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klorophile · 1 month

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Arcane and food

There is a subject that’s been turning and turning around my head for quite some time now and that I really wanted to analyze because it’s just a detail and yet it gives me Feels Of Beautiful *o*, and it is: food in Arcane. But bear with me because we’re going to take detours that might be unexpected? (I want to mention air jails and pomegranates)

So, I’m not gonna teach you anything when I say: food is important. In real life obviously, but in fiction too. What I have in mind here: in real life you can’t survive without food, so it’s something that you do everyday, so it is a very mundane and daily thing… which is precisely why, in fiction, it can be very absent (the heroes have to save the world/prove themselves/find their identity/solve a big mystery/… = better things to do than what we do in our daily lives because it is a story to get us out of our everyday lives) or on the contrary very meaningful (ex: In The Lion King, Simba is a carnivorous lion but he accepts to get used to eating bugs when he meets Timon and Pumbaa and decides to live with them, it’s a symbol of him leaving his lion life behind).

Also, in the classical tragedies, there is the rule of grandeur: the main characters have to be princesses and kings and never your common citizen. And princesses and kings will not be shown doing stuff like peeing or eating in this genre, because it is too down to earth for the beauty that’s being displayed.

So, eating = down to earth, concerns your everyday living people ; not eating = what people that are more akin to queens and deities will do, celestial. And that’s a distinction that I really feel in Arcane…

Vi eats (like a pig) when she gets out of prison, and she very much says it: « we’re here because I’m hungry ». When she eats, she eats. She puts fuel into her stomach and that’s it, it’s a very earthy and mundane thing, it’s not a metaphor like tobacco can be (tobacco = power in the Undercity). Vi just eats like we all do and that’s it.

…Or is it? Well, at least that’s what she says to Caitlyn. Caitlyn was following Vi in hope of being led to important clues, and she gets pissed when she sees Vi stopping for food, because that is definitely not what Caitlyn got into the Undercity for… Because Caitlyn, as a Topsider, is not hungry. She had breakfast this morning, she will have dinner tonight, it’s whatever, her needs are met and she doesn’t need to think about it, and the viewer doesn’t have to think about it. But Vi is the opposite: As a prisoner, her needs depended on the decisions of the people in charge of her prison. She most probably didn’t get to choose what when or how, and most probably got the minimum and a look of disdain with it. In my head, I really like to make this cute comparison: you know how pet owners take their animals, like a dog for exemple, and they lift them above the ground when they have been naughty, and it’s « no, you’re in air jail now ‘cause you’ve been a bad dog so as a consequence you’re not allowed to dog anymore for a fitting amount of time » and it’s not a slap and not a hug and not a game, and the dog is just up confused with her legs dangling straight like IIII° <oh no what now? and they can’t do anything because air is not their element, the ground is, proven by the fact that they have all of four legs which is a lot of legs when you think about it and all of them want to touch the earth, so quadrupeds are like very ground dependent I guess. So the idea of air jail is that the pet can’t do anything and all that’s left is thinking about their existence and the choices they made and how it led them into not being able to choose anything anymore, and to be at the total mercy of their air jailer who happen to have only two legs that need to touch the ground, and two damned other that can remove you from your daily fulfilling life. And I might put a little too much thoughts into what’s basically cute a meme, but I think that is what is behind the air jail, and that is why it is so funny and cute when you do that to your pet (I’ve only seen it done with love), but yeah here is the thing: that is exactly what Stillwater is, but without the funny and loving part.

All of that detour to say that when Vi was in prison, she was basically in air jail. She wasn’t ‘just imprisoned’, she was removed from existence, and that aspect is accentuated by the fact that a) the prison is called “still water”, as in ‘you’re not allowed to move anymore’, b) it’s on an island that’s removed from both Piltover and the Undercity, and also: c) the time-skip.

The time-skip is very meaningful, because it makes us feel like everything was stopped and stuck from the moment Marcus took Vi away to the moment Caitlyn found an interested reason to get Vi out. We don’t get to see Vi in prison because it is literally a time out. It’s not her life she’s living during this time skip, it’s just her being removed for years and having no control over it.

When she gets out, she eats because it’s an earthy thing, and she was in the air all this time. She reclaims, not even her life, but just a life. This is why it is very important that we see her eat, because it shows us how she feels like she can finally move around and have an impact on the world. She is back.

At first she says to Caitlyn that she brought them here simply so that she could eat, basically to express to her that she is not going to just be used yet again by a Piltie, no, she’s here to reclaim something too and Caitlyn doesn’t have a choice in letting her have that or not, because Vi, as someone who grew up in the Undercity, is more adequate for this quest.

And then she gets the tip from Jericho.

Food is connection, both to the place and the people. Vi eats because that’s what you do when you get home.

And she does it like a pig because she knows that’s not what a Piltie does, and she’s definitely not here to please Pilties.

Silco

Silco does not eat. He is a “kingpin”, he is very close to a classical tragedy figure (I mean… Agamemnon and Iphigenia… That’s his conflict). But he also has a mug painted by Jinx on his desk, with a lid and all, for coffee and stuff. But we don’t see him use it (sadly). He only drinks alcohol, which is akin to tobacco: not necessary to live, on the contrary, especially for tobacco which feels the lungs with noxious smoke when there is already so much suffocating people in the Undercity; when a character takes to it, it’s a symbol of being rich and/or powerful in the Undercity.

So, with the painted by Jinx mug, the earthy thing is here, but Silco decides to not be seen using it. It’s here and not here. And that’s because it’s precisely Silco’s story: It’s him trying to be all but a deity, the founder of Zaun, and fatherhood creeping up on him whether he wants it or not, to the point of him choosing to be a dad with a child instead of a divinity at the head of a city. He doesn’t want to be earthy, because to bring a city towards its independence you probably need to be more than human, but he is earthy and human in the end.

Jayce (and Powder)

In episode 1, Jayce had left two sandwiches on his desk next to his dangerous forbidden work. It has tomatoes and lettuce, it's fresh. It’s a sign of how easy he has it at this time, because he can just leave food around his work, food is not precious, he doesn’t need to eat it right away. Then Powder comes into the room, and she’s starving, so her eyes light up to what is a random sandwich to Jayce, but an out of ordinary meal for her.

And Powder eats, because at this time of the story she is just a child playing around. She is being earthy. She is not concerned by all the stakes yet, she lives the life of a human (we can't exactly say the same about Jinx, who is more akin to a spirit).

There is also very much a thing to say about how Jayce puts his stuff on his desk, and then Powder/Jinx takes it for herself. She did the same with Hextech. (Though, I note that Powder took a bite from the sandwich and didn’t say anything to the others, she didn’t share. While we can argue that her stealing Hextech is helping Zaun, she’s kind of sharing the power with her community. And I’m just here wondering…: Why didn’t Powder share the food? What does this mean about her? Was this done intentionally to say that she’s always been on the selfish side?)

Caitlyn

Caitlyn is nicknamed “Cupcake”. We don’t see her eat, but we see her being called the food. I see it as a way to make us feel how rich and privileged she is, and how Vi feels that and tries to make Caitlyn feels that too. I mean, of course “Cupcake” is a sweet nickname, and the most important meaning is that Vi likes Caitlyn (and also that it can be a reference to one of Caitlyn’s abilities in LoL), but still, a cupcake is a cupcake: a frivolous pastry. A cupcake is not food you get to survive, it’s something you can go without but you get it because it’s yummy. It’s superfluous, but someone from Piltover can afford them regularly. And Caitlyn is beyond that, she is the cupcake. She is a symbol of being rich. And people in the Undercity would want to eat her, but also Vi wants her for other reasons now…

Powder 2

In the « Enemy » clip, Powder plays with her food but does not eat it. She is distracted, and to me it feels like another sign of her being meant to turn into Jinx, a character straight from a tragedy. Something more akin to a deity or spirit of rebellion rather than a little sister. (The clip is all about the seeds of Jinx in Powder, which is why I feel like it is relevant to analyze that scene as one too.)

*big sigh*... Jinx

In the last episode, Jinx brings a cupcake to the table, with the gemstone she stole on top of it. And omg does it bear meanings.

First of all, there is the fact that there is only one cupcake when she invited 3 guests (Vi, Caitlyn, Silco), along with her two brothers who are always with her, maybe we can even count Vander since she did put a plate for him, and herself. With seven people and only one cupcake, we have to wonder: who is going to have the cake? This brings so much tension to the scene: all the people around the table, and only one prize that they have to fight over… And the twist is that no one wants the same thing (Vi wants Powder, Silco wants Jinx, Caitlyn wants the gemstone), and yet they can’t share anything.

Second, the fact that it is a cupcake. Of course it’s a cupcake. Because Vi calls Caitlyn "Cupcake", and it’s all about Jinx wanting Vi to choose her, her zaunite little sister, over her shining new topsider enforcer of a girlfriend. To Jinx, Caitlyn “Cupcake” is a big problem, and that is why she is going to put it on the table.

Third, she put the gemstone on top of the icing. And, visually, that’s what immediately tells us that the stakes are very high, and that we’re very much talking about both the past (the gemstone that killed Jinx and Vi's family) and the future (the key to 'progress' stolen on Progress Day), what we can keep from before and what’s going to have to happen next from that. Also, it feels very irreverent that Jinx puts the symbol of progress on a cute pastry. She is not scared of dirtying what is both a treasure, leverage, power, a weapon, … The gemstone is so much, and Jinx puts it into cream because she can. Because she wants to question it. Because she wants to be the one who decides what is going to happen with the gem. She makes a display of how this moment is a turning point, and how she is the one who is going to decide where we’re going from here. Basically, what is so scary about that episode is how much power Jinx has into her hands, next to how emotional and affected she is by every single word and eye twitch she gets from her guests.

Also, I might be seeing too much into it, maybe, but I still think that the reference is relevant: the cupcake with a gemstone on it is a pomegranate.

It does look like it: the gemstone is visually akin to a blue pomegranate berry, and it is on a cupcake that serves as the husk of an actual pomegranate that holds its berries. With the differences that in Jinx’s tea party the cupcake is the less important because it’s edible while the stakes are less about who is going to get food and more about who is going to leave with the gem of power, while in the pomegranate mythology it’s straight about whether you eat it or not, so the berries are the most important because they are edible (Persephone).

Also, in ancient Greek mythology, the pomegranate is related to death. It’s “the fruit of the dead”. And for Jinx, those magical stones are definitely all about death, since that is what she killed all her family with, whole family that she invited at her table. There is just this vibe around her gemstone crowned cupcake that I feel is the same around the pomegranates in mythology. It’s all about death, choosing to eat, staying underground (Persephone spending time in the underworld, Jinx shooting to make the Undercity an independent Zaun, Vi choosing Topside if we refer to her LoL affiliation). It's all very much about choosing underground/aboveground, and staying with the dead or not.

And the gemstone is only one berry while there are always several in the pomegranate, but I would say that that’s precisely because what is at stake with the tea party is choosing a person over another (Vi choosing between Jinx and Caitlyn, Jinx choosing between Silco and Vi, Jinx choosing to be Jinx or Powder) in a case where one choice has to exclude the other. So it’s a pomegranate with only one grain, and that is what makes us go even more « oh no… », because it's all about choosing, and we know that the ending cannot not be a tragedy for at least one character (joke’s on us, it ends up being a tragedy for absolutely everyone ᕕ( ᐛ )ᕗ).

TLDR: Arcane is a tragedy, Vi tries to get out of it by eating greasy food with her fingers while Silco says he’d never do that while doing that, and then Jinx puts one single pomegranate cupcake on a table with seven people around it and waits for them to fight for it, but they all bicker about other stuff than the food she baked herself, so she judges that no one is deserving of it and she destroys the world as a logic consequence. Arcane is all about how easy yet complicated it is to eat.

#Arcane #meta #analysis #That's my type #I am trying #food #cupcake #Jinx #Silco #Vi #Caitlyn Kiramman #Jayce Talis #Powder #Zaun #Piltover #character analysis

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deathbxnny · 9 months

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☆《Mha boys dating a civilian!Reader》☆

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A/N: So uhh... this is self-indulgent and a small cry for help, because I would love to write requests for other fandoms than just hsr and yeah... I just want to write for something else for once and am brain rotting hard, so forgive me- (If you're curious about what other fandoms I'm willing to write for, check my request info!)

Featured characters: Izuku Midoriya, Shoto Todoroki, Katsuki Bakugo

Content: Slight angst if you squint, fluff, established relationships, reader being a civilian, sfw

Reader has no set pronouns!

((Not fully proofread))

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》Izuku Midoriya

He genuinely appreciates your existence in his life so much. He's always so busy with hero and quirk training, that it can sometimes consume his very existence. Something that starts to become very draining to him over time, despite loving what he does. So being with you is like a much needed break from everything going on in his life.

He can escape the stress and pressure with you, as your life is so much more calm and mundane than his. It doesn't stop you worrying over him though, since you know very well how dangerous his life sometimes can be. But he always reassures you that he'll be fine, that he'll always come back to you after a fight. He tries making time for you and makes sure you know how much he appreciates you during your dates.

You're his second best thing to talk about after Allmight and he genuinely cannot shut up about you either. He loves telling everyone about your normal life. It's comforting and motivates him to do even better at training, so that you can keep your peaceful life and live without any worries. It also makes him glad that you aren't a hero, as he already worries about your safety daily. But there is nothing for you to worry about, as your hero boyfriend will keep you safe no matter what!

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》Katsuki Bakugo

He's surprised at how fast he fell for you, when it should've been the other way around. Despite the fact that you were a hero or anything, he still felt oddly connected to you, something he thought about often even after months of dating. He didn't get what about you made him so attached, but he doesn't necessarily complain either, surprisingly. Instead, he feels pride in the fact that you appreciate him for all the training and work he does. His ego just inflates even more through you, but you're at least somewhat spared from his arrogance.

He likes that you are just a civilian, mainly due to him being able to show off that way. He likes impressing you and cares about your opinion alot, despite denying it. He's grumpy whenever you ask him to go out, but will show up fully prepared with flowers in hand, as he complains about you interrupting an important training session for this. You ofcourse know that he was willing to drop anything for you anyways, so you never take his words seriously.

He dismisses all of your worries and gets slightly offended. He's strong and powerful, so what are you even worried about? He's unbeatable! Besides, if anything, he should be worried about you. You may be a weakling in his eyes, but you are his weakling and therefore protected better than anyone else in this world.

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》Shoto Todoroki

Todoroki was unsure of how to be around you at first, especially after he began dating you. He always only knew the life of having to be the perfect hero and therefore didn't really know how to deal with your calm and mundane life. You were such opposites, that it deeply comforted him. You taught him about normal everyday life stuff, something he greatly enjoyed learning about at your side.

