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phlve · 4 months

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Sociotype Profiles — SEE

Ego

Leading Se

The SEE is always present in the here and now. An SEE knows exactly which relations he has influence over at the moment, and exactly how much influence he has (i.e. how far can he "push"). If an SEE wants someone that he does not "have", he can spend lots of time thinking about how to get it. The SEE finds it hard to be content with what he has.

SEEs are quick to notice confrontational behavior. It is very obvious to an SEE when someone is displaying aggression, even in the most subtle passive-aggressive fashion. Confrontational behavior does not phase the SEE, whether his reaction is to respond with confrontation or hostility himself, creating an outwards appearance of indifference and unimpressiveness, or trying to calm down the offender/make them feel guilty. The various means available to the SEE to achieve the above goals are not nearly as important to the SEE as the end.

The SEE is motivated on some level in all of his affairs towards his goal of exclusiveness. He prefers to be in as high of a position of demand and respect as possible. It fills the SEE with joy to be have many different people competing for his attention and affection. Such a scenario reassures the SEE with the fact that he has been doing things right and that his hard work has paid off. Thus the SEE is often found surrounded by a large circle of friends and romantic interests.

An SEE views material objects as well as people in terms of how they can be used to achieve his goals. Upon losing a superficial friendship or a materialistic object, the SEE is sentimental only in terms of how it affects what he is currently striving for. For example, SEE would not see much point in being in the middle of the nowhere by himself with lots of gold and other showy yet useless objects. These things might only be important to him in regards to how they make other people think about him, or how it would indicate his status.

With extroverted sensing as his base, the SEE would much prefers to be a "go getter," out doing things as opposed to thinking about what he could be doing.

Creative Fi

An SEE usually knows exactly how to make other people feel a certain way. This ability increases its power dramatically the more time he spends with a person. He can offer genuine, believable praise to an individual he wants to reward, and likewise can make a person very upset and/or ashamed in themselves. However, if an offender changes their ways in favor of the SEEs point of view, the SEE will be quick to reward the offender with praise, and appreciation, treating them like a good friend. Moral ground to an SEE completely depends on the situation and is anything but set in stone (hence the creative function).

"Fake niceness" rarely fools an SEE. The SEE can easily tell whether a person is being genuine or just selfishly trying to fulfill their own needs.

The SEE can easily create sentiments of closeness and kinship, only to completely change these sentiments down the road. An SEE could be hanging out with a person (A) and act like the person's best friend, yet talk with another friend (B) and show sentiments of extreme distaste towards person 'A' in order to gain acceptance with 'B'. Sometimes if person 'A' and 'B' are together at a social function, the SEE will either have to pick sides or can treat both relations with acceptance and feelings of kinship. This can cause quite a bit of confusion in regards to the SEE's "true loyalties." The SEE prefers to maintain the respect and appreciation of his relations if at all possible. He knows that if he has an ally in many different groups, it will be harder for his enemies in said groups to act against him for fear of retribution from his other allies.

An SEE has the ability show up in a group of strangers and act like a long lost friend, gaining acceptance and trust of the group very quickly. He can quickly charm this group with his well-bred manners, genuine displays of like/dislike, and sometimes risky humor. When the SEE leaves, he can find out through his inside sources that he was the "talk of the town" after he left, much to the delight of the SEE.

Super-Ego

Role Ne

SEE much prefers physical, tangible goals as opposed to abstract ideas. He appreciates those who are good at thinking about things to do, new ways to do things, and especially a unique activities to draw people together. However, the SEE does not hold these abilities in high regard in and of themselves, but only to the degree to which these ideas and strategies can be implemented to serve his ego block.

Distress associated with this function accounts for the SEE's preference to have his pursuits be visible, close, available, and within the reach of his influence. An SEE prefers to get the things he wants immediately and without compromose using his talents of willpower and interpersonal influence. An SEE finds it difficult to give up on a goal unless clear victory or defeat is at hand. He usually will not give up on a friendship, goal, or romantic relationship until he knows beyond a shadow of a doubt (preferably through "in person" experience) that there is no way possible to resurrect the situation in face of his losses.

Not much value is placed on simply "getting your feet wet," starting new projects, or trying new things just "for the sake of it." He much more prefers to think in terms of the long term gains of his actions.

When it comes to achieving a goal, the SEE prefers to be equipped for to deal with any problems that might arise and handle them as they come. This is much more natural to him than planning for and expecting specific possible difficulties or outcomes. This is based in the SEE's "try it out, do your best, and hope for the best" outlook on things.

SEEs are generally cautious and mistrustful of new ideas and behavior styles that they have not seen, heard of, or experienced before. When people act in strange, unseen ways, they often don't know what the person's true intentions are and may suspect that the other person is trying to trick them or play a joke on them. SEEs need to see how other people react to the person and his new information, views, or behavior in order to make a proper assessment.

SEE can become very upset when people are late for unclear reasons and behave in other independent and unpredictable ways. This gives them the feeling of hanging in the air and general uncertainty about the future. Being action oriented people, this is difficult to bear.

Vulnerable Ti

The SEE hates when other people infer or remind him that he's not doing what he "should be doing." This is in complete opposite to his preference of following his whims and doing what he wants when he wants it, with as little structure as possible.

They have trouble focusing on systematic decision making, sometimes leading to occasional large mistakes (e.g. an unnecessary, expensive purchase) that was not thought through. Such mistakes lead to shame, guilt, and disappointment within the SEE, although he does not broadcast these sentiments to many. SEE doesn't like having to weight out pros and cons or make the "right" or "proper" decision.

In regards to unsubstantiated, theoretical knowledge, the SEE can either accept the unproven parts in good faith, or he'll completely reject it as foolish, unnecessary, and unimportant.

The SEE can be afraid to make discussion about fields heavy in systematic knowledge, doubting his ability to convey such thoughts in a clear, composed, and valued manner.

Super-Id

Suggestive Ni

Being as the SEE is more of a day-to-day, moment to moment type of person, they can suffer great difficulty regarding the long term consequences of their actions. People who they respect as having a firm grasp of the unfolding of events are considered very helpful to the SEE. When the SEE brings such a person into their fold, much trouble and wasted time and energy can be avoided due to such foresight, as opposed to the SEEs usual "try everything and see what works" method of solving problems.

Mobilizing Te

The SEE likes to constantly be doing things, but not if they don't apply to the long term perspective. If it is suggested that something needs to be done to make a situation better, the SEE can implement such suggestion with boundless faith, energy, and enthusiasm if the suggestion comes from a trusted source. Their dual, the ILI, provides much-needed nourishment in this area of knowledge as the ILI strives to make practical, logical understanding of an unfolding situation. SEE gladly considers suggestions or modifications to the methods he proposes to for achieving his goals, especially if such advice comes from a trusted source.

Ignoring Si

SEEs place little emphasis on this function despite having a strong sense of it. They prefer finding a state that is powerful or influential to one that is understated or nuanced. This often leads to an over-the-top attitude that can cause mutual disharmony because of their direct approach. They perceive this function but are unable to do much with regard to it and ignore it.

Knows exactly what is needed for an attractive, comforatable environment and is very good at evaluating this in present environments. If the SEE is "stuck" in a social environment he does not prefer, he can appear to enjoy it and get along with others well for a while, but he will soon become bored and feel a constant nagging in the back of his head to "get the f*** out of here!" In such a situation, he will look for the first excuse possible to exit the situation elegantly and preserve the good will of others towards him.

Demonstrative Fe

When amongst those he holds a superficial relationship with, the SEE is very adept at livening up the mood, energizing others, and getting people excited about something. It usually bores him to do so though, and he would not seek out the company of such people who require this kind of involvement on a regular basis.

There is a tendency for this type not to be phased by intense emotional situations. When others discuss "the horrible tragedy" of things, or lose control of their emotions, crying intensely and feeling sorry for themselves, the SEE realizes that these feelings are just temporary and inconsequential. During these brief periods where a friend is emotionally unstable and unable to take care of themselves, the SEE will tend to the real life aspect of things, keeping their feet on the ground and helping them with basic survival until this period passes.

After the function descriptions, we can add other interesting sections like "typical life problems of LSI and how to deal with them," "typical sentiments and life philosophy," etc.

Source: Wikisocion

#personality theory #personality types #typology #socionics #sociotypes #see #esfp

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breath-of-the-hobbies · 3 years

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A Return to Darkness Ch. 2

(Chapter 2 of the fan-fic idea I’m playing with. Zelda awakens underground and attempts to find a way out, and Link has a bad day. Chapter 1 here.)

The smell was the first thing to break through Zelda’s unconsciousness. Judging from the acidic yet musty reek and the burning sensation all over her body, she had a bed of malice to thank for cushioning her fall. The darkness was so complete that she had to blink furiously to even be sure that her eyes were open.

She took stock, fumbling at her hip until she found the Sheikah Slate. It lit a soft circle of light at her touch, but the screen fizzed and crackled, displaying only glitched swirls of color. Broken ribs, concussion, sprained knee, she estimated as she maneuvered dizzily to her feet and retrieved her sword from where it lay nearly engulfed in malice some feet away.

“Link?” She whispered, acutely aware of the monsters they had encountered in the past months and unwilling to alert them to her present vulnerability. She swung the slate’s light across the rubble-filled ground, but her companion was nowhere to be seen. Ganon’s corpse was also absent, presumably still lying in the cavern above her.

Recalling her last sight of Link sent a stab of pain through her chest to join the throb of her ribs. The image of his anguished eyes and furrowed brow as he put aside everything to lunge towards her was imprinted indelibly in her mind. Was he still up above? Had the malice— she forced her mind away before she could complete the fatalistic thought. She had watched Link die once already, and the idea of losing him again was enough to make her breath shorten into panicked gasps. Come on Zelda, you held your own against Ganon for one hundred years. You can crawl out of a damn cave. She retrieved and lit her torch, then limped around the perimeter of the hole, leaning heavily on her sword.

