#But when putting those things into question you must analyze the scenes and interactions and see

[itsclydebitches]

Tonight I came across a post (that won't hit my blog until July because I queued it) about how it's unfortunate that "fun" has supposedly become a requirement of video games, given that this severely limits how they can function as works of art. We don't limit other mediums by insisting that they only produce positive emotions and experiences in the recipient, so why would video games be any different just because they're (more) interactive?

This post isn't actually about video games, but rather how that argument got me thinking about RWBY and the recent resurgence of this "Why are you still here if you hate the show?" question. Now, setting aside the acknowledgment that 99.9% of people asking that are merely trolling behind their faux-concern—they have no actual interest in hearing a RWDE poster's reasons for sticking around, they simply want a way to say, "Get out" with plausible deniability—but if we treat this question seriously, I think that post on video games may offer some insight. I have numerous reasons for keeping active in the RWBY/RWDE fandom (initial love of the show, intellectual exercises, the community we've made, etc.) but there is also some level of investment in what would traditionally be framed as non-positive emotions. RWBY can make me feel very frustrated... similar to how playing Pathalogic makes me frustrated. Many of its plot-lines make me angry... the same way numerous video games' discriminatory writing can make me angry. RWBY's community, at times, feels like an insult-laden battlefield... but I've been doing PvP in WoW since it came out, so that's familiar too.

There are so many times when I've enjoyed engaging with a piece of media even when I really didn't enjoy it. Perhaps a better way of putting it would be that I found something worthwhile in the experience, even if I couldn't label that as "fun" or "happiness" or "satisfaction." Sometimes sitting with negative emotions is a good thing. Yes, you can take that too far just like you can take any behavior to an extreme, which is where the continual demands to "watch another show" highlight those posters' willful ignorance. We're already watching other shows. Reading other books. Playing other games. Engaging with a huge, diverse variety of art. Those who gain their own enjoyment from targeting strangers online (and isn't that a significant aspect to all this) want to make it sound like RWDE posters haven't touched a single piece of art other than RWBY in ten years and if they just found something they enjoyed without reservations then they'd drop RWBY like a hot potato. But I'm already watching numerous shows that I love unconditionally and have nothing substantial to critique; shows that have me internally kicking my feet and twirling my hair because they're just sooooooo good. I have that! RWBY is a different experience. It scratches a very specific itch of "I once adored this thing and now it's disappointing, but I want to see it through to its end and unpacking the ways in which it fails is a fascinating, cathartic mental exercise." I can't get that from anything else—not right now, anyway—so why would I want to give up this unique experience to fill my time solely with art that only makes me feel Generically Good? Art I have little to say about because it already feels #perfect to my mind? Sure, I could analyze a show's positives and sing its praises (which I often do), but at a certain point you run of out ways to say, "I like it." There's a reason why transformative fandom is built around the gaps in media: missing scenes, plot holes, retcons, failures, missed opportunities, horrible disappointments. Transformation comes more easily when you're already inclined to change the canon in the first place.

Idk, I feel like there's also an element of purity culture here where there's this push to make people think they must only engage with art that aligns precisely with their moral stance, produces only positive emotions, and invites nothing but praise. If the art makes you feel bad in any way than it is bad and you have a duty to remove yourself from it post-haste just ignore that we wanted you gone the whole time. Frankly, I think we humans can handle a bit more complexity than that? Obviously, as said, you wouldn't want to make Art You're Upset With the be-all and end-all of your media engagement, and this certainly isn't a call for anyone to engage with triggers unless they're inclined to do so, but a story you're primarily here to critique, or—yes—even a bit of hate watching can be "fun" in a non-traditionally fun away. Just because the art hasn't made you grin and pump your fist in triumphant doesn't mean it's not worth interacting with as art.

#rwde #rwby #mymetas

[ootahime]

analyzing every gojohime moment in the manga >:) pt. 3

more and more paragraphs ahead.  BE PREPARED!

i’m also writing this at 3 am so please bear with the horrendous grammar and punctuation.

chapter 63

i know he’s probably like this with everyone but i love how excited he is bragging about his students to her.  he’s like a child telling his mother about an amazing adventure he had with his friends, making sure he mentions every detail.  in the anime, their conversation lasted for 3:41 :3 backwards 341 is 143 which means i love you.  

1 letter = i

4 letters = love

3 letters = you

chapter 63

i love her fit!  i also like how both of them like to wear baggy clothing that accentuates their collarbones `w` it’s like they’re matching in a way.  even if she did tell him to cut the crap, she still let him run his mouth to his content LOL i feel like if he didn’t compliment himself at the end, she would have said something different.  UGH HE LOOKS SO HAPPY CALLING HER

 ah, let me translate the conversation just in case anyone needs it.

utahime: you wanted to talk about the investigation, right?

gojo: well, got any idea who?

utahime: i have no idea.  no one seems suspicious.  what do we do now?  should we ask the students for help?

gojo: yeah, that’s fine.  i’m busy so asking the kids would be okay.  keep looking.  i’m counting on you.

I THINK THAT’S WHAT THEY’RE TRYING TO SAY.

OR it could mean that she’s asking if they should start investigating the students.  it would make sense either way because gojo says in the next panel that he doesn’t want to assume that the mole is a student, and in chapter 79, gojo sends the trio to utahime to help her.  

chapter 63

these two love their students to death.  neither of them wanted to assume that the mole was a student.  in chapter 79, when utahime is talking to the trio about the mole, nobara points out to the group that the traitor must be from kyoto because utahime is the one who’s reaching out to the tokyo side.  utahime has a dismal look on her face, almost like she’s saying, “i didn’t want it to turn out this way -- for this to be true.”  after mechamaru says his farewells to miwa on the train, mai tries to talk about what he did to which utahime says, “it doesn’t matter, he’s dead, after all,” with a similar sunken expression.  i just love how her care for the students is one of the biggest aspects of her personality that’s been showcased so far.  it’s also cool how it ties together with gojo’s belief that no child’s youth should be taken away.  i truly think these two have the capacity to understand each other to a deep level, down to the core.  seeing as utahime is also a teacher, it’s safe to assume that she also wants to raise the next generation of sorcerers to be strong.  utahime and gojo’s similarities and contrasting elements are so interwined, i really wonder if it’s intentional.  like am i looking too much into this?  are utahime and gojo really meant to be this connected?  think about it.  similar motivations, care of the kids, contrasting palettes, the bickering, long history.  IT’S JUST TOO MUCH. 

also can we mention how their phone calls and meetings must be heavily planned out?  this means they’ve talked and interacted with each other A LOT behind the scenes.  she doesn’t answer his call with “what do you want?  don’t bother me on my day off.”  she knows exactly why he’s calling her and they even speak in code.  she probably meets up with him and tells him to call her on a specific day and at a specific time.  they must know each other’s schedules very well in order to execute this investigation in complete secrecy.  when he says, “we can never be too sure who is listening in around utahime” it implies that they find calling a risk, so in order to guarantee that there is no one around, they have to meet up in person.  see where i’m getting at?  they talk A LOTTT and most likely are aware of each other’s daily lives.  

the fact that gojo is her main source of stress when he’s literally a 3 hour train ride away from her is hilarious LMAOOOO.  you know what that means, right?  he must call and text her constantly about random things to annoy her.  

chapter 65

ah yes, my favorite moment by far.  look at that smile on his face.  

chapter 65

he loves saying her name.  he probably rushed over with the sole purpose of doing something like this to her LMAOOOO like i mean, mei was in there with her so technically they both needed to be helped but judging from his words and expression, he only wanted to help utahime.  notice how mei’s not there in the debris.  could she possibly have suspected gojo’s presence or an outside force?  or was she fast enough to avoid being in the debris?  either way, her lack of presence in this scene helps highlight the fact that this is a special interaction between utahime and gojo.  he refers to her in a very familiar sense.  the most formal way to address someone is by their last name followed by the honorific, -san.  in gojo’s case, he should be calling her iori-san if they weren’t acquainted.  he doesn’t even bother to call her utahime-senpai.  granted, gojo is not the most respectful and socially competent person out there because geto points this out to him.  he isn’t even aware that she finds him annoying because he views her bad attitude toward him as her just playing along with him.  he probably thinks she’s flirting back LOLOL

since he asks her “you cryin?” that definitely means that gojo witnessed her crying on one occasion or maybe multiple.  who knows, the old utahime could have been a very emotional person.  while this is happening, mei is close to gojo, she then asks him if he would console her if she were to cry in a flirtatious manner.  gojo dismisses her attempt at flirting with him and says she won’t cry because she’s strong.  now normally, you’re supposed to face the person you’re talking to, GOJO.  he KEEPS his eyes on her even when more people come to join the conversation.  

now, we can all agree that geto, mei, and shoko are better at picking up social cues than gojo.  they probably knew the vibe of the conversation and decided to play along with gojo’s antics.  

chapter 65

WE were worried about you.

pay attention to the order of the characters that show up.  gojo makes his appearance first, then geto, followed by shoko.  based on utahime’s reaction to seeing shoko, it’s evident that these two share a close bond.  shouldn’t shoko be the one to arrive on the scene first?  she’s the closest to utahime and would therefore be more concerned about her condition, right?  i know shoko’s technique doesn’t really allow her to do anything other than treat the wounds of others, but if you heard your friend was missing, you would definitely rush to the scene.  

look at geto’s reaction when mei says, “you’re the one who’s picking on her, geto.  you don’t even know it.”  i think it’s mei who’s saying this because gojo calls geto “suguru”.  but anyway, mei is aware that they’re picking on her.  i don’t think she’s the type to legitimately bully someone for their strength.  her reaction to all of this is very playful and her “heh heh heh” is proof of that.  when geto shows up and swallows the curse before it gets to utahime, he says, “satoru.  it’s not nice to pick on the weak.”  by saying this, he pisses utahime off because he too, is joining in on gojo’s joke.  i believe he’s unaware that he’s making fun of utahime because his reaction is “gah!” with a sweatdrop.  he probably thought gojo was making fun of weak people in general.  

geto’s usually a gentleman seeing as it is canon that he is more popular with girls than gojo.  BUT WHO KNOWS...you gotta be a specific type of person to be best friends with gojo.  maybe he ain’t shit too...  okay, my point is that everyone is just playing along.  when shoko shows up, utahime is relieved to see her because shoko doesn’t tease her like this.  since utahime tells shoko to not become like those two, this implies that geto teases her as well (probably not as much as gojo).  we all know geto is really big on looking out for the weak so he probably wouldn’t have insulted her for real.  

verdict: utahime being weak is just a joke.  i’ve mentioned this so many times, sorry if it’s getting annoying and repetitive hehehehehe...

chapter 65

these three aren’t irresponsible.  geto and gojo are a troublesome duo for sure, but they’re dependable.  seems unlike them to forget something so simple and essential to pretty much every mission.   

chapter 65

here’s my headcanon.  they were hanging outside or in the car when their assistant manager got a call.  the assistant was informed that two days have elapsed since mei and utahime went on their mission (or last contacted someone).  

gojo: that’s weird.  mei’s with her so they should have finished exorcising the spirit sooner.

geto: you think something happened to them?  maybe it’s a strong special grade.

gojo: utahime probably dragged mei down with her.  poor mei-san~  

gojo gets up 

geto: where are you going?  

gojo: going to save utahime!  it’s fine i’ll put up a curtain!

manager: gojo wait!!!!!!!!!!!

geto sighs

shoko: that idiot’s always running off without us.

they pin the blame on gojo for saying that he’ll put up a curtain and leaving the assistant manager behind.  you know what this means?  he ran and the manager couldn’t catch up HEHE... why the rush, gojo?  were you actually concerned about her?  

tbh i don’t see gojo ever running to something unless it’s urgent.  the fact that he ran to save her says a lot.  

----

let me know if you have any thoughts or questions!  i forgot to add this but gojo had a more serious expression when he was explaining how they must’ve been trapped in a barrier that messes with time.  he then states, “we thought it was weird even though you’re here, mei.”  i know he was probably worried sick because if mei couldn’t be contacted then that means something must’ve happened to utahime too.  okay that’s it for now.  i’ll be bringing up this little detail i’ve noticed about utahime in the manga next :3

#gojohime #gouta #gojo x utahime

[ratcandy]

Subcon Forest Analysis

Hi everyone I'm here to spill my aggressive overflowing thoughts on Subcon Forest and what it represents because it's been driving me insane since I finished the Sleepy Subcon time rift. Okay let's go. Obvious spoilers for AHIT ahead so proceed with caution.

This is also very, very long.

Disclaimer/warning: I will be discussing abusive/unhealthy relationships in this analysis. I mean. Vanessa. Come on. Also, there is a section on the nooses, and that delves, of course, into mentions of suicide. It will be sectioned off and easily skipped, but if you'd rather be safe and skip the entire post, that's completely understandable! Please stay safe. <3

Alright. Main point to be had here:

Subcon Forest is a giant extended metaphor for Snatcher's mind and character.

You all get to now listen to me spout nonsense about metaphors and symbolism because I'm a sucker for analysis and I'm given an opportunity to go ham. So perish.

The Ice

Let's start with the most obvious and most glaring thing in Subcon. The ice. It's everywhere. Not just outside Vanessa's manor, either; no, it's throughout the village, too. Shows up in the well and in random locations sprinkled about. When it comes to literal plot, we know that ice is just what lingers after Vanessa's wintery curse on Subcon. But going deeper and analyzing the meaning behind it?

Well, let's look at this from the perspective I've suggested. Subcon Forest being an extended metaphor for Snatcher's mind and character. A symbol for Vanessa then litters his mind, enough where it's certainly noticeable at first but blends in more easily once more of Subcon is unlocked to Hat Kid. This is clearly meant to be his lingering trauma, whether or not he wants to acknowledge it. Which he doesn't, as he never mentions it directly in his forest (that I can recall). Her influence plagues him, as to be expected with the traumatic experiences he went through with her. Breaking the ice is something Hat Kid must do in order to fulfill the wishes of the Fire Spirits (another subject I'll get into shortly), which, if self-indulgently playing with the found family idea, could mean that Hat Kid is helping him heal; if indirectly. Even if fulfilling the Fire Spirits' wish to die is... counterproductive, in that measure, which I'm now getting ahead of myself so hold on a sec!!

Vanessa. Ice. Everywhere. Traces of it all over his forest. That's the effects of an abusive relationship! Especially in a worst-case scenario where... yknow! One party in the relationship dies! So of course ice would be everywhere.

In and of itself, ice is a common symbol in literature and other forms of media. In this case, it's presented as an antagonistic force; emphasis is placed upon freezing and the harm that comes with it. The cold is unwelcoming, threatening, merciless. Snow can act as an insulating force, at least, but ice cannot. It can only make things colder.

A slight stretch: Seeing as this game deals a lot with time shenaniganry, I'm not sure if it'd be too out of left field to connect "freezing" with the theme of time. Yknow. Frozen in time. Both parties here, Snatcher and Vanessa, would be in this frozen state. One largely repressing it and never fully moving on, and the other doomed to her isolation ever since the event in question. They never moved past that moment after the Prince and florist's interaction.

The Fire Spirits (& the Portraits)

I'll put a slight warning here for suicidal ideation, if only because... it's the Fire Spirits we're talking about. It's not as grossly in-detail as the noose discussion will be, though, so make of that what you will.

To me, the Fire Spirits are a very interesting case. After all, they're fire. They're a direct contrast to the ice, thus being the only thing we're shown that could potentially melt it. The Fire Spirits, in my opinion, represent hope or a strength to continue. A strength to move on after troubles of the past.

...And that hope wants to die.

The Fire Spirits wish to burn out, to leave this mortal coil and abandon the forest to the cold. They make no effort to melt the ice, they simply dance, blissfully ignorant towards their surroundings. This being a metaphor for Snatcher's own hope for moving on is made all the more obvious by the fact he wants them gone. The first contract is to kill the Fire Spirits, to kill the hope. Perhaps he believes that sort of thing to be fruitless or naïve, so it only clutters his mind or has him foolishly optimistic at points. So, get rid of it. And the hope is happy to oblige.

(That, or their willingness to leave the forest to its own suffering and not aid in the ice's thaw angers him. Besides the whole "bark bark growl I can't get to parts of my forest because of them!!" which... also could represent a naïve hope clouding his judgement, not allowing him to see a bigger picture. But hope can't all be lost if one wants to move forward...)

A little side-tangent now on the portraits! And it's another slight stretch but the idea is in my head and I can't let it go. Portraits are another common symbol, usually being a physical representation of a memory or idea. For our purposes, let's say they're memories. I know in canon they appear to just hold souls captive or something but for now we're just Ignoring That(tm). The Fire Spirits have to burn the portraits to disappear. See where I'm going with this, maybe?

Instead of handling bad memories (or perhaps memories of the past in general) in any healthy manner, Snatcher chooses to forget/repress them, which just allows his hope to progressively die out.

I'm really hoping this is making sense because it makes a lot of sense to me but I might be insane rn

The Fact that this is a Forest

Forest symbolism breakdown! What's a forest usually mean in literature? "Traditionally, the forest has come to represent being lost, exploration and potential danger as well as mystery and 'other worldliness'." Okay. Yeah. Fair enough. That certainly works with the whole aesthetic we've got going on. Wood usually is life, growth and strength. But the trees of subcon are all dead. So what about that? It stands for death, big whoop, very spooky, we know Snatcher's dead and so are the children, yadda yadda wowie wowie. But. :) The trees in Subcon look a lot like trees that were scorched in a forest fire. Don't believe me?

