#in how it explores the self and how it conveys that with more than just prose | Explore Tumblr Posts and Blogs

superectojazzmage · 10 months

Text

Watched the Nimona movie last night. Review I guess. It was pretty damn good. Definitely would’ve probably been regarded as Blue Sky’s magnum opus if they’d gotten to release it instead of being fucked over by Disney. Very cute, very funny, very powerful in the right moments. A thing that stuck out to me is that it’s really only an adaptation in the loosest sense of the word. It takes the core premise and beats of the comic but is functionally an entirely different kind of story that does its own thing. And given that ND Stevenson was heavily involved in production, I suspect that was intentional.

The comic was much darker and more downbeat in a lot of ways, plus it was significantly longer and thus could afford to be slower paced. But more than that, it was a lot more meaty in terms of themes and scope. The whole “LGBT allegory” element was there, but it wasn’t the sole focus, the comic was a story about a lot of different things; not just an LGBT experience, but also discussion of fantasy genre tropes and clichés, criticism of other fantasy deconstructions, character study, exploring what it means to be a hero or villain, critique of the glorification of crime and cruelty in underprivileged communities, corruption in governments, peer pressure, the senseless and self-perpetuating nature of violence, the worthlessness of revenge, etc.. And above all that, it was a story about trauma and people’s responses to it, with Ballister representing people who actually deal with their problems and move on while Nimona represented people who let their mistakes and suffering and grief consume their identity, or worse, use it as an excuse to indulge their worst qualities and take out their feelings on everyone around them.

The movie, by contrast, has a much more narrow focus. The LGBT allegory is front and center and basically the entire focal point of the movie, aside from a spattering of themes about the danger of zealotry and rigid fundamentalist thinking. This gives the movie a much tighter narrative and pacing that suits its inherently shorter runtime, but also leads to a ton of changes to the story either to convey a different kind of message or just work better in a different medium. Most obviously in how Nimona is vastly more sympathetic in the movie and essentially really is the silly gremlin the comic fakes you out into thinking she is, scrapping the comic’s twist that she was a genuinely bad person who was completely serious about wanting to be a villain, caring nothing for the lives she destroyed with her behavior and idolizing Ballister because she thought he was the same as her and would thus tell her what she wanted to hear (i.e., that she was justified in killing and destroying everything around her in the name of getting even). And in the changes to the Institution’s history and nature. And all sorts of other things.

All in all, I feel if you go in comparing and contrasting the movie and the comic, arguing which changes are for the better or worse, you’ll be setting yourself up for disappointment in either direction because they’re two different beasts and it’s like comparing apples and oranges. So keep that in mind if you’re a fan of the comic watching the movie or a fan of the movie wanting to look into the comic. I think ultimately I still like the comic better, but that’s purely my personal opinion and there’s plenty that I think the movie did better.

Some other observations:

Riz Ahmed my beloved, thank you Mr. Stevenson for this perfect casting. Literally perfect for Ballister.

Acting in general was very good. You can tell this was a passion project for a lot of people, not just Stevenson.

Only two changes that are objectively bad are Ambrosius losing his awesome Van Halen hairdo and changing Ballister’s last name — Blackheart is a way cooler name than Boldheart and it’s a pointless change, one that I’d argue even hurts the narrative since it makes it too obvious that Ballister isn’t actually a bad guy.

The animation is really great with fantastic expressions, stylish movement, and wonderful aesthetics that perfectly suit the story, but there’s times where it feels a little off. But there are parts where it looks less “movie” and more “cheap mid-2000s CGI-and-Flash cartoon show from France”.

The humor can be a hit and miss, in a “going through the motions of a Hollywood animated comedy for kids” way. The movie excels when it’s either imitating the comic’s Old Internet sense of humor or going hard on the drama, but there’s bits where it seemingly slams on the brakes to do Illumination-esque Twitter humor and those bits definitely throw off the vibe.

Having an actual straight up attempted suicide in the climax was shockingly ballsy. I genuinely can’t believe they went there, but I’m glad they did because the film wouldn’t have felt nearly as raw without it.

I don’t know how they managed to make the Director even more of an asshole than in the comics, but they did.

#nimona #nimona film #nd stevenson #ballister boldheart #ballister blackheart #ambrosius goldenloin #movie review #animated movies #movies #films #comic books #dc comics #webcomic #web comics #indie comics #netflix #blue sky studios #lgbt film #lgbt fantasy

719 notes · View notes

fangswbenefits · 4 months

Text

getting this off my chest

I really, really love writing for this fandom.

I think I haven't felt like this in years.

Astarion is such an enticing vessel for my creativity and has rekindled my joy for writing and putting it out there.

Alas, imposter syndrome really gnaws at my nerves more often than I care to admit.

"But Ruby, you have so many people who like your work. Why do you doubt yourself?"

Because I grew up being told I was never enough. That I was the worst at what I did best, which back then was learning English and surrounding myself in the language, hence why I sought comfort in fanfiction.

My sister, whom I love dearly, is an English teacher. She would be so harsh on me, and I know she meant well. She really did. But it was so hard back then. I would come to her with creative writing in English and she would just roll her eyes and tell me I wasn't good enough.

Nowadays, she acknowledges that I am more proficient than her and more at ease with the language, and even tells my nephew to study English with me instead.

But back then, I needed someone to believe I could do better.

So, there is a part of me that is proud that I am able to deal with real-life fatigue by writing and finding enjoyment in this hobby. But a much darker part of me tells me I'm not worthy and that I simply got lucky.

The Arrangement means a lot to me. I tend to dive right into fandoms and start writing for the character that caught my eye.

But I couldn't do that for Astarion... I am still unsure why. For those of you who have been here from my Miguel O'Hara days or when I first started posting about Astarion, you'll know The Arrangement was the first thing I ever posted for him.

Took me 2 weeks to get the first chapter out because I kept thinking I couldn't find a voice for Astarion. One that felt like him. After all, I'm always a step behind because I am not a native speaker. There will always be that looming feeling that I can't convey this story properly.

Even if you now know me for my Astarion smut, that wasn't even the driving force of my love for him.

It took me 2 months to feel comfortable writing smut for him. Why? I don't even know.

But The Arrangement feels different.

I love writing it and I love taking my liberties with the plot.

It's my opportunity to fully showcase my love for him.

I know not everyone likes it. I know some of you have dropped it. Some of you will drop it. But some will walk along this path with me, and I can't stress enough how your feedback and love help keep these negative thoughts at bay.

It's an internal work, though. It is not your job to validate my writing skills. This is not what puts food on my table. I am not looking to be published. I am looking for an escape. And it's so frustrating when my mind tries to rob me of joy even when it comes to a hobby.

"If this is a hobby why does it matter what others think or if they like what you write? Just have fun. Write for yourself."

And I do write for myself, but I share my work because I am hopeful my words can make someone's day. I seek that connection I never had growing up. Perhaps it sounds silly, but it's what makes the most sense in my head.

The Arrangement should be my pride and joy even if not perfect (nothing ever is, I suppose). And I'm exhausted of not feeling proud of it. I'm tired of this vicious cycle of self-doubt.

Don't get me wrong. I love writing smut. I think that's what I'm best at (well, in my opinion). I love exploring Astarion this way, too, but...

I don't know where I'm going with this... if anyone has made it this far, thank you, and sorry for the word vomit...

#ruby rambles ‧͙⁺˚*･༓☾

271 notes · View notes

taytjiefourie · 1 year

Text

Show Don't Tell: Sadness

Hey there, fabulous folks! I'm thrilled to have you back for another exciting day of my 'Show Don't Tell' series! Today, we're delving into the complex emotion of sadness, and I can't wait to explore this topic with you all.

Let's start by recapping why 'Show Don't Tell' is crucial in creative writing. When we show instead of telling, we allow our readers to truly experience the story firsthand. It's like sharing a delicious slice of pizza with a friend instead of just describing how it tastes. By showing, we can immerse our readers in the story and create a more captivating experience that brings the narrative to life in their minds.

Now, what is sadness?

Sadness is a powerful emotion that we all experience at some point in our lives. It's a feeling of deep sorrow or unhappiness, often caused by loss, disappointment, or failure. Sadness is an essential emotion to portray in storytelling because it allows the reader to connect with the characters on a deeper level. When we see characters experiencing sadness, we can empathize with them and understand their struggles.

Dialogue

Today we're starting off with dialogue! and oh boy, can I tell you a thing or two about dialogue in creative writing! See, dialogue is more than just two characters talking to each other - it's a powerful tool to reveal the inner emotions of your characters without having to explicitly state them. That's right, you can show, not tell, how your character is feeling just by the words they speak and the way they say them.

By carefully crafting dialogue, you can hint at a character's inner thoughts and feelings without spelling them out. You can use word choice, tone, pacing, and other elements to convey emotions that your readers can pick up on, even if your characters don't outright state what they're feeling.

For example, if a character is feeling nervous or anxious, they might speak in short, clipped sentences or stutter when they talk. If they're feeling angry or frustrated, they might use sarcasm or speak in a raised, forceful tone. And if they're feeling sad or defeated, they might use a subdued tone, speak slowly, or trail off mid-sentence.

By showing these emotions through dialogue, you're allowing your readers to draw their own conclusions about how your characters are feeling, rather than simply telling them outright. So, the next time you're writing dialogue, remember that it's not just about what your characters are saying, but how they're saying it.

Here are some ways to show your character's sadness through dialogue:

Speaking softly or in a subdued tone

Using a slow, hesitant delivery

Repetitively apologizing or expressing guilt

Avoiding eye contact

Using self-deprecating humor or dialogue

Asking for reassurance or validation

Using a trembling or shaking voice

Asking rhetorical questions to express confusion or hopelessness

Talking about loss or past regrets

Expressing disappointment or disillusionment

Using passive language, such as "I guess" or "I don't know"

Reflecting on negative feelings, such as shame or worthlessness

Using a quivering or choked voice

Expressing helplessness or powerlessness

Using long pauses or trailing off mid-sentence

Using a resigned or defeated tone

Expressing feelings of isolation or loneliness

Using negative self-talk or dialogue

Avoiding conflict or difficult conversations

Using a monotone or flat voice to convey sadness.

Making self-pitying statements, such as "Why does this always happen to me?"

Using expressions of regret, such as "I wish I had done things differently"

Expressing a lack of motivation or energy, such as "I just can't seem to get out of bed in the morning"

Talking about feeling overwhelmed or burdened by responsibilities

Using hesitant language, such as "I'm not sure if I can handle this"

Talking about feeling lost or directionless in life

Using indirect statements to avoid confronting difficult emotions, such as "It's just been a tough day"

Expressing a sense of hopelessness or despair, such as "What's the point anymore?"

Using figurative language to convey sadness, such as "It feels like a weight on my chest"

Talking about past traumas or painful memories

Using vague or noncommittal language, such as "I don't know how I feel right now"

Talking about feeling disconnected or disengaged from the world around them

Using self-criticism or self-blame, such as "I should have seen this coming"

Expressing a sense of longing or nostalgia for happier times

Using metaphors or similes to convey sadness, such as "I feel like a balloon slowly deflating"

Talking about feeling rejected or unloved by others

Using evasive language to avoid talking about difficult emotions directly

Expressing a sense of frustration or resignation, such as "It is what it is"

Using repetition to emphasize feelings of sadness, such as repeating "I just can't do this" multiple times.