It didn’t take long before she was certain that the floor above had collapsed into a nearly exact copy of the one holding Ganon’s body. The geometric carvings on the walls were the same as what she had seen in the moments before everything went wrong, and a single exit led to a path descending away and down. With no clear way up into the abyssal darkness, and no ability to teleport thanks to the malfunctioning slate, she had no choice but to venture into the tunnel, unaware of the eyes observing her retreating form from the darkness beyond her torch’s light.

It was impossible to know exactly how long she spent wandering, but Zelda came to time her rests with the regular shaking of the earth around her. Despite her newfound mistrust of the tunnels’ structural integrity, the walls and ceiling held strong around her. She fell asleep each rumbling with the spirals of the wall etchings spinning behind her eyelids.

After one such rest, she awoke with a sudden revelation dredged from the free association of her dreams. It was a memory, something Impa’s grandmother had told them when they were children. She had spoken of an ancient civilization, the Zonai, that had disappeared mysteriously long ago, leaving only ruins and secrets. Link had already mentioned that the carvings appeared Zonai in origin, resembling places he had seen in his travels, but now Zelda remembered Gran’s words. “The Zonai were not simply to be feared for their fierce prowess in arms. They were also brilliant magicians with technical advances rivaling even our best Sheikah technology. Had they not disappeared, our world would be much changed from how it appears today.” Then Gran had pulled a carved stone out of her sleeve and shown it to the children. She ran her finger along its swirls in a series of swoops, and when she finished, the entire thing began to glow an eye-searing turquoise. The young and bright-eyed Zelda had oohed and aahed, but the rather more battered young woman in the present bared her teeth in a wolfish grin and heaved herself stiffly to her feet, sweeping the light from the sad remains of her torch across the patterns that had haunted her for months.

There! she spotted a central swirl, one that all the others in the area seemed to radiate from. It took a few tries to emulate the pattern she had seen over a century ago, and she began to question herself, her mind inevitably returning to familiar paths of self-doubt. When she was almost ready to give up, the spiral lit. With a flash and a smell of ozone, radiance spread outwards, spilling into every line of the carvings until Zelda was blinded.

The earth began to shake more strongly than ever, knocking her to the ground. She curled into a protective ball as chunks of wall and ceiling crumbled around her, her stomach lurching in equal parts fear and motion sickness. After what felt like an eternity, the world calmed. The bedraggled princess pushed herself to a seated position with a groan, blinking purple afterimages from her sight. The lit carvings had settled into a calmer glow, and because of this it took her a moment to realize that a pinprick of natural light now shone at the far end of the tunnel.

Heart leaping, paying no mind to her shrieking knee, Zelda set off at a run towards freedom, her excited thoughts jumbling with ideas of newly collapsed walls forming impromptu exits. She was so quick that only reflexive bracing of her feet and scraping of her hands on the tunnel walls were able to bring her to a gut-wrenching stop as dislodged stones ricocheted over the edge of an impossible precipice.

Wind whipped her hair as she stared in utter disbelief down, down to the familiar landscape of Hyrule far below. She was in the sky.

***

Link had eaten some pretty terrible food in the past year, but after a week of clumsily cleaned mushrooms boiled with rice, he almost preferred his more dubious gastronomical experiments. At least those had some zest to them.

Although his arm was slowly regaining strength, his dexterity was lagging far behind. Stringing a bow was still out of the question, and the one time he encountered a boar in the woods, he had been mown down in humiliating fashion before he could even swing his blade. The mushrooms and occasional carrot were a far less likely source of embarrassment.

The entire loss of his right arm would almost have been easier to cope with than his present state; the energy pouring into the ancient tech and the rot constantly trying to push onwards through his body made even the shortest climb, swim, or even run into an exhausting task. Swinging a blade with his left hand was one thing: getting knocked out after falling out of a tree was another.

Besides the draining tech and the gnawing corruption, there was a third issue with his arm that Link couldn’t quite piece together yet. He had absolute faith in Purah—despite her eccentricities—and when she told him that she had added the Stasis Rune to his arm, he had no reason to doubt her. However, when he activated the rune to halt the fleeing boar in a last-ditch attempt at meat for dinner, it failed to stop it at all. In fact, the animal actually began running backwards, nearly pummeling a dumbfounded Link a second time.

He wasn’t sure how Purah could have made such a glaring mistake, and he honestly couldn’t picture a time when making his opponent move backwards would help him do more than get a second to breathe. Once he had found Zelda, he would have to go back and ask the scientist about it. Full but not happy about it, Link rolled up in a horse blanket and fell into a fitful sleep.

He was awoken by an agonizing buzzing sensation in his right arm, as though it was being continuously electrocuted. The entire limb, from fingertip to shoulder, was shining turquoise like his own personal monster beacon. His horse whinnied and pranced in distress as Link shook his arm like a man possessed. If he hadn’t been so preoccupied, he would have noticed the ground vibrating beneath him, but by the time the glowing light and electric tingling subsided, everything was calm again.

Now thoroughly awake, the perplexed hero broke camp and led his mount back to the trail in the false dawn. It wasn’t much further to the edge of the Great Plateau, the only thing keeping Link from reaching it the night before being his newly abysmal stamina. But as he trudged up the last rise, he was sure he had gotten turned around in the half-light. Nothing looked right. The ground was churned up and littered with boulders the size of houses, and whole landmarks had shifted and changed.

The sun broke over the horizon as Link crested the hill. He was overlooking the very same vista he had first seen without comprehension or recognition after the healing sleep, yet the view could not have been more different. The plains and forests in front of Hyrule Castle were simply...gone. The ground was carved out as though miners had been hollowing the earth for centuries. After taking in this sight, ice water freezing his heart, Link’s eyes followed the progression of destruction to the foot of the castle itself. At first, the reappearance of malice clouds encircling the base obscured the truly bizarre unreality of the situation.

The entire castle was floating several hundred feet above the ground.

Slowly, unbelievingly, almost unwillingly as though fearing what he would see, Link lifted his gaze to the sky. Far above, higher even than Vah Medoh had flown, floated hulking islands of earth.

He sat down hard, gulping back the frustration that closed his throat. His princess was further out of reach than she had ever been.

#legend of zelda #breath of the wild #breath of the wild 2 #link #zelda #botw #botw2 fanfic #botw2 #botw fanfiction

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indiavolowetrust · 4 years

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Hello, how are you? I was just thinking on a short HC about summer in which MC went to the beach on a "weekend mini vacation" with Lucifer, Diavilo and Barbatos and their thoughts (individually) upon seeing her in a small and pretty bikini and later their reactions while she "oh so innocently" eats a devil crush super spicy mango popsicle looking at them with a sly smile 🏖🍦🤭 Thank youu 💕

Hi, love, thanks for sending in an ask! I mashed the thoughts of seeing her in a swimsuit and watching her eat a popsicle into one scene for ease of narration. These are divided into each perspective, with each one written in second person. I also took a bit of liberty with the writing.

I hope you like it!

LUCIFER

Humans are not ravishing creatures. Humans are neither entrancing nor enthralling. Humans are neither breathtaking nor -- nor stunning, for whatever damned reason there ever could be for one to appear as such. Humans do not have the ability to seduce a magnificent demon such as yourself in such a bewitching manner, to nearly bring you to your knees, or to bring all your thoughts to a screeching halt upon catching sight of her. Such a capability on her part should not be possible, much less thinkable, for humans are but simple, stupid beasts. For humans are nothing more but pawns between the Devildom and the Celestial Realm, and you are quite possibly the most magnificent demon that the Devildom has ever had the pleasure of witnessing.

Yet here she is, standing in direct contrast to those sentiments. Your eyes flicker to her once, and she smiles at you.

God, she is irritating.

The human begins to bound towards your place on the boardwalk, perhaps seeing your glance towards her as an invitation, and you do your best not to stare at the more indecent parts of her as she does so. Despite the frigid air of the Devildom, the human has decided upon wearing a rather miniscule bikini. It is yet another aspect of her that -- no, it does nothing but vex you. The human does nothing but try to incense you at every turn.

“Want one?” she offers, proffering what appears to be a popsicle in her hands. “The lady at the counter said she only had two more in stock, so I thought I’d grab one for you. If -- if you wanted it, that is.”

The popsicle in her hands begins to melt slightly. Your eyes most certainly do not trace the path the sticky juice makes against the curve of her breasts.

You shake your head. “No, but I appreciate the offer. I’m not one for sweets.”

She raises a brow. “Suit yourself then,” she says, regarding the two popsicles in her hands. A moment, and she pops one into her mouth. Her very soft, wonderful mouth. “I’ll see if Lord Diavolo wants it.”

The human turns on her heel, beginning to head back towards the small place you, Diavolo, and Barbatos have settled on the beach. You let out a small sigh of relief at that, despite your inability to ascertain exactly why. As strange as her human methods of communication are, you cannot help but find it --

Your body shifts before your eyes can even register the motion, and you twist yourself just so beneath her to prevent her from crashing into the boardwalk. A slight squeak of surprise, and you realize that she has dropped the two popsicles against her body. Another moment, and you realize the position that you two have placed yourselves in.

The sticky juice of the popsicle has stained her mouth just enough to give it the appearance of a flush there. Crushed parts of the treat trail down her barely clad form. Her hands are only slightly propped against you, giving you a rather inappropriate view. She smiles -- in a sly manner, perhaps -- and despite yourself, you find an uncharacteristic heat beginning to rise to your cheeks.

Irritating, you think to yourself. She is only irritating. Endearing shouldn’t be the word for this.

