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wartakes · 4 months

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Fighting Back in an Age of Impunity

Its the last essay of the year and the events going on in Gaza - and similar events elsewhere - had me pondering some thoughts for those who may feel powerless and like they can't do anything. It's not perfect, but its something. Full essay under the cut. Happy Holidays.

I feel like I increasingly start each of these essays with checking on folks and seeing how they’re doing following “the event” – with whatever “the event” is varying depending on what time of the year the essay is occurring in. When I first started thinking about what I may be writing for my last essay of 2023, I thought the worst event I’d have to think about was Azerbaijan’s assault on Artsakh, which resulted in over 100,000 ethnic Armenians fleeing their homes as Ilham Aliyev finally realized his genocidal dream of cleansing the region and forcing it fully into Azerbaijan by force.

Of course, then October 7th happened.

This is not to say that what happened with Artsakh should be forgotten about by any stretch of the imagination. We definitely shouldn’t forget about Armenia and Azerbaijan – especially as Azerbaijan, supported by Turkey, continues to make aggressive statements suggesting it may attack the Republic of Armenia proper in order to secure a corridor to its exclave in Nakhchivan. This is still very important and deserves our attention.

At the same time, if you’ve been following world events at all since October 7th, you kinda know what the most pressing, soul-sucking issue of the moment is. In the weeks since the attacks launched by the Gaza-based Palestinian militant groups – spearheaded by the Islamist political-military movement HAMAS, which largely controls the enclave – Israel has used that unarguable tragedy as an excuse to launch a horrific campaign of violence of its own in revenge, the sheer scale and scope of which has left the Israeli bodycount of October 7th in the dust as more and more Palestinians are killed by the Israel Defense Forces with each passing day – most of them women and children.

I originally was going to shift focus and write something entirely about what’s going on in Gaza, but I was also not sure what more I could say that would be constructive and not simply venting to avoid exploding (something I do on Twitter on a regular basis). I also didn’t want to complete leave Armenia and Azerbaijan in the dust, because I felt there were a lot of parallels between the two situations and their histories (which makes sense since Azerbaijan and Israel have such a cozy relationship, with Israel being one of Azerbaijan’s main arms suppliers in its wars against Armenia and Armenians).

In the end, I decided I wanted to write about something that is more generally going on, and that we’ve seen in Israel’s campaign against Palestinians, Azerbaijan’s campaign against Armenia and Armenians, Russia’s war against Ukraine (which Putin says isn’t ending anytime soon in case you were curious), and other acts of aggression by hostile states and armed groups in what feels like every corner of the globe these days. Everywhere you look, it seems that fascistic states and groups are taking every possible opportunity to try and conquer and kill that which they covet or hate.

We are currently living through what I conceive of as a new “Age of Impunity” in international relations, of which the current assault on Gaza is only one example – though certainly the most egregious and barbaric of the moment. Such ages are not new, and have waxed and waned throughout history, but they all have one core theme in common: during their span, we see a drastic increase in aggression by those states and groups who are determined to hammer home the Thucydidean cliche that “the strong do what they can and the weak suffer what they must.”

But there is a new rub to this tale as old as time. Now, in an age of an increasingly interconnected world via the internet and social media and smart phones and etc., aggressors are not just seeking to prove that might is right, but to gaslight us constantly as they do it, doggedly endeavoring to convince us that this state of affairs is not simply the glib, bleak reality that is allowed to persist in international relations, but is actually good and right and just and fair that those of us that dare question their narrative are insane and sick and even criminal for believing otherwise. To try and add further legitimacy or distance themselves from the acts of information warfare, such aggressors often enlist third parties as well who are aligned to them either ideologically or financially (i.e. they’re paid to).

This combination of consequence free mass violence combined with an aggressive campaign to make you feel insane for not thinking its actually good is enough to make anyone with a moral compass feel actually insane, or to feel incredibly depressed and distraught over it all. Its so easy to feel completely and totally powerless from events such as Gaza and more, boiling over inside with a sense of impotent rage, especially when it seems that all that a key set of individuals and governments would need to do to stop it all – or at least less the impact – is show a modicum of backbone and a slight bit of effort to go along with it, but they don’t.

However, it is important for us all to understand against this backdrop of slaughter, that we are not powerless – not completely. There are limits on our power as “normal” people, absolutely; but we are not totally powerless, and the longer we go on thinking that the longer this Age of Impunity will last – to say nothing of other negative states of affairs we’d rather not stick around. There are actions that we as people can take to try and effect better outcomes. These actions are often indirect, focusing on applying pressure in various forms on those who can actually do something or who can otherwise force someone else to do something, but are none the less impactful and not to be disregarded.

To the end of helping folks not feel powerless in the face of impunity and aggression and giving them a concept through which they can push back on aggression and fascism and authoritarianism worldwide, I’ve crafted an approach of my own. The approach I’ve conceived of is extremely simple, straightforward, broad, long-term and almost certainly incomplete – but a start. So, if the gifts you’re looking to get this holiday season are a shred of hope, a sense of purpose, a modicum of agency, and the ability to actually make an impact upon ongoing global events, let’s open up Santa’s big bag of toys and see what’s inside for all the good little guys, gals, and non-binary pals out there. Ho ho ho.

BLUF: “Don’t Shut Up”

I already warned you that my plan is pretty simple. What I haven’t warned you is that this plan, in a nutshell, may make some people roll their eyes and go “yeah, right, whatever” (or something more impolite), so consider yourself warned of that now.

So, the plan? Don’t shut up. Ok, obviously this is going to need more expounding upon.

To build upon “don’t shut up” in more detail, the plan is simply to not give up voicing your opposition to the unjustifiable acts of aggression going on throughout the world – whoever it is that is undertaking them, whenever they occur, and wherever they occur. This opposition can come in various forms, be it protests and various other forms of activism and civil disobedience, both physical and virtual, but it really can be boiled down to those three words: don’t shut up. Keep talking – shouting, rather – about what’s going on and don’t let people forget what’s going on.

Not to get defensive right off the bat, but I am anticipating some people reading this feeling a bit disappointed, dismissive (maybe to the point of eye-rolling), or frustrated with this simple approach. So I want to take a little time to push back gently before we get more into the nuts and bolts. I’m going to try and not go on for too long with this because I wrote this earlier and fully made half of the essay me being defensive so be thankful I went back to make this part shorter.

First, to those saying “that’s it?” I would say, ‘yes’; but with the caveat that while its a simple answer, its also a simple problem (which I will get into more detail about later). To those saying “that won’t work,” I would say “based on what?” I feel the problem with that strain of preemptive defeatism, dismissiveness, and doomerism are a uniquely American-centric perspective that is focused only on our own experiences – and also, a very recent and limited view of them. All you need to do is look to the rest of the world to see instances where mass movements that refused to be silenced and maintained pressure accomplished the ousting of various dictators and autocrats (I picked relatively recent examples here, but you can look even further back). I know we’re all tired and demoralized and depressed (hence why I’m writing this), but all you need do is widen the aperture a bit and look beyond our shores to see that things are not as hopeless as they seem. That doesn’t mean that there are quick and easy solutions (something else I’ll get into – we’re in this for the long haul), but again, that doesn’t mean that we are powerless and that our actions mean nothing.

Ok, I got my defensive preemptive pushback on doomerism out of the way and I did it in two paragraphs instead of a page and a half. You’re welcome. So let’s actually get into the nuts and bolts.

Using the potential criticism of “that’s it?” as a starting off point, I will concede again that t his is a very simple approach. But, I would also assert that the activity that this approach is crafted to counter is actually fairly simple in its own right when you think about it. It makes sense that a relatively simple problem demands a relatively simple answer (note that just because the idea is simple doesn’t mean the execution will be quick or easy, but we’ll get to that).

Regardless of the approach or the medium through which they are attempting it, in the information sphere, the ultimate goal of an aggressor to is to silence criticism and to boost its own narratives and supporters. If aggressors can’t coerce or cajole you to their side, they’ll settle for getting you to shut up by whatever means are at their disposal – which is just as good to them; it doesn’t matter if they don’t actually have a lot of popular support at home or abroad, but as long as they can silence dissent and criticism and keep their narrative as the main one, they can just keep on doing what they’re doing.

This can take multiple different forms: drowning you out with torrents of useless, twisted, or outright false information, intimidating you through hostility and harassment, depressing you by making you feel weak and powerless and convincing you that there is absolutely nothing that can stop them (potentially giving you a genuine mental breakdown through their gaslighting), and mental and emotional exhaustion from some or all of what was previously described, just to name a few different methods. These methods may be utilized by the aggressors themselves, or through various allies, partners, and proxies – be they other states and organizations various individuals who are consciously or unconsciously boosting the aggressor’s narratives and attacking the aggressor’s detractors. But the end goal of all of these methods remains the same in every case, but in different guises: to shut you up. If the aggressor’s goal is that simple, it make sense that our response doesn’t need to be that complicated either: deny them their objective by simply refusing to be silenced and, in fact, continuously increasing that pressure.

If information is a domain in warfare, it is probably appropriate to think of your role in it not as a soldier in the army of a peer competitors in a high-end conventional fight. Rather, you should think of yourself as a fighter in an insurgent army, and as this information warfare as an insurgency or rebellion or an uprising rather than the information equivalent of a conventional war (at least not at this stage; we have a few more stages of Mao’s guide to get through first in this analogy). If you conceive of it that way, it can make your task seem even more daunting, but then it also can reveal the inherent advantages that we have in our approach and the challenges it creates for an aggressor trying to manage information.

The Cognitive Insurgency of Attrition

I’ve talked about insurgency and counter-insurgency in the physical domains of warfare before at great length, with my main takeaway being that counter-insurgency is almost always a losing game for whoever is acting as the COIN force. Unless they are prepared to make significant political concessions, they are likely to never win; the best they can ever hope for is to not lose – which will require constant fighting and expenditure of resources of all kinds, indefinitely (something that few countries, even reasonably prosperous and powerful ones, can hope to keep up).

Recalling that takeaway, your advantage and the disadvantage of the aggressor becomes clearer. When I said earlier that really all you have to do is not shut up, I really meant it, because as long as you and others refuse to be gaslit and continue to speak out against particular aggression and injustices, the aggressor is failing at the primary objective they have regarding you. As long as you exist and continue to act and speak out, they will continue to have to expend time and resources to try and counter you. The struggle with the aggressor becomes a battle of wills, and by simply continuing to exist and refusing to be silenced, you are wearing them down in a war of attrition. The more they are worn down, the more likely they are to make mistakes and to show more of their true colors, and the full extent of the horror becomes harder and harder for more and more actors (be they people, organizations, states, and etc.) to ignore and turn a blind eye to, and the pressure mounts to take actual action.

This whole approach and the idea of not shutting up and not giving up is closely tied to another idea, which is that “bullying works” (another thing I originally had in a section unto itself, for another peek behind the curtain, but decided it wasn’t dissimilar enough to separate out). As you refuse to be silenced and continue to speak out and apply pressure, one form of that pressure, is in effect, “bullying.” Basically, making sure that those who are either taking part in various acts of aggression or who are facilitating it or supporting indirectly won’t get a moments peace in their lives as long as they continue to do so. They need to be shown that people will not forget what’s going on and will not go away and will be reminding those who are carrying out out aggression or supporting it at every possible opportunity and be making their lives very difficult for as long as it takes and for as much as it takes until change for the better occurs. Remember kids: bullying by punching down (figuratively), is bad; but bullying by punching up (again, figuratively), is not only good, but necessary for a healthy society!

The inherent downside to this overall approach, of course, is that it is a long-term one. This is not a single battle, but a broader campaign in the wider war against aggression and authoritarianism and fascism. This in its own right may be discouraging to some, but also a bitter pill that must be swallowed. To be perfectly clear: this is not me saying that we shouldn’t bother trying to apply pressure and affect change on issues in the short term. To use our primary example of Gaza once more, we should absolutely be trying in the short term to bring more pressure to bear to bring about a lasting ceasefire and greater humanitarian relief and more in Palestine. However, we’d be deluding ourselves if we believed any action we take right now would suddenly and decisively end the occupation and fundamentally change the political status quo in Palestine in the short term.

As discouraging as this reality can be, it should not dissuade us from taking action, but compel us to gear up for the long fight. Much as the right is willing and able to do with its policy goals at home and abroad, we need to undertake more generational and multi-generational efforts to achieve our aims in all areas – especially when it comes to foreign policy and international relations. Like an actual insurgent force fighting an occupying army or authoritarian regime, we must take a long-term view. This long-term view may encompass short term surges and bursts of activity to achieve specific, tangible, secondary and tertiary goals (like a ceasefire, humanitarian aid, or what have you), but its primary goals and planning must be fundamentally protracted in nature.

Even if you understand, agree with, and accept the protracted nature of this approach, that doesn’t mean it can’t still be demoralizing in the short term. However, there are reasons to be optimistic, because if you look around you can see the signs that this approach is already bearing fruit. In the case of Gaza, you can see signs that the dedication to not “shutting up” about the plight of the Palestinian people on the receiving end of Israel’s military campaign in how the Israeli government and its supporters are either becoming more deranged in their defensiveness for their actions, with some Israeli government officials being increasingly mask off about their genocidal intentions towards Palestinians and their homes, as well as increasingly dismissive towards ideas such as the two-state solution – which governments like that of the United States continue to cling to. We also see this in the reaction of some states supportive of Israel, such as the United Kingdom, where now former-Home Secretary Suella Braverman labeled all pro-Palestinian protesters in the country as “hate marchers” (and was fired from her post not long after that).

In other cases, where governments and groups supporting Israel haven’t gone fully deranged, its becoming increasingly difficult for them to look the other way in the face of Israel’s mask-off violence and aggression. Even as US President Joe Biden continues to stand by Israel doggedly and assert its right to “defend itself”, the administration has internally squirmed at Israeli actions (as well as the potential for escalation). While the administration continues to fruitlessly try and have it both ways (which is fundamentally impossible and only wastes time as more civilians die), the fact that they’re even attempting to do that rather than continue to support Israel wholeheartedly shows that the pressure is mounting. This is born out by polls in the United States that show that support for Palestinians is rising. If aggressors and those running support for them are lashing out or are becoming more desperate in their attempts to control the narrative or silence opposition or even have a leg to stand on in their support, those are signs that the pressure that countless regular people are bringing to bear with their humanity is having an impact. Don’t give up now.

I am once again asking you not to give in to despair

We can’t stop everything going on in the world on our own as individuals, that’s true. And posting alone also won’t stop anything – that’s also true (as much as a lot of us wish it would – or convinced ourselves it will). But we are absolutely not powerless, and we must avoid falling into that trap, or the aggressors win right off the bat.

You are fighting in one particular campaign in a much wider war against aggression and fascism and authoritarianism the world over. There are other fronts that exist now and there will be more in the future – both physical, and virtual. But combat of various sorts (literal and figurative) will be required on all of them in order to achieve successes. It is a collective effort; we are are all in this together, in numerous different ways. To crib a line from the trade union anthem Solidarity Forever: “yet what force on earth is weaker than the feeble strength of one, but the union makes us strong.”

The broader struggle against fascism and aggression will be a long war, and all likelihood, it will likely never end in an absolute victory, and only be one in a series of wars and struggles to come (again, both figurative and literal). As I’ve always said in my writing, part of the reason I’m sure people like me will still have a job even in a better world is because there will always be authoritarian aggressors of some kind who can convince others to fight and die for them in service of their rancid ideology and hatred (hence why I say a “better world” and not a “perfect” one). But even if we there will always be another enemy around the corner in some shape or form, we can set ourselves up to be stronger, smarter, more united, more compassionate, and better prepared for the additional struggles and wars ahead.

I’d be remiss if I didn’t point out that everything I just talked about isn’t exclusively for responding to acts of aggression abroad, but is perfectly applicable at home as well. The approach that I’ve laid out can be applied to fascist aggressors of the domestic political variety, just as much as they can be applied to aggressor states and groups overseas engaging in armed aggression. In the United States in particular, we face an ever increasing war from within. Even if the political crisis in the United States doesn’t escalate to the level of a full scale civil war (something that I certainly don’t want, that I imagine most sane people don’t want, and something we should all work to avoid), we still find ourselves in an American Years of Lead situation at bare minimum that will very likely only get worse as we approach the 2024 election. Again, we can see some promising signs that these approaches are actually working, from the progressive gains that have been made in recent off-year elections on matters such as abortion, legalization of marijuana, and other progressive causes – many of which have been in response to right-wing forces doubling down on their extreme positions in desperation as normal people increasingly point out and deride their “sicko” behavior and refuse to let it go unanswered.

However, as heartening as these victories are, polling shows that the 2024 election is looking increasingly fraught, and nothing should be taken for granted in the eleven months that remain before election day 2024 – especially as former-President Donald Trump has been perfectly blunt about what his plans are if he makes it back into the White House (to say nothing of the coterie of other sickos and chuds that he will put into positions of power in his administration if he wins). While far from the only tool at your disposal, the approach I have laid out previously for pushing back on the narratives of fascism, authoritarianism and aggression abroad may very well make a real difference in the rhetorical and political battles against those same insidious forces at home. Keep that in mind on the road to November 5th, 2024 (or, if you live outside the United States, to road to whatever political battles you have to face in the near future).

We live in particularly bleak times in general, there’s no arguing that. This current Age of Impunity we find ourselves in has no shortage of dictators, tyrants, and fascists who are eager to take advantage of global instability and shifting geopolitics to take things they’ve long coveted, settle scores and seek revenge, and carry out a laundry list of other heinous acts. But even in those acts of aggression, we can find hope. For example, in Myanmar, a diverse coalition of varied ethnic groups – spearheaded by young people – are pushing the fascist junta back on its heels in that country’s civil war. While their battle is far from over, the progress they’ve made in recent weeks since launching a new offensive against the junta has been remarkable. Wherever we can, we need to grab onto examples of maintaining persistence, applying pressure, and not giving up hope – whether its on literal battlefields, or political and ideological ones. We need to take the progress and victories where we can, to remind us why we’re doing any of this at all: because we believe a better world is not only possible, but necessary and inevitable. It is on that note, I leave you on this last essay of 2023. I’ll be back with another by mid-March at the absolute latest for the first essay of 2024 (God only knows what I’ll be writing about by then, but we’ll see where Mr. Bones’ Wild Ride takes us all). For those of you who are celebrating, I wish you a Merry Christmas and a Happy Holiday Season, and also a Happy New Year to you all. Please, wherever and whenever you’re able, even while you all try to keep up the struggle, try to find some time to rest and be kind to yourself because we all need that. See you in 2024. Stay safe.

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linkspooky · 2 years

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Hakari and Todo: The Next Generation of Jujutsu

While the Culling Game arc may seem like just a bunch of fighting so far, each fight in the Culling Games has actually made use of the fight itself to further characterize both new and pre-existing parallels. There are a lot of callbacks to past fights, and even foiling between the fighters that may have gone unnoticed. So, to outline some of those parallels, here’s a meta on the parallels the story sets up between Kinji Hakari and Aoi Todo, the third years of their respective schools who buck tradition and fight in an entirely new way.

1. The Next Generation

Both Hakari and Aoi are introduced early on in the manga as star students of their respective schools. Hakari is mentioned in the context of being along with Okkotsu Yuta someone who could match or even surpass Gojo, while Megumi brings up that even as a first Grade Sorcerer Todo was able to defeat a special grade curse single handedly on the hundred demons night.

Especially in the context of Gojo’s speech, these characters are shown to us as both prodigies, but also as unorthodox practicioners of jujutsu sorcery. It’s mentioned early on that third year Hakari is currently being suspended for a conflict with the higher ups. While Aoi’s formal introduction to the manga is about as eccentric as you can get (attacking Megumi for no reason other than finding him boring), also his first few scenes we see him deliberately disobey the higher ups orders to assassinate Yuji during the goodwill event and instead decide to seek out Yuji and judge his merit on his own.

Their first meetings to Yuji are even similiar. Rather than agreeing to team up with him right away (even though Todo immediately decides they are best friends) both Hakari and Todo test his mettle in what’s both a physical confrontation and a confrontation of ideals. Todo isn’t the type to go easy on his best friend. Hakari doesn’t want to help Yuji if he’s just there on someone else’s orders and has no motives of his own.

The reason for their conflict with Yuji is both Hakari and Todo can’t tolerate what they consider to be boring people. Todo’s speech is more of a joke at first, but when Todo is talking about what kind of girl’s your attracted to, and Hakari is talking about the heat, there’s a little bit of an existential meaning in both ideas. Existential in the sense of, thinking about what you live for, what you want out of life, why are you alive? That sounds a bit deep for a series about teenage ghost busters, but what I mean by existentialist in this context is when Todo asks about girls, and Hakari asks about the heat, they are both trying to suss out why exactly their opponent is fighting. I mean how do you spend your days? Do you try to go looking for love? Do you like to gamble and take risk? Those are pursuits that make living something other than just surviving day to day.