(You could also argue they're just regular marsh/swamp trees bUT SSHHSUUHSH HANG ON HEAR ME OUT LOOK LOOK,)

What I believe to have happened was a controlled fire to rid the forest of the majority of its ice and snow. Likely done by Snatcher. It leaves behind a very desolate, depressing, barren scene... but. What else do dead/burnt trees symbolize? Rebirth. After all, controlled fires happen to make way for new trees to take the place of old ones. Some trees only drop seeds in fires/hot temperatures, so new ones take root and begin anew. Weird. It's almost like... I dunno. Snatcher was given some sorta second chance, given he's not just a corpse in Vanessa's cellar. So were the subconites. Another life given then by Snatcher. All connected I tell ya!!

Generally, aside from that, forests have many connotations. Mystery, isolation, claustrophobia; a place to dwell on regrets, or the past; to worry over one's future; to seek escape from or escape inside of... hmgmrnmm!

-=-=-=-=-=-=-=- T / W -=-=-=-=-=-=-=-

The Nooses

The t/w is given at the top and another cut-off point will follow the bottom of this, for those that would like to skip. This will delve into talk of suicide and abusive tactics used by abusers. Please don't read if it will upset you or make you feel unsafe!!!

Personally, I cannot stand the nooses, but that's just due to my own triggers. Were there a way to hide those from the game or replace the damned talking ones with anything else. I would take it. In a heartbeat. But I can still appreciate the potential analysis to be had with them. So now i'm gonna talk about it despite how uncomfortable it will make me to do so. yEa

So, what about 'em? There are three types of nooses seen in Subcon. At least that I remember but I didn't really go looking for them. Empty ones, ones containing empty subconites, and the talking ones.

Nooses in general obviously can hint towards suicidal thoughts or behaviors of the characters that interact with them. If saying Subcon is Snatcher's mind, it could suggest that he suffered from some sort of suicidal thoughts in life (or currently, if second death is possible... or if he never truly died... or maybe he's trying to figure that out...which has given me... a separate idea...uh oh). But. And hear me out. Different perspective.

A talking noose. I hate them with a fiery passion that is unmatched. But think of the packed symbolism of a noose that talks. And think more about what it says. "I wouldn't mind being strapped around a cute neck like yours." "Be careful now, I don't want to see you meet a miserable end anywhere, but with me." Oddly, a lot of what the noose says seems almost... endearing? One could argue it's a way of luring someone to put it around their necks, which in and of itself is a whole lot to unpack when it comes to suicidal thoughts beckoning one forward; painting itself as something romantic, almost. But. Here's a wild idea, now. What if the nooses, at least the talking ones, are another symbol for Vanessa?

They're tinted blue, after all. While Vanessa's scheme is more red, one could argue two things: One, ice. Blue. Ice. yeah. Or two, the fact that Snatcher's scheme is more purple. Blue and red... make... purple. So, for all we know, Snatcher's current state was a compound effort between suicidal thoughts and Vanessa's treatment of him. Perhaps he even found a way to put himself out of his misery before freezing/starving to death. (I know he has dialogue that argues against that, but... are we certain Snatcher would be the kind to admit suicide over freezing to death?... I don't think so.)

At any rate, a common threat by those in "control" of an abusive relationship is that of killing themselves should the other person not do as they desire. It's a cruel form of emotional manipulation to get their way, worse off if the other party is an empathetic individual. As a person who has been the empathetic individual in relationships like this... I would know. I've been here, unfortunately So, it's not completely out of the question to say Vanessa could've used some tactic like that, even before the whole... cellar ordeal. Did she? I dunno. I'm tossing ideas around. But if she did, the threats of such would sit around in the Prince's mind easily. Even if she has a reputation of not going through with it. It doesn't matter. That shit sticks with you forever, that scare, the potential of it ever being true, is horrifying and it ruins you. I'm projecting, Squirtle.

Still. A noose cannot hang itself. It has to have a victim.

...yea.

-=-=-=-=-=-=-=- T / W PASSED -=-=-=-=-=-=-=-

Misc. Ideas

- The spiders: Aside from the usual things spiders can be chalked up to symbolizing - toxicity, alluring danger, just... general pain - I like the potential wordplay that can happen here. Yknow. A black widow. Say the Prince and Vanessa were married when one died. What would that leave Vanessa? A widow. ...She's red and black, too. Yknow. Like a black widow. HA wordplay is fun isn't it?

- Snatcher's tree: Love this place, love sitting in here. But not the point! The inside of Snatcher's tree is such a harsh juxtaposition to the rest of Subcon that it kinda throws ya off guard. After all, the dark, purples and blues then contrasted with the bright warm colors of the inside. Even the music switches over. The thorns outside aren't present indoors. Ohh yeah this is gonna be on the nose as hell but the Tree(tm) is 100% representing Snatcher's appearance/put-on personality vs. his truer nature. Spooky outside with thorns, foreboding, unwelcoming. Then the more comfortable interior. VULnerable. Have I even mentioned that the tree is HOLLOW I mean COME ON. The sturdiness of that tree? Nonexistent. He's not a sturdy guy at all no matter how he fronts

- Intrusions are unwelcome: Snatcher does not like the fact that Hat Kid sticks around in his forest. His personal space. His mind. In fact he tries desperately to get rid of her after their fight, not wanting her presence in his forest at all. He has no problem providing more contracts later on with the Death Wish thing, and he finds great entertainment in messing around with Hat Kid, so it's not just a weird sudden hatred he has for her; it's the fact that. After she's finished being useful, he no longer wants her around, lest she find some things she shouldn't find. Now he's just uncomfortable with her in his personal boundaries. Could just be a denial that she's helped him heal (breaking ice, stealing from Vanessa, being something interesting for his kids to interact with) or just not really wanting a child to get wrapped up in. All that. Most likely the former. Considering the amount of joke-hints he drops regarding his background during his Death Wish dialogue. I see you funny man, making jokes out of your trauma as a coping mechanism. Punts him

Annnd I think that's all I got, for now! I'll make an update post if I get any more sporadic ideas. If you read this whole thing, thank you!! and also!! Wow that was a lot!! Hell world. Please feel free to elaborate on any of my points or debate with me on em!! I'm always open to other ideas, just be aware that if I disagree I am not shy when it comes to debate hehehe, tho I won't be aggressive to any extent I prommy!!

Alrighty. goes to sleep goodnight

#clamtalk #VERY long ramble #a hat in time #snatcher #ahit snatcher #subcon forest #vanessa ahit #ahit #analysis #the prince ahit #goes crazy. goes insane #ask to tag #i'm frazzled I can't add more tags I'll do so later

[brynwrites]

Plot progression: points, twists, and hinges.

(And why hinges rock.)

Please excuse me while I assign already well-loved terms new meanings for my own benefit. (This is to say, writing terminology means something slightly different or goes by slightly different terms depending on who you ask. Two of the definitions I use here are based ones that stuck with me, while the third is something I pulled right out of my backside because it didn’t quite fit with my acquired definitions of the other two. Other terms and definitions are equally valid; I’m just using these ones until I figure out how to telepathically funnel wordless concepts.)

First let’s get basic: What’s a plot anyway? Tis a bunch of things that happen to move your character toward something. Usually this something is a goal. Win the war. Find the killer. Survive the winter. Get through the wedding. Kill the dragon.

Plots (should) have important scenes within them which propel them along. A full book that’s just a knight walking on a path for twenty-five chapters thinking about killing a dragon and then finally reaching the dragon to do so it boring. A book about a knight facing random trials that have nothing to do with the dragon she’s set out to kill is more interesting then walking. But the most engaging version of this plot would be if each trial she faced was connected to the dragon killing in some way.

We could, if we wanted to, label each of these trials with terms like plot point, a plot twist, or a plot hinge, depending on how they interact with the story as a whole. (Now I have to define what each of these terms mean to me. I set myself up here, didn’t I?)

We probably all know what a plot twist is. A big reveal. A shocking conclusion. A revelation that puts the whole story into a new light. (Luke, I am your father!)

Most writers will describe a plot point as some version of ‘an event which progresses the plot.’ This is all fine and dandy until you have to decide what counts as progress and how much of it you need for something to genuinely be a plot point. For the sake of this article, I’m going to call it anything that has a noticeable effect on either the ultimate or immediate goal of the story.

A plot hinge is a type of plot point. It can also include a plot twist. But not all plot twists or plot points are plot hinges, because a hinge actively swings the plot in a new direction. It takes the goal the story is set upon, and it rattles that mother-fork until its eyes pop out.

Let’s have some examples, shall we?

A knight is crossing a mountain on her way to slay a dragon.

While at the mountain, she fights a random dwarf. It’s a nice action bit where she’s in peril a few times and at the end, she kills the dwarf and continues down the other side of the mountain. A real page turner. (Spoilers: it’s probably, actually, not.) It’s also not a plot point (or, a plot anything), because the entire segment could have been cut without anything else changing. This whole scenario has no effect on what the plot’s current goal is, how it’s being accomplished, or how we perceive it.

If instead, while at the mountain, our valiant knight fights a dwarf with ancient knowledge on forging dragon-killing weaponry and convinces him to forge her a dragon-killing sword that ends up being the only reason she can kill the dragon at all, then you have what’s purely a plot point. The goal of the plot hasn’t been altered, nor our perception of it, but we’ve taken an irremovable step towards accomplishing it.

If instead, while at the mountain, our valiant knight uncovers ancient knowledge that reveals the villainous dragon is actually part of a much larger system of dragons with magical human form, and her own mother was secretly a dragon, giving her dragon blood of her own, this is purely a plot twist. The goal of the plot hasn’t changed, and we’re not closer to having killed the dragon, but our perception of the plot, how our main character fits within it, and what it should mean to us as readers, has been altered.

Pretty basic, yes?

Now imagine that those two things both happen while our knight is at the mountain, but as she’s leaving, the dragon she’s been riding out to face finds her. They battle. Barely prepared, our knight is losing terribly. She tries to flee, making it to the nearest town before the dragon finds her. In order to lay him low, his must use both her dwarfish weapon and her secret dragon powers. The town sees this, and decides she, too, is the enemy. A town guard steals her dragon-killing sword and tries to slay her with it. In a moment of compassion, the dragon she nearly killed helps her escape the town, but every knight our valiant half-dragon once fought alongside now sees her as a monster. And they’re coming for her.

This is a plot hinge. We just flipped out perception of the plot, tackled and crashed right through our main goal, and opened the doors for a new goal that’s still adjacent to our original one (and might still lead back to it by the end of the book—who knows, the villainous dragon might still need to be killed after all).

The trick with plot hinges, is the throw the reader for just enough of a loop to make the story fresh and interesting, without letting them question why the story before and after the plot hinge aren’t separate books. For a plot hinge to work, the plot must be pushed without being torn off the hinges. The old goal can’t be left dangling, limp with unfulfilled promise, and the new goal must build off everything the book has already established.

When done well, though, a plot hinge can turn a “this is enjoyable!” story into one that makes readers go “oh god, please read this, I NEED someone to scream at, I’m literally dying.”

I’m not going to tell you how many of these you should have in any given story. I’m not even going to tell you that you need to have any of them. (That would be hypocritical, as not all of my own stories do. Some are pulled along by simply plot points and twists, and they’re still perfectly enjoyable, if I do say so myself.)

You can also slip plot hinges into side plots, and make cases for what constitutes a hinge in character development. And at the end of the day, there’s a hundred different ways to build tension into a story and engage the reader. This is just the one I’m having fun identifying and analyzing at the moment.

And I hope you can set out and have fun with it to.

(Also, call it by my personal terminology. Pretend I, and I alone, invented a brand-new kind of plot point. Buy my book. Ascend me to godhood. Rebel and kill god-me to take back the world for humanity. Something like that.)

#writeblr #writers on tumblr #authors on tumblr #writing help #writing advice #writing resources #writing tips #writers on writing #amwriting #creative writing #plot points #writing tag: plots #plot tag: plot points #plot tag: plot twists #scheduled post #Just something I was thinking about this week

[translations-by-aiimee]

Mistakenly Saving the Villain - Chapter 5

Original Title: 论救错反派的下场

Genres: Drama, Romance, Xianxia, Yaoi

This translation is based on multiple MTLs and my own limited knowledge of Chinese characters. If I have made any egregious mistakes, please let me know.

Chapter 1 Chapter 2 Chapter 3 Chapter 4

Chapter 5 - Wrong Answer

Readers who have read novels such as transmigration, quick transmigration, and system plotlines, know that if the fate of the character in the story must be changed, it should be prevented before the character's tragic fate has occurred. However, Song Qingshi interpreted this as the event having already occurred, and was meant to save the character who had already suffered a tragic fate. This train of thought meant that his decision was a thousand miles off.

In the original book, Yue Wuhuan only appeared three times:

The first time was when the shou protagonist had just been sold to Golden Phoenix Manor. When he saw the unbearable scene of Yue Wuhuan being played with by the guests, his three views shattered.

The second time was when the protagonist's naive illusion of the future was destroyed and he was forced to accept his identity because of the ridicule and humiliating remarks of Yue Wuhuan.

The third time, Yue Wuhuan was taken out by Jin FeiRen on the Langgan stage to treat the guests and was accidentally torn to pieces by the demon tiger. Jin FeiRen concealed the actual explanation of the demon tiger's madness and treated it as a deliberately arranged game for the banquet. With this extreme fear, he shattered the last trace of the protagonist's dignity, making him completely surrender and become a plaything.

In short, Yue Wuhuan was a small supporting role with little substance, leaving the plot early, using his degeneracy to offset the beauty of the protagonist. His beauty was only like that of a beautiful flower that was about to wither. How can it be compared with the pure and clean flower bud that had not yet bloomed in the dawn?

This was a super simple multiple-choice question that every reader could figure out!

If the system was a living thing and watching over the exam being taken, it would be so angry that it would have come out and beaten that foolish Song Qingshi to death.

Scholar-Tyrant Song didn't know that he had drifted so far from the original goal, but he was still eagerly confident, trying to do his best and vowing to get a perfect score!

On the way back to the Valley of the Medicine King, Song Qingshi had recalled all the memories of his original body and integrated it with its massive knowledge of medicine and alchemy. There were rare and exotic herbs and miraculous medicines in the cultivation world. However, similar to traditional Chinese medicine, even if the medicine worked wonders, the science behind the effects of these medicines was still a mystery.

Modern medicine conducts systematic research on traditional Chinese medicine to find out the monarch-minister-auxiliary relationship within its components, extracted the useful ingredients in each concoction, and then developed medicine that was easier to take and had even better results.

A female scientist won the Nobel Prize for this, benefiting the world. Song Qingshi focused on modern medicine, leaped away from the traditional path of immortality, and quickly found new ideas for solving problems for many areas that the original body had failed to properly study. He used the Tiangong Pavilion to make modern scientific instrument substitutes, and then analyze the effective ingredients in the immortal medicines, purify them, research them, and even artificially synthesize them. . .

In Song Qingshi's mind, there were countless experimental schemes in an endless stream, and there were tens of thousands of books and inexhaustible medicinal materials in the Medicine King's Valley, as well as abundant research funds.

He was overjoyed, like a mouse that fell into a vat of rice. He wanted to kiss the system if he could.

Song Qingshi fully understood why the original body lived here, staying in such a cultivation paradise. He could live here for the rest of his life!

He could immerse himself in the ocean of intense studying and research every day. He could dedicate his life and soul to his favourite medical god. No one could send him back!

Song Qingshi looked at Yue Wuhuan in his arms. The more he looked at him, the more he loved him.

This was the big treasure that had given him everything! He would do everything he could to save him, just like his parents used to treat him before; indulged, spoiled, loved, and giving him all the good things he needed so that he can live a happy life like a prince in a fairy tale!

Song 'a father's love is like a mountain' Qingshi was full of ambition. He suppressed his excitement and immediately placed Yue Wuhuan in the side hall of his bedroom. He did everything by himself. First, he poured the elixir carefully with the crane-mouthed pot to re-invigorate the breath of life. Then he changed into white clothes, put on a homemade mask, and found a pair of extremely thin animal leather gloves. After he finished disinfecting the wounds, gently cut off the blood-soaked gauze and feather skirt on Yue Wuhuan's body with scissors, rinsed the wounds, and then sutured them with very fine silkworm thread. Then, he cut off the shackles and treated his ankle wounds.

Song Qingshi's movements were extremely gentle and quick, barely touching any skin, but Yue Wuhuan's body was extremely sensitive. He twitched slightly and groaned a few times before falling asleep again. Song Qingshi took the opportunity to take some blood samples for analysis, and also performed a full-body scan of him with his mental probe. He was a good-tempered person, but after seeing the disastrously ruined dantian and meridians in Yue Wuhuan's body, he couldn't help but curse darkly at those beasts. He scolded them repeatedly, thinking about how he was going to explain this situation to him once he woke up.

Song Qingshi was not good at communicating with strangers. He was able to make do when discussing his interests, but his thoughts often went blank when forced into small talk. For example, when everyone watched the popular men's group selection variety show together and argued over who was the male god?

He answered sincerely that it was Asclepius, the god of medicine. . .

Song Qing hasn't understood why everyone said he killed the conversation.

He thought hard for a long time and remembered that when his Lou Gerhig's hadn't been as advanced, he worked in a hospital for an internship. His senior brother knew that Song Qinshi was afraid of social interaction and would end up a stuttering mess when he tried to have conversations with his patients. He taught Song Qingshi: "Push down all of your feelings and act like a medical machine. First write down their case in detail and their treatment plan, recite it with a smile, and then end with a comforting sentence." Song Qingshi took this secret technique, practiced many times in front of the teacher, and, finally, he could talk to patients without fear.

A hospital is a place for treatment, just like how the Medicine King's Valley is a place for treatment. What's the difference?

After Song Qingshi had this epiphany, he replaced Yue Wuhuan’s bed sheets and bedding with the white ones commonly used in hospitals. He ordered the valley servant to make several sets of patient clothes, put them on by himself, and then tied roots on his wrist to represent the hospital information band. With a red wristband and a sign on the bed with "Special Care" and the instructions for how to care for him, Song Qingshi instantly felt calm in this makeshift hospital environment.