Your dates were something he always looked forward to everyday and he made it very clear at that. You gave him a sense of normalcy he missed and for that he was grateful. But that also made him more protective over you, as he didn't want you to ever get hurt. It's the last thing he ever wanted. He is surprised at your constant worry however. Sure, he was the one putting himself in immideate danger all the time. But you were the one he cared about the most.

He takes pride in you, even if you don't have anything special going for you. The fact that you're so kind and normal drew him to you and so he's more than willing to repay his kindness by training hard every day for you. He wants to prove that he is a good boyfriend and hero to you, as you practically motivate him to do something good with his life for once. You're the peaceful light in his dark world and for you, he'd do anything.

-----♡

A/N: Ah I feel much better... honestly, mha request are very much open and so is anything else on my request info list... please spare me and forgive me for going off my usual hsr theme for a little moment. But God... I'm so burnt out, I just wanted to write for something else. So I hope that's fine with you guys. Please let me know, if you don't like it. :((

#my hero academia #my hero academia x reader #my hero academia x you #mha x Reader #mha x y/n #boku no hero academia #bnha x reader #mha bakugo katsuki #mha bakugo x reader #mha izuku midoriya #mha izuku x reader #mha shoto todoroki #mha todoroki x reader #bnha #mha

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markedbyfireandash · 5 months

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NaNoWriMo2023 Spells Day 06: Pen

@asksecularwitch

Curse with Kanjis

Itens: A paper. Black or red ink. Pen. Write the name of the person you want to curse (can be in any language, preferably japanese.) After that, rewrite her name on the sheet of paper, but with the first letter of her name with this kanji (呪) which means "curse" in Japanese. Rewrite her name by replacing the letters in her name with this kanji. Do this until their entire name contains this kanji (the person's name will literally be "curse" in japanese.) Fill in the rest of the paper with black or red ink. Burn the paper.

I couldn't find much that did anything more than 'write with pen' or 'consecrate this pen' (usually through some combination of spoken charm / candle flame / deity / elements). Nothing wrong with those, I just can't find a specific thing about them to talk about.

The spell reminds me of reductive and increasing written charms, such as the ABRACADABRA charm for reducing fevers. Or two particular charms in Valerie Worth's Crone's Book of Magical Words. In one charm for increasing power, a syllable of a barbarous word is whispered, then additional syllables are other as it's spoken louder and louder, until the word is shouted once it's completed. The second, which diminishes another's power, the reverse is done. The full word is spoken normally, then diminished both in volume and syllable to diminish power.

The concept of 'diminishing' someone or something by slowly reducing their name works by aligning their name to the whole person or thing. And this spell works similarly, except instead of just reducing the name, it is slowly replaced with 'curse', until their whole being has been overrun by the curse. Simple, straightforward, but pretty creative and has vivid visuals.

Red ink stands out - it reminds me of both being judged for mistakes (eg quiz corrections) and of blood, making it a good color for this use. Black seems to just be a generic ink color - as far as I know, black generally doesn't have associations with death or misfortune in Japanese culture, which I assume is what the spell is borrowing from, given the use of Japanese kanji and the suggestion to rewrite the target's name in a Japanese alphabet. But as far as I know red doesn't, either, so that means I probably need to learn more about Japanese culture and folklore.

The spell might have a stronger imagery when used with Japanese names. Those can be written in kanji, and each kanji can represent a whole word by itself. This spell would be replacing not just the letters or sounds of a name, but the very meaning behind it.

While I love the image and the concept behind the spell... I find the instructions a bit vague. Are the pen and ink supposed to be different implements, or can we just use the ink inside the pen for everything, including filling the entire paper for the last part? Because... I can see using two different inks in both red and black. One - let's say the black ink, because it's an everyday mundane color - to write the name and its normal characters, and the other to write 'curse' and cover the paper. And I really like that step if one ink is to be the 'curse' - not only is the target buried underneath by the curse, the curse has also steeped into everything around them, giving them no escape.

Burning the paper in the end I suppose just 'releases' the spell out into the world. And doubles as a way to dispose of evidence that the target has been cursed.

Some adjustments I could make to the spell:

The two-color thing mentioned above.

Enchanting the ink used to cover the paper to further match the specific kind of curse I want to cast.

Creating my own cursing ink.

Using paper that the target owns or has written on.

Starting with a name that the target has written themselves.

Creating my own enchanted/cursed paper.

Using a different symbol for 'curse' instead of the Japanese kanji.

Starting not at the first letter but at the center, especially if the target is a group or organization, to "split" them apart.

Not burning the paper and instead leaving it somewhere close to the target.

Not burning the paper, and instead drowning it in a bottle of the enchanted ink used.

Sprinkling the ashes on the target's belongings.

And also: using the same template not to curse, but instead make something grow inside the target by replacing the 'curse' symbol with a symbol of what I want to grow. Instead of covering it with ink, I'll cover the remaining spaces with it with relevant symbols and images, then "plant" the resulting paper somewhere.

Also, the site says the spell was uploaded in December 2022, but I'm very sure I've read this spell long before that. So it's either a repost, or an actual spell/urban legend that has been floating around the internet for a while.

#nanowrimo2023spells #sdijfd already started slow but gonna be even slower now #eclipse exclaims #im just gonna. post this disorderly mess sure #i love written spells so much

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tiffanylamps · 2 years

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After watching beyond evil, I was drew into this universe created by the drama and refused to leave. I am crazily seeking for more content around the characters, rewatch to capture more details, curious to know more about the MLs… it is a very unique experience for me and seems I am not alone.

I am wondering what set this drama apart? Why does BE has this strong psychological pull on the audience? Is it because the strong emotions yet revealed in a such reserved way that makes people wanting more? Is it because of the plot? The design of the characters? Really like your detailed analysis. Hope to see your view on this topic.

Firstly, thank you for your ask! I love talking about this show, so this is super cool for me.

Secondly, I’ve taken a few days to think through my answer because you gave me such wonderful questions, I wanted to reply with something worth your while.

Okay… WHERE TO START?!

Beyond Evil (Monster/괴물) is a show that ensnares its audiences and gives them a disease that is angrily, desperately, and affectionately named Beyond Evil Brainrot. Many of us on this website are victims of this disease. It is long-term and tends to affect the everyday lives of its victims.

[Grab a snack, make a drink, get comfortable and forgive my grammar mistakes.]

I can’t really talk about this show in an essay format today (my brain is fried), so I will give bullet points and explanations of why I think this show has such a “psychological pull” (as you brilliantly put it) on its audience.

The visuals!! Beyond Evil’s cinemaphotographer, Jang Jong Kyung, and director Shim Na Yeon are a real dream team when creating a suspenseful and intimate atmosphere. Beyond Evil’s three signature visual motifs are:

Visually appealing cinematics

Unconventional blocking (i.e, actors' faces won't fully be in the frame, actors' backs to the camera, etc.)

Extreme closeups

Not only do these visual languages convey the tone of a thriller crime drama wonderfully, as it leaves the audience feeling on edge, but its main focus is to convey the emotions of our main two characters. Especially, the closeup shots. These shots encourage the audience to feel the intimacy of the scene; its gravity, intensity, and its importance. The actor’s face will take up the entire screen, so, all we are left to digest is the character’s words and emotions.

It’s a powerful move that not all crime dramas use (it is usually reserved for Han Joo Won and Lee Dong Sik). The common motifs for the crime genre that I have seen in dramas (from Western and Eastern media) are darker lighting exposure, darker colour palette, night-time scenes, uncomfortable or liminal location settings, and grand or dramatic moments.

Beyond Evil does utilise all of these visuals as well. However, what I find to be so appealing about Beyond Evil (in comparison) is how ordinary everything is. The main focus is Manyang and its small-town simplicities. The creators really pulled this off. Manyang feels tiny, it doesn’t look or feel like a financially well-off area and its people seem just like… normal human beings. They achieved this with brilliant location scouting, clever shot choices, and a colour palette (of the sets, clothes, and the post-edit).

The small town/village "vibe" is created through these choices and it produces a town that feels very South Korean but also international. I know this town, I know these people. It goes beyond culture, whilst still honouring their culture.

Beyond Evil’s strength is its visual simplicity. It isn’t grand or luxurious; it’s beautifully mundane and intimate.

Visually, the show replicates how everyday people experience their lives so beautifully: not everything is pretty, most things are boring and mundane, and every now and then, everything can become so intense that the rest of the world falls away.

2. Complexities Okay, now let's get to the juicy part of the show: its storytelling and characters. [This is quite a complex section that has a lot of moving parts, so I’ll try to be as concise as possible. I won’t go into as much detail as I possibly could as I’m trying to be conscious of how much I am rambling.]

A very simple summary of this show is it is complex. I’m not talking about the murder mystery, as (personally) I found that to be very obvious (I figured out who did the murders in episode 2) but it is the characters themselves and their relationships/lives that are complex.

[I'm going to break this up into little mini sections and then go into more detail about our two main sweet baby boys.]

Beyond Evil's scriptwriter, Kim Soo Jin and director, Sim Na Yeon, provide its audience with an array of characters that are multi-faceted, complex, flawed and so real. (Also due to the fact that they are both cis women, they tell the story through the female gaze.) Let's focus mainly on Han Joo Won and Lee Dong Sik, as they are the main characters and they are the most fully explored characters. But I must first say, the secondary characters in this show are bloody fantastic! They are human, they have their own shit going on, their own flaws, traumas, and quirks. The secondary characters are a joy and all of them really add something either to the plot or to the world-building. (hello?? Ji Hwa?? I love her. Ji Hoon? He scares me but I also want to be his friend. Jae Yi?? She can slap me any day. Jung Je? Let me hug him. Hyuk? Let me dissect him and love him forever. Gwang Young?? That man is smarter than he lets on and I want to gossip with him. Sang Bae? He loves Dong Sik like a son and I love that for him. Gil Goo? Well... hm, he needs a talking to but he was very nice to Jae Yi... and so on.)

Anyway... Beyond Evil is a show that can be seen in two parts (I go into a bit more detail about this here): first viewing it is a murder mystery and on a second viewing, it is a love story. The creators don't just focus on romantic love but all the different kinds of love someone can have in their lives.

The way they do this is by focussing on these elements:

false perspectives, broken families and found family, morality, acceptance, trauma, and human connection.

We are shown these elements through Dong Sik and Joo Won getting to know and accept one another. These two men are so wonderfully complex and flawed. Their choices feel organic and represent the thought processes of two emotionally damaged people. They have both been through a lot, either because of people's actions or because of their own. They aren't always kind. They both have a temper but both are actually extremely good, gentle people, that are so in need of love. They both want love but struggle because of the trauma they experienced early on in their lives. Their story is so beautiful. They are two flawed people forced into a terrible situation and through their own mistakes (a lot of Joo Won's mistakes, let's be honest...), they face even more trauma. But instead of it pushing them apart, it brings them closer together. Lee Dong Sik has a community around him but he doesn't fully trust them, and he doesn't want to hurt them. He is a man that is on the edge of being suicidal. He clearly has some deep-seated mental health issues and is in need of extensive therapy. His life is in a rut, and he's just going through the motions- he's not really experiencing life to its fullest. Then Joo Won comes SMASHING through like a fucking thunderstorm and drenches Dong Sik's entire life with his being.

Han Joo Won has two people in his life: his emotionally (maybe physically???) abusive and negligent father and his father's former employee and Joo Won's former tutor (but also his best friend) Kwon Hyuk. Joo Won doesn't have a community, he's emotionally stunted and literally doesn't recognise kindness or love when it's presented to him. (the emotional abuse he must have continuously faced growing up to make him this way... fuck. side note: I fully believe Joo Won has ASD also.) Joo Won is a purposely unkind person, who - despite appearances - doesn't have any of his shit together. Then Dong Sik brings Joo Won into his community (kicking and screaming and crying) and tells him that it's okay. He shows Joo Won that he doesn't have to be perfect, he doesn't have to have his shit together, he just has to be good and kind (which Joo Won is) and everyone will accept him.

They both started the story unable to fully trust people. Both were afraid to let other people in. They purposely caused trouble for themselves and were as unlikable as possible for display, whilst keeping secrets and enduring dangerous situations by themselves. Until they grew to know one another, and then, by the end, they have no secrets (from each other) and trust one another completely. But they're far from perfect and actually need time apart to get over their relationship/shared history. But still, they have a bond that they don't have with anyone else. (Isn't that the purest and sweetest form of love? Acceptance and unity.)

That is the beauty of this show. It allows its characters to be as human as possible. They aren't always pretty, they make mistakes and can be outright awful sometimes. But it gives them the time to grow and forgives them. Not everyone is 100% good or 100% bad. Life would be so much easier if that were the case but it isn't.

Even the villains in this show are multi-layered...

3. Victim focussed I'm going to be a bit quicker with this one. The show's focus is on the victims, their families, and their communities. It highlights how murder affects not just the victim but everyone who knew them. It doesn't shy away from the darker side of women being murdered (the smear campaign against Min Jeong) without focussing on sexual assault (unlike all those male writers that love writing about women being sexually assaulted. ew). The show REFUSES to slut shame sex workers and instead, gives us wonderful feminist ideology through Dong Sik. The murderers and their accomplices are not glorified or glamorised. The why, what, and how is not the main importance of this story. And personally, I don't give a flying fuck why Jin Mook did what he did- I'd rather find out what the victims did in their lives beforehand. The villains are the weakest characters, AS THEY SHOULD BE. It's not about them, as it shouldn't be. They get forgotten. I remember the names of more victims than Jung Je's mum's name. As. it. should. be.

4. Acting Again, going to be short with this one. This show has some of the best acting I have ever seen! Everyone fucking kills their respective roles. But let's give a huge "shout out" to Shin Ha Kyun (Lee Dong Sik) and Yeo Jin Goo (Han Joo Won). They are outstanding and so brilliantly matched in their talents. They understand their characters and their dynamic so well... Really, this show has the best casting. I can't imagine any other actor playing these characters.

5. Chemistry Shin Ha Kyun and Yeo Jin Goo have the best chemistry. Seriously, I have seen them both in other projects and they never disappoint, they're wonderful opposite their respective co-stars... but their on-screen chemistry is special. It is tangible, it's magnetic, it's outstanding and so natural. Who does unresolved sexual-angry-undying-love tension quite like them??

