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thebibliosphere · 1 year

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It’s been a while since I fever dreamed the plot to something, but I just woke up from a literal fever dream set in a futuristic version of New York where Tom Hiddleston and his pet cyborg owl are entrenched in a spy thriller buddy-cop narrative, only to get swept up in the conflicting heartfelt rom-com narrative of Dakota Johnson who, after a series of unfortunate breakups, has sworn off love and committed herself heart and soul to her job as a curator at Futuristic Met Museum. This is much to the distress of her weed smoking, shroom taking trans lesbian mothers and their elderly dog, Jeff, who just want her to find happiness and love.

As part of his cover, Tom and his cyborg owl, Frank, move into the same apartment where he’ll be staying for several months while he plans to steal a diamond from the Met. I think if you held it up to the light it would project nuclear launch codes that’d been etched onto it. Don’t ask me, my brain was more focused on making the cyborg owl into the wise-cracking comic relief. It kept saying things like “wow Tom, you really are a jack of owl trades” or “don’t worry, Tom, owl always love you.”

The pair meet in the lobby where Tom manages to piss off Dakota by not holding the elevator for her while she is carrying heavy boxes. The apartment building, however, is old and shitty, and he gets stuck in the elevator, requiring him to be rescued by one of Dakota’s mothers who also happens to be the super. Dakota huffs her way out the stairwell just in time to hear her mother inviting the “nice British man” to dinner, much to her chagrin as she realizes that her mom is trying to set her up with the asshole and the cyborg owl that sits on his shoulder like a parrot.

Tom, who finds out she works for the met over said dinner, decides to go along with it as he realizes she’d be the perfect cover to get into the Met Museum for an upcoming gala event—not to mention the perfect person to take the fall for his theft—and begins wooing her relentlessly, assuring Frank, the cyborg owl, that it’s all just part of the mission.

Eventually, the pair fall for each other for realzies, and Tom is conflicted over using her to steal the diamond but his time is running out because we also find out he went rogue for a while after his partner died and was using his skills to work freelance for an international crime syndicate and now the mob is after him?????

Anyway, he’s about to confess all to her on the night of the gala when she gets a phone call from her moms letting her know that their elderly dog, Jeff, is dying so the pair rush back to the apartment and take him to the nearest cyborg vet in the hopes of saving him. En route, the mob find them and start shooting at the flying car they’re in and it leads to a comedic shouting match between the pair along the lines of “what do you mean you’re an international spy and the mob are after you? Ugh, I can’t believe you didn’t tell me this sooner! I told you everything about me!”

“Oh, yes, your embarrassing high school stories are exactly the same thing as divulging international secrets. Tell you what, after this let’s get a coffee and I can tell you some highly sensitive top secret information to even out the playing field.”

Anyway, Frank the cyborg owl manages to take out the mob car chasing them with a grenade (????!), and the pair get Jeff to the cyborg vet in time. The dream shifted after that to Dakota helping Tom to figure out how to break into the Met so he can get the diamond, not because she loves him and he helped save her childhood dog, but because she wants him gone. Tom accepts her help and storms off to his own apartment where Frank the cyborg owl is poignantly silent save to say “take some Tylenol”

“…what?”

“Wake up, you need Tylenol.”

Which is what sent me rocketing upright in bed, dizzy and dehydrated, pounding migraine headache, drenched in sweat and running what the thermometer tells me is a 102 fever.

Which brings us to now where I’m downing Tylenol in the dimly lit kitchen, guzzling water and typing this all up on my phone because there’s no way I’m going to remember all this in the morning but damn if it wasn’t a fun dream.

Anyway, shout out to Frank the cyborg owl for waking me up before my brain fried ✌️🦉. I’m going back to bed.

#I need a tag for my weird dreams #they happen infrequently but when they do they’re always bangers #long post #literal fever dream #thanks delayed reaction to the Covid shot…

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general-cyno · 5 months

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I watched film gold the other day and it's been making me think about luffy's relationship with food wrt zoro and how it's been presented in different OP media.

