should probably be "#taoc" if i wanted it to match the original quote but i cba to go and change it now which is probably not how placeholder tags are meant to work !! oh well . fic playlist <3
#sorry idk if u were asking me abt the tag in general or just the acronym but whatever . infodump time#i have not answered this ask before <3 i rarely get asks and even more rarely answer them 💀#ask#aaoc#i dont even know how much religious themes to include in the fic bc im like the worst person to attempt to write that (<- raised atheist)#but character wise it would only make sense and it would literally make the narrative so much more layered#anyways . some things that go in the tag:#autocannibalism + transsexuality as violence + transsexuality as cannibalism which is like . thesis statement#rural american towns/houses#wolf/dog symbolism + deer & antler symbolism + especially the two combined#literally any pictures of knives but especially those ones made of canine teeth or deer bones. or ones that just have swag gender vibes#knives r gonna be a big thing for young will and theyre basically his symbolic wolf teeth. but maybe fashioned out of whats left of the doe#and of course literally anything else that has to do with/reminds me of trans hannibal or trans will or t4t hannigram or dark!will#ditto with the characters' youths at any point in time since im writing backstories for both of em as well as a florence hannigram arc#and idk sometimes i just go by vibes. sometimes a post is hannigram but ever so slightly different so it must go in the tag#i seriously cant wait til school is over and i can finally go thru my tag and write scenes/notes of what every single post reminds me of#my thought process for the most recent one was just. gore goes on the hanniblog by default + androgyny = defiance of gender norms = aaoc#then it made me think of our convo abt hannibals relationship with japanese culture and also what would body horror be for young hannibal?#so yeah basically just things for my brain to chew on for inspiration#sorry abt the tag wall im normal abt this au (lying) and also just wanted to write down a list of things to tag for personal reference
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bluesadansey · 3 months
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lol remember the Kevin is poc coded and that’s why he’s marginalized and oppressed in the narrative (read: experiences the oppression of being a secondary character) compared to Andrew round of discourse
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officialralsei · 1 year
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are the ralsei rules Mandatory or can i still torment him?
a/n: as he would say - your wishes are paramount here, PLAYER! ^_^
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vimbry · 1 year
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sometimes you look at your self-indulgent projects and know, that if it had notoriety there is a non-zero chance this would spawn THE worst fandom
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likeabxrdinflight · 7 months
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I'm gonna find a way to shoehorn Mary into this good omens fic if it kills me
#I can't think of any plot relevance I just want to write Jesus and his mom interacting#...also wanna write Mary pissed at Heaven because you know what? she deserves it#all my life Mary was depicted as this meek woman who just went along with whatever God asked of her up to and including murdering her son#and like you know what? nah#fuck that narrative#you're telling me a Jewish woman never screamed and raged at God for her son's brutal crucifixion? for being tortured by the Romans?#I'm not Jewish but everything I know from my Jewish friends tells me that screaming and raging at God is not only normal but expected#meek and mild Mary feels like a specifically Christian invention#this whole 'I am the handmaid of the lord' deal like I don't think 'oh btw this kid's gonna be killed in 30 years' was part of the deal#like the most famous depiction of Mary after the crucifixion is the pieta which is this very serene and docile image#and I'm just like...under no circumstances could that have ever been the reality you know#where's the paintings that show Mary's actual pain#where are the sculptures that are ugly#and why is this woman not allowed to be angry#she's only ever allowed to be sad but like in a pretty and docile and obedient way#as if anyone deserves to fist fight god in a denny's parking lot /more/ than Mary#..............and all of this would be character relevant for Aziraphale because he needs to really see how fucking terrible Heaven is#I just need a plot reason to bring her into it
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dear-kumari · 1 year
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Looking at some of the post drafts I wrote at the height of my fever and feeling very relieved that I did not finish or publish any, bc the last thing I needed to do when I already felt like shit was take a big ol’ swing at a hornet’s nest