DIAVOLO

You peruse the options on the ice cream stand, humming slightly. While you know little of human confectionaries -- other than the wonderful treat that is a filled cigar cookie -- you are sure that the human would enjoy something more local. Something a bit more typical of the Devildom’s tastes. And so your eyes flicker to and fro on the menu before you, your decision stuck between a particularly spicy mango popsicle and a scoop of nightbloom ice cream.

“You don’t have to put that much thought into it,” says the human from beside you. “I’m not that picky. Either is fine.”

“Nonsense!” you respond. “Sharing culture through food is one of the best ways of doing it!”

You glance at her for a moment -- taking in the image of revealed skin, the bikini, the pursing of her mouth -- before looking away once more, attempting to preoccupy yourself with the decision. It is likely typical in human cultures to show so much skin, likely. A symptom of her culture. You have gathered at least that much from her lack of a reaction to her own image.

This choice of image, you decide, is not an attempt to seduce you. The future king of the Devildom, besides, should not be so weak as to such tactics to --

The human steps in front of you, leaning slightly over the counter. It is an excellent view. Enough to distract you from your very important cross-cultural mission of sharing tastes in confectionaries.

“Could we do the, um --” the human looks at the menu, double-checking the name, “-- the mango one? Two of those, please.”

The demoness shoots her a many-toothed smile. “Of course! Anything for my lord and his lady.”

You blink. “Oh, she isn’t --”

It’s a bit too late. The two popsicles that the demoness hands the human have been pierced with a small, heart-shaped toothpick -- a trend in the Devildom’s world of confectionaries, it seems -- and once again there is that knowing smile. You reflexively grin at her in turn, attempting to hide whatever embarrassment there may be in your demeanor. The brilliance of your expression, however, does nothing to dissuade her from teasing you further.

A dozen more needle-like teeth make themselves known. “Have fun on your date!”

You realize, minutes later, exactly why the demoness had chosen to stick the toothpick into the popsicle.

The human licks and sucks at the frozen treat, her tongue forced to wind its way around the obstruction in the popsicle. You cannot help but stare at her even as you begin to enjoy your own. It drips slightly down the curve of her lips as she does so, giving the skin there an especially glossy appearance. Accompanying the sound of her mouth with a salacious air. Forcing your thoughts to go somewhere else completely -- somewhere that is not decidedly anything to do with an innocent excursion on the beach. When she has just finished sucking away at the tip of the popsicle, her mouth now fully stained with the juice, she turns to you with a sly smile.

You realize that this human is attempting to seduce you.

Much to your embarrassment, it is very, very effective.

BARBATOS

It is certainly not the first time that you have seen such a display. A lifespan that spans nearly the length of two or three millennia has done well enough to dull your response. Outwardly, at least. You have seen an innumerable number of succubi and incubi alike, their writhing, naked bodies free of any imperfections. Demons and monsters of all sorts have approached both the old king and the prince of the Devildom many, many times, further lessening any reaction you might have. Plump demonesses who may have just as well have stepped out from a Renaissance painting, perfectly sculpted incubi who could stand as the perfect image of athleticism, elusive monsters with the ability to take on any and all appearances they might have thought attractive to the king -- you’ve seen it all.

Perhaps that is why something stirs in you now.

“Come on, you don’t have to be reserved all the time!” the human says, grinning. She partakes of a spicy mango popsicle, the remnants of which drip onto the bare skin of her sternum. Which is expected, given the rather immodest garment that she wears now. “I could’ve saved you one.”

“I am merely accompanying my lord. It would be inappropriate.”

She quirks her lips to one side. “I’m pretty sure he wouldn’t notice. And we aren’t even in the castle right now.”

“My professionalism extends to wherever my lord may be at the moment.”

The human frowns at that, clearly disappointed, but says nothing else on the matter. It is a welcome change from her incessant questioning and urging, one would think. A moment of peace and quiet. Yet you feel a pang of guilt for refusing her in such a manner.

As expected of a human, she is a rather messy eater. Her tongue draws itself slowly up and down the length of the popsicle, encouraging small portions of juice to flow down both her hand and the curve of a breast. It shines against the bare skin. Despite yourself, you cannot help but study her.

Her body is rife with imperfections. Stretchmarks line both her hips and thighs, with the most prominent ones positioned more outwards on her body. There is also the hint of cellulite flecked across her derriere. Fading scars from some childhood accident, you surmise, cross a shoulder, standing out from the otherwise unmarked skin around the area. Dimples make themselves known on her cheeks when she turns the popsicle this way and that, as she eats it with a rather strange method, and you can discern the slight unevenness on her features. Unlike the incubi and succubi that you have grown accustomed to over the centuries, this human bears none of that set perfection.

She smiles at you the moment she catches you staring, the barest hint of a more sly nature apparent in the expression. A painfully obvious attempt at seduction.

It is a completely unnecessary gesture. Her imperfection has long intoxicated you before she had ever thought of doing so.

#obey me #obey me!#obey me shall we date #obey me diavolo #obey me barbatos #obey me lucifer #obey me ask #ask #writing practice

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digitaldreams0801 · 4 years

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Bloom Profile

I'm doing an outlined rewrite of Winx Club, and I'm dumping that out here. I did a profile of Bloom (which I plan to do for all major characters), and here it is. I'm going into characters and then planets followed by plot. You can also find this on my Archive of Our Own as the Winx Club Rewrite Outline. Without further ado, let's go!

Name: Bloom Hope Peters/Pythia Celeste Clarion

Age: 16

Gender: Female (she/her)

Birthday: December 10

Sexuality: Pansexual Polyamorous

Magic: Dragon Fire

Astrological Sign: Dragon

Status: Royalty

Occupation: Student

Affiliation: Alfea College for Fairies, Royal Family of Domino

Planet of Origin: Domino

Hobbies: Drawing, painting, reading, daydreaming, roller skating

Family: Marion Alice Clarion (Mother), Oritel Zachariel Clarion (Father), Daphne Concordia Clarion (Sister), Vanessa Jane Peters (Adopted Mother), Mike Ian Peters (Adopted Father)

Position in Team: Leader

Pixie: Lockette, Pixie of Portals

Likes: Heat, art, learning about magical history, spending time with friends, bike riding

Dislikes: Cold weather, loud chewers, being treated as lesser than others, loneliness, perfectionism

Appearance: Bloom stands at 5’8” and has a rather slender build. She’s got some muscle on her arms, but not too much for it to stand out. Her skin is a healthy tannish color since she spends quite a bit of time outside. Her eyes are a bright cerulean blue, and her skin is practically covered with freckles. She has red hair falling down her back to her hips. Bloom has defined legs due to her habits of roller skating and bike riding, meaning her lower body strength is something to marvel at. She’s as tall as she is due to her heritage of Domino, since the planet tends to provide taller people. Her ears are slightly pointed as a result of both being from Domino and having the Dragon Fire. Bloom’s regular appearance was hidden behind magic by Daphne when she was sent to Earth, rounding off her ears until her magic fully awakened. She tends to wear blue, yellow, and pink clothing, and she’s fond of wearing her hair in a ponytail from time to time. She likes crop tops and wears them quite a bit. As for legwear, she prefers something that’s easy to move around in, meaning flowing skirts have always been something for her to avoid. Bloom likes boots and tennis shoes most as far as footwear is concerned, always wanting maximum maneuverability.

Personality: Bloom is a confident, self-assured young woman, though she tends to keep her confidence on the inside. She’s an optimist through and through, always wanting to see the best in a situation. She’s easily able to get along with others due to her open, sociable nature, though it’s rare for her to make a meaningful connection this way. Despite spending a lot of time being kind to people, she hasn’t made too many close friends due to her issues with opening up to people. Bloom struggles to properly articulate herself, and she doesn’t know how to get people to get closer to her because of this. When Bloom does get closer to somebody, she tends to attach herself to them. She trusts her close friends greatly and will do anything to make them happy. Despite her confidence, Bloom can break down after a long time of putting up a chipper facade. Even if she acts optimistic most of the time, excessive negativity can drag her down quickly. She does her best to bury such to keep from scaring others, which can lead to her breaking under the pressure in a messy, self-destructive way. She can get caught up in her anger when her friends are hurt, as after spending so much time as an outcast, she refuses to see those who she has slipped in with hurt. Overall, Bloom is a confident, analytical young woman who, at the time of the series starting, wants to make close friends but doesn’t know how to approach such. She can snap under pressure at times but wants the best for others at all times.

Background: Bloom was born sixteen years before the events of the series as Princess Pythia Celeste Clarion of Domino. She was the younger sister of Daphne and the daughter of Marion and Oritel. She possessed the Dragon Fire from birth as a result of her mother holding such a power. When Pythia was roughly six months old, Domino was invaded by the Ancestral Witches’ spirits. They were angry at being forced into a state between life and death during a previous battle with the Company of Light, and they decided to destroy Domino out of anger and a need for revenge. On top of this, they were tasked by Darkar to claim the Dragon Fire to hopefully open the door to Relix. The Ancestral Witches destroyed Domino utterly, linking the planet’s life with Obsidian, the world where they originated from and the home of dark energy. Domino itself was turned into a frosty wasteland while all its life was transported into Obsidian. Marion and Oritel were lost trying to seal away the Ancestral Witches, and while they succeeded, the Witches and Domino’s people were lost to Obsidian. The planet itself remained in the same location, but only the setting remained while the people were gone. In the midst of the destruction, Daphne was killed by the Ancestral Witches for getting in the way of their destruction of Domino. She was left trapped in the same state in between life and death of the Ancestors, who wanted her to suffer the way they had at the hands of her parents. Daphne retrieved a baby Pythia and sent her off to Earth, trying to leave her in the care of a magical creature there named Eldora. However, such failed, and Pythia wound up in the heart of a burning building. The Ancestors caught up to Daphne and forcefully removed her from Domino, sending her to Lake Roccaluce. Pythia was encased in magic by Daphne, who managed to reach out with her magic to protect her on Earth. When Mike arrived on the scene, he saw the young child crying in a sphere of energy and picked her up. He brought her out of the fire and asked around to see if any parents had lost their child. No lives were lost in the fire, meaning her parents dying wasn’t an option. After some heavy deliberation with his wife, Vanessa, the couple decided to adopt the young child, and they named her Bloom. Bloom grew up in a rather positive environment, having loving parents who did everything to keep her happy despite not having all the money in the world. She helped in her mother’s flower shop and grew to enjoy art throughout her childhood. Bloom especially grew to love fairies, drawing them often and being infatuated with fiction regarding them. Her obsession was quiet, but she spent much time daydreaming of what her life would be like if it changed that way. She didn’t ever have many close friends due to her being thought of as ‘the weird art kid’ despite how kind she was. She was planning on going to college as an art major with a minor in folklore and mythology. Bloom longed for more throughout her life, and she wound up finding it when Stella ran into her in the park on the first day of summer vacation.