Aside from the importance the riceball incident holds for the animanga and OPLA, luffy's specific reaction to zoro's injuries after the mihawk duel in the latter is so good. although the LA won't touch luffy's full backstory for a while, it's obvious he loves food in both the usual goofy manner and as something he associates with kindness or a lack thereof. it's why zoro eating the riceballs and sanji feeding gin is important in both iterations of the story. and not only that, OPLA also directly links luffy's appetite to his mood/feelings - when kid!luffy gets sad about shanks's upcoming no-return departure, makino goes out of her way to point out something's really wrong after luffy says he's not hungry. as it is, OPLA used this character trait of luffy's again to highlight how affected he is by seeing zoro (who, at that point, luffy hadn't considered could lose) truly hurt for the first time.

From I'm not really hungry right now, Nami amidst his rising panic, refusing sanji's food, admitting he'd eat his arms and legs to save zoro's life (in the context of what happened to zeff and sanji) and my gut hasn't been so great lately, the message is clear: luffy is not only worried about zoro's wellbeing, he's also very, very upset and willing to go crazy lengths if it means saving zoro. plus, if you watch the LA knowing about sabo and ace, imo it emphasizes further why seeing zoro in such a state makes luffy feel/act the way he does and how much he cares for zoro to react like that to begin with. I love it. I also love that though he rejects the food for himself, luffy admits while rambling that he wants zoro to eat and asks sanji to prepare food he believes zoro would like, even if he quickly concludes letting him rest is probably the best option instead.

That last part brings me to thriller bark, in the manga. It's not food per se and it's portrayed less seriously, but he still tries to have zoro - unconscious and wounded after You Know What - drink an entire barrel of booze because luffy knows how much he loves it (as much as luffy loves meat) and believes it will make zoro wake up/feel better. comedic as it may be intended to be, it's also kinda sweet. luffy's shown more than a few times to recuperate ridiculously fast and in an equally ridiculous manner from injuries by eating meat, so this is luffy's own way to show how much he cares and that he wants zoro to be well again imo.

This also brings me to the start of thriller bark itself! luffy's offered to share his food before (with nami, for example), yet ig what stood out to me during this part is how he just... offers to share his lunch with zoro simply because luffy wants him to come along. luffy rarely makes that sort of offer for specifically mundane reasons, so. squints.

(the fact that zoro fell right for it is so. lmao.)

And as for film gold - albeit not canon as most of the OP movies are, it's still interesting. for once, it's zoro who ends up in need of rescue. after the whole ordeal with tesoro capturing zoro and pushing the straw hats to try and buy his freedom before the public execution, luffy seeks out food.

And when usopp remarks zoro is more important than that? luffy immediately agrees, but insists that's precisely why he needs to eat.

This is a fun contrast to OPLA luffy though I'd say not necessarily a contradicting one. whereas there's little OPLA luffy can do wrt zoro's injuries, film gold luffy can't afford not to eat because here he needs to be at peak strength to rescue him. I like that the movie showed luffy's frustration too,

and how far he'd go to save him: jumping into a duct that's filled with "vicious golden bats" no one's survived from and launching himself straight against a moving, giant sea prism stone ventilation fan (all related to rescue plan) that franky has to bodily drag him away from before he gets more seriously wounded.

(Quite a reminder luffy's pretty crazy about zoro too!)

All in all, food is a very important aspect of luffy's character whether it's for a comedic or serious effect. though it's made more relevant in the WCI arc, I still love how it's something you can see portrayed in his relationship with zoro throughout OP too, be it in the animanga, the LA or in movies as well.

#zolu #tp #long post #ish #sjdjd the way I was out of brain juice bc of work and the fact that I've been sick for over a week now #but the zolu brainworms once again prevailed #(it's 3am save me)#anyway daily I love zolu so much #forgot to say but the gif is mine btw #jay reads op

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physalian · 16 days

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8 Signs your Sequel Needs Work

Sequels, and followup seasons to TV shows, can be very tricky to get right. Most of the time, especially with the onslaught of sequels, remakes, and remake-quels over the past… 15 years? There’s a few stand-outs for sure. I hear Dune Part 2 stuck the landing. Everyone who likes John Wick also likes those sequels. Spiderverse 2 also stuck the landing.

These are less tips and more fundamental pieces of your story that may or may not factor in because every work is different, and this is coming from an audience’s perspective. Maybe some of these will be the flaws you just couldn’t put your finger on before. And, of course, these are all my opinions, for sequels and later seasons that just didn’t work for me.

1. Your vague lore becomes a gimmick

The Force, this mysterious entity that needs no further explanation… is now quantifiable with midichlorians.

In The 100, the little chip that contains the “reincarnation” of the Commanders is now the central plot to their season 6 “invasion of the bodysnatchers” villains.