Hakari and Todo are characters who are focused on enjoying their lives, and as a consequence not only do both of them hate boredom, they also look down on people who live simply obeying orders, or who don’t think about the reasons why they’re fighting. After all, when Yuji says some people just want to live peaceful lives, Hakari doesn’t really understand that sentiment, because he goes out seeking risk, and making gambles because to him, that’s where the fun in life lies.

What angers Hakari into attacking Yuji, isn’t because he came there asking for help, but Hakari’s perception that Yuji didn’t really think things through and is only here on other people’s orders. (Which is actually kind of true).

He only backs down when he realizes despite the fact that Yuji doesn’t have a motivation of his own, and only follows orders, he’s still an icnredibly determined individual. He doesn’t assume the role of a cog because he’s weak willed, but because he’s trying to take responsibility for what he did in the aftermath of letting Sukuna go and rampage in Shibuya. There’s also the fact that Hakari can notice that Yuji does in fact have a fever, even though currently he says that he has no motivation or a purpose,only to fight curses alongside other jujutsu sorcerers in order to keep the whole machine going. So it’s not like Yuji doesn’t have those reasons, it’s more like he isn’t aware of them, which is exactly what a confrontation with Hakari is there to make him start thinking about.

What makes Todo and Hakari both unique as sorcerers, is that they completely buck tradition and think for themselves. In doing so, they sort of cultivate lives outside of just being a jujutsu sorcerer. They have hobbies. Todo is obsessed with an idol and constantly brings her up in conversation. Hakari has a girlfriend. He’s had girlfriends in the past. Hakari loves pachinko, and his entire cursed technique is modeled around it, to the point where several elders tried to kick him out because his cursed technique is new and adaptive rather than traditional. They have lives, outside of being Jujutsu Sorcerers. It makes them the exact opposite of someone like Yuji, who is right now resolved to just keep exorcising curses until he serves out his death sentence.

Because of this quote, I sometimes joke that Todo is a new age philosopher. The original quote is different, Todo paraphrased. He adds “However, we are the exception.” It’s a quote from the Tale of Heiki, about how the proud do not endure, and the mighty fall.

“The sound of the Gion Shoja temple bells echoes the impermanence of all things; the color of the sala flowers reveals the truth that to flourish is to fall. The proud do not endure, like a passing dream on a night in spring; the mighty fall at last, to be no more than dust before the wind.”

By changing the last two sentence and replacing them with however we are the exception, he’s quoting budhism, a religion in which humility is considered a virute, only to turn it into a symbol of his arrogance, stating that sorcerers won’t fall and endure.” [SOURCE BAD SNAKE971 on REDDIT]

Todo and Hakari are extremely proud and indviidualistic people, but their pride allows them to buck tradition and think for themselves, to reinvent the way a sorcerer operates and figure out for themselves why they are fighting rather than blindly following what the elders dictate. It’s a way of defiance in what is a rotten system in which tradition is used as an excuse to control, and even cut short the lives of the youth.

2. A New Way of Fighting

As I’ve already established both Todo and Hakari represent the change and defiance the young generation brings to the jujutsu system, by being extremely stubborn, proud, but also very different and unorthodox individuals. Their biggest fights in the series are even against similiar opponents.

Hakari fights a white haired individual with an extremely powerful cursed technique that’s instantly deadly if it hits you, someone who is one of the most deadly sorcerers in the culling game. Also someone who has beef with Sukuna. They are also someone who fights to kill with little regard for human life, and who shows no mercy in Hajime.

Todo fights a white haired individual with an extremely powerful cursed technique that’s instantly deadly if it hits you, someone who is considered the most deadly curse in the Shibuya battle incident. Also someone who has beef with Sukuna. They are also someone who fights to kill with little regard for human life in Mahito.

Hakari and Todo even both lose a hand by the end of the conflict. There’s even a lot of similarities in the way they fight, they’re not ultra serious even when they’re fighting for their lives, they both seem to be enjoying themselves and goofing around. Hakari does a michael jackson dance. Todo blows kisses. Jujutsu society, is relentlessly grimdark where children are constantly fighting just to survive, but Todo and Hakari are not really grimdark individuals.

To make a more serious point though, there’s a certain idea in Jujutsu Society perpetuated by a lot of sorcerers (even by Gojo) that the only way is to have a lot of individual strength and always fight on your own. Gojo even pushes his students to fight alone, that ultimately, you’re only going to have yourself to rely on. His speech to Megumi wasn’t entirely about that, but it’s good to keep in mind that everything Gojo does, he does alone, including carry his burdens as the strongest. He’s been that way since the strongest duo broke up. However, not everything is solved by individual strength, and everything is solved by fighting alone. I bring up the way Todo and Hakari fight as being so different from the way other sorcerers fight, such as Hajime just immediately going for the kill, or say Mechamaru not telling any of the other Kyoto kids about the Shibuya day and deciding to fight all by himself in a last stand against Mahito is because they also buck tradition in one more important way.

As individualistic, proud, rude, headstrong as these characters can be, oddly enough both Hakari and Todo are team players. Todo is actually an extremely good teacher, and a much better mentor to Yuji because he helped fill in a lot of gaps that Gojo left in his rushed teaching. He immediately realizes the kind of teaching Yuji would respond to, sets up goals that Yuji can reach, and even explains concepts Yuji doesn’t know about in a way he can udnerstand by using real world examples on top of that.

People skills might seem useless in a world where strength and battle seems often more important, but it’s Todo’s strength lies in his ability to cooperate with others. First, Todo’s cursed technique seems kind of ordinary, the ability to swap when clapping hands, however, when both Yuji and Todo are working in perfect sync with one another it helps them surprise the opponent multiple times in both of the fights they are featured in. Not only that, but Yuji would have never won the fight against Mahito if Todo hadn’t shown up. It wasn’t the fact that Todo is a strong fighter, Yuji’s spirit was utterly broken at that point.

Todo reaching out and trying to understand Yuji in that moment, was enough for him to give him the words to keep going. Yuji would have lost all motivation, were it not for Todo’s highly developed people skills. While Hakari we haven’t really seen reaching out to others the same extent that Todo did with Yuji, he’s shown to lean a lot more towards cooperation. To begin with we’re told Kin-chan’s fever burns the hottest when he’s helping people at Jujutsu High.

During his fight with Hajime the unorthodox way that Hakari fights by choosing to take stupid risks, and bet things on luck rather than immediately going for the kill, or winning in a contest of strength, makes Hajime start to have fun, and this is a guy who decided to reincarnate 500 or so years later because in his past life all of his fights were too boring.

Hakari then promises to help Hajime someone who tried to kill him several times meet Sukuna, and even goes out of his way to return to the mangaka he fought earlier and actually give him advice about his manga. We haven’t seen Hakari use teamwork in a fight to the same extent that Todo does, but despite his selfish nature he’s still clearly interested in other people. His fight ends with him recruiting allies, which puts him more on Yuta’s side of preferring cooperation, rather than Megumi and Yuji who both end their fights either killing their opponents, or with their opponents walking away.

Suffice to say, there’s a lot more going on underneath the surface of both characters, they’re more than just buff muscle headed weirdoes, and that’s why we love them. Though, we love them for being buff muscle headed weirdoes too.

#jjk meta #jujutsu kaisen meta #jujutsu kaisen theory #aoi todo #hakari kinji #todo aoi #kinji hakari #jujutsu kaisen analysis #culling games

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soir-rouges-esprit · 8 months

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xx11.c: The River, HEYYYY!!! … ARE YOU ALRIGHT!!! ... “Funny. I knew this would come one day but I am still in awe for some reason that you’ve made it here … guess I could use some Hope huh?” Still … no response. I just continue on walking towards him. I notice more detail about the Dead Oak that he was propped up against … it was much larger than I had thought. It was so expansive with many branches stretching across a large space. It had some sparse grass growing around it … guess the area isn’t totally dead after all. The tree itself was also dead and dark grey in color like the rest of the scenery, it looks as if it was set ablaze long ago … but how was it here? I remember The River in its entirety, and not once have I ever come across this tree in previous unwelcomed visits … the area in general as well with its dry rocky dirt white surface … this wasn’t always here. What? Why was this here? How was this here? I had no clue or the current capacity to continue entertaining my curiosity. I get closer and closer until I was right behind this elusive Golden Figure. I approach right behind him slowly saying. Hey … can you hear me? Are you alive and breathing there drifter? Feeling ok? You are quite far from The City … kind of strange place you decided to pick and rest … it’s not exactly safe here you know? “Ah … so you’ll finally be able to hear me now” huh? “What dangers are out here Red?” Well, The River actually is pretty dan … wait what? how’d you know my name? Who the fuck are you? I circle around him tensed and stand parallel to The River bank. I get a look at his face … he was … me? Another shade more like, but wait what? How do you? “Look like you? but not a shade of Red?” … yeah? … “We’ve always been, Red. For one reason or another … people gave us that name and we ran with it, eventually introducing ourselves as such … but once … someone referred to us as not Red. Well, they referred to the other side of us as not Red … but instead … Golden. So here I am … the one and only.” What? That is … impossible … right? “I’m sitting here ain’t I?” Yeah … I suppose … you are. I go and sit next to him and say. Why are you out here … “Hope … you can call me Hope” Oh ok … Hope … why are you out here? Why the hell would anyone for that matter, wanna be out here? I don’t even wanna be out here The River is just another obstacle … separating me from The City. “Because … If you don’t make it to The City … I won't be around to see the rest of the story … and we both know how much we love stories” Wait … you’re here to help? “Yeah. it’s a bit selfish I know but … I really don’t wanna die you know?” Yeah I suppose that’s a good reason. But why help me? Why not some other shade? “Do you see any other shade out here? Do you know of ANY … other shade Wrath is directly trying to sabotage or Body & Mind are trying to actively target with The Cazbiums guns?” well … “The answer is no. because there, unfortunately, is no other Rebellious Shade.” I see … and no offense … but how exactly are you gonna help me? “By helping you help yourself.” He stood up and dusted off his legs. I follow and do the same. Help me help myself? What does that mean? “Look around you … notice anything?” I turn and look around me a full three-sixty … I see nothing … No? What am I missing here? "You've always been like this somewhat … always trying to solve everything, and overthinking so hard that you overlook the smaller more delicate details. There's ash … piles of it. Look over there. There and there … everywhere! Ash" Oh! … yeah … what? Why is that? "This place … The River. Is where bridges go to die." … What … you mean … those are ashes of dead bridges? "Correct" and why would I wanna know that? How does that help me Hope? "You've been … lacking something for a long while now Red. Not just the thing itself but the thing it creates from nothing." … I … I'm missing a lot of things … that does not narrow the list as much as you think. He walks over to the large Dead Oak and rests his hand over some scribbles in the bark ... [To Be Continued]

#creative writing #original story #writing

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greysalta · 2 years

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Teamcity cloud

TEAMCITY CLOUD HOW TO

TEAMCITY CLOUD INSTALL

TEAMCITY CLOUD CODE

TEAMCITY CLOUD TRIAL

TEAMCITY CLOUD FREE

TEAMCITY CLOUD TRIAL

TeamCity Cloud offers a 14-day trial period - we suggest that you try it before migrating.Įxisting licenses of On-Premises build agents cannot be transferred to your Cloud subscription. Depending on the specifics of your operations, the Cloud subscription might eventually cost more or less than the On-Premises one. You should thoroughly estimate what distribution model works best for you. This approach allows always running as many parallel builds as needed and prevents long queue times during peak hours. While the On-Premises version limits the number of concurrent builds, the Cloud one scales the number of active agents in correlation with the current demand on the server.

TEAMCITY CLOUD INSTALL

We can potentially install plugins per user request, but only those specifically verified to work well in the cloud. If there are external plugins installed on your server, you might lose some of the related functionality on migrating to Cloud. TeamCity Cloud doesn’t allow installing third-party plugins. Read about all the functional differences here. However, it may not be the best option for customers who want to fully control their CI/CD environment, or have a highly customized TeamCity instance. This approach offloads routine maintenance from you and provides a ready-to-use instance in the cloud. Cloud instances are installed, updated, and administered by JetBrains. There are differences in functionality between Cloud and On-Premises versions. Choosing Modelīefore making a decision to migrate, please consider the following factors:

TEAMCITY CLOUD HOW TO

The following sections explain how to estimate the potential cost of the Cloud subscription based on the usage data of your On-Premises server. This core difference between the models complicates mapping the costs of TeamCity On-Premises directly onto TeamCity Cloud. See more details about the Cloud licensing model here. If you run out of subscription-granted credits, they can be purchased on-demand. Credits can be used to acquire extra resources on demand. To cover these needs, a Cloud subscription grants a set of virtual resources and a certain number of build credits per committer. Naturally, the more commits are made to your projects, the more resources are required to run builds on these commits.

TEAMCITY CLOUD CODE

TeamCity Cloud installations are charged based on the number of active committers - users who make more than 10 commits to the source code each month. You can increase this number by acquiring more agent licenses. TeamCity On-Premises installations are charged based on the maximum number of build agents allowed on the server. Differences Between TeamCity On-Premises and Cloud Licensing If you still have concerns or questions after reading it, don’t hesitate to contact us for a consultation. This article gives general guidelines on how to migrate from your existing On-Premises instance to Cloud. While the On-Premises model suits some of our clients, the Cloud version might be a better match for those teams who prefer a managed service for their CI/CD infrastructure. The pricing is based on the number of active committers. Self-hosted agents can be connected to the cloud server as well. The pricing is based on the number of build agents.Ĭloud: the server and agents are installed in the cloud and managed by JetBrains. On-Premises: you decide where to install the server and agents and how to administer them. To avoid any inconvenience, jobseekers/applicants are advised to check all the details when applying for a job.Migrate from TeamCity On-Premises to TeamCity Cloud Most of the jobs posted on startupjobsportal are taken from the career pages of the organizations. For any job posted on our website, we do not charge any costs or service fees, nor do we authorize anyone to do so.

TEAMCITY CLOUD FREE

Keep checking your inbox for details about the next round once your CV has been shortlisted.Īlso Read: startupjobsportal platform is a free Job Sharing platform for all the Job seekers. If your CV is shortlisted, you will receive all communications from the organization via your registered email address. Please read the job instructions and requirements carefully before applying. Upload Your Resume & Get Relevant Jobs: Click Here

#Teamcity cloud

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f1 · 2 years

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Missed chance for restart not good for F1 and FIA must do a better job Ferrari | 2022 Italian Grand Prix

Advert | Become a RaceFans supporter and go ad-free The FIA must do a better job with future Safety Car situations, Ferrari team principal Mattia Binotto has said, after yesterday’s Italian Grand Prix ended before it could be restarted. The FIA said yesterday’s race at Monza could not be restarted because it took longer than expected to recover Daniel Ricciardo’s car, which caused the stoppage to begin with. However Binotto pointed out there was another delay in organising the field to be ready for the restart. The Safety Car initially failed to appear in front of race leader Max Verstappen as required, and spent two laps running ahead of third-placed George Russell. Binotto believes the correct rules are already in place to deal with such situations, which the sport scrutinised in detail following last year’s controversial championship-deciding race in Abu Dhabi. “I don’t think it’s a matter of changing the rules,” he said. “The rules have been discussed, largely, especially after Abu Dhabi last year. They were discussed with the FIA, F1 and the teams, and we came to a conclusion that the current format is probably the right one to keep. So I don’t think it’s a matter of regulations. “I am certainly disappointed for how long it took them to decide, and I think we are not understanding why it took so long to release the cars between the Safety Car and the leader.” The presence of Ricciardo’s car at the side of the track should not have delayed organising the field into the correct order, said Binotto. “I don’t think safety could be the right reason for it because when you are released, as a driver, you cannot go simply flat-out around the track. There is a minimum lap time, which is set by the regulations and this minimum lap time is there to make sure that whenever they are running and driving, they are doing it safely. Advert | Become a RaceFans supporter and go ad-free “So what we do not understand is, on the current regulations, that we believe are right, why it took so long for them to decide.” He accepted that the unexpected difficulty in moving Ricciardo’s car, which involved the use of a crane, had caused part of the delay. Gallery: 2022 Italian Grand Prix in pictures “But still, in parallel, I think that [they] could have, with the Safety Car, done a better job in order to prepare the entire train of cars to be ready for a new start of the race. That didn’t happen. “So I think simply that was wrong and could have been done better without changing the regulations because the regulations are in place, it’s only a matter of applying them in a better way.” The missed opportunity to restart the race reflected badly on F1, Binotto believes. “I think they simply need to do a better job for F1, the show,” he said. “It’s not [only about] Ferrari and tifosi [fans] because if the Safety Car would have ended before, how the race would have finished, I don’t know. Max still was the fastest car and he was on new tyres. “But generally speaking, I think we should try to end the Safety Car as soon as possible and give more track time, race time to all the drivers. So the disappointment of today was to see how long it took them to decide. “We believe in that respect, they didn’t do a good job today. And they need to do a better job in the future because that is not good for F1.” Advert | Become a RaceFans supporter and go ad-free 2022 Italian Grand Prix Browse all 2022 Italian Grand Prix articles via RaceFans - Independent Motorsport Coverage https://www.racefans.net

#F1 #Missed chance for restart “not good for F1” and FIA must “do a better job” – Ferrari | 2022 Italian Grand Prix #Formula 1

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makeste · 3 years

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some follow-up thoughts on BnHA 306

mostly Deku angst, but also a little Baku angst (and some TodoBaku angst) mixed in for good measure. because there’s plenty of angst to go around.

1. “if I’d only been stronger...”

I’ll talk more about Deku later in this post as well, because there’s definitely plenty to talk about; this is the most character development he’s gotten in almost 200 chapters. but for starters, I want to discuss the possible parallels between Deku’s current character arc, and what is arguably the most iconic moment of angst/character development in the series.

remember how this kid, who up until this point had rarely seemed to give two fucks about the world around him, suddenly revealed that he blamed himself for being the downfall of All Might? remember how it came almost out of nowhere? how he’d been hiding it, and trying to suppress it? “but even if I try to forget... sometimes it all just comes rushing back.”

yeah. so anyway, I got to thinking -- if being the cause of one hero’s downfall could affect someone this badly, what about being responsible for the downfall of all heroes?

what if a boy who wanted nothing more than to keep people safe suddenly found himself at the epicenter of a disaster that killed hundreds, possibly even thousands of people?

now obviously, this is not the sole thing that’s troubling Deku right now; this kid has a whole array of traumas as of the War arc. like, you know it’s bad when Society As We Know It Coming To An End Partially Because Of You is the least of your problems. but still, I think this is worth bringing up, because the hero kids blaming themselves for things that aren’t their fault is hardly anything new. and yet, what with everything else that’s been going on -- all of the Todoroki drama, and Vestige revelations, and hospital antics, and political strife -- I feel like it’s easy to forget or overlook this little detail.

the fact is that AFO put this entire plan into motion solely in the hopes of finally obtaining OFA. every single thing that happened at Jakku -- Tomura powering up; Machia waking up and going on his rampage (after being ordered to do so by Tomura); and even Dabi/Touya choosing this moment to finally strike (because he knew this was when the reveal would do the maximum damage -- when people’s faith in heroes was already wavering) -- every last bit of it can ultimately be traced back to AFO’s desire to steal OFA. which, obviously, makes it AFO’s fault, not Deku’s. but then, Kamino wasn’t actually Katsuki’s fault either. it wasn’t his fault the villains went after him (but he blamed himself anyway), and it wasn’t his fault that people got hurt in the ensuing battle to save him (but he blamed himself anyway).

just. I think we’re underestimating just how strong of an impact all of this likely had on Deku. we haven’t really had the chance to see him process it yet. he’s been too busy, and there have been too many other things going on. but I’m telling you guys, that empty look in his eyes in the final page of the chapter? I can all but guarantee you that at least some of that emotional weight is coming from this.

sure would be nice if he had a friend who knew exactly what that was like, and could help him process the guilt and all of the other associated emotions, just like Deku once helped him. unfortunately I’m not so sure things will be that easy this time around. anyways though let’s move on to a couple of other thoughts and speculations.