He wasn't comfortable with the type of care that the valley servantswere giving and took on nursing himself. He was careful and not afraid of getting tired. He wiped down Yue Wuhuan's body and washed his face, fed him medicine and water, and even replaced the bedding to deal with all kinds of filth.

When Yue Wuhuan woke up three days later, he was confused. He didn't know where he was. He stared at the white veil on the top of the bed in a daze for a long time. He finally realized that he was still alive and he hadn't been this relaxed in a long time.

He closed his eyes, faintly recalling the slight fragrance of medicine lingering from his dream and the hands that had gently released all the restraints for him. He took a deep breath. He didn't want to wake up and face the never-ending nightmare.

After who know's how long, Yue Wuhuan threw his eyes open, remembering where he had smelled the fragrance of the medicine. He slowly turned his head and looked at the round table next to him, but saw that Medicine Master Xianzun was attentively making changes to the cursive writings on the table. He was frowning, his expression serious, as if thinking about something bad. There was also a familiar spirit bead in the silver plate next to him, and it became obvious that he had been given to another guest to be played with.

Yue Wuhuan’s phoenix eyes shrank. The rumors of the perverse and evil deeds of the Medicine Master Xianzun appeared in his mind, but he was not afraid. Whether he was willing or unwilling meant nothing under the control of the spirit bead. Besides, his broken body was no longer worthy of being cherished. He took a deep breath, gritted his teeth and struggled to get out of bed, but a sharp pain came from his shoulder, which made him dizzy and he fell right back down. Song Qingshi never had any distractions when he was researching. He heard the movement and found that the patient was awake. He was afraid that Yue Wuhuan might have moved his body and reopened the wound. He quickly reprimanded him with a stern tone: "You, go to bed right away! You are not allowed to get off for ten days!"

This stern technique was a secret taught by the head nurse of the hospital. It had a good effect on treating patients who didn't follow the doctor's advice.

"Ten days?" Yue Wuhuan was stunned. He couldn't help but look at Song Qingshi up and down. The more he looked, the more he felt that his appearance was deceiving. He had been with guests for many years, and he was used to seeing many lustful scenes, but he never would've guessed that this person had such prowess in the bed. . .

Seeing that he hadn't gotten back on the bed, Song Qingshi put down his pen, walked over and picked him up with his own hands.

Yue Wuhuan remained unmoved, stretched out his hand and gently hugged his neck. Hot fingertips touched his cool skin, as smooth as cool jade, and the clear and clean scent of medicine wrapped around him gently like if he was in a dream. Yue Wuhuan couldn't help but shake for a moment. He chasticized his heart for still not knowing how to behave, then resumed his usual posture, and breathed out ambiguously: "I hope that Xianxun will take pity. . ."

"Don't worry, I will." Song Qingshi put him back on the bed carefully, then pulled the blanket up. He wrapped him up tightly, and solemnly told him, "The valley is wet and cold. You have a mortal body so be careful of the cold and stay under the blanket. Keep your hands and feet tucked in and don’t kick off the sheets."

Yue Wuhuan had never seen this trick in bed before and was at a bit of a loss.

"You;re a patient now. Let me tell you about your situation." Song Qingshi turned back to the table, picked up a stack of paper covered with words. He nervously pushed the non-existent glasses on the bridge of his nose, and read with a smile, formulating his tone. "The patient is Yue Wuhuan. There are three lacerations from the right shoulder to the chest, which are 18 cm, 14 cm and 12 cm long. The right shoulder bone is fractured, and the suprascapular artery has been ruptured. The right elbow has a skin contusion. The left and right wrists have skin tissue bruises, the left and right knees are bruised along with the left and right ankle tissue. The buttocks skin has soft tissue lacerations. There are signs of drug abuse in the body and potentially drug addiction. Do you understand?"

Yue Wuhuan only felt that his stiff smile must look increasingly forced. The more he thought about it, the crazier everything seemed. All he could do was nod his head and pretendto understand.

"Very good." Song Qingshi felt that what he said was both detailed and easy to understand, and began to recite the preliminary treatment plan. "Your dantian and meridians have been destroyed, and your body is seriously damaged. Your body is too fragile right now to use stronger medicine, so you cannot take Rejuvenation Pill, Gather Breathe and Disperse Pill, All Creation Pill or the Bone Growth Pill. You need to be treated with mortal medicine first, and then treated with the Six Meridian Rejuvanation medicated bath. Then you'll take the Rising Dragon Pill and Nine Revolution Blood Lotus Pill."

Yue Wuhuan finally understood what he was saying. These pills were common immortal medicines, and he had also taken it when he was seriously injured.

The All Creation Pill and Rising Dragon Pill were worth thousands, and he had heard that the poster of Jape Pearl Tower's Lord had used it for his own treasure.

He didn't know what the Six Meridian Rejuvanation medicated bath was, but the Nine Revolution Blood Lotus Pill was the treasure of the immortal world. It is made of ten thousand year-old blood lotuses. There were only nine in the world and only few know where their locations. He only knew that the master of Xuanji Palace had used it and ascended to Fen Shen; the lord of Fluttering Snow Fortress turned against his Daoist companion and killed him and his wife to win the treasure; one appeared in the Qizhen Pavilion auction, and it was won by the owner of the East Sea Langya Pavilion with hundreds of thousands of high-grade spirit stones. For some reason, Jin FeiRen wasn't able to participate in the auction. He always brought it up as one of the greatest regrets in his life.

If it were described in mortal terms, it would be like saving a beggar on the side of the road and saying that you would give him precious delicacies, golden houses, jade horses, and billions in wealth. FInally, you tell him you'll give him the fade seal of the country and all lands under the heavens. Only an idiot would believe these claims.

Yue Wuhuan laughed but his heart was cold. He basically confirmed that Song Qingshi was just toying with him.

He had also encountered many such sweet talkers, pretending to show compassion for some and pity for others. All he wanted, though, was to coax his slaves to play this game with him. He only lusted after his dirty body, in the end.

Song Qingshi finished off with some final closing words: "Don't worry, as long as you follow the doctor's advice and cooperate with the treatment, you'll be cured."

"Okay," Yue Wuhuan's phoenix eyes showed a bit of flattery, and he replied in a sultry voice: "This slave depend on Xianzun for everything. . ."

"I almost forgot." Song Qingshi looked into his eyes and suddenly remembered something. He put on the animal skin gloves again, picked up a luminous bead the size of a goose egg and placed it in a strange, long, tube-shape lampshade. Then he sat on the side of the bed, leaned over and looked at Yue Wuhuan. He gave him a serious warning: "This may be a little uncomfortable, please bear with me."

Yue Wuhuan smiled self-deprecatingly. He let the phoenix eyes show waves of desire, and he relaxed his body, waiting to be played with.

Song Qingshi stretched out his hand and opened his eyes, illuminating the inside of the eyes with the luminous bead. He carefully observed for a while, then whispered: "The problem of the lacrimal secretion system is not visible on the outside, so I still have to do a colored dye inspection..."

Yue Wuhuan: "???"

#mistakenly saving the villain #mistakenly saving the villain translation #chinese bl #chinese novel #english translation #yaoi novel #song qinshi #yue wuhuan

[buckttommy]

in response to ur great analyzing of tk in this episode: tbh i feel like i almost understand tk falling in with owen MORE if he was primarily taken care of by his mom. because let's face it, owen seems like the guy who doesn't want to be the bad guy and wants to be liked, and probably left gwyn to do the dirty side of parenting. so you have lil baby tk who has a FIREFIGHTER DAD, a dream for most young boys, and when he is present and there, is probably 'the fun parent' and i think it created a situation where at least in his youth tk definitely idolized owen. i think that's also shown in the season 1 finale when he's questioning why he became a firefighter and he realized it's because of owen. anyways just here to say that your blurb questioning why tk reacted that way gave so much nuance to the show where it's lacking and tbh makes me think you understand the characters way more than the writers and they should hire you okay thanks bye

@maurawrites​ (tagging you since you didn’t mean to send this on anon!)

There's a lot here lol. This is going to be long. Discussion stems from this post about 02 x 12.

First thing's first, I think if we are to understand TK and his character, we have to first understand who Owen Strand is and what kind of parent he is.

To begin: Owen Strand is a very selfish parent. This is not hate, just simple analysis. His whole life is focused on himself, his job, and his comfort. He loves his kid and would take a bullet for TK any day, but TK is not a priority to him. We see repeated examples of this in canon.

You said "Owen seems like the kind of guy who doesn't want to be the bad guy;" this is true. Owen cares what people think of him. He is brilliant, charismatic, charming, and always has to be the best and the smartest in the room, and he uses every one of his "favorable" qualities to his advantage. I love Paul/Marj/Mateo (obviously), and maybe this isn't entirely fair to say since it was the 911LS writers' decisions to go this route in an effort to make Rob Lowe's character look spectacular, but when I consider Owen Strand and the kind of person he is, it seems to me like he hired those three to make a statement (“I’m inclusive, these people are welcome here because I see their worth.”) Not necessarily tokenizing them, but, in a way, putting himself above all the backwater ideas one would expect of Texans. He hired Judd for the same reason, though it took a little more convincing. (”I have empathy for your plight. I am reaching out a hand to show you I am good and I am not your enemy”). That's not to say he's wrong, exactly, only to say that Owen is always consciously aware of who and what he's dealing with, and how to come out looking the best in any given situation. Simply: Owen's actions are statements to other people, and while not exactly a manipulation, it's definitely calculated.

So, of course he'd use that calculation with his son. Of course, given the fact that he was hardly around, Owen would want his son to adore him. Of course, he’d let the brunt of parental responsibility fall on his wife, regardless of the strain it must have put on their marriage with her always being the bad guy. TK definitely idolized Owen, but not because his dad was a firefighter, it goes deeper than that. He idolized his dad because those were the kind of feelings Owen cultivated. Note, I'm not saying Owen did this maliciously, by the way, I'm saying that this is simply the way Owen interacts with people. He preens under attention, even and especially from his son, and he knows how to get that attention. This worked for years, but as TK grew up and his maturity deepened, his perception of his dad would have changed. Owen's absences probably felt more pronounced, became more difficult to deal with, and it’s at this point that TK's worship of his dad morphs from blind adoration to "my dad is a firefighter,  his job has his attention, therefore I want to be a firefighter because I want my dad's attention." I'm willing to bet that a lot, if not most of their conversations when he was a boy, were about firefighting. Not even really because TK cared about firefighting to the extent that his dad did (though he would come to love/appreciate it), but because it was common ground and a tool he could use to get closer to his dad. TK questioning his desire to be a firefighter and his subsequent transition from firefighter to paramedic is one of the first major life choices we ever see TK ever make. Even his sobriety was on Owen's conditions (though I believe TK would have gone back to being sober in his own time).

All of this to say that TK's actions in 02 x 12 can be interpreted in multiple ways and neither of them are wrong. Human beings are deeply complex creatures with deeply complex thoughts and motivations. I agree with this post that it's possible (and likely) TK was trying to incite a physical reaction from Carlos when he shoved him (as seen in the barfight scene, which I rewatched last night and whoo boy, that’s a meta for another day), but I also think it's possible that having to defend Owen against his boyfriend (a person who is supposed to love and trust him, and have his back) also triggered old feelings of childlike worship.

And while we're on the topic of TK's childhood and his relationship with his parents, I'd love to sink my teeth into TK's relationship with his mom real quick because I think, in some ways, TK believes he is the only one capable of truly evaluating and criticizing his dad (failed intervention notwithstanding). This goes back to the "us vs. them" mentality I made reference to in my original post. No one knows his dad better than he does, therefore no one is allowed to judge him so harshly (which he perceived Carlos as doing in 02 x 12). Considering that POV and the fact that TK’s relationship with his dad was built on common interest rather than natural father/son connectedness and cultivated in such a way that Owen shaped his affections, I think TK's relationship with his mom was rather strained. He probably sided with his dad in most arguments, didn't listen to his mom when she gave him a command/looked to his dad to see if he *really* had to do follow through, and things like that. Again, Owen did not cause this strain out of inherent or intentional malice, but it was an unintentional side effect of his actions. Side note: I imagine that was a very lonely household for Gwyn. But anyway, getting back to the topic at hand, I think as TK became older and started to see his dad for the complicated person he is, though unable to fully relinquish that childlike hero-worship (especially since at this point, the dynamic has already been established), he did allow himself to recognize his dad is kind of an asshole in some ways (which is why TK is even able to challenge him now). His mom, at one point on the outside of that “us vs them” dynamic, now rests somewhere in the middle as TK now fully understands that the issues in their relationship are not solely her fault. We see (minor) evidence of this in 02 x 07/08 (idk which) where he asks his mom if Owen said anything nasty to her upon learning that the baby wasn't his, I believe it was, with a tone full of disapproval. He’d still probably take his dad’s side more often than not, but he’d definitely approach the situation with a lot more nuance than he would have as a child.

Geeze, this was long. I wonder if I can get graded on this.

#tv: 911 lone star #type: meta #tyler strand #One day I'm going to talk about the inherent hypermasculinity of TK using the words man/dude when he's fighting #and how Owen is literally two steps away from profiling as a narcissit/sociopath/naricissitc sociopath #but today is most certainly not that day #anonymous #jack answers mail #answered #everyone please ignore the way i spelled narcissistic wrong TWICE lmao. i wrote this at midnight

[lady-charinette]

Adrien Agreste =/= Sociopath - About Adrien Salt

I've seen a lot of posts going around about Adrien being a sociopath or the other (harasser, abuser...etc.)

What I find most of those posts lacking is looking at the big picture, or just zeroing in on certain moments of the show and even disregarding the context of those selected moments to unfairly rule judgement on a child (in canon) no less.

Definition of sociopath: A sociopath is a term used to describe someone who has antisocial personality disorder (ASPD). People with ASPD can’t understand others’ feelings. They’ll often break rules or make impulsive decisions without feeling guilty for the harm they cause.

People with ASPD may also use “mind games” to control friends, family members, co-workers, and even strangers. They may also be perceived as charismatic or charming.

We have to analyze the context and the surroundings Adrien is in.

Family, social life, relationships (platonic and romantic), personality, age, environment...etc.

Family:

We know Adrien has a father who is controlling, preferring to micro-manage every aspect of his son's life to continue to have a semblance of control at all times. We assume (heavily implied in the show), that his mother was kind, warm and emotional (whether that emotional is the "out-there" kind her twin sister has, it remains to be seen.)

According to a snippet from "Simon Says", Adrien also has "Quite a temper, you remind me of someone" according to Gabriel's own words, we can assume the "someone" is Emilie, Gabriel says this when Chat Noir refused to follow his orders and told him to basically "get off his high horse". In this context, anyone who defies Gabriel in such a way would either be branded as "disobedient" or to "have quite a temper".

According to Adrien himself in "Adrien's Double Life" (from Miraculous Secrets) he describes being Chat Noir as "...I can finally do whatever I want to do, say whatever comes to mind." He doesnt feel as restricted and controlled since that's the one aspect of his life his father has no knowledge of.

Social life:

Adrien has had no or very little interaction with peers.

Evidence: Chloe being his childhood friend. Felix commenting on Chloe's appearance in the video she sent for Adrien's birthday, saying "Chloe. Just as annoying as usual." suggests he knows her from before, maybe even as early on as their childhood days.

This makes Felix and Chloe the only kids, of spoiled and rich background, with whom Adrien interacted.

Felix is shown to be good at manipulating people and keeping up appearances (potentially connected to insecurities within the family? Not confirmed), Chloe is openly mean and bullies others (with underlying insecurities also connected to her parents).

The only positive adult (if Gorilla isn't as involved and Nathalie had been solely Gabriel's secretary and not Adrien's caretaker since there was Emilie) in Adrien's life would be his mother, who also fell into a coma during Adrien's formative years (and still during a time where he's figuring himself and his emotions out: puberty), leaving him with his father.

Moving on, even if the writer's sometimes may not always successfully show Adrien being awkward in social interactions, it doesnt mean they dont exist.

This interaction between him and Marinette, asking for her autograph, very formal in his question, awkward in posture:

He's picked up on some speech patterns from his frequent interactions with Nino ("dude", "Hey man." "Totally dude.") showing he's, like many people, mimicking his friend's behavior and speech to grow more favorably in their eyes.

The same pattern can be observed with Gabriel and Adrien: Adrien adopts his father's formal speech whenever talking to him, since that appeases him.

Adrien has had very limited friendly interactions with his peers, romantic interactions are basically non-existent. The scenes where Adrien is being chased by his fans, who obsessively adore him, cant be linked to Adrien experiencing healthy romantic contact (Lila doesn't count since she only uses Adrien to further her goals). Marinette doesn't count since Adrien's isn't even aware of her romantic feelings for him. (Again, difficulties picking up social cues due to only ever being homeschooled > limited social contact with peers)

So no, in my humble opinion, Adrien sometimes doesn't understand other people's feelings not because he's a sociopath, but because he's an awkward kid with very little experience about making friends and having healthy relationships with them.

Relationships:

Let's be direct here: Gabriel is an abusive as*hole.

If the writer's wanted to show Gabriel struggling or having remorse for his actions being Hawkmoth and putting his son through danger, well... They blew it. "Gorizilla" was a 5 second reaction of Hawkmoth showing concern after letting Adrien fall from a skyscraper. Applause. After that? Not much.

Nathalie: Adrien likes, she takes care of him, his schedule, was the one to convince Gabriel to let him attend public school. There are moments in the show where she softens up towards Adrien, but always carries that air of professionalism on her to (possibly, assumption) not grow too close. Gorilla is...Gorilla, but at least the man tries with his nonverbal support and affectionate grunts. Lol.