In The Vampire Diaries, the existence of the “emotion switch” is explicitly disputed as even existing in the earlier seasons, then becomes a very real and physical plot point one can toggle on and off.

I love hard magic systems. I love soft magic systems, too. These two are not evolutions of each other and doing so will ruin your magic system. People fell in love with the hard magic because they liked the rules, the rules made sense, and everything you wrote fit within those rules. Don’t get wacky and suddenly start inventing new rules that break your old ones.

People fell in love with the soft magic because it needed no rules, the magic made sense without overtaking the story or creating plot holes for why it didn’t just save the day. Don’t give your audience everything they never needed to know and impose limitations that didn’t need to be there.

Solving the mystery will never be as satisfying as whatever the reader came up with in their mind. Satisfaction is the death of desire.

2. The established theme becomes un-established

I talked about this point already in this post about theme so the abridged version here: If your story has major themes you’ve set out to explore, like “the dichotomy of good and evil” and you abandon that theme either for a contradictory one, or no theme at all, your sequel will feel less polished and meaningful than its predecessor, because the new story doesn’t have as much (if anything) to say, while the original did.

Jurassic Park is a fantastic, stellar example. First movie is about the folly of human arrogance and the inherent disaster and hubris in thinking one can control forces of nature for superficial gains. The sequels, and then sequel series, never returns to this theme (and also stops remembering that dinosaurs are animals, not generic movie monsters). JP wasn’t just scary because ahhh big scary reptiles. JP was scary because the story is an easily preventable tragedy, and yes the dinosaurs are eating people, but the people only have other people to blame. Dinosaurs are just hungry, frightened animals.

Or, the most obvious example in Pixar’s history: Cars to Cars 2.

3. You focus on the wrong elements based on ‘fan feedback’

We love fans. Fans make us money. Fans do not know what they want out of a sequel. Fans will never know what they want out of a sequel, nor will studios know how to interpret those wants. Ask Star Wars. Heck, ask the last 8 books out of the Percy Jackson universe.

Going back to Cars 2 (and why I loathe the concept of comedic relief characters, truly), Disney saw dollar signs with how popular Mater was, so, logically, they gave fans more Mater. They gave us more car gimmicks, they expanded the lore that no one asked for. They did try to give us new pretty racing venues and new cool characters. The writers really did try, but some random Suit decided a car spy thriller was better and this is what we got.

The elements your sequel focuses on could be points 1 or 2, based on reception. If your audience universally hates a character for legitimate reasons, maybe listen, but if your audience is at war with itself over superficial BS like whether or not she’s a female character, or POC, ignore them and write the character you set out to write. Maybe their arc wasn’t finished yet, and they had a really cool story that never got told.

This could be side-characters, or a specific location/pocket of worldbuilding that really resonated, a romantic subplot, whatever. Point is, careening off your plan without considering the consequences doesn’t usually end well.

4. You don’t focus on the ‘right’ elements

I don’t think anyone out there will happily sit down and enjoy the entirety of Thor: The Dark World. The only reasons I would watch that movie now are because a couple of the jokes are funny, and the whole bit in the middle with Thor and Loki. Why wasn’t this the whole movie? No one cares about the lore, but people really loved Loki, especially when there wasn’t much about him in the MCU at the time, and taking a villain fresh off his big hit with the first Avengers and throwing him in a reluctant “enemy of my enemy” plot for this entire movie would have been amazing.

Loki also refuses to stay dead because he’s too popular, thus we get a cyclical and frustrating arc where he only has development when the producers demand so they can make maximum profit off his character, but back then, in phase 2 world, the mystery around Loki was what made him so compelling and the drama around those two on screen was really good! They bounced so well off each other, they both had very different strengths and perspectives, both had real grievances to air, and in that movie, they *both* lost their mother. It’s not even that it’s a bad sequel, it’s just a plain bad movie.

The movie exists to keep establishing the Infinity Stones with the red one and I can’t remember what the red one does at this point, but it could have so easily done both. The powers that be should have known their strongest elements were Thor and Loki and their relationship, and run with it.

This isn’t “give into the demands of fans who want more Loki” it’s being smart enough to look at your own work and suss out what you think the most intriguing elements are and which have the most room and potential to grow (and also test audiences and beta readers to tell you the ugly truth). Sequels should feel more like natural continuations of the original story, not shameless cash grabs.