2. “...and I bullied him.”

one of my least-favorite BnHA fanfic tropes is the one where the rest of class 1-A somehow finds out about Katsuki and Deku’s history -- i.e. that Katsuki bullied Deku throughout most of their childhood. mind you, it’s not the concept itself that I dislike; it’s mostly how it’s used. a lot of times it’s just an excuse to have all of the other kids turn on Katsuki and ostracize him; either because the author thinks that’s what he deserves, or else so that Deku can eventually come to his rescue and defend him and shame the rest of the class for not seeing how much he’s changed. either way, it’s usually pretty awkward to read, and more often than not the characters are pretty OOC (especially Ochako and Todoroki).

however! there’s a big difference between fanfic and canon, and just because I’m not a fan of this trope in the former doesn’t mean it couldn’t be executed well in the latter. and lately I’ve been thinking about this a lot. mainly for three reasons:

the recent (can we still call it recent?? well whatever) scene where Katsuki confessed to All Might that he used to bully Deku is now one of my favorite scenes in the entire series, and proof that this can be executed well.

both Todoroki and Deku have finally had their respective big secrets revealed to the rest of the class. so like, idk. feels like it just might be secret-revealing season now, you know?

and lastly, as a result of Deku’s secret about OFA finally being revealed, the rest of 1-A now either knows, or can extrapolate, that he used to be quirkless.

and from there, I feel like it’s not all that hard to put two and two together with how terrible Kacchan and Deku’s relationship was when they first started at UA. that’s not a terribly difficult puzzle to solve. so I feel like it might come out anyway, and if so, I’d prefer Bakugou telling them himself, and taking responsibility as part of his atonement process. because we know that he regrets it. we know their relationship has changed. we know that he has changed. and so I think I might like to see this.

alternately, if confessing to the entire class is too much, at the very least I could see him confessing to Shouto, because I’ve always felt like this was one of the big things that made Katsuki so resistant to letting Todoroki call him a friend. because I feel like there’s a part of Katsuki that saw the parallels between Endeavor’s abuse of Shouto and his own bullying of Deku, and thought, he wouldn’t be so quick to call me his friend if he actually knew the truth. and so there’s actually been this roadblock wedged between them this whole time that Shouto doesn’t even know about. because Shouto hates Endeavor. and so it’s not such a leap to assume he’d hate Katsuki too if he knew just how terrible he’d been to Deku when they were younger.

not that I think he actually would! actually I don’t think either of those things is actually true (because Shouto clearly doesn’t hate his father either, in spite of everything that’s happened). but the point isn’t what I think -- the point is what Katsuki thinks. and I really do think there’s a good chance he’s worried about Shouto hating him, and it’s one of the things that’s made him so reluctant to accept his friendship. anyway, so I’m really just rambling now, but you get my point. I don’t know if this is actually going to happen, but it’s a scene I would like to see if Horikoshi decides to indulge me.

3. “...so when you wake up, please give him my best.”

and now, as promised, back to Deku.

ngl guys, when I first saw this image, my immediate thought was that Gran must have died. because I mean, hello, leaving U.A.?? donning himself in his teacher’s old cape?? empty, exhausted look in his eyes?? what else were we supposed to think lol.

but maybe that was an overreaction. because when I think about it more, Gran’s death isn’t strictly necessary in order to push Deku over the edge. first of all, there’s already the whole “hero society is in ruins now because of you” thing I mentioned earlier. but also, there are just so many other things. like, let’s just list them here because omg. what a rough couple of days this kid had.

he was forced to battle TomurAFO and was terribly injured in the process (most of which was his own fault, but he wouldn’t have gone that far with OFA unless he felt like he had no choice)

and it wasn’t just him that was injured, either. in fact, even though he tried to act as bait to keep everyone else safe, he wasn’t able to stop three of the people closest to him from nearly being killed right before his eyes

and of course that last one was especially traumatic, because it was Kacchan, and because he had to watch Kacchan nearly die just to protect him. out of all the things that Deku witnessed in this arc, this might be the one that had the biggest impact on him

he was also basically helpless to do anything to protect Shouto and Endeavor when Dabi showed up. so again, we have this running theme of people he cares about being hurt and him not being able to save them

and he also got sucked into the OFA Interstellar Dream Vortex for a brief spell during the battle, during which he learned that AFO had possessed Tomura. more importantly, he learned that Tomura was Nana’s grandson, a fact which was only briefly touched on during that scene, but which I think wound up being the trigger to the whole avalanche that ended with Deku leaving UA. but more on that in a moment

anyway so just to wrap this all up, the battle eventually ended, Tomura got away despite all of their efforts, and then Deku wound up comatose in the hospital for two days. which brings us to the most recent chapters, during which

Deku learns that he will be the last wielder of OFA, whether he likes or not

Deku learns the identity of the last two mystery OFA users

and then at some point, he wakes up and presumably talks to Gran, and winds up with his cape

something happened during these last two scenes which helped to push Deku over the edge. I won’t delve into the matter of the Second or Third users for now, although most of you already know my suspicions regarding that, and I do think that would fit into the general pattern here (that is, the pattern of Deku feeling more and more strongly that he is putting the people around him in danger, and his fear of losing them becoming so overwhelming that it eventually pushes him to leave).

but that’s not what I want to talk about for now. what I want to talk about is Gran. specifically, what it is that Deku discussed with Gran. and this is where we come back to that reveal I mentioned earlier -- that Tomura is Nana’s grandchild.

basically, what I think happened is that Deku mentioned seeing Nana in the OFA Zany Psychedelic Spirit Void, which led to the topic of Tomura, and the fun fact Deku recently learned about him being related to Nana. this, in turn leads to Gran divulging his various regrets about everything that happened with him and Nana and Kotarou. his intent is to apologize to Deku for placing the burden of their failures on him. unfortunately, the part that Deku actually gets fixated on instead is this:

All for One hunted down and killed Nana’s son (and probably her husband as well), and stole her grandchild and psychologically tortured him into becoming a mass murderer, for no other reason than that Nana had once held OFA

in other words, AFO can and will hurt and kill anyone Deku is close to, anyone who has any kind of connection to him at all, without mercy, and regardless of whether it actually gives him any kind of tactical advantage or not. he’ll do it simply to hurt him. no other reason necessary.

I don’t know about you, but for me that would be a terrifying realization. and for Deku, I think it just might have been the tipping point.

so, let’s recap.

Deku learns that AFO is after him

AFO/Tomura very nearly kills several of Deku’s most important people, including Kacchan

and then he learns that this is just the tip of the iceberg, and realizes that all of their lives are still in danger and will continue to be as long as Deku is AFO’s target

and then add to all of this the misplaced guilt about society already being shambles, and the heroes already having more than enough to worry about. they’re barely holding things together as it is. and we already know how Deku feels about being a burden to them:

and so instead, he leaves. of course he does. in hindsight, I think this was inevitable.

the question is, did anyone else also put the pieces together in time to realize what Deku was planning before he actually left? specifically, did Katsuki, who understands Deku’s self-sacrificial nature better than anyone else, see the signs and put two and two together? like he did back at Jakku?

and if he did, would Deku have been willing to accept his help again?

somehow, I can’t help but think it might not be that easy this time.

anyway, so that was a lot of rambling, lol. sorry about that. I JUST HAVE A LOT OF FEELINGS about all of this angsty shit. tired nomad Deku needs hugs and comfort and someone to reassure him that he doesn’t have to face this alone, and that everything is going to be all right. HE IS JUST A LITTLE BOY. this is too much, and I cannot handle any of these feels, and oh my god, somebody please help him.

#bnha 306 #midoriya izuku #bakugou katsuki #todoroki shouto #gran torino #bnha meta #deku meta #bakugou meta #bnha #boku no hero academia #bnha spoilers #mha spoilers #bnha manga spoilers #makeste reads bnha #long post #bakudeku #todobaku

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jasontoddiefor · 3 years

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Retranslation of the Sith Code from a Linguistic Perspective

Peace is a lie, there is only passion. Nwûl tash. Dzwol shâsotkun. Through passion, I gain strength. Shâsotjontû châtsatul nu tyûk. Through strength, I gain power. Tyûkjontû châtsatul nu midwan. Through power, I gain victory. Midwanjontû châtsatul nu asha. Through victory, my chains are broken. Ashajontû kotswinot itsu nuyak. The Force shall free me. Wonoksh Qyâsik nun.

Star Wars has a couple conlangs – from Huttese to Ryl, many cultures in a galaxy far, far away have their own words. The, admittedly, most famous conlang is Mando’a, the language of the Mandalorians. It has recently gained even more popularity due to The Mandalorian and the many headcanons about the clones and their culture floating around in fandom. While Mando’a is undoubtedly the conlang with the most extensive vocabulary, it is not the soundest Star Wars conlang from a linguistic perspective. That honor belongs to the version of the Sith conlang that was later amended and developed by Ben Grossblatt.

The Sith Code, as we know it, was developed by David Gaider in 2003 for the game Star Wars: Knights of the Old Republic. Grossblatt’s conlang was created seven years later in 2010.

When you consider this, Grossblatt had two options when creating his conlang and translation of the Code. He could translate the Code from English into Sith, or he could pretend the English (or “Basic”) version of the Code resulted from a translation from Sith.

Why does this matter?

[AO3]

This question is easily answered when you think about the various meanings of the words. As every bilingual person knows, translating a text from one language to another isn’t easy because there are no two languages whose vocabulary matches completely. Let’s take an example from the Code:

“asha” (noun) is translated as “victory”.

This translation, however, does not explain what kind of victory “asha” refers to. While English may have only one term for victory, a Sith could differentiate between “victory you achieved on your own” and “victory by decimating your enemies”. Or “victory” might only be one translation of the word and others could be “dominance, control, superiority”. All these words lean into the direction of “victory” through the worldview of the Sith.

Basically, Grossblatt had to decide whether the English version should be the end result or the starting point of his version of the Code in Sith.

In this essay, I intend to treat the English version of the Code as the translation of the original Sith language. This is important because it means that this deconstruction of the Sith Code will be influenced by my own interpretation of the various other meanings as possible Sith word could have, which are not necessarily Canon/Legends based. I will be translating this Code line by line and, in the end, create a new version of the Code which will deviate from the Canon one but hopefully picks up the grammatical cues from the Sith version that the current one is lacking.

TLDR: I don’t want to just explain the grammar, I want to analyze it.

Now, a brief look at the in-universe history of the Code of the Sith to shed some light on the perspective I’ll take into consideration while translating.

The Code itself was allegedly created by the Fallen Jedi Sorzus Syn. It was meant to be a pendant and an update of the Jedi Code simultaneously. While this is technically speaking fine, we do run into some troubles from a historical perspective.

The Code was first authored on the planet Korriban in 6900 BBY. The Jedi Exiles didn’t speak the language of the Sith species, which were enslaved by the Jedi Exiles. They used translation talismans, which granted them the ability to speak and read Sith as if it were their mother tongue.

…

Yeah, that’s stupid. I know. But it’s space fairy tale science fiction, so we’ll accept it and move on.

If you are bilingual, you might notice that you are more capable of speaking about a given topic in one language than in the other. Therefore, it would make sense if it were easier for the Jedi Exiles to talk about the Dark side in Sith, which was uniquely suited to speak about it. However, when the Code only exists as a differentiating point to the Jedi, they were bound to slip into a rhetoric that would be more along the lines of that they’d used as Jedi. That could explain why the Sith Code in Basic/English seems to parallel the Jedi Code so much. My working hypothesis is that the Sith Code – given that it is supposed to reflect Sith philosophy – can stand on its own with its own meaning. Otherwise, the Sith would only ever see themselves in contrast to the Jedi, which, given their superiority complex, is a rather strange view. Therefore, my translation will focus on staying as close to the original Sith language as possible.

Peace is a lie, there is only passion. Nwûl tash. Dzwol shâsotkun.

Now tackling that first line of the Code. The interesting part here is that Basic translates the two sentences as one. The first sentence – Nwûl tash – consists of two nouns: “peace” and “lie”. The present tense copula (the “to be”) is dropped, leaving the two nouns. When comparing this to the following sentence, we immediately see the first issue. The verb dzwol refers to “to be”. We also know it can be translated as “to exist”, “to abide”. The question that arises at this point is whether the first sentence drops dzwol or another verb referring to “to be” that we don’t know. What becomes clear, however, is that different emphasis is put on the two sentences. Many languages drop the tense copula. When the copula is dropped, the relation between the other constituents (components of the sentence) is understood. So reading the first sentence, you gain the impression that the statement “Peace is a lie” is a fact of life. “Peace = Lie” would be a mathematical way of writing it down.

Another critical thing to mention here is that Sith, as far as we know, doesn’t make use of determiners (a/the), and as such, the statement could possibly also be read as “The peace is the lie” or “A peace is the lie” and so on. But given that we do not have any information on the grammar in that aspect, I will not elaborate any further.

Now, let’s take a look at the second sentence by comparison. Here we have an explicit present tense dzwol. Unlike the rest of the Code, this sentence follows the VSO word order. Given that the rest of the Code uses topicalization, we can conclude that the verb dzwol is the focus of this sentence. Given that we are also given the translations “to exist, to abide”, perhaps it would be a more appropriate choice to use one of these words when translating to properly show the difference between the omitted present tense copula and the explicit one here.

Following this, we have to deal with shâsot and -kun. -kun refers to the adjective “only” and modifies the noun. shâsot is interesting because we are given the translation “passion” in the Code. The vocabulary list, however, translates it as “struggle”. While both have overlapping meanings, I would argue in favor of the “struggle” translation.

“Passion” stems from the Latin “passio” meaning “suffering, enduring”. Nowadays, it is used in Christianity to describe the suffering of Christ, but also, citing Merriam-Websters here, “the state or capacity of being acted on by external agents or forces”, as well as being motivated/moved by intense emotions. However, “struggle”, is defined as “to make strenuous or violent efforts in the face of difficulties or opposition” and “to proceed with difficulty or with great effort”. Given that the first sentence of the Code refers to the idea that peace doesn’t exist, I believe an emphasis on the aspect of fighting, which we find in “struggle”, would be appropriate.

Personally, I’d prefer “to exist” over “abide” for the verb as well. “abide” may imply that only the struggle has to be endured. I’d favor a reading that instead emphasizes the contrast that the absence of peace means the presence of nothing but struggle. My translation of the first line of the Sith Code would therefore be:

Peace is a lie. Only struggle exists. Nwûl tash. Dzwol shâsotkun.

Now we can consider the next line: Through passion, I gain strength. Shâsotjontû châtsatul nu tyûk.

Before we can tackle the translation, we have to consider three grammatical construction.

Sith is typically VSO (Verb Subject Object).

Sith has instrumental case, which is marked on the noun with -jontû. Generally, this is translated as “by” or “with” or “using”.

Sith has alethic verb mood, which is marked on the verb with -atul. Alethic mood refers to “the truth in the world” as opposed to epistemic mood, which is “the truth in an individual's mind” (epistemic). While this differentiation is not without criticism, given that all truths in the world are filtered through our perceptions of the world, it is interesting to note that Sith apparently does make this difference.

Now that we have considered these, I will break down the second sentence. The first thing I have to mention is that this sentence and the following ones are topicalized. Shâsotjontû is the word shâsot in instrumental case. As before, I prefer the “struggle” translation. The instrumental case itself is translated as “through” which is an interesting choice as that is not a standard translation. I’d instead go with the “using” translation as it further highlights that a Sith utilizes whatever tools they deem necessary and needed. Objects and people are measured against what value they have for a given person, how useful they are if you want to spell it out. Furthermore, it highlights that the Sith, at one point, actually discussed the Code and the “best” way to use the Dark side.

The verb châtsatul is in alethic mood and translates to “gain”. This, again, also fits well with the “using” translation of the instrumental case. The subject of this sentence is nu the first person pronoun “I”. tyûk translates to “strength”. Here we run into the previously elaborated victory problem as well. The Code gives us no explanation of what kind of strength is meant here. The idea that it’s only physical strength is, of course, ridiculous. It could also cover mental strength and strength in the Force, as well as the words “might”, “courage”, “durability” and so on. This issue concerning the lack of vocabulary will continue to follow us through the complete translation of this text. As I have now elaborated on it twice, I will only make references to it in the future, with perhaps here and there a suggestion for a more appropriate translation.

My translation of the second line, taking -atul into consideration, would therefore be as follows:

Shâsotjontû châtsatul nu tyûk. Using struggle, I necessarily gain strength.

Now we can turn to the third line: Through strength, I gain power. Tyûkjontû châtsatul nu midwan.

The only new word here is midwan, which is translated as “power”. Again, the definition of power in this context isn’t clear. The translation of this line would be:

Tyûkjontû châtsatul nu midwan. Using strength, I necessarily gain power.

We can now turn to the next line: Through power, I gain victory. Midwanjontû châtsatul nu asha.

I already elaborated at length on the various possible definitions of “victory”. I, personally, prefer a reading that equals “victory” to “dominance”. What I also thought was interesting here is that the morpheme “asha” appears to be very common in Star Wars across cultures and languages. There are multiple people named with variations of that morpheme. And then, of course, there is also the planet Ashas Ree, which is deep in the territory of the former Sith Empire and had a Jedi Temple built on top of a Sith Temple. Ashas Ree could be the Basic version of a Sith term. While we do not have the word “Ree”, phonologically, it would be pronounced /riː/, and Sith has the consonant /r/ and the vowel /i:/.

A side note about Sith phonology: Sometime between the Jedi Exiles taking over and the Prequels era, the Sith lost the vowel /e/ or /ɛ/ as the Sith of that time still had words like “jen” meaning “shadow”, “dark”, and “hidden”. As this word, and others making use of it, are apparently still in use today, their vowel probably changed to /i/, /æ/, or /aɪ/. Or maybe the word “jen” is pronounced as it once was as English/Basic does have these vowels, and people can therefore say “jen”.

Returning to our translation, we can read:

Midwanjontû châtsatul nu asha. Using power, I necessarily gain victory.

And now we’re going to look at a line that made me cry:

Through victory, my chains are broken. Ashajontû kotswinot itsu nuyak.

Once more, before we can actually look at the translation, we have to look at the grammar. This is the breakdown Ben Grossblatt made of that sentence:

Ashajontû kotswinot itsu nuyak. Victory+INSTR break+ERG+LG INAM OBJ chain my+PL. Through victory, my chains break.

INSTR refers to instrumental case I already elaborated on.

ERG refers to Ergative. The interfix -win- is added to a transitive verb to indicate ergativity, meaning that the grammatical subject of that verb is its semantic object, while the true semantic agent remains unexpressed.

LG INAM OBJ means “large inanimate object”. This refers to the fact that the verb kots is part of a group of verbs called “handling verbs”. These verbs mark what kind of object is affected by them. -ot is the marker for “large inanimate object”. When searching for languages that use these “handling verbs”, Navajo was one of the first results.

Sith plurals appear to be marked on the articles or, given the lack of such, on the possessive markers: nuyak is therefore “my” and “the object I possess is plural”.

Now that we have tackled the grammar, I will elaborate on how it applies to this sentence. The ashajontû construction should be well-understood by now, so I will not linger on it.

Interesting is here that the possessive marker nuyak also indicates the number of the possessed object. In a way, this enhances the claim on the object as it is more intrinsically connected to it. The possessed object here is itsu, the “chain”, which only gains its plural through the possessive. It would be interesting here to know what the other verb markers are as “chains”, in this context, are categorized as physical objects. At the same time, their meaning is obviously meant to be metaphorical. Knowing whether Sith can make the difference and might choose to do so here would be beneficial when analyzing this line. However, evoking the image of physical chains here, which are broken, makes the act seem more striking.

And now we’ll tackle the verb. The root kots gets inflicted twice by the ergative marker and the object marker. According to Grossblatt, it can be read as “completely shatter” or “completely break”. As the purpose of the object marker -ot has already been elaborated on, I will now focus on the ergative marker.

Ergativity is one possible way of hiding the concrete agent of action without passivizing the sentence. Consider “The window broke” vs. “The window was broken” vs. “I broke the window”.

This makes the overall translation of the sentence rather interesting. The original translation reads “Through victory, my chains are broken” which is passive and not ergative. Therefore, it would be more correct to follow Grossblatt’s reading of “my chains break completely”. Still, the fact that we do not have an overt agent here makes this sentence quite interesting. While the method – ashajontû – is known, the agent could be either the speaker themself, or another person doing it for them. Given that the adverb “completely” is added to the verb, perhaps this sentence suggests that on your own, you can come quite far breaking your chains but not reach that finalized step. For that, you need victory.

Furthermore, this offers an interesting perspective on the Sith and their teachings, especially on the Banite Sith, if you read “victory” as something closer to “dominance”. In this case, the sentence almost seems to imply that by becoming stronger and surpassing another person, perhaps your Master, you manage to break your chains completely. An even deeper reading might allude to how the Sith conceptualize the chains that keep them. They appear to put their own freedom and thirst for power above everything else. Perhaps that is already too much interpretation for one line, but it was worth noting. In any case, my translation of that sentence is:

Ashajontû kotswinot itsu nuyak. Using victory, my chains break completely.