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#girl why did you TAG IT#(also didn't finish a more vitriolic but far less interesting 'anyone who thinks this show is as good as AtLA has serious brain worms' post)#anyway I still feel bad but now it's just bc my seasonal bronchitis has been reactivated#Guess who's gonna be coughing up mucus for the rest of the fall. yaaaaay#Kumari comments#Kumari procrastinates irl#ngl this was on my mind bc I spent most of my time in bed watching cartoons‚ TeeDeePee included#I revisited a couple episodes from the first and third seasons and I was reminded how much weight was put on 'destroying the egg'#and Harrow being like 'it's horrific' over Viren's choice was just. weird#at least considering all the stuff he /didn't/ take a moral stance on before that point#You could be like 'well some guy destroying a fertilized egg unprompted is very different from someone making a choice about their own body'#but an actual pro-lifer wouldn't make that distinction! any narrative about an innocent unborn life is useful to them#in fact it's /very/ useful that Zym and his mother are completely separate bc then you have to leave the issue of autonomy at the door#that way the story can focus wholly on the importance and beauty and wonder of the egg#and how only evil people would want to destroy it#and just bc it wasn't intentional doesn't mean it's not there (I'm sure the writers didn't intend to write ethnic cleansing apologia either)#idk if I missed someone pointing this out when the show first aired but it is a subject I'm genuinely interested in now#just … maybe not a subject to bring up with the fandom at large#Kumari abuses the tagging system#(Also I revisited that Twitter post and the number of reactionaries in the replies was. significant#not overwhelming but it was clear that some of them weren't random keyword-seeking trolls and actually did watch the show)
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arolesbianism · 6 days
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Every now and then I remember that oni in fact will eventually have more lore added and I get so excited and scared for a moment and then I remember that it could take months until we see any of that and I proceed to forget abt it again and the cycle repeats
#rat rambles#oni posting#now it does sadden me a smidge that itll probably be in paid dlc but thats a problem for future me#the bright side of new lore is new lore#the downside of new lore is the eternal fear of canon jackie and olivia designs#not because Im opposed to them getting canon designs its just so scary#like what if klei made them white how would I move forward from that#and its not even a situation where I can say with any level of confidence if they would or not because god if I fucking know#like they have until very recently seemingly deliberately avoided including anything Too lore relevant in any animated trailers#but that can kind of just be explained by well. the fact that most of those updates didn't include any lore.#and those that do involve it stay strictly in the dupes perspective#so I can't rly use that as any sign that theyre deliberately avoiding giving olivia and jackie canon designs#I would highly prefer they dont get designs even without fear of designs I dislike mostly because narratively it just works better that way#but hey its not up to me so whatever happens happens#I mostly assume future lore is going to mostly relate to the dupe donors we havent met yet and elaborating on some of the ones we have seen#but dont see a lot of if anything at all#I hope they dont mess with jackie and olivia too much but I do think itd be nice to give jackie just a smidge more like Ive talked abt#and other than that I could see them adding maybe new story traits and if they're feeling real generous more dupe lore#oh and if we're mega lucky we could get a dr.holland first name#honestly I hope that for dr.holland specifically they either just do a hard name drop and move on or just dont touch him#rly my main concern with any added oni lore is I Really dont want them to start telling us too much#I really really like all of our information being very fragmented and unclear as it adds to the post end of the world vibe rly well#and this is in fact a problem that they had in older versions of the story that they seemingly went out of their way to solve#so I rly want to have faith that they wont fuck it up but I have been burned before and oni has yet to have fully earn my trust#its not far off tho just the scrapped logs themselves give me faith that they are aware what story theyre writing and what needs done#again the scrapped logs are cool but would have dampened the narrative quite significantly from how straight forward they are#so them being full one scrapped early on makes me hopeful that they realized that too#rly I just dont want too much expansion on the stuff we already know#some names and work ids would be splendid and Im all for new fragments to try to place in the timeline#I just dont want a log where nikola stares at the camera and monologues abt the duplicant project or smth
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annabelle--cane · 2 months
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"the magnus protocol had a whole ARG beforehand? what?"
yes! it did!
"oh so I need to have participated in this whole big thing to actually understand the podcast?"
not at all! from the official post-mortem put out by RQ, "while the ARG was not something that was necessary to participate in to understand the magnus protocol, it was designed to contain a wealth of background story and context that would enrich any player's listening experience."
"a wealth of background context that would enrich my listening experience 👀👀👀 how can I learn about this?"