Setting/Scenery

Let's talk about how to use the environment to create and convey sadness in creative writing. One way to use the environment to create a sad mood is through the use of imagery. Imagine a scene where the character is walking down a street on a rainy day. The sound of the rain hitting the pavement, the gray sky overhead, and the slick roads all work together to create a sense of sadness and melancholy. By describing the environment in detail, we can show the reader that the character is feeling down without ever having to tell them directly.

Another way to use the environment to convey sadness is through the use of color. For example, if the scene is set in a funeral home, we might describe the walls as a dull gray or beige, the curtains as heavy and dark, and the lighting as dim and muted. These details can all work together to create a sense of heaviness and sadness.

Using the environment can also be an effective way to create contrast and highlight the sadness in a scene. For instance, describing a bright and sunny day while the character is feeling down can help to emphasize their emotional state.

I've got a fantastic list of ways to use scenery and setting to indirectly show sadness:

Describing the weather as gray, rainy, or gloomy

Using dark or muted colors in the description of the setting

Creating a sense of isolation or emptiness in the environment

Using silence or a lack of sound to create a sense of loneliness or sadness

Describing the setting as abandoned or neglected

Using a stark or barren landscape to create a feeling of despair

Using symbolism in the setting, such as wilted flowers or broken objects, to convey sadness

Setting the scene in a place that is traditionally associated with sadness, such as a graveyard or hospital

Creating a contrast between the beauty of the setting and the sadness of the character's emotions

Describing the setting as chaotic or disorganized to mirror the character's internal turmoil.

There's another way to show a character's sadness - by having them directly interact with the setting:

Tracing their fingers along the rough surface of a wall

Sitting slumped or huddled in a corner

Staring off into the distance with a blank expression

Running their hands through grass or foliage absentmindedly

Letting raindrops fall on their face without moving

Slowly dragging their feet as they walk through the environment

Clenching their fists or gripping objects tightly

Kicking or throwing objects in frustration or anger

Covering their face with their hands or hiding their eyes

Leaning their head against a window or wall with a defeated expression

Tightly hugging a pillow, stuffed animal, or other comfort item

Pulling their knees up to their chest while sitting on the ground

Tearing apart flowers or other delicate objects

Trashing their surroundings in a fit of rage or despair

Moving through the environment slowly or aimlessly with no clear destination in mind.

I've also got some awesome details that'll help you convey sadness through scenery alone:

Weather: A gloomy, overcast day with drizzling rain can create a melancholic atmosphere, reflecting the character's sadness.

Time of Day: A dreary morning or mid-afternoon slump can convey a sense of sadness and lethargy.

Location: Abandoned or empty places, such as an old churchyard or an abandoned building, can create a sense of loneliness and isolation.

Objects: Neglected, dusty, or unused objects can symbolize the character's neglect or emotional emptiness.

Colors: Dull, muted colors like gray, brown, or beige can create a sense of emptiness and sadness.

Noises: Soft, somber sounds like gentle rain or the sound of distant waves crashing can create a sense of tranquility and melancholy.

Crowds: A crowded, bustling place like a shopping mall or a subway station can highlight the character's sense of detachment and loneliness.

Architecture: Decaying, crumbling buildings or abandoned factories can symbolize the character's emotional decay and emptiness.

Nature: A desolate or barren landscape, such as a desert or a frozen tundra, can evoke a sense of desolation and despair.

Animals: Sad or pitiful animals, like a stray dog or a sickly bird, can evoke a sense of vulnerability and sadness.

Action

Now it's time to talk about how actions can convey a character's sadness in a fictional story. Instead of saying, "He was sad," show us his actions, and we'll figure it out on our own. It's like when your best friend tells you she's fine, but you can tell from the slump of her shoulders and the frown on her face that she's definitely not fine.

For example, let's say your character just lost a loved one. Instead of telling the reader outright that the character is sad, show it through their actions. Maybe they're:

Staring blankly at a picture of the person they lost.

Lying in bed all day, refusing to get up or talk to anyone.

Going through the motions of daily life but without any joy or enthusiasm.

Avoiding anything that reminds them of the person they lost.

Crying uncontrollably at unexpected moments.

Losing their appetite or neglecting personal hygiene.

Snapping at loved ones who try to comfort them.

See how much more powerful and engaging that is than simply stating, "He was sad"? It allows the reader to empathize with the character and experience their sadness alongside them.

Here are a few other examples:

Slumping or drooping posture

Avoiding eye contact or looking down

Crying or tearing up

Frowning or looking solemn

Loss of appetite or overeating

Inability to sleep or sleeping too much

Lack of interest in activities they normally enjoy

Neglecting personal hygiene or appearance

Withdrawing from social situations

Clenching fists or tensing muscles

Moving slowly or sluggishly

Hesitating or procrastinating

Avoiding conversations or communication

Self-harm or destructive behavior

Engaging in risky behavior

Substance abuse or excessive drinking

A lack of energy or motivation

Losing track of time or being forgetful

Becoming easily frustrated or irritable

Exhibiting a lack of enthusiasm or passion for life

Remember that if a character is feeling sad and depressed, they might stop taking care of themselves, neglect their hygiene, and lose interest in their hobbies. They may also isolate themselves from others, withdrawing from social situations and avoiding conversations.

Body Language

Body language is a huge part of showing emotions in creative writing, and sadness is no exception! The way a character holds themselves, their posture, and their movements, can all tell the reader a lot about how they're feeling.

For example, imagine a character who has just received some terrible news. They might slump their shoulders, avoid eye contact, and wring their hands. These actions convey their feelings of defeat, sadness, and worry without the writer having to tell the reader directly.

Body language can also be used to create tension and conflict between characters. If one character is sad and another is trying to comfort them, the way they position themselves in relation to each other, the way they touch each other or don't touch each other, can all convey different emotions and create a deeper sense of meaning in the scene.

Here! I'll provide you with a short list of ways body language can convey sadness:

Drooping or slumping shoulders

Hunching over or curling up into a ball

Clasping or wringing hands

Biting or licking lips

Rubbing or covering eyes

Frowning or furrowing eyebrows

Tilting the head downward

Avoiding eye contact or looking down

Crossing arms or legs

Gazing into the distance or staring off into space

Sighing heavily or audibly

Slow or shuffling movements

Trembling or shaking

Fidgeting or restlessness

Wrinkling or rubbing the forehead

Holding oneself or self-soothing gestures

Stiff or tense posture

Lack of facial expression or a neutral expression

Slow or lack of movement

Deep, heavy breathing

A weak or feeble voice

Avoiding physical touch or contact

Shrinking or pulling away from others

Failing to respond or acknowledge others

Refraining from smiling or laughing

Breaking eye contact quickly

Pacing or fidgeting

Yawning excessively

Looking tired or fatigued

Crying or tearing up

Point of view

Let me tell you about the power of using point of view in creative writing to show a character's sadness indirectly. Point of view is all about the perspective from which the story is told, and it allows us to see the world through our character's eyes. By exploring our character's inner thoughts, inner dialogue, and emotional state, we can beautifully convey their feelings of sadness.

A character's sadness can be conveyed through things like:

Negative self-talk, such as self-doubt or self-criticism

Focusing on negative aspects of the environment or situation

Recalling past negative experiences or memories

Expressing a lack of motivation or interest in their surroundings

Having a pessimistic or cynical outlook on the future

Feeling disconnected or detached from others

Feeling overwhelmed or burdened by their emotions

Seeing the world in black and white, without much color or vibrancy

Struggling to find joy or pleasure in activities they used to enjoy

Having difficulty concentrating or focusing on tasks

Feeling hopeless or helpless about their situation

Expressing a desire to isolate or withdraw from others

Being irritable or easily agitated with others

Struggling to communicate their feelings to others

Feeling like they are a burden to others

Expressing a sense of numbness or emptiness

Feeling like they are trapped or stuck in their situation

Being indecisive or hesitant in their actions or choices

Feeling like they don't belong or fit in with their surroundings

Expressing feelings of guilt or shame

Having difficulty sleeping or eating properly

Feeling like they are constantly on edge or anxious

Seeing themselves as an outsider or outcast

Struggling to make meaningful connections with others

Feeling like they are invisible or overlooked by others

Expressing a sense of longing or yearning for something they can't have

Feeling like they are drowning in their emotions

Struggling to find purpose or meaning in their life

Feeling like they are stuck in a rut or a cycle of negativity

Expressing a sense of regret or remorse for past actions or choices.

Sensory Detail

Sensory details can take your writing to the next level! By incorporating sensory details into your writing, you can transport your readers into the world you've created and make them feel like they're a part of the story. Whether you want to evoke sadness, joy, or fear, sensory details are an essential tool for creating an emotional response in your readers.

Specifically, when it comes to showing a character's sadness, sensory details can be particularly effective. By describing their environment using muted colors and soft sounds, for example, you can create a somber atmosphere that resonates with the character's emotions. Additionally, describing physical sensations like a heavy chest or lump in the throat can help the reader understand just how deeply the character is feeling their sadness.

Remember, sensory detail isn't limited to external sensations - sensory detail can also include how the inner turmoil of the character interacts with the outside world, such as associating certain smells with sad memories.

I'll give you guys a few techniques for using sensory detail to show sadness:

Describing the weight of a character's heart or chest

Mentioning the salty taste of tears on the character's lips

Describing the sound of the character's labored breathing or sobs

Noticing the way the character's eyes water or become red

Describing the feel of tears streaming down the character's face

Mentioning the chill or shivers that accompany sadness

Describing the dull ache or pain in the character's body

Noticing the way the character's voice cracks or shakes

Describing the character's inability to eat or taste food

Mentioning the heaviness or stiffness in the character's limbs

Describing the character's difficulty in sleeping or restlessness

Noticing the way the character's hands tremble or shake

Describing the character's detachment or numbness

Mentioning the lack of appetite or desire to eat

Describing the character's exhaustion or fatigue

Noticing the way the character's posture slumps or droops

Describing the character's sensitivity to light or sound

Mentioning the character's lack of interest or enthusiasm

Describing the character's reluctance to leave their bed or room

Noticing the way the character's movements become slower or more deliberate

Describing the way the character's world becomes smaller or more constricted

Mentioning the character's lack of motivation or energy

Describing the way the character's skin becomes pale or sallow

Noticing the character's tendency to withdraw from others or isolate themselves

Describing the character's lack of focus or concentration

Mentioning the character's difficulty in making decisions or taking action

Describing the character's hypersensitivity to smells or tastes

Noticing the character's tendency to cry easily or frequently

Describing the way the character's thoughts become more negative or self-critical

Mentioning the character's lack of interest or pleasure in their usual activities.

Metaphors and Analogies

Metaphors and analogies in creative writing! These tools are like superpowers that allow us to express complex emotions in fun and unique ways. When we use them effectively, we can paint a picture in our reader's mind, making them feel and understand the emotions we're expressing. It's like adding a sprinkle of magic to our writing!