After this heavy sentence, we only have one left!

The Force shall free me. Wonoksh Qyâsik nun.

This sentence is relatively uncomplicated. nun is the accusative pronoun “me” and Qyâsik is the Sith word for Force. wonoksh is the word for “to free” in future tense. The future tense is marked by -oksh and this is the part where we get to the slightly complicated/annoying part of the sentence.

Again, we don’t know if this is the only future tense Sith has or what its exact purpose is. As opposed to English, which technically speaking only has the tenses “past” and “not-past”, Sith marks a definite future. However, this future could also have undertones such as an imperative mood. Sadly, we don’t know anything about it. Now for the future tense. As inquires across the globe have told me, “shall” is pretty outdated. In a modern translation of the Code, you’d probably say:

Wonoksh Qyâsik nun. The Force will free me.

But that detail is relatively minor. Now that I have broken down every line of the Code, let’s put it back together.

Peace is a lie. Only struggle exists. Using struggle, I necessarily gain strength. Using strength, I necessarily gain power. Using power, I necessarily gain victory. Using victory, my chains break completely. The Force will free me.

Does this Code sound better than the original work? Probably not. I have to say, I do prefer the “struggle” translation and I like the first line more in my version, but otherwise, this Code doesn’t sound particularly great. However, it was also not meant to sound good. The purpose was to create a translation closer to the Sith language version, to reverse-engineer it if you want. I do think that this endeavor was worthwhile as, for me, it has shed some more light on the thinking of the Sith.

And also this:

Sources

Star Wars: The Sith

Sith Language

Speak like a Sith article

Sith Code

Ben Grossblatt’s breakdown of his translation

Sorzus Syn, author of the Sith Code

History of the Sith Dynasties

Wookiepedia Search of asha

Translation talisman

Ashas Ree

Temple of Ashas Ree

Grammar

Zero copula

Merriam-Webster on passion

Merriam-Webster on struggle

Alethic modality

Navajo Handling Verbs

Navajo Classificatory Verbs

Ergativity

Instrumental case

Color Coded Version of this Essay

#star wars #sith #jedi #meta #sw #worldbuilding #fanfic #conlang #linguistics

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sanjiafsincedayone · 3 years

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Why SaNa over other ships?

Now, this is not to hate on other ships or downplay them, because what shipping really comes down to is often simply preference. What characters or dynamics you enjoy and what reasons you might have for liking different things.

No, this is simply my own reasons for why I like SaNa and also why I think they could make sense and thirdly why it’s possible Oda could be setting it up to actually happen in canon. It’s all just my views and I apologize if I forget a moment or add something that is more head canon, but again, this is my reasons and they will always be partially biased. (And there are too many to remember them all properly, so if you want to add feel welcome to do so.)

I think Sanji and Nami is a lovely ship even based just on fan content and the community. But we also get some great moments in the manga, and I personally think there is potential for Oda to make an actual romance work between them.

1. Why I like Sanji and Nami

I personally fell in love with Sanji before I even started to watch or read One Piece, simply based on his voice actor (Hiroaki Hirata), his design and his fighting style. So obviously I already have a bias towards Sanji (SanjiAFsincedayone having a bias towards Sanji? Who knew?). I didn’t ship Sanji with Nami from the start and even now I am a multi shipper who enjoys fan content with Sanji as a main part of several pairs, most prominently ZoSan.

So, when did I fall for SaNa then? Well, I have talked about it in various posts before which you can find in my Masterpost - SanjiAFsincedayone, but for me shipping Sanji and Nami more seriously didn’t start until Thriller Bark.

Sanji took a knife in the back for her as she is dressed in a wedding dress, even this one scene is enough to explain why someone might like to ship them together.

I for sure saw many SaNa moments before that, and felt Nami seemed special to Sanji, but I didn’t think it would have a big chance of happening and I preferred other ships above it when consuming fan material. Again, shipping is after all mostly fantasy and wanting more of something in a romantic/sexual way. Thriller Bark was when Sanji and Nami’s interactions caught my attention properly and I started to look a bit closer and actually note the way Oda wrote them and their moments. Going back after and rereading I think there is a lot of interesting things even before that. But the wedding theme and bridal carry and how Oda showed them in Thriller Bark was just too on the nose to ignore.

What got me into shipping Sanji with Nami were mainly three things.

1. Their dynamics getting more interesting over time and Sanji and Nami being two of the most well written and interesting characters in One Piece. 2. Sanji consistently seeming to have a preference for Nami in combination with my belief that he is after true love and isn’t just a pervert forever doomed to be alone. 3. The manga showing the potential of it actually happening and them finally catching my attention in Thriller Bark. Basically there are moments to follow and look at in the actual story as well, which in turn also leads to more fan content and material for shippers.

So point 1 and 2 really is mostly about my preference and how much I enjoy watching them together and how well I imagine they would fit together. I think their personalities and desires overlap well with them being able to understand and compromise for each other while aslo being on a similar level of intelligence and communication. They also have their kindness and empathy as a highlighted shared theme for their characters.

Them talking about the Children in Punk Hazard or Sanji helping Nami turn in the argument between both Luffy and Vivi and Luffy and Usopp are some examples. Or Nami letting Sanji smoke in her body because she knows how hard it is for him. Small gestures like this show both understanding and a willingness to compromise.

I think they are fun and have a relationship that right now might need working on, but it’s clear how much they care for each other and how they actually appriciate each other a lot.

Simply put I think they are interesting together and I think they could work as a romantic couple in the future, where their dreams and family oriented views migh allign. Again, from how I view them as characters and interpret their wants and possible futures I think Sanji and Nami is a good match. They can have a restaurant either traveling the world or docked close to both Cocoyashi and Zeff, Nami can tend to her mikans together with Sanji and they can manage a restaurant for a living. I also think they are the most parental members in the crew and has shown some possible signs of wanting to settle down with families. This would also work well as a final contrast to their less than happy childhoods (You might also want to check out my post (Part 3) Sanji x Nami hints - Thematic parallels).

There is a lot of potential in their dynamics and how different they seem while they also seem willing to adapt and try to understand each other that make them interesting as characters of romantic plots. At the same time they have enough in common to relate to each other and work well together. Again, as a fictional ship within the fandom there is a lot of great artists, writers etc. that truly explore them and make Sanji and Nami a great and fun ship with an active fandom to engage with.

Of course there are more shallow reasons like them matching in age and being good-looking but really I could ship Sanji with almost any woman if it was only about the looks. I mean, Purin is basically made to be a perfect match for Sanji, but I personally find his dynamic with Nami much more interesting and his dedication to Nami is of course unpraralleled thanks to the time Oda has spent on them over many years.

I love Sanji and Nami as individual characters and with the amount of moments between them there is also a lot to explore and enjoy in the manga. It makes them interesting in a third aspect for me, which is of course analysis and the potential of them actually ending up together and looking closer at the way Oda writes them from a story perspective. For me what we have gotten from Oda in terms of Sanji x Nami moments is very interesting and I see potential there even though it would need more development to truly work for the current story.

But, again shipping doesn’t have to mean anything for the actual story... There are crack ships or slash ships that surely will never happen but that could still be great and fun to explore for the fans. Honestly, everyone is free to ship whatever they want. We all have different taste after all.

So, what about the manga then?

2. Why do I think they could make sense as a romantic couple even in canon?

First, my own view is that Sanji is someone who seeks true love, and as briefly shown with both Violet and Purin it seems like he would take an actual relationship seriously if given the chance. I also think it would make him happy and thus as Oda might want to create happy resolutions for the strawhats I think Sanji ending up with someone has quite a big chance of happening. This is combination with his preference for Nami and in turn Nami truly caring for him (though not yet in a romantic way) is something that makes me think it could happen. Other ships have potential too depending on how Oda decides to develop them, but considering how he keeps adding moments for SaNa in the way he does as of now I still think SaNa is the most likely ship for Sanji.

As I mentioned earlier I also think Nami has shown some possible inclinations for wanting a family (or at least being a great mother if we look at her with children in many arc, not the least Punk Hazard) and maybe even getting married eventually.

If she ends up with someone we will need to see a more obvious attraction and want for romance from her no matter what ship we might consider. She has at this point not shown a lot, but I do think the thematic parallels she shares with Sanji in combination with how their moments are written has the potential to grow into something more.

As a romantic pair I think Sanji and Nami would be happy, he would adore her and take care of her and both of them would probably find that ideal. In fact it’s already a big part of their dynamics and seem to make them both happy. They also seem to try to understand and show interest in knowing each other as seen with several scenes and general attention towards each other’s backstories. They also challange each other in different ways and we have seen them compromise a few times. I think compared to many other relationship in the manga Oda has shown more personal moments between them. So a romantic additional aspect is not too far off. Not that Oda would make it happen now, but that he would lay down the groundwork for it to work by the end of the series.

In short I think they would make each other happy, but also challange and grow thanks to the other. I think their dreams of traveling the world with Nami drawing her map and Sanji cooking on all the seas and finding All Blue and then settiling down together close to both their “homes” in East Blue with a restaurant and family seems to fit them both. It wouldn’t always be easy, but I think they would actually enjoy their dynamics with Nami bossing Sanji around most of the time.

Now this all sounds nice and all, but it’s of course just my imagination based on biased interpretations of the manga. So where do I get it from?

3. The way SaNa is portrayed by Oda

Now this is really the biggest point... Because again, I can ship whatever characters I want and it is just for fun. It doesn’t have to happen for me to enjoy it or I wouldn’t ship Sanji with Zoro. But with Sanji and Nami there are legit reasons in addition to my preference that makes me think it could happen in the manga.

It might take years to actually go through it all in order with my additional interpretations, but I will try to go through the basics themes and moments that to me could indicate SaNa over any other Sanji or Namji ship.

I think the obvious thing to talk about first is simply how Sanji definitely has a romantic (and sexual) interest in Nami. No matter what other character you might see with either of them, this has been shown consistantly over the whole manga. You may argue that Sanji might be interested in others equally, and though I wouldn’t agree it’s a fair point. However from a story perspective it would still need to be resolved. It’s highly unlikely for Nami to end up with anyone unless Sanji ends up with someone else and gets a happy ending too.

As for Sanji’s interest in Nami I personally think Oda has paid a lot of attention to it in a way that makes it the most likely ship for Sanji. He might yet add moments between other ships and develop them (most notably San/Pu of course), but in my opinion the way Oda has added Nami in other potential romantic moments with Sanji it seems Nami is above every other woman so far.

Most importantly I think we have seen:

Sanji leave Violet who actually seemed to show interest in him to run off to save Nami (and the crew, but the point is that Oda chose to highlight and add this moment with focus on Nami to begin with).

Sanji being more focused on Nami even when Vivi and Robin has been on the ship or at the same place. Oda definitely puts Sanji with Nami above other women at least in amount of moments and involvment.

Sanji being very concerned with Nami in front of Purin and being shown happy with her (the bridal carry for example) and saying he loves her right in front of Purin.

Sanji having stronger reactions to Nami than other women. This could just be my way of seeing it, but I do think we have seen the strongest reactions from Sanji when it comes to Nami. Not the least with turning into a literal devil when he heard she was kidnapped by Absalom. For example compare Sanji rushing after Nami in both Skypiea and Thriller Bark even to him going after Robin. Or his reaction to Nami getting sick in Drum. We simply have a lot of strong reactions from Sanji towards Nami in different ways and more importantly Oda seeming to add focus on them.

We also have him reacting to things like “women’s tears” or calls but only indicating Nami might be calling him personally. For example Sanji hearing Tashigi cry or saying he trusts Violet or Robin even though they are lying but for Nami adding things like “I think I heard Nami call out for me” or moments like “I leave my Nami to you”. Basically the way Oda writes it there often seems to be added a more personal stake in Sanji’s reactions and moments with Nami compared to with other women.

So from Sanji’s point of view, and the way Oda has written them so far, I think he puts Nami above every other woman. But more importantly, Oda shows us moments between them that he doesn’t add for other ships as consistantly or in romantic looking ways. Keep in mind that both Nami and Sanji are main characters, but they are not Luffy. Oda choosing to not use Luffy (who will obviously have strong moments with all of his nakama, like how he had his own time with Sanji both in Baratie and WCI) for some of these moments but rather insert Sanji or Nami instead for each other’s stories makes it more relevant. Because it’s not an obvious choice in the same way. It’s a choice based on their characters and dynamics within the world, not because of their roles as main hero or heroine. Here are some examples.

1. Their first meeting. Sanji is for the first time seen in love cook mode and he basically seem ready to leave everything behind for Nami. Right away his reaction to Nami is stronger than what we have seen from him and it seems to hold true even with time.

2. SaNa having interest and plot relevance to each other’s back stories. Sanji getting involved with hearing Nami’s back story and saving his sister. Also, calling her “sister” which indicates a platonic familiarity where he puts Nami above Nojiko romantically (yes, despite flirting some with her). Nami in turn also getting involved and showing interest in Sanji’s backstory, pushing to go with Luffy to save Sanji and being the one to remind us of Sanji’s past and character traits.

3. Sanji getting personally tantalized by using Nami. This has happened several times, the first with Kuroobi in Arlong Park, but also with Mr. 2 in Alabasta, Absalom in Thriller Bark and then in Fishman Island (Zou too, but that wasn’t just Nami) and on Zou. You can check my post (thought not updated fully) Sanji and Nami – Fights and danger for a more detailed view. (Even in movies like Strong World Sanji has a direct talk with Shiki about Nami and it seems most people are aware of Sanji being extra sensitive to Nami.)

4. Sanji asking Nami if she is jealous or if she loves him, indicating again that he is interested to know is she is interested in him. Once even responding “I love you too”. In general Nami responding in these situations in a more “positive way” or Oda showing Sanji interpreting her actions as more romantic. For example the “proposal” or the hug in WCI.

5. Romantic looking moments or themes. Now this is of couse not something that has been done mutually between them and thus aren’t actually romantic scenes. But the tropes and common use for many of the things that Oda has chosen to use for Sanji and Nami are romantic in nature. Of course the two forced marriages are the strongest examples with them rescuing each other from getting married to someone else. But we also have the switch body trope, the slap and of course smaller gestures like the bridal carries or the way Oda drew the hug between them in WCI. I am not saying that SaNa is the only ship with romantic looking moments, because San/Pu And San/Violet obviously has some as well. However, considering the amount SaNa moments and the fact that he has left Violet and Purin in particular for Nami seems to make the SaNa moments trump any other ship. At least for me personally SaNa as it is now and as Oda has portrayed it in comparison to other Sanji ships gets in the way of Sanji ending up with someone else unless Oda starts to make some changes.

I want to make some emphasis on how Nami and Sanji seem to get some “bigger” moments between them in almost every arc. Again, compare this to Sanji with other women, or even Nami with other crew members.

Baratie - Their first meeting and Sanji’s reaction to Nami and interest gets focus. Arlong Park - Sanji shows interest in Nami’s past and Kuroobi mocks Sanji by specfically mentioning Nami. ( Loguetown Arc, Reverse Mountain Arc, Whiskey Peak Arc and Little Garden mostly have small moments, like Sanji asking if Nami is jealous or Sanji giving Nami his jacket.) Drum Island - Nami is sick and we see Sanji worry and care for her and in the end even sacrificing himself for her. Nami worries about him too. Alabasta - Sanji fighting Mr. 2 looking like Nami and lots of small moments like Sanji asking Nami if she loves him.

Jaya - Nami showing interest in Sanji’s back story. Small things like Nami hiding for the bugs behind Sanji or Sanji. Skypiea - Sanji being hell-bent of saving Nami and making the others look for her. Then him saving Nami and Usopp from Enel and Nami being worried in return. (Both times Sanji gets hit by Enel Nami is there and worries.) Then a lot of small moments like him giving her a flower and Nami pulling Sanji’s ear for flirting with Conis. Long Ring Long Land - Nami encourage Sanji be the ball and win, but mostly small moments like Sanji getting annoyed with Aokiji for flirting with Nami or him sitting next to her and trying to kiss her. Water 7 - Sanji leaving his love letter to Nami and Nami being worried for (and impressed with) Sanji. Enies Lobby - Sanji losing against a woman, Nami being understanding and then stepping in to basically revenge him. Also Sanji hearing it as Nami loving him and then him showing up to save Nami and Usopp from Jyabura.

Post-Enies Lobby - Not much, but Sanji stepping in to make Nami and Zoro stop fighting and make Nami understand Zoro’s pov. Thriller Bark - Sanji just being extremely focused on Nami and worried about her throughout the whole arc. Also him getting specifically selected by Luffy to save Nami. Of course the wedding theme with the bridal carry and Sanji’s reaction to Nami. Also Sanji’s Zombie protecting Nami (and later kicking Robin) and his “obsession with Nami” being mentioned. Sabaody Archipelago - Another smaller arc, but we do get Nami worried about Sanji possibly drowning. And smaller moments like Sanji being angry for Nami being put in danger by the Fishman Riders or him telling Franky to take care of Nami as he runs to protect Zoro. When they return we of course also get the nosebleeds, and Sanji daydreaming about Nami’s development.

Fishman Island - Sanji’s reaction to Jinbei and Arlong. Also the fishmen pointing out that Nami might be their weakness due to Sanji’s “over reaction“ to her falling. Punk Hazard - The body swtich, Sanji’s body saving Nami and Sanji being careful with not hurting her etc. Also them working together to save the children, Sanji listening to Nami’s request and saying he loves her more because of her kindness. Also small things like Sanji giving his jacket to Nami again. Dressrosa - Sanji leaving Violet behind to save Nami, insisting that he should be the one to save her and then him getting attacked by Doflamingo and Nami getting worried and not wanting to leave him. Sanji basically tries to sacrifice himself for Nami for the 4th time (Drum, Skypiea x2, also maybe in Thriller Bark). Zou - We get a lot of focus on Nami and Sanji together, and then of course when Sanji is gone Nami is the driving force for his plot. Once again Nami is also used to taunt Sanji (inside Capone). Then Nami is both the one to mention Sanji being from North Blue and to listen to Pekom’s talk about his family. Not to mention her insisting on going with Luffy to WCI and having a fight with Zoro as she defends Sanji. Whole Cake Island - The way she pushes for them to find Sanji, her hapiness when they find him and her hurt and the slap. We even get something like Nami being tantalized with Sanji by both Purin and Brulee. The only strawhat besides Luffy who gets a personal story thread with Sanji and a personal resolution for their conflict is Nami. The tension seems personal and combined with Sanji having another love interest but choosing Nami above her it does seem like Nami is the more natural choice both for Sanji and for Oda.

There is also a distinct increase in romantic-looking moments between them, with them touching more than ever before.

Wano - Even after WCI it doesn’t seem like Oda is stopping the SaNa moments. Sanji manages to save and carry Nami three times in the beginning of Wano. On top of that we have the bath scene and of course a lot of small moments and mentions between them like Sanji asking Usopp to take care of “My Nami-san” or Sanji jumping in abobe Nami to save her from arrows.

How many times have we had Sanji be the one to go after Nami or save her? By his own choice, by being the one present or even by Luffy asking Sanji to go. Oda puts Sanji next to Nami a lot, and I think it’s possible he might be doing it for a reason.

Who knows what we might get, but the fact that we have as much as we do really seems to show Oda having a preference to put them together in various ways.

The point is they have a lot of time and moments dedicated to them from Oda despite them both being secondary characters. At this point it’s possible Sanji is the person Nami has moments with the most in the story besides Luffy (and perhaps Usopp) as they often end up together. Of course this is including them thinking about and talking about each other as well, and not just direct interacting. For example counting the body switch and Nami being worried and focused on Sanji while on Zou. Oda doesn’t have to, but he has chosen to write it like this. On top of that he adds romantic interest from Sanji and romantic looking moments between them.

I could go on, and there are plenty of moments and examples to find between Nami and Sanji that are interesting to look a bit deeper at. You can check out my Masterpost - SanjiAFsincedayone for some of them. But as it is now here are the main points for why I think SaNa at least has a bigger chance to happen than other ships with the two of them as it is now.

One-sided attraction and romantic interest from Sanji’s side that needs to be resolved in one way or another.

Nami seems special to Sanji. Even small things like only using -san for her and -chan for others is a detail that makes her stand out to him.

Great involvement in each other’s stories. Oda likes adding Sanji and Nami in moments together both for interaction and explenation about each other. For example Sanji is also often used to save Nami.

Interactions of understanding and changing dynamics between the two, like them compromising for each other or wanting to know about the other’s past. Matching personalities and a possible future.

Romantic themes and moments, mainly the weddings, but also the amount of times Sanji has saved Nami and things like the hug being drawn in a very romantic looking way with Nami being more focused on.

Tension and urgency. This is basically Sanji and Nami having a lot of focus on each other in dire situations and Oda showing it with specific mentions.