SO glad you asked. sadly, many of the materials made for the arg have been taken down since the game ended 😔 (ex., the official OIAR, magnus institute, and bonzoland websites. (edit ii: I found partial wayback machine captures! see below) though @strangehauntsuk is still up!), so we're a bit low on primary sources, but in terms of learning about what happened:
for a starting point, I would really recommend this video by @pinkelotjeart
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it's super accessible, it was made in real time as the game progressed and follows the solving and revelation of clues as they happened, it hits all the major points of the mystery and moments of community insanity while eliding some of the nitty gritty puzzle grinding, 10/10 would recommend.
here's the official summary put out by RQ, and I'd recommend reading through this once you've already gotten a basic handle on the flow of the story and the basic connections between major clues and events. it's got some fun behind-the-scenes info and lays out the thought process behind the puzzles in simple terms
here's the full masterdoc of all puzzles and resolutions put together in the statement remains discord server. masterdoc my absolute BELOVED, masterdoc my bethrothed, masterdoc my soul mate. I'd recommend this as a second port of call after the above video as it either contains all details about the puzzles or links to other expanded docs that do.
here's the narrative summary doc that lays out all the plot and lore discovered in three pages of plain prose. if you just want to get to the good bits as fast as you can and get blasted directly in the face by contextless lore bombs, this is the doc for you. if you don't want to start with the video, I'd say this is another good entry point.
once you've got the lay of the land, some of the game materials that I found particularly interesting include:
the in-universe east germany expat usenet forum, with all content translated into english. most of it is irrelevant space filler with occasional extremely sus lore, but I still found it fun to read through. love to soak in some fictional forum drama.
chdb.xlsx, the spreadsheet of the names of all the children the protocol 'verse magnus institute was studying/experimenting on. EDIT: here is a version of the sheet without any annotations and with all of the names in their original order, kudos to @theboombutton for catching that the commonly shared copy had the order swapped around.
klaus.xls, a (very corrupted) spreadsheet with what looks like the classifications of a bunch of old OIAR cases.
EDIT: have a few more saved materials from the game that I forgot to include.
an in-universe audio ad to apply to the OIAR that ran before archives episodes and kicked off the whole game.
an in-universe video ad to apply to the OIAR, this one is an official upload that's still up from the game itself. you can subscribe to the OIAR's official youtube channel today, if you so chose.
the robo-voicemail greeting from the OIAR's phone line.
EDIT II:
here is a wayback machine capture of the OIAR's official website.
here is a wayback machine capture of the bonzoland website.
(pretty sure both of the above captures just archived the home pages, though I haven't tried clicking all of the links. I'd say they're still worth looking at, the home pages give a good window into the vibes.)
once you start poking around in these documents, you'll find a bunch of links to others with further information, the materials I've included here just contain what I feel to be the most relevant details to getting a broad feel for the whole game. once again, huge shout out to the statement remains server, I was barely in there as the ARG was in progress and only ducked my head in every so often to find links like these. true mvps of the fandom.
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hayatheauthor · 5 months
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Everything You Need To Know About Writing Gunshot Wounds 
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Welcome to the latest installment in my ongoing series on crafting realistic wounds in fiction! After covering stab wounds and burns, it's time to explore the next wound category frequently explored in fiction—gunshot wounds. 
Gunshot wounds are a recurring motif in the realm of storytelling. They're something you can easily come across in every genre, however, authors often poorly portray gunshot wounds due to lack of proper research. I understand finding the right resources to aid with your writing can be hard, so here's my comprehensive guide on how to write gunshot wounds. 
How To Categorise Gunshot Wounds
There are certain factors you need to consider before writing a gunshot wound. These details are instrumental in crafting a vivid and plausible narrative while avoiding plot holes. The first and most important one is identifying the type of firearm used to inflict the wound. 
Picking The Right Firearm 
Selecting the appropriate firearm to inflict a gunshot wound is a pivotal decision. It's not just about choosing any gun; it's about picking the right one to align with your desired outcome and the narrative's overall impact. Here's a quick guide on how to pick the right firearm.  
The Impact of Firearm Selection
The firearm you choose can significantly influence the severity and appearance of the gunshot wound. Whether your goal is a graphic, gory injury or a precise, long-range shot, the choice of firearm plays a crucial role. Here are some guns you to consider:
Handguns: These are versatile and commonly used in close-quarters combat. They can result in gruesome, close-contact wounds with a higher potential for damage due to their stopping power.