Other: Bloom spent some time roller skating at the local rink growing up, making her rather talented in the sport. However, she never took up being on the team due to the clique-based nature of her town. She had a long-standing rivalry with Mitzi throughout her childhood after Bloom beat her in an art competition when they were in grade school. Mitzi kept this up and grew to enjoy tormenting Bloom for her minor loneliness over time despite Bloom not wanting to continue the rivalry for any reasons. Her getting on Mitzi’s bad side is one of the reasons nobody hangs out with her, as everybody in school follows Mitzi’s word nearly religiously.

Position in Team:

As the leader, Bloom is the one who keeps the Winx Club together. She’s responsible for rallying her companions to a cause, pulling them together for the upcoming battles. She glues the team together as the one who keeps others in check. Bloom tends to be the deciding voice on most choices, but she gives everyone the chance to speak at all times. Her optimism keeps the team together, and her outward displays of confidence makes it easy for others to follow her.

Dynamics:

Stella: Bloom and Stella are best friends, even if they’re radically different. Stella’s ability to be confident and optimistic even in the darkest of situations is like Bloom’s attitude, meaning they mesh well. Stella is more brutally honest than Bloom, but the latter is always up to constructive criticism. Stella’s confidence is much more persistent than Bloom’s, meaning Stella is always the person to go to when Bloom needs extra assurance. Stella’s honesty also helps with seeing things from a different perspective.

Flora: As roommates, Bloom and Flora get along well. Flora is a realist with a quiet nature who could use somebody to pull her out of her introverted shell, and Bloom is happy to be that person. Flora, in turn, is a shoulder for Bloom to cry on as the most compassionate and empathetic of the girls, meaning Bloom shares her insecurities with Flora often. In turn, Bloom offers Flora reassurance when she needs it most. The two rarely, if ever, get into arguments.

Musa: Musa and Bloom have a similar sense of humor, tending to be sarcastic as a way of masking their upset. They have a horrible habit of burying their feelings and can easily pick up on when others are unhappy, even if they don’t know what to do about it. When Bloom needs somebody to scream and punch something with, Musa is often the one who offers to help her, gladly offering a different perspective on the issues Bloom is facing. They enjoy talking about boys together, even if they know little about romance.

Tecna: Bloom has a habit of thinking with her feelings instead of logic, which is the complete opposite of Tecna. While Bloom hides her feelings, Tecna doesn’t know how to show them at all. Their occasional issues with communication make them similar. Bloom longs to reach out to Tecna and get closer with Tecna, but she doesn’t know how to do so. They’re polar opposites, but they still get along well and hold no ill will towards one another despite their differences.

Aisha: Aisha and Bloom’s issues with loneliness in the past can connect seamlessly. While Aisha’s human contact in general was limited, Bloom was around people but never got close to them. They’re able to connect over their pasts without companionship and happily assure one another that they’re secure and will have friends forever now that the Winx has been established. They’re both fond of sports as well, putting up a small competitive barrier between the two, though it’s all in good fun.

Roxy: Roxy looks up to Bloom as a mentor, and Bloom thinks of her as a little sister in return. They treat each other as siblings, protective over each other and always making sure the other is safe. Bloom can empathize with Roxy’s concerns over being a princess of a lost kingdom, causing the two to be incredibly close. Roxy’s self-doubt echoes Bloom’s in a way, making the two as similar as they are close. They get along well but tend to get too overprotective at times.

Daphne: Daphne is protective of Bloom and vice versa. They get along well and care greatly for each other despite spending years apart. Daphne hesitates to share information with her sister despite how close they are out of fear of Bloom getting hurt, though deep down Daphne knows Bloom is old enough to understand that bad things happen in the world. Daphne fondly speaks to Bloom and acts as a shoulder to cry on when Bloom doesn’t want to take problems up directly with the Winx.

Diaspro: Bloom and Diaspro had an admittedly rocky relationship when they first met. The truth behind Sky rattled them both, but they never got into a fight over it. Bloom and Diaspro helped each other to move past what happened with Sky to find happiness afterwards. Even if Diaspro gets snippy at times, Bloom can bring her back to her senses easily. Diaspro and Bloom spend a lot of time together ranting about the universe, though it usually ends with them laughing over some random thing or another.

Sky: Sky and Bloom fit together quickly after meeting due to their quiet confidence and issues with loneliness growing up. As a prince, Sky was surrounded by people who wanted to use him, leading him to have trust issues around most. Since Sky and Bloom got to know each other without pretenses of royalty, Sky knows that she would never betray him. Their faith in each other is unwavering, and they’ve got incredibly compatible personalities due to their pasts and ambiverted yet confident natures.

Brandon: Bloom admires Brandon’s confidence above all else. He’s constantly sure of himself, and she wishes that she could be like that. Despite her facade of confidence, Bloom struggles with self-doubt and bottles her emotions, wishing she could be more open with her feelings and confident in herself like Brandon. She trusts him greatly not only with Stella’s feelings, but as a member of the team as well. She also knows him as Sky’s best friend and trusts him as such as well.

Riven: Riven and Bloom have the rockiest relationship as far as the latter is concerned with the Specialists. Riven’s issues with being short-tempered and hotheaded clash with Bloom’s ideologies of kindness unless someone shows they do not deserve it. Riven tends to be snippy, and his comments upset Bloom and are the cause of a few of her breakdowns. When Riven improves and gets better for the most part, they reach a quiet, unspoken agreement of mutual respect.

Timmy: Timmy and Bloom share their love of history and talk about it often. Since Bloom grew up on Earth away from the magical universe, she has a lot to learn about the history of the Magic Dimension. Timmy is happy to teach her about such, finding it to be the most intriguing topic taught in schools. When Bloom has questions about cultural references, she instantly turns to Timmy to ask him about it. He responds with detailed answers, and Bloom eats up every word.

Helia: Bloom and Helia share their love of the arts. Helia and Bloom are both natural artists and share sketches with one another often. When Helia needs someone to bounce poetry ideas off, he often turns to Bloom, leading to a myriad of inside jokes between the two. He taught her how to make origami after a variety of meetings involving practicing other forms of art together. The two both care for Flora greatly as well and tend to conspire on how to make her happy with surprises.

Nabu: At first, Bloom is unsure as to if she should trust Nabu due to his secretive nature when they first meet. After seeing Nabu spend time with Aisha, Bloom grew to trust Nabu more, knowing that Aisha could make her own decisions and wouldn’t place her faith in someone she couldn’t completely trust. They don’t talk often, but when they do, an awkward Nabu is asking for help on how to woo Aisha. Bloom gives him as many tips as possible to see Aisha happier.

Faragonda: Faragonda acts as a mentor to Bloom who nurtures her magical growth at Alfea. Since Bloom doesn’t have magical parental figures to discuss her problems with, she turns to Faragonda often. Bloom visits the headmistress most out of the Winx, asking her for advice often. Faragonda feels obligated to care for Bloom after spending years feeling guilty over the loss of Oritel and Marion, though this obligation changes more into actual care after the two spend much time together.

Mirta: Mirta and Bloom both enjoy art, sketching specifically. Mirta tends to draw more abstract subjects and can relate to Bloom’s upbringing as an outcast from the rest of her peers. The two have made multiple agreements to fight each other’s bullies at various points in time, though these threats are never followed through on and are instead the source of many jokes between the two. Mirta and Bloom write jokingly edgy poetry together as well to laugh at them afterwards.

Marion: Bloom doesn’t know how to reach out to Marion. While Marion is her birth mother and someone she spent years searching for, Bloom doesn’t know how to approach her since she wasn’t raised by the Queen of Domino. Marion cares grealy for Bloom but knows that she needs her space, being quiet and passive in her moves to get closer to Bloom. The two make small steps to get to know one another better, but these steps still mean a lot to them both.

Oritel: Oritel is protective of both Bloom and Daphne, thinking of them as the best things to ever happen to him. Oritel doesn’t know how to show he cares for Bloom, instead watching her from a distance with the promise that he’ll always support her. Bloom wants to get closer to him but doesn’t know how since she didn’t have time to get to know him during her childhood. Oritel still does his best to help her work into Domino society, teaching her about the culture with a broad smile.

Mike: Mike is a protective father to Bloom, a result of the way they first met. After seeing Bloom in the fire, Mike grew to hate seeing her in pain, not wanting to repeat the suffering she seemed to be going through the night of the father. He tends to spoil her at times, and he treats her like a little girl at times though he has good intentions. Mike treats Bloom as his pride and joy, loving her above all others. His pride for his adopted daughter is immeasurable, and he trusts her fully.