(^ a better summary than I could ever give)

6. Queer subtext/ Queer audience I hate to break it to anyone who missed it or doesn't want to see it (or disagrees, which is fine but... confusing) but this show is queer. Han Joo Won and Lee Dong Sik are into each other. Obviously, their story is far more complex than that, nor it is always healthy. But they do have some sort of feelings for one another. These two are queer coded to high heaven (or hell, if you're being cute) and it's not just the audience projecting their feelings onto the characters, but the actors themselves saw that Joo Won and Dong Sik were in a "secret relationship" (as Jin Goo put it). Queer-coded shows and characters resonated deeply with queer communities/audiences. I think because their relationship was never fully 100% confirmed either with a "yes, we are a couple" or an on-screen kiss, or something, it is instead shown through hints and clues, it causes queer people to fall in love with it. This is partly due to everything I have previously mentioned but also because of the lack of representation, especially in the crime/mystery genre. I could go on forever about this but... I won't because that would be tedious.

[Side note: this show has a very interesting relationship with religion. It is explored through Dong Sik who grew up in a religious family but actively didn't partake in the activities/belief. Then he goes on to lose his family and the community. Then has Joo Won come into his life and promises to go to hell for him, and then have scenes where Dong Sik looks up to the skies and whispers his name like it's a prayer... and then the arrest scenes... It's just. a. lot. That mixed with the queer subtext, it is very delicious.]

(^ Joo Won making himself into the sacrificial lamb to protect Dong Sik, either with the end goal of dying or "going to hell" in his sted.)

7. Wonderfully attractive people They're good to look at. It helps.

8. The Ending Episode 16 is a bitch.

I believe it is the reason that a lot of people are left wanting more of this show. Obviously because of the previous 15 episodes but also, because, about 40-50 minutes of that episode is just trauma. It is so beautiful and heartbreaking. Then BAM! The last few scenes are so light (visually and subject matter) in comparison that it is a breath of fresh air... but it doesn't last very long. We barely get any happiness after so much heavy shit.

The ending is treated as an epilogue but it ('it' being the whole show) is actually the prologue to these characters' lives. We know that the last scene isn't the end of Dong Sik and Joo Won's story. The last shot is Joo Won walking away but we know he's coming back. Because Joo Won always comes back to Dong Sik. Now that he has him, he's never going to let go again.

(I don't want a season two, I NEED a season two. But we're probably never going to get one and that is a good and sad thing)

This show is so beautiful and it grows on its audiences. I, personally, didn't like it as much the first time I watched it as I do now. I found the music to be really off-putting and some of the choices to be slightly lacklustre. However, after rewatching it and digesting it, I just can't... I love it so very much. It's my favourite TV show. I adore the message of togetherness, love, perseverance, and the importance of found family. I love the way they included queer-coded characters with affection and sensitivity. I love that they included actors who took (the story and the underlining love storyline) seriously and wanted to explore it further.

There's so much more I go talk about but I'm not going to. It is complex and multi-layered, and different parts of it speak to different people in different ways. Also, to be really honest, I'm not entirely sure why this show sticks with people the way it does. It's just one of those things that I don't think humans can fully explain. Sometimes, a piece of media just captures you and speaks to you on a level that you can't fully comprehend and THAT'S OKAY. We don't always need to understand.

I really could just go on and on and on. But I have already taken up far too much of your time. So, please forgive my ramblings, I hope you feel like I answered your questions. If you have any more, please feel free to send them my way.

Finally, if anyone else wants to add to this, or disagrees with me, please feel free to give your opinions. Or maybe share why this show resonates with you! I'll love to read that, and I'm sure anon would love that, too!

-Thanks and bye!

#beyond evil #jtbc beyond evil #beyond evil meta commentary #beyond evil analysis #han joo won #lee dongsik #jwds #shin ha kyun #yeo jin goo

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vote-gaara · 6 months

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This is neither here nor there but I love the idea of gaara being super into music but *solely* to have deep thoughts about the lyrics while almost disregarding the music itself entirely. mcr famous last words 'I am not afraid to keep on living/ I am not afraid to walk this world alone' 🤔 wow just like when I spoke to kankuro. carly rae jepsen call me maybe 'before you came into my life I missed you so bad' 🤔 the depth of yearning for a precious thing missing from your life that you dont even realise you're missing. billy joel piano man 'they're sharing a drink they call loneliness/ but it's better than drinking alone' 🤔 the pain of loneliness leads one to seek companionship in the most unlikely of places. Do you see my vision

Thank you for this ask as it has allowed me to consider aspects of Gaara I would've never thought of.

Mostly, I think Gaara is a little...hmmm....BORING! But then again, I don't think that's true, either. Let me explain:

I don't think that, according to his "default", he has appreciation for things like music, art, fiction or movies. Likely this is the result of how he was raised in isolation, where the feelings conjured by artists eluded him because he couldn't relate to the characters nor appreciate the source the story came from. This habit of disregarding things that weren't "more serious" or "relevant" to his everyday life then carried over to his current self, as since becoming Kazekage, he really has no time to partake in leisure (but very necessary) practices like experiencing art.

Now here's where the complexity of Gaara's character really comes into play:

I believe, wholeheartedly, that Gaara would actually make a FANTASTIC artist, and that he could learn to be moved through art with the right guidance and proding.

Gaara has poor art literacy. He doesn't see a movie or read a book to explore themes; rather he sees them as very objective plot lines such as "first A happened, then B, then C, then it ends."

Basically, Gaara can parse through a story for information but he needs to work on tapping into his empathy for characters that may not exist.

I guarantee that if you get this man into a book club, he would show up to the second or third meeting after reading a few chapters and he would be BLOWN AWAY by what other people had observed; the emotion, the themes, the ambiguity, the subtle things he missed because he wasn't reading the book "correctly."

It would be a borderline religious experience for him, I swear to you.

Even with music, as you suggest. Gaara would see it as "noise" but you get him to really think about what emotion in conjures - what power can be moved through lyrics - and suddenly his mind would be completely and totally blown. Especially if you get him with the symbolism of different instruments. He would suddenly see it as a language that he didn't even know existed (which he would find really cool)!

As I said before, he would probably make a really great artist himself. If you sit him down and you tell him to paint, draw, sculpt, or even write a poem about his life you would get something very moving and powerful. The type of art that brings you to your knees. But alas, he wouldn't really be moved by his own piece, either. Sure, it would be lightly therapeutic for him to have created something from his soul, but it would seem almost mundane to him.

Any art he creates he would see as just being a reflection of his life - or at least how he would see it - and it wouldn't mean anything to him passed "this is what happened to me, and it hurt, but things are better and the world is a better place."

Which begs the question:

Is Gaara really artistically illiterate? Or has he experienced so much in his life that anything that would move the masses, emotionally destroy you or me, simply be too elementary to him?

Either way...I vote that you drag him to concerts and plays, and you share music with him. At the very least, he would (as his current self) appreciate the bonding moment.

#gaara #sing barbie girl gaara #do it #enjoy the bop #kazekage

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tssidesfics · 6 months

Text

The Dreaded Fight Scene - Some Lesser-Heard Advice

A short list of what this post will include:

Perspective Problems

Decent Advice About Paragraph Length

Semi-Nuanced Advice about Sentence Length (Featuring: Either It's Boring or Somebody Could Die [again with actual nuance])

The Most Evil Antagonist: Suddenly (AKA Really Short Advice)

Death to All Adverbs

For the Love of God Stop Using Adjectives In the Place of Nouns

Verbs Should Punch Your Reader As Much As Your Characters

Immerse Me (Sensory, Sensory, Sensory)

Pacing (God help me)

Don't Write Like It's a Movie Because It Isn't (and writing like that means it never will be)

Keeping It Interesting (Featuring: Mix It Up, Advantages Should Be Temporary Until Asses Are Thoroughly Whooped, Cause Many Problems On Purpose and Hope Your Characters Are Smart Enough to Get Out, and If You've Got a Good Plot Twist Sic 'Em)

In case you can't tell I'm trying to be suave and charming and funny like a first person narrator titling their chapters with sarcasm (which is a trope I learned from Percy Jackson I have not fallen out of love with, even though I've fallen out of love with that particular series).

I am not a popular blog. As far as I know no popular blogs follow me. This will probably land with a thud. One day I will probably dredge up this post from the unnavigable dredges of Tumblr (watch Tumblr have finally gone extinct by then), pretty it up, and post it on a website I make specifically for writing advice and my original fiction once that exists. However, for now, I bless you with this that will likely be a complete dud. May the few souls who see it glean something valuable from it.

Disclaimer: I am not a published author. I've just been told I'm good at this. Do with that what you will.

Without further ado (God save me):

Perspective Problems

If you're writing from a third-person omniescent style (your narrator describes all characters in the third person (she/he/they/it/various neopronouns) and they know everything that is going on from every character's perspective), then I'll be honest: I do not know how to give you advice. From here on out this advice will be most applicable to limited perspectives--narrator fixed to one character's perceptions at a time. I write almost exclusively in third person limited and first person narrative; I have very little practice with omniscient perspectives, and the practice I do have either didn't have fight scenes or didn't care much about fight scenes because they weren't the point of the story. I also don't read a lot of omniscient perspectives--I have yet to make it all the way through The Lord of the Rings trilogy, although I really liked The Hobbit. That also didn't care about conflict much, and cared more about humor than maintaining tension. So I'm gonna stick to what I know. Like I said, I am not a master word smith. I have not studied every facet of this craft, I am not the most qualified to be writing this post.

That all being said, hopefully I can still help you.

Let's get the mundane, everyday, boring shit out of the way first.

Paragraph Length

Why am I starting here and not on sentence advice even though that might make more logical sense? Because I find this infinitely more important than sentence length.

My advice for paragraph length boils down to one thing: you want your single-sentence paragraphs to pack a punch.

Which means: on average, your paragraphs should be at least three sentences long. In a fight scene, I would say don't let them exceed five sentences unless it's a super-duper special paragraph, and even then that might be pushing it. (This advice may conflict for you: if you want single-sentence paragraphs to pack a punch but your sentences should be short in fight scenes, then don't you have to have paragraphs longer than five sentences? Yeah, wait for the second piece of advice.)

The reason? Single-line paragraphs are incredibly powerful. Have you ever read something where it was going along normally and then they suddenly smack you in the face with a single sentence or a single line, the shorter the better? One of those paragraphs that completely changes the tone or direction of a scene? A realization that shakes the foundation the MC built their world upon, a decisive defeat or miraculous victory, an irreparable betrayal, a plot twist that rattles you and the protagonists to their core. You remember the power in that?

You completely forfeit that power if your paragraphs are too short. And that can be very effective in a fight scene if you use it wisely.

Look elsewhere for advice on how exactly to determine when you need to change paragraphs. All I'll say is: walls of text are an accessibility nightmare, and for the love of Neil Gaiman new speakers get their own paragraphs.

Sentence Length

Actually, your sentences should not all be two or three words long. That actually takes your pacing and readability into the sewer, and not on an epic gross adventure. Anyone who tells you all your sentences should be short in a fight scene is either lying to you or leaving off a significant chunk of nuance.

Let me show you an example of "keep sentences short" taken to its logical conclusion without nuance.

He lunged. She parried. It almost caught her. He leapt over the divide. She stumbled back. He slashed her leg. She cried out. She punched him in the nose. He wiped away blood. She swiped for his neck. He dodged.

That is unbearably monotonous, and that was with me instinctively adding more nuance and variability to the fight.

Now then, that is not to say you should make action lengthy or wordy. However:

He lunged. She barely caught it in time, her own blade cool and stinging against her side. She tried to hold her ground, but another slash gave him opportunity to leap their divide. She stumbled back, searching for something else to put between them without taking her eyes off him.

He lunged for her again. She was too slow to parry the gash to her leg. White-hot pain erupted from the wound, blood gushing hot to the ground as she screamed, but she channeled that pain into her fist, slamming it into his nose with all the might she had.

He wiped away the blood with a snarl, but more poured behind it. She tried to take his head, but he dodged it too easily. She wasn't going to leave here with her life if she didn't think of something soon.

(Note I used several different techniques we'll get into for that last excerpt, but all of those are difficult to use if you stick to the advice of short sentences relentlessly.)

Which brings me to:

Either It's Boring or Somebody Could Die

This advice should not be taken literally. It is possible to have a fight scene where the stakes aren't "somebody could die." It could be someone's pride. It could be the respect of a mentor or trusted friend. It could be the interest of a romantic partner for all I care (although except in rare instances I find any sort of "fighting for the love interest" distasteful and toxic).

What should become clear to you: stakes are very, very hard to establish if your sentences are too short. Furthermore, emotion and sensory experiences are extremely hard to insert with short sentence length. Your fight scene lives and dies on whether the reader feels like its stakes are imminent; a fun sparring match is just not going to be interesting, no matter what you do. Unless you're inserting a plot twist about how the opponent is actually trying to kill them while maintaining the plausible deniability of "it was just an accident!" let it establish its point with character or world-building and then move on. (Fighting lessons count toward both, as far as I'm concerned, so as long as it's doing that you're fine.)

Another thing you should notice about the above excerpt: the protagonist is consistently losing. More on that in a bit.

The Most Evil Antagonist: "Suddenly"

Just cut it. If you're doing everything else right cut it. You do not need it. It contributes nothing. It does not make things more clear, it just slows down your pacing. Cut it.

Death to All Adverbs

This is pretty average advice, and it should be applied to everything you write, but for the love of God use barely any adverbs in your fight scenes. Avoid them everywhere at all costs but they will only screw up your pacing. Pick a better verb, and if there is not a better verb then you're forfeiting the reader understanding exactly what is in your head to tell a better story. Sometimes you've got to do that as a writer: it is impossible to make them see it happen in front of them like they're watching a movie (which is another thing we'll get into). Just focus on the pacing.

If you can really, really stand there and justify that adverb, then I respect you. But very, very few. Very few. Make 'em count.

For the Love of God Stop Using Adjectives in the Place of Nouns

This goes to my fanfic writers (who admittedly make up a predominant amount of my reading material anymore because gifted kid burnout is real).

No "the anxious man," "the blonde girl," "the bubbly friend" or whatever. I read Sanders' Sides fanfiction and I feel personally affronted by the words "the anxious side." They've committed war crimes against me personally and I will sue for emotional damages.

Unless your narrator does not know the character's name or you have not revealed their name yet, you should not be using adjectives in the subject of your sentence. Full-stop. It screws readability all to hell. It's confusing. It's cliche and annoying. Either it serves a demonstrable purpose in the scene or you need to use a name.

And if you're worried about names getting repetitious, to a large extent they're like "said." They will largely disappear in the reader's mind except to establish who the rest of the sentence is referring to. You wouldn't feel that way about pronouns, you shouldn't feel much worse about names.

(Obviously description is different and oftentimes you will preface a noun with an adjective then, as well as some other instances. Mostly, your writing decisions should be deliberate. If you cannot justify it, then really ask yourself why you're doing it.)