Here's how to use metaphors and analogies to show sadness in our writing! It's like playing a game of compare and contrast, where we compare the emotion to something that's relatable and tangible. For instance, we can describe sadness as a heavy weight on the character's chest, or a dark cloud that hangs over their head. By using these comparisons, we can help our readers to visualize the emotion in a more concrete way, making it easier for them to connect with the character and empathize with their experience.

Let's keep the creative juices flowing and talk about another way to use metaphors and analogies to show sadness in our writing! Instead of just describing the emotion itself, we can also use them to describe the character's actions or behavior. It's like giving our readers a visual representation of how the character is struggling with sadness. For example, we can compare a character who's dealing with sadness to a ship lost in a stormy sea, or a bird with a broken wing. These comparisons not only help the reader to understand the character's emotional state, but also create a sense of sympathy and compassion for their struggle.

Here are some examples for you to look at:

"Her heart was a shattered vase, the pieces impossible to put back together."

"He was a lone tree in the midst of a barren desert, with no hope of ever finding water."

"She felt as if a heavy weight was crushing her chest, suffocating her with grief."

"The sadness she felt was an ocean, deep and vast, with waves crashing over her constantly."

"His sadness was a thick fog, enveloping him in a cloud of melancholy."

"She felt like a bird with broken wings, unable to fly and trapped on the ground."

"His sadness was a never-ending tunnel, with no light at the end and no way out."

"The emptiness inside her was a black hole, devouring everything in its path."

"He was a ship lost at sea, with no sense of direction and no hope of rescue."

"Her sadness was a wildfire, spreading quickly and consuming everything in its path."

It's time to wrap up this post, but don't fret, I'll be back with more writing tips and tricks soon! There are plenty of these post on my tumblr so check them out too! or you can find a more organized version of them all here!

707 notes · View notes

milliebobbyflay · 5 months

Text

Okay so I've spent a while thinking about how to word my actual problem with homestuck 2, and the works that make up post-canon homestuck more broadly. I think a lot of people resort to nitpicking bits of awkward writing or art in some attempt to pinpoint a source to an underlying sort of hollow uncanniness, which is funny because homestuck's supposed golden age of acts 1-5 are themselves FAR more of a tonally inconsistent mess of odd character beats, jokes that don't always land, and janky looking art.

Homestuck 2 has been written and drawn by very talented and passionate artists from the beginning, I think the actual issue comes down to a mix between the general pitfalls of hiring fans and the particulars of hussie's outsider background and unorthodox writing style.

First is the issue of hiring fans in general; while it can seem like an easy shortcut to finding talented writers already familiar with the voice and story of the original work, you have to be very aware of how fan culture operates. Beyond the obvious pitfalls that fans are unlikely to approach the story from a detached perspective, there is the larger issue that past a certain point fandom becomes essentially self sustaining. Once a fandom has existed for a long enough period, its most avid members have likely spent FAR more time engaging with other fan works than they have with the original art object. Fandom and the art it produces are, in this way, a sort of a folk tradition; artists are imitating and responding to other artists, characters become archetypes through which to explore certain ideas and dynamics, and the values and tastes of the most prolific and influential fan artists become as inseparable from a participants mental image of the character as the original work itself.

For an example, the affected theatrical mannerisms and cruelty Vriska adopts while in her Mindfang persona have become inseparable from the popular view of the character. Despite the fact that it's heavily signposted as a sort of role playing performance from the jump and she's more or less dropped it by the back half of the comic, it was nevertheless how she had acted in the bulk of her scenes around the time the ur-texts of homestuck fandom were being written, and as so an understandable misread of a character became inscribed into the fandom canon, and by extension her characterization in Homestuck 2.

All of this is extrapolated by the sort of unorthdox, building-the-plane-while-flying-it manner in which Hussie's writing style developed.

Based on his commentary, I get the sense that Andrew is an incredibly clever and thoughtful writer who lacks the theory and vocabulary to precisely describe his process. He tends to communicate in sort of abstract metaphors which aim to bridge the gap in explaining the actual conscious process he uses to plot his stories, but the way he talks about technical nuts and bolts writing craft stuff gives me the impression that his approach is largely intuitive, bordering on unconscious. He's a lot better at describing how he writes than what he writes or why.

You can of course piece a lot this together—his approach to art draws from the tradition of videogame spritework, where the visuals exist as a utilitarian vehicle for conveying information first and a work of illustration only inasmuch is needed to serve the greater story. His character writing draws more from a synthesis of literary fiction, sitcom writing, and "making up a guy" style posting humor, where characters are defined more by their life experiences and underlying psychology than by their goals and values, but also seem to have largely been constructed backwards from a starting point of a funny or interesting manner of speaking. Importantly though, I don't get the sense that these were conscious decisions, just that to Hussie they seemed like the logical way to approach these tasks, and I don't really think he could outline them in a way that would actually help a new team of creators grok how to draw and write in a way that feels like homestuck. I also don't think Hussie could actually explain the psychology that undergirds his character writing, I think he was mostly just drawing on his own life experience and imagining how this sort of character might logically speak and act.

As a novelist, and Hussie is one, both your thought processes and the sum total of your worldview and life experience are just as important to your work as the actual conscious decisions you're making, and I think that where there are gaps in understanding, the new writers are filling in the gaps with both a more conventional approach to the creative process and over a decade of accumulated fanon, and I think that's why homestuck 2 never really rises above feeling like a very well-made fanfic to me?

#homestuck #homestuck meta #homestuck 2 #hom3stuck #homestuck^2 #loooooooongpost #vriska #vriska serket

192 notes · View notes

hitorinorin · 4 months

Text

three words, millions of unspoken thoughts

611 words, VERY descriptive writing, completely gender neutral

Rin is not a man of many words—hell, he even tends to hide his feelings most of the time. He’s as cold as ice, as stoic as a stone, but contrary to popular belief, he’s not a shallow person. Beneath the surface of his seemingly impassive demeanor, a complex and damaged character lies within. Despite the frosty exterior, there are moments when vulnerability seeps through, like cracks in the facade of an ancient statue weathered by time. It's in those rare instances that glimpses of his true self emerge—in those moments that include you, his lover.

He’s not a perfect lover. Communication is not his strongest suit. He may say a ton of venomous words, but not once did he lay a hand on you. He is cold but calm, straightforward yet loving. Despite his flaws in communication, there is an unmistakable tenderness in the way he shows you his love. It's as if beneath the jagged exterior lies a reservoir of untapped warmth, waiting to be discovered by those patient enough to delve into the enigma that is Itoshi Rin.

There’s a saying that words can only be forgiven and not forgotten, and that’s how it should always be! Whenever your boyfriend makes a mistake, he is always quick to say, “I was wrong.” Relationships are not always about the amount of love a person can give. Love is endless; it has no boundaries—yet it would also always explore the depths of understanding, patience, and forgiveness.

“Please forgive me. I’ll do better.” With the trust you have in Rin, you know that he would never break his promises. It was a phrase he uttered not out of mere obligation but with a genuine intention to evolve, to unravel the complexities within himself—to prove to everyone that he is not just an insanely good football player but the Itoshi Rin who will forever choose to love you more with each passing day.

“I missed you” is what he religiously says after every flight towards you, his home. His teammates would always tease him whenever they saw him running towards you like a loose dog on a leash. He was lovesick, devoured by pure love. And speaking from his heart, he would not have it any other way. In those moments, as he held you close, it was as if the world outside ceased to exist. The teasing remarks of his teammates faded into background noise, drowned out by the symphony of his heartbeat syncing with yours. Love, unrestrained and genuine, painted a vivid portrait of his devotion—a sentiment he proudly wore, unafraid of being teased or judged. To him, the joy of reuniting with you was worth every playful remark, every knowing smile from those who witnessed the affection that enveloped him in your presence.

And then, like a seamlessly woven thread in his system, he whispered softly, “I love you.” He couldn’t help but share his true feelings when you were near by his side. Rin hated being seen as vulnerable, yet when you were there, vulnerability transformed into a strength that he would proudly wear on his sleeve.

He loves you more than three words could ever explain. Millions of unspoken thoughts, yet no words would be able to capture the happiness and love he feels in your presence. With the ring box discreetly placed inside his luggage, he eagerly anticipates the moment when he can vow to build a promising tomorrow with you—a future where every expression of love resonates deeper, and where his unspoken thoughts find eloquent expression in finely crafted words. Until that cherished moment arrives, he holds onto these four hidden words, powerful enough to convey his true feelings, saving them for the day he kneels before you.

#rin itoshi x reader #itoshi rin x you #itoshi rin x reader #rin x reader #bllk x reader #rin itoshi fluff #bllk fluff #bllk imagines #blue lock fluff #rin itoshi x you #bllk x you #itoshi fluff #rin fluff #bllk x f!reader #rin itoshi #itoshi rin #vyn's vinyls 📼

110 notes · View notes

simplydnp · 1 month

Note

genuinely wondering why phil was considered the "ugly one" out of dan and phil. he's so hot? like there was a time where by some fans phil was literally seen as second best always... has that changed completely? i see more phillies than dannies these days which used to be absolutely the other way round if i remember correctly... like maybe it's just due to the fact that the fans grew up and delevoped some brain cells and/or phil having a glow up. what do you think abt this?

caveat: attraction is subjective and this is not a definitive guide as to what counts as hotness, nor is hotness the epitome of existence or something that people 'need' in order to exist, but instead this serves as an exploration into the culture surrounding perception of appearance as it relates to dan and phil, with care to note that 'conventional' beauty standards are highly correlated with white features and are problematic for many reasons but especially the racist aspect. i do not endorse the 'conventional' standard as the only acceptable one, but it would be remiss to ignore the fact that it plays a role in this conversation, especially in 2010s culture.

this is an interesting question for me because i don't Get all the layers of attraction just in general. so much of it makes very little sense, despite how hard i've tried to understand it. and what i've found out is that it's not supposed to make sense, it's something that just is and. well. my brain doesn't like that 😂 i've 'learned' what 'conventional' beauty standards are and thus can somewhat identify 'objectively' attractive people/qualities, but i'm absolutely just three possums in a trenchcoat on good days 🤣 so my best approximation is as follows:

- phil *pulled* back in the day online

- he stopped playing into it as much and because he wasn't exuding it as much, people stopped seeing it

- combine this with the less traditionally masculine energy he conveyed, alongside moving moreso away from the fully 'emo' look

- i think his fashion sense/choices played into this as well, came across very much like 'guy in tshirt' --which is fine, but unless your features really meet societal beauty standards at the time, it's not 'selling' you in the 'hot' department

- as well, contrasted with dan who had more of the 'societal beauty standard' look, people were less likely to see him in that role, especially because he seemed quite happy not being there (i'd argue some of it was a confidence thing too, especially on a day to day--the outfits video in gamingmas kind of confirmed that for me. he Knew he rocked that plaid suit, cause he did, but i don't think he felt that about his every day attire)

- people love to sort people into boxes and did as much with dnp, especially in making dnp 'opposites' (despite this not actually being true)

- truly think the fringe staying as long as it did didn't help, especially when, self-admittedly, it got a little blocky near the end.