Vanessa: Vanessa is a much more sensitive counterpart to Mike. She cares greatly for Bloom and wants to see her happy, being gentle and kind always. Bloom always goes to Vanessa first when she has issues with expressing her emotions, and Vanessa helps her the best she can. Vanessa is perceptive enough to realize when Bloom is upset and is often the one to get her to open up about her problems when she’s having a bad day. Vanessa is proud of her daughter’s work in the magical universe.

Lockette: Lockette and Bloom bonded so quickly for a reason. Lockette isn't too sure of herself, easily giving into her fears and anxieties, making her a lot like the version of Bloom the latter tries to hide. Lockette is working on talking out her issues with Bloom, lessening her issues with anxiety slowly. In turn, Lockette can sense when Bloom is upset, encouraging her more to talk about her regularly bottled emotions. The two also share their habit of making decisions emotionally.

#winx club #winx rewrite #winx #winx bloom #bloom #digital's winx rewrite

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semirahrose · 5 years

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I hear some people are accusing Sam and Cas of abusing Dean to get him to do what they wanted, what do you think about that?

My reaction: Utter befuddlement.

(gif credit: sebstans)

I haven’t seen the latest episodes, so I can’t go in and take a critical look at whatever supposedly “abusive” behaviors Sam and Cas are displaying, but I’m gonna guess—as has been the pattern for a long while now—that one or both of them vehemently expressed their disagreement with Dean’s plan, probably more than once. They were probably sad. They might have even *gasp* shown their emotions. (How very dare they) And Sam punched Dean. ** Not something I’m comfortable with, to be honest, but that’s personal and is neither here nor there.

Part of why I love Sam so much is this: as much as he can, to the very limits of his endurance, he tries to trust in people and respect their decisions. He is (despite his lack of faith in himself) slow to wrath—or at least outward expressions of wrath. He is calm, and he is faithful, sometimes even to his own detriment. (Sam has never been able to deal well with losing Dean, though. That’s a long established canon fact.)

But:

Not being able to pretend everything is all right is not abuse. Telling a person (even repeatedly, even convincingly) that you really don’t want them to do something is not abuse. People are allowed to have emotions and reactions that do not mesh with my own. Wanting something or even needing something and showing you need it is not abuse.

Being broken, unstable, or on uncertain footing is not abuse. Needing and seeking support is not abuse. Needing and seeking support even when the person you are seeking support from is, himself, broken and in need of support you are unable to provide is not abuse. It’s tragic, but it’s not, by any stretch of the imagination, abusive.

Hitting a person is not abuse. Here’s where it gets sticky. Hitting a person is violence. It is not a healthy response and should never be encouraged. But abuse, by its very definition, is more than violence. Abuse requires a pattern (whether of violence or of financial, emotional, and/or social control) that is enacted specifically to achieve a desired result: to put the abused person under the abuser’s control.

(Under a cut because this gets long and no one should have to deal with my disconnected rambling unless they wish to. Analysis below of whether Sam [and Cas, to the best of my limited knowledge and ability, since he’s unfortunately not part of my hyperfocus] meet the criteria. tl;dr they don’t)

So. A pattern. And an unequal dynamic.

A pattern?

Sam is very, very rarely violent when he is in control of his actions (i.e. not possessed or under the influence of a supernatural substance). The instances where he has initiated physical violence in all 14 seasons can be counted on one hand. It does not create any real sort of pattern.

I could talk for a long time about how Castiel’s occasional violence does not also constitute a pattern of abuse, but though I like him, I haven’t spent as much time poring over his scenes word for word and am not sure how clear it would be, and additionally, it’s a little questionable to expect a being who has been brainwashed and molded for thousands of years to be a perfect soldier to a) understand and b) act in accordance with human relationship dynamics without a lot of trial, error, and patient explanation (which he didn’t get with any consistency from the person whose ideals he clung to when he first appeared [Dean].) I lived abroad in a country whose customs and social expectations were a bit different from my own, and I had the opportunity to do extensive research in advance. I still had pretty intense culture shock and an adjustment period. There were some things I simply couldn’t fully wrap my mind around, and some things I disagreed with. And it was only some thousands of miles of land and ocean that separated us. Arguably, it can’t even be applied to Castiel in those first seasons. Asking him to relearn in days, weeks, or even years things that have been beaten into him over millennia is… ambitious, to say the least, and something that needs to be considered in any nuanced analysis.

Then the show humanized Cas. It made him make some well-intentioned mistakes while trying to seek a leader and do what he believed to be good for his family…the family he has grown up with, again, for millennia. The show took away his powers, his memories, his sanity. But it did not change his role. Castiel’s arcs over the season have specifically emphasized his discomfort and inexperience with being perceived as a leader. When he was unstable after having taken on Sam’s overflowing trauma from his broken hell wall, he was very much not in a position of power, and… if anyone was being abusive, it wasn’t Cas.

But perhaps people are talking about emotional/psychological abuse? Again, both Cas and Sam have expressed desires and tried to explain differing positions from Dean and have been under powerful supernatural influence (the Siren, demon blood, Leviathan, etc), and have made decisions on their own without seeking Dean’s permission—and, oops, that just highlighted our second criterion.

An unequal dynamic (specifically, abuser in a position of power).

Neither Sam nor Castiel is in a position of power over Dean. Only in season 11 did Sam and Dean’s dynamic start to level out a bit. The big struggle in early seasons, the one that literally carried us to the season 5 finale, was that Dean treated Sam as a kid/subordinate, not as an equal, and Sam felt he needed to seek permission to do anything. Actual quote from “Swan Song” (and I admire this development in Dean so much, even if the later seasons dismantled it):

DEAN: The whole “up with Satan” thing. I’m on board. SAM: You’re gonna let me say yes? DEAN: No. That’s the thing. It’s not on me to let you do anything. You’re a grown – well, overgrown – man. If this is what you want, I’ll back your play. SAM: That’s the last thing I thought you’d ever say. DEAN: Might be. I’m not gonna lie to you, though. It goes against every fiber I got. I mean, truth is… You know, watching out for you… it’s kinda been my job, you know? But more than that, it’s… it’s kinda who I am. You’re not a kid anymore, Sam, and I can’t keep treating you like one. Maybe I got to grow up a little, too. I don’t know if we got a snowball’s chance. But… But I do know that if anybody can do it… it’s you.

Some people will try to claim that Sam is in a position of power because he tried to go to college or because he can leave Dean and (somehow??) holds that over Dean’s head repeatedly (??????????), but if someone is in a position where, for even their own education or mental health, they’re not allowed to be apart from someone or even think about seeking something for themselves, that’s not abuse on the part of the person who seeks separation. And when Sam (young, so young), left for college, the only control he had was his own autonomy, his own two feet that brought him out that door. He was disowned for choosing to do what he needed for himself, after growing up in a family he had a hard time feeling a part of. That’s not abuse on Sam’s part. Maybe Dean did need Sam there beside him. But doing something for his own mental health and personal growth is not abuse by any stretch of the imagination. I call that courage.

The same goes for Castiel, especially considering that, despite his greater physical strength (when he was a fully-powered angel), he still tends mostly to act as if he is a subordinate or inferior, possibly from the millennia during which he was a soldier in a garrison: he was looking for a leader, a superior officer, even when he left. He found Dean.

“But what about when Sam and Cas do things behind Dean’s back??” Some people might ask. Again, I feel like (especially in the case of the Mark, where, due to its powerful influence, Dean was significantly altered and violent/controlling) if characters are so afraid to seek permission/understanding that they fear that they have to do something completely in secret… that just…. that’s not evidence that these people scurrying around in breathless terror are somehow the ones in a position of power?? Quite the opposite, I’d say. I mean, MoC!Dean literally said they weren’t a team; it was a dictatorship.

I’m sorry there are so few examples. Honestly, I could go on for hours and for pages and pages and pages, but I don’t have the time or the brainpower to make that post, so this is what I have. I’m sorry it’s not as complete as it could be or that it doesn’t include examples from s14, since I haven’t seen anything since pretty early in the season.

In short/tl;dr: Sam and Cas neither display a pattern of control nor find themselves consistently in a position of power over Dean. (And I cannot stress enough that Sam trying to seek his own path/seek education/do things for himself does not count as abuse and it disturbs me that people think it does.)

In fact, the opposite is most often the case: Dean is generally in the role of the leader. Recent seasons have begun to change that dynamic a bit, but neither Sam nor Cas have reversed the dynamic.

** Re: Sam punching Dean: I understand the circumstances and his reaction makes sense to me, but I’ll be honest: I’m personally uncomfortable with violence as a problem-solving method. So I don’t like that Sam did it, but I understand that both brothers grew up in an environment where less destructive/self-destructive methods were not consistently modeled for them. I understand that there are situations in which people might feel like words are useless and their only recourse is a physical response. I get pain and tragedy and desperation and terror and loss… but it doesn’t mean I’m any more comfortable with it.

#bittersamgirlclub #sam winchester #castiel #negativity for ts #my meta #my stuff #sam and abuse #sam and fandom #sam and family #dean winchester #moc!dean #sam and cas #anonymous #semirah replies

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bells-of-black-sunday · 5 years

Text

The seraphic fold master post

Updtaed as of: 6/16/2020

So, the old master post isn’t good at all it’s mostly just Luci, Az, Gabriel, Michael, and Mary facts as opposed to how the fold works and functions, the caste system, social dynamics, etc. I will also be providing and updated list of all the angels that I write that live there along with the date it was updated.

Quick introduction to angels as a species and the fold itself, angels and demons are the same thing, no fall mechanic required. With how the seraphic fold and Burning planes are two neighboring realms that nearly completely overlap, the Seraphic fold is more like a gated community that rejects the idea of being as “low and grimy” as their “savage” cousins. They’re the living embodiment of “you can’t sit with us”.