Verbs Should Punch Your Reader As Much As the Characters

We touched on this in "Death to All Adverbs," but your verbs should pack a punch in a fight scene. I won't exhaust the subject here, but there are multiple lists online of verbs and other parts of syntax useful for fight scenes. I recommend going through them--and recognizing your internal reaction to them. Certain words are going to create a more intense reaction--"crack" versus "break," "wound" versus "gash," "jostle" versus "jerk." Obviously you start getting into what exactly those words mean, but if the more visceral option works for your scene, it will probably improve it.

Immerse Me

Some good practice: before the fight starts, or in a lull in the action, describe your setting. You don't have to describe every facet of it. Focus primarily on parts relevant to the scene or plot; throw in a couple fun facts that don't take up too much time so you can keep your reader from guessing every twist and turn. And then use your setting. White room fights are boring. Use the space. Have characters switch out on the high ground (in one-on-one fights that's basically useless, if it isn't more advantageous to have the low ground, but changing angles changes dynamics). If a character is disarmed, let them use something in their environment. Kick dust into your enemy's eyes. Throw things at them. Eat up your scenery. It will help, but to do that your reader needs to know what things look like first, or using that environment in the fight is gonna feel like deus ex machina after deus ex machina.

Don't stop at the visual aspects of the scenery, though. Tap into every sensation your narrator has. Taste, smell, hearing, sight, touch. Even their kinesthetics (how they feel their orientation in the space they're occupying). It suddenly gets a lot harder to fight when you're dizzy (though not impossible--I had a temporary disability that made me chronically dizzy for about two years, and I continued training in Kung Fu in that time; accommodations were needed and my Si Gong and classmates had to be made of the problem in case something went wrong, but I was still able to do it). That's a great way to keep your character on the back foot, depending on how dizzy you make them. Temper it, though--if they're badly concussed and the world is spinning so badly they puke, they're not going to be able to defend themselves.

To a (limited) extent, feeding your sensory information through the character's emotions will also strengthen the prose. Don't go overboard on this because you will grind the pacing to a halt.

Speaking of pacing:

Pacing

(God help me)

This video is better than anything I'm going to give you here, and it tells you what to do on a plot level, too. Pacing is impossible to explain and I hardly understand it myself. Frankly I don't think I'm that good at it.

However, that video isn't specific to fight scenes, and I'm going to try to give you some satisfactory advice for writing fight scenes with strong pacing. Bear with me.

First off: if your fight scene is short, then keep it quick. No adverbs, sharp verbs, pretty short sentences, and then move on.

But here's the thing: short fight scenes are boring.

There's no time to establish stakes. There's no time to feel like the narrator is losing. There's no time to gnaw your fingernails off and cuss passionately at the page. It also doesn't feel all that much worth it. Your fight scenes should all have an impact on the plot and if it genuinely doesn't need to be long to serve its role in the plot, that's fine but if you want to write fight scenes that are engaging and epic, they need to be longer.

Part of that is going to be keeping it interesting, which we'll get to in a minute. But another huge part is varying your pacing.

Generally, fight scenes should be fast. Your reader should be trying to read as much as they can as fast as possible because they're worried they're gonna die. But a fast pace for too long gets tiring; when you're going for a run, you don't sprint for the whole way. You sprint for a few seconds, then jog, then sprint again. Pace in a fight scene is going to be the inverse of that balance--it will be predominantly fast-paced with short breathers, but you should still give your reader moments to collect themselves.

Now there is a type of fight (that is absolutely impossible to write) that is incredibly effective and maintains a fast pace for pages upon pages upon pages. If your antagonist is absolutely unstoppable--everything the MCs can throw at them only slows them down, and they keep coming--then you can create a very engaging horror atmosphere of stress. However, then the pace is going to be more middling--it's not as ruthless or sharp or quick like it is when both parties are trying to win as quickly as possible because losing could mean death. This is a character who knows they are not going down any time soon. They aren't in a rush. They're persistent, but they don't need to hurry. Think The Terminator or Predator.

High tension also leads to more intense pacing. We'll touch more on tension later.

Don't Write It Like a Movie Because It Isn't (and it never will be if you write like that)

This is coming from someone who was a master at making fight scenes immensely boring. I'm a black belt, and for years and years I wanted to channel my lessons into my fiction. And there is a way to do it, but it is not with blow-by-blow narrative. If your characters are wailing on each other with swords, most attacks and defenses in that fight are going to be very routine.

I'm going to try to give you a solid understanding of what to skip or summarize and what to dramatize. This will likely not be exhaustive.

First thing you want to keep: shifts to the status quo. If something changes in the dynamics of the fight--someone gets or loses an advantage, new challenges arise, someone's (especially your perspective character) injured, scenery shifts--then definitely include that. Otherwise the resolution is going to come out of nowhere.

It's also good to include anything that increases tension--AKA your reader's and character's stakes in the fight, or how close they are to losing. Monotony does not help this--again, blow-by-blow is useless.

See this example of a blow-by-blow:

I lunged for his thigh. He blocked with a clang that shook through my arm. He swiped for my knees and I dodged. He moved for my neck; I parried; he tried again and I parried. I advanced with a lunge; he retreated but pushed me back with a slash the next minute.

Imagine that continuing for several more paragraphs, as opposed to:

Sweat poured down my neck, into my eyes as my sword weighed heavy in my hand, each block shuddering through me. I panted, struggling to see, struggling not to block out from lack of oxygen because every parry, every lunge, every attack just wore me down further. If something didn't change soon I wouldn't be able to go on. I was losing. More blows rained; I held my ground. But none of that would make a difference if the exhaustion thickening in my veins did me in before it did him.

The latter doesn't bog itself down in minutiae; what matters is how the character is faring in the fight, how close they are to losing. Obviously this would be interspersed with described action, but just for the back and forth, focus on how the exhaustion is getting to your character. How the pain is affecting them. Establish what's at stake if they lose and focus on status-quo changes.

There is a way to utilize monotony well, but it's through an emotional lens. If your character is disillusioned with violence, has done this a thousand times and is just tired, then blow-by-blow within reason communicates that numbness really well. There's no emotion behind their side of the fight; they don't feel the stakes. This is how it's always been, what they can't escape. But still, use it sparingly. It gets boring fast.

Also, don't use technical names for any fighting moves. They do not translate to most readers and between martial arts. Use words everyone is going to understand, and if you can't find ones sharp or quick enough, pick the closest you can that maintains pacing and settle for your readers not perfectly understanding everything that happens precisely as it does in the scene.

Keeping It Interesting

Here's where we enter the arena I am really actually scared of. This is also the part I cannot find any advice for anywhere on the internet: in a prolonged fight scene, how do you keep it engaging?

Let's take this piece by piece.

Mix It Up

Constantly switch up the dynamics of the fight. What weapons are they fighting with? Wound them, take away advantages. Change up the setting if you can. Add advantages and then take them away. Change up how they're fighting, on what terrain. Let your characters get clever. Engage your inner tactician. Do not let something go on too long without something changing up the dynamic. That being said:

Advantages Should Be Temporary Until Asses Are Thoroughly Whooped

This is where we get into tension. If your protagonists are winning, it's boring. Occasional victories are great, especially if they give your character a moment of hope that is immediately squashed by the antagonist having already thought of that, or having a plan to counter it, or what have you. Any victory while the fight is still going should be brief. Hope should be wrested away from them repeatedly. Brilliant ideas in the heat of the moment should fall apart. The longer the fight goes, the more disappointments, the thinner hope becomes.

If you need to, you can give them a more dramatic victory, but if the fight continues after that then you are going to end up in the fun situation of coming up with a reason why the antagonist is still winning even when they just got their ass handed to them. From experience, that is not an easy position to be in. It's hard to climb out of that hole.

I am serious. I don't care how epic and accomplished and cool your MCs are, if they're winning it's boring. You need tension. You need the stakes to stay high. You need there to be a real and imminent threat they could lose, with whatever consequences come attached. Otherwise your reader is going to find it monotonous and not care. If it doesn't feel like your protagonists are about to lose, then you're not going to keep your audience.

Cause Many Problems On Purpose and Hope Your Characters Are Smart Enough to Escape

Here's a fun fact: it generally doesn't read as a deus ex machina if it screws over your main characters.

I'm serious. You can introduce things you barely set up, if you set it up at all, into a fight scene as long as it makes things worse. If your characters happen to repurpose a grave inconvenience as something they can use, then that shows ingenuity and quick thinking.

Constantly throw up barriers to victory. You can't get too generous with evil deus ex machina or it will start to feel trite, but you can definitely throw in a few depending on length. Turn the heat higher steadily; every time they escape one issue, throw another one at them.

This does however mean your himbos are probably going to need countered by someone with brains. Dumb is not a great combination with "ends up in progressively shittier situations and has to climb back out."

And for the love of fuck, this is your chance to make your smart characters look smart. Actually show them resolving problems it doesn't look like your characters are going to get out of. Craft a scene where the protagonist is still able to be cool but they do it in collaboration with the smart one--not by telling the smart one what to do, but by coming up with a solution together, or reading some clever way the smart one is communicating their plan to them and enacting it. They can edit it as they go if the smart one doesn't do well under pressure. I am tired of reading books telling me how super smart someone is and then they do absolutely nothing about the conflict.

If You've Got a Good Plot Twist Sic 'Em

Here is what I mean by "good" plot twist: it contributes to the themes of the piece, it had actual evidence for it planted previously and does not break any established rules of your universe, and it (generally) makes things worse. Plot twists have twice the impact if they're screwing you over than if they're making it better, but if you can write a protagonist or side character pulling out a brilliant plan they carefully enacted behind the scenes to save them, by all means.

Of course, developmental edits are always an option. If you're writing the fight and you get an excellent plot twist idea in the middle, you can write it then and double back to edit in the evidence. If you're writing fanfiction chapter by chapter and uploading it, you're gonna have a harder time, but fanfic readers are generally more forgiving. Still, this is why I write each installment in completion before uploading (although I still write series, so invariably I get to some intallment down the road that fucks up what's been uploaded and I still have to edit things, but that's the reality of fanfiction).

You will hear from every angle that you need to outline. Outlining would save you a lot of grief. I am not going to shove Outline Gospel down your throat because I have an irrational, consumptive hatred for outlining; everything I've ever outlined made me so viscerally angry I abandoned it and couldn't go back without reawakening that ire. You won't hear me condemn you if you're a discovery writer. It does make your life harder, I'll grant you.

How to write a good plot twist is trickier. You either want four or five little clues, subtle cues, or one or two bigger ones, I'd average, but mastering that balance is hard. I still don't know where I fall on that continuum. I've gotten some awesome feedback on my plot twists from people surprised but cussing because it feels obvious in hindsight...more or less, but it's not easy and readers for original fiction generally read closer. It's hard. Best you can do is a little bit of research, a lot of developmental editing, run it by a beta (or several, if you're publishing for money you need several), and pray. As long as you have something there better than a very minor throwaway line three books ago, the worst you'll probably have to deal with is people guessing your plot twist ahead of time. If you paid any attention to The Owl House fandom, you'd know: audiences don't care. They'd rather the plot twist be predictable and earned than for you to chicken out of it partway through and throw in something completely random or leave obvious plot threads dangling without explanation because you're trying to clumsily plant seeds for a whole new plot twist they haven't guessed yet. (Looking at you, Marvel...and Game of Thrones...and basically every other media property, fucking hell.)

There you have it. Here's hoping this was useful to you and gave you something new to work with than what you had before. If not, I gave it my best shot. I'll work on it and get it right eventually.

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strangerpages · 11 months

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DARK//MIRROR: Wizard's Anonymous

Ok. Confession time.

Yes, I want to be wise.

Yes, I want to possess strange abilities.

...Also yes, I want to be perceived as a Wizard because Wizards are glamorous.

Avoiding pretension is important to me, but if that's really the *only* thing I wanted I wouldn't have a pretentious blog, and be angling to call myself a Wizard some day.

I'm vain; so sue me. (Please don't sue me. I know less about law then I do about magic, and I know F* all about magic. 🥺)

Therapy is expensive, so chat GPT will have to do.

What are some psychological reasons why someone might want to be perceived as a Wizard?

There are several psychological reasons why someone might desire to be perceived as a wizard. It's important to note that these reasons can vary from person to person, and individuals may have unique motivations. Here are some possible psychological explanations:

1. Sense of power and control: Being perceived as a wizard can provide a sense of power and control over others. Wizards are often associated with magical abilities and wisdom, which can make them appear influential and commanding. This desire for power and control may stem from a person's need to compensate for feelings of powerlessness or lack of control in their everyday life.

Ooh. Ouch. Am I feeling powerless? Could be. Raising a kid is humbling. There's no career path, there's no fat paycheck to tell you you did good. Just doing your best every day, never really knowing if your best is good enough.

2. Escapism and fantasy: Wanting to be perceived as a wizard may reflect a desire to escape from reality and immerse oneself in a world of fantasy. The role of a wizard allows for the exploration of magical realms and supernatural abilities, providing a break from the mundane aspects of life. Engaging in such fantasy can be an outlet for creativity, imagination, and a temporary escape from life's challenges.

Daydream believer, Check. Fantasy has always been my playground, and my dark forest. I'll try to focus on doing creative things as an outlet , so my ego doesn't become the creative project. That sounds smart, let's go with that.

3. Symbol of intelligence and wisdom: Wizards are often portrayed as wise and knowledgeable figures. Desiring to be seen as a wizard may stem from a person's wish to be perceived as intelligent, wise, and possessing deep understanding. By embodying the image of a wizard, individuals may seek to gain respect and admiration from others, particularly in intellectual or academic circles.

Ouch, again. Yeah, this makes sense. I definitely feel like I missed my chance at academia, even if I'm attracted to it only for dubious reasons. I'm not an academic, but if I'm strange and diligent enough maybe I can feel some of that academic pride, and possibly woo some sort of academic respect. That would be nice, but I probably shouldn't chase that pearl.

4. Desire for uniqueness and distinction: Wizards are distinct characters associated with a sense of mystique and uniqueness. Wanting to be seen as a wizard can be a manifestation of a person's desire to stand out from the crowd and be recognized as special. It may serve as a means of establishing a distinct identity and garnering attention or admiration from others.

Hehe yeah... I think I could pull off the look, and turn some heads; that has power in and of itself.

5. Symbolic meaning and personal significance: For some individuals, the concept of a wizard holds personal and symbolic meaning. It may represent personal aspirations, ideals, or qualities they value. Identifying with the wizard archetype can provide a sense of purpose, direction, or a connection to something greater than oneself.

Ah, here's the part where I get to be sincere in my enthusiasm. My own personal mysticism is developing, and it feels like nothing else. This is the real sh**t, and I feel it. I have Work to do.