5. You walk back character development for ~drama~

As in, characters who got together at the end of book 1 suddenly start fighting because the “will they/won’t they” was the juiciest dynamic of their relationship and you don’t know how to write a compelling, happy couple. Or a character who overcame their snobbery, cowardice, grizzled nature, or phobia suddenly has it again because, again, that was the most compelling part of their character and you don’t know who they are without it.

To be honest, yeah, the buildup of a relationship does tend to be more entertaining in media, but that’s also because solid, respectful, healthy relationships in media are a rarity. Season 1 of Outlander remains the best, in part because of the rapid growth of the main love interest’s relationship. Every season after, they’re already married, already together, and occasionally dealing with baby shenanigans, and it’s them against the world and, yeah, I got bored.

There’s just so much you can do with a freshly established relationship: Those two are a *team* now. The drama and intrigue no longer comes from them against each other, it’s them together against a new antagonist and their different approaches to solving a problem. They can and should still have distinct personalities and perspectives on whatever story you throw them into.

6. It’s the same exact story, just Bigger

I have been sitting on a “how to scale power” post for months now because I’m still not sure on reception but here’s a little bit on what I mean.

Original: Oh no, the big bad guy wants to destroy New York

Sequel: Oh no, the big bad guy wants to destroy the planet

Threequel: Oh no, the big bad guy wants to destroy the galaxy

You knew it wasn’t going to happen the first time, you absolutely know it won’t happen on a bigger scale. Usually, when this happens, plot holes abound. You end up deleting or forgetting about characters’ convenient powers and abilities, deleting or forgetting about established relationships and new ground gained with side characters and entities, and deleting or forgetting about stakes, themes, and actually growing your characters like this isn’t the exact same story, just Bigger.

How many Bond movies are there? Thirty-something? I know some are very, very good and some are not at all good. They’re all Bond movies. People keep watching them because they’re formulaic, but there’s also been seven Bond actors and the movies aren’t one long, continuous, self-referential story about this poor, poor man who has the worst luck in the universe. These sequels aren’t “this but bigger” it’s usually “this, but different”, which is almost always better.

“This, but different now” will demand a different skillset from your hero, different rules to play by, different expectations, and different stakes. It does not just demand your hero learn to punch harder.

Example: Lord Shen from Kung Fu Panda 2 does have more influence than Tai Lung, yes. He’s got a whole city and his backstory is further-reaching, but he’s objectively worse in close combat—so he doesn’t fistfight Po. He has cannons, very dangerous cannons, cannons designed to be so strong that kung fu doesn’t matter. Thus, he’s not necessarily “bigger” he’s just “different” and his whole story demands new perspective.

The differences between Empire Strikes Back and Return of the Jedi are numerous, but the latter relies on “but bigger” and the former went in a whole new direction, while still staying faithful to the themes of the original.

7. It undermines the original by awakening a new problem too soon

I’ve already complained about the mere existence of Heroes of Olympus elsewhere because everything Luke fought and died for only bought that world about a month of peace before the gods came and ripped it all away for More Story.

I’ve also complained that the Star Wars Sequels were always going to spit in the face of a character’s six-movie legacy to bring balance to the Force by just going… nah. Ancient prophecy? Only bought us about 30 years of peace.

Whether it’s too soon, or it’s too closely related to the original, your audience is going to feel a little put-off when they realize how inconsequential this sequel makes the original, particularly in TV shows that run too many seasons and can’t keep upping the ante, like Supernatural.

Kung Fu Panda once again because these two movies are amazing. Shen is completely unrelated to Tai Lung. He’s not threatening the Valley of Peace or Shifu or Oogway or anything the heroes fought for in the original. He’s brand new.

My yearning to see these two on screen together to just watch them verbally spat over both being bratty children disappointed by their parents is unquantifiable. This movie is a damn near perfect sequel. Somebody write me fanfic with these two throwing hands over their drastically different perspectives on kung fu.

8. It’s so divorced from the original that it can barely even be called a sequel

Otherwise known as seasons 5 and 6 of Lost. Otherwise known as: This show was on a sci-fi trajectory and something catastrophic happened to cause a dramatic hairpin turn off that path and into pseudo-biblical territory. Why did it all end in a church? I’m not joking, they did actually abandon The Plan while in a mach 1 nosedive.