Gabriel: He loves his father. It's his parent, after all. However, Adrien's reactions to him are vastly different than to how he reacts when thinking of his mother. He shows signs of fear (tensing up, growing obedient...etc.), he excuses his father's excessive controlling tendencies to just be "he's just worried about me", "that's the way he always was", "father cares and protects me". Adrien shows to be frequently disappointed with Gabriel, one of the first scenes being that Gabriel couldn't attend parent's day at school, Adrien was talking on the phone alone in the school hallway. He was genuinely surprised by the blue scarf his father gifted him (not knowing it was Marinette), since all he used to get were pens (again, not even from Gabriel, but Nathalie). This is my assumption but: Adrien has previously begged his father to go outside more or attend public school, but this time it worked only because Nathalie managed to convince him.

Friends from school: Nino is his best friend, Adrien seems to be good friends with Alya too, basically everyone in class, with varying degrees of closeness. Chloe is a childhood friend whom Adrien is fond of but also grows exasperated with and corrects her behavior if she's too harsh.

Marinette: likes and respects her, but can't read her well or at least when he thinks he's got her figured out, she claims the opposite. Marinette has been sending mixed signals, on one hand even making Adrien believe (and fear) they weren't friends. "Chat Blanc" contrary to popular belief, showed that Adrien is delighted at the prospect of Marinette being Ladybug (he'd severe doubts when Chloe or anyone else was brought up as a possible option).

Kagami: likes her, respects her, admires her fencing skills, learned to have fun hanging out with her and playing as kids usually do since she also has a controlling parent and they both know some ways/tricks around their boundaries to sneak off and meet their friends. Adrien and Kagami have similarities in that respect, Gabriel pushing Adrien to be a model, Mrs. Tsurugi pushing Kagami to be a master fencer.

Lila: At first defended her, was friendly towards her since she was a new student from overseas he sympathized because surely it would be lonely? The new girl would need a friend who supported her through all this things that were new for him too. However, as soon as he caught wind of Lila's schemes, he changes his tune. He feels uncomfortable around her overstepping his boundaries, expresses anger when Lila accused Marinette of crimes she didn't commit and even makes a deal with her to not bother Marinette again (but use him instead, doing photoshoots together...etc.) to keep her safe.

Age:

A 14-15 year old, having lost his mother, the only positive, healthy relationship in his life. Surrounded by a controlling father, not much free time, many extracurricular activities and being a superhero alongside Ladybug.

Some of the signs of being a sociopath include: Breaking rules and being impulsive.... Didn't Ladybug do those too?

Breaking the rules: (since LB and Marinette are the same) stealing phones, sneaking into places where she shouldn't, using the miraculous for personal gain (latest example: getting Kagami away from Adrien), giving Adrien the snake miraculous due to personal preference instead of drawing logical conclusions. Sneaked into the Agreste mansion.

Impulsiveness: Marinette's daily fantasies (sharing a future life with Adrien and their hamster-who-must-not-be-named), when Lila's "precious family heirloom necklace" was "stolen", Marinette was quick to include her classmates in the list of potential perpetrators for it (without ill intent, but still..)

You know who the real potential sociopath in the show is?

Gabriel

Some of you might include Lila too (since she fits all the criteria for being a sociopath), but the key difference is: Lila is still just a kid.

We don't know much about her family life. Just that her mother is busy with work, we don't know where her father is, who her friends were/if she even had them. She might be lying and manipulating people to follow her own agenda, but she thrives in attention, when people notice and praise her. In some aspects, that could've been Adrien. With one neglectful parent, a missing parent, no friends (prior to going to school)...etc. There is also a lot we don't know about her.

#miraculous ladybug #ml #adrien agreste #adrien sugar #salting on salters #i know i didnt include all important points #i may add them later #aimed at salters #fandom salt #ml salt #ml analysis #mentions of abuse #long post #lila rossi #gabriel agreste #gabriel agreste's a+ parenting #gabriel agreste salt #nathalie sancoeur #nino lahiffe #alya cesaire #chloe bourgeois #ml felix graham de vanily #felix graham de vanily #marinette dupaincheng

[cosmicheromp3]

let’s talk about snowbirds don’t fly for a second, shall we: the arc where roy’s addiction was first introduced, and how it actually affected the relationship between roy and ollie.

people’s perception of snowbirds don’t fly and the events surrounding it is so... weird, to the point where it often makes me wonder whether they’ve actually read the comic (and roy’s appearances right after, but i realize those might be less known) or whether they’re just going off a few very specific panels and inaccurate recounts – usually from people that will twist anything in their favour to call ollie a bad guy.

because, if you pieced together what most people seem to think happened – and this is what i was expecting to find once i decided to read it myself –, in snowbirds we should see: roy, not yet an adult and still under the active care of ollie, starts using drugs, and oliver’s so caught up in himself and negligent that he doesn’t notice what’s happening. when he finally finds out, he lashes out, hits roy and kicks him out of the house, leaving roy without a home. this makes their relationship crumble, and roy starts hating ollie because of it. they don’t speak to each other, and leave in awful terms.

and... in many aspects, that’s so far from the events you'll see if you actually go read green lantern #85 (snowbirds don’t fly) and #86 (they say it’ll kill me... but then won’t say when!). i’m assuming a lot of misconceptions happen because of a) writers with a grudge against ollie who retroactively, and unfairly, painted him in a bad light, and people took this at face value, and b) retcons that came with the new 52 reboot – but, i'll be honest, i don’t care enough to go read that mess even for this post. in general, i’m pretty sure we all agree that we ignore out of character comics; let’s not make roy and ollie the exception to that, yeah?

first i want to get something out of the way, that i feel like i need to mention even though there’s probably people that have talked about it better than i could. when we analyze this comic we should keep in mind that the characters in the story were meant to fill specific roles for the sort of... PSA comic that dc was trying to make, and in the 70s, at that. considering this, both roy and ollie are plot devices.

the creative team behind the story (o’neil and adams) have said that they chose roy to be the average “good” teen who fell into drugs – as a way to say “this could happen to anyone, even to this reputable superhero”. ollie was the caring but imperfect parent who missed the signs – not abusive but distant at the moment, he was meant to be more like a nudge to parents to pay closer attention. it was written to play as a sort of “this could happen to the best of us” situation. and in that context, ollie is made to react in a way that is at most "not ideal" for the standards of its time: he hits roy, and denies to himself that roy’s addiction is a real problem that needs to be dealt with delicately. this is used to send the message of “don’t react like this”.

that isn’t exactly the point of this post, and i don’t want to downplay the harm ollie did with his reaction or absolve him of any blame. the point of this post is: people seem to think that’s where the storyline ended, that was ollie’s final reaction, and those are the terms in which ollie and roy parted; which is just not true.

instead, ollie hitting roy happens in the very first page of green lantern #86 – we have an entire issue in which ollie is faced with his initial reaction and made to confront his mistake (which is more than we can say for, um, other father superheroes that have hit their children. i won’t name names.) the only moment you could read as him “kicking roy out” – which is the phrasing i’ve seen applied to this – happens the very next page, where ollie tells roy to “get out”.

the thing is, roy was not living with ollie at the moment. there was nowhere that ollie could kick him out from. “get out” means just that: get out of this room (and ollie didn’t intend anything more than that with his words.) the comic makes a point of stressing that roy is, by that point, independent, and old enough to be living without a guardian.

ollie, right after roy leaves, thinks: “but he shouldn’t need attention–at his age”. ollie is in the wrong here because of his close-minded view of addiction and because he’s not considering that, though a legal adult, roy is still young and needs care, but it still shows that roy was largely on his own by then. ollie’s reaction is definitively negative and a rejection, but can’t in any way be seen as “kicking roy out”, because it isn’t. (note, also, how ollie’s first thought is that he failed roy, but his denial and stubbornness get in the way and he shifts the blame. he’ll eventually have to get over this and change.)

we see that ollie plays the role of the father that reacts poorly, and he is directly contrasted with the adults who do take responsibility for roy – hal at first, and dinah after, are the ones who play the role of “this is how you should react.”

hal finds roy without knowing what happened between him and ollie, and his first reaction is to take roy to a doctor; he immediately recognizes that what roy needs is help – and will later say so to ollie. when roy refuses, saying he wants to kick the addiction on his own – to prove himself to ollie, because even though he doesn’t think ollie was right he still values his opinion and their relationship, but i’d say there’s something he’s trying to prove to himself, too –, hal recognizes that he doesn’t know anything about drug withdrawal or addiction, and he’s receptive to roy, asking him questions and listening without judgement.

so he takes roy to dinah, who is the one that (very kindly, might i add, because dinah and roy weren’t that close at the time) cares for roy while he goes cold turkey. roy, possibly rather unrealistically, though i’m no expert, kicks the addiction in the span of a few pages. before the ending of this arc, roy has already gone clean.

there’s a one week timeskip there, where we assume that out of the characters featured in this story, roy only interacts with dinah, and ollie’s been with hal. then, before the conclusion of this story, roy is given a place to confront ollie and call him out for his mistakes. roy calls him out for turning his back on him, and he gets to tell him – and show him, punching him in a scene where it’s implied that ollie completely deserves it, unlike the opposite situation that this issue started with – about the pain he’s been in. we are given, in text, a moment where roy can express to ollie what he’s been going through, what he did wrong, and how it affected him.

(this is a moment where the intentions of the comic are very clear, not only because roy practically turns to the camera to deliver the PSA, but also because of the wording: roy told ollie that he turned his back on him, and in the same page he talks about society turning its back on drug addicts, same wording twice. ollie and roy are both meant to represent something other than just themselves, even if this happened in continuity and ended up affecting their characters in the long run.)

and ollie – unlike in that first page, now ollie is shown to listen and understand. he’s not in the same place or mindset he was in when everything started. in the beginning, ollie thought that there must be something inherently bad about a person who does drugs, in a reflection of society’s – and parents’ – views of the issue. and that shows in his initial denial and reaction: ‘how could my son, who’s a good person, do this?’ then, in this scene, when roy tells him he beat the addiction, he answers “good boy” – roy immediately rejects this notion, and emphasizes that there’s more to it than his own goodness: what’s important is the help he received, namely from hal and dinah, and a caring environment. ollie, at the very least, begins to understand this, and in doing so understands very clearly what he needs to change about their relationship if he wants roy back.

this means that ollie starts undergoing character development in this one issue alone. the thing about ollie, in regards to his relationship with roy, is that he has made mistakes and the narrative acknowledges it; but, when well written, he realizes and admits it, making a point of learning from his mistakes. roy knows that ollie has fucked up, too, and doesn’t let him off the hook for it, but he also recognizes that he makes an effort to be better. especially after snowbirds, this informs their relationship a lot.

by the end of the issue they’re not hugging, and roy is leaving on his own, but that’s completely of his own accord. and these are the last panels in the entire issue:

the whole original comic, but mostly these panels specifically, is what makes me wonder about people’s perception of these events, and the misconceptions i previously mentioned – because i really am confused as to how you could reconcile these two opposite readings. unless, you know... people are speaking without ever touching the original comic. (i don’t want to blame anyone for not reading older comics, but please, if you’re gonna speak, especially if it’s to shit on a character or call them abusive the way people do with ollie, do it in an informed way.)

so, right after the events of snowbirds, because roy was allowed to speak up and ollie was made to listen, at least as much as can be expected through his stubbornness, they’re in much better terms than people usually think. if you look at roy’s chronology, he interacts with ollie in his next few appearances (barring the teen titans ones), teaming up as they normally would, with the one difference being the emphasis that’s put into the fact that roy has grown away from ollie – in the same way as any young adult would grow away from a parent. there’s also roy’s resentment for ollie’s actions, but this resentment is portrayed as deserved and it doesn’t turn their interactions into something negative. it’s still clear that they both care for each other, and there’s certainly no hate.

[from action comics #436/2]

this first one takes place a few months after roy goes his own way. roy is in the middle of working a case when ollie gets involved, and they work on it together. green lantern #100/2 is their next appearance and has a similar plot, this time with dinah working with them as well. in both of these, they still work well together, are able to communicate in action and have each other’s backs.

in the action comics issue, ollie insists that roy is still welcome by his side, and that he should still feel free to ask for help whenever he needs it. roy refuses in the way that’s shown in the panels above – saying that he needs to “be a loner for a while” and build a life of his own (though it’s not an exact parallel, because ollie is ollie and takes “loner” to a whole other level, the wording here reminds me of the way ollie tends to leave on his own whenever he feels like he needs to find himself). you’ll see that these interactions aren’t hostile at all – quite the opposite.

world’s finest #251/3 might be the one where their interactions are the most tense, and that’s mostly just in the end. when they’re done with the usual superhero team-up, ollie shows willingness to talk to roy:

“i can’t help out. roy’s back, and, well– we’ve got a lot of talking to do.” through these issues, we realize that ollie has learned: his previous mistake was not paying enough attention to roy, and not showing him that he could always count on ollie (both in noticing roy’s addiction, but also before, in not taking enough care so roy wouldn’t get to that point). he tries to make up for it every chance he has, but it’s always on roy’s terms. everyone is aware that ollie is the one who was in the wrong, and it’s up to roy to forgive him or not, but no one ever pressures roy to do so. when roy doesn’t want to stay and talk, ollie accepts it.

ollie atones again and again, and their relationship isn’t magically fixed and they don’t go back to being close without effort – effort which rightfully has to be done, again, mostly on ollie’s part. but they never, ever go so far as to hate each other.

then, in green arrow (1988) #75, ollie feels so bad about what happened between them, about the way he screwed up, he essentially says to roy that he wouldn’t fault him for wanting to shoot him. “so go ahead. god knows, you’ve got plenty of reason.” roy has been brainwashed here; he breaks through it because of ollie’s words. 

and, after this whole ordeal is done, this is how they part ways:

by this point, roy already has lian and a life of his own. he’s gone back to being speedy and then arsenal, he’s in the titans again and he will become a renowned hero in his own right. he might have forgiven ollie a long time ago, but now that he has found himself – like he set off to do at first – he seems more prepared to make amends and see where he stands with him (maybe i’m attributing more consistency among these issues, that happen years apart, than we should actually give them credit for, but i can’t help trying to find the common themes.)

after these, which are the most immediate interactions after snowbirds, we have multiple instances of them being close again. it’s in every small moment they have together, really, but off the top of my head, a couple that are illustrative for their relationship are green arrow: the archer’s quest and justice league of america (2006) #7, even though they don’t directly interact in this last one. i was gonna include panels from both, but this is getting long enough; i urge you to read them, especially if you followed along reading the issues i’ve mentioned, because they’re great. what i am gonna include, cause it’s amazing, is this panel from justice league of america wedding special.

in my opinion, these misconceptions around ollie and roy not only are a disservice to their characters but also mean that people are missing out on what i think is a really interesting relationship. it’s almost rare to see a relationship evolve in a way that feels so organic in comics, not only because the interpersonal conflict here is shown to have real, tangible consequences but also because the characters are allowed to grow in a way that is gradual and natural and even satisfying.

ollie and roy's relationship might have never been the exact same after snowbirds – but which father-son relationship stays the same after the son grows up? and i think it's a testament to the strength of their bond that without ever ignoring these events (because, as i’ve shown, they’re very much acknowledged again and again) they not only never stop loving each other, but are also able to keep building something meaningful going forward.

#roy harper #ollie queen #green arrow #dc #dc meta #drug mention // #long post // #i was gonna put this under a read more but u know what. i'm not gonna give u the option to scroll past this. you are forced to read it #not really but u know hgsdhghsj #you'll notice how many times they call each other dad/son in these panels and that wasn't even intentional #not to keep comparing this to u know who but u know who could never

[goatsandgangsters]

do you have any writing tips pls 🥺🥺

Ohhh big question! I’m flattered that you want my writing thoughts, anon!

So. Are we talking about tips on getting through writer’s block/sitting down and actually writing? The mechanics of writing itself, the individual sentences and word choices? Developing a plot? Characters or dialogue? Drafting and revising? If there’s a specific part of the process that’s angsting you, let me know, I’m happy to say more on that. For now I’ll try and touch on as much as broadly as I can.

Writing is a process, a craft, a practice. A joy and a trial. The act of hitting some keys with your fingers but also making something out of nothing. Which is to say—it comes with practice, it can be frustrating, it can be rewarding, and however you’re feeling about writing, you’re not the only one.

Inspiration/actually sitting down to write:

I find that writing is like exercise. Yes, in the sense that it takes practice to build up those muscles, but MORE IMPORTANTLY writing, like exercise, makes me groan and go “but that’s haaaaard I don’t wanna doooooo it, what if I just siiiit here insteaaaad.” And then I grudgingly get started. And I start to get into the rhythm. And then “oh goddammit. This DOES feel good.” I’ve still never experienced a runner’s high, but I have experienced “no I don’t wanna write. well I guess I’ll write. oh hey I’m writing. oH HEY!! I’M WRITING!!!” Sometimes you just need to push yourself through to start.

That said, sometimes you don’t need to push yourself to start. Sometimes it’s better to let something sit. It’s okay to pivot to another project if you’ve stalled out on one. I saw a post once that called this “crop rotation” and I think that’s true. Sometimes the challenge is getting started, but even when you can’t get started, the time away can be valuable, because it allows you to return with fresh ideas and fresh ideas.

I love using Fighter’s Block for when I can’t get started. It curbs my perfectionist tendency to write the same first sentence over and over again by forcing me to write consistently and quickly without refreshing tumblr between every sentence. Once I’ve got a paragraph, I’ve got enough of a rhythm going to keep writing on my own. You can use it for longer stretches of time, but I find a couple rounds of 200 word count goals is enough to get me through the inertia of getting started.