6. Social validation and acceptance: Being perceived as a wizard can potentially lead to social validation and acceptance, especially among like-minded individuals or communities. It may serve as a way to gain recognition, social status, and a sense of belonging within certain subcultures, fandoms, or communities centered around fantasy, magic, or esoteric interests.

Yeah, this part is nice. Everyone needs friends who appreciate what it is you think you're doing with your life.

It's worth mentioning that while desiring to be seen as a wizard can have psychological motivations, it's important to distinguish between healthy personal interests and obsessions that might negatively impact one's well-being or relationships. As with any identification with a particular role or image, it's essential to maintain a balanced perspective and engage in self-reflection.

I agree! 👍

Same time next week? Good talk.

All posted images made with Midjourney v5.1

#occult #therapy #chatgpt #ai art #magick #psychology #artificial intelligence #wizard #wizard posting

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roberthunter62 · 2 years

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Per fer-te una idea by Renaldo and Clara

From anima to idea. What goes on inside the brain? What is a soul, what is an idea? Here’s a thought: does idea have something to do with id? Something that is born inside you? Are ideas original? How did I come up with the idea to do this 173-day selection of pieces of music. I don’t remember. I remember having the idea of writing one long e-mail to a different person every day and collecting their responses. I might still do that (as well as keeping statistical records of how long it takes them to respond and how they respond). When Angels’ mother died, we decided to do a ‘memorial day’ (the funerals here always take place within 48 hours, which is no time to organise anything). As part of the open house day, I asked people to tell anecdotes about her (not character references, just stories of things that happened) and I would type them out and pin them to the wall. That was a great idea, it was a lovely day, despite the fact that she had died, we remembered the good things, the funny stories, or the everyday mundane parts of life.

I want to make a list of ‘Little Robbie’s Big Ideas’, things I will never do as it would require far too much effort and dedication, it’s enough for them to remain ill-formed ideas. These will include:

- Dr. Hunter’s four-phase analysis of human life and matrimonial relationships

- A franchised chain of authentic Spanish restaurants with wines to match

- A hotel called The Museum of Sleeping in which each room will be a different sleeping experience from history (a cave, a smoky communal roundhouse, a ship-borne hammock, the first sprung mattress, a futon) etc.

Being human is great because of the power of imagination. You don’t have to put anything into practice, you can watch films with unrealistic premises, plotlines or scientific bases and you can enjoy them just the same. Imagination is much better than reality in most cases.

Reinaldo & Clara, I have no idea who they are really, but there is something about any group who sings in a recognisable local accent rather than pretending to be all-American or deeply Andalusian gypsy. It’s one of the enjoyable aspects of Arctic Monkeys or Antonia Font. So I give you: Lleida! Also the phrase “te me n’estàs anant de les mans” is a lovely grammatical construct, not something I say often about pop songs.

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soobnny · 2 years

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three questions (he wished were never answered) — sim jaeyun. spider-man au. best friends to lovers. fluff and angst.

synposis. jake has always been grateful for a lot of things: his grandparents, the opportunity that he has as Spider-man, and so much more he hasn’t fully figured out yet, but he was beginning to or in which three questions are asked and answered (4.2k words)

warnings. major character death

notes. this is my entry for the power of love collab event! the theme is superpowers and i just had to go for spider-jake hehe please enjoy ^_^ also the questions are taken from lang leav(?)’s poem im not a super big fan but i kind of got inspiration for the flow of the fic from the poem

What was it like to love them? Asked Gratitude.

You’re not sure what time of the afternoon it is when you stumble around the side of a hidden building, just a little dizzy – at least, just the right amount of dizzy to still recognize the familiar face that’s grinning in front of you right now.

“You okay?”

The question usually laced with concern is said in complete and genuine laughter as Jake gauges your reaction. 15 minutes ago, he had managed to convince you to join him in a swinging-around-Seoul-City escapade, and you (who didn’t know any better), agreed to your best friend’s proposal.

Of course, only now that you’re back on the ground did you know that you probably should not have agreed to him. But how can one say “no” when it comes to Jake Sim? Your best friend and the boy who has looked out for you since you were kids.

Jake Sim was the person who continuously taught you and showed you that there is love in the most mundane, everyday things that no one really thinks about – whether that’s him carrying your backpack for you, or in the shared quiet moments of walking home together, in the small talks and worrying about your future, in comforting each other over the pressures of school, in asking if you’ve eaten already, or why you can’t sleep. There is love in Jake Sim.

“Hello? Earth to _____?”

“Uh, yeah, yeah I’m okay. Sorry.” You grin sheepishly with your untamed hair and short breaths. “It’s just never…. never doing that again, I’m never doing that again.”

“Okay, good.” Jake had managed to let out amidst his little giggles, keeping a hand on the small of your back in case you were still feeling a little dizzy. “Well, grandpa bought pizza and I think grandma’s in the apartment too. Do you uh, maybe wanna come over?”

“Okay, yeah, sure. Let’s just, maybe walk? And maybe you should uh, get changed out of that.” A quiet chuckle escapes your lips, patting your hair down but coming out empty-handed as it refuses to tame.

Jake tries his turn at gently trying to smoothen your hair, but with a swift gesture of his hand, he ruffles it to mess with you even more which earns him a slap in the hand and a turn of your head when he tries to kiss you on the cheek in apology.

After successfully changing and hiding his suit, the pair of you trekked towards his apartment, stomachs rumbling, pizza in mind. It was a silent walk, noise reserved for the passersby or the cars on the street, and maybe Jake’s working mind - maybe it had something to do with how close you two were walking beside each other. Similarly, Jake thought that there was love in watching ou fondly over from a distance. But sometimes, he wonders what love would be like if it had a chance to step out of the shadows.

Biting his lip, he takes quick glances at your hand, looking straight ahead from time to time as a front before looking back at your brushing hands.

Contrary to popular belief, Jake wasn’t as forward as people put him out to be. While some would think he’s quick to a decision, a million different knobs have to turn through his head before actually being able to do something.

And choosing to bite the bullet, he shyly takes your hand in his, looking back to see if you were okay with that, and you didn’t seem too fazed with the idea (aside from the creeping blush threatening to spill on your cheeks). Then again you did go full-on swinging around Seoul, so holding hands was basically nothing compared to that.

Well, nothing for anyone else.

But you and Jake weren’t like anyone else. The two of you have been yearning from a safe distance - and he thinks he’s never seen anything quite like you. His nights are reserved for catching glimpses of you in his mind. Endless hours thinking of every flitting moment with you, every smile, every gentle glance, every soft look.

“Oh my god.” Jake chuckles next to you upon seeing his grandparents dancing to a record playing. You made no remark, eyes glued towards his grandparents who had the brightest smiles on their faces. You didn’t need to look at your reflection to realize you had a small smile playing on your lips. (You didn’t notice how Jake was grinning softly at the sight of your smile, finding happiness in your own smile).

It was something so beautiful to you, the concept of still being so in love even after time had taken so much from the two of you. And unbeknownst to you, Jake thought the same thing. Jake thinks there’s something so beautiful about being in love in general. Not that he has thought about it a lot, but ever since the pair of you turned sixteen, he couldn’t help but start pondering on the word and its meaning - especially when suddenly, he could no longer describe the way you made him feel. A strange yet comfortable uneasiness overwhelmed him every time you were closer than usual, and he thinks it’s funny how he wants to feel it more and more every day.

He didn’t realize he was in love with you at first.

Sure, the thought of you filled Jake with a warmth he’d never been introduced to, but he didn’t think it was love. And somehow, everyone knew except for the pair of you.

His grandparents knew from the way Jake seemed to always visibly relax on you walk into their apartment. Sunghoon knew every time he caught Jake sharing a soft smile towards you from across the crowd everytime he had a competition. Jay knew when he noticed Jake wearing green shirts more because it was your favorite color.

It started from the silent gestures that made it obvious for someone like Jake, because he was usually on his guard for the rest of the world, but with you, the armor just seemed to fall. You were his achilles heel.

The day he realized it was just another ordinary day - he was poking fun at Jay and Sunghoon when he heard you laugh. The same laughter he seeks, and he’s staring at you and he’s thinking – ‘you are as beautiful as the day I met you’.

And suddenly, an overwhelming sensation washes through him and he almost wants to vomit, but he holds in it to buy him some time to bid you farewell as you exit his club room, and it was only when he felt a sharp pain sting through his heart once you left the four restraints of the room that it finally dawned on him; he was in love.

And he’d do whatever it takes, whatever is necessary, to deserve you.

“You should join us!” His grandma urged, a knowing look on her face which successfully snapped him out of his thoughts. Jake’s grandparents were very well aware of his feelings for you, and they’ve tried to take every opportunity they got into setting their grandson up with the person he was very much in love with.

“Us? Me and Jake?” You shook your head and crossed your arms over your chest, quick to shoot her down with a soft smile. “Oh well, I don’t dance–”

“Everyone knows how to dance, come on Jake, show her!” His grandma insisted.

And just as quick as you were to shoot down the invitation, Jake was grabbing your hand and pulling you all the way into the living room. You’re pulling yourself back, and he’s laughing so hard at how you were trying to avoid dancing in front of his grandparents. It was especially more amusing when you retreated almost immediately as soon as his grandparents themselves went over to position your hands on Jake’s shoulders.

“That’s it!” His grandpa was smiling so wide that you couldn’t bring yourself to deny them the sight of his grandson dancing with someone any further. If you had, his grandma had planned on pulling out the “we’re old and almost dying” card.

There was laughter in his voice when you awkwardly just stood there, arms sliding down his arms before he told you to put them back where his grandma had placed them on. “That’s right, on his shoulders.” Jake’s grandmother smiles as she watches you place your arms back on his shoulders – she cannot fathom how you and her grandson aren’t together.

“______, darling, I’m gonna need you to explain something to me.” His grandma starts, still in the middle of the living room. You nod, smiling at them politely and encouraging her to continue speaking. “How come you and Jake aren’t together yet? I just, I don’t understand.”

Her comment leaves you in a coughing fit, voice cracking a little as your eyes widen. “I’m sorry, I don’t think I… It’s - me and Jake are, you know, best friends.”

“No, see that’s what he would tell me whenever I asked him too. Alright, get back to dancing kids, but when you two start dating, don’t say I didn’t tell you so.” She smiles mischeviously at the two of you before turning the record’s volume up.

You and Jake try to ignore the obvious tension building – and it’s successful when he playfully scolds you for just swaying side to side. You reply almost defensively, eyes trained on your feet with your hands awkwardly resting on his shoulders.

“God, you have so much to learn. You really aren’t a dancer, huh?” Jake chuckles before taking your chin with his thumb and index finger, lifting it gently so you were looking at him, immediately falling silent upon meeting your eyes. The counting of steps he was doing earlier was completely forgotten.

And he might’ve gotten distracted from the way you were looking at him because he most definitely stepped on your foot. “Looks like I’m not the one with little coordination.” You grin truimphantly, sticking your tongue out at him.

“I stepped on your foot one time! Compared to the gazillion times you stepped on mine, I’m pretty sure it’s all bruised and sore now.” He joked back at you.

“Really?” You asked, eyebrows shooting up with a playful smirk on your lips. “Let me step on it again and see for myself.”

“No, no! Come on, I’m trying to teach you to dance.” And Jake knew you didn’t like dancing, and his heart warmed at the thought that you’re dancing right now because he asked you to (his grandpa practically forced you, but Jake’s brushing that over).

“Alright, let me try again.” You adjusted yourself, jumping up and down and shaking your hands before resting them back on his shoulders. He seemed to be lost in thought so you reached out to grab his hands and put them around your waist. “Come on, idiot.”

“Okay.” Jake let out a quiet whisper, gulping out loud. He always knew he liked you, but at this moment, he was starting to think it was something more, and that thought scared him, not because he was scared of loving you, but because he was scared of losing you.

Time feels so fast.

Jake continued to try to joke so he could quiet down his head.

Jake has always been grateful for a lot of things: his grandparents, the opportunity that he has as Spider-man, and so much more he hasn’t fully figured out yet, but he was beginning to, starting with the clumsy person in front of him who kept stepping on his foot.

It was like being exhumed. And brought to life in a flash of brilliance.

What was it like to be loved in return? Asked Joy.

Jake didn’t have much luck in the field of love. There was always this voice nagging at the back of his head from the “bad romantic side” of his head that he knew all too well.

When Kyeong said ‘yes’ to his invitation for Homecoming, he thought that was it. He thought she’d be all he’ll ever know, but then Vulture happened, and Kyeong had to leave.

It was a difficult time for Jake, ditching Kyeong during Homecoming and basically fighting off her dad, and it took him a long time to get over Kyeong moving. He put so much blame on himself, and he thought he was never going to be able to leave that negative headspace.

Until you happened.

It was during the first months of you two finally indulging in a relationship that Jake entertained the idea of you possibly feeling the same way as him. He had a small inkling when you danced together in his grandparents’ living room, but he brushed over the idea because he was afraid of losing you. Sure, he felt really shitty when his first relationship didn’t go well, but the thought of losing you (his best friend and his entire world) brought upon a different type of pain Jake never wanted to experience.

Still, the little things you did always made his heart rile up. From the way you smile to the way you curl your lips when you concentrate enough - it always made his stomach flip and he thinks you’re the most beautiful person he has ever seen. He didn’t want to waste the opportunity of being with the person he loved, so after a long debate with himself, he asked you out.

Jake reasoned he shouldn’t be thinking about the inevitable pain, because if life continued to be kind to him, maybe it wouldn’t have to reach that point. Besides, he was starting to get used to the way your hand felt in his. And he likes the way he could be himself around you, and how you always seemed to know what was going on inside of his head.

So, for once, he ignores the “bad romantic” side of his brain and indulges in romance with you because Jake is truly, madly, deeply in love with you. And he’s sure he will still be years from now. Not that that’s something he would tell you.

It would always just pass over, and he was never brave enough to utter those three words, afraid that it was all too soon and definitely afraid that he’d scare you off. You were never one for PDA, usually reserved and happy with the little circle of friends and family you had, and Jake didn’t wanna mess anything up.

That was until that one fateful Sunday night. Jake had taken you to the rooftop of an apartment for your first year anniversary (the view there’s amazing, he claimed. Perks of being Spider-man, you thought.)

He tried to plan it all out, really tried to make everything perfect for you, but right when he was about to get the food he had ordered, a bank robbery had ensued, and so takeout was long forgotten and he ended up just buying pizza after a very long night of crime fighting.

However, Jake still made time for you. He always made time for you (despite time constantly chasing the two of you).

“Did you know that the moon is actually lemon-shaped?” You spoke as you chewed on your 3rd slice of pizza.

“Really?”