So, to summarize, I like Sanji and Nami both as indvidual characters and together. I enjoy them as a ship and to explore their dynamics in a romantic way no matter what they might end up as in the story. Anyone should be able to respect that people have different preferences. Additionally I think and speculate that they would work well and could happen in the manga as well. This is obviously a biased interpretation and opinion.

I might be wrong, but you should be able to respect that too as we have yet to get anything objectivly confirming any ship. We don’t know if any ship with end up canon at all. Maybe Sanji and Nami will remain a ship that never becomes canon, but even so they are a ship that is definitely worth enjoying.

I hope you found this post interesting and can enjoy your own ship and fandom while also seeing that it’s ok for others to like something different than you. Thanks for reading.

#sanji #nami #sana #sanami #sanji x nami #sanjixnami #sanami theory #One Piece analysis #sanji x nami analysis #sanjiafsincedayone #one piece manga

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kaypeace21 · 3 years

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Analyzing the 5 plays in this drama club poster .From the bts pics of stranger things 4.

So... some of ya’ll know I'm going through the st s4 films given to us by the official st twitter + the films reffed in the show itself or mentioned by the Duffers in interviews .

So I decided to look at the plays mentioned here. Because even if we don't see the monologues in the show directly - the Duffers wouldn't name drop anything unless it inspired them in some way. Similar to films name dropped in the show. Tw : for some dark themes .

This is just a quick little analysis I decided to do since we probably won't get any new st content today (3/22). Nothing too deep. Just mentioning things that caught my interest especially cause these plays have a lot of narrative connections to the st s4 movies I've been watching.

Invitation to a march (Authur laurents)

Reminds me of the stancy/jancy love triangle. "A young woman is having second thoughts about doing the right thing and marrying a respectable , rich, kind, young man with good prospects.By way of a prewedding diversion, this woman becomes interested in the passionate but poor and entirely unsuitable son of a local landlord.Basically, the plot concerns the efforts of Norma Brown to choose between a conventional fiance who "puts her to sleep" but is wealthy (like what her own mother did) or go for this new-poor guy. The play is principally interested in how this youthful love triangle affects the three mothers involved (whether the kids like it or not)

12th night (Shakespeare)

- viola (el) wrongly assumes a family member (hopper) is dead. She dresses up as a man named 'cesario'. A girl named Olivia falls for 'cesario' (violet dressed as a man). "Finally, when 'Cesario' and Sebastian (violet's twin brother: assumed to have drowned - Will) appear in the presence of Olivia there is more wonder and confusion at their physical similarity. Taking Sebastian for 'Cesario', Olivia asks him to marry her, and they are secretly married in a church. Cough if Olivia is 'straight' cause she fell for Viola (as a doppleganger dressed like her twin brother).Mike being into el who multiple characters in s1 said looked like a boy and specifically like Will is...suspish and a hint he's not straight lol. just like Olivia they're both into guys . plus, this play just has a butt load of love triangles (ugh i hated that aspect). There was also romantically coded letters (which was in the s4 films) . One character is also thrown into an insane asylum and framed as 'insane'.'Pretending that Malvolio is insane, they lock him up in a dark chamber. Feste visits him to mock his insanity'. We all know the psych hospital will be narratively important- talked about it more here.

The seagull (Anton Chekhov-russian)

similar to how I believed s4 will show m*#even already broken up since the months between s3-4 : act 3 (s3) ends with Nina begging for one last chance to be with Trigorin before he leaves/moves away. They kiss and make plans to meet again in Moscow.And in act 4 there's a timeskip where it shows they've been broken up for a long time between acts- and its established they never actually loved eachother. Do i even have to spell out why this parallels the m*#even ending in s3? There is also a play within the play (this is common in a lot of the st films- they have plays- or a story within a story- which illustrate certain themes or emotions of the characters within said film : blackswan, children of paradise, highschool musical, Rushmore, book of Henry, welcome to marwen, never ending story, romancing the stone, wet hot American summer, etc).The play is Konstantin's latest attempt at creating a dense symbolist work. There is also alot of love triangles in the seagull. TW!: for se#ual ab*se/su*cidal thoughts/ inc*st (here and in other play segments). The seagull motif reminds me a lot of Jonathan's rabbit story.Konstantin romantically into Nina shows up to give her a gull that he has shot. Nina is confused and horrified . Trigorin sees the gull that Konstantin has shot and muses to Nina on how he could use it as a subject for a short story: "The plot for the short story: a young girl lives all her life on the shore of a lake. She loves the lake, like a gull, and she's happy and free, like a gull. But a man arrives by chance, and when he sees her, he destroys her, out of sheer boredom. Like this gull." This immediately reminded me of jon's rabbit story and some of the movies on the s4 list . Like in forrest gump- Jenny (who is poor) was se*ually ab*sed as a very young girl by her father. As a child she runs away into a field-away from her alcoholic father yelling at her -there she prays that she can "be a bird so I can fly far far away" .

Jenny as an adult struggles with this unresolved trauma- being with ab*sive partners, doing dr*gs, and having su*cidal thoughts . She as an adult when contemplating su*icide, jokes 'you think i can fly like a bird ?' while looking down at a bridge.God-i'm worried about jonathan (Jenny was also a musician sort of like jon). In another s4 movie example ' mystic river ' :(in the 80s) a preteen baseball playing boy is r*ped by men in the woods. He later says he wishes he could become an undead monster to not feel the pain of that experience - cause quote " if I'm not human anymore maybe the pain will stop" (Will) . slightly off topic but he also has another personality, imagines a alternate word that dissappears when he turns his head. And as a less direct animal parallel to the play - the boy from the film also imagined his perpetrators as monsters and wolves to cope.In 'getout' the photographer character sees a dead deer in the woods and it represents a parent/his own childhood tra*ma relating to his past. similarly in 'prince of tides' the 2 siblings as kids were ra*ed by men. The older brother remembered it and the younger sibling developed DID (so didn't remember but she would draw wolves- as the perpetrators/villains in her picture stories she created . In the film they also had an ab*sive dad and were very poor. She also tried k*ling herself multiple times-but started to get better after remembering the source of her pain and trauma. There is also the theme of multiple attempted su*cides in the play- and the play ends with yet another attempt- and the audience is left unaware of the artist's fate at the end of the play.

The tempest (Shakespeare)

Prospereo - (the perceived antagonist) is a wizard with monstrous looks, storm powers , and ability to create monster-dogs

He wants revenge on a man who tried ra*ing his family member & revenge on his other family member who wronged him years ago. I mean... pretty much my did theory.But in the end.Prospero decides to show his enemies the mercy that they did not show him twelve years earlier. He tells Ariel to bring the men to him, he will restore their sanity and then renounce magic forever.Prospero breaks the spell that the men are under .

Diary of a scoundrel (Alexander Ostrovsky-Russian)

- I suppose this could loosely relate to Jonathan? Glumov, is a young man from an impoverished family lacking status seeking entrance into society's pampered class. A 19th-century Russian scoundrel must scheme his way out of his meager life in a small apartment -whatever it takes.He has a quick mind and some talent for seeing through the hypocrisies of people around him ( Jonathan does make a lot of social critiques about society). That gives him some advantages. A tale of one man's mission to finagle his way into upper-class society and find a cushy job. Set in 1874, this social comedy follows Glumov, a Russian youth who begins his ambitious ascent to social esteem. He progresses by wit, guile and rhetoric. Pitting one stupid person against another, he soon gains his ends. To reach these goals, Glumov will lie, flatter, and cater to the vanities of the wealthy. Unable to contain his disgust with his victims, Glumov decides to relieve his unvoiced satirical comments by recording his schemes in a diary. But he is tripped up by his uncle's wife, to whom he has made passionate love on his way to success. At the end of the play, his diary is stolen and his duplicity exposed, but he can nevertheless suceeds. The author is much more critical about the high society itself than about the main character, so the play keeps attracting generations of directors by opening possibilities for political criticism while also avoiding naming names of the current rulers.The play's aim was to overthrow bourgeois tradition and establish a class-conscious art called eccentricism giving a deliberately comic portrayal of reality.

I suppose I notice some possible commonalities- besides s3 critiquing the wealthy/capitalism in comedic ways . jonathan since s1 has worried about his family's finances / had some resentment toward the rich . In some of the s4 movies ‘orphan’ & ‘ girl interrupted’ someone reads their diary out loud to get at them (in girl interrupted the winona character’s diary even had critiques of her new friends). Alot of movies also have someone (usually a teen/young adult) making a documentary about their life -which could narratively replace said diary? A few movies have a poor guy adjusting to snobby rich social circles (or being poor and then getting money)- titanic, kingsmen, karate kid, the craft , godfather, wardogs,into the spiderverse,flashdance, and many others . And movies like wardogs has a poor-young-character do shady things to finacially support his family . There’s also that whole uncle’s wife thing- which makes me uncomfortable for obvious reasons (but I’m just thinking of Lonnie’s creepy gf who was into him). A few movies had the guy’s step mom innappropriately hit on him- orange county & you got mail. And him trying to avoid her advances. Or...not to mention ... it may be a problematic coincidence /trope. But in enter the void -the guy who needs to finacially support his sibling/ does dr*gs -hooks up with his dr*g dealing friend’s married mom (who would give him money). Or in gilbert grape- the poor teen-who has to finacially support his siblings/single mom-has his endgame relationship be a girl his own age. But before that he h*oked up with a married woman -who would give him money. Don’s plum -young film guy-propositioned by older female film director (for dream job). Not even mentioning the other films that have the guy hooking up with toxic older women (like ‘the graduate’). Or analyze this-where the therapist accuses him of having an Oedipus complex (not touching that one... but the guy in ‘enter the void’ a 100% had one). It’s possible those movies were just- inspo for s3? A coincidence? Or s3 was foreshadowing for this in s4- but unlike s3 it will accurately be played as wrong and a sign of Jonathan recreating past tra*ma caused by Lonnie (cough like the photos) /being desperate for money. And not played ‘comedically’ like how it mostly was in s3. But shown as self destructive (for Jon) and immoral on the Woman’s end. Like... Billy and Jon are character foils. Both are older siblings into rock music, with ab*sive dads who shoved them into walls. Both lose it (and beat steve to a pulp when Steve accidentally triggers their daddy issues). In s3 it’s established womanizer Billy has mommy issues, than he tries ho*king up with someone his mom’s age, and the characters ref ‘back to the future ‘ and Steve incorrectly says it’s about “alex p keaton trying to bang his mom.” This could illustrate his subconscious issues with parental figures/adults cause of Lonnie’s possible past se*ual ab*se . One film the friend even says to the guy “you don’t have friends!” guy b: i have friends! him: no you have acquaintances! ADMIT IT! YOU’RE AFRAID OF MEN!I mean-Jonathan liked Nancy- but he initially hooked up with her cause he wanted to prove he didn’t have ‘trust issues’ from his dad. Also it’s prob a bit of a reach (and maybe a coincidence)- but the fact Murray in the same breath compares Steve (Nancy’s then bf) and Lonnie ... uh... if you think too long about it ... it’s very sinister . Especially because in s3: muray tells Joyce that despite her wanting to be with a nice guy, she’s curious about “the brute” Hopper despite him reminding her of a past “bad relationship”(aka Lonnie). Like- yeah connect some dots. Quite a few films (other than forrest gump) also have the character who (as a kid) was r*ped by their dad/parent- begin to do dr*gs/be pr*miscuous as adults since they never learned to properly cope with their trauma (’girl with the dragon tattoo’, ‘black swan’, and ‘magnolia’). Unfortunately the whole relative doing such things to kid-relatives is in at least 30+ movies.

Personally, i would be MUCH happier if Jon had a age appropriate romance- and had not a single creepy adult near him. A few movies actually imply Lonnie gets yet another ‘new model’ replacing his gf in her 20s with a new gf- who is ‘barely l*gal” and just turned 18. so there’s that possibility as well- that she’s jonathan’s age.I just want Jonathan-happy &safe. GOD. IS THAT TOO MUCH TO ASK?

#byler #byeler #will byers #mike wheeler #Jonathan byers #nancy wheeler #joyce byers #jim hopper #murray bauman #stranger things #el hopper #s4 theory #stranger things theory

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skaylanphear · 3 years

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Hi there! Do you have any advice on improving traction towards a fanwork/fic? I love writing—and it's not for notoriety by any means—but having validation and feedback also feels nice (I hope that's not conceited). What would you recommend to someone without a large audience/follower base? I do "advertise" on tumblr when my work is written/updated on AO3. How did your journey start? Thank you!

This is an interesting question and I doubt most people are going to like the answers, but here we go:

So, first and foremost, you need to be realistic about why you're creating in the first place. If you're doing work in a fandom that is older, where content has stopped coming out, or that is simply smaller, you're not going to get much engagement, period. There will, of course, be activity in these fandoms, but it will be far less and the people involved—while they may view your work—will be less likely to comment/spread it around simply because there's not much going on. So if you're creating in that sort of environment (which can be a really good environment if you're looking for something chill with no pressure), then you have to be prepared for low engagement, even if the people you do meet and who are willing to talk about your work are more regularly in your sphere. You can probably make better/closer friends in these sorts of fandoms, if you're willing to try.

But, on the other end of this, if you're coming into a huge fandom late, it's also going to be harder to wade through the massive following to get your stuff out there. For example, in both the Miraculous and Sk8 fandom, I started work pretty early on, when the shows were still gaining traction, and so my "name" as a creator gained traction parallel to that growth, as opposed to when I started writing in the Voltron fandom. With Voltron, I came in super late and so what few fics I had that did gain traction took a lot longer to get there because people already had their fav content creators in the fandom, etc. It's not impossible to get popular in this situation—far from it—but it does take longer.

You'll also benefit from having finished works early on in a fandom's lifespan, at least with writing. This is because there's less competition for views and so more people will be filtered to your work, initially. This means that you have a better chance of getting those comments and kudos. Having a finished work increases this engagement because people look for finished works before works in progress. Generally, the length of a fic doesn't matter much for popularity, so long as it's DONE. When I was writing in the ML fandom, quite a few of my earlier fics were shorter, and they compete in popularity with my longer fics, because people care more about having a finished story, not a long story. That's why when it came to Only Practice Makes Perfect in the Sk8 fandom, I worked hard to get that shit done, because it was the most popular story I had in the fandom and I decided—like an idiot—to make it a long fic. Which, yeah, means people probably love it/remember it more in the long run, but if I hadn't finished it in 2 to 3 months, I'd have lost considerable traction as far as making a name within the fandom.

This leads into one of the most important points, if not THE MOST IMPORTANT point in gaining an audience—consistency. If you do want to be a successful creator, you Have To Be Consistent. This is the most difficult hurdle for all creators, and it is oftentimes impossible to make happen. If you want to aim for professionalism, which a lot of fandom creators don't care about (which is fine), then consistency is how you get there. Nobody wants to read a fic or follow an artist who doesn't stick to creating what they start (RIP all my unfinished works and the people who left me as a result, LOL). Using my most recent works as an example, I very, very, very consistently updated Only Practice Makes Perfect multiple times a week. To the point where people got comfortable expecting it, which is the key variable here. When people become comfortable that you will regularly create content, they not only stick around, but will be more interactive with you and your work. Nobody likes the disappointment of getting involved with a work only for that work to rarely get updates. Most people don't have the attention span to care. I'll admit, if I read a fic that's not finished and the writer takes one week to update, then one week, then THREE weeks, I probably will, like, forget about it. That's just life.

The best thing you can do is schedule. And again, this is the HARDEST thing to do, because it holds the creator to a deadline. Most people who create in fandoms don't want that kind of pressure—and that's fine. I go back and forth on when I have scheduled releases and when I don't, depending on what I'm aiming to do. But if you to retain your audience, telling them that you will update a work regularly on such and such a day and such and such a time, it creates something for them to remember. If they're invested in your work, they will think, "oh, it's Friday, that means such and such is coming out with something new." But, with that in mind, you also have to commit to a schedule that people will remain invested in. Which basically means you can't put things out more than a week away from each other, unless you're really, really famous, lol. If I told people I was going to go on a two week update schedule, I would lose most of my audience. But a week is long enough for people to both still remember and anticipate. That's just how the scheduling of the world works. And if you're an artist that's working on a big project, then you have to share progress, or pieces of what you're doing on a regular basis. That's what generates "buzz" and keeps you relevant. And, yeah, that's a really hard schedule to commit to, because it's a lot of work. BUT this consistency is where you see people being successful. Popular youtubers may not have gained their popularity by being consistent, but most sure do retain it that way. And again, there are outlying exceptions, but they generally ARE exceptions.

Speaking of hard work, here's probably the second hardest thing to accomplish—you have to be prolific. Especially as a writer. You have to write A LOT if you want to gain an audience. And yeah, that means you have to work, a lot. I love my work, so I enjoy that "grind," and I also have developed a lot of strategies to work around writer's block and every other obstacle that tends to catch people up. I work in a very professional manner—I do outlines, and drafts, and plan. I do a lot of stuff that people who do this kind of thing for fun can't be bothered with (and that's fine), but that's because I find it to be what works best in creating an efficient environment. I'm also very, very NOT lazy, lol. I was raised in an environment where you have to work for everything that you want. My parents didn't buy me my first computer, or snowboard, or what have you. We were tight on money and if I wanted something, they couldn't help me—I had to get that shit on my own. And I also grew up on a farm, where hard work was a staple of how you did things. You did things the right way, even if it was the hard way. You can't cut corners and it's the same with this. If you want it, you have to actually do the work, that's it. Some people get lucky with popularity, most don't. Most famous actors didn't become well-known off their first efforts, they had to keep trying and keep working and then they have to continue to do that to stay relevant. So if that doesn't sound great to you, then you might want to not focus on your audience and just create because you enjoy it, lol. Sometimes that's what I do too, when I don't wanna deal with the pressure.

Moving on, here's another point that nobody is going to like. Simply put, you also have to be good at what you do. I think some people don't realize that I've been writing fic for over fifteen years. I currently have nearly 2 millions words worth of fics on AO3 and that doesn't include a majority of the stuff I've ever written. I practice A LOT. I write every day. And I'll tell ya, when I started out in middle school, my stuff was not good. But I worked hard, I ignored the hate, and I kept going. That is the only way you will ever get better at anything. There's no quick way to become a better writer, or artist. And a vast majority of people are only going to pay attention to your stuff if it's quality work. Getting to that point is a process, on top of then creating stuff that fits into popular molds. Not only am I good at what I do (and I don't care how arrogant that sounds—I've worked my ass off), but when it comes to fandoms, I rarely write "rare pairs" and "crack ships." Generally, if it's popular, that's where I am. That makes a big difference and I honestly don't have sympathy for people who write rare pairs and such and then complain about lack of engagement. You knew what you were getting into (it's mostly the Miraculous fandom that gave me this bitterness). If you're not writing what people WANT to read, then your audience is simply going to be smaller. And that audience doesn't owe you their attention, no matter how frustrating it is or how good your work is. I could be the best writer in the world, but if I'm writing RekixCherry fic, I have nobody to blame but myself when nobody reads it. BUT if that's your passion, and writing a certain unpopular thing makes you happy, then, again, you need to not be concerned with traction and your audience.

The last point I'll make is that it matters HOW you present yourself online. A good chunk of the well-known creators in any fandom are, simply put, older people. And those that aren't, and are able to connect with those older creators, have generally created a bubble around themselves of maturity and, like, of being nice, lol. A lot of creators are skittish these days, and if you're an asshole (anti) or fight a lot over stupid shit, you may get a bigger audience, but you will isolate yourself from other creators. And this is important because oftentimes it is your exposure to other creators that will get your work circulating. The reason I got popular in the ML fandom? I wrote a short angst fic and a really popular artist shared it/talked about it and the rest was history. But if I'd had a habit of being an asshole, probably wouldn't have happened. And, granted, I'm not saying don't voice your opinions, but if you're loud all the time, it does turn people off. Especially creators because they are oftentimes the ones being attacked. They don't want to pull more of that negative bullshit into their lives. I'll admit, when I was in the ML fandom, I was down for a fight, but then that's what people came to expect, and it probably did turn others off, and then when I didn't fight, or didn't think the way my audience thought I should, it, again, turned people off. It's really not worth it unless being that type of person IS your platform.

So, that's all the advice I can give, I suppose. And even if you do all this stuff, that still doesn't mean you're going to be popular. At the end of the day, the thing that I stick to is this—I do what I want, I love what I do, and I work hard. If I'm in a position to worry about all that other stuff, then sure, I do, but otherwise… There's no easy way to become popular and, quite frankly, it's better to just "live" working hard and being a decent person than it is to focus on all this bullshit. I've created a working environment where I function within these "points" quite naturally, so it's not something I think about (except for schedules, lol). Sometimes I get popular in fandoms, sometimes I don't. At the end of the day, it comes down to how much work you're willing to do, because you will always be giving more than you are getting back, so you have to at least enjoy what you're doing.