I also have a post I’ve been sitting on about how to handle faith in fiction, so I’ll say this: The premise of Lost was the trials and escapades of a group of 48 strangers trying to survive and find rescue off a mysterious island with some creepy, sciency shenanigans going on once they discover that the island isn’t actually uninhabited.

Season 6 is about finding “candidates” to replace the island’s Discount Jesus who serves as the ambassador-protector of the island, who is also immortal until he’s not, and the island becomes a kind of purgatory where they all actually did die in the crash and were just waiting to… die again and go to heaven. Spoiler Alert.

This is also otherwise known as: Oh sh*t, Warner Bros wants more Supernatural? But we wrapped it up so nicely with Sam and Adam in the box with Lucifer. I tried to watch one of those YouTube compilations of Cas’ funny moments because I haven’t seen every episode, and the misery on these actors’ faces as the compilation advanced through the seasons, all the joy and wit sucked from their performances, was just tragic.

I get it. Writers can’t control when the Powers That Be demand More Story so they can run their workhorse into the ground until it stops bleeding money, but if you aren’t controlled by said powers, either take it all back to basics, like Cars 3, or just stop.

—

Sometimes taking your established characters and throwing them into a completely unrecognizable story works, but those unrecongizable stories work that much harder to at least keep the characters' development and progression satisfying and familiar. See this post about timeskips that take generational gaps between the original and the sequel, and still deliver on a satisfying continuation.

TLDR: Sequels are hard and it’s never just one detail that makes them difficult to pull off. They will always be compared to their predecessors, always with the expectations to be as good as or surpass the original, when the original had no such competition. There’s also audience expectations for how they think the story, lore, and relationships should progress. Most faults of sequels, in my opinion, lie in straying too far from the fundamentals of the original without understanding why those fundamentals were so important to the original’s success.

#writing advice #writing resources #writing tips #writing tools #writing a book #writing #writeblr #sequels #kung fu panda

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opbackgrounds · 17 days

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Chapter 473 marks yet another transition point in the Thriller Bark arc, and while the Straw Hats vs Oars is mostly straight up humor, Oda takes the time to remind the reader that there are actual stakes if they don't win this fight. It's appropriate that this speech by Zoro continues into the next chapter after Kuma's introduced, as it becomes immediately apparent that this new Warlord isn't someone to be trifled with. Oda ratchets up the tension with Kuma, then reminds the reader that the real importance isn't Oars, but the crew's missing shadows

It's this sense for pacing that helps Oda transition from comedic and dramatic moments seamlessly. It's not jarring when the mostly funny Oars fight later turns deadly serious, because it's something Oda has primed his audience to be ready for

#opbackgrounds #one piece #ch473 #ch474 #that's how you comic #pacing

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staydandy · 14 days

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The First Responders Season 2 (2023) - 소방서 옆 경찰서 그리고 국과수 - Whump List

List by StayDandy Synopsis : The season continues to follow the joint operations of the police force, fire department, and paramedics. The three stations jointly respond to fierce scenes between crime, disasters and emergencies, showcasing their bravery and teamwork in the face of danger. (MDL) AKA : The Police Station Next to the Fire Station and National Forensic Service | The First Responders 2

Whumpee : Jin Ho Gae [detective] played by Kim Rae Won • Bong Do Jin [firefighter] played by Son Ho Jun • Kang Do Ha [NFS] played by Oh Eui Shik • Gong Myung Pil [detective, Ho Gae’s partner] played by Kang Gi Doong

Country : 🇰🇷 South Korea Genres : Action, Thriller, Mystery, Drama, Crime, Bromance

Notes : This is a Full Whump List • Autopsy scenes are vivid. Be wary if you're squeamish. • Uh, yeah, I had a few rather emotional responses to some eps, you'll see a few of my thoughts in blue • TW : Animal Cruelty, Child Abuse

Related List : The First Responders Season 1 (2022) - Full List

Episodes on List : 11 Total Episodes : 12

*Spoilers below*

left to right : Ho Gae, Do Jin, Do Ha, Myung Pil

01 : Jin Ho Gae falls several feet, connected to Bong Do Jin by a security rope, who's supporting him, hanging, suspended, unconscious … Ho Gae & Do Jin ditch their helmets & oxygen tanks, Ho Gae coughing from smoke … hand burned, treated

02 : (near end) Do Jin falls through a collapsed floor to the floor below, knocked out briefly