Read a lot:

Reading makes you a better writer. You will absorb aspects of the craft in the process—sentence structure, rhythm, plot beats.

Then think about what you read. Think about what works. Think about what doesn’t. Notice sentences that you love—not by meaning but by sound. Think about how the story is told, how the plot elements come together, how the themes operate, how the narrative is structured. Did the flashbacks works or were they superfluous? Did you love the metaphors and descriptive language, or did it feel vague and unhelpful? What parts grabbed you, what parts didn’t?

Being able to identify what does and doesn’t work in someone else’s writing will help you apply it to your own. It will also help you craft your own voice and style.

Use writing tips as a challenge, not a rule:

We’ve all seen those “writing rules” like don’t use adverbs, don’t say feels or thinks, don’t say said. Never listen to writing “rules”; instead, see them as a writing “challenge.” You don’t need to jettison every single adverb or permanently strike certain words from your writing. Sometimes, an adverb is the best word. And sometimes it isn’t.

These tips are useful, but not as hard-and-fast rules that must be obeyed every time under every circumstance. Instead, use them as tools to challenge you to think about your writing in new ways, to see if there’s a better way to say something (and maybe there is and maybe there isn’t), and to bring a freshness to the process.

I actually do really like to challenge myself to minimize feels and thinks. “He feels sick to his stomach” will pretty much always be less powerful than “His stomach lurches.” But sometimes feels and thinks work better, either because I need quick exposition or because it specifically emphasizes a thought or a feeling as perception. Again, it’s not about rules. It’s about challenging your habits to breathe new life into your writing. 

Revising tools:

if you’re a tactile person and you own a printer (which I am but I don’t), I like to print out a draft and sit on the floor with a pen and a highlighter and highlight anything that sounds clunky or that doesn’t quite fit. Then I massage those specific sentences, looking for other ways to say them, and narrow in on those parts rather than trying to edit everything overall.

The hemingway app method (as long as you know you’re allowed to disagree with it) can be good to catch certain things. Sometimes I use it and think “yeah that sentences IS too long and awkward, I should rephrase it” and sometimes I think “nah, that sentence is long but it’s controlled and it works.” Sometimes it’s useful in pointing out that I used the word just way too many times; sometimes I’ll keep my adverbs thanks.

Retyping the entire thing in another word document is another revising trick. So is reading the entire think out loud to yourself (your actual ear will catch awkward rhythms or typos that your inner voice glossed over).

(Note: I don’t do all of these all the time. I revise with whichever method I happen to be feeling at the moment)

Character interactions:

Overly expository character interactions are probably my #1 writing pet peeve. People don’t say what they mean. They don’t calmly and carefully and eloquently articulate exactly what they feel. If your characters are conversing in well-practiced monologues where they’re able to objectively analyze and express their exact feelings, it’s not believable. It’s also not fun for the reader, because Explanations of Emotions are being used as a stand-in for actual emotions.

Example: You don’t have a breakdown because you’re stressed about losing your job and you had a fight with your sister and you’re also the protagonist who has to save the entire world. You have a breakdown because you can’t find your fucking pen. It was here a moment ago, you know it was, you put it THERE because that’s where you PUT things but now it’s gone and the pen is gone and you can’t even find the fucking pen so how are you going to save the world and everything is going to SHIT because you can’t FIND your goddamn pEN.

Your character is probably not even an expert on their own feelings, let alone able to objectively explain them to someone else. There are things we can’t make ourselves say out loud. We deflect. We put all the big feelings into small things. We squeeze someone’s hand and say come on, let’s make dinner because you can’t say everything is going to be okay I promise you and I love you so much and one day you’ll see that it’ll all work out.

What are your characters saying with their body? What are they saying with what’s left unsaid? And when are they saying something Else that’s really about Them? (“You did what you had to do,” character A assures character B, because character A’s own guilt weighs on them. They’ll never say this out loud. They don’t even need to specifically think “just like my own guilt, which weighs on me.” We know it by what they say, about other people and about other things, because these are the times when you’re really talking about yourself)

Also, the size of the emotion displayed does not translate into the size of the emotional impact on the reader. A big sweeping declaration of I love you shouldn’t be used as a stand-in for real chemistry or a moment of love that is specific to those characters. An absolute sobbing breakdown isn’t inherently more tragic for its size. You don’t need torture porn to evoke angst. Emotions are a lot more subtle than that. Using a caricature of emotion in the extreme often cheapens the emotion for the reader, rather than enhancing it. 

Other assorted tips:

Write notes! Sit up at 3 AM and write down a snippet of dialogue in a note on your phone! Jot down the plot idea for later! Note the phrase you heard someone say that sounds like it would be a good title.

If you can’t figure out how to end your story or your section or your chapter, it might be because it’s already over and the story has finished telling itself. If the beginning doesn’t feel right, if it feels slow and clunky, it might be because your starting place is too early. If the character interaction feels wrong or the scene isn’t going right or you can’t make that line of dialogue work, the problem is probably about 5 or 10 lines up where you took a wrong turn.

An em dash—like the one I used here—separates out a part of the sentence that couldn’t be a sentence on its own. Semicolons join two independent sentences together; this is an example.

The dialogue tag is part of the sentence. Correct: “I love dogs,” he said. or “I love dogs.” Incorrect: “I love dogs.” he said. or “I love dogs,” He said.

That’s everything that comes to mind immediately. If there’s another part of the process that you want me to focus on, let me know! I’m happy to go more in-depth on specifics! 

#writing #me??? you want tips from MMmee??? #a n o n 💖 #writeblr #anon tag

[stellahibernis]

Lan Wangji: Armored in Silk and Lace

AKA Lan Wangji’s costumes in the Untamed, part 3/9

Today it’s time to discuss the outfit that’s definitely in contention for the title of Most Extra™. As usual, I’ll talk of the costume both in terms of what it consists of and how it ties to what’s going on in the plot.

Lan Wangji wears this outfit during the evil summer school in episodes 11 to 14, and is furious for about 90 % of the time. He also confesses his love, only for Wei Wuxian to pass out without actually hearing it, so things are going just great for him all in all.

The Costume

This was a fun one to analyze, because it looks fairly simple at a first glance, the silhouette is much like his first outfit, but when you start to really look at it, you’ll spot a lot of detail going on. Also for some reason getting good screencaps of this one was a nightmare, but I think you’ll get the gist even with what I got.

This outfit is notable for a couple of reasons; it’s his first completely white outfit (excluding the forehead ribbon and waist ornament, those are the same as always), his other fully white outfit is the next one. It’s also the first time there’s no cloud embroidery anywhere, the other time is the outfit he wears when they go to the temple in the end. I’ll talk of the in-universe reasons in the context section, but the fully white look is a very wise choice also from the costuming perspective.

As you can see above, the silhouette is once more a formal one, with the wide sleeves and the robe falling freely over sash. The color is pure white, as opposed to Nie Huaisang’s off-white in comparison, but you might go back and look at the first outfit for example, and notice the white here seems warmer than in any of his other white outfits. Usually, while the white fabric in LWJ’s costumes is always pure white rather than a tint of any kind, it takes a little of the blue hue from the inner robes. It obviously doesn’t happen here, and the fabrics used are also somewhat less shiny than in his other costumes, which helps it reflect the warm tones back (as opposed to the next, also all white outfit, which is made of shinier fabrics).

From costuming perspective the choice makes sense, because this outfit is worn outdoors under sunlight, in Qishan with its reddish light, and in the cave in firelight, all of which are environments where the full white works at least as well (natural sunlight) or better (Qishan and the cave) than with the blue underlayer. The textures of the fabric also look great especially in the dim light of the cave.

Now let’s get to the details! The most obvious thing is of course the lace overlay on the outer robe which is not only gorgeous, but a relevant factor in consideration whether this is the Most Extra™ outfit. I also love the texture of the fabric on the lapels and sleeve ends, with the same fabric also used in the layer below. In the title I called this outfit his armor, and it is so for him psychologically, which I’ll talk about later, but it’s also reflected in the very structured cut of the second robe, which has much starker pleating than his outfits usually do. There’s also a bit of lace in the panel on the front, and the sash is similarly criss-crossed as it was with his previous blue outfit.

I had to settle for a screencap of him crouching to get even a half decent look of the bottom of his robes, because mostly you can’t see half of the detailing. First, there is the panel of lace that continues all the way down in front, and you can also see the pressed pleating. Also, if you look at his right knee (resting on the ground), you can see yet another fabric that has a sort of circular texture going on (may have to zoom in on this one), again something that you’re likely to miss on the screen, but must have been great for Wang Yibo to know that every bit of the costume was as elaborate as LWJ’s should be.

And finally, my favorite detail and the one that in my book yields the title Most Extra™ for this outfit, the boots! Sorry about the awkward cropping, I didn’t want to have the leg wound visible, since that’s potentially a less than great surprise in a costume post, and this was pretty much the only scene where you could get a good look at the boots.

I mentioned in part 1 that it's a hell of a power move from the Lan Sect to have white boots in general, but look at these. Boots made of white brocade? Truly incredible, and obviously used here since we get a good look at them by virtue of LWJ’s leg wound. Once again I applaud the costuming department for commitment.

The Context

LWJ is back in white, which broadly means that he feels drawn to his duty to his sect more keenly, and in this case I’d argue it’s mixed with mourning for the burned Cloud Recesses and the loss of his home, hence the all white outfit. He’s also terribly vulnerable and alone when we first see him in Qishan, he’s escorted in by the Wens rather than arriving with an entourage like the others, he’s been questioned and beaten for who knows how long by that point, he’s injured and has to use his spiritual energy just to walk upright, and he’s worried about his family. Of course, he’s not going to let the Wens see it’s getting to him, and his outfit is one of the few things he can control, so he does, to a degree at least.

The lack of cloud embroidery might in-universe be because he was not allowed to have it, considering the embroidery acts as a talisman that can protect the wearer from some forms of harm (remember how in episode one the puppets didn’t like them).

They may be made of silk and lace, but his robes are his armor right then, the very formality and how impeccable they are despite everything is giving out the signal that even in these circumstances he’s still the Second Jade of Lan. It’s costing him though, and he again has drawn a wall around himself and doesn’t spare a glance at the others, including WWX, he’s laser focused on Wen Chao with all the fury he has. Of course, the day ends absolutely miserably with them having to relinquish their swords just to add insult to injury, and giving him even less things he has control over. (This is not a weapon design post, but Bichen is really pretty.)

There is a huge difference in the way he now interacts with WWX compared to where they left off in Qinghe, even taking into account that LWJ didn’t actually let WWX see quite how much he’d softened toward him, but now the barrier is fully up again, and WWX is doing his best to batter it down once more. He can of course see it’s different compared to how their early interactions were, now LWJ isn’t annoyed at him but just ignores him, likely at least partly out of necessity because he has no energy for anything else, but also because he’s so aware of representing his sect in this dangerous time, and he can’t afford to be distracted. WWX of course finds out only later what has happened since their parting, and then understands better why LWJ behaved as he did.

Of course, LWJ might be on his last legs and tied by his duty, but the fact he cares about WWX hasn’t changed, and while he can ignore both the questioning and the antics, he won’t just stand by and let him be hurt. This, of course, is a mutual feeling for the two of them, as we see later during the walk toward the cave. In fact, they’re on something of a mirrored journey right here, having to think of their duties toward their sects, but when push comes to shove, they will always help each other.

When they're left behind in the cave there is a brief lull in the push and pull conflict going on in both their hearts, and for a bit they can just focus on surviving together. WWX pulling LWJ’s ribbon off is a neat symbol for it, as if removing the duty for a bit, and the conversation following is fully personal even though their worry for their families is there at the back of their minds at all times.

There’s also the only moment of peace for LWJ while wearing this outfit; when he falls asleep and WWX gently covers him with his robes, and later in the morning puts his ribbon back on. LWJ really had no defence against falling in love with WWX, when assaulted both by the fact WWX isn’t at all bothered by the icy aloofness he portrays, and the casual caring acts.

After the relatively calm night it’s back to no fun times to be had, with WWX nearly dying in the aftermath of the battle. Here we get perhaps the most pointed example of how LWJ is at this point in his life pulled into two directions. He sings the song he composed and named after the two of them to WWX, even saying the name aloud and practically confessing to his feelings, and then leaving without waiting for WWX to wake up when they’re saved, because he knows that since he can, he needs to return to his family and see what they can salvage of their home. A “fun” thing for him to contemplate, by the way, is whether things would have gone differently when they reunited in episode 20 if he’d stayed at least to see WWX back awake. Who knows.

Next time we’ll have another fully white outfit and LWJ not having a particularly good time wearing it. Hopefully there’ll be plenty of scenes from which to get good screencaps, it feels like struggling with both the angst and difficulty of capturing should be too much to ask. 😅

(You can find the rest of this series via “lwj costume series” tag below, or through my blog contents page. I’d link for ease of access but the links make it disappear from tags, so. 😒)

#the untamed #cql #the untamed meta #cql meta #lan wangji #costume design #lwj costume series #cql rambles

[shippy-pjo-shipper]

What's your favorite Jeyna moment? Percabeth moment? Percico? Reynabeth? Pipabeth? Perachel? Jercy?

Oh I love your question anon. Hmmm, let's see.

Jeyna : Well, this one is hard cause, you know, they must have talked less than five times out of the entire serie (and i'll forever be bitter about this). But my favorite moment would probably be the end of TLH when Jason starts to remember names from his past : "Definitely there’d been a girl named Reyna. He wasn’t sure what she’d meant to him, but the memory made him question what he felt about Piper—and wonder if he was doing something wrong." (seriously Rick, how can you write this then give us what we had in MOA, seriously ?!?!) Unfortunately we don't have a lot more to gush about, but I love this tiny excerpt.

Percabeth : Here is the perfect opposite cause there's PLENTY of percabeth's moment. I could remain classic and say that it's the underwater kiss, the fall in Tartarus or the "No one touch her !" scene, that I really like. But my favorite moment will probably forever be their discussion next of the wild animals in cage in TLT, where Annabeth tells Percy she'll be at his side no matter what, even if it means going against her mother.

Percico : I'd say Percy's birthday in the end of TBotL. Or their shared moments at the beginning of TLO, again we don't really see a lot of them.

Reynabeth : Maybe the way Annabeth analyzes Reyna the first time she sees her, or them fighting side by side at the end of BOO, or their interactions at the end of HOH, or the faith in Annabeth Reyna shows when she receives a message from her and how she's ready to travel through the Atlantic ocean and broke one of the main ancestral roman rules, or- No ok I'll stop, there's just so many tiny things about those two that make this pairing incredible. But my favorite remains the last one, the faith they put in each other during HOH.

Pipabeth : The entire chapter of them fighting Phobos and Deimos. That's a god tier chapter, nothing can beat that. (But I'll add how Piper pick into Annabeth's plate later on, that was hella cute too.)

Perachel : ANY SCENE THEY HAVE TOGETHER IS AMAZING ! DO YOU HEAR ME ?!?! ...But if I had to pick just ONE... it would be when Percy congratulates her after she threw her hairbrush in Kronos' face (even if Annabeth stole the spotlight right after), and the beginning of TBotL, my favorite first chapter of any book Riordan ever wrote.

Jercy : Jason protecting Percy against Kymopoleia. The bro jokes were fun but this beats them all (and maybe Percy crying about him (probably) with Annabeth at the phone with Magnus).

Thanks for this ask I loved it, really !!

#ask #jeyna #percabeth #perachel #reynabeth #percico #pernico #jercy #pipabeth #percy x nico #percy x annabeth #percy x rachel #reyna x annabeth #annabeth x reyna #piper x annabeth #annabeth x piper #nico x percy #jason x percy #percy x jason #rachel x percy

[itsuki-minamy]

“K - THE FIRST STORY”

CHAPTER 4: BLACK OR WHITE (Part 2)

* K - The First Story (List of Chapters) * Projects & Chapters

Translation: Naru-kun Raws: Ridia

Inside the lunch box, alongside the white rice, the colorful and well-balanced garnishes are well packaged. The boy thinks it's like being full of "happiness".

The boy loves it because it looks like the treasure chest with an unbalanced brown lunch that is filled with "special" items like meat and fried foods that are always blessed with recommended side dishes. However, he was impressed by the desperate lunch that Kuro prepared as a harmonious world.

From the lunch box, the boy takes a plump, beautiful yellow egg with chopsticks and puts it in his mouth. The sweetness spread through his mouth. He asked Kuro to do it yesterday, the rolled egg was delicious too, but the sweet flavored egg grill is good too.

While trying with a smile, he heard a clear voice next to him.

"Shiro has his own lunch with side dishes!"

Kukuri opened her eyes and looked towards the shrine that surrounded the lunch box with Kuro and Neko in the coffee shop. For whatever reason, he have two lunches on his hands.

He decided to advance through school with his own face, saying he was a "transfer student."

This school is located on an island, isolated from the outside, and basically he cannot enter the site without a pass. However, probably because they were relieved by safety, the people on the school island were enthusiastic about the safety aspect. Even the seemingly suspicious Kuro and Neko are accepted as "I'm a school person because I'm here with a natural face."

By the way, he managed to calm down Neko, who doesn't like clothes, and put her in the Ashinaka school girls uniform (when the boy praised Neko in uniform like "cute!) However, Kuro is still in his uniform. Also, even though he had a sword on his waist, the people around him naturally accepted Kuro's existence, probably because the boy was with him.

Kukuri looked at the contents of the boy's lunch box with a surprised look, and the boy put his hand on his cheek.

"This time it is my beloved wife's lunch."

"If you just say stupid things, I'll stick my tongue out at you."

Kuro draws his sword threatening to cut off the boy's tongue.