Shotguns: Shotguns disperse shot pellets upon firing, making them suitable for creating a broader pattern of injuries. If you aim to depict a devastating, close-range gunshot wound, shotguns can be a fitting choice.
Rifles: Rifles are known for their accuracy at longer distances. When you need a precise, long-range shot, rifles are the go-to option. They tend to produce a cleaner wound channel, especially when used for a targeted, well-planned injury.
Choosing the Right Firearm for Your Narrative
The type of firearm you select should align with your story's objectives. If you intend to evoke visceral, gory reactions, opt for handguns or shotguns used in close proximity. On the other hand, if precision and long-range engagement are key, rifles can achieve your desired outcome.
Keep in mind that firearm selection can affect the wound's damage, trajectory, and overall portrayal in your narrative. 
Categorising The Wound 
Once you've identified the type of firearm, you need to establish what type of wound your character will incur. 
In order to bring your character's injuries to life, it's important to first identify what you're dealing with. You can do this by categorising the injury based on several factors. For gunshot wounds, this includes the type of firearm used, the bullet's trajectory, and the specific areas of the body affected.
You can categorise your character's gunshot would into seven main categories, here's a quick breakdown of what these categories look like and the level of severity associated with them: 
Penetrating Gunshot Wounds: These wounds occur when a bullet enters the body but doesn't exit. The bullet remains inside the body, causing damage along its path.
Perforating Gunshot Wounds: In this case, the bullet enters the body and exits on the opposite side. This type of wound can have a different set of implications due to the bullet's trajectory.
Ricochet Gunshot Wounds: Ricochet wounds happen when the bullet bounces off a surface before hitting the character. The nature of the surface can influence the severity of the wound.
Through-and-Through Gunshot Wounds: As the name suggests, these wounds occur when the bullet enters one side of the body and exits through the other. The trajectory can greatly affect the injury's severity.
Close-Contact Gunshot Wounds: These wounds result from the firearm being fired at extremely close range. The proximity of the gun to the body can lead to unique wound patterns and burn injuries.
Shotgun Wounds: Shotgun wounds differ from those caused by handguns or rifles. The shot pellets disperse upon firing, leading to a broader pattern of injury.
Long-Range Gunshot Wounds: When a character is shot from a considerable distance, the wound might appear different due to factors like bullet tumbling and loss of velocity.
The Anatomy of a Gunshot Wound
To create a vivid portrayal of a gunshot wound, writers need to grasp not only the external appearance but also the internal effects it has on the body. A well-executed description captures both the physical trauma and the emotional turmoil experienced by the character. Here are some symptoms you should take into consideration.
1. External Appearance and Bleeding:
Wound Size: The size of a gunshot wound can vary significantly based on the type of firearm and bullet used. Smaller calibers may leave entry and exit wounds that are relatively small, while larger bullets or high-velocity rounds can create much larger wounds. Be specific about the size, which can help readers visualize the injury.
Blood Loss: Gunshot wounds typically result in bleeding. The severity of bleeding depends on factors like the wound's location, the size of the blood vessels damaged, and the bullet's trajectory. Mention the amount of blood, but avoid excessive gore unless it serves a specific purpose in your narrative.
Coughing Up Blood: If the gunshot wound affects the chest or lung area, characters may cough up blood. This symptom often signifies a more critical injury and can add drama to your story.
2. Internal Damage and Symptoms:
Pain: Gunshot wounds are painful, and the character should express this pain through their actions, dialogue, and internal thoughts. Describe the sharp, burning, or throbbing sensations as they resonate through the character's body.
Shock: Depending on the severity of the wound, shock can set in. The character may appear pale, sweaty, and disoriented. This state of shock can impact their actions and decisions.
Loss of Function: A gunshot wound may impair the use of the injured body part. Describe any loss of function, such as the inability to move a limb or use it effectively.
Fainting: In extreme cases, characters may faint due to the pain, blood loss, or shock. Be sure to contextualize this within the narrative, as fainting can have significant consequences for the character.