“Yeah, despite how round it looks, it’s actually lemon-shaped. It has flattened poles and bulges on both the near and far side around its equator, hence the lemon shape.”

Jake munched down on his slice, smiling at your cross-legged figure as you looked out towards the moon, trying to point it out to Jake.

“Come on, tell me something.” You urged him, trying to get out some hidden facts he knew about that you didn’t. Jake was smart, and in the time of that you knew him, he always had something different to say wherever you went.

By now, you’re convinced you’re about to outrank Einstein from the way Jake told you so much about the world you didn’t know before.

“Uh hold on, let me think…. how about how Neptune has only completed one orbit around the sun since its discovery?”

“Hm?” You urged him to continue.

“It takes a whole 165 years for Neptune to complete one full orbit around the sun right? And since it was discovered in 1846, I’m pretty sure, it’s technically only completed one full orbit. And what’s even crazier is how Pluto probably hasn’t even completed one yet.”

He was blabbering about Neptune and Pluto and the number of days it took to complete an orbit, and then about how Pluto’s technically no longer a planet, and once he finished, you had just naturally fallen silent.

Time always seemed to move slower whenever Jake was talking - especially something he was so fond of, it was almost overwhelming the beauty that rises from him.

When you continue to stay silent, Jake immediately starts growing a bit more worried, had he been too talkative? Had he taken too much pizza? Did you want more? But that dissipated the moment he saw the way you were looking at him. It was the same look he always gave you.

“I love you, Jake.”

It was a whole new experience hearing you say it first. He hadn’t felt this whole in a long time, and Jake knew you were always unsure when it came to feelings and being close to people, so hearing those words come from you awakened a whole different part of him, a dangerous spark that made him so excited.

Unbeknownst to him, you had actually known for quite some time that Jake loved you, and you weren’t fully prepared to relay those words back at him for the first few months of their relationship. But hearing him talk about the things you both loved with so much passion, seeing him look at you with adoration, knowing he’d do anything to make you happy, made you realize just how much Jake truly meant to you.

“I really, really do, and it scares me because I don’t want to lose you.”

Hearing you share the same sentiments he thought of that one day you were dancing together was so special to him, to know that you returned his feelings, it was a different kind of happiness, one he wanted to know and have for the rest of his life - with you.

“I love you too, so so much _____.”

And it’s in this moment that Jake understands what it truly means to be in love with someone so deeply. Every moment that he makes with you in his arms makes him feel as if he has never truly been alive before this moment.

It was like being seen after perpetual darkness. To be heard after a lifetime of silence.

What was it like to lose them? Asked Sorrow.

Jake knew he’d be putting you at risk by being with you, especially with him being Spider-man, but he took extra precautions and measures to keep you safe.

He’d always double-check your building during his usual patrolling, and he’d always make sure that you would never be in harm’s reach. Jake was fairly prepared when it came to protecting you, at least that’s what he thought.

Nothing could ever prepare Jake for what he saw next.

It all happened in a flash. Getting as many people out, the building crashing down, the rubbles, and that one scream, a voice Jake could distinguish anywhere, the voice that usually gave him comfort but was currently the reason why his heart was plummeting down to his gut.

The decision between going after the villain he’d been tailing for months now and digging through the piles of rubble was the easiest he’s made his entire life.

You weren’t supposed to be there, you were supposed to be in the safety of your own home, how’d you get there?

His desperation is seeping through him - he didn’t want to lose you.

The running towards the collapsed building came in a slow, untimely motion. All Jake could hear was the beat of his own heart, your name escaping his lips in frantic screams. All rational thinking flew out of his head as he dug aimlessly through the debris. He kept digging and digging, distant sirens echoing in the background but still, all he could hear was the pounding of his heart.

His hands were bleeding, he was badly beaten up, but he kept digging. Whimpering your name whilst trying to grasp for air as tears kept escaping his eyes.

“______!” The scream that left his mouth was the most heart-wrenching thing anyone has ever heard. Jake’s growing more and more frustrated, tears clouding his vision as he pushed through the debris.

His head snapped in the direction of the quietest whimper, coming out as a helpless call. Tearing his mask off, he whipped his head around to try and hear better, trying to grasp onto the hope he was refusing to let go.

“_______!” He scrambled towards the faintest cry he heard, pushing away the rubble and the concrete that was holding you down.

That was when reality dawned on him, this could be it. It only pushed him to move quicker, to remove the concrete faster. He didn’t care that his body yelled out in desperate exhaustion, that wasn’t a choice.

Just the slightest sight of you and Jake comes to a full realization of the severity of the situation. The tears continued to spill down his bloodied face, picking you up as if you would break at any moment. And it scared him knowing that it could possibly be true. You really could break, your future could be taken away from you in these minutes, and he could really lose you right here right now.

“_______…” Jake’s voice was weak, limping towards any space his tired and frantic brain considered safe, dropping down to check on you even more.

There were bruises everywhere, and there was too much blood.

Jake shook his head, caressing your face and looking around for any sign of an ambulance, but there wasn’t any. The thumping of his heart grows louder when your hand finds the material of Jake’s suit in the weakest grip.

“I don’t want to lose you, please don’t go. You’re all I’ve ever known, you’re the only thing that makes sense to me, please I can’t lose you.” Jake was pleading, begging for something you couldn’t give him.

“You’re gonna be okay, none of this is your fault.” your voice was barely a choke, just loud enough to be heard, trying to move your hand to hold onto Jake’s face, a melancholic smile plastered on your own, barely noticeable but it was still there.

“We’re gonna have more time, just hold on, I’m sure the ambulance is coming, just hold on please, so stop it, stop saying those things like you’re going to die, you’re not, you can’t.”

You just smiled at him, a weak wistful smile, hand falling down to grip his hand. Your fingers tightened around his one last time, words that no longer could be said filled the silence of your thoughts. Life was supposedly going to flash before your eyes before your untimely death, but all you could think about was what your future could’ve been together.

“_______... just hang on. It’s okay, you’re okay. I don’t wanna lose anyone anymore, especially not you, God please, not her.” Jake was trying to stop the bleeding, looking at you with so much desperation in his eyes, a silent prayer to a God he didn’t even know was real or not.

“I love you, Jake.”

He turns to look at the sky, pleading. And then there was silence, and Jake knew, Jake knew but he refused to believe.

When you’re in love with someone, you spend days wondering why time won’t stop. You wonder why seasons pass by so quickly, and how one day you two are dancing together in his living room, and the next you’re celebrating an anniversary together.

But when love is taken away from you, time seems to stop. Every second feels like forever, and you no longer clip onto a hope that you will still be able to hold your lover the way you used to be able to. It will only just be you. It’s no longer you and someone else - just you. The realization hits Jake harder than it should’ve and he cries over the love he was most afraid to lose.

All anyone could see was a stranger screaming a name, holding onto the lifeless body of the person he dreamt of building a future with. Two teenagers who could’ve been so much more if they had more time. A final “I love you”. A final silent goodbye.

It was like hearing every goodbye ever said to me – said all at once.

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classpect-crew · 3 years

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Hope and Rage: Narrative Engagement

I've talked quite a bit about Hope and Rage on this blog in the past, but I've stumbled upon something recently that I think puts a different spin on these two Aspects. I think it's quite fortunate we have a few different Classes to look at with regards to both Aspects, so I'll dive in with a quick summary of what I mean to get us started.

Hope and Rage are the Aspect pair that deals with emotions, belief, and one's range of options. However, they also represent something a bit more abstract: one's willingness to engage with a narrative. Now, this is something that applies if we're going with the interpretation that each Aspect also represents a concept in storytelling. (This is explained very well by both optimisticDuelist and Tex Talks on YouTube, both of whom you should absolutely check out if you haven't already.) What does this really mean, though? I argue that Hope represents getting sucked into a narrative and willingly embracing it, while Rage represents rejecting that narrative and actively mocking it. Hope is eulogy: Rage is satire.

In the comic, we see this most clearly in Jake, whose role as a Page of Hope pretty much dictates a strong relationship with his Aspect. He is theatrical and presents himself as someone who loves zany adventures and getting into scrums. When he speaks, he's like the unholy cross between an action film protagonist and a wealthy, antiquated gentleman. Later on in the story, we see counters to this narrative of who he is and what he truly enjoys. Jake seems to chew the scenery every time we see him, to the point of annoyance by others, and he seems to believe the spotlight is always focused on him. It's not necessarily out of pride, either, but rather his solitary lifestyle that gives him a sort of "protagonist complex," so to speak. All of this fits into what I've been describing: Jake is entrenched in his own narrative identity, built up from all the media he's consumed, and he embraces it as a way to escape from his current reality.

Heroes of Hope are empowered with the ability to affect their reality based on their own strong-held beliefs. It's the ultimate confidence in one's own abilities, taken to a ridiculous extreme. One of the most important themes of Homestuck is that each character is creating their own reality: Hope players do so in a very literal way. The stories they relate to and begin to live through start to impress themselves upon reality, and the players embrace it further. As long as their belief remains firm, this cycle continues.

We do see the very same theatrics and flamboyance in Eridan, who plays into his fantasies about killing the landdwellers. He engages with this aspect of Hope, just like Jake does. Yet, as the Prince of Hope, he also quite literally destroys the narrative set out for him when he begins his genocide of the angels on his planet. He later comes into conflict with the optimistic narrative of the other trolls, believing that their one way forward is to join Jack Noir. He then destroys the Matriorb in an attempt to tear apart the possibility of that story becoming reality. (Granted, he fails, because Life, uh, finds a way.) We also see the same traits in Cronus, though he has even stronger ties to Hope at the beginning of his own story. For much of his life, he fully believed in his own legacy, basically being Troll Harry Potter. Although he was convinced at some point to completely give up these beliefs, this was a big part of the narrative he wholeheartedly accepted. He now carries the perspective that he's "humankin," even dressing the part, and this new narrative has become what he engages with.

Now, Rage is a bit tougher to explain directly, since we don't have any Heroes of Rage who aren't a Destroyer Class, but we can still speculate based on what we know from the comic. Rage, broadly, is an Aspect that is drawn on when a character shows utter contempt for a narrative that's playing out. We see this extremely clearly when Caliborn is quite literally smashing around the terminal through which Hussie is speaking to him to explain his Quest, or his general frustrations at the idea that he must undertake a Hero's Journey, wishing to simply skip ahead to the point where he can fulfill his desire for power. We also see this during John's exploration of Homosuck, when Caliborn's unbelievably shitty storytelling and art skills lead John to express outright disgust and anger by the end.

When we look at a character like Gamzee, however, his relationship to this is a bit different. At the beginning of his story, he fully believes in the power of miracles and rejects other explanations for how everyday, mundane things happen, such as the fizz in sodas. He's absolutely indulging in a narrative as he allows the Rage in himself to melt away. As soon as the bubble bursts and Murderstuck begins, though, he stands once again on the razor's edge of his Aspect, but on the other side this time. He fully embraces his legacy of the mirthful messiahs being him (and also him) in a self-deifying way that seems to be toying with the protagonist complex of Hope, while also blaspheming his own religion in a way that echoes Rage. Gamzee begins to go off and do his own weird, bloody things. (Side note: the idea that Gamzee erupted into a fit of fury (Rage) when Dave showed him the ICP video where his religion (Hope) was being mocked (Rage) and seemed ready to start a one-man crusade (Hope) shows further how interlocked these opposites are in our resident Bard.)

I'll speak briefly on Kurloz, because I've got to keep things even, but dear lord, this is becoming quite long. Kurloz is obviously extremely faithful to the religion of his bloodline, even moreso than Gamzee at times, which leads to a humorous scene in one walkaround when Kurloz is attempting to show extreme reverence and speak in prose with Gamzee, who gets quickly fed up and cuts him off, all business. His dedication to Lord English is obvious, and he often seems to showcase more traits associated with Hope than Rage. Of course, this is intended in his role as a Prince, though his destruction of Hope is clearly seen in his ability to convince Cronus to give up his belief in his destiny to destroy Lord English.

To make a long story longer, Hope and Rage represent how one engages with their own story and the expectations placed on them by their role. Hope players embrace these wholeheartedly and seek to impress them onto reality, which rushes to meet them as their powers develop. Rage players reject and mock the reality that would box them in, laughing in the face of such audacity, and go off to do their own thing. It's a complete inverse from the Aspects' method of problem-solving, where Hope players tend toward open-mindedness and the ever-present Plan B, and Rage players limit their perspective to break through whatever obstacles dare to challenge them. Hope is Romanticism. Rage is Dadaism.

#classpect #classpect analysis #homestuck meta #hope #rage #jake english #eridan ampora #cronus ampora #gamzee makara #kurloz makara #wow i spent like two hours on this i think? am i crazy?

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kcrabb88 · 3 years

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Queer Movies/Books/TV Shows for Pride Month!

Happy Pride everyone!! For your viewing/reading pleasure I have made a (non-exhaustive) list of queer media that I have enjoyed!

Movies/Documentaries

Pride (2014): An old tried and true favorite, which meets at the intersection of queer and workers’ rights. A group of queer activists support the 1985 miners’ strike in Wales (complete with a sing-through of Bread and Roses + Power in a Union)

Portrait of a Lady on Fire: On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman (or, two young lesbians fall in love by the sea, and you cry)

God’s Own Country: Young farmer Johnny Saxby numbs his daily frustrations with binge drinking and casual sex, until the arrival of a Romanian migrant worker for lambing season ignites an intense relationship that sets Johnny on a new path (Seriously this movie is GREAT and doesn’t get enough love, watch it! It’s rough but ends happily)

The Half of It: When smart but cash-strapped teen Ellie Chu agrees to write a love letter for a jock, she doesn't expect to become his friend - or fall for his crush (as in she falls for his crush who is another girl. This movie was so good, and really friendship focused!)

Saving Face: A Chinese-American lesbian and her traditionalist mother are reluctant to go public with secret loves that clash against cultural expectations (this is an oldie and a goodie, with a happy ending!)

Moonlight: A young African-American man grapples with his identity and sexuality while experiencing the everyday struggles of childhood, adolescence, and burgeoning adulthood (featuring gay men of color!)

Carol: An aspiring photographer develops an intimate relationship with an older woman in 1950s New York (everyone’s seen this I think, but I couldn’t not have it here)

Milk: The story of Harvey Milk and his struggles as an American gay activist who fought for gay rights and became California's first openly gay elected official (the speech at the end of this made me cry. Warning, of course, for death, if you don’t know about Harvey Milk)

Pride (Hulu Documentary): A six-part documentary series chronicling the fight for LGBTQ civil rights in America (they go by decade from the 50s-2000s, and there is a lot of great trans inclusion in this)

Paris is Burning (Documentary): A 1990s documentary about the African American and Latinx ballroom scene. Available on Youtube!