03 : (This episode hurts so much 😭 - literally in tears here 😭) Dead … [flashback] Hurt from the fall, trapped, surrounded by fire

04 : (near end) tw: animal cruelty

05 : (A new face appears; Kang Do Ha .. i don't trust u yet (ᓀ_ᓀ)) Kang Do Ha trips over himself & pushed off balance (comedic)

06 : (near end) tw:child abuse

07 : Blown back by an explosion, hits his head, knocked out briefly … (near end) Ho Gae swallows a handcuff key, retching

08 : … continued from previous ep. ... Do Ha has nosebleed, also leaking cerebrospinal fluid (protective brain fluid) from concussion … head pain, blurry vision, collapses … Ho Gae punched

10 : (near end) Gong Myung Pil blown back & severely burned from explosion.. painful treatment

11 : … continued from previous ep. ... Ambulance transport, hyperventilating from pain … [flashback] Ho Gae stabbed with a needle, drugged, passes out … [present] kidnapped, unconscious & transported in a coffin-like box … wakes, bleeding from a stitched incision behind his ear.. dizzy, blurry vision, collapses.. [flashback] surgery of microchip imbedded.. [present] electric shock from imbedded chip, pain, collapses … Myung Pil hospitalized … Ho Gae shocked with electricity from chip, falls off moped … chip removed on the field with no pain meds … forced to vomit (not shown) … dead (?? FUKIN EXCUSE ME?! WTF?? HOW DO U KILL OFF HO GAE?!?!) … Myung Pil wakes in hospital, collapses off bed … collapses in grief

12 : (@ 36:30 NOT DEAD, thank fuckin god! - that's right! fuk him up Ho Gae!) Ho Gae in fight; stabbed in leg, wounds stepped on, crate broken over his head.. Myung Pil & Do Ha blown back by explosion & collapsing wall … treated by paramedics … Ho Gae, Myung Pil, & Do Ha hospitalized (aw, they get to share a room 😆) … [flashback] walking with a crutch … [present] walking with a crutch

#whump #whump list #full whump list #Asian whump #South Korea #The First Responders #The First Responders Season 2 #소방서 옆 경찰서 그리고 국과수 #The First Responders 2 #The Police Station Next to the Fire Station and National Forensic Service #Jin Ho Gae #Bong Do Jin #Kang Do Ha #Gong Myung Pil #Kim Rae Won #Son Ho Jun #Oh Eui Shik #Kang Gi Doong

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varyathevillain · 6 months

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you know what I really like in season 2? how Jim Jimenez, who was not exactly part of the comedy in S1, which was most probably the reason why Blackbeard got them into the new crew in the last episode of S1... is now hamming it up as much as they can.

they used to be the silent support (posing as literally silent, mute) of the crew, someone who'd be on the fringes of both conflicts and comedic situations. and then, when Jim realises what exactly the good old days were to them, things they miss, the stories Stede told... they re-enact the wooden boy story the best they could. bring up the "toxic environment" to Izzy, refuse to let good things go, don't run from them, kiss Archie when she allows, ham it up with jokes and needlings, have a curly moustache drawn onto them and are the life of the party, and then Jim's the one to help Olu out with his new romantic partner. you'd think S1!Jim would be called "nosy interferer"? personally, wouldn't think so.

as much as we call a certain other character "person amongst Muppets", Jim Jimenez had also escaped their own genre, of "Hispanic revenge thriller", into queerness and acceptance of it wholeheartedly. with Jim being themselves, nonbinary and poly and breaking as many stereotypes as they can.

#Jim Jimenez #OFMD S2 #OFMD S2 spoilers #OFMD spoilers #OFMD #Our Flag Means Death #Varya rambles #one - it also adds to the narrative of genre switching within the story and how it affects OFMD #two - they're a narrative foil to Izzy Hands who ALSO. as a younger queer. helps him out in various ways #bringing up the toxicity. cutting his rotting leg (symbol of attachment to Blackbeard and that lifestyle). being supportive #and THAT is why in s2ep6 THEY are the one in center of the frame looking up at Izzy when he sings in the last scene #fuckin superb!! also like. healthy poly relationship showing that it's alright to shift them or let go #which might be another narrative foil if we ever get that Steddyhands wink wink nudge nudge #text post

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simply-whump · 24 days

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In Blossom (花间令) - Whump List

Whumpees : Pan Yue played by Liu Xue Yi and Zhuo Lan Jiang played by Li Ge Yang

Synopsis : In the sinful city of Heyang, very well-liked Pan Yue married Yang Caiwei, who was despised by everyone. However, Yang Caiwei was murdered on their wedding day. The suspected culprit was none other than Pan Yue. Reborn from death, Yang Caiwei became known as "wicked woman" Shangguan Zhi. (MDL)

Genres : Thriller, Historical, Romance, Fantasy

Warning! Possible spoilers below!