The burning planes was created and is written by my friend so I will not be making a post on it ehrwh

I. The caste system and social dynamics

The caste system is simple, but the class divides are quite literal with huge guarded walls and gates separating each area. Angelic society is separated into spheres with a ruling class above everyone else. It goes as follows:

The council

First sphere

Second Sphere

Third sphere

The council are the ruling class of angelic society, but they don’t have one ruler. The seraphic fold is infinitely spreading making room for those that are born or reincarnated within’ it’s pristine walls. Each member of the council governs a small portion of the fold making general laws vary quite greatly aside from the constants that were decided when the fold was first manifested, but for the most part the fold is governed by strict social expectations.

1. Murder is prohibited unless you’re challenging the throne, failure to comply will result in execution

and

2. The murder and assault of death angels will result in either permanent exile or execution

The council make their own laws as they see fit for their society, but despite there been quite literally billions of council members only a handful are well known and govern the most populated areas of the fold. Azrael, Michael, Mary, Gabriel, Raphael, Uriel, Sealtiel, Jehudiel, Barachiel, Samuel, and formerly Lucifer. Lucifer was and still is the most prominent council member in the folds history, he conquered nearly half of the fold before being exiled shortly after the storming of heaven.

His section of the fold was broken up and given to the members of his council that didn’t take his side during the event, but rulers aren’t elected nor are they born into power. The thrones are constantly being fought over by those looking to get ahead in the first sphere, those that rule have proven themselves as both powerful in battle and worthy of respect.

The first sphere is home to wealthy politicians, the royal guard, merchants, soul collectors, high class chefs, gladiators and the like. It’s high class society is the strictest out of any of the spheres as everyone’s looking for a way to get rid of competition. Political assassins and body guards are a huge portion of the jobs offered in the back alleys, not to mention the dark underbelly of the “servant” trade where many angels are kidnapped from the third sphere to be “house keeps” and “servants” for the upper class. The first sphere is so full of pride and prejudice to the point where if you’re any bit sympathetic towards those below you or interact below you, you will face harsh scrutiny and possible assault.

But it’s not all bad, the first class has the highest quality of living out of any of the spheres with running water, lighting, an abundance of food, etc. Not to mention the access to various delicacy’s made by soul collectors. Soul collectors are angels that collect the souls of the dead and turn them into fine alcohols, candies, tapestries, silks, cigars, weapons, and jewelry. Just like you’ll see in other sphere’s, there’s a wealth gradient. The further you get to the second sphere the poorer and worse the sphere becomes.

The second sphere is middle to low class, it carries over traits from the first and third sphere, but this is generally where you’re “peasant” jobs are. A lot of them are farmers or handy workers, but there are tailors and cooks here. Food shortages and poverty gets worse and worse as you get back towards the third sphere. These are generally average people who don’t have any extreme magical ability and their ability to collect and see souls isn’t the greatest. They’re just average people trying to make ends meet, it is possible to pull out of this sphere and into the first, but it takes a lot of time and effort, but it’s even easier to fall into the third.

The third sphere is where all those that are exiled and rejected by society end up. There is little possibility of pulling yourself out of here and generally laws don’t apply to those that society has forgotten and/or rejected leaving this section to be guarded by militias. Life in the third sphere is a lot more relaxed and free spirited ruled by rebellion and rejecting social standards despite the huge starvation problem, life has thrived here. But as time passes social unrest grows within’ this sphere making the sign of Lucifer and the removal of wings a sign of rebelling the society they’re oppressed and forgotten by.

Death angels are a huge part of angelic society, they’re angels that carry out Death’s will and thus are considered the highest of angel society and specially protected under Angelic law and thus are always either a part of the council or living within’ the first sphere.

Fashion is a huge part of angelic society it reveals wealth, social status, and job position, thus I will give a quick run down of it.

The council: Long silks, armor, tight fitting clothing all are common place. The face is usually covered by a mask or hood, wings have been enlarged to give an imposing silhouette. Intimidation is key here as many council members face opponents rather regularly. Black and gold is extremely common place within’ fashion here. Many council members adorn their horns in jewelry. Generally fashions rules are much looser here than most of the other spheres. The lack of wings is an extreme taboo along with the lack of horns.

The first sphere: Extremely extravagant clothing that often takes appearance over functionality. Masks are common place here along with long feather’s and more than one pair of wings placement varies to being framing the head, middle of the back, shoulder blades, etc. A lot of teal and gold is used in clothing within’ this sphere, the usage of black is reserved strictly for mourning. Jewelry is a must here to flaunt your wealth, wealth is often displayed and flaunted by how much gold and jewels a person wears as they’re quite expensive. The lack of wings is an extreme taboo along with lack of jewelry, clothing, silks, and masks.

The third sphere: The third sphere is often categorized by rebellion and rejecting the social standards of the fold. The removal of wings, horns, hooves, etc. in an effort to look more human is extremely common place, but they never look fully human. Any angels that still have their wings are social outcasts within’ this sphere as they desperately try to fit in with their peers, but they’re also more likely to leave the sphere. Clothing in the third sphere is extremely varied, others might wear only white, other’s black, or vibrant colors, but one thing that’s generally not used is gold. Very rarely is gold used and it’s usually stolen. Wings, anything that would flaunt wealth is an extreme taboo within’ this sphere.

II. Housing and general aesthetic of the fold

The fold consists of whites, teals, blacks and golds to contrast the bright red veins angels get when angered. Angelic housing is basically like ancient Greek houses, but made out of smooth white marble and extravagant details galore, you get up into mansions as you get into the more wealthy sphere. A lot more gold and black marble or carpet is used in these palaces while common housing tends to either get white marble, wood flooring, or straw. Wealthy people tend to be able to live alone, while as you get further down it’s not uncommon to see multiple families sharing one home or one area of land. Housing isn’t hard to come by, but since the fold is a series of floating islands, it tends to be compact, reaching upward instead of outward.

III. Links + misc facts

Extra links to more info:

Dimensional clusters

Why don’t angels want to look human?

Angel diet kinda

Angels as parents

Angel gentialia (nsfw)

How angels change their body

Gender and pronouns usage

High priests and Apollyon

Nomadic ground dwelling angels

Angels don’t refer to who they’re married to as their spouse, they call them their mate and polyamory is not at all uncommon especially in wealthier sections of the fold where you might want to pool your money together. Divorce also isn’t seen as taboo or uncommon

Angels do reproduce sexually, yes, but since angels can shape aspects of their appearance however they want, gender isn’t seen as anything that’s worth talking about, everyone can have children if they choose to so even what’s in your pants doesn’t matter

Societal pressure tends to keep angels having the same appearance in everything but the third sphere, lack of facial features aside from the occasional shown eyes, horns, hooves, claws, and tails.

Every angel is born with one set of wings, but while angels can choose to grow more, once they’re torn from their sockets the tissues too scarred to grown another pair leaving them permanently grounded.

Angels reach sexual maturity at one hundred years of age, but they have been known to leave home earlier than that.

Angels are immortal in the sense that they don’t die from old age, but disease, famine, etc. can all kill them

People do reincarnate in the fold and it’s basically a toss of the dice where they’ll end up when they do

IIII. Angel master list

aka angels I write on this blog or if people make angels and want to be added to the list I’ll add them and link their blog/whatever

last updated 6/16/2020

Abaddon

Azrael

Lucifer

Mary

Michael

Rose

Apollyon

Lilith

#ooc #the seraphic fold #long post

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typometrics · 5 years

Text

Socionics Type Portraits & Appearance (Delta)

Quadra 4: EII, LSE, SLI, IEE

Elimination of defects and bringing to perfection, mass realization of ready product, technology.

Judicious (Ne, Si) - World Accepting

Serious (Te, Fi) - Integrity Seeking

Aristocratic

EII (INFj, Fi-Ne)

EII-Fi Subtype - Adrien Brody & Carice Van Houten (Psychologist)

Polite, restrained, and impassive. Usually keeps some distance in communication, at times seems cold, firm, and unemotional. In the process of dialogue, however, this impression gradually dissipates as he begins to sympathize and shows his desire to help and assist. Serious, calm, and well-wishing person. Quite insightful but reserved and rarely shares his observations. Fastidious and tactful. Doesn't know how to joke, feels afraid of saying something in excess. During arguments prefers to leave silently without resorting to diplomacy. Very hardworking, meticulous, patient, and diligent. Intolerant of violence and injustice. Consistent and firm in his principles. Able to create comfort, decorates his home with hand-made items. Knows how to work with his hands. Pays attention to his health and appearance; in appearance is usually neat and prim. Rarely smiles. His gaze seems guarded. Dresses modestly but with taste, in presence of sufficient funds even in exquisite manner. His movements are smooth, yet constrained. His gait is quick and light, somewhat restrained, at times pattering. Sits straight and seldom gesticulates in conversation.

Unobtrusive, controlled, may be ascetic and strict towards himself and others when it comes to ethical principles. Not given to take initiative or display an interest in that which isn't connected to his interests, views, and convictions. At work is scrupulous and delayed. With him it is possible to have a talk, to pour out one's soul, to receive simple yet good and useful advice. May be spiritual or religious, or keep to some ethical system. Outward appearance - immersed info self, ascetic, tense inner life is visible in his outward look.

EII-Ne Subtype - Robert Pattinson & Cate Blanchett (Teacher)

Emotional, composed, and firm. Shows cordiality, goodwill, and friendliness toward people who are in his favor. Closing distance with a person tries to be somehow useful and of service. Likes to advise, to mentor, to educate others but only within his circle. Possesses figurative and imaginative thinking and creative abilities, can discuss various imagery, symbols, dreams. Sensitive, vulnerable, uncertain and erratic. Prone to taking offense despite his best attempts to hide this. Sometimes he likes to joke around in conversation. Tries not to say unpleasant things to people, but cannot always restrain himself and may burst out in disagreement or indignation, but comes to regret it later. Serious and fastidious, prefers to hold himself with some reserve and subtlety. Dresses simply, adhering to classical styles, often conservatively. His mimicry and gestures are weakly expressed. Speech is emotional and slightly inhibited; its tone is often didactic. Frequently has a disproportionate figure, often squat in physique and prone to corpulence. Gait may be a bit clumsy and waddling.