- i think quiff really unlocked something in him. it really suited him, and he felt quite confident about it, as he had every right to. this, combined with a fashion upgrade in him paying a little more attention to it and developing his own personal style, people started to notice. (also dan hyping him up publicly about it made us talk about it more too)

- further style enhancements, more quiff experience led to him experimenting a little more, which let him find things he really liked

- i also think he's learned how to pose better/isnt 'being intentionally awkward' in pictures as much

- his ykw i want a change and idc what you all think attitude in going back to brown, and then into messy--he really Knows he's attractive now and how to dress himself to bring that out (even if he doesnt feel like it all the time)

there has definitely been a shift--i think the fandom has gotten smaller, and a lot of their 'mainstream' audience were dannies back in the heyday bc of the 'societal beauty standards'. so combine many of those people leaving, at a similar timeline to phil figuring his 'look' out, his audience getting older (and the lesbians being Very fond of him), and his consistency in uploading the last few years, i think it all swirls into this current existence where there's a lot of phillies out there and they're loud and proud about it (as they should be), especially cause a lot of them have Always Known but it wasn't the 'popular' take at the time.

i am but a hapless dannie and any phillies who would like to share their two cents/drag me for being wrong pls do so

#i hope this makes sense #there has absolutely been a culture shift and there's a lot of reasons imo why #dnp #c.text #answered

54 notes · View notes

anulithots · 6 months

Text

The Character creation masterpost, in which I shall hold your hand through every step of the process, complete with examples and Maslov's hierarchy of needs.

------

What concept are you trying to convey?

Because stories are, in essence, metaphysical explorations of this weird and wonderous thing called existence, and at the heart of stories... are characters.

But it can be quite difficult, to go from abstract concept to a character you are comfortable writing as, so here's a process that works for me. Although it's best to test and try and see who this character wants to be. (For example, I'll make a doll of most of my main characters, and that can influence how I write them, and when I was little, I used to figure out their personalities and backstory based on those dolls... so character creation can be whatever you want!)

Shameless doll plug:

So pick a phenomenon to explore, for this example, we'll pick: Labels. We take pride in them, yes. That's a good thing, but what about those who use labels to phenomenon people, who use our colorful identities to keep us separate and ranked?

------

Next up, let's pick a specific viewpoint, one specific way an individual could view this concept. For our 'labels' concept, let's pick a main character that centers around the idea of 'taking so much pride in your identity that you put others/groups of people down'. (so this would be a character that might be a bit bigoted, and hopefully they'll grow past that through the story.)

For other characters, you may pick other ideas, such as 'I take pride in my identity, and all other's identities, it makes us all colorful, and it makes life rich.' (This could be a character who showcases all their colors, and enjoys expressing themself, and encourages others to express themselves too), or 'Eh whatever, I don't adhere to any labels, and you should not judge others for their labels either' (The chill anarchist my beloved.)

-------

Alrighty, now you got a viewpoint and some of their personality, but this is still pretty vague right now, so let's get comfortable being this character. Do a bit of freewriting about what their mind is like. Perhaps how they view themselves and the world. This can be utter garbage writing. It doesn't even have to be legible. You're just doing a 'prose version' of your development so far. Play with different writing styles here and pick your favorite (it will keep getting better as you go on.)

------

Now for the 'best case scenario'. What's their dream? What life do they fantasize about? What situation, what moment makes their heart warm yet strained with longing? What would they have? What wouldn't they have? How would they feel? What wouldn't they feel?

-Basically: what do scenario do they think will give them happiness?

(Try writing this out in prose. For example, one of my characters keeps returning to this specific recollection of what their home used to be, when they were happy. Having this again is what they want more than anything else.)

------

Why do they want this dream so much? What does it mean to them? Why will this scenario give them happiness? What is this hidden that they are lacking?

For this, there's a handy little a pyramid. (Maslov's hierarchy of needs)

Do they want safety? Do they want love and belonging? Do they want to be respected and to boost their self-esteem? Do they want to feel fulfilled, with a purpose and meaning to their life? Do they want to be free from longing itself?

(Feel free to add to your practice prose, this is just to get a feel for how to write this character.)

----

Here's the thing, characters would've reached this goal already if there was nothing holding them back, which is that viewpoint from the beginning.

Using our 'labels' example, let's name this character.... Xavier (peak edginess).

Xavier believes that there is so much to be proud of for their identity (I would have specifics if I did practice prose, let's say this dude is the pinnacle of righteousness and is respected by everyone, and identifies strongly with their traits and quirks... perhaps their intelligence?) and other's are somehow 'lesser beings' because of it.

Okay, so what would be the worst outcome for Xavier based on this belief?

How about..... another who they deem as lesser outshining them.

And their best case scenario is being respected by all, loved for their accomplishments, perhaps the milestones too - they are successful, and are on a good path in life. They've always been the 'good child,' the 'gifted kid'. And they want to be the epitome of that as an adult.

Their underlying want is for respect and validation.

So Xavier would try desperately to flaunt the labels given to them, and prove they are more valuable than all they deem lesser. Constantly trying to outshine them.

Alrighty! Now that your character has internal conflict, write out some more practice prose. Feel free to create a random situation and play with their head, or just have a train of thought. It could be multiple separate paragraphs, or pages and pages of continuous prose.

----

Backstory time!

(This helps with giving a character depth, and it makes them easier to write if you've seen all their pivotal moments.)

First off, write a scene where the character went from being a child who thought everything was happy and everyone was loved and it would all be okay, to believing the viewpoint. What event made that seed of a viewpoint take root in their head?

Tip: when did their worst fear come true? And how did their brain build up a belief system to keep them safe from this scenario from ever happening again?

For our boi Xavier, perhaps they had a friend, and everyone else at school deemed them as lesser because of their community. This friend was bullied, and they were the best companion Xavier could ask for, even if it meant they got ostracized too.

But when this friend got an award for something... perhaps a competition that Xavier also wanted to win...they were more susceptible to the other's comments that this friend was greedy and took opportunities from everyone else, and that Xavier was ruining his self-esteem by being near another who would constantly do better than him.

Xavier stopped being friends with this person and left them all alone.

But at least Xavier wasn't bullied anymore, the crowd acknowledged their strengths (superficially). They didn't do that before, when Xavier was lumped with this other friend.

In a way, it was freeing.

---

Next up... have fun with this! Write a few scenes (they can be as short or as long as you want) where the character was close to getting that 'best case scenario' but a hint of their fear arose, and they decided to avoid their fear. The pain of their fear was greater than the pain for a lack of happiness.

For Xavier, they had the chance numerous times to connect with others of different backgrounds, and refused it each and every time this other person had a quality that was better than Xavier's. Eventually this chain of avoiding their fear, lead this viewpoint to be deeply rooted in their head. Prime for storytelling.

-----

.... then you can write the first chapter ;p

#character development #originalcharacter #character concept #original character #writing tips #writing advice #writing help #writing resources #writing tools #writer tips #character creation #character arcs

79 notes · View notes

theresattrpgforthat · 11 months

Text

THEME: The Locked Tomb

I’m in love with The Locked Tomb Series by Tamsyn Muir, and I know I’m not the only one! For that I am extremely grateful, because there’s quite a few ttrpg designers who also love The Locked Tomb, and have designed games meant to evoke the themes or setting of the novels. Here’s a few of my favourites!

The Serpent and the Spider, by Junk Food Games.

The Serpent and The Spider is a tiny ttrpg for 2 players. One player takes the role of The Serpent, a charismatic sword-wielder. The other player takes the role of The Spider, a highly intelligent necromancer.

Your souls are bonded together. You will fight against corrupt corporations and explore your relationship.

Note that this game has references to violence, death, combat, and implied self-harm. To play the game, you need something to write with, two 4-sided dice, and two 8-sided dice.

I’ve talked about this game before as a duet game. This is probably the best game for exploring the relationship between a necromancer and their cavalier, because it’s designed to be played just between two people. It includes 9 session prompts (again, a tribute to the Nine Houses), and presents you with a setting that is inspired by The Locked Tomb while still allowing you as a pair to fill in details that will make the game work for you.

Thirsty Space Necromancers, by Understory Games.

Thirsty Space Necromancers is a Thirsty Sword Lesbians supplement based on The Locked Tomb books by Tamsyn Muir. It's Gideon the Ninth as a Powered by the Apocalypse RPG.

You play as Necromancers and Cavaliers in a space-faring culture. Paired and trained to fight together, you will solve mysteries and fight ghosts, and probably other necromancers, as you explore new planets.

This is a game that requires another game to run, but considering the tagline of Gideon the Ninth as “Lesbian Necromancers in Space”, Thirsty Sword Lesbians sounds like another great match for this kind of game. TSL focuses on love and relationships, and is also great for telling grand, epic stories. I’m interested in the additional rules to add the Dead to your game, as well as how the game plays when each player has a counterpart that they’re responsible for and/or devoted to, especially since multiple players can choose The Cavalier, while each Necromancer playbook is separate.

(Understory Games also has a collection of Locked Tomb fan rpgs, where I got most of my recommendations from!)

Heart of the Emperor, by deathmeetauthor.

Heart of the Emperor is a hack of Monsterhearts 2, centred in Tamsyn Muir's The Locked Tomb series. Rather than playing a cohort of teenagers who are secretly monsters, you may be playing a soldier of the Cohort, a teenager, or openly be a monster—perhaps even all three!

The characters of Gideon the Ninth etc. are lonely, brokenhearted, and struggle to communicate their needs and feelings, all of which are perfect for a Monsterhearts game. As with many Powered by the Apocalypse games, the focus is on how the characters relate to each-other, whether that means getting into fights, horribly misinterpreting what your crush/rival says, or uncovering deliciously horrifying secrets that will fundamentally change how you see the world. The scope of this game will be more personal than Thirsty Sword Lesbians - the future of the world isn't quite as important as your future with the the people around you.

The Empire Undying, by Glaive Guisarme Games.

You climb aboard the shuttle which is intended to convey you off this dingy planet. Embedded in the metal walls of the shuttle are bones, sun-bleached and carved with innumerable runes of protection. The only seats in the shuttle seem comfortable enough, although they have the familiar texture of human-flesh leather, tattooed over and over in a crabbed, spiky hand.

It fucking sucks. Just an abysmal experience, and the chairs make your ass hurt after like ten minutes. But if you’re going to be a necromancer there’s a whole, like, aesthetic to deal with.

Hope you like skulls, fucker.

There are two sorts of people that matter in the decrepit star empire: the necromancers who create the undead abominations upon whose skeletal backs civilization rests, and the knights whose sword duty is to defend the necromancers from undead abominations which aren't behaving right now.

In this game, you will play a group of necromancers and knights, stuck in some corner of the vast empire, attempting to solve a mystery that is, in turn, attempting to kill you all. The bad kind of "kill," the sort you don't bounce back from. Explore ancient sites and forgotten ruins, unravel conspiracies which have endured for millennia, and make out with one another, because you are hot and hurt and surrounded by bones so you have to get that tension out somehow.