As for Neko, he has already eaten Kuro's lunch, and she looks at Kukuri's lunch and makes a voice that waits, "Are you hungry?" Kukuri opened the lunch box and asked, "Do you want to eat?" She opened the lunch box, but for some reason there was no main food, such as fried or roasted salmon, and various kinds of vegetable side dishes such as slow-cooked dishes, salads, and hot vegetables were packed in the lunch box. She wonders if she is on a diet.

Despite the interaction between Kukuri and Neko, the boy looks towards a PDA.

"Oh, what's up? It's different from the school's designated PDA."

Kukuri said, paying attention to the boy's PDA.

The boy's PDA has disappeared, therefore he borrows Kuro's. By the way, a handmade plush doll hangs from Kuro's PDA. When he told him that he thought it was a hobby that did not suit his face, it seems that it is a doll that he made himself, imitating the appearance of Miwa Ichigen, and from there he began to sigh the story of how wonderful Ichigen was. So sorry to ask. Frankly speaking, Kuro's emotion when he talks about "Ichigen" is very disgusting.

The boy squeezed Kuro's PDA and made another comment.

"It's from my wife."

"Do you really want to separate yourself from your tongue?"

Kuro draws his sword again threatening to cut off his tongue. He's not sure if he's unexpectedly good or if he's really mad, because he can't even pull a joke, but his reaction when he hit him is a bit funny.

After a little tantrum, Kuro regains his mind and turns to the boy looking at the PDA.

"Did you find out something?"

"No, it is an unclear image..."

What the boy sees on Kuro's PDA is that video of a person, who looks exactly like the boy, killing a person.

This was transferred from his classmate Mishina. He said he found this video on a website. With the curiosity and drive of a healthy high school boy, Mishina is good at watching erotic videos and images, avoiding the security restrictions placed on school-designated PDAs. Some of his classmates also have part of the videos that Mishina found. Yesterday, Mishina intercepted the boy in an uncrowded corridor and told him a secret story: "I found a bad video yesterday."

Although the boy does not have a young and perky sex drive like Mishina, he looks at Mishina's PDA with the feeling of "Well, if he wants to show it, I can't wait to see it." But, it was not an erotic video.

It is the video of a murder that was shown on a huge monitor in Shizume.

However, Mishina believed that this video was false. It seems to be treated like a naughty video even on the net. However, the criminal's face looked exactly like the boy, so he became interesting and came to show him.

Mishina laughed mockingly, saying, "If you did something wrong, should you be selfish?"

In fact, the boy cannot tell if it is a fake video. But if the person was actually killed and this was false, it would probably mean that the real criminal had redesigned the footage to replace himself with the boy. However, this video was taken by the murderer himself, and from what the video looks like, it appears that it was taken with a retro camera rather than a PDA. The video itself is also owned by "Homura", whose partner is the murdered person. Could the criminal have tampered with the video? If that is not possible, is it the crime of a person with the appearance of the boy? Is that possible?

The doubts have no end, but what the boy must do is not pursue the truth, but prove his innocence.

The boy never does. The boy who lives in the dormitory has rarely left Gakuenjima except to run errands these days.

The boy looks at the picture. It says "12.07 23:45". It's been a week. Of course, the boy does not remember leaving Gakuenjima at that time.

"Are you seeing it multiple times?"

Kukuri looks mysteriously at the boy's hands.

"Hmm, this is a mysterious video delivered by Mishina."

"Eh, Mishina-kun?"

Kukuri overreacted to Mishina's name. The cheeks are slightly tinted red. The boy suddenly remembered the incident that would save himself at Kukuri's appearance.

++++++++++

Fushimi snorted as he watched the scenes projected on the many monitors in the information room.

Each image in each location is displayed one after another on the monitor. Not only the city's surveillance cameras were collected and analyzed, but also all kinds of data such as personal camera images of PDAs and the content of private communications.

Knowledge of the system. As long as the system is up and running, there will be no privacy for the people of this country.

It was a system that prioritized investigations into people's human rights, which could be triggered by the special "Real Level" information disclosure request issued only in emergencies where an undetermined number of lives are in danger. Since the approval of the activation also requires the permission of the Prime Minister, the order of the "Golden King" Kokujoji Daikaku has also been obtained.

He doesn’t want to activate it to find a child.

Fushimi was alone in his heart and ironically distorted his mouth while looking at the private lives of strangers.

"It is quite a masterpiece."

"Help me if you have free time."

Awashima takes Fushimi's words as dislike without raising her eyebrows.

"I am not free."

Fushimi looks back at his desk and slides his finger over the keyboard.

On Fushimi's desk monitor, there was a video of the murder posted by "Homura." A bullet was fired into the roof of the Hirasaka building, in the Western District, at 11:45 p.m. on December 7.

Tatara Totsuka was not good for Fushimi. When he was in "Homura", even if he showed that he didn't like that Fushimi didn't get used to it, he didn't care and felt like he would stop him and see through the line that he really didn't want to step on. He saw it with his eyes. It was not good for those eyes.

He was a man of the opposite nature to Fushimi, and he always laughed with a face that everything he saw was funny.

"Totsuka-san, you are dead."

A whisper came from Fushimi's mouth.

Fushimi stared at the image of the man whose face was always smiling, falling on the concrete without force.

Suddenly something happened. Akiyama, who was doing the compilation work, called out to Awashima in a whispering voice, "Lieutenant Awashima!" The voice turned the eyes of everyone in the briefing room towards Akiyama.

There was a child on the monitor that Akiyama showed. The facial recognition matches the criminal boy that Fushimi just confirmed. Fushimi's expression also tightened slightly.

"Do you know where he is going?"

"Yes, please wait a moment."

Akiyama immediately responds to Awashima's question and runs his finger across the keyboard. Review the points on the web in chronological order. He was at the foot of a bridge where he is captured by Shizume's surveillance camera, an ordinary PDA camera trying to capture the confusion caused by "Homura's" people, and finally the boy.

A connecting bridge that spans from Tokyo Bay and leads to an artificial island. The boy goes over the bridge and enters the island. That was the last appearance of the boy found by "Yuishiki" (Wisdom).

Awashima looks at the map of the place where the boy was last seen.

"The Ashinaka school island?"

It is a gigantic school that is very independent and does not allow outsiders to enter easily, partly because the whole island is one site.

He hears Awashima mutter under her breath, saying it was troublesome.

++++++++++

Anna finally did.

Yata was running. Anger and fighting spirit burn the flames of the body. From that day on, he couldn't find a place to hit and was swirling in his stomach, turning Yata into a fiery bullet with the target he should be heading for now.

A motorcycle gets next to him and they run side by side, they seem to fly in the landscape around them. There was a huge body that he knew on the motorcycle.

"Yata-san! What's wrong?"

"Oh, Kamamoto! Very good, you are coming too!"

"Where you go?! What happened?!"

Yata looked down the road and told him to sharpen his eyes and growl.

"We're going to the school island."

"Gakuenjima? The school island in Tokyo Bay?"

"Just a moment ago, Anna's skill finally found out where it was!"

Kamamoto took a deep breath.

Anna is a member of the "Homura" clan, but has more power as a Strain than the power of fire. She has always been searching for the criminal's whereabouts with her sensitive ability.

It finally showed results.

Yata remembers the bar just before. Anna spread the map on the table and stared at the many red marbles rolling on it. Its responsiveness detects the criminal's signal, and the marbles move and gather towards a point on the map. Beneath the bright red marble is an artificial island in Tokyo Bay.

“Here.”, Anna's transparent voice said like a decree. The criminal is there.

Yata holds his hand tightly in his fist. That night, it was a hand holding a bloody body. This hand knows the cold body that fell on the rooftop in the middle of the night and the warmth of the blood that was spilled.

Yata gritted his back teeth tightly and said, "Kamamoto, take me." He put his hand on Kamamoto's shoulder and jumped into the back seat without slowing the skateboard propelled by his skill. At the same time, he kicked the skateboard and lift it to catch it in the air.

"Speed ​​it up! I'm going to Gakuenjima to kill that damn guy!"

"Hey!"

Kamamoto twists the throttle grip to accelerate the motorcycle. Grasping Kamamoto's thick back, Yata puts his strength into his arm holding the skateboard.

"Wait, you fucking bastard!", he whispers into his mouth.

++++++++++

In the locker room, which was simply installed by pulling a curtain in the classroom, the boy dressed in a khaki kimono and looked at the borrowed PDA. The video plays on the PDA.

“The date shown in that video that was shown in the city was at 11:45 p.m. on December 7th. Given the distance between the school and the crime scene, it is not possible to move in an hour."

"And so..."

Kuro was also dressed in Japanese clothes. With a short sleeve and a hakama, the original long black hair hairstyle collected and the sword attached to the waist match, and it looks like a samurai.

The boy wears a yellow garment over a khaki kimono. It's a hand-sewn costume for a female student, but it's pretty cool.

"Yes. If it is proven that I was at school around 11:45 PM on the 7th, my alibi will be established."

"But you're in a single room. If you slept alone in the room, it wouldn't be an alibi."

Kuro turned his eyes to Neko. Neko also wears kimono. Although she was wearing it, she didn't seem to know how to wear the kimono, so he could see the white skin with the front wide open.

Neither the boy nor Kuro did not change their complexion because they got used to seeing Neko naked. Perhaps he couldn't see Neko playing with the obi in her hand, and when she approached him, he wrapped the obi around Neko's body with one hand as if he was gathering an old newspaper.

"I'm telling you! I don't accept this testimony as an alibi!"

"Kurosuke, you are stupid! Shiro has been with me since I met him! Wagahai's Shiro is a good Shiro!"

"Shut up. You're saying you don't trust me. If I find out you were responsible for this, don't worry. I'll be prepared."

The boy opened his mouth sweetly, looking at Kuro and Neko as if they were really like a dog and a cat.

"Well, it's my fault. That day was the day that preparations for the cultural festival were allowed at night, and as I recalled earlier, it was a day where there were many incidents."

"Incidents?"

The boy trusted the mysterious Kuro.

"So there must be someone who can prove that I was there too."

The boy used a bird hat to finish. A beard is also attached to the mouth.

"Hmm! How many times do you change your clothes while chatting!"

Feeling free to open the curtains on the simple wardrobe, Kukuri stuck her face inside.

"Oh, it looks good! Shiro-kun, you are a valuable person to look good like Ebisu-sama even if you are not fat at all."

The boy, Kuro, and Neko were forced to try on the costumes they would wear to the main event of the school festival. On the night of the school festival, they will wear these costumes, carry a sword and pull a horse to parade to the shrine behind the school.

The Ashinaka school school festival has a mysterious flavor, in part because it overlaps with the annual shrine festival.

Kukuri was in a good mood when she saw the three people wearing costumes, and while saying to Neko, "Wagahai-chan is a beautiful woman!" On the first day, Neko who hated wearing those clothes and had trouble with the boy's hands, was also happy to be told that she was a beautiful woman.

Well, the boy changed his expression.

He has been living at school almost normally for the past half day, but his life is involved. He has to ask someone to testify that he was at this school that day.

The boy saw Kukuri. The girl who started the confusion that night.

Yes, it started with a runaway boy who fell in love with her.

--- Testimony of the classmate, Sota Mishina.

Oh sure, it was around 11:45 PM on December 7th. There is no doubt that the preparations for the night of the school festival had just finished.

He climbed the stairs of the clock tower with the determination of a generation.

In progress…

#k #k project #k the first story #k novel

[pellicano-sanguino]

A while ago I wrote that I was reading through an anthology of lesbian vampire stories to find a good one to read to White Rabbit, and that I was disappointment in the lack of lesbians and the amount of het sex and rape forced into the stories. I was especially disappointed because the authors of the anthology were women and they should know better. 

Well, I have now finished the anthology and the rest of the stories....   kept disappointing in one way or the other.

One story told of a woman who gets lost in the Amazon rainforest and is hunted and seduced by a vampire that lives there. The concept is good, a fascinating and a rather unusual setting for a vampire story. But the writing is very confusing and kinda pretentious and the sort of realism that thinks in order to captivate the true reality one must focus on all the disgusting things and describe them in great detail. Like, I feel every other sentence is TMI fest of going into the condition of the blisters in the main character’s feet or of all the bugs scampering over her when she stumbles and falls. And when we finally do get into the vampire bit, it’s just vaguely described and kinda weird and surreal and...   I don’t know, like from a completely different story. I suppose the change in writing style is supposed to symbolize the main character being under the vampire’s hypnosis or something? 

The odd writing style makes this a very tedious read for someone whose native language isn’t English, because most of the I sure am reading words but fuck if they make any sense. For example, the author talks about a person as if she’s there and it took me a long time to realize this person is NOT there, but is...   a ghost? A memory? A flashback into past or future? The main character’s imaginary friend/named sense of purity or some other symbolic shit? The author clearly intended this to be a story that you need to read several times to understand what happens and piece together the cryptic text. Hahaha nope. I am done with this pretentious fuckery.

Next story is...   sigh...   taking place in a gay club that is also into heavy BDSM. Because of fucking course that is how the hets see lesbians, to them homosexuality is a just a kink. Not only do we get descriptions of very brutal, bloody non-con sadism, we also have to read about men doing it (with women, of course. What, were you expecting gay men in this gay club? Or lesbians in your lesbian vampire anthology?). I know not all lesbians are actively grossed out by dicks but rather just completely disinterested in them, but still...   why would you write a story about a lesbian vampire and force the reader to read three - three! - detailed descriptions of a mens’ erections.

Boy, are the writers of this anthology pissed that they did not write their lesbian masterpieces in our modern times when identity havers are vigorously attempting to redefine lesbianism as “non-men being attracted to non-men.” Today, the authors could write all the dick sucking, male orgasm centered het sex they want and still call it lesbian sex as long as the penis-bearer doesn’t identify as a man. They no longer need to try to sneak in the het sex and then write some half-assed plot about them disgusting gay women.

Though, to be fair, I don’t think it’s just the het sex these writers want to force in their lesbian stories. They specificly want to write about rape, questionable consent and painful sex. And I have a theory on why.

When analyzing why some people are hell bent on putting certain elements in their vampire story, one needs to figure out why they were originally drawn into writing a vampire story in the first place. What is it about the vampire as a creature that fascinates them? What sets the vampire apart from other supernatural creatures is their parasitic nature. You take away the blood drinking and you could replace the vampire character with something else and not have it affect the plot in any way. However, surprisingly many people who write vampire stories aren’t that interested in the blood drinking (much to my disappointment) and more into the power imbalance this diet creates between vampires and humans.

Relationships between a vampire and a human have a massive power imbalance, even when the vampire isn’t the kind that has super human strength and other special powers. If a vampire does not drink blood, they will perish. This simple fact forces them to be at best harmless parasites, at worst dangerous predators. Even with civilized vampires who get their blood from butchers, blood banks or who use synthetic blood substitutes, the special diet of a vampire cannot be ignored when they interact with humans. Imagine a civilized vampire like this stranded on an island with some humans - no one can blame them for stealing blood from the humans for survival in such a scenario. No matter how kind, how sworn to be friendly to humankind, the very nature of vampirism makes it so that humans and vampires can’t coexist together as if there is not a power imbalance in place.

Some writers are very into this power imbalance. The act of drinking someone’s blood, even from a willing donor, is an act of parasitism. The human is harmed, their skin is pierced, their blood is drawn and their body will suffer consequences for it, even if for some donors those are mild. The only one walking away from the act having benefited from it is the vampire. You can romanticize the act, you can give the vampire powers to make their bite painless, you can make the human the one who asks for it, but the act remains the same. A human is wounded and will suffer from minor blood loss, the vampire takes from them and gives nothing in return.

I admit, the blood drinking is what draws me to vampire stories. I am fascinated by the concept of a creature that is by its nature forced to become parasitic. But unlike creatures that eat actual human flesh, the vampire has the option to choose between becoming a predator or becoming a parasite. The ability to be civilized, or pretend to be civilized, with humankind creates interesting emotional bonds between a vampire and their victim/host/donor. 

However, I am not interested in making blood drinking a metaphor for sex. It just does not work. 

A vampire’s very survival is depending on them securing a bloody meal regularly. No one’s survival is depending on them getting laid regularly, no matter what rape culture advocating men crying about sex being a basic need and a human right want you to believe. No one has ever dropped dead because they didn’t have sex. And that’s why the blood drinking as metaphor for sex is flawed. 

So, because the nature of vampirism demands that there must be blood drinking, that there must be harming of another living creature and stealing away a part of their body (blood is a liquid organ, consisting of living cells, drinking blood is an act of consuming living tissue), naturally people who are turned on by the idea of harming others or of being harmed and who are into non-con, would find the vampire as a concept fascinating. To them, a vampire attacking a human is equally arousing as fantasizing about rape, the idea of being bitten so deep that your blood is spilled as exciting as their other sadomasochistic kinks.

Bottom line: I get why people want to put so much sexual violence in their vampire stories. I hate it and wish they didn’t, but at least I see what motivates them to do so. 

Ahem. Back to the anthology.

The only good thing about the gross BDSM story is that there is an actual lesbian sex scene in it and that it makes blood into a plot point. Too many vampire stories just ignore the blood drinking and do it off screen, or have it be completely meaningless to the characters and story. Admittedly, the way blood is used in this story isn’t anything new or super interesting but at least they remembered to put some actual real blood drinking lesbian vampires in their lesbian vampire story. * sarcastically side-eyes the other stories*

After this we get what I consider the strongest story in the anthology. It’s still not particularly good, but the bar is set low, so yeah. This is a rather long short story, a scifi one, about a vampire and a single human sharing a space ship for a long journey, during which they start having casual sex and the human eventually learns about the vampire’s real nature. The characters aren’t that interesting, but the concept of a vampire in space is a fascinating one. I was disappointed that the writer didn’t make the endless darkness of space a place for the vampire to be free from the fear of the sun and instead still makes her react badly to some kind of day to night cycle (it’s space! There is no sun in immediate vicinity! Why would you react badly to “oh well, back in Earth it’s sun time by now”?). Another fascinating part is that this vampire doesn’t steal blood from the human in the traditional method, but instead, um...   performs certain sex act to her when she’s on her period. And this is the reason why she always insists on a female crew member.