Feels people very well. Immediately feels who has similar views and opinions to his and who doesn't. Enjoys spending time in a small circle of like-minded people, discussing novelties in art and human sciences. Frequently appears somewhat unsure in himself and scattered. Gravitates towards social and humanitarian work, but can also work in service jobs. Realizes himself well in medicine and teaching. Able to reconcile those in a dispute and to mitigate intense situations. Creates a pleasant atmosphere in conversation and in his house. Dresses with taste, not seldom follows fashion.

LSE (ESTj, Te-Si)

LSE-Te Subtype - Robert De Niro & Radha Mitchell (Manager)

Impersonal, business-like, dry and correct in interaction. May look strict and unapproachable. Not inclined to make jokes, has a serious and constrained demeanor about him. Usually is not very talkative, but if his temper runs hot it's difficult to stop him. Direct and linear in behavior and conversation. Can be sharp and categorical in his judgments, due to which accumulates many problems of ethical nature. At another end of extreme, he may not say anything, but later build up grudges and hard feelings, and avoid interaction. Uncompromising and stubborn. Sometimes tries to predispose his conversation partner towards him by intimate tones in conversation. Does this if he himself is predisposed towards greater intimacy, or if he needs some kind of information or service. Mistrustful, secretive and suspicious. Dislikes talking about feelings. Prefers to engage himself in something useful, and to bring everything he undertakes to its completion. Constantly tense, finds it difficult to relax and discharge. He is predisposed towards sudden flashes of anger. Seems restrained in his movements.

A good worker. Does not tolerate incompetence. Well erudite in his area of work or study. Very operational, sometimes over-works and wears himself out. Considers that only in this case he can also demand more from others. Can be sharp in his judgments. Usually formulates the task very clearly and directly. In the sphere of production, he demands high quality and responsibility for the product, likes to admire what has been made, emphasizes the advantage of his goods. Realizes himself well in conditions of a stable market - in logistics, in the army. Tries to unite in his own hands the whole cycle of production. In clothing he is conservative, his priorities are cleanliness, order and functionality.

LSE-Si Subtype - Sylvester Stallone & Katharine Hepburn (Technologist)

Stability and high capacity for work. Usually energetic, he cannot sit without some task or activity, and waste his time in vain. Interested in new technologies within his field of occupation or study, knows how to adapt them to his needs. Impulsive, perseverant, and pushy, knows how to passionately persuade his partner. Demanding and strict, but sometimes gives in to persuasions. Has a sense of humor. His speech is gusty and emotional. Often, one can see a predisposing although a bit strained smile on his face. Sometimes he makes attempts to shorten the personal distance by welcoming, friendly gestures - hugs, pats, light touches of his conversation partner. Holds himself uninhibitedly, relaxed and at ease. Constructive and energetic in participating in a discussion, makes jokes. Gourmand and aesthete. Likes expensive, high quality, beautiful things and dishes. Knows how to remove strain, sitting at the table with his friends. But does not allow himself to remain inactive and at rest for long. Usually has somewhat round body shape, inclined towards corpulence. His movements are gusty, abrupt, fast and impulsive. He is quite restless.

The sensory subtype seems more relaxed, uninhibited, and flexible than the logical subtype. Usually sociable, emotional, and strives to make contact with other people. Hospitable, likes comfort, convenience, and coziness, leisure trips out to nature. Easily fulfills the roles of a technical director, manager, or distributor. Has a good sense for intermediate steps of development and production, trade and management.

SLI (ISTp, Si-Te)

SLI-Si Subtype - Chuck Norris & Annie Clark (Designer)

Composed and cordial, not demonstrative, obstinate and uncompromising in defending his views and interests. Supports his positions rationally by logic and facts, and not by thought-up or assumed accounts. Diligent, laborious, patient, persistent in his work and studies. If some project captures his interest, he will tirelessly try to improve his results, both intellectual and material. At times he needs a change of occupation, but will attempt to bring previous work to completion. From time to time he becomes contemplative, withdraws into himself, distances from his social circle, submerges into his own problems. Somewhat restricted in dialogue, may be brief and to the point, but tries to be cordial and good-natured if he feels tensions come up conversation. Prefers items that are original and of good quality, yet simple and unpretentious, enjoys handmade things. Aesthete, pays attention to his health, appearance, and figure, tries to dress tastefully. Has graciously lazy gestures, at the same time confident and precise movements. Gait is a little relaxed and springy. Doesn't like to hurry, but neither is he slow. Seems somewhat proud and haughty.

Aesthete, oriented at pleasant impressions. More easily comes into contact with other people and is more flexible than the logical subtype. More optimistic, but less disposed to performing work. Has developed refined tastes, a connoisseur and a sybarite. Gravitates towards humanitarian disciplines: literature, art, linguistics, history. Presents him/herself with pleasant aesthetics, choosing clothing and settings that emphasize his or her good looks, selecting for harmonious and complimentary tones.

SLI-Te Subtype - Hugh Grant & Jennifer Connelly (Rationalizer)

Impatient and active, loves frequent changes and new impressions. Industrious, hardworking, and very caring. His behavior is unpredictable and characterized by unexpected transitions from aloof contemplation to expedient activity. Keeps certain reserve and distance from other people, and at times can be overly direct, harsh, and inconsiderate in conversation. Very independent and proud, does as he wishes. In conversation he is prickly and ironic, but becomes friendly and shows consideration if he has sympathy and respect for his conversation partner. Noticing that he has offended someone, regrets it and softens his communication, tries to turn everything into a joke, or may even apologize and try to calm the person down. Behind his external seeming inaccessibility he is quite impressionable and vulnerable. Dislikes lack of comfort in all of its manifestations; thus strives to fix, adjust, and adapt everything for greatest convenience. Responsible, reliable, and punctual. Demanding towards himself and others. Holds himself with cold dignity, but at times he can be emotional. His gestures are impulsive, confident, resolute. Gait is quick and measured.”

“Outwardly seems business-oriented, somewhat severe, cold and unapproachable. A realist and skeptic, distrustful of novelty, and of those who advance ideas of declarative nature [slogans?]. Will always avoid working on useless projects due to pragmatic nature. Very dynamic and technologically effective. Can extract maximum benefits even from something that is seems useless. His products are always at the forefront and will stand up to any competition on the market. In clothing he is restrained, conservative, and prefers a sporty, technological style.

IEE (ENFp, Ne-Fi)

IEE-Ne Subtype - Keanu Reeves & Jennifer Love Hewitt (Adviser)

Torn away from reality, internally focused, and at the same time scattered. Inclined to unexpected contrasts in behavior: shyness and apathy are suddenly replaced by emotional elation, decisiveness, and activity, the melancholic look on his face changes to inspired and joyful. Thoughtful and impulsive, optimistic and suppressed, timid and energetic, he imparts very varied impressions on others. Internally inconsistent, vulnerable, easily offended, but hides his problems under a mask of being carefree. Tries to be friendly with everyone, strives to understand all people, to favor everyone with his smile. Attentive, soft and tactful, predisposing towards trust. Willingly delves into the problems of others, tries to find a way out of difficult position and to give useful advice. Defends his views emotionally. Can exert psychological pressure on his opposition. His movements are impulsive, not well coordinated, and somewhat angular. Gait is fast and a bit awkward. Chin is often pointed. Gaze is attentive, interrogative or surprised, penetrating and perceptive.

Very sociable, temperamental, mobile person. Initiator of many things, characterized by a lot of restlessness and changeability. Very creative person, but at times he is scattered and lacks discipline. Capable of pouring out his dissatisfaction on his superiors, does not take relations of subordination into account. Outwardly, frequently has full rounded forms. In clothing can be demonstrative, bright, even gaudy.

IEE-Fi Subtype - Matthew Fox & Carrie Fisher (Improviser)

Artistic, impatient, a little extravagant. Unpredictable in his actions and statements. Like to surprise or entertain people around him, and even insignificant events present as big sensations. Frequently becomes the soul of the company: he is self-assured, has a good sense of humor, independent, original, and very impulsive. Characterized by a kind of sincerity and spontaneity similar to a small child who doesn't hide his feelings. Can create familiar, homelike environment for communication even with unfamiliar to him people. Readily gives compliments, voices his admirations of people around him. Optimistic and amiable. Charming and coquettish, but too direct and rash in his statements and actions. This creates an impression of seeming availability or theatricality. At times assertive and pushy, periodically becomes focused. Looks directly at someone, attentively, not blinking. Movements are sharp and decisive. Gait is rapid and directed, assured, although somewhat angular. Often has a somewhat round face. Likes to dress originally, with taste, to impress others and to be liked by them.

Sees in other people hidden desires, inclination, and attachments. Prefers to work at a short psychological distance, unlike the intuitive subtype. Likes giving advice, gravitates towards psychoanalysis, in this case counting on manifestation of positive qualities in people. Can stand up for others, defend their interests, but finds it more difficult to stand up for himself. Outwardly is often somewhat thin and elegant. Prefers free sitting clothes and soft tones.

(source)

#socionics #typing others #typometrics #portraits

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thelastspeecher · 5 years

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I know you're in a spy au mood but the finale for Su s5 is still in my mind and I'm thinking: for a gem au who would be what and what would the McGucket family's jobs be. If they were gems?

Okay, so, what I come up with may conflict with SU canon. I know for a fact what I say about Angie being a Citrine conflicts with SU canon, but I honestly don’t care. I’ve literally got a degree in geology, I know my gems and minerals and rocks. I know them personally, and I know the McGuckets personally, so let’s do this.