Tone-wise, this game slaps. Mechanically, I like that it’s not too complex (it borrows from Lasers and Feelings) while still leaning into the number 9, which is heavily significant in The Locked Tomb. It has players explore relationships, while not necessarily expecting them to pair up - instead, you have to decide how another person’s character has power over you, which also feel so much like The Locked Tomb (think about Dulcinea’s relationship to Gideon, or the relationship between the Fifth House and the Fourth House). There’s so much to this game and it’s not even that big! If you want something that feels like it was written by Gideon herself, I’d definitely recommend checking this out.

In Extremis, by Keganexe.

In Extremis is a tabletop roleplaying game designed for 2-6 players, about fighting back the man using necromancy, that uses the LUMEN system by Spencer Campbell. Inspired by The Locked Tomb trilogy, players take on the role of exceptionally powerful witches who use their mastery of life, death, and the human condition to keep them and their own safe from other planetary invaders who want to steal their land.

As a Necromancer, you are one of a handful of hideously powerful death witches that protect the planet Hecate, the final holdout for The Coven, from the ever encroaching war of the Corvus Dominion.

In Extremis differs greatly from some of the games on this list because it focuses on combat, rather than on relationships. The game is inspired by the Locked Tomb, but doesn’t seek to replicate it. All of the players are necromancers, and all of the players are built for combat. You will go up against a terrible, powerful foe, while you yourselves are small in number, although extremely powerful. I appreciate the attempt to make this legally distinct from The Locked Tomb - there’s enough here to absolutely appeal to fans of the series, but the creator has given themselves enough license to focus on the themes of this series that appeals to theme - particularly the theme of kicking ass.

Games I’ve Recommended in the Past

Tomb Candles, by deecity. (A hack of Ten Candles)

#the locked tomb #gideon the ninth #dnd #tabletop games #game recommendations #necromancy #indie ttrpgs

202 notes · View notes

yanderes-galore · 6 months

Note

Hello, May I request a Cod Cold War ask? Specifically for Weaver x reader who’s part of the zombies strike team? I can imagine that they’re quick to figure out things (as you need to be for the Easter eggs) yet tough as they need to be? If not, I guess can I request Bell x reader (Bell may be hard to write for since they’re a player created character but I figured you do something cool with it!)

-MsPlacedHero

Ps, Chase loved the cookie I gave to him saying it was from you!

I'll try Bell as I'm a bit more familiar with them! Happy he liked the cookie even if it was a long time ago. Hope you enjoy :) Bell is referred to as They/Them as you did not specify what kind of Bell you wanted.

This is mostly rambling and may be short but it was me giving my view on the character and their potential. I wanted to explore it a bit so there's no real plot.

Yandere! Bell Concept/Overview

Pairing: Romantic/Platonic

Possible Trigger Warnings: Gender-Neutral Darling, Obsession, Mentioned self-aware behavior but not focused, General Bell thoughts, Stalking, Brainwashing, General yandere behavior, Character death, Dubious companionship.

Bell can be both interesting yet difficult to write so I will try to keep this rather general.

Bell could be difficult since their character is primarily meant for the player to insert themselves into.

They're meant to be so the player can interact with the story and feel like a part of it.

This would be difficult to try and convey, however, it opens many different possibilities.

Bell would be like a customizable yandere.

In a story you can pick and choose how you'd want Bell to be.

Bell would work even better in a "Self-Aware" story since they'd act as a host for the player and are extremely player dependent.

Your little puppet.

A reflection of you.

Overall Bell could really have any sort of yandere personality traits due to being a blank canvas.

You could see Bell as soft or someone who follows their darling like a puppy.

Maybe you could see them as a worship yandere.

Maybe you could see them as cruel, perhaps even prior to the brainwashing?

As a result, the darling is just as customizable.

You could be a part of the CIA or know Bell prior to the brainwashing.

There's a lot of potential.

The things is, how to write Bell is you'd need to be specific.

That's why I'm mostly just looking over the character.

Honestly my favorite ideas may be the Self-Aware one and Bell with a fellow CIA agent.

The Self-Aware one is self explanatory, I mentioned it before.

But the CIA agent one could also be fun to explore.

You know you shouldn't get attached or involve yourself with Bell.

They've been brainwashed with MK-ULTRA to find out info on Perseus.

That's all, afterwards they may just be tossed away.

For now they just need to be alive until the mission is finished and over.

However, Bell appears to have some sort of adoration for you one way or another.

Maybe somewhere in their memories they seem to recall you being important to them.

It's most likely a fabricated memory to coax more information out of them, but it works.

How Bell deals with such information could vary.

They may follow you around, they may be overly protective/clingy, they could be possessive, they could be any number of things.

They don't understand why you never like being around them.

Truthfully you either don't care or don't want to be attached.

Either way, Bell would want to treat you more than a "comrade".

They either see you as a close friend they "fought alongside" or maybe even a lover.

They have no idea you and Adler just need them for information.

Bell may most likely be "gotten rid of" before they become too much of a problem for you due to their obsession.

If they are a softer and more docile yandere, it feels horrible to know Adler did them in.

If they are rougher and more intense, it may feel like a relief when they're gone.

Player created characters like Bell have potential to be interesting once you have traits decided.

Unfortunately as a result I can't really assign Bell any definitive yandere behavior for them.

They seem like a puppet, a husk, meant to follow orders due to all of the brainwashing.

Regardless... a blank slate character can still have endless potential if you have a plot to work with.

No two Bell stories would be the same, essentially.

Bell is a wild card when it comes to their darling.

Which can mean they're a dangerous yandere if you think about it.

#yandere call of duty #yandere call of duty cold war #yandere cod #yandere cod cold war #yandere cod bell

72 notes · View notes

crystalsenergy · 2 years

Text

Mars placements: how and where

pic not mine

remembering that Mars is not just about sex, but also about energy in general. sex is one of the ways to release that energy that we can have, but it's not the last, nor the only way.

ENERGY IN NATAL CHART

MARS IN THE SIGNS / MARS IN THE HOUSES

✨🔥 Mars: how and where ✨🔥

HOW? Mars in Aries: Energy is intense, assertive, immediate, competitive, physical, aggressive, argumentative, active, passionate, incisive, combative, native explores, dominates.

Mars in Taurus: Energy is patient, calm, connected to the five senses, distributed, solid, practical, secure, stubborn, indulgent, slow, consistent.

Mars in Gemini: Energy is restless, mental, noisy, busy, alert, opinionated, communicative, ambivalent, intelligent, open, dual, versatile, sociable, dynamic.

Mars in Cancer: Energy is internal, emotionally strong, compassionate, comfortable, shy, emotional, quiet, slow, sensitive, vulnerable, defensive, passive-aggressive.

Mars in Leo: Energy is high, externalized, affectionate, vital, fun, demanding, proud, determined, dominant, dramatic, creative, loyal, sincere, impatient, arrogant, stubborn, hardworking.

Mars in Virgo: Energy is methodical, rational, organized, analytical, busy, careful, perfectionist, practical, detail-oriented, conscientious, cool, adaptable, productive, reserved, hardworking, precise, diligent, efficient, helpful, modest, intelligent, but insecure.

Mars in Libra: Energy is passive-aggressive, sensitive, impractical, perfectionist, gentle, judgmental, hesitant, avoidant, passive, pleasing, reasonable, considerate, charming, aesthetic, impartial, sensual, manipulative.

Mars in Scorpio: Energy is intense, strategic, headstrong, demanding, obsessed, controlling, cruel, destructive, surgical, detective, secret, penetrating, powerful, proud, determined, regenerative, strong, transformative, turbulent, vengeful, intuitive, extreme, emotional, devout, faithful, mysterious, sexual.

Mars in Sagittarius: Energy is courageous, free, impetuous, optimistic, wise, profound, adventurous, positive, philosophical, extravagant, irresponsible, careless, expansive, exaggerated, frank, intellectual, versatile, risk-taking, aspiring.

Mars in Capricorn: Energy is controlled, planned, practical, pessimistic, punctual, reserved, conservative, ambitious, conventional, hardworking, organized, consolidated, traditional, cautious, shy, insecure.

Mars in Aquarius: Energy is objective, impersonal, mental, friendly, altruistic, eccentric, rebellious, egalitarian, restless, unpredictable, inventive, creative, intelligent, futuristic, original, responsive, independent, fanatical, supportive, questioning, trustworthy, detached.

Mars in Pisces: Energy is introspective, changeable, passive, calm, psychological, imaginative, intuitive, adaptable, very creative, empathic, reflective, psychic, expansive, elusive, confused, multiple, receptive, reluctant, transcendental, gentle.

---------

WHERE? ↳ 1st house: oneself, individuality, temperament, image you convey to others, character, willpower.

Ex.: Mars in Libra in 1st house has a manifestation of Libra energy in 1st house affairs. it could be that, for example, the person has difficulties in imposing him/herself, because Mars in Libra 1st house means a more passive energy. at the same time, the person can be very sensitive physically speaking, and can have a lot of artistic capacity for dances.

↳ 2nd house: material life, self-worth, search for stability, search for comfort zones, money, self-respect.

Ex.: Mars in Pisces in 2nd house manifests its energy especially in 2nd house matters, having a more imaginative and calm view in relation to money, being able to be more spiritual than a person who seeks a lot of material security, natives can even be quite altruistic in this matter.

↳ 3rd house: communication, knowledge, studies, problem analysis, debates, intelligence, interest, relationship with colleagues, brothers, cousins.

Ex.: Mars in Aries in 3rd house can manifest its energy by being very communicative, assertive, direct and often even rude, if native doesn't pay attention to it.

↳ 4th house: home, family, relationship with mother, emotional, internal structures, initial reactions, emotional memory, private space, roots, internal life, foundation building, intimacy, humor.

Ex.: Mars in Aquarius in 4th house natives can manifest their energy especially in 4th house matters, having a very impersonal relationship with their family, also directing some rational energy to their emotions.

↳ 5th house: ego, self-importance, self-esteem, happiness, personality, projects already started, children, creativity, arts, expression, personal fulfillment.

Ex.: Mars in Taurus in 5th house can express Taurus energy in an expressive way, which can be seen in the arts, in the very expression of the person's personality. native may act in a Taurus way. he/she will have creative energy not as energetic as is natural for the 5th house, energy will be calmer, more stable.

↳ 6th house: routine, service, tasks, organization, work, body, physical health, food, body care, occupations, responsibilities.

Ex.: Mars in Cancer in 6th house may have a lot of difficulty with activities that demand a lot of energy, may lack energy to do several things, being more passive and may tend to be disorganized. at the same time, Mars in Cancer represents a fondness for taking care of the domestic environment, the problem will be the energy that will tend to be low, preventing this from manifesting.

↳ 7th house: relationships, affections, appearance, balance, attachment, harmony, relationship mirroring, projections, love, relationships in general.

Ex.: Mars in Scorpio in 7th house demonstrates its intense and penetrating energy in relationships, being able to attract people intense and penetrating. also, native can be very demanding in relationships.

↳ 8th house: sex, unconscious, depth, problems, mystery, death, privacy, spirituality, secrets, vulnerabilities, taboos, inheritance, debts, karma, competition, crimes.

Ex.: Mars in Virgo in 8th house can manifest its analytical energy in the study of spirituality, the phenomenon of sex, the mystery of the human personality, etc.