Unfortunately not even this story is free from rape. The vampire tells her backstory, about how the man who turned her also raped her. Fortunately she does not describe it in detail but....   why must there be a rape in every single lesbian vampire story? Also, the sex scenes were a bit underwhelming, the vampire being very strictly stone butching the whole thing and not letting the human touch or pleasure her in any manner. Sigh. I know there are lesbians like this, but I can’t help but be reminded of the hets asking “so which one of you is the man?” Also, I wish I could read more lesbian romance, more flirting, more seducing and less of this no-emotional-bonds meaningless-fucking casual sex.

The last story is another pretentious one, this one even worse that the Amazon rainforest story. I...  think it’s about a vampire...   chatting with her parrot that has human-like intellect? I have no fucking idea what is going on. The writing is filled with snooty people talk and fancy words that no one uses in real life and it pisses me off.

“The parrot stuck its head on one side, began its swaying little dance shuffle, and gave a convincing rendition of “Viens poupoule.” It had nothing against lesbians and had been an admirer of Natalie Barney’s ever since a migrating cuckoo told it of the time Natalie, dressed only in a white nightgown, had herself delivered on Renée in a coffin full of enormous lilies. In its decadent period, when it has insisted on dyeing its feathers black and wearing World War Two dog tags round its neck, the parrot had even fancied itself Natalie’s ornithological opposite number, but John’s new slide rule, whom it was courting at the time, refused to attempt a Renée Vivien impersonation. That sour, unimaginative instrument had declared it had nothing whatever in common with the young, blond-haired poet, that anyone who could discern any points of comparison between any mathematical instrument and a blond-haired poet was certainly a surrealist, if not worse. The parrot had got a lot of satisfaction the day John came home from the university and declared, “With the mass production of the pocket calculator, the slide rule is dead.”

I’m gonna make a guess and say that the chances of an audience that enjoys this kind of pretentious fuckness aren’t going to be the target audience to look for their fancy-ass prose in a lesbian vampire story anthology. Just a guess.

I did find this bit funny, though:

“- - - Renée died in 1909, Natalie in 1972, but you have recently received messages from each. How is this possible?”

“Post took a long time,” suggested the parrot, ignored as usual.

You know, I could get behind the idea of a story where a lesbian vampire confides her adventures to a smartass parrot with a human intelligence. You know, if it was an actual story with actual plot and not this fake deep stream of consciousness word diarrhea “ask me what it means, ask me what it all means” garbage.

Well, if nothing else, reading the anthology through reminded me why I had forgotten most of these stories. 

#vampire #lesbian

[silver-wield]

1/1Hello!! I hope you're well!! a few hours ago I suffered a mental stroke when I went to twitter to find some tifa love and instead, found a lot of shit against Tifa and Cloti ¡I had to run away! and immediately I remembered your blog and need to get this out. In 1st place I found a fan of Aerith, from what I could see from her/his profile picture, which apparently was a cloister nun, who found horrible almost obscene the fact that Tifa has let a man into her room (Cloud)

1/2 into her room (Cloud) and ask for help in choosing a dress for their date. Guuuurl, disgusting Tifa, what a creep! That person must think that women who take contraceptive pills are whores! Please, we're in the middle of 2020 and Cloud was thirsty too! In 2nd place I found a scared Cl//rith who read "case of barret" on OTWTAS, where it says that Cloud and Tifa were together, and I saw for the first time the "mental gymnastics" division of that fandom in action, debunking the entire narrative

1/3 debunking the entire narrative about they're on a romantic relationship. It was a bit annoying but theeeen... it made me laugh. In 3rd place, another furious Cl//rith who can't accept that Marlene has two father figures, Barret and Cloud. But what a luckier girl, has two dads! Especially in a post-apocalyptic world where the concept of family is pretty different. But in the end, what bothers them more... is the fact that Tifa and Cloud had formed this family (thought of romantically)

1/4 (thought of romantically) and Marlene (later Denzel) as "children" from this family (you just have to read OTWTAS, ACC and The kids ... right there they show you this info and I think otp-oasis-heavenxearth made a master post about this, because someone make the same claim to her). In fourth place was a post about a fanart of that fandom, with Aerith and Cloud meeting as children, as a reflection of the childhood friends / girl next door trope. Okay, I found the drawing very tender,

1/5 Okay, I found the drawing very tender, very cute. But from there to again invalidate Cloti ship (representation of that trope), which is more perfect in Clerith than in Cloti, and keep saying shit about Tifa the bully. I think, they are the same ones who says Cloti shippers are jealous and we want everything from Clerith, but it's the opposite. They want everything from Cloti !! They want the Lifestream and the Highwind too !! And the embrace of Tifa's resolution !! Luckily, those scenes are

1/6 Luckily, those scenes are not romantic according to them, but only if it is applied to Cloud and Tifa ... At that point, on twitter, my eyes went blank and took a 360 ° turn. Bruh.When I thought that nothing else was going to appear (please God, give me a break), in 5th place another savage appears, with his post about Tifa was gaslighting Cloud for not telling him about nibelheim, and she was very creep. When Cloud in question is part of the problem too: for not wanting to talk to Tifa

1/7 is part of the problem too: for not wanting to talk to Tifa when he arrived in town, ghosting her, and then blocking and transforming the whole incident in his mind. Tifa is confused, she knows something is wrong with him and she just wants to protect him. In the end, is a problem of both (hid something), but it's always easier to blame one (and especially if is a woman, I've never seen anyone involve Cloud in this problem).And when I said to myself "no more, yeah", the classic comparisons

1/8 the classic comparisons of who's a better girl, who's better for Cloud, who's more beautiful, who's the more more of the two, appear. Please, we are in 2020, we are in full swing of how we think ourselves and in a real way the relationships between women. In the remake they show me two great friends, with an incredible dynamic, each with their own individuality, unique in their type. And these things still appear? If there is something that has aged pretty badly in this game is the love

1/9 in this game is the love triangle, putting two girls as love rivals for the feelings (the penis) of a man is no longer cool, and it's for this very strong premise in the OG that's still out there people doing these comparisons, which are unnecessary, and to me, as a woman, it's annoying, because the two girls always end in a pretty bad place, and I don't see the same treatment is done with the male characters... Ok, I end here. I adore your posts and your analyzes, altogether with HOLYSMOTEZ

1/10 HOLYSMOTEZ, MAGUS-DOMINUS, OTP-OASIS-HEAVENXEARTH (the most sane of the Cleriths) NIBELHEIIM and ENIGMAPHENOMENON. And to say I'm very happy with your reactions and thanks for existing ¡never give up! I'm going to take a vacation from this fandom and remember (myself) never go to twitter again!Ps: excuse my spelling, English is not my first language, but all in twitter is in En about this. Me devuelvo a mi planeta, adiós.

Sorry about the wait on this reply, Nonny, it’s a lot of messages and I mostly use tumblr on my phone and my phone hates cping this much text.

I’m sorry you feel the fandom is bringing you down and, yeah, actually, the best thing to do when you’re not enjoying it and feeling stressed is to take a break and go do something you do get enjoyment out of. There’s no obligation to stick around any fandom or keep interacting with people or content if you’re not happy.

Yeah, that side of the fandom is pretty awful and my policy is to block anyone who makes me go ew because they’re just not worth the stress. That’s what I do with the majority of toxic asks I get too because they’re the ones who think they’re owed a public reply to their nasty comments, but I don’t think they’re worth my time, so why give it to them? I do reply by debunking their bs, though, so they got what they wanted in the end, which was a reaction lol

Hopefully, when you’re feeling more positive you’ll come back and find better content waiting  👍 👍 👍

#for the mental health

[be-ready-when-i-say-go]

Falling From Grace- Part 2: Deleted Scenes

Calum, Ashton, Luke, and Michael have a prophecy to fulfill. They might not have always been Calum, Ashton, Luke, and Michael but they have always been brothers in the fight. Mythology!sos. Each guy is a God reincarnated from various mythologies. 

See the full story. 

Enjoy my masterlist

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No one has my permission to repost this fic, including translations. All rights reserved. Copyright © be-ready-when-i-say-go.

_____________________________

He’s known the museum sitting there for years now. He’s just never step foot into it. Felt way too close to home knowing that statues of people he actually knows sit about. But Ashton walts in this time. It could be fun he figures. It’s not like anyone knows him, knows his connection. So with his hair tied back for the moment, Ashton pays admission and starts about the exhibits. Most of the place is way too pristine. The white walls look more like a hospital and it feels like one too but much less sorrowful. He keeps his hands tucked into the pocket of his pants, restricting the yearning to touch some of the frames. 

He misses the frill, the extravagant gold accents on his usual robes. The frames are the closet he’s going to get right now. Ashton follows the line down before rounding the corner and finding him at the door of another exhibit. Busts line the walls and he grins to himself. He recognizes these faces, knows them all too well, even if they are in white marble. Some are chipped, the wear and tear of time never being the most merciful force in the universe. 

Ashton poses in front of the first statue, mimicking the facial expression. He sends the photo to the group chat. This guy was a dick. Or is a dick, still, I guess is more correct. He moves down to the second bust, pulling a face similar to the one sculpted. Less of a dick, he types, grinning to himself. He takes a photo with the last bust, furrowing his brows, and pulling down the corner of his lips. Less of a dick than the first two. Guy’s still not my favorite. 

A couple of minutes later his phone buzzes. Michael’s replied, I’m saving these for evidence. You’ve been warned. 

They hate me anyway, so good luck with that.

Damn it. Why do all the Greek Gods hate each other so fucking much?

Because we do. It’s our Brand™. 

Alright Meme Lord. 

Ashton chuckles, pocketing his phone. As he walks through the rest of the museum he ponders what else to do with the photos? Should they just sit forever in the groupchat? What’s the real harm in posting them? He doesn’t have to put a caption. If he’s going to live in this life then he’s going to live it to its fullest. 

As Ashton settles back onto the cushions of his house, he hovers over the post button. He’s had the pictures sitting for ages in the post. Nothing’s going to happen to him. The Gods aren’t going to smite him, for all their seriousness, humor is not lost on them. Just post it, he thinks to himself. It is not the end of the world. He’s all acquainted with how that goes. His thumb twitches, the posts loads before the screen changes. There, staring back up at him, is his own face next to faces he’s always seen in the flesh. 

Maybe it’s a bad idea. Panic starts to hits his chest. His phone buzzes. It’s Calum. I know you, mate. Saw the photos. They’re funny. Don’t worry. Ashton starts to draft his response, tell them how he needs to delete the photos before another messages comes in. If you delete them, it’s more suspicious. Leave them be. We are human right now. What’s the point of having this humanity and not using it.

Calum is right. Ashton exhales, deleting all the panicked message and replacing it with a simple, Thanks. 

_________

Michael finds himself as the next one in a museum. This time not as accidental as Ashton’s trip. He decided to go out for the day, see some sights, to get away. They need a break. Recording and writing, more writing, more recording. He just wants to shut his brain off for a moment, just enjoy his time while it’s still mostly his. As he’s walking through the exhibits, awestruck by the use of colors and the line work that’s still incorporated into the final details of the piece, he jokingly poses in front of some pieces. He’s only doing it for the jokes, the giggle behind the camera. 

But at the conclusion of his journey through art, he realizes that some of those poses were pretty spot on. He posts the set of recreations with the caption, Immerse yourself. Become art. He wants to add more. You are art. Everyone is art. Everything is art. There’s an art in just existing, in just breathing when everything feels like it’s telling you not to breathe, to not exist. However he figures it best to stay positive, to keep it light and funny. He’s becoming art and that reminds him, even in all the struggle of making this album he still has a duty to himself. 

So he leaves it at just that. Become art. Becoming is the best part of existence. He can become anyone. He can become anything, even if in some ways he is still restricted by another’s diction. He will always becoming something in this human form. He hopes he never stops becoming either, even in the old age when bones are more brittle. 

__ Everyone’s buzzing about Marvel. It’s always somewhere in the corners of the internet the correct way to watch the movies. Calum’s never been one to delve head first into this. But Michael enjoys it and rather than tune out his friend’s interest, he suspends all he knows and finds the action scenes and the comradery admirable. Even if people are robots made out of blue scraps, and someone’s a purple giant, and there’s two green people. But only one’s technically the alien and the other deems himself an abomination.

It’s not very amusing when the interviewer jokes about potentially spoiling the movie. Calum can tell Michael’s a little on edge. So he jokes, “Is Spiderman in it?”

“Yeah, I haven’t even watched the trailer because I don’t wanna spoil it,” Michael replies, looking down at the slight furrowed brow of the brown man slouched, picking at his nails. 

“Is Spiderman in it?” Ashton echoes. 

Calum speaks up again, “Is it Toby?” HIs face in deadpanned. He knows Michael will think he is serious. 

Michael for a second is shocked, voice dripping with disbelief. “What? No.” He watches the very faint smile that overtakes Calum’s face and then laughs. Of course Calum would ask that. He knows it’s not Toby but it got a chuckle out of Michael. 

Calum faces forward, staring directly into the camera, like in The Office. Not too many people will catch onto the joke, the play that just happened. But it’s fine. It’s for Michael anyway. The stab about spoilers wasn’t funny to anyone and rather than let that tension grow, Calum knew he had to break it somehow. This then spurs Ashton onto a rant about how Toby is better. 

Calum interjects, mostly at Michael, “I like Tom, but I like Toby more.”

Later on, after all the interviews are done, they settle into the dark of the theater. They laugh, they gasp, they admittedly cry. Though it only maybe only a couple of tears and no one would admit it, it’s still a shock. Calum pulls out his phone, Why is Gamora? He decides to focus on the positive, on the laughs. Though the question itself is still a very valid one. Why is anyone? Why the question purpose, and sometimes the most difficult one to ask. Why anything? Why the four of them? Why is it so humid in Singapore? The t-shirt, that Calum figured would be thin enough, does not provide much circulation. His pits feel like a swamp, the leather to the couch they’ve been sat on for the last two days takes no prisoners either. 

Calum has learned, however, that he can question why until he turns blue in the face? He could analyze every interaction, every word in existence and it would still only lead him to more questions. He doesn’t let that stop him from question some things but he tries not to question too many things. There is some, while it is scary, serenity in knowing that one does not have all the answers. He is allowed to question Why is Gamora and it is nothing more than a funny piece of dialogue from a widely accepted heart wrenching movie and it will provide answers of its own accord, at its own pace. All he simply must do is walk into a dark theater. 

________

“So we can see, Calum out there has had a long day,” Luke starts, shirtless, watching out onto the balcony where Calum, “on the treacherous waters.”

“He was fishing for Tilapia,” Ashton interjects. 

“Catch Calum on the newest season of Deadliest Catch,” Luke concludes. He doesn’t find himself to be the funniest guy, but every so often he likes to get in a joke. 

Ashton opens the door, “You okay, buddy?” Calum’s earnest glance back makes all three men laugh on camera, including a small chuckle from Andy, who’s behind the camera. It makes Luke happy, that just for a moment, they aren’t too serious. Even though this is work, steaming his voice before a show, and he’s currently unsure of what he’s going to wear tonight, there is some play. 

Later on, after the adventure in Cream Soda, venturing down the dark streets, Luke pulls Michael to the back of the group for an ‘interview’. It quickly goes down south. They continue on down the street. The saying all work and no play makes Jack dull is right. So they make sure to have fun, even if it’s in the backseat of the car, shakily hitting a falsetto about Shake Shack. It reminds them all, but Luke especially to try and shake the bad times off. 

The whole year creating the album broke, and maybe in some ways, created chains and burdens. Expectations is the worst thing they’ve ever faced. They’re always expected to restore balance to the cosmos. That is an old cross they bear. But it is strange now to be so far into the limelight, to be told that they are expected to work almost endlessly day in and day out without allowing themselves the truth of the situation. They grow tired. They grow weary. 

They sing in falsetto though. They make sure to have these small moments to be strange and to be weird to remind themselves they are bound to humanness. They are not exempt from doubt even with the expectation to be superheros in the eye of the music world, even though they know normally they are able in deity form do miracles things, that are incredibly human right now. And it’s okay to have this tender moments. They’ve earned them. 

#calum hood #luke hemmings #ashton irwin #michael cliffford #calum hood fanfic #calum hood fic #calum hood imagine #luke hemmings fanfic #luke hemmings fic #luke hemmings imagine #ashton irwin fanfic #ashton irwin fic #michael clifford fanfic #michael clifford fic #5sos #5sos fanfic #5sos fic #5 seconds of summer #h writes

[dogbearinggifts]

“Dad Sent Me to the Moon” vs. “Because Dad Made Me”

How Luther and Vanya Talk About Trauma, Part Five

Episode Six: The Day That Was (aka Goddamnit, Five, Stop Fixing Things!) 

Here we are at Part Five of my series analyzing how Luther and Vanya talk about their own trauma and respond to the trauma of others. I’ll be honest: this one gave me more than a few fits, trying to figure out how I’d count each character’s trauma mentions in this and the next one. The day restarts from the beginning, and despite some significant differences, many events do repeat. Vanya’s outburst remains the same from this episode to the next, but Luther’s interaction with Klaus is far different from his interaction with Allison. I think what I’ll do is count Vanya’s outburst in this episode and her outburst in the next as separate mentions, although I won’t include an analysis in my essay on Episode Seven. 

If you want to catch up with previous installments, you can find them here. 

Part One  Part Two Part Three Part Four

You can also find them under the tag “luther and vanya talk about trauma.” 