A New York Christmas Wedding: As her Christmas Eve wedding draws near, Jennifer is visited by an angel and shown what could have been if she hadn't denied her true feelings for her childhood best friend (this movie is SO CUTE. It’s really only nominally a Christmas movie and easily watched anytime. Features an interracial sapphic couple!)

TV Shows

Love, Victor: Victor is a new student at Creekwood High School on his own journey of self-discovery, facing challenges at home, adjusting to a new city, and struggling with his sexual orientation (this is a spin-off of Love, Simon, and it’s very sweet and well done! Featuring a young gay man of color)

Sex Education: A teenage boy with a sex therapist mother teams up with a high school classmate to set up an underground sex therapy clinic at school (this has multiple queer characters, including a featured young Black gay man and also in season 2 there is a side ace character!)

Black Sails: I mean, do I even need to put a summary here? If you follow me you know that Black Sails is full of queer pirates, just queers everywhere.

Gentleman Jack: A dramatization of the life of LGBTQ+ trailblazer, voracious learner and cryptic diarist Anne Lister, who returns to Halifax, West Yorkshire in 1832, determined to transform the fate of her faded ancestral home Shibden Hall (Period drama lesbians!!! A title sequence that will make you gay just by watching!)

Tales of the City (2019): A middle-aged Mary Ann returns to San Francisco and reunites with the eccentric friends she left behind. "Tales of the City" focuses primarily on the people who live in a boardinghouse turned apartment complex owned by Anna Madrigal at 28 Barbary Lane, all of whom quickly become part of what Maupin coined a "logical family". It's no longer a secret that Mrs. Madrigal is transgender. Instead, she is haunted by something from her past that has long been too painful to share (this is based on a book series and it’s got lots of great inter-generational queer relationships!)

The Haunting of Bly Manor: After an au pair’s tragic death, Henry hires a young American nanny to care for his orphaned niece and nephew who reside at Bly Manor with the chef Owen, groundskeeper Jamie and housekeeper, Mrs. Grose (sweet, tender, wonderful lesbians. A bittersweet ending but this show is so so wonderful)

Sense8: A group of people around the world are suddenly linked mentally, and must find a way to survive being hunted by those who see them as a threat to the world's order (queers just EVERYWHERE in this show, of all kinds)

Books

Loveless by Alice Oseman: Georgia has never been in love, never kissed anyone, never even had a crush – but as a fanfic-obsessed romantic she’s sure she’ll find her person one day. This wise, warm and witty story of identity and self-acceptance sees Alice Oseman on towering form as Georgia and her friends discover that true love isn’t limited to romance (don’t be turned off by this title, it’s tongue-in-cheek. This is a book about an aroace college girl discovering herself and centers the importance and power of platonic relationships! I have it on my TBR and have heard great things)

Detransition, Baby by Torrey Peters: Reese almost had it all: a loving relationship with Amy, an apartment in New York City, a job she didn't hate. She had scraped together what previous generations of trans women could only dream of: a life of mundane, bourgeois comforts. The only thing missing was a child. But then her girlfriend, Amy, detransitioned and became Ames, and everything fell apart. Now Reese is caught in a self-destructive pattern: avoiding her loneliness by sleeping with married men.Ames isn't happy either. He thought detransitioning to live as a man would make life easier, but that decision cost him his relationship with Reese—and losing her meant losing his only family. Even though their romance is over, he longs to find a way back to her. When Ames's boss and lover, Katrina, reveals that she's pregnant with his baby—and that she's not sure whether she wants to keep it—Ames wonders if this is the chance he's been waiting for. Could the three of them form some kind of unconventional family—and raise the baby together?This provocative debut is about what happens at the emotional, messy, vulnerable corners of womanhood that platitudes and good intentions can't reach. Torrey Peters brilliantly and fearlessly navigates the most dangerous taboos around gender, sex, and relationships, gifting us a thrillingly original, witty, and deeply moving novel (again, don’t be thrown off by the title, it too, is tongue-in-cheek. This book was GREAT, and written by a trans women with a queer-and especially trans--audience in mind)

A Tip for the Hangman by Allison Epstein: A gay Christopher Marlowe, at Cambridge and trying to become England’s best new playwright, finds himself wrapped up in royal espionage schemes while also falling in love (this book is by a Twitter friend of mine, and it is a wonderful historical thriller with a gay man at the center).

Creatures of Will and Temper by Molly Tanzer: a very very queer remix of The Picture of Dorian Gray (which was already quite queer), featuring amazing female characters, a gay Basil, and a much happier ending than the original.

Red, White, and Royal Blue by Casey McQuiston: The gay prince of England and the bisexual, biracial first son of the president fall in love (think an AU of 2016 where a woman becomes president). Featuring a fantastic discovery of bisexuality, ruminations on grief, and just a truly astonishing book. One of my favorites!

One Last Stop by Casey McQuiston: For cynical twenty-three-year-old August, moving to New York City is supposed to prove her right: that things like magic and cinematic love stories don’t exist, and the only smart way to go through life is alone. She can’t imagine how waiting tables at a 24-hour pancake diner and moving in with too many weird roommates could possibly change that. And there’s certainly no chance of her subway commute being anything more than a daily trudge through boredom and electrical failures. But then, there’s this gorgeous girl on the train (This is Casey McQuiston’s brand new novel featuring time-travel, queer women, and I absolutely cannot WAIT to read it)

The Heiress by Molly Greely: Set in the Pride and Prejudice universe, this takes on Anne de Bourg (Lady Catherine’s daughter), and makes her queer!

Tipping the Velvet by Sarah Waters: Nan King, an oyster girl, is captivated by the music hall phenomenon Kitty Butler, a male impersonator extraordinaire treading the boards in Canterbury. Through a friend at the box office, Nan manages to visit all her shows and finally meet her heroine. Soon after, she becomes Kitty's dresser and the two head for the bright lights of Leicester Square where they begin a glittering career as music-hall stars in an all-singing and dancing double act. At the same time, behind closed doors, they admit their attraction to each other and their affair begins (Sarah Waters is the queen of historical lesbians. All of her books are good, and they’re all gay! The Paying Guests is another great one)

(On a side note re: queer books, there are MANY, these are just ones I’ve read more recently. Also there are a lot of indie/self-published writers doing great work writing queer books, so definitely support your local indie authors!)

#I am inevitably forgetting things!!!#These are just ones that came to mind #Long post #Pride

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deathbxnny · 11 months

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☆《Returning home to you.》☆

-----♡

A/N: Alright so, I'm noticing, that I'm getting really burnt out with writing for hsr recently and to keep my mental health from tanking completely, I've decided to write something for my current Chainsaw man obsession as a small break! I hope you guys will like it!<33

Featured characters: Aki, Denji, Power, Makima

Content: Fluff, established relationship, some angst because it's csm, sfw

Reader has no set pronouns!

((Not fully proofread))

-----♡

》Aki Hayakawa

For Aki, the best time of the day, is him finally being able to come home to you. He never thought that he'd ever find a s/o to return to after a long day of work, as he was always so hellbent on revenge and could die at any given moment due to his occupation. And yet, he still found you, the only person that made living still worth a damn on his hardest days.

You take care of him so well too. You always greet Aki at the door, happily helping him out of his jacket, as you tell him about the mundane things you've done that day. You give him a sense of normalcy he always secretly craved to have deep down. He is starved for attention and knows he's lucky to have you.

The moment he steps through the front door and sees you, he can leave the evil truth of the world behind, until his next shift inevitably begins. Sure, not everything always goes as smoothly and he knows, that this won't last forever. But in your arms, he can pretend that it will.

-----♡

》Denji

He sometimes thinks that he's dreaming, whenever he comes home to you. He still can't believe, that he actually achieved everything he always wanted to. He has a pretty s/o, good food and a seemingly better getting life! It's all he wanted and more! So whenever he does come home, he immideatly pulls you into a hug, happily muttering to himself about how proud he is.

He loves it, when you cook food for him. He doesn't care what it is or if it's good. Denji doesn't discriminate and whatever you cook is certainly much better than whatever he was used to. He'll practically praise everything you do for him. As a thank you, he'll get you flowers or gifts. Even if they aren't the best, you still know that he appreciates you greatly.

To him, you are one the first people that gave him the sense of a home. He was always only able to imagine how it must've felt like, but now that he has it for real, he won't let you go. He can't let you go. Not when you make him feel like a loved human for once.

-----♡

》Power

It's a miracle, that she even properly finds her way home, after a long day at work. And when does, she's usually muddy or covered with blood, which results in her being forced into a bath, before she dirties the floor you just cleaned. Meowy often watches you struggle with Power, as she calls out for the cats help.

You are her favourite human and should be proud that you are. She tells you so everyday and expects you to thank her, which also earns her a deadpan and a shake of your head. But as much as she acts superior to you, she actually does appreciate everything you do for her. Especially the safe home you provide for her and her cat.

She often therefore thanks you in unconventional ways, like bringing you dead birds or wild flowers she found... she's trying, I promise. But her presence is surely a thank you enough too, right?

-----♡

》Makima

Makima comes home calmly and seemingly stress-free. She often always has something to give you and her dogs as well. Pretty flowers for you and treats for them. She always greets you all cheerfully, before just simply demanding hugs and affection from you.

She clinges onto you at home, thanking you for your loyalty and being so good for her, before she helps you out with some house chores. She loves it, when you do domestic things together, as she doesn't really have the need to rest after work.

She never speaks of work with you and you never ask either. She doesn't let any of her "co-workers" know that she has a partner anyways, as you are her little secret. You are a separate part of her life as a devil hunter and the only sense of normalcy she has outside of it. It's why she appreciates you so much and makes sure you always know that, even after she had a long and tiring day.

-----♡

A/N: So this is my first time writing for csm characters and I hope it's okay! It honestly helped me feel alot better too!<33

Csm requests are also appreciated!<33

#chainsaw man #chainsaw man x reader #csm x reader #csm aki #csm aki x reader #csm denji #csm denji x reader #csm makima #csm makima x reader #csm power #csm power x reader #csm #chainsaw man fanfiction

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deviliciousdev · 3 years

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✨MBTI Types as Movie Characters🎥

The Diplomats🎙✊ (NFs)

-------------------------------------------

ENFJ, The Protagonist

Professor Xavier // The X-Men Franchise

A franchise based on a fictional minority who struggles to fight for their rights and even their lives seems the perfect place to find an ENFJ at its core. Whether it's Patrick Stewart's older more suave performance or James Mcavoy's young passionate and fervent, Professor X, you can really see an ENFJ in their element. While even mundane everyday life can be brighten and motivated by Protagonists, they truly shine within struggle. Professor X's leadership skills are only a small part of his ENFJ aura. His ability to to understand and help each of his students and X-men is an ENFJ super power of their own. One act that comes not from a desire to be liked by others, but a genuine want to better other's lives. The passion and vigor portrayed especially by James Mcavoy's younger Xavier, is another clear indicator of a Protagonist. And I think we can all agree only an ENFJ would be lying at the feet of one of the most powerful villains ever imaginable without their powers OR wheelchair while half their team is out of the fight and STILL not loose hope or belief in their cause or their people. [see X-Men: Apocalypse]

Bonus:

ENFP, The Campaigner

Captain James T. Kirk // The Star Trek Trilogy

While William Shatner's OG Kirk from the original series and that timeline's movie series, is probably more of an ENTJ, Chris Pine's rendition of the iconic Captain James T. Kirk in the new Star Trek Movies is absolutely an ENFP. Based around an alternate timeline, we see a different Kirk, one who grew up without a father and rough and lonely childhood. Not that this is a recipe for creating an ENFP, but it's a very different life than the OG Kirk had, making it clear this is set in an alternate timeline. In the first installment we see a very immature and unhealthy version of an ENFP. Kirk gets into bar fights by making smart remarks at a few Starfleet cadets, sleeps with random women, and unwittingly hits on his future Communications Officer. Through the movie he goes from so many different positions aboard the Enterprise (at one point even being shot out in an escape pod and stranded on a remote ice planet) it would make your head spin. This chaotic plot line shows Kirk's character development into becoming Captain. It's in the second and third installments we see a healthy ENFP in their prime. Kirk continuously puts the welfare of his crew and even a society of tribe like aliens, above his own. His "gut feelings" are usually in support of ideas that seem insane and dangerous to his first officer, Spock, (a definite INTJ) though always for a good or necessary cause and these ideas always work out one way or another. Kirk's deep care for his crew, chaotic actions, hilarious and utterly charming demeanor, and unbridled enthusiasm, makes him a fantastic portrayal of the Campaigner.

Bonus:

INFJ, The Advocate

Remus Lupin // The Harry Potter Film Series

One of the best characters in the world famous fantasy book/movie series, David Thewlis does a fantastic job at capturing the INFJ that is Hogwart's defense against the dark arts teacher/werewolf. While Remus was only a teacher at the school of witchcraft and wizardry for a single year, he was one of the most impactful on the protagonist's character development. The teaching position of defense against the dark arts changes with every movie, usually aiding in the continuing plot line, and Remus is without a doubt the best one at the job. Not only does he become a mentor to Harry, but we also see him give each of his students (not just the famous ones) his full attention. The rare Advocates (only making up 2% of the population) have their own magical ability of sorts, in where they can intuitively read those around them and find what will help/inspire them; sometimes seeing something in that person, the person may not even see in themselves. Remus opts for a style of teaching that is best for each individual and doesn't rely on traditional conformity. In the third movie (his debut) we see the professor use a magical trunk that harbors a bogart, a magical entity that will transform into your worst fear. In his first lesson, he not only teaches his students to confront their worst fear in a safe environment (as he's by their side), but also teaches them to turn it into something ridiculous. While giving the young witches and wizards some truly INFJ wisdom. By barring the realistic nature of fear itself, he explains that even though fear will always remain with you that doesn't mean it can't be beaten or overcome. His vital role in the later movies as the voice of reason and the voice that always values the humanitarian principle (standing up for what's right), while still struggling to battle his own demons (lycanthropy of a corporeal nature) and never making it about himself, is a level of emotional organization Advocates do as second nature. With Lupin's wise diction, tranquil cadence, inner battles, and emotional intuition, he makes the perfect candidate for the INFJ spot on this list.