↳ 9th house: deeper knowledge, beliefs, faith, religiosity, languages, higher education, ethics, plurality, freedom, travel, diversity.

Ex.: Mars in Leo in 9th house natives can manifest their energy of pride through their knowledge, their beliefs. native can do this by being a recognized person in an area of study, or by understanding that his/her beliefs manifest who he/she is, expressing them proudly.

↳ 10th house: public image, reputation, career, conservatism, future, life path, professional path, goals, limitations, time, father, authority figures, status.

Ex.: Mars in Gemini in 10th house can express communication energy and high career mutability, whether changing careers several times, having more than one career/professional vocation at the same time, or specifically working in careers related to communications.

↳ 11th house: friendships, aspirations, conscience, social responsibility, social circles, groups, ideas, ideologies, dreams, society.

Ex.: Mars in Aries in 11th house can emanate its energy of independence and assertiveness into relationships, being the one who influences others but is rarely influenced. in addition, you can have a circle of friends in which competition is practiced (whether healthy or not).

↳ 12th house: collective unconscious, introspection, deep self-knowledge, intuition, dreams, psychology, creativity, what few see, what almost no one believes, mysticism, esoterism, escapism.

Ex.: Mars in Aquarius in the 12th house natives can transmit their mental and objective energy to know more about themselves on a deep level, having more of a need to spend than to socialize, as some would expect from this sign. they may demonstrate an interest in rationally understanding psychology, but still with intuition and openness.

#mars in signs #mars in houses #mars #mars and energy #energy in natal chart #energy #Mars in Aquarius in the 12th house #Mars in Aries in 11th house #Mars in Gemini in 10th house #Mars in Leo in 9th house #Mars in Virgo in 8th house #Mars in Scorpio in 7th house #Mars in Cancer in 6th house #Mars in Aquarius in 4th house #Mars in Aries in 3rd house #Mars in Pisces in 2nd house #Mars in Libra in 1st house

538 notes · View notes

lightandfellowship · 2 months

Text

KHDR Re:Write - Giving Urd A More Prominent Character Arc

The tl;dr:

Urd’s initial motivation: To explore the outside worlds and learn more about them.

Urd’s struggle: She realizes that when their mission ends, she will go back to her boring, normal life in Scala, once again forbidden to leave. This in conjunction with feelings of loneliness make her consider running away after their mission is complete.

Urd’s conclusion: The freedom to explore the worlds is still a motivating factor, but she realizes that protecting the worlds and sharing her experiences with her friends is her true desire, compelling her to stay in Scala and continue her training. Her loneliness can not be cured so easily, but her friends will help her work through it.

Below the read more is a rough outline of how I would implement this character arc into the story. Be forewarned that it's a fairly long and text-heavy post.

Four notes before we begin:

Rather than this being a full-fledged rewrite where I get to go ham and do whatever I want, instead my goal is to try and demonstrate how the game in its PRE-EXISTING state could have given Urd a more clear and satisfying character arc via fairly minor changes to the dialog, characters, and story. I want to see if this could have been possible without having to expend too much extra time and resources, since it seems like a lack of time/resources/budget is why her story got cut in the first place. So I won’t be doing anything drastic like creating entirely new episodes or anything like that. Same worlds. Same number of episodes. Same sequence of events. Same overarching plot.

Ideally, I would have liked to convey certain details about these characters and their story via secret reports/diary entries. Specifically, the sorts of details that would slow the pace down or feel a little too direct/clunky if addressed within the story itself. However, because of the self-imposed restriction I talked about in point 1 (i.e. no drastic alterations to the game or additions that would require extensive effort to implement), I won't be utilizing such a format, and so I will sometimes have the characters speak a bit more openly/directly about their feelings/thoughts than I otherwise would've liked.

Because I have a lot to say, I won't be providing summaries of the episodes I'm discussing as I explain my story changes. A fairly solid recollection of the game's events is...perhaps not required, but certainly helpful for understanding what I'm talking about and how I arrived at my choices.

I don't claim to know better than the writers or even be an experienced writer myself, this is just how I personally would approach giving Urd a more prominent character arc, because I think we can all at least agree that Urd didn't get enough focus in this game. If Urd's story hadn't been cut (presumably), I have no doubt that Tomoco Kanemaki would have come up with something better than what I'm proposing here.

But anyway, without further ado:

Urd's Motivation and Personality

During the flashback where the underclassmen explain their reasons for wanting to become Keyblade Masters, Urd says that it’s because she wants to explore the outside worlds and learn more about them. However, I feel that KHDR could do a better job of depicting this motivation throughout the game. Were it not for Urd directly stating her motivation in this scene, I don't think you could have ever reasonably guessed that this was her motivation based solely on her dialog and actions throughout the rest of the game.

She says her dream is to see the outside worlds for herself, and yet she rarely ever shows any particular interest in the Disney worlds that she does visit, or at least she’s no more interested than the rest of her friends are, which is to say: barely. It's a common gag/occurence throughout the game that the underclassmen are either disinterested or unsettled by the worlds and their inhabitants, and for whatever reason Urd is included in that. Sure, she’s on an important mission, but where’s the curiosity? Where’s the desire to learn more about the worlds? Shouldn’t that motivation bleed into her actions and dialog even a little bit? Even if she’s trying to reign herself back for the sake of the mission?

I think having Urd be just as indifferent/detached from the worlds as her friends is a misstep, personally. So in this rewrite, I am adjusting her personality a bit, in contrast to Hermod who doesn't really require any personality changes in order to have his arc make sense (to be discussed in his rewrite post). In short: I want her to be more excited and inquisitive in each world. I want her to be enamored by all the strange sights and sounds. I want her to get lost in thought as she analyzes some new find, her friends having to snap her back to reality and remind her of their mission. When the rest of the characters are awkwardly trying to ignore some oddity that's demanding their attention, I want Urd to be one of the few who actually shows genuine interest.

Like I mentioned, I know the characters are on an important mission and aren’t supposed to get sidetracked from their primary goal, but like, Vor and Eraqus were allowed to be curious and easily distracted by stuff, so I don't see why Urd couldn't as well, at least a little bit. I also think this personality change will provide more variety among the underclassmen, specifically in how they interact with the outside worlds.

Anyway, for the sake of not making this post any longer than it needs to be, I’m not going to list every dialog tweak that needs to occur in order to accomodate this personality change, just the most notable ones I can think of.

One last thing: it’s under-explored, but the game seems to suggest that Urd might be lonely. When remarking on how close Eraqus and Xehanort are, she says that she wishes she had a relationship like that herself. The implication seemingly being that she doesn’t feel like she has any best friends to share a special bond with. I think this desire for a friendship like Xehanort and Eraqus' may be further evidenced by the fact that she tends to tease Eraqus the most and is pretty friendly with him in a way that she isn't with the others, which makes me think that she's indeed jealous (in a nice way) of the relationship Xehanort has with Eraqus, and thus attempts to mimic their dynamic with Eraqus.

To me, Urd being lonely is too interesting of an emotional angle not to expand upon, even if the writers didn’t intend for her one-off comment to mean anything deeper. And I think her struggling with feelings of loneliness will synergize well with what I have in mind for her story.

Episodes 1-4: Establishing Urd's Character

The first dialog tweak: when Odin informs the class that they’re being sent on a mission to the outside worlds, in addition to Eraqus and Bragi expressing excitement at the news, I want Urd to be excited, too. She can still have her “Don’t sound so excited about it.” line, but maybe after she says that she makes her :3c face because she can’t hide her true feelings. Eraqus can reply with something like “Speak for yourself, Urd! Getting to see the outside worlds is a dream come true for you!”. Hermod and Eraqus can then have their usual lines of H: “Hey, this is serious! People are missing, you know!” and E: “Right. Sorry.”

As cool as the party member specific dialogs in Episode 3 can be, I’m dropping the mechanic where Episodes 1-3 let you choose your party member for the cutscenes. IMO, it's just bad for the story, because you can never focus on just one particular character and properly illustrate their unique personality; everyone's dialog has to be juuust generic enough to be easily swappable. Instead, in my rewrite, Urd is your assigned party member for Episode 1; perhaps she's even the one who requested to team up with Xehanort and Eraqus.

Not much happens in Episode 1 admittedly (it's mostly an exposition dump and premise setup), but in the very least it needs to establish and emphasize her love for exploration and learning. I think this can be easily achieved with the pre-existing Agrabah scenes. For example: when the party arrives to the outskirts of Agrabah and is attacked by Heartless, have Urd be disappointed that their first trip to the outside world was soured by their presence. When the party enters the abandoned city proper, have Urd express further disappointment that there’s no residents to interact with. Things like that. But obviously still have her be serious about their mission and the missing upperclassmen; she shouldn't seem selfish in her interests.

So Episode 1 is just kinda whatever, but It’s in Episode 2 that I definitely want her desire to learn and explore be in full force (she’s your primary party member for this episode as well. Which also synergizes with my Hermod rewrite—stay tuned for that, eventually). Everything in Wonderland is so strange and different and fascinating to her. The other characters find the world confusing and off-putting, but Urd finds it charming and unique. This does admittedly require Episode 2 to have some extra cutscenes/events since in the base game the only thing that really happens in this episode is the trial, and I think it’s still essential for Vor to be the party member in Episode 3 (where most of the Wonderland hijinks happen) since Vor doesn’t get much screentime in the second half of the game.

Two changes I would suggest: rather than the party waiting around indefinitely for the other underclassmen to show up to their meeting spot, and having the Cheshire Cat and Card Soldiers come to them, instead they get worried and decide to leave to go look for their friends, while running into these characters along the way. Then, take the tea party scene from Episode 3 and put it in Episode 2 instead, before the trial happens. You could even use this scene to foreshadow the trial by making it so that the White Rabbit fretting over his broken watch is because he doesn’t know what time it is and he fears that he’s going to be late for the trial. This will require some dialog tweaks in Episode 3 because the characters have an important discussion there that involves the Mad Hatter and March Hare, but it's nothing too hard to work around; maybe they just visit the tea party a second time, maybe they just bring up their interaction with them from Episode 2, or maybe they only talk about the Tweedles instead. There are multiple routes you could take to accomodate this change.

And rather than the Cheshire Cat directly telling the party that their friends are locked up, and the Card Soldiers mentioning the trial, instead I want the whereabouts of the other underclassmen to be more of a mystery that the party has to solve, with Urd being the one picking up on most of the clues just by being her inquisitive and observant self. Eraqus says it himself in some optional dialog that Urd has "always been good at figuring things out".

So ultimately, it’s Urd who realizes that the “trial” mentioned by the White Rabbit (because in this rewrite its the rabbit who mentions it instead of the soldiers), and the other “trespassers” mentioned by the Card Soldiers, are both in reference to their missing friends. (And maybe the Cheshire Cat gives the party a legit riddle too that they solve together, rather than being fairly straightforward in his hint like he is in the base game). Thus Urd paying attention and finding inherent worth in the strange and nonsensical world of Wonderland is what saves the day, her natural curiosity and collected knowledge about the world and its residents coming in clutch. This way, her motivations and personality can also be directly integrated into the plot rather than just being a character side story, and she gets the opportunity to shine, too.