Seriously, just do it because you love it. And if the pressure of everything above is something you don't love (I like a good, high pressure situation, lol), then don't do it that way—it's not worth the grief.

#skaylanphear replies #anonymous

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twdmusicboxmystery · 3 years

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TWD 11x02: The Talking Dead

Okay, I DO have a details post, which will go up tomorrow. Because Emily was a guest on TTD this week, I thought it would be more important to post this first this week.

P.S. Apologies for the low quality of the pictures. I wasn’t able to get my usual screenshots this week, so I had to take pics of my TV. ;D

Right off the bat, let me say there weren’t any huge, smoking guns about Beth’s return in the episode. In other words, not much that the general audience (GA) would pick up on.

But we’re not the GA, are we? LOTS of suspicious dialogue and symbolism came out of this. Way more than we usually get from TTD. So, let’s dive right in.

The first thing was in the introduction. When Chris Hardwick was introducing his guests, as he always does, he used the phrase, “Beth is back!” That sort of thing always catches our attention and makes us side-eye.

@wdway observed that Emily’s outfit was a mixture of black and white/cream colors, Xs, and diamond patterns. In the past, I might not have been entirely swayed by that. (We’re assuming she chooses her own clothes, right?) But there have been too many times in the past when similar things have happened. Like for the S8 premiere when she wore that bright pink top that looked exactly like the pink bra ashtray in Still? Yeah, I’m no longer convinced Emily ISN’T dropping hints through her clothing.

It was also observed that her hair was very long. Whether extensions or not, it was very long (Beth length) and very blond. Might have been another hint.

One of the first questions Chris asked he was what she thought of Maggie’s SURVIVAL. That’s important both because it’s a question about someone who was left for dead surviving and also because Maggie crawling under the train was a direct parallel to Glenn, who was a direct parallel to Beth. So I was definitely side-eyeing that.

At one point, Chris referenced the Commonwealth interrogating people before letting them in, and he asked if Hershel had done that at the farm, would Rick’s group have made it past the screening process. Emily, overall, said yes. But Josh (McDermott who was on with her) said Shane wouldn’t have. They then started talking and making typical fandom jokes about Shane’s craziness.

The reason this made me smile is because Emily often deflects questions by saying she doesn’t remember, or doesn’t know, or that she no longer keeps up with the show. But here, she talked about specific characters and events in specific parts of a season 9 years ago as though she’s VERY familiar with it. It was like, “oh, but that character didn’t do that until minute 32 of episode 8 of season 2. But I don’t know. I don’t really keep up with things anymore.”

Okay, I’m totally exaggerating there. She wasn’t that specific. But that’s what it felt like. The little fibs she tells to keep people from suspecting Beth’s return are showing.

In talking about the significance of Maggie giving Negan a gun, Lauren said something kind of interesting and Beth-ish. She said, and I paraphrase, that Maggie is struggling to hold onto the person she was, rather than giving into who she might become. Just very reminiscent of Beth’s line to Daryl from still. “You gotta stay who you are, not who you were.”

Chris then asked what Beth would have thought of the current Maggie. And he asked specifically, “Would she even recognize her?” Now, of course he meant that in terms of recognizing who she’s become, because Maggie has changed so much as a person since Beth’s death.

But given the memory loss theories and all the surrounding evidence, we really think there’s a good chance Beth won’t recognize Maggie right away. So that was a huge hint to drop.

See what I mean? It’s not that they talked about Beth’s return in a huge, smoking gun sort of way. Rather, they just dropped a lot of hints through dialogue and the way they phrased questions.

The other thing I noticed is that Emily, in answer to the question, said that without Maggie, everyone seemed adrift and as if they didn’t know what to do because they no longer had a leader (until Maggie showed up again) to tell them what to do. Especially since it didn’t directly answer Chris’s question, I felt like maybe Emily was hinting at Beth’s leadership. New sheriff in town, and such.

Then Josh brought the shiv to everyone’s attention. I don’t think I mentioned this yesterday. If not, it will be in tomorrow’s Details post. But we saw Eugene wheedle a piece of wood into a sharp shive/spike and stick it into his sleeve. It was very reminiscent of Beth hiding the scissors in her cast in Coda. And Josh specifically called attention to that scene. He actually compared it to Terminus, rather than Coda, because we saw them trying to create makeshift weapons in the train car in 5x01. But still, it’s all season 5 and revolves around Beth’s arc.

Actually, as they went along through the episode, they did callbacks to various things in S5 a BUNCH of times. Kind of convenient given that Emily is sitting on the couch next to him, no? Both Lauren and Josh mentioned Terminus multiple times in various ways. Which works because Eugene’s group has been around a lot of train cars these past few episodes. But the thing is, they didn’t really equate Eugene’s storyline directly with Terminus. They were simply finding ways/reasons to randomly mention it.

They also brought up Noah’s death multiple times, comparing Gauge’s death to it, since in both cases, people watched them die horribly from behind a glass partition. Totally makes sense, but yet another tie to Beth by really talking about Noah a lot.

Lauren, talking about good vs evil and what people are capable of, a la Maggie’s disturbing cannibal story, said it wasn’t just about what outward choices people make. She pointed to her chest and said, “it’s what’s in here.” That just gave me huge Beth feels from Still, when she said, “…or it kills you. Here.” And pointed to her chest in the same way.

It just felt like they were invoking Beth a lot during this episode.

This next one was kind of the big kahuna. Chris, just out of left field, looked at Emily and asked, “Will Daryl prove Beth right? Will he be the last man standing?”

And that’s important because it has nothing to do with this discussion or this specific episode. Daryl wasn’t even in this episode.

And I have to acknowledge that there’s a good chance Emily was supposed to be on last week, and her appearance was pushed. We just don’t entirely know what happened there. So possibly, they would have asked this last week during a more Daryl-centric discussion. But still, Chris didn’t say that. It wasn’t like, “Oh you were supposed to be on last week and we wanted to ask this…” No. He just launched into it.

Furthermore, Emily knew exactly what he was talking about. Yes, it’s a well-known line of Beth dialogue from Still that she probably would have been familiar with either way, but even so. The “will Daryl prove her right” came directly from Daryl’s origins episode. So again, despite “not keeping up with the show,” she clearly watched the Origins episode and knew what Chris was talking about.

A couple of suspicious things in her answer:

She essential said yes, that she believes Daryl will be the last man standing. But she also said she didn’t think he would be the ONLY last man standing. Then Chris made a joke saying (and I paraphrase), “Yeah, it’s not like Beth could have said, ‘Daryl, you’re going to get a spinoff.’” And they all laughed and joked about it.

Let’s consider her statement first. She said he wouldn’t be the only one who was standing last, but how would she know that? If she doesn’t follow it anymore and is only associated with it as a previous, deceased character, how would she know that.

And yes, you could argue that this was conjecture on her part, but she said with such…I don’t know, authority? As though she knows something we don’t.

I think you can interpret this one of two ways. The first is what I’ve hinted at above: that she knows others besides Daryl will survive to the end of the show. And I totally agree with her on that. While most of us believe, I think, that Daryl will live until the end, I think plenty of others will, too. Rick and Michonne. Probably Carol and Zeke. Hopefully Maggie, though I’m a little more worried about her. You get the idea. But once again, why would Emily know anything about that?

The other way you could interpret it is that this is a statement about Daryl not being alone. He’ll be the last man standing, but he won’t be the ONLY one. He won’t be alone in that, because Beth will be by his side.

And here’s your friendly neighborhood reminder that in an interview with Larry King prior to S5 airing, Gimple confirmed that Daryl will find love in the apocalypse at some point.

Then there’s Chris’s statement about the spinoff. Now, that came from Chris rather than her, but it was still a really random reference. For me, what Chris does or doesn’t know is kind of irrelevant at this point. I personally believe he knows everything and is fully in on Beth’s storyline. But even if I’m wrong about that, these questions come from tptb. If Chris recognizes their significance, he’s being instructed to ask them and direct the conversation in a particular way.

And they way he threw in this mention made it seem like he was equating Beth with the spinoff in some way. Even the way he said, “there’s no way Beth could have known to say…” the thing about the spinoff struck me as interesting. Because back then, I truly don’t believe the writers knew anything about the spinoff. As I like to say, everything changed when Kirkman abruptly ended the comics and the writers decided to pick up all the characters and story lines and move them to a different vehicle: the spinoff. Probably for legal reasons. But they couldn’t have know that would happen back in S4.

There’s also the unspoken implication that, while Beth couldn’t have “known” about the spinoff, she didn’t know about other things. Like her return and Daryl’s fate.

Emily even told a story about how when they were getting ready to film the porch scene for Still, both she and Norman were hounding Angela Kang (not the show runner back then, but the writer of that episode) about the last man standing line. They both wondered if it was some kind of foreshadow. She implied they were both worried that Daryl would die soon because of it.

A few things about that. 1) I don’t think either of them actually believed Daryl was soon to die. I seriously doubt that. This is just one of those stories they tell to illustrate a point. Which leads me to my next point. 2) Clearly they are implying that this IS some sort of foreshadowing. They’re just not being specific about what it foreshadows. 3) Keep this in mind--that they were both asking about what a certain line of dialogue might foreshadow--the next the time actors try to claim they have no idea what anything means or what’s going to happen next. They’re VERY aware of how the writers put these symbols in and are constantly wanting to know where the show is going, just like we are.

So yeah. I was definitely a fan of that whole discussion.

The Inside the Dead portion referenced some interesting Easter eggs, including Gorbelli foods (seen in Tara’s backstory in S4, which had lots of Beth parallels) and Duane Jones Whiskey (alcohol, Morgan, etc; we’ve compared that with Beth before). Kinda small potatoes, but still important.

I missed part of this next question, but they asked Emily something about whether she thought the Commonwealth is going to turn out to be a good thing and helpful to Alexandria. She said no. Again, maybe not a smoking gun but given that we think she’s most likely coming through Eugene’s story line, it might have been a hint.

They asked her about the Eugene/Stephanie story line, and she said she was excited for any love story in this world. *coughs Bethyl hint*. She also said she’s suspicious of ‘Stephanie’ (emphasis mine) *coughs plot hint*.

For the quiz, they talked about how many walkers Dog killed in the episode (1). Where Mercer said he went to school (Westpoint). What was interesting, is that they kinda gave something away there. After giving the answer, it said, “Mercer didn’t go to school there, but the actor that played him did.” So, they kind of hinted that Mercer SAID he went to Westpoint, but was lying. Just more evidence that Eugene’s group is being lied to and manipulated. Finally, they had a fill-in-the-blank of Eugene’s dialogue. It was when he asked how he was being processed. And one of the options was “as in bologna and other meant stuffs…” (again, I’m paraphrasing; forgive me if my wording is a little off). Anyway, it said at that moment, Eugene was thinking about Terminus. So, just another callback to that story line in S5.

Near the end, Chris asked Lauren and Emily what they miss most about working together. Lauren’s replay was, again, suspicious. She said Emily was “such a bright light,” which we equated to Norman’s famous description of Beth as Daryl’s light that “went out.” She also talked about how it was a testament to Emily’s goodness that she’s “being so missed.” Which made me think of, “you’re gonna miss me so bad when I’m gone, Daryl Dixon.”

Finally, even before the episode aired, @wdway had a theory about Emily being in the studio for the episode, rather than via satellite. Well, I guess it was more of a hope than an actual theory. Now that the episode has aired, it’s an actual theory.

See, she had a hunch that maybe the Commonwealth story lines (what Josh should be filming right now) might be filmed in studio, rather than on location in Georgia. And there IS an AMC studio in L.A. What we saw--Josh in person on the show while Lauren was there via satellite because she’s in Georgia--does seem to back up this idea. Or at least the possibility.

The fact that Emily was also there in person could be a coincidence. But it could also possibly mean that she’s filming in studio for the Commonwealth story line as well. @wdway thought of this because we think she’ll first come through Eugene’s arc, and none of the Commonwealth stuff is being filmed on the main Alexandria lots where people generally look for spoilers.

Not something that can be proven either way, of course. But a great theory that I’m 100% behind!

Okay, that’s it for TTD (but that was a LOT) and it makes me super happy. Together with the screeners not being able to talk about episodes moving forward, I think we’ll see Beth very soon. Any references in TTD that I missed?

#beth greene #beth greene lives #beth is alive #beth is coming #td theory #td theories #team delusional #team defiance #beth is almost here #bethyl

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reinersbb · 3 years

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𝐅𝐎𝐑𝐆𝐄𝐓 [𝐉𝐞𝐚𝐧 𝐊𝐢𝐫𝐬𝐜𝐡𝐭𝐞𝐢𝐧 𝐱 𝐑𝐞𝐚𝐝𝐞𝐫 / 𝐌𝐎𝐃𝐄𝐑𝐍 𝐀𝐔] Chapter Three- Spin The Bottle

Chapter Three of Forget

This chapter contains 18+ material [smut]

Familiar intense light brown eyes bored into you, taking in your appearance, "we seriously need to stop running into each other like this, coffee girl."

The same man from yesterday stood before you, holding onto you, only now he looked different, polished even. A stark contrast between now and the day previous. His ash-brown hair was effortlessly tamed, almost like the locks of hair had been combed through by his fingers, but his bangs still spilled over his forehead. And in replacement of the heather grey tracksuit, he was clad in a black button-up shirt with the top few-or-so buttons undone, white bottoms that were missing a belt, and black shoes. Everything combined perfectly to create a monochromatic outfit.

Any other time you would've taken into account how favorable the man was, but now definitely was not one of those times.

Maybe this was some sick joke, no, maybe this callous world wanted to torment you and make you suffer for some unknown reason. Wasn't being broken up with enough suffering as is?

'No, because this world is just that cruel.'

No words could describe the immense embarrassment you currently felt as your skin began to prickle with a wave of heat that began to arise within your entire body. Both of his hands casually released from your waist when he pulled away from you by taking a step away, but still lingering in your personal bubble. The scent of musky sheer cashmere was prominent as your bodies stood parallel with one another.

You stilled momentarily, backtracking his greeting.

'Coffee girl.'

Out of bitterness, you rolled your eyes out of annoyance from the nickname he'd pinned to you, "coffee girl? Seriously?"

"Well," he started with a head tilt, and continued by crossing his arms around his chest, "to be fair, you left without saying your name, coffee girl."

"I'll have you know it was a pumpkin spice latte if we're speaking technicalities," you said matter-of-factly as if it would make any difference.

A cheeky smirk began to pull at his lips as his shoulders lowered, dipping down slightly to lean into you, "okay, latte girl, what's your name then?"

You shielded your annoyance by pressing the mouth of your wine cooler against your lips, taking a swift sip of the cold mixed berry flavored liquid. At this point, you were fuming at the fact he'd hardly said anything but still managed to press all of your buttons by one single comment.

He continued to stand there, awaiting an answer from you. Preferably your name.

"Okay," you began to speak, causing his body to perk up, "my name is (Y/N)."

He stood up straight to bask in the new information, which only made you yet again realize how tall the man really was. You shifted uncomfortably in your strappy heels, waiting for him to say something. Anything.

"(Y/N)," your name rolled off of his tongue delicately, and it seemed there was a hint of contemplation on his face, "it's nice to meet you, (Y/N)."

"Likewise, uh..." you paused for a beat, scanning his face with uncertainty since you didn't know his name, "what's your name?"

"My name-"

Just as he opened his mouth to relay his answer, he was cut off by a man who'd just paraded into the kitchen.

"Jean!"

The man turned his head, forwarding his attention to the man you hadn't seen before until now.

Jean?

You stared at him as he wasn't paying any attention to you. Quickly, you scanned him up and down once or twice, noticing now that he was wearing black stud earrings that were almost hidden by his hair.

"What is it?" There was an obvious switch in his tone of voice, now he sounded annoyed.

"We're all waiting for you downstairs," the man who you suspected was his friend pointed towards the exit of the kitchen.

"I'm coming, give me a second to grab a beer," he grumbled under his breath.

Jean turned to look away from his friend, his light brown orbs catching onto yours for a split second as he bent down to a cooler and began digging around in the ice.

"Who's your friend?" The man with brunette hair thrown together into a messy bun asked.

He lifted a curious brow, his green eyes were glazed over and glossy as he stared at you with slight interest. Maybe you liked the attention, especially since now you were single. In the back of your mind, you remembered how Historia and Ymir were stressing to have fun and let loose tonight, did that entail hooking up with some stranger that appeared to be some type of fuckboy?

You surely wouldn't hold yourself against it.

"Don't give this drunk bastard any of your attention, (Y/N)," Jean exhaled, beer bottle in hand.

In response his friend flipped him off, "fuck you, Jean, I'm not even that drunk."

"Whatever, Eren, you can go ahead and head down to the basement, I'll just be one more second here," Jean said, motioning to you slightly with his beer bottle.

With that, Eren shoved his hands into his sweat pockets and trudged out of the kitchen, checking out another girl's ass as he exited the kitchen.

Jean turned to look at you, his gaze dropping to your lips and back up to your eyes to hold eye contact, "do you want to come with us downstairs?"

Slight excitement filled your chest at the mention of joining them downstairs. But immediately after you drowned in a puddle of disappointment, remembering that you were waiting around for either one of your friends to show up. Preferably both.

"I'm waiting for my friends right now, sorry," you apologized, but the temptation didn't cease to exist.

"Ah, maybe we'll bump into each other again some other time," he flicked a shred of ice off of the bottle of beer, "see you around."

You stared at the exit longingly after Jean left the area. Maybe you should've gone with him, but you knew it would've been wrong to leave without letting either of your friends know of your whereabouts.

A perfectly good party, and here you were waiting around in the kitchen, appearing to be some type of outcast. You felt inclined to venture off from the kitchen and search for your friends yourself but decided to stay in the place where Historia saw you last.

With what felt like a few minutes later, and you were already on your second wine cooler, a familiar face finally greeted you. And you felt like you could cry out of joy.

"Historia! Well aren't you a sight for sore eyes," you dropped the now empty bottle of your second wine cooler into the garbage bin. "Did you ever find Ymir?" You couldn't help but notice that the blonde was alone.

"Yes! Funny story, she's downstairs with a few of our mutuals, let's go," Historia tugged on your arm eagerly. "I think you'll like them."

Your chest sank. Downstairs? How this all felt too convenient for you.

*********

With each step you took down the stairs you carefully watched your footing, making sure you didn't misstep since you were wearing heels. Because a trip to the ER would be such a mood killer.

The edge of your fingers ran along with the wooden frame of a pool table that you passed as both of you adventured to a separated area with the most commotion. There were barely any people on the lower floor as if it'd been off-limits and reserved for select individuals. This was a thought that came to mind as you followed behind Historia into the room where all of the chatter was being generated.

Sitting on the collection of l-shaped sofas, chatting amongst one another were a handful of people. No less than ten people give or take.

The air was smoky from a joint that'd been passed around, and steadily thumping in the background was the sound of a familiar song blasting away from upstairs. Out of all of the faces, you spotted Ymir's first.

"Historia, you retrieved (Y/N)! Get over here, we're about to start the game," Ymir waved both of you over.

"What game?" You asked, standing just outside the sectionals, avoiding all eye contact from everyone sitting in the dysfunctional circle.

"Spin the bottle," a guy with short silver hair interrupted, a bottle of fireball sloshing in his hand, "you do know how to play, right?"

"Yeah of course I do..." your eyes darted towards Ymir and Historia, and before you could respond, the man with silver hair continued speaking, grabbing your wrist in response.

"Bet! Sit with me," he sat down next to a girl with brunette hair and you sat between him and Historia. "What'd you say your name was again?"

"Connie, maybe if you weren't tipsy you'd be able to remember that their name is (Y/N)," the Brunette sitting beside him snorted a remark.

Connie whipped his head over his left shoulder towards the brunette, "mind your own business, Sasha."

Your eyes bounced around at the odd-shaped circle, momentarily landing on Jean who was sitting directly across from you. This was the first time you'd looked at him directly since entering the basement.

"There's one issue though, I don't know everyone's names," you gestured to everyone around the circle.

"I'll introduce you to everyone, (Y/N)," Historia spoke out, turning your attention to her.

The blonde quickly went around the circle, introducing you to everyone so you'd be up to speed. You could only hope that you wouldn't accidentally mess up anyone's name. You tried pinning each name to a slight detail about each person so you wouldn't forget.

"Everyone on the floor," Eren said, and by the single command, everyone got to the ground to sit together in a more functional circle.