Bonus:

INFP, The Mediator

Luna Lovegood // The Harry Potter Film Series

Another beloved character from the Wizarding Franchise, one of Harry's closest comrades, played by Irish born actress Evanna Lynch, the soft spoken Ravenclaw is a fantastic embodiment of a Mediator. She maintains a special and pivotal role in Harry's life. While he has Hermione to give him captain obvious analytical slaps in the face and Ron to serve as a reliable and dependable comrade; Luna provides Harry with much needed breaks from the intensity of the on going events, honest answers, and genuine reassurance. While most assume reassurance only comes in the form of compliments and agree-ability, Luna (and INFPs in general), show us sometimes you just need someone to tell you, you're not crazy. Her fierce friendship contains some of the best that INFPs have to offer. No matter if it's as a platonic date to a dinner party or fighting off Death-Eaters in the Ministry of Magic, we see her continuously be there for Harry, without even a second thought. And perhaps the thing that seals the deal for her INFP representation, is the ongoing relationship with the other students who over and over again grossly underestimate her, as her eccentric and unique conceptual ingenuity ends up providing some of the biggest plot developments of the films.

Bonus:

[note: stay tuned for the sensing thinkers list]

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writingdotcoffee · 3 years

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#168: Decisions, decisions, decisions

Making decisions has really affected my productivity over the past few weeks. I start my day with several things that I want to get done. Often, just the act of deciding which one should I do first seems to get me stuck.

It happens when I write too. Should I kill that character now or in chapter 22? I can spend months racking my brains over this, considering every possible way that my decision will affect the story. But I will never be 100% sure until I write the thing and see how it works.

Sometimes, the deciding takes so long that I could've finished the thing in the meantime. It annoys me so much.

Decisions are tough. They take a lot of mental energy. Even to make the most mundane decision, you have to build this mental model of the likely consequences. You will also have to live with it if the decision turns out to be the wrong one.

The natural remedy would seem to be to get better at making decisions, and you certainly can do that. Learn different strategies and whatnot. However, this won't make the process of making decisions any less draining. On the contrary, applying all sorts of tools will take more of your time and energy away from the main task.

The real solution to this is to figure out a way to make fewer decisions.

Make fewer decisions

We take strange comfort in decisions that are made for us. We do it all the time. Whether it's because we don't care enough or because we don't have the time. The radio or TV is a perfect example. These days, everyone has the power to create a custom playlist of things to listen and watch. Lots of people choose to give that power away and watch TV instead where the programming is decided for them. You trust the station to show something interesting. Instead of looking for new music releases, you trust your favourite radio station to curate them for you.

I don't think there's anything wrong with that. In fact, applying the same principle to the decisions that you've made in the past is how you can make fewer decisions every day.

Planning, systems and habits

Every time a decision comes up during the day, you should be ready. Ideally, you'd have decided in advance. When removed from the immediate situation, you will make much better choices.

That's where planning, setting up systems and developing habits comes in. You can't prepare for everything, but when you really think about it, the majority of stuff that comes up is something that you have to deal with over and over again.

Examples

Here are some examples to illustrate what I mean.

Planning

Set goals and deadlines.

Schedule your writing in advance.

Outline the major plot points in your story.

Set up a weekly planning session.

Set up a monthly review session.

When planning, you still have to make a decision. The difference is that you can make it at your own pace. You're more likely to act out of consideration rather than on impulse.

Systems

Have a few writing exercises that you do when you get stuck.

Create accountability for yourself.

Set up constraints (e.g., if this takes longer than X, flip a coin and carry on).

Ask trusted friends for advice.

Hire an editor/coach to help you.

Systems or frameworks are a great way of implementing repeated decisions. It's basically a set of steps that you follow every time you run into a given problem. Instead of flailing around, trying to figure things out on the fly, you simply follow a playbook that you prepared earlier.

Habits

Write at least 50 words every day.

Think about what you're going to write tomorrow before bed.

Your morning/evening routine.

Listen to the same playlist when writing.

Habits are a way of internalising your decisions to a point where you no longer have to think about them — like brushing your teeth. You don't wake up every morning and consider the pros and cons of brushing your teeth or whether you should do it before or after breakfast. You just do it.

Final Thoughts

Most of the decisions that we make day after day are way less important than they seem. Nobody's going to die if it turns out that you should've made your characters kiss three chapters earlier. When you're stuck, err on the side of action. Worst-case scenario, you'll have to go back and start over.

Little, everyday decisions don't seem like a problem. But they compound in a pretty significant way over time. Is there a decision that you find yourself doing over and over again? Set up a system or a habit to take care of it.

Want More?

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Past Editions

#167: Social Media for Writers, November 2020

#166: The Right Time to Write, October 2020

#165: The Tip of the Iceberg, October 2020

#164: Moving on to the Next Thing, October 2020

#163: Making Space for Writing, October 2020

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glenncoco4 · 3 years

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You Can Count On Me

A/N: Chapter 9

••••

The shaggy blonde is so focused on his girlfriend that he doesn’t realize she misses the turn towards his apartment, instead she keeps going for a few minutes until she hits the Santa Monica exit. A few minutes later they’re back in the same spot at the overlook where they were just a week ago.

“What are we doing here?”

She turns towards him, that unrecognizable look still swirling in her mismatched eyes. “Well, I’ve been thinking.”

His heart picks up speed when he suddenly realizes what the look on her face earlier could very well be...“Yeahhh.”

“And what I want more than anything else in this world is to feel safe every day of my life.”

“You do realize you’re a federal agent, right? One of the most dangerous jobs ever.”

“That’s not...I’m not explaining myself right.”

“Well, you can always resort to my form of communication.” He wiggles his eyebrows playfully, semi-kidding but not really.

Shaking her head, unable to keep the smile off her face, she leans over the console, bringing her lips to his in a chaste but passionate kiss. “Better?”

“Oh yes, very much so.”

A sudden burst of nervousness washes over her and she looks down at her left hand, imagining what it would be like to have a ring there and not just any ring, his ring. “What I was trying to say is that I want to feel safe every day of my life in all aspects. I feel so safe with you as my partner. And I know safe is such a mundane word but to me safe means you. You make me feel like I’m the most precious thing in the world. Like everyday you wake up next to me is better than the last. You have my back no matter what just like I have yours. And as cliche as it sounds, when we’re curled up together in bed or just on the couch and your arms are around me...in my mind its just you and I existing together. You challenge me in a way that no one ever has before and it’s one of the reasons I love you so much and...”

“Kens?”

There’s a hint of desperate hope in his voice, which is strangely calming to her. She finally lets herself look up and when her eyes meet his cerulean blues everything in her is telling her that this is the right choice. “What it all comes down to is this...there’s nothing more I want in this world than to grow old and grey with you. So if your offer still-“

He doesn’t give her time to finish her sentence before his hand finds the back of her neck and he’s pulling her towards him. His lips find hers, but she suddenly pulls back making him whimper. He curiously watches her, wondering the cause of her actions when she gracefully maneuvers through the two seats into the back, tugging him along with her. The fact that they’re parked in a not so private place is the last thing on either of their minds especially once she straddles his lap and his hands find the hem of her tee, ridding her of the white piece of cloth. Good thing NCIS sprung for the extra tinted windows.

••••

The past week has been filled with a happiness that neither of them can describe. Who knew that officially being engaged would bring this type of euphoria into their lives. Ever since Kensi took him back to that outlook and finally said yes to his proposal everything and nothing has changed at the same time. They’ve been more touchy ever since and definitely happier. A huge challenge that they’ve come across the past week however is having to go into character around the guys at work.

There have been a couple of instances where they thought the charade was up but it turned out that their coworkers were oblivious as to what was going on around them...which is quite concerning if you think about it.

The week of bliss had been shattered when a marine’s young daughter goes missing. Kensi was suddenly lost in the past and the similarities of the story playing before them was to her own.

As she and Marty step onto her front lawn after walking home from school, they both immediately feel something in the air shift. Sharing a look, they quicken their pace, taking the front porch steps 2 at a time.

Marty swiftly pulls the screen door open, ushering his best friend inside before the sound of soft sobs fill the room around them. They both all but throw their things onto the ground before finding Roberta in the living room, her arms wrapped around Julia comforting her as best as she can.

“Wh-what’s going on?” The shaggy blonde 17 year old speaks up as his best friend finds his hand, already preparing herself for the worst.

Roberta looks up, tears in her eyes. “I’m so sorry, sweetheart, it’s your dad.”

“No!” The brunette shakes her head vigorously. “No!”

“What happened?”

“His helicopter was shot down.”

He’s already prepared for her to collapse in his arms, hell he’s surprised he’s still standing himself. But instead of tears, the young brunette just screams in denial once again before running out the front door.

Without thought Deeks chases after her, running out the door as he calls out to her. He doesn’t know why he thought she’d stop. He sees the direction she’s going and immediately knows where she’s running off to.

A few minutes later his flip flop bound feet hit the wooden dock as the echo of her whimpers break his heart. Slipping off his shoes, he takes a seat right next to her, his arm winding around her shoulders as he pulls her into his body.

Her fingers find the cotton of shirt, grabbing on for dear life. It’s not until he feels her tears seep through the fabric that he finally lets himself break down as well. Donald Blye was more of a father to him than his own and there’s nothing in this world that’s going make the pain go away.

His lips find the top of her head, knowing that he’s going to do everything in his power to make sure she makes it out of this, but for now he will grieve with her, because that’s what you do when you love someone.

As the arrests are made and Amanda is reunited with her father, Deeks’ attention shifts to his fiancée. He’s seen how lost she was today, who could blame her considering what she went through with her own father. The case brought up memories for himself, but nothing compared to what he knows is going on inside his partner’s head.

Walking up next to her, it takes everything in him not to pull her in his arms. Her focus doesn’t move away from the marine and his daughter as they embrace, and share apologies. The tears forming in her eyes is unmistakable and considering their coworkers are focused on other things he lets his facade slip a little. “Thinking about your dad?”

“Yeah.” She nods, unable to look at him otherwise her tears might fall.

They’re sitting at the table eating lunch, actually eating might be a bit of an overstatement. It’s been 6 weeks since they got the news about Don. 6 weeks of tears and regrets along with denial. It was only 3 days after the news until Marty and Roberta found themselves living in the Blye residence once again.

Both mother and son knew that moving in to take care of their respective best friends was the only option. So here they are, sitting in silence, trying as best as they can not to breakdown.

A sudden knock at the door pulls the four out of their haze. Marty wipes his mouth and quickly stands. “I’ll get it.”

Walking to the front door, he can see the top of an official marine’s hat peaking through the door window. Dread fills the young man’s body, already sensing that this is the official house call, the one that confirms their worst fears.

He reaches for the door knob, his head falling in defeat thinking about the hole Kensi is going to go further down. God he wishes he could take this pain away...he’d do anything. She’s been so beside herself especially considering the last time that she ever talked to her dad they were fighting.

Begrudgingly pulling the door open, he looks up and meets the eyes of one of Don’s unit members. His brow furrows in confusion until he hears the squeaking of the porch swing. He almost falls to his knees when he sees the familiar warm brown eyes.

Marty stands there for a minute, paralyzed in shock.

“Hi, Marty.” Donald hesitantly stands with the support of his crutches.

All he think about is Kensi and Julia. He doesn’t respond to his surrogate father, and before he can even process what he’s doing, the 17 year old turns and walks back into the house, cerulean blues wide in shock.

Kensi’s brow furrows when she hears her best friend walk back into the kitchen and says nothing. She looks across the table at his frozen features and begins to worry. “Marty, what’s wrong?”

This gets the attention of the two older women, three pair of eyes now all on him. He wants to say something but his words fail him. All he can do is turn towards the hall and watch the marine walk down the hallway, that’s when he suddenly notices the reason for the crutches.

Kensi’s and the mom’s eyes follow his, it takes a few seconds but slowly Donald steps into view. The resounding gasps fill the room, none of them able to process what’s happening before them.

“Hi...it took me awhile but I finally made it.”

No one says a word, but each set of eyes look the man up and down, stopping their gaze when they realize the reason for his crutches.

“Oh my god, Don, what happened to your leg?” Roberta’s lips work faster than what her brain can process, the words spilling out of her like its the most reasonable question to ask.

Marty’s eyes go wide in shock, before her sending a pointed glare.“Mom!”

“What?”

Before anything else can be said the marine’s eyes follow the length of his body, eventually coming to a stop where his left leg once was. “Oh my god!”

Marty can’t help but crack a smile, his attention flying to his best friend trying to gage her reaction and get some sort of semblance as too what she may be feeling. The small smile and huff of laughter that emanates from her gives him his answer.

Shaking herself out of her daze, the 14 year old jumps out of her chair, running over to her father and carefully wrapping him a death gripping hug.

“Hey, he came home.”

Her story may have a happy ending but it was that month and a half that still weigh on her mind. “I know, but its just those 6 weeks and...”

“I know, baby. I know.” And he does. Just like before they found out Don was alive, he’d give anything to take this pain away from his girl.

Once given the okay to go, the pair make their way towards the SRX and just as he expected, she hops in the passenger side leaving him to drive. That’s when he realizes this is one of those days that only has one solution. Quickly pulling out his phone, he shoots off a quick text knowing exactly what she needs.

••••

Every once and awhile the shaggy blonde catches himself taking a look at her. She must be more lost in thought than he assumed because she doesn’t notice him miss the exit to her apartment and continue on towards Malibu until they’re pulling into the parking lot. “How about some tacos at the beach?”

“Sure, I guess.” She shrugs.

As the SUV pulls to a stop, Marty’s eyes find the lone figure about 100 feet in front of them.

Noticing he hasn’t made a move to get out yet, Kensi’s brow furrows and follows his line of sight. As soon as her eyes land on what he’s staring at her heart fills with even more love for him than she ever thought was possible. She feels the tears pool in her eyes, her hand finds the his neck, pulling her surprised fiancé’s lips towards hers in a kiss emotional passionate kiss. “Thank you.”

“Anything for you.”

A smile rises to her lips as she places another kiss to his lips before hopping out of the SUV, gaining attention from the man on the bench. The older brunette stands up as quickly as he can and starts heading towards the junior agent.

When he received a discreet text from his surrogate son, the former marine dropped everything he was doing and headed to the beach. It wasn’t an emergency, which is always a relief but considering there wasn’t much to the text that alone told him she was dealing with something.

As he slowly walks towards her, he outstretches his arms, leaving Kensi to all put collapse into his arms. “Rough day?”

“Yeah.”

The detective watches on as the pair embrace, it breaks his heart knowing that she’s still dealing with the turmoil of thinking she lost her father for years now. He’s tried to help her get through it, her parents have tried, but one thing Kensi Blye is good at, it’s not forgiving herself.

After a few minutes the pair pulls back, giving Marty the chance to get in his own hug with his surrogate father. “How you doing, son?”

“Better now that she’s better.”

The older man notices a change in the younger man’s gaze towards his daughter. And then when she sends Marty a teary-eyed smile, wrapping her arms around him in thanks, it suddenly hits him. They’re together.

#Densi #Densi Fanfic #Kensi Blye #Marty Deeks #You Can Count On Me #NCIS: LA

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