Pan Yue

Ep 1 : None

Ep 2 : (38:22) Jumps into the water, gets cut, concern for him

Ep 3 : None

Ep 4 : (27:14) Scar reveal — (38:43) Drunk, sleeping, helped to walk

Ep 5-6 : None

Ep 7 : (Flashback) (04:41) Grieving, crying, drinking, fighting, hit, stabbed, collapses, passes out — (Present) (28:20) Injured by a wolf while protecting someone, concern for him

Ep 8 : (12:56) Wincing, concern for him — (18:58) Trying and failing to treat his injury, helped, treated, wincing, in pain — (26:06) Waking up from a nightmare

Ep 9 : None

Ep 10 : (26:03) Wounds reopened, treated

Ep 11 : None

Ep 12 : (32:00) Remembering painful memories, strong headache, collapses, concern for him, groaning in pain, panic attack (Gif Set)

Ep 13 : (01:40) Panic attack, helped to calm down — (12:53) Trapped, surrounded by gas, coughing, hurting his fist by punching hard rock, worried for someone — (Flashback) (20:08) Imprisoned, chained

Ep 14-16 : None

Ep 17 : (35:43) Teary-eyed

Ep 18 : (30:31) Arm scratched, concern for him

Ep 19-20 : None

Ep 21 : (12:15) Attacked by bugs, bitten, concern for him, attacked, fighting, vision blurry, loses his vision completely, falls from a cliff, blind, stumbling, worried for someone, crying — (22:13) Still blind, treated, eyes bleeding, treatment failed — (25:23) Bandage on his eyes, remembers painful memories, ptsd, stumbling — (Flashback) (29:40) Stabbed — (Present) (30:26) Walking with a blindfold, guided — (42:07) Still blind, eyes white, last chance treatment used, in pain, eyes bleeding, concern for him, passes out, wakes up in bed, blindness cured

Ep 22 : None

Ep 23 : (31:06) Attacked, hit in the head (semi-comedic)

Ep 24-27 : None

Ep 28 : (31:48) Attacked, stabbed, passes out, concern for him — (32:42) Unconscious in bed, pulse taken — (35:00) Weak in bed, concern for him

Ep 29 : (31:13) Kneeling in the rain, food spilled on him, kneels all day, stumbles while trying to get up, helped to walk (Gif Set)

Ep 30 : (10:18) Punched twice, pushed to the ground — (18:36) Angry, restrained, kicked

Ep 31 : None

Ep 32 : (30:34) Manhandled

Zhuo Lan Jiang

Ep 1-4 : None

Ep 5 : (Flashback) (39:34) Barely conscious, injured, treated — (Present) (40:00) Drunk, stumbling, passes out, arm injured

Ep 6 : (11:36) Wakes up, arm bandaged

Ep 7-12: None

Ep 13 : (37:21) Fighting, hit

Ep 14 : (32:40) Stopping a blade with his bare hand, bleeding

Ep 15-20 : None

Ep 21 : (33:28) Imprisoned, emotional

Ep 22 : (14:32) Still imprisoned, refusing to eat — (21:30) At sword point, shoulder stabbed — (26:43) Worried for his father — Depressed

Ep 23 : None

Ep 24 : (15:34) Waking up from a nightmare

Ep 25 : None

Ep 26 : (19:48) Drinking — (23:00) Bleeding, concern for him, wound treated, wincing in pain

Ep 27-30 : None

Ep 31 : (31:00) Fighting, hit, restrained, tied, tortured, whipped, bloody, stabbed twice, knife twisted, passes out (Gif Set) — (38:45) In a cell, chained, bloody, weak— (42:38) Still in a cell, bloody and heavily injured, shaky breathing, stabbed and killed

Ep 32 : (04:31) Dead body brought to loved one — (Flashback) (27:15) Stabbed himself so that his dead body would leave an important clue to his friends — (Present) (41:28) Grieved

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