By diving into the details of a gunshot wound's anatomy, you can craft a compelling and realistic portrayal that draws readers into the character's harrowing experience. I haven't exactly covered every symptom out there, but these are the major ones you should take into account when writing. 
Medical Assessment and Treatment
Once you've established your gunshot wound, it's now time to focus on the aftermath. One of the main factors to consider is the medical process that follows. If your character is supposed to die from the gunshot then you could probably skip this section, but if they're alive here are things you need to consider. 
1. Initial Assessment:
Scene Safety: In a real-life scenario, safety is paramount. First responders will ensure the scene is secure before approaching the injured person. Consider factors like the presence of firearms, potential threats, and the safety of medical personnel.
ABCs of Assessment: Medical professionals follow the ABCs—Airway, Breathing, and Circulation. Writers can reflect this in their storytelling by highlighting the character's ability to breathe, cough, or speak after being shot.
Vital Signs: Mentioning vital signs like heart rate, blood pressure, and oxygen saturation can help convey the character's condition and the urgency of their medical treatment.
2. Trauma Assessment:
Focused Assessment: Medical personnel perform a thorough examination to identify the gunshot wound's location, entry and exit points, and any associated injuries. This assessment informs their treatment plan.
Imaging: Depending on the complexity of the injury, X-rays or other imaging may be required to visualize the bullet's trajectory and any potential damage to internal organs or bones.
3. Treatment:
Bleeding Control: Stopping the bleeding is a top priority. This may involve applying pressure, packing the wound, or even tourniquet application in extreme cases.
Wound Care: Depending on the wound's severity, cleaning and suturing may be required. The character's response to this procedure can add an element of realism to your narrative.
Pain Management: Gunshot wounds are excruciatingly painful, and medical personnel will often administer pain relief or anesthesia during treatment.
Monitoring and Observation: Patients with gunshot wounds require careful observation and monitoring for signs of infection, complications, or changes in their condition.
By accurately portraying the medical assessment and treatment of gunshot wounds, you not only enhance the authenticity of your writing but also depict the physical and emotional toll such injuries can take on your characters. This attention to detail helps your readers connect more deeply with the story.
The Psychological Impact
Gunshot wounds don't just inflict physical harm; they also leave lasting emotional and psychological scars. It is important to note that the extent of the psychological impact on your characters will heavily rely on various factors. 
For example, you need to consider whether or not this injury is something normal for them. Do they work as a spy, assassin, or other such roles that would mandate such dangerous injuries? You also need to consider who shot them. Does this wound come with emotional damage as well? Think of Aaron Warner’s reaction to Juliet shooting him. 
If you’re sure your character will have some extent of a psychological impact, here are some factors you should consider. 
1. Shock and Denial:
Immediate Response: Characters who have been shot may initially experience shock and denial. This can manifest as disbelief, emotional numbness, or a surreal sense of detachment from the situation.
Physical Symptoms: Shock can lead to physical symptoms like trembling, chills, or even fainting. Incorporating these details can make the character's reaction more genuine.
2. Fear and Anxiety:
Survivor's Guilt: Characters may grapple with survivor's guilt if they are the only ones to emerge unscathed in a violent encounter.
Anxiety: The threat of recurrence or the fear of returning to the location where the shooting occurred can trigger anxiety and panic attacks.
3. Post-Traumatic Stress Disorder (PTSD):
Flashbacks and Nightmares: Characters who have survived a gunshot wound may experience recurring flashbacks and nightmares, vividly reliving the traumatic event.
Hypervigilance: PTSD can lead to hypervigilance, where characters are constantly on edge, expecting danger at every turn.
4. Depression and Isolation:
Emotional Withdrawal: Characters may withdraw from social interactions, experiencing feelings of isolation and sadness.
Emotional Numbness: Some may describe feeling emotionally numb, unable to experience joy or pleasure.
5. Recovery and Resilience:
Therapeutic Support: In your storytelling, consider how characters seek therapy or counseling to cope with their emotional scars. Therapy can be a path toward recovery and resilience.
By addressing the psychological impact of gunshot wounds on your characters, you create more layered and relatable individuals within your narrative. This depth allows readers to connect with the characters on a profound emotional level.
I hope this blog on Everything You Need To Know About Writing Gunshot Wounds will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  
Looking For More Writing Tips And Tricks? 
Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 
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