So, our first trauma mention comes from Vanya, who—at Leonard’s urging—returns to the Academy to tell her siblings about getting first chair, and stumbles into a family meeting that began without her. 

Vanya: Hey. What’s going on?  Allison: It’s a…family matter.  Vanya: A family matter. So of course you couldn’t bother to include me.  Luther: No, it’s not like that, we were— Vanya: Please, don’t let me interrupt.  Allison: Vanya, wait. I’ll fill you in later when we’re alone.  Vanya: Please, please don’t bother. And I won’t, either.  Allison: Vanya, that’s not fair.  Vanya: Fair? There’s nothing fair about being your sister. I have been left out of everything for as long as I can remember. And I used to think it was Dad’s fault, but he’s dead. So it turns out you’re the assholes. 

I’ll grant Vanya one thing: that was not the best choice of words on Allison’s part. Almost anything else would have been an improvement—”It’s an emergency meeting,” maybe, or “Five told Luther something important and he had to tell us right away.” What Allison said here was almost guaranteed to set Vanya off. 

That being said, this is definitely one of Vanya’s most unlikable moments. 

It’s easy to sympathize with her, or even cheer her on, when watching this scene the first time. On the surface, it appears Vanya has read the situation correctly and is completely justified in going off on them. They called a meeting without alerting her, and this is simply the last straw. She’s put up with their exclusion long enough, and her righteous anger is finally given a voice. However, none of that answers an important question: 

How were they supposed to contact her? 

Let’s leave aside the fact this is an emergency meeting called when Luther simply rounded up everyone currently in the Academy, and imagine that her siblings did indeed have time to contact her and call her to the meeting. How were they supposed to do that? This is a world where technology has apparently not advanced beyond the late 90s or early 2000s, meaning no one has a cell phone and texting is nonexistent. Pagers existed back then, but none of the siblings seem to have them. Vanya could only have been reached via landline, and she spent the night at Leonard’s. There is no evidence she returned to her own apartment that morning, so even if they had left her a message, she wouldn’t have heard it. 

Barring cell phones and pagers, there are only two other ways Vanya’s expectations in this scene would have been reasonable: 

One of her siblings is telepathic, enabling them to send her a message at the speed of thought regardless of where in the city she might be. 

One of her siblings is clairvoyant, enabling them to predict exactly where she would be at any given moment and deliver the message in person through a well-timed visit. 

Neither of these conditions are true. Enhanced strength, the ability to curve anything thrown, mind-control, and communing with the dead are not useful in contacting a sibling who could be anywhere in the city. Although Five’s ability would enable them to send a message quickly, he isn’t there. Even if he was there, he has no idea where she is. After he learned she wasn’t at her apartment, there’s a good chance he would be forced to waste a lot of time blinking all over the city in search of her. 

Now, assuming phone books are still a thing in this world, Allison could have obtained Leonard’s home number fairly easily. But just last episode, one day prior to these events, Allison’s sleuthing was met with several low blows from Vanya. She made it clear that she did not want Allison digging up dirt on Leonard or butting into her life, however protective Allison’s motives might be or however pure her intentions, and that doing so would make her angry enough to unleash whatever emotional pain it took to drive Allison away. So if Allison were to try Leonard’s number on the off chance Vanya might be at his place, this attempt would likely end with a disconnected call at best and a screaming match at worst. 

What Vanya has done here is place her siblings in a double bind: She wants her siblings to respect her privacy, but she always wants to be included in what they do together. Yet because she wants them to respect her privacy, she isolates herself to the point where they can only offer to include her by invading her privacy. If they invade her privacy, she becomes angry; but if they don’t invite her to things, she also becomes angry. Their only chance at winning is not to play—i.e., don’t invite Vanya and hope she never finds out something was going on in the first place. 

Furthermore, there is no guarantee Vanya would have accepted an offer to join the meeting. In the second episode, when Allison goes out of her way to invite Vanya to a family meeting, Vanya’s response is “And you guys want me there?” She does attend, but only after an apology and some cajoling from Allison. Who’s to say an invitation to this meeting wouldn’t have been met with the same frosty response? Who’s to say Vanya wouldn’t have strung her siblings along only to bail at the last minute; or attend and make bitter remarks about how kind it was of them to invite her, even if they just planned ignore her because she was the only sibling without powers and therefore useless? 

Vanya is not being fair at all. Her own decisions led to her exclusion here, yet because she is being excluded, she foists all the blame on her siblings. While she was certainly excluded in the past through no fault of her own, this situation is entirely of her own making, and she is either unable or unwilling to see her hand in it. 

Additionally, the conversation she walked into is one where her siblings have just learned they will die in three days, making her tantrum come across less as righteous anger and more as a childish fit. While it’s true Vanya lacks this context, it’s also true that she never asks for it and actually lashes out at Allison when she offers to give it. Rather than unleashing 25 pent-up years of passive aggressiveness, when Allison offered to fill her in, she could have taken a deep breath, quelled her anger, swallowed her pride, and said, “Okay. Can you fill me in now?” Allison likely would have taken her aside and explained what she had just learned from Luther. 

From there, who knows what might have happened? Maybe she would have spent the day contemplating her coming death and what was most important to her, and decided to patch things up with her family. Maybe she would have kicked Leonard to the curb when he laughed at her. Maybe she would have gone to the Academy and told whoever answered the door that they’d hurt her in the past, maybe even that she’d hurt them too, but that she’d only ever wanted to be their sister and that she wanted to make things right in the time they had left. Maybe she would have discovered her powers there, surrounded by people who had no idea what to do but who knew how hard it could be to get powers under control and were willing to help her. Maybe April 1 would have come and gone with Vanya learning to master her powers and the whole family calling Reginald a grade-A asshole for making her think she was ordinary.

Maybe that’s not how it would have gone. There’s no way to know for sure. But I tend to believe that if Vanya had known the end of the world was coming, her attitude toward her family would have changed drastically and for the better.  

********

Our next trauma mention comes directly after Vanya leaves, and it’s from Luther.   

Luther: There isn’t time. We need to figure out what causes the apocalypse. Now, there are loads of possibilities—nuclear war, asteroids, but I’m thinking this is about the Moon. Right? Dad must have sent me up there for a reason. And I was giving him daily updates on the conditions, I sent field samples. So the first thing we need to do is find his research. 

This is another line that Luther gets a lot of flak for, and it’s another line for which the flak is, in my opinion, undeserved. Yes, it’s a mention of the Moon. No, it doesn’t necessarily flow from the conversation beforehand; and yes, it does show Luther is a little too focused on the Moon, if he jumps from “world is going to end” to “my research on the Moon can help us.” However, as was established in the last episode, Luther’s time on the Moon was more difficult for him than he’s perhaps ready to admit. And as was established in prior episodes, Luther still has no idea why he was sent there. It makes perfect sense that he would try to connect the impending apocalypse to the Moon: He’s desperate to derive some meaning from those missing years. 

More to the point, however, Luther’s mention of the Moon in this case is not an attempt to draw attention to himself, and it’s not an attempt to (as Diego says in the next episode) make the apocalypse about him and Reginald. Luther sees a very big problem, and he’s offering a solution. The world is going to end in three days? Well, he was on the Moon for four years doing research; maybe he found something useful. Luther’s mention of the Moon in this scene isn’t a ploy for attention; it’s an attempt to help. His mention is constructive, not a diversion. 

********

Moments later, we catch up with Vanya and Leonard leaving the Academy. 

Vanya: I can’t believe I was stupid enough to go back there!  Leonard: I’m sorry. I shouldn’t have made you do it.  Vanya: No, it’s my fault. I maybe just wanted them to be proud of me for once? And how could I presume to be worthy of their attention? Nothing’s ever big enough next to their holier-than-thou, weight-of-the-world bullshit! 

Luther gets a lot of criticism for his inordinate focus on the Moon, but Vanya’s focus on her past exclusion is just as pronounced, and few scenes illustrate that better than this one. 

I’ve already examined in detail how her presumption that her siblings intentionally and maliciously left her out of their meeting was both erroneous and myopic, so I won’t go into that again. I will, however, point out that both her outburst back at the Academy and her tirade here show just how readily her thoughts connect events in the present to her exclusion in the past. Just as Luther hears about an impending apocalypse and thinks “Oh, this must have something to do with the Moon,” anytime Vanya sees her siblings doing anything without her, she immediately thinks “Those fucking assholes are leaving me out again because they don’t think I’m family!” 

Anger is not a choice. It’s an emotional response to outside events. However, when any emotion comes along, there is the choice to tamp it down and wait for it to pass, channel it for constructive purposes, or to indulge it. In choosing to indulge her anger, Vanya has cut herself off from vital information that could have possibly led her to seek reconciliation with her siblings—in a situation where they would most likely have been more willing to reconcile. The world may very well end in three days, after all. Who wouldn’t try to make things right with an estranged sibling if given the chance? 

*******

From there, Luther follows through on his decision to find the research he sent back from the Moon and comb through it in search of clues. And that is when we get this scene: 

Luther: He never even looked at them. Why not? To Pogo Why not?  Pogo: Your father was many things. Forthright was not one of them. After your accident, he wanted to give you purpose, Master Luther. He felt this was the only way.  Luther: What? Shanghaiing me on the Moon for four years? I wasn’t a good enough Number One? That’s what it was? I couldn’t cut it? So he sent me away?  Pogo: No! No, that’s not— Luther: Please, just leave me alone.  Pogo: Master— Luther: Now! Please—get out! 

The dialogue alone doesn’t do it justice. You can hear the brokenness in Luther’s tone, the disbelief and hurt. And honestly, I’d be concerned if all of that didn’t make an appearance. Luther has spent the past four years (not to mention the whole series) believing he was sent to the Moon for a reason. He spent four years in cramped quarters, with no human contact and very few earthly comforts. There’s a blink-and-you’ll-miss-it shot of one of the packets he sent down; on the label, Luther has written “REMINDER: PLEASE SEND MORE FOOD,” the implication being that Reginald frequently forgot to send food until Luther’s supplies were dangerously low. Luther was essentially in solitary confinement with less frequent meals and lower air quality, and he coped by throwing himself into the research he believed he had been placed there to do. Research he thought would one day save the world. 

And now he has just learned that all of his suffering was for nothing.  

While the revelation gives us deeper insight into the depths of Reginald’s assholery, it’s Luther’s wording that gives us insight into his mental state: He could have blamed Reginald here. He should have blamed Reginald. Instead, he immediately blames himself: “I wasn’t a good enough Number One? That’s what it was?” 

This scene is, in my opinion, where arguments that Luther was not abused come to die. Even when faced with explicit evidence that Reginald is a fuckweasel from Planet Douchecanoe, Luther’s first instinct is to assume that what he suffered is a direct result of his own personal failings. This is textbook evidence of a childhood spent under a parent who refused to take responsibility for their own shitty behavior. 

You see, in an abusive household, everything your parent does to you is your fault.* If they list off all your character flaws and exaggerate them to the point where you look like a perpetual fuckup, it’s because you wouldn’t heed gentler correction and you need a rude awakening. If they criticize your appearance, it’s because you never take enough pride in it and they’re embarrassed to be seen in public with you. If they hit you, it’s because you’re always off in your own little world and won’t listen unless you have a good reason to. If they choose to spend their money on themselves and neglect your basic needs—well, why are you being so selfish? They spent every last penny on you when you were small, and now the second they decide to go out and have some fun, you bring up your wants? 

While it’s certainly possible to maintain a realistic view through all this victim-blaming—namely, that it is victim blaming and that it’s wrong—it’s far more common for abuse victims to internalize it. Rather than look at their parents and say, “You’re the one being an asshole. I did nothing to you, and you need to leave me alone,” kids are more likely to believe what their parents are saying. If Mom and/or Dad says they’re responsible for the way they’re treated, then they assume they just need to behave better. If the parents treat them badly all the time, it must be because they’re just bad children. 

In this scene, Luther doesn’t ponder the implications of what he’s seeing. He doesn’t take a second to consider what the unopened packets might mean. He immediately assumes it was because of something he did, or didn’t do. The notion that Reginald sent him to the Moon because he couldn’t stand the sight of him (as Diego said earlier) doesn’t seem to occur to him in the moment. His first assumption is that he did something wrong, and Reginald punished him by sending him away. This, to me, speaks to a lifetime of internalizing Reginald’s abuse, of treasuring every tiny scrap of praise and pondering the criticism he got for days, even weeks afterward. Luther was taught that he was responsible for his father’s behavior, and when that behavior harmed him—well, he should have been a better son. 

********

Soon afterward, Allison finds Luther still staring at the unopened packets. Given that he’s still numb, it seems reasonable to assume relatively little time has passed, but I’ll get into that more in my analysis of the next episode. 

Allison: Hey, so, I couldn’t get a flight out until tonight. I don't know what to do, so I’m just going to head to the airport and wait. I just—I wanted to say goodbye. Pause Luther?  Luther: I found Dad’s research from my mission on the Moon. Every single package was still sealed.  Allison: Why would he— Luther: He never opened them because he never actually cared what I was doing up there. Four years of my life…a lie.  Allison: What an asshole.  Luther: I’m not the right person to stop this apocalypse, Allison.  Allison: Hey, Luther, don’t say that.  Luther: No, this world needs a leader and I’m not it. I’m not. Dad knew it, and now I know it. I’m done.  Allison: Can I show you something? 

In the previous scene, we witnessed the moment of impact, so to speak—the moment where Luther’s worldview implodes. Here, we see the aftermath. He sits quietly, staring at the packets. He’s clearly had at least a few minutes to ponder the implications, and he’s come to the conclusion that Reginald never opened them because he never cared about the mission to begin with. Luther has also concluded that those four years were wasted, and he spent them living a lie. 

While we get an inkling of him placing the blame where it belongs (”He never actually cared what I was doing up there”) Luther’s self-blame is still prominent. Although Allison condemns Reginald’s actions (“What an asshole”) Luther’s first thought is still that he is somehow not up to the task of stopping the apocalypse. Never mind that there is no clear, logical link between the legitimacy of Luther’s Moon mission and his ability to stop the apocalypse. Never mind that the Moon mission had more to do with getting Luther out of the way than anything involving the apocalypse. To Luther’s mind, the fact he was sent to the Moon for no reason, his meticulous research left unread, is a sign that he is somehow deficient. Again, this is pretty clear evidence of a lifetime spent blaming himself for Reginald’s shittiness. 

What’s interesting about this interaction, though, is that Allison doesn’t give Luther space or permission to process his trauma. She doesn’t explicitly deny him these things; she simply doesn’t offer them. Which, knowing Allison, is completely in-character. From all evidence, she never truly processed the trauma of her childhood either; she simply moved out and used her power to build the perfect life for herself. Rather than confront the pain and begin to heal, Allison distracted herself from the pain by surrounding herself with things that made her happy. She ran roughshod over the free will of countless people, but that is how she coped. 

Here, she offers Luther a harmless version of her own coping mechanism. Rather than talk about the Moon mission or Reginald or how it all made Luther feel, she invites him up to their old hideout. Rather than help him face the pain, she offers him a distraction from it. And under the circumstances, this is not necessarily bad. As far as Allison and Luther know, they’ll be dead in three days. Their priority is not lasting solutions to long-term problems, but finding peace before the end. That is what Allison tries to give him. 

*******

One last thing of note for this episode: Luther and Vanya are confronted by their respective traumas in radically different ways, and their reactions foil one another. 

Throughout the series, we have seen Vanya externalize her trauma. This is not, in itself, a bad thing. Many abuse survivors internalize their own mistreatment, and being able to say “No, this wasn’t my fault. Someone else chose to do this to me, and I did not bring it on myself” is not only empowering, but often a crucial first step toward healing. But in the scene where she reads her siblings the riot act for excluding her, she takes it to an extreme. Rather than remaining at a healthy level of externalization, Vanya has taken it so far that she is either unable or unwilling to see how her own choices led to her being left out of the conversation she walks into. The situation might have echoes of her childhood exclusion, but her own decisions created it and her own decisions could have undone it. Because she has externalized her exclusion to such a degree, she drives another wedge between herself and her siblings and ensures she does not receive information that could have prevented the apocalypse. 

Luther, on the other hand, exhibits an extreme degree of internalization. When he finds the sealed packets of research he sent down from the Moon, it is clear that this is entirely Reginald’s fault. Reginald is the one who sent him to the Moon. Reginald is the one who told him to “watch for threats” and perform extensive research. Reginald is the one who tossed the packets into a compartment beneath the floorboards without so much as glancing at them. Yet when Luther is confronted with irrefutable evidence that what happened to him is not his fault, his immediate assumption is “I wasn’t good enough. I caused this.” 

Each character sits at the opposite extreme, and what I find remarkable about it is that the gender expectations are flipped. In many cases, it’s the female character who blames herself for her own misfortune (even when she is clearly not at fault) and the male character who blames others (even when his own choices are to blame). But in this case, it is the female character who foists responsibility onto others and refuses to accept her own share, while the male character assumes blame that should have never been his to begin with.

Running count of trauma mentions (cumulative of all episodes thus far)

Own Trauma: Vanya 6, Luther 7

Trauma of Others: Vanya 3, Luther 3 

*A tendency to blame the victim is also a hallmark of abusive romantic partners, but since this show is primarily about child abuse, I’ll focus on that. Just…promise me that if any of what follows this asterisk sounds like something your partner does, please, please try to leave them. You don’t deserve that. 

Read on to Part Six

#the umbrella academy #umbrella academy #tua #tua meta #luther hargreeves #vanya hargreeves #how luther and vanya talk about trauma #diego hargreeves #allison hargreeves #klaus hargreeves #five hargreeves #ben hargreeves #reginald hargreeves #number one #number seven #number two #number three #number four #number five #number six #essays #abuse #internalization #externalization