And to tie in to the loneliness angle, I think some of the other underclassmen should be a little confused by Urd’s enthusiasm for the worlds they visit. Not in a mean or insulting or putting her down kind of way (they are friends!), but just a little at a loss for how to react when she expects them to understand her feelings and her point of view. The plot doesn’t need to highlight this too directly, just have Urd’s classmates being confused/unsure of something Urd says or shows them and then have Urd looking a little let down at their lukewarm reactions. Much like the underclassmen unintentionally leaving Vor out of stuff and underestimating her, I want this to be kinda subtle and under-the-radar. This would be mostly meant as set up for her arc later.

All that being said, I imagine Urd's loneliness isn't just because her friends don't always Get Her on a deeper level, it's also because she's not really open about her true feelings a lot of the time. Her official bio states that she's relied upon by the others, so perhaps she's too scared of burdening her friends with her own issues. However, relationships are a two-way street, and she's partially preventing herself from forming that close bond she desires because she isn't really letting herself lean on her friends when she needs them.

Episode 5: The Problem/Conclusion

So, to summarize, Episodes 1-2 need to establish her love for exploration and learning (and also give some brief glimpses at her loneliness) since she’s not present much in Episodes 3-4. Episode 5 is when her side story needs to officially complete. A rather quick arc, admittedly, but I think that’s what would work best in the framework of what the game gives us; the base game seems to suggest that her arc was supposed to end in this episode, anyway.

Events start to unfold when Urd realizes that once their mission is over, things will go back to normal and she will no longer be able to explore the outside worlds until she becomes a Keyblade Master. Something that might not occur for YEARS; heck, something that might not occur AT ALL if she fails her exam or if Scala's rules change. Thus, she starts to question whether she even wants to return home to Scala. What if, after their mission was over, she ran away? What if she got to explore to her heart’s content? She can’t imagine returning to her boring, normal life now that she’s gotten a taste of freedom. And maybe she can discover a way to cure her loneliness by finding fulfillment elsewhere? Perhaps it was Vor leaving in the previous episode that makes Urd realize that leaving is even an option.

Thus, in this rewrite, in Episode 5 when Lumiere offers Urd an invitation to stay in the castle, she actually seriously considers it. Of course Hermod and Xehanort are not happy to hear this, especially after what happened with Vor, and thus try to convince her to reconsider, but Urd is conflicted and doesn’t know what to do. She explains her concerns about being stuck in Scala forever, but is understandably reluctant to talk about how Eraqus and Xehanort’s strong bond has only reminded her of the closeness she desires and yet lacks. She loves her friends, but she doesn’t feel like she has a best friend who understands her on a deeper level, and she’s too scared of potentially hurting her friends’ feelings to admit this, so she keeps it to herself.

Xehanort doesn’t say it out loud, but he understands exactly the feeling of being stuck somewhere against your will and desiring connection and fulfillment in the outside worlds. He tells Urd that she should follow her heart on this. Hermod is taken aback and anguished at the situation, but doesn’t know what he can say to make Urd change her mind. They decide to just shelf the conversation for later so that they can focus on their mission of finding the culprits who stole the rose.

Vala witnesses this argument and decides to use what she's learned about Urd to her advantage (much like how Vidar witnessed Vor's conversation with the Mirror and then used that to his advantage). So when Vala finally approaches Urd, rather than trying to order Urd around (which didn’t make much sense as a tactic to begin with; that approach would have worked far better on Hermod, if you ask me) instead Vala tries to convince Urd that she can have the freedom she wants if she joins Vidar’s crew. She can explore to her heart’s content, with the benefit of having comrades at her side to keep her safe on her journey rather than having to run away and travel alone.

Vala, perhaps through her ambigious "vision" abilities, also correctly guesses about Urd's loneliness and tries to appeal to Urd’s desire to be understood by claiming that she and Urd are very much the same. They are both level-headed, analytical individuals who crave knowledge, and sometimes people are just too blind in their pre-existing beliefs to understand their (Urd + Vala's) "vision" of the world. However, Urd is unsure. She still doesn’t understand what Vidar is trying to accomplish, and as much as she wants to run away and find meaning elsewhere, if securing her freedom means having to harm the worlds alongside the upperclassmen, then she doesn’t want to do it. Plus, the thought of traveling the worlds with the upperclassmen rather than with her friends doesn’t sit right with her, despite everything.

Much like in the base game, Xehanort eavesdrops on this conversation, but this time Hermod has tagged along as well. In the base game, Xehanort alone eavesdropping on Urd and Vala doesn't really lead to much in the story as far as I can tell, because Urd reveals her conversation with Vala in the very next episode. I think this might be a dropped plot thread where Xehanort was supposed to sit on this secret information for a while longer before acting on it somehow, but in any case, it's no longer necessary for my rewrite, thus Hermod is now here as well. Perhaps Hermod initially tries to approach Urd right away, but Xehanort pulls him back and convinces him to stay in the shadows in the hopes that Vala will reveal something important about Vidar's plans.

As they eavesdrop on the conversation, they finally learn of Urd’s secret loneliness, and see that Vala might successfully persuade Urd to leave them just like Vidar did with Vor. Hermod simply can't let this happen, and so against Xehanort's wishes he bursts into the room, interrupting Urd and Vala’s conversation to grab Urd’s hands and tell her how much she means to him and their friends. He doesn’t invalidate her feelings, but apologies for making her feel so lonely. He never meant to make her feel like she was different or weird for her interests; he may not always understand her, but he thinks she’s amazing and brilliant. And he’s willing to help her in any way he can and support her in whatever she decides to do. Perhaps he and Xehanort even bring up how her interest in the worlds was essential to saving their friends in Episode 2, to show her that she's valuable and appreciated.

Hermod's impassioned and sincere speech along with her own misgivings about Vala's offer help Urd realize two important things. One, that she enjoys exploring the worlds so much precisely because she gets to share that experience with her friends; it wouldn’t be the same without them. Yes, maybe there’s still this feeling of loneliness inside of her, and maybe she still wishes that her friends and her were more on the same page about certain things, but sharing a laugh, fighting by their side, and just getting to spend time with them are still precious experiences for her, and not to mention, her loneliness would be so much worse if she didn’t have her friends by her side at all. It’s not perfect, but she still loves them dearly, and she knows they love her back. And who knows, maybe they’ll be able to help her work through her feelings now that the cat's out the bag.

The second thing she realizes, is that exploring and learning about the worlds and its people, though a big part of her motivation, is ultimately secondary to wanting to protect the worlds and its people. Which is what being a Keyblade Master is all about, really; a goal that can only be achieved by staying in Scala and continuing her training. And a goal that would certainly be jeopardized by assisting the upperclassmen.

I imagine Urd directly talking about at least some of her thought process here when she refuses Vala's offer and explains to her why, but the rest should probably just be implied. In any case, these two realizations make her change her mind about running away. As she says to Lumiere later:

Her home is with her friends in Scala, and she has the important responsibility of protecting the worlds she holds so dear.

And when Urd says “[The Beast’s] wish will come true, I know it.” she’s implicitly including herself in this statement. She knows she’ll gain her freedom one day and form the bonds she's looking for, she just has to be patient and believe in herself. Additionally, I want this line to now invite comparisons between the Beast and Urd: the Beast, lonely, trapped inside his castle, wishing for a genuine connection, ignorant of how he is surrounded by servants who love him unconditionally; and Urd, stuck in her little world of Scala, wanting to find fulfillment in the worlds outside, feeling distant from her friends despite them loving her deeply. Oh, and, perhaps Urd telling the servants to help keep the Beast's spirits up could parallel how Urd is now going to allow herself to rely on her friends for emotional support.

Finally, to make her untimely demise a bit more of a gut punch, I think it’d be fitting if Urd got to have some dying words. Maybe something like “But I never...got to...” Got to what? Become a Keyblade Master? See all her friends one last time? Explore all the worlds? Who knows, she doesn’t get to finish. That’s for your imagination to decide.

And yeah, that's my pitch. Thanks for reading this far. If you have any feedback, ideas, or criticisms, feel free to add on.

#khdr #kingdom hearts dark road #kh urd #kingdom hearts #rambling about dim path #ch tag: ur #khdr spoilers

32 notes · View notes

sketching-shark · 11 months

Note

If you were put in charge of making a JTTW movie/TV adaption from start to finish what direction would you have the show go?

*SHAKING AND FROTHING AT THE MOUTH FROM THE THOUGHT OF BEING IN CHARGE OF MY OWN ULTRAVIOLENT BODY HORROR-ESQUE JTTW ADAPTATION* Oh I am so normal about this prospect anon.

But in all seriousness I think I would DEFINITELY want it to be a lengthy animated tv adaptation because there's so much rich backstory and plot in the og classic that a movie length doesn't really let you delve into, AND because the wild transformations and different entities seem like they would be best conveyed in the limitless possibilities of animation! Like just imagine how terrifying a havoc in heaven would be where the Monkey King is shown taking FULL advantage of every single one of his abilities (as-you-will cudgel size transformation, tons of monkey clones, transformation from one creature to another, invulnerability, truth-seeing eyes, transformation into a three-headed six-armed towering monstrosity to fight an Erlang Shen who does the same, etc.). In addition, I also do think that the length of time it took for the pilgrims to warm up to each other and for Sun Wukong to go from a practical and ruthless yaoguai warlord to the Buddha Victorious in Strife is an important part of what makes Xiyouji the classic that it is, and this is all something that I think could be well captured in a lengthy animated series.

I know for sure that I'd want to spend a good amount of time on Sun Wukong's transformation from a relatively innocent stone monkey to the most viciously powerful of the yaoguai warlords to a sincere Buddhist, especially since the very understandable fear of death for himself and his loved ones seems to constantly be a driving force behind a lot of his actions. I think seeing the transformation of the monkey from loving and wanting to protect a relatively small group of people (47,000 monkeys & his friends) to extending that active love and compassion to individuals of all sorts, both human and yao, could be a really cool arc for the Monkey King too. This is especially so as it raises the interesting question as to whether compassion and love can end up being destructive if it's only offered to some but not others, and what atonement for past violence might be.

Zhu Bajie and Sha Wujing also present a potentially fascinating case of dealing with disgraced deities who start off by considering their time on Earth and time on the journey a punishment before they eventually come to develop genuine compassion for the mortals they encounter. Stories about a fall from heaven leading to the fallen ones developing greater empathy for those who were once literally below them is my jam, and I think these other two pilgrims could offer a neat way to explore that! Also I want to note that I'm fully on team "Zhu Bajie is constantly complaining that he's hungry and tired first because of his own appetites and then as a way to get the other four self-destructive idiots to stop and take care of the basic necessities of life." For sure I'd also add in that potential hint noted by others that breaking a vase during a banquet had a precedent of being used as a signal to start a coup, thus explaining why Sha Wujing's punishment on Earth was much worse than Zhu Bajie's. And one simply can't do without the indication that it was everyone's favorite Friar Sand who had eaten eight of Tang Sanzang's reincarnations! He may be one of the pilgrim group's straight men, but he also spent centuries as a cannibal <3.