Historia glanced up at you as you remained sitting on the couch, unsure if you truly wanted to participate. You made eye contact with her, and after staring at those pleading blue eyes of hers, found your way onto the floor yourself.

"We do things a little differently, you have the option to opt-out of a kiss by simply taking a shot," Eren said, his green eyes darting up at you after placing an empty bottle on the floor in the center of everyone.

"Got it."

As the game commenced, you were simply enjoying the observation of all of the combinations of kisses so far, and all of those who took a shot instead until eventually, it was your turn to spin the bottle.

Sitting up on your knees, you reached for the bottle, delicately placing your fingers on the glass. After giving the bottle a swift spin, you sat back watching with anticipation until the momentum began to die down and the bottle stopped completely.

The neck of the bottle aimed slightly off-center with Eren.

A twinge in your heart was evident for some unknown reason as you readied yourself for the kiss. Placing your hands on the floor, the two of you reached for one another until your lips met his chapped ones.

'One. Two. Three.'

You counted in your head until the kiss was over with. Sure, Eren was attractive enough, but kissing him surely didn't do anything for you. There was nothing else beneficial to the kiss beside the swapping of spit and the aftertaste of bitter booze from his lips. But, the kiss was still fun nonetheless, you guessed.

The turns continued around the circle counterclockwise, everything running smoothly like clockwork as you silently observed everything. That was until Jean reached for the bottle at the center of the circle once it was his turn.

"Go ahead with it, Jean boy," Eren nudged Jean with his elbow.

"Shut the hell up," Jean said, in an attempt to brush Eren off by giving the bottle a good spin.

Jean had already been kissed once so far, and that was when Connie's spin landed on him. Though Jean encouraged Connie to just take a shot, Connie refused, which resulted in a sloppy kiss between the two.

Your teeth sank into the inside of your lip, watching intently as the bottle spins rapidly in wild circles. Anticipation steadily digging away at your insides as the neck of the bottle begins to gradually come to a halt.

'On me?'

You surely were seeing things correctly, the neck of the bottle was pointing directly at you. There was no contemplation at all from Jean whether he skip the kiss and take a shot instead as he pushed himself up from his spot without hesitation.

Everything seemed to happen in slow motion as Jean crawled across the circle towards you, his light hazel eyes staring through you. There was hardly any time to acknowledge the fluttering sensation in your chest as he closed in.

"Hi," Jean greeted, "are you ready?"

With a head nod of confirmation, Jean slowly bobbed his head down, lips hovering over yours as you sat up straight to meet with him. The familiar scent of musky sheer cashmere, of him, infiltrate your nostrils as your lips finally connect.

A tingling sensation rippled across your body from the initial contact. Chills ran across your skin when Jean collected the side of your face into his hand, bringing you in closer towards him to deepen the kiss. There was a pull between both of you like you had to be closer to one another. Fighting the urge to run your hand through his ash brown hair, you twisted your palms together, keeping your hands to yourself as he held you in his hand, tongues overlapping in a passionate kiss.

His facial hair slightly tickled your skin, but you didn't care. All you cared about was how exciting the kiss was, what it was doing to you on the inside, how eye-opening it was.

The two of you didn't bother to pull away from the lip lock until the sound of a few wolf whistles from the others around the circle interrupted the moment.

You were the first to pull away from the kiss, brushing a thumb over your tingly kiss swollen lips.

After months of dating, Floch never kissed you like that, for that you were certain.

Breathless, the kiss left your head airy and your lungs empty, you were quietly fighting for air in your seat. A wave of heat circled through your body, emitting from your core.

Jean found his way back to his spot, turning to look at Eren who whispered something in his ear before Eren proceeded with his turn. Jean slumped against the couch behind him, allowing a heavy exhale to seep from his lips while his chest dropped and his hands lay flat in his lap as his hazel eyes stared at you lazily. A swift breath caught in the back of your throat as you maintained eye contact with him. A light shade of pink dusted a cast over his milky skin.

A few rounds and more mindless kisses later, none of them came anywhere close to Jeans. You were slightly hoping that you'd be kissed again like that for another time during the game, but it didn't happen.

***************

The wooden frame of the pool table from earlier pressed into your backside as you intently scrolled through Instagram with the last bit of battery percentage you had remaining. Floch's Instagram page. Entirely a bad idea to be stalking him like you were right now, but you reasoned with yourself that you just wanted to scroll through his pictures and see if he deleted all of the posts that had you in them as you'd down with yours respectively.

You knew it was a bad idea, but still, that didn't stop you. A pop-up warning you of your battery at ten percent should've been your final warning to stop stalking, but again, you didn't listen to reason.

"Hey, (Y/N)," a familiar voice cooed after the clicking of a door, causing a swarm of emotions to twist inside of you, "I didn't think you'd be back down here."

Turning your head to look at the stairs only to see Jean walking down them, you gave him a slight smile. After the basement cleared out after the rounds of spin the bottle was over with, you knew there'd be hard to no people left in the basement. So, when you wanted a little alone time to yourself, you knew the basement was the best option for you to stalk your ex.

"I didn't think you'd be back down here either," you admitted, lowering your phone slightly to look at him.

"My phone is missing, I think I accidentally left it down here earlier," his hair flopped on his forehead as he cleared the last two steps with a small jump to the floor, "what're you doing down here, playing pool by yourself?"

He teased, heading towards the area where all of you were collected earlier to play spin the bottle. You watched him from far away silently as he diligently searched for his phone. The temptation to help him search arose within you, but as soon as you were about to speak up, you paused, watching as he collected the device into his hand.

"Found it," he checked his cell before shoving it into his back pocket.

You shot him a faint congratulatory smile but stayed quiet.

Instead of heading back upstairs like you thought he would, he gravitated back towards you instead. Standing beside you, your eyes darted away from him as you noticed he was examining you.

"Are you okay, (Y/N)?"

Though you'd just been stalking your ex, it's not like you wanted to rant about him. To a stranger at that.

With a sigh, you shook your head, "kind of? I don't know," you tucked your phone away into your purse with a shrug.

"Not having any fun at the party or something?" His elbow bumped into your left arm with a slight playful nudge.

"It's not that," truly it wasn't that you weren't having fun, because you were.

The kiss you shared with Jean was the biggest thrill you'd had all night, scratch that, the biggest thrill you'd had all week. Almost something worthy enough to dream about. Because It's not like every day you share a mind-blowing kiss with a person you hardly knew.

"I came here to this party to get my mind off of a breakup, but being the loser I am, I'm standing here at a party dwelling over him," you cringed internally after the realization of how you'd just overshared a bit too much.

'Way to go.'

"Well, let's get your mind off of him," Jean took a step off to the side and collected two cue sticks, handing you one, "here."

"But, I don't know how to play pool," you replied, nervously accepting the cue stick.

The only time you played pool was the one time on your phone when you played against Ymir. You lost horribly as the board had been swept clean before you ever got a second turn. The terrible defeat resulted in you deleting the app for good. You haven't played any form of pool since.

"I can teach you as we go along," he offered, a sheepish smile tugging at his lips.

Jean began to rack all of the balls into the triangle holder, and you watched him mid-process. Noticing how his pants hugged at his hips and how his hair fell over his forehead effortlessly as he reached over the table. Which only reminded you of the incident from yesterday.

"Jean," you spoke, leaning against the cue stick.

Jean lifted his head to look up at you, his eyebrows lifted with a curious expression on his face, "yeah?"

"I just wanted to say sorry again for what happened yesterday, I was in a rush to get back to my dorm and..."

'And that's when Floch broke up with me.'

"Seriously don't sweat it, (Y/N)," he said, making you visibly relax. "It's not often I have a pretty girl run into me," his intense light brown eyes shot you a wink.

All extremities began to tingle as your skin felt ablaze. You turned your head, facing away from Jean to look at the other end of the pool table as your heart fastened in your chest.

"Okay, we're ready to go," Jean eventually spoke again, lifting the holder up and away from the formation of balls. "Would you like to be the one to break the set?"

"Uh... I guess I could give it a try," you said more as a question than a defined answer.

Immediately Jean situated the white cue ball on the opposite end of the table at your response. The cue stick fumbled in your hands after swapping places with Jean. Which he took a step back, observing you fully.

The inside of your lip fell under attack once you sunk your teeth into its sensitive flesh, trying your best to position the stick accordingly. The butt of the stick was held wrapped in your hand tightly as your other hand struggled to find a comfortable position to hold the tip of the stick. You eyed the cue ball down, remembering back to the one time you played pool digitally against Ymir.

This was definitely nothing like the phone game.

'How the hell do you hold this thing?'

Much to Jeans' amusement, he takes a step closer towards you until you can feel his body heat radiating from behind you.

"Try loosening your grip at the butt of the stick, and for your other hand," he chuckled as he viewed your fingers tangled around the thinner end of the stick, "hold the stick using your thumb and index finger, or your middle finger too for more support."

His instructions rambled through your head, resulting in you lowering the pool stick out of confusion. Turning your head to look at him, he took another step towards you.

"Can I..." Jean closed in on you, his waist brushing against you as he guides your hands over the stick with his, "here."

Sure it was a compromising situation from the outside looking in, but you knew it wasn't anything like that, what Jean was doing was just teaching you how to properly handle the cue stick. So why did your heartbeat fasten all of a sudden?

With Jean standing close behind you, you could drink in his musky scent. He was speaking, guiding your hands with his simultaneously, but you didn't hear anything clearly, only focusing on his hands felt on yours.

Jean guided your body gently into a proper stance, helping you aim down the stick. Through your peripheral vision, you noticed his eyes flicker back and forth from you to the task at hand through his ash-colored hair.

You still weren't entirely sure of what it was he was saying. Only when the balls somehow snapped and tumbled across the green-carpeted surface did you snap back to reality. With one look over your shoulder, Jean's eyes were immediately locked down on yours as he stood dangerously close behind you.

"Good job, I think you pocketed in a solid," his hazel orbs were speckled with a fire of emotion.

The proximity of his closeness was currently causing your heart to run laps through your chest. His body heat made your insides feel like putty.

"Thanks, Jean," your words fell from your lips weakly.

When his hazel eyes lowered to your lips, a sharp breath sucked through your mouth, noticing how his large hands were still lingering near your body. There was a shift in the air around both of you, naturally, the pool stick released from your grasp to roll out onto the table. His hands ventured along your body, hooking at your waist gently. He held onto you as you now faced him completely, your backside pressed against the pool table.

Jean lowered his head down, inching closer to your face, his breath fanning your neck, sending another chill up your spine. The bass from the music upstairs thumping in your ears rampantly, or was it your heart?

The pads of his fingers began toying with the small of your back as he held onto you. Your hands were pressed against his chest, feeling the sleek material of his black button-up shirt that covered his toned torso.

Like two forces being pulled together, Jean carefully placed his lips onto yours. In response, your hands trailed up his chest until they were wrapped around his neck, deepening the kiss. His soft lips against yours turned feverish like there was a dire need for more. Without breaking the intense lip lock, he swiftly lifted you by hooking his hands under your thighs and set you onto the edge of the pool table.

'Forget about Floch.'

A shiver tickled your spine as Jean broke away from the kiss to plant a trail of kisses on the crook of your neck, nibbling and sucking on your soft skin ever so slightly. A delicate moan escaped from your mouth from all the times Jean's lips kissed on your sweet spot.

"Jean," you breathed out with a pant, "what if someone walks in?"

Though you were trying to focus on having a good time, worrisome thoughts that someone could wander into the basement at any given moment and see both of you hooking up built a barrier in between you and having fun.

Jean pulled away to look at you through hooded lids, "let's hope they don't then for our sake," with one hand, he collects your chin, rubbing his thumb across your kiss swollen lips.

Sure, the thrill of messing around and the chance of getting caught excited you to a certain extent.

Your breath caught in the back of your throat as you stared at the man straddling you. His hips rocking between your legs in a tantalizing motion as he stared down at you beneath him through hooded lids.

Jean's free hand kneaded your thigh like dough, the crook of his thumb tucked at the band of your lace underwear, pulling them down your legs with ease. Discarding the sheer material after it'd been removed from your legs.

Down on his knees before you, Jean carefully led a trail of sweet open mouth kisses from your knee up from the inside of your thigh. His fingertips pushing the material of your dress upward along the way.

"Is this okay?" The heat of his words fans your exposed sex, causing your back to arch out of excitement.

"Mm..." you nod your head, incapable of forming a proper reply.

Your eyes flutter shut once his mouth closes in around your clit, his tongue dancing around in smooth motions against the bud that makes your core tighten. Naturally, you lay back against the pool table, managing to avoid any miscellaneous pool balls on the surface.

Both of his hands grip onto your hips from underneath your dress, moving around in tender circles to caress your body before he swipes his tongue between your soaking wet folds, gathering a taste of you. Another lick from his tongue starting from your core up to your clit has you panting lightly, practically begging for more.

His tongue centers on your clit once again, drinking you in as his tongue flicks rapidly against the bud, berating the nerves as you grind against his face. A thin layer of your slick coats the inside of your thighs as one of his fingers gently plunge into you. Without any hesitation, another one of his digits sinks into you, causing more friction.

His long fingers slide in and out of you, hitting your core in just the right way at perfect momentum. Pushing inside your spongy center at greater force while pulling out swiftly to repeat the process over and over again.

Your fingers tangle through his soft hair in intricate knots while holding onto him the only way you could.

"Jea... Jean," you breathed out a moan.

Hitting your core repeatedly as his tongue strokes and flicks in just the right spots, you finally began to feel your nerves bundle up in your core. It wouldn't be much longer at the pace he was going until he had you at your release.

"Don't stop, Jean," you groaned, almost begging him, "please."

That triggered Jean to grab ahold firmly onto your hip with his left hand, nails digging into your flesh as he fastened his pace both with his tongue and fingers. His fingers sloshed in and out, holding you against his face as your body couldn't take the pleasure anymore.

Eventually, you began to unravel, coming undone as you moaned out his name breathlessly, clenching around his fingers as the pent up nerves rippled through you. Jean planted sweet supple kisses against your clit, sucking slightly as his fingers slowed inside of you at a tantalizing pace while you rode out on your wave of release for as long as you could.

Just as you thought you'd found your end, Jean lifted his face away and replaced his mouth with his thumb. The ball of his thumb kneaded away in rough circles around your sensitive clit as his fingers inside of you picked up in speed. You squirmed under the immense pleasure that was almost unbearable as he milked you to the last drop until the same pent up nerves in your core began to build again. You fell at his mercy, slashing around, moaning outcries of bliss as you ruptured again for a second time, palpitating around the width of his large fingers.

Your heartbeat was ringing in your ears as your weight relaxed against the table. Your legs had gone completely numb.

Wobbly breaths exhaled from your lips as Jean carefully retracted his hand. Your eyelashes flutter open from the absence of his fingers, only to watch him push one finger after the next into his mouth, sucking your coat of slick off of his digits. Jean nudged his thumb across the corner of his mouth, wiping the excess fluid away.

Before anyone had the chance to walk through the door, you struggled to stand up straight after sliding off of the side of the pool table. At the same time Jean stood up from his crouched position, your bodies practically pressed together. You couldn't help but notice the prominent bulge in his pants as he'd been lingering against you.

Tugging your dress down to adjust yourself, you patted the material to eliminate any wrinkles after sliding on your underwear. Jean stopped to brush his knuckles against your cheek, you couldn't help but think how pleasing it felt to have his cool skin against your burning cheek. His hand folded, his palm cupping against your face as he dipped down to plant a dainty kiss on your lips. Your breathing was still unsteady as you paused to return the kiss.

His bangs tumbled over his forehead while his thumb smoothly raked over your bottom lip after your lips finally disconnected from one another. Ash brown locks dangled in your field of vision, clouding the definition of his face.

Jean tilted his chin, lifting his head slightly to the point where you could finally see the features of his face clearly. The corners of his lips were pinned up into a diminutive smile and a light shade of pink dusted his skin. You couldn't help but smile in response.

Was this your way of getting over a breakup? Hooking up with someone you hardly knew? You couldn't care enough to dwell over the thought.

Just as you were about to say something, the prominent buzz of waves of vibration emitting from your purse caused you to forget the words you had forming in your head. With eyes wide open, you broke out of the trance, searching for your bag that had fallen from your arm.

You mouthed an apology to Jean while struggling to answer your phone.

"Historia-"

"(Y/N), where are you? I've been looking for you because Ymir's drunk and I need help carrying her back to the dorm," Historia spoke over the sound of music in the background. You happened to catch the sound of Ymir groaning some nonsense as well.

"I'll meet you outside near the front door," you managed to say before all sound on the opposite end of the call ceased.

You pulled your phone away from your ear, noticing a completely black screen. Your phone finally died on you.

You were just lucky you'd happen to hear and speak with Historia before your phone went dead. Or what if she didn't manage to hear you?

"Shit."

A sudden urgency burned through you. You needed to go upstairs and meet with Ymir and Historia immediately.

"I have to go, Historia and Ymir are waiting for me upstairs," you managed to say before putting your phone away.

In return Jean took a step away from you, allowing you the space to break free from the pool table. Leaving no time to talk, you formed a beeline straight for the stairs. Jean clasped a hand around your wrist, stopping you mid-step on the second step of the staircase.

Turning around, you looked down at him as he stared up at you.

"So much for that game of pool, (Y/N)," he teased, the smallest playful smirk on his lips. "I'd like to believe you would've won."

A faint heartfelt laugh fell from your lips after hearing his comment, "bye, Jean," you said, and Jean freed your wrist from his grasp.

The tug at your heart was evident as you trailed up the stairs, leaving Jean in the dust behind you. You didn't want to leave the party just yet, you didn't want to leave Jean. Definitely not after having such a mind-blowing hookup. But, by putting your wants aside on the back burner, you knew you had to leave and help Historia out.

#aot #aot smut #aot jean #jean kirstein #jean kirschtein x reader #jean kirschtein smut #attack on titan #snk #snk x reader #jean x reader

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x0401x · 4 years

Text

Violet Evergarden Movie Summary

The initial plan was to make this a short bullet-point thing, but I felt like there was too much to clarify and I had no choice but use novel references to explain certain parts, so I decided to just write a normal summary. Many thanks before-hand to my friend Yuuki, who gave me all this info.

Apologies for taking relatively long with this thing. Not even I expected that I would end up writing this much. Buckle up for the ride, ‘cause it won’t be fun.

Nope, not kidding. It really won’t.

First thing I need to make clear is: this movie is one and a half hour long and divided into three parts and two different timelines: the times when Violet existed and the times after she dies. Already in the beginning of the movie, Violet is dead.

Yes, you read this right. She’s dead.

Now, I don’t mean that she’s dead in the literal sense. This is 60 years in the future. She might be alive or not, but it’s never said. However, the timeline of 60 years later is considered an era without Violet, apparently because she has retired and her “legend” is over, so to say. It’s also a time where Auto-Memories Dolls don’t exist. That’s one good punch in the face. Let’s keep counting.

The movie is sort of like a tale being read by someone else, which at some point goes into Violet’s first-person POV. The whole thing is kind of a look back on Violet’s life tragectory and how it took a new turn when she decided to continue looking for Gil despite all the mess of the TV series.

The era where Violet exists is an era where telephones are being introduced to the people, so Auto-Memories Dolls are starting to become unnecessary. I would argue that the creation of the telephone isn’t enough for an entire occupation to start disappearing so quickly, since new inventions are normally extremely expensive and not everyone has access to them (or even knows about their existence) so immediately after their conception. Realistically speaking, ghostwriters would still be important as long as there were still so many people unable to buy phones. Not to mention that this is a steampunk world where compulsory education doesn’t seem to be a thing yet, so even in the off chance that everybody can buy a phone, there would still be a lot of people who can’t read or write on their own. But all of this clearly went over the animators’ heads, so not only ghostwriters but also the mail business in general are nearing their doom in the movie.

The one looking back on Violet’s life was Ann, who was telling it all to her granddaughter, Daisy (who, by the way, is voiced by Morohoshi Sumire, the same girl who voiced the seven-year-old Ann). Ann had kept all the letters that Violet ghostwrote for her mother, as well as the newspapers about the CH Postal Company. Looks like the article was printed after Violet left CH, since she isn’t in the picture with everyone else.

In this era, CH’s main office has been turned into a museum. Nerine is shown working in it. Of course, she’s a grandma by then. Speaking of the CH personnel, Erica also quit being an Auto-Memories Doll and became a playwright like Oscar. She appears in the newspaper, though, so she probably a while left after Violet did. Taylor also appears there.

Back to Daisy, she was writing a letter to her parents, in order to learn how to properly convey feelings with written word. The message of this scene seems to be that, no matter the tools, what’s important is that we convey our feelings to the people we love.