Also yeah hard agree with others that both Zhu Bajie and Sha Wujing start off the pilgrimage pretty terrified of Sun Wukong because they saw him at his violently worst in heaven. As a treat :3

I think I'd also have Ao Lie spend more time outside of his horse not just so that he can be a dragon-ish guy as well as an actual dragon, but also so that we can get more insight into how his transformation from a destructive prince to a humble steed changed him. I think it also would be cool to spend a little more time on the dragon kings and how, for example, it does raise some uncomfortable questions about their whole deal if Ao Lie could commit arson & destroy a pearl and be punished pretty brutally while Ao Guang could run a weather-based protection racket for centuries and get a 12 year old to kill himself and yet they all seem to be cool with that :[

I'd also want to make my adaptation one that deals more with the aftereffects of the absolute bullshit the pilgrims go through. For example, it's pretty rare to find an adaptation out there that gives full weight to the stuff Tang Sanzang went through, and while it is understandable why and can be funny to characterize him as one of the "straight men" of the pilgrim group or as the weepy useless guy who falls off his dragon horse all the time, I've literally never encountered an adaptation that for example has him react at the age of 18 to his mother committing suicide after Xuanzang went through so much to try and help her, or him having to see both of the human companions he started the journey with get eaten alive by yaoguai. I'd want to make Tang Sanzang more of a dynamic character than he is even in Xiyouji itself, and I do think delving into this background--you knowing, showing why exactly he does in fact have good reason to be suspicious and even hateful of yaoguai and perhaps more secretly certain humans (his mother was after all brutalized for years by a bandit chief)--would be good to deal with in showing Tang Sanzang's journey to enlightenment. And for sure I'd want to make Tang Sanzang a little more like the historical Xuanzang in having him both be a master translator and a canny rule-breaker; I think that having the story follow history in that Xuanzang was in fact forbidden from going west in search of Buddhist scriptures but went anyway, for example, would be a good path to follow. Might give him an interesting point of relation and sympathy to SWK as well, in that both of them would be challenging authority to do what they think is right.

I do think that this all could also make for a really interesting point of tension and later comprehension between Tang Sanzang and SWK, where you would have the monk and the monkey on the same journey for very different but in some ways similar reasons (Tang Sanzang wants the scriptures because he sincerely believes that they will save countless souls, SWK wants to finish the journey so that he can go back home and protect his monkeys). Like Tang Sanzang would be starting the journey at age 28 and after going through some pretty intense trauma, but having lived in a monastery for most of his life wouldn't have much of a sense of what dangers the world contains as SWK, even though he is determined to complete the journey no matter the cost to himself. SWK, on the other hand, would be starting the journey after the bitter defeat in heaven and the anguish of 500 years in solitary confinement, and would likely be enraged about everything he lost but would still be operating under the terrible elation that came from his vast violent power. As someone else once put it, it could be a similar dynamic to a late middle-aged triads boss having to watch out for a beginning grad student lmao. So you'd have a lot of tension between SWK and Tang Sanzang's world views, with the former thinking that violence is a perfectly acceptable way to solve problems or get what you want, while the other abhors violence of all sorts, and they'd both have plentiful reasons to criticize the other.

While the film The Monkey King 2 is far from the best JTTW retelling out there (though it is one of my personal favorites lol), it also has this pretty great and rare scene for JTTW retellings that I feel I'd like my own retelling to somewhat emulate. Here, Sun Wukong saves Tang Sanzang and a bunch of little kids from the violent actions of a king, but he's only able to do this because the Monkey King is more powerful than the king and is able to legitimately threaten the king with death if he goes back to his vicious ways. Tang Sanzang does get Sun Wukong to spare the king, but the king then directly calls the monk out on the seeming hypocrisy of his mission. I forget the exact words, but the king's accusations were basically about how Tang Sanzang is a fraud and a liar because for all that he preaches peace and forgiveness he wouldn't be able to make it anywhere, he wouldn't be able to save anyone, he would have in fact been killed long ago if it wasn't for Sun Wukong's power and willingness to violence. And I do think in a lot of ways this is the crux of a lot of interesting questions that Xiyouji brings up even if it never provides one solid answer: that we all want to be relieved of suffering, and yet what do we do in a world where violence is something we both constantly suffer from as well as commonly inflict upon others?

I guess ultimately I'd want this to be a retelling that really focuses on the many forms and roles of violence in the shaping of a society, what the consequences of this violence often is, and what might be done to create a more just and peaceful life for all.

I'd know I'd want to spend a lot of time on SWK getting back home to Mt. Huaguoshan and finding it this burned-out ruin with the vast majority of his family dead or otherwise gone, only to realize that this was done by heaven in retaliation for the war and his havoc in heaven in a true case of mythological M.A.D. I feel like this, as with other scenes, would be a good way to bring up Xiyouji's frequent refrain that "for the strong there's always the stronger," and how the devastation that violence and warfare wrecks on a landscape, even if it seems awesome and justifiable at the time it's being waged, leads to horrific problems that don't go away even after generations and which could very easily be turned against you and your loved ones. I've said before that one of the things that I like about the Monkey King is that he almost always has a very clear reason for doing what he does, and I think this would be a great arc for it to really and painfully hit home that ultimately violence does not exist in a vacuum, and, especially when you care about so many, it ultimately serves to create a world where your own loved ones can easily become the next who will suffer. Yet even here the complexity of the situation doesn't stop, because while SWK is able to vastly improve the lives of his monkeys by doing everything he can to restore Mt. Huaguoshan back to its former fecundity, he also protects them by well killing 1000 human hunters who had been going after them for years. The violence may never stop, but neither do the efforts to make the world a more peaceful place. And as it is, no one can live by the sword alone.

Just some sketchy thoughts anon, but I hope you like what I'm laying out :)

#anon answered #jttw retelling #some studio hire me #please #also haha man skimming through it I got surprised all over again on how violent JTTW is #still!#lots of instances of people loving each other and trying their best as well #sun wukong #monkey king #tang sanzang #zhu bajie #sha wujing #ao lie #bai longma #violence

86 notes · View notes

alexanderlightweight · 1 year

Note

I would love to see you write Alec courting Magnus warlock style vs Magnus courting Alec nephilim style

I think Magnus exploring those eldritch angel instincts and how that would translate over to gifts would be funny

Whereas Alec doing demonology research and warlock traditions bc Magnus is both a prince of hell and a high warlock needs to be taken into account

Honestly Alec being an heir and commander is important but being a leader is more important to him than being a lightwood, he'd become Alec bane in a heartbeat if given the choice!

tumblr ate this twice but i found it again and here we are! i hope you enjoy. this is in the hoarfrost kiss on lips aflame verse which is the cold!eldritch angel alec au

“I won’t be taking the Lightwood name.” Magnus remarks casually, because it’s something his boy needs to know, “or that awful ring you keep bringing by.”

Alexander freezes and sends him a pitiful pout, but from the gleam in his eye, Magnus doubts he’s actually surprised that Magnus doesn’t want the ring.

“That makes sense.” Alexander says slowly, nodding as he considers what Magnus said. “You hate my parents. They hate you, so I’ll take Bane.”

“Without the Lightwood?” Magnus asks, curious because he would have been fine if they’d kept their own names — even if the thought of Alexander belonging solely to him fills him with vicious glee.

“Magnus, I want to bond with you because I want the shadowworld to be forced to acknowledge how much I love you, what you mean to me. I’m hardly getting my point across if my name stays the same.” Alexander rolls his eyes, “if the clave wants to argue that I can’t be a commander because of my name, then that’s a fight I’m willing to have. I’m a leader, first Magnus. My parents may have intended me to be the perfect heir, but they pushed the responsibilities of an entire Institute on me from a young age. The Lightwood name will survive my departure and my Institute won’t care what name they serve as long as it’s still me giving the orders.”

“I adore how competent you are.” Magnus admits and he gives a wistful sigh as he cups Alexander’s face. “But it would be so much easier if you were just a pretty face I could chain to my bed.”

Alexander laughs, lips kissing Magnus’ thumb as they part for his joy.

“Magnus, you would be bored. You like the idea of how much of a challenge keeping me chained would be.”

“You wouldn’t just let me keep you?” Magnus asks, teasingly but with also a hint of a dare.

“As long as I’m a Commander, then I’ll be what I’m needed to be for the people I lead and protect. Ask me again if that ever changes.” Alexander tells him, a promise that Magnus tucks away, “and in the meantime, I don’t mind playing hard to keep.”

Magnus laughs, because Alexander surrenders himself in his entirety every time Magnus touches him and his boy wouldn’t know how to play hard if he tried.

“I’ll just have to learn to distract you better.” Magnus promises and he slyly uses magic to grip Alexander’s thighs and bind them to the bed as he kisses him. “But first, let me warm you up before you go, Alexander.”

—

Magnus waits until Alexander is gone and then he sits, and he stares blankly at his hand.

Alexander is so nonchalant about how much he wants to bond with Magnus and Magnus didn’t consider how much he wanted that until being faced with it in person. To know that Alexander will take Magnus’ name, that Alexander wants to be Magnus’ and be served under Magnus’ name, that his deeds will be added to Magnus’ name and not his family one.

It’s a deep and heady thrill, especially when Magnus knows how important names are to shadowhunters.

For Alexander to drop the name Lightwood for a non-nephilim name like Bane, when he’s the heir to such a prestigious family, it’s practically self-disownment.

It’s a way of putting Magnus into priority that could have been conveyed by the joining of their names but will ensure everyone knows how much Magnus means to Alexander.

“My darling Alexander,” Magnus murmurs as he runs his fingers over the warm indent left behind by his boy’s body, “whatever am I to do with you?”

He messages Ragnor, intending to find out just how to show a shadowhunter they belong to you, and you aren’t letting them go, and gets back an angry stack of books landing on his feet.

Magnus rolls his eyes; summons the long pipe he sometimes indulges in and lays out on his bed to smoke and peruse just how to stamp his claim all over Alexander.

—

Alec stares at the books and piles of paper and he swallows down the last of a protein bar and activates a series of four runes that will help him maintain and organize the knowledge he’s looking for.

It takes three hours and he’s exhausted and worn by the end of it, but he has a place to start and as he stares at what warlocks consider to be highly valued courting gestures, he resigns himself to another long week. While intellectually, Alec knows that the shadowworld has extremely different cultures, he isn’t expecting the level of secrecy around higher ranked warlocks and their consorts. It means that the information he specifically needs is harder to find and that he’ll have to ask for help once he’s narrowed down his choices for gifts.

Which means Tessa, since she’s the only one of Magnus’ companions who owes Alec something and will respond to him favorably.

At least this week of research will be worth it; Alec thinks to himself as he slowly gets out his stele and his arrows and several pieces of platinum.

If Magnus doesn’t like the Lightwood ring, then Alec will just have to make him one, especially now that he’s realized how much warlocks invest into making courtship offers.

Which is fine. Alec’s not a warlock but nephilim have some similar customs, they’re just normally weaponry rather than jewelry.

#lumine writes #writing wednesday #writing wednesdays #magnus bane #alec lightwood #shadowhunters #malec #shadowhunters au #my fics #my fanfics #my ficlets

95 notes · View notes