As we see in the trailer, Gil’s mom has passed and Violet runs into Dietfried when visiting her grave on the anniversary of her death. To anyone who is wondering: yeah, Gil never went to see his mother and she died thinking that he was dead.

Nobody knew that Gil was alive. Not his mother, not Dietfried, not the Evergardens and not even Hodgins. No one.

Here’s what happened to Gil in the anime: he survived the incident at Intense, of course, but got separated from Violet in that explosion. His tag miraculously stayed on the same spot, though, as we saw in the TV series. Now, since this isn’t explained in the anime at all, I have to make it clear: the tag is that necklace the soldiers wear. It contains their names and ranks, so that their bodies can be identified even when they’re irrecognizable. Without the tag, the people who rescued Gil had no idea who he was, so he was sent to a different place to get treated. He ended up at a monastery hospital instead of the one in Enchaîné. I would debate that his uniform alone is enough to identify him as someone from the Leidenschaftlich Army, or maybe they could’ve just asked him which troop he belonged to after he woke up and relocated him to where his fellow men were, but who even cares about all these plot holes anymore? Definitely not me.

Anyway. After Gil was discharged, he ran the fuck away. Like, literally.

If anyone out there was hoping that Gil would finally have his moment to shine as the self-sacrificing, thoughtful and ridiculously kindhearted character that he is in the novel, I have bad news for you. What we had here was even worse than it being Gil’s excuse movie. It’s like the whole thing was made to drag his character so deep through the mud that he’ll never be able to get up again. There’s pretty much nothing in this one and a half hour that actually justifies what he did to Violet. I’ll elaborate on this as we go on.

Anime!Gil became a nomad and went traveling. He offed his ass to the island where that lighthouse displayed in the most recent official art is located (that’s why Gil and Violet were at the beach on the movie poster). He doesn’t have a prosthetic in the anime because, apparently, he was more worried about disappearing as fast as possible to somewhere he would never be found, and never attempted to contact anybody. So nobody knew that he was alive, hence the grave, which, as we feared, was not a fake one. His family really did think he had died.

This is a point that I have already addressed before, but that also means Gil really did abandon Violet to luck. If anything dangerous ever happened to her (as it did, and it was always very obviously likely to happen, since she was the southern army’s most outstanding soldier and quite literally fled from the military), he wouldn’t even know. If word ever got to him, it would probably be too late. And even if it weren’t, he wouldn’t be able to do anything to help her. More than allowing her to live freely, it felt like he was running away from his responsibilities regarding Violet.

Punch on the face count is currently at six.

By sheer coincidence, Violet learns that Gil is living in that island. She goes to see him and Hodgins goes with her after trying to stop her at first. When Gil finds out that they came to see him, he outright refuses to meet them. It pretty much takes the near entirety of the goddamn movie for them to see each other face-to-face. I say face-to-face because all of the following shit happens:

Hodgins goes to talk to Gil. It lasts about 20 minutes.

Gil talks to Violet from behind a door. This one is about 10 minutes.

Dietfried also comes to the island to talk to him. Also about 10 minutes.

At long fucking last, Gil goes to see Violet. But that, too, is only for about 10 minutes.

Hodgins gives him a speech very similar to what happens in chapter 8. Now get ready to fall back from your seats: Dietfried basically goes there to tell Gil that he won’t run away from taking over the family anymore, so Gil can live freely. Yes, Dietfried is officially a better Gilbert than Gilbert himself. I crave death.

So, after much ado, they come to a conclusion: Gil will stay in the island. In order to completely free himself of the shackles of his bloodline, he stays behind, living the way he wants to. ‘Cause all anime!Gil wants is to rot away alone by the sea, apparently. Now prepare yourselves, for it gets worse. Ready?

Violet stays with him in the motherfucking island.

That’s right, ladies and gents. Another fear became true. She quits her job at the CH Postal Company and goes to live with him. Well, at least, not as a housewife. She starts working with mail services in the island, and Gil helps her with it. Her life goes on like this and she dies in the island as well.

This is where the timeline after Violet passes away comes into light, parallel to the era when Violet was alive. Daisy talks about what happened after Violet left CH, as if it were a tale from the distant past.

That’s it.

The movie paints this as a happy ending. I can hardly see it as one. I know it almost looks like everything was solved, but it just got swept under the rug.

The main point that makes me sad in this ending is that Violet’s character development did a 360 degree flip. In the end, she threw everything to the air and went to live in someone who she always put before everyone else, even herself, but who didn’t do the same for her (in the anime). She’s gone to a crammed little island, where she led an uneventful life away from everyone and everything that’s ever had a positive impact on her. All she has is Gil.

Of course, he’s all she needs, but he isn’t all she should have, and that was the entire point of pushing her to go live on her own. Which is exactly what she earns in the novel: two loving parents, a father figure, a brother figure, a best friend and several other friends and acquaintances whom she formed a bond with. She has all she needs, so she doesn’t have to cling to Gil for any reason. There’s no emotional dependance on him anymore. She doesn’t need him to be whole. She just wants him because he happens to be the best person she’s ever met.

Anime!Violet is most definitely not whole. She almost got there, but then she backtracked completely. And anime!Gil... in my friend’s words, is a weakling. There’s nothing in him actually worth all this undying blind love. Sure, he’s full of regret and shit, but it’s too easy to only act upon it now, by vanishing into thin air like a coward.

The deal with novel!Gil is that he looks around at everything he has, everything that had been burdening him and killing him on the inside all his life, and decides to make use of it for Violet’s sake. He continues being family head and working in the army, amassing money and connections in order to have every means possible to protect Violet should anything happen to her. And as it turns out, he does end up having to use those means, more than once, but he will keep this up for as long as he needs to, because he lives for her now. That’s what makes him worth all the blood, sweat, tears, mental sanity and even body parts that she gave away for his sake: he pays it back. Every cent.

Punch in the face count ends at twelve. Thirteen if I include the fact that the movie ends with a last shot of Violet after she and Gilbert do a pinky swear. Looks like they were really trying to buy everyone with tears.

Oh, well.

I hope this has been a good enough summary. Sorry if I rained on anyone’s parade. I’m pretty sure we won’t get a remake ever, so I really wish we all can get over this soon.

#violet evergarden #fyeahvioletevergarden #kyoani #kyoto animation #violet evergarden movie #summary #gilbert bougainvillea #claudia hodgins #dietfried bougainvillea

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dreadfutures · 3 years

Text

aight let‘s talk ao3 tags again

the very nice tag wrangler I’ll be quoting from has given me permission to share their kind and thorough responses (all bolding/emphasis is mine) without identifying information. and we very nicely go through some of my own tags from my long fic Dead Pasts, Dread Futures. Many, many thanks to this wrangler for explaining so much to me.

Anyway. I present these discussions as a peacable offer of: these are many writers’ concerns, and they are valuable, and worth considering. don’t dismiss concerns about the tag limit off hand, and don’t insist that edge cases don’t matter.

tldr; at the moment, after all this discussion and back and forths and bullying, I still believe that having 75 tags, period, as the limit across ALLCharacters/Relationships/Fandoms/Additional Tags penalizes longfics. Period. If it were even a limit of 100 tags, or broken down by Tag Type, it would be a little more forgiving. For advertising and for content filtering purposes, it only helps writers and fic visibilty to be specific and thorough in tags. A limit like this just so clearly has the potential to negatively affect large fandom/large ensemble/long fics.

It feels like this decision is being very broadly based on a "for the majority" mindset, which has never been what AO3 is about, without actually physically looking at the kinds of fics it will affect. The tag system on AO3 has been able to give fic filtering and reader-judgement a nuance that no other platform has accomplished, and longfics and large ensemble fics still, I think, depend on that as both a courtesy and necessity. I saw the rough math someone did and know that almost all fics currently on AO3 are <25k or something like that, and sure, for the average oneshot, or for even a fic <100k, a tag limit that's very strict across all tag categories probably won't be felt at all. But it's clearly something that people who write certain types of fics, and take them very seriously, will feel. Like I genuinely don't want to have a million tags. I want to tag relevant content that allows potential readers to filter & include & exclude my fic as they so choose, but also, if it does show up in their search, I want to give them the information they want to be able to decide if they want to read my fic or not. I don't want to have to put all my content warnings into a giant summary, or into a giant author's note that grows and grows. The tags have been a very helpful way of accomplishing those. Being able to cut down on parallel/synned tags is great, but it still seems like longfics that deal with multiple fandom entries, large casts, and require content warnings will butt up against that limit very quickly.

tag limit discussions:

- long fic writers adding tags as they go

- writers of franchises with many installments and ensemble casts

- writers with extensive content warnings

- use of tags to clarify a filtered tag

- use of tags to demonstrate how content is handled

off the bat - stop being jerks

look, I know objectively fics don’t need to be tagged at all. I lived in the wild west, too, when “lemon” meant anything from the merest mention of arousal to an explicit vanilla sex scene to all out dead dove craziness. a large part of me still is of the opinion that readers should just read shit, and if they decide they don’t like it, just dip. but that’s not what we’re about here. tagging is a kindness that we voluntarily undertake, and it’s also a form of advertising.

tags are useful for their specificity, for filtering and exclusion purposes

(that’s one of the cruxes of the arguments both pro-shippers and antis make: you can filter things! But you can only filter things if they’re tagged.)

I also understand that a few asshole writers have ruined this for all of us by purposefully adding so many tags it slows down the site and makes pages fail to load and hides other fics because the tags take up 10 pages. i also am frustrated with kinkmemers who just have prompt fill fic dumping grounds that span multiple unrelated fandoms and are impossible to navigate.

...the answer is not to suggest to writers that we put all our content warnings and pairings and etc. in our summaries, or our A/Ns, or to insert a first chapter that is a placeholder summary/tags page/world state. tags are useful for their specificity, for filtering and exclusion purposes.

I also have been dealing with people being murderously angry, and super self-righteous and targeting and mean about my own tags, and tags in general. people who are anti-tag are being giant fucking dicks about it. like get over yourselves and let’s just talk about a website function lol. tags are useful for their specificity, for filtering and exclusion purposes.

THE ANSWER IS NOT TO GET RID OF TAGS.

Alright, so now that we’ve gotten that flippin’ straw argument aside.

The next thing anyone has been doing is going to my page and critiquing my tags. Let’s address redundant tags.

(the wrangler has done this nicely! no ridicule necessary!)

using my fic as an example:

If you tag your fic Female Lavellan/Solas (only), it will show up in the following searches: Inqusitor/Solas, Female Inquisitor/Solas, Lavellan/Solas, Female Lavellan/Solas. If you tag your fic Inquisitor/Solas (only), it will show up only in the Inquisitor/Solas search and in none of the others. If you tag with the most specific version, it will show up in the more general versions, but not the other way around. So there's no real reason to tag with the more general tags.

Though I will point out that if you don't use the canonical tag and tag your character or relationship with a custom name it will be synned to the nongendered version, because at some point the DA wranglers decided that they didn't want to make gender assumptions. So "Annabelle Lavellan" will be synned to "Lavellan (Dragon Age)" rather than "Female Lavellan (Dragon Age)", and someone searching for works with specifically "Female Lavellan" won't see it.

Response: In the fanfic writers server I'm in, we've talked about how tags work and are supposed to work extensively in the past. There's just always been a lot of confusion, which I think has been added to when people go and try to double-check for themselves and find instances where this treeing/synning is broken. Someone put out this guide (also here) for AO3 meta text this year, which has been referred to by multiple people in the server, and it says:

What if you wrote a fic for something where there's a movie based on a book, but the movie's really different, and you've used both things that are only in the movie and things that are only in the book? In that case you either tag your fic as both the movie and the book, or see if the fandom has an “all media types” tag and use that instead of the separate tags. If the fandom doesn't have an “all media types” tag yet, you can make one! Just type it in.

“All media types” fandom tags are also useful for cases where there are lots of inter-related series, like Star Wars; there are several tellings of the story in different media but they're interchangeable or overlap significantly, like The Witcher; or the fandom has about a zillion different versions so it's very hard, even impossible, to say which ones your fic does and doesn't fit, like Batman. Use your best judgement as to whether you need to include a more specific fandom tag such as “Batman (Movies 1989-1997)” alongside the “all media types” fandom tag, but try to avoid including very many. The point of the “all media types” tag is to let you leave off the specific tags for every version.

Which I believe is in direct contradiction to guidance to use the most specific tags, so that's definitely one source of confusion. The most recent ao3 meta text guide (https://archiveofourown.org/wrangling_guidelines/2 I think this one) doesn't present itself in a way that makes this clear for writers tagging their own works. The way authors usually go about tagging things (and what's in the FAQ) is to start typing into one of the boxes and look for what populates the drop down, which doesn't lend itself to knowing that there are trees, or knowing what tags are interrelated (it seems like a whole grab bag of tags get suggested, some in-fandom and some outside of fandom, some canon/parent/meta and some children/random freeform, in just about any field you start typing in).

I'm not sure what can really be done about this. Many of us have turned to ao3-comment-of-the-day and their posts about using Tags, and various sources on google, and have clearly come up with a whole load of conflicting advice.

Fundamentally, finding parent/meta tags for a tag as you’re tagging a fic is NOT clear to writers. The fact that a nested and a meta tag can both be suggested one after the other when filling in tags largely contributes to redundant tags.

Writing for Multiple Fandom Entries

Here’s what a tag wrangler had to say about my fandoms:

As with the relationship tree, you can look at the fandom tree here: https://archiveofourown.org/tags/Dragon%20Age%20-%20All%20Media%20Types and see how the fandom tags are related. Going back to your story Rogasha'ghi'lan as an example, it's tagged with Dragon Age: Inquisition, Dragon Age (Video Games), Dragon Age - All Media Types, Dragon Age: The Last Court. But as I said, you only need to tag with the lowest relevant level(s) on the tree in order for your fic to show up under the higher levels. So if you tag with Dragon Age: Inquisition and Dragon Age: The Last Court, it will show up not just under those categories, but also under Dragon Age (Video Games) and Dragon Age - All Media Types. And of course because you've tagged with the specific, if someone searches under, say, Dragon Age (Video Games), but doesn't want Inquisition or Last Court fic, they can use the exclude filter to show only the earlier games.

(So that's two more tags you can remove with no effect on searchability!)

In my (but not only my) own case, I am indeed writing for Origins, DA2, Inquisition, and Last Court extensively within the same fic, so I should be tagging for all of those, specifically, still. In order to make sure my fic is seen by the correct fans, I need multiple specific tags.

Longfic Tag Bloat (adding tags as you write a fic)

And like many other longfic writers, even if I narrow down my character tags only to those with dedicated character arcs longer than 5 chapters, I still have Loads & Loads of Characters (including Dalish from the Chargers!).

A lot of longfic writers I know add characters, relationships, and content warnings as they go along.

At 170 chapters/580k words, Dead Pasts had a ton of important relationships (for example, like Vivienne & Lavellan), and as a story it's nowhere near done. I found myself planning an arc from 171 onward that would introduce a very important relationship (Felassan & Lavellan). This is how longfics end up with so many, many, many character tags and relationship tags, which is another major criticism people seem to have about "people who abuse tags."

A solution that people propose online is "split your fic." Which is actually what I ended up doing...but the old relationships and fandoms from DPDF still apply to Rogasha'ghi'lan, so Rogasha'ghi'lan will have the same number and more tags than DPDF.

If I hadn't split the fic, I would have just kept adding tags to Dead Pasts...and still had the same problem of continually adding tags. They're not superfluous tags: someone who wants to see a plot that is deeply influenced by Vivienne & Lavellan will find that in my fic; someone who is looking to see a major Felassan & Lavellan friendship grow and drive plot will also find that in my fic.

My fic is long; there are other fics that are longer, or are going to be longer, with casts that are just as large or larger, with many relationships, and that's not even talking about content warnings.

Polycule / Relationship Tags

"Tagging a polycule like Iron Bull/Dorian/Lavellan requires four tags: Bull/Dorian/Lavellan, Bull/Dorian, Bull/Lavellan, Lavellan/Dorian"

This assumes that people who like Lavellan/Dorian will want to read Iron Bull/Dorian/Lavellan, which is often not the case. If your story Is Iron Bull/Dorian/Lavellan, tag it that way! It doesn't make any sense to me to tag with the pairs as well unless the story would be of interest to people who read for that pair, or unless that pair relationship is a big step in the story (like, if you have established Lavellan/Dorian, and then they bring in Bull, you might tag for both that pair and the trio). I mean, you can tag how you like, there's no requirement that tags correspond to content. But for me, personally, if I search on Dagna/Lace Harding (I am weak for dwarf women!) I do not want to get a Dagna/Lace Harding/Sera fic.

My personal tastes don't include poly fics, but several writers I know who write poly fics are adamant that: tons of readers will not know of the possibility of the poly fic until it shows up in a search result, and the individual relationships often are significant to the fics, especially in fics that are not oneshots. For example, a great number of "fav fics" are stumbled-across! We aren't interested in the Sera/Dagna/Lace polycule ourselves, but someone might not have considered it, found it, and said, "Hey! That's my new favorite." But if polycules are segregated and only searchable by the polycule itself, alas, what's the option for visibility at all if not tagging it as Lace/Dagna in addition?

Additional Tags

Knowing when something is a "character" and when something is "additional"

Knowing that "Warrior Lavellan" (or the [Name] Mahariel) would be more useful in an Additional Tag vs. a Character Tag is also something I'm not sure how we're supposed to know? Like, I'm glad to know it now, but it's definitely not at all obvious without you telling me why it would be more useful in Additional vs in Character. Especially when to me: Warrior Lavellan is a character, and the fact that it populated the Character tag for me says that it's a Character. Because like I said, the guidance has been: start typing, and if it appears in the drop down, use it. Or, for example, my friend has the Well of Sorrows personified as a Character. Like an actual character. Does that have to go under Additional Tags, or as a Character? How do I know?

Additional tags as tone/content indicators

A lot of writers / readers have approached the Additional Tags as a surface-level overview of understanding how an author is approaching many topics concerned in the fic. Like, Vivienne is a character in my fic, but specifically I am Vivienne-positive, which I feel is important to denote because she's important to my fic, and she's a divisive character. Mood/tone/theme indicators like "Pro-Vivienne" or "we are Vivienne-positive in this house" (or like Male-Female Friendship, or "Expansive Lore" vs "Lore - Freeform" which denote different things to me) in tags (which in the comments section on the ao3 blog post get derided as "chatty tags") are still important to me, though they're useless or far less likely to be used for filtering. (I had the thesis of the conflict of my fic: “empathy is the enemy of free will” “but hope is a choice” as “chatty tags,” among some that were more mundane but important: “sera shows up late in fic”)

More seriously, there are fics that have content warning tags for filtering purposes but also clarify those content warnings to give context to readers and allow them to make a decision whether or not the content actually fits their preferences, ie, one that specifies domestic abuse as a tag (which would be in the Additional Tags) for filtering purposes but also specifies "domestic abuse not present in x relationship" (which would also be in the Additional Tags, but is useless for filtering purposes, but is immensely helpful and demonstrably used by readers to decide if they're going to even bother reading the author's note of that fic).

People are also nervous that not being able to thoroughly tag content warnings is going to end up with unhappy readers amid all the purity culture flaming that's going on lately.

Like, personally I err on the side of "suck it up, reader, and just read and find out," for a lot of things (not talking about content warnings, but talking about mood/tone additional tags), but also, given that there is already a venue here to let readers know what they're in for...taking that away sucks.

I hate a giant fic summary as much as people hate 10 pages of tags, but at least one can hide tags in their preferences, and likewise the thought of starting a fic up front with a giant author's note that gets continually updated with content warnings also isn't super appealing. Leading with a giant author's note that lays out: this is my world state and this is my character's spec and this is my character's background so you know how I'm going to approach this and these are all of the content warnings for the fic as a whole, just feels like getting into "My Immortal" territory. There's definitely a balance to be had between the art of writing a summary, what to include in an author's note, and what to include in tags, but this still seems like it's going to be fairly limiting for writers in these large franchises, especially for longfics that span a lot of topics.

Like I genuinely don't want to have a million tags. I want to tag relevant content that allows potential readers to filter & include & exclude my fic as they so choose, but also, if it does show up in their search, I want to give them the information they want to be able to decide if they want to read my fic or not. I don't want to have to put all my content warnings into a giant summary, or into a giant author's note that grows and grows. The tags have been a very helpful way of accomplishing those. Being able to cut down on parallel/synned tags is great, but it still seems like longfics that deal with multiple fandom entries, large casts, and require content warnings will butt up against that limit very quickly.

#ao3 #ao3 tags #long post #writing #look i really don't want to engage with anyone else but the amount of dimissive takes #and bullying #i see on my dash / have been targeted by / my friends have been targeted by #when we're trying to be conscientious?#is ridiculous #i'm just going to leave this here

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