(Oh, and if you wanna see a design for gem!Angie, @agent-jaselin already did that, with a gem!Stana to boot!)

Ma McGucket - Morganite (Pink Beryl)

Morganite is the pink variety of beryl; blue beryl is called aquamarine, and green beryl is called emerald. It’s uncommon, highly sought after, and definitely considered fancy. Which works pretty dang well for Sally McGucket, who grew up in high society. Also, that color suits Ma McGucket so well.

Role: She’s in Pink Diamond’s court as some sort of entertainer.

Pa McGucket - Plagioclase

Plagioclase is a variety of feldspar, the most common mineral in the Earth’s crust (it beats out quartz because unlike quartz, feldspar is found in mafic igneous rocks). Pa Guck is just an ole farmer boy from a farming and mining family. He’s nothing sparkly or fancy, so the gem version of him shouldn’t be, either. I chose plagioclase specifically because it’s the most plain looking of the feldspars. What a scandal, when a Morganite falls in love with such a low-level gem, barely one step above a Pearl.

Role: He’s a laborer.

Violynn - Tanzanite

It’s the blue mineral in the picture. There are a lot prettier pictures of tanzanite on the internet, but I liked this one because it shows the crystal habit and cleavage planes really well. Anyways, tanzanite is blue-violet variety zoisite, which belongs to the epidote group (any geologist worth their salt could tell that by this picture). Tanzanite is very rare, and very pretty, much like Violynn. It also displays very nice pleochroism - it changes colors depending upon which angle you’re looking at it. Works very well for Violynn, a person whose personality changes depending upon who you ask. Violynn’s parents think she’s wonderful, a real angel. Harper thinks of her as his rough-and-tumble big sister that he’s gotten into many scuffles with. And Angie can’t decide whether she admires Violynn or is jealous of her.

Role: She’s in Blue Diamond’s court. She’s a rare, color-changing gem, after all. The color changing coincides with her ability to predict, and on a small scale, alter the weather. She stands shoulder-to-shoulder with Sapphires.

Harper - Amazonite

I knew he had to be something greenish-blueish in color (…don’t ask me why, it was just a gut feeling). My first thought was “turquoise”, but nixed that for a couple reasons. First, amazonite is harder than turquoise, and while my boy Harper is a goof, he’s a toughie. Second, amazonite is basically just feldspar that’s all dressed up for a party. Feldspar is kinda unassuming on the surface, and it’s really easy to look at it and think to yourself “well, that’s just a rock”. But when you look closer at it, you can see things like exsolution lamellae, striations, or really nice cleavage surfaces. Perfect for Harper, the country boy who goes to Hollywood to become a big name in special effects.

Role: He fires laser guns in a spaceship. Or something like that. Feldspars tend to weather easily, so they wouldn’t be used as laborers, but given how common they are, they would likely be soldiers. Similar to Quartzes, but I see them operating in a soldier-exclusive role; I think Quartzes had pretty much general labor/soldier positions. His specific variety is rarer, so he’d probably have a more specialized role, hence the laser guns.

Basstian - Heliotrope (Bloodstone)

Heliotrope is actually green jasper (cryptocrystalline quartz) with hematite inclusions, so unlike the other things I use in this list, it is not a mineral. Wikipedia calls it a “mineral aggregate”. …Whatever. The point is, it’s got a lot of quartz, which is a notoriously tough mineral. Very fitting for stoic Basstian. The hematite inclusions, now, that would symbolize the fact that Basstian is mostly one thing (calm, stoic), but he’s got another side to him. He’s got thoughts and feelings, he just doesn’t broadcast them. They don’t seem to be as common as his outward appearance.

Role: He’s like, a military general. Quartz is a tough mineral, good for war and combat. The fact that bloodstone is a bit fancier than plain quartz, and has some hematite in it, too boot, would translate into a higher standing in gem society (since seems like more valuable gems have higher roles in the show).

Fiddleford - Zircon

I mean…the Zircons we saw on the show were clearly gem Fiddleford anyways. But some reasoning behind it would be that zircons are used for industrial purposes such as metal casting (perfect for an engineer making machines). They’re also used as a source of zirconium ore. Zirconium has a number of uses in high-level, very specific technological equipment (again, perfect for an engineer).

Role: In the show, zircons were lawyers, so I guess…a lawyer? But a lawyer that desperately wants to take the engineering role of a Peridot.

Lute - Halite

Ah, halite. Easily the best mineral to lick. Why? Because it’s salt. And honestly, that’s the entire reason behind Lute being Halite. It’s salty and he’s salty. Case closed. Also, the cleavage halite displays (cubic; three directions at 90 degrees) just screams Lute to me. Like the color of amazonite suiting Harper, don’t ask me why it works. Just trust me on it.

Role: Halite fluoresces (essentially, glows when exposed to the right wavelength; fluorescence is used frequently in medicine) and is transparent (you can see completely through it). So I’m gonna go with him being the equivalent of an x-ray technician but for gems. He can see into their gems when they are broken and figure out what exactly is wrong and how to fix it. Fits pretty well with his human career of physical therapist.

Angie - Citrine

Honestly, citrine just plain looks like Angie. It’s her hair color. But also, it’s a rare variety of quartz. Quartz, as a mineral, is common as hell. The specific chemical cocktail it takes to turn citrine that pretty golden color is not. Angie doesn’t think that much of herself; being the youngest of six will do that to you. She thinks of herself as just a country girl; one of a million just like her. Citrine’s just quartz; one of a million crystals with the same chemical composition (SiO2). Angie and citrine both may seem to be common, not noteworthy. But take the time to look closer, and you see a gem.

Role: She stands around in White Diamond’s court and looks pretty. Quartzes are supposed to be laborers, but her rarity means she gets put up on a pedestal, shown off to the real aristocratic gems. Basically, she’s a token quartz. But she still sneaks off to explore and have adventures whenever she can.

#this took me a v v long time to write it all out #but here you go. gem Gucks.#McGucket Family #Gem AU #ask #nour386

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alwrath · 6 years

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Fullmetal Alchemist 2003: Homunculus MBTI Types

Spent some long hours matching the ‘03 Homonculi to respective MBTI types, with the help of @afgunst.

I’ll be comparing tendencies of MBTI types to their personalities’ revealed throughout the 2003 canon!

Spoiler warning if you haven’t finished the series!

Greed: ESTP

Greed fits stereotype of the risk-taking, fun-loving ESTP to a T. He’s a natural leader who lives in-the-moment, challenges conventions, and seeks life’s pleasures. A type known to be adept at influencing others, people to be naturally drawn to his rebellious spirit.

In the series, Greed is presented to us as the homonculus who dared to defy Dante. While escaping from Lab 5, he forms a band of outcasts who naturally come to respect him.

However Greed tends to look before he leaps, landing him and his followers in a dire situation. But he’s adept at thinking on-his-feet – even using his final defeat to encourage Ed to complete the mission that Greed himself couldn’t.

Pride: ENFJ

In his career, Bradley (Pride) exudes natural insight, compassion, and authenticity. ENFJs are natural communicators who are adept at creating comfortable connections with others.

Despite being a leader of a violent military state, he regularly jokes with those below him and attempts to place himself on a personable level. Havoc recounts that the work environment created by Bradley was so harmonious that it led soldiers to forget that they were part of an aggressive military force.

ENFJs are known to be more reserved than most extroverts, often coming off as a bit distant or inaccessible. Due to this, their true intentions often come into question. Bradley’s story in the last ten episodes places this common suspicion at the heart of the series’ plot. What true feelings could he be hiding behind his demeanor?

Wrath: ISFP

Being in near-constant existential crisis during his screentime, Wrath has been typed by his qualities under stress and may not resemble a “healthy” ISFP.

As an ISFP, Wrath lives primarily in a world of his personal emotions and values. He is motivated by what he feels is true and important. Once regaining his memories, he seeks revenge on Izumi and the Elrics after deeming their use of alchemy selfish. He is consistently seen taking action according directly to his emotional stance on principals, most of these instances being turning-points in his character development.

Wrath is also highly attuned to the immediate, sensory world. With both his ability and way of fighting, he incorporates his environment on a whim to his advantage. Even before regaining his memories and powers, he was an astute observer who mimicked the behavior of the Elrics on Yock Island.

A mix of his strong principals and immediacy of action can lead him to appear contradictory. He wants to use the philosophers stone to bring back Sloth — who he inadvertently killed due to his gut-reactions — and obstructs his own team in the final battle, due to a change of values.

In the epilogue of the series and in the film he is seen alone, “going-with-the-flow”. It seems that outside of his emotional outbursts, he is a quiet person who keeps his thoughts to himself. His seemingly conflicting traits of passionate emotion, awareness of the moment, and flexible attitude align with those of an ISFP.

Sloth: ISFJ (ISTJ wannabe)

Sloth was a difficult character to type, due to (possible?) character shift at the end of her story. In this analysis, we chose that interpret that shift as a reveal of her honest feelings.

Throughout the series, Sloth put on the pragmatic and reserved demeanor known to be common in the ISTJ. Dedicated to her work, she approached all problems in a logical, no-nonsense manor, rarely engaging with the antics of the other homonculi.

But moments before her death she reveals to the Elrics’ that the pain of having the memories of their mother caused her to actively suppress any urges of warmth. This internalization and suppression of emotions is a common weakness among ISFJs.

Like the ISTJ, ISFJs are also known to be pragmatic and reserved, but are most often defined by their unique talent as “guardians”. They direct their detail-oriented and logical talents to the care and safekeeping of others. Though their connections with others form a core of their motivation, they are often quiet, humble, and are slow to open up about themselves.

Through managing the homonculi, her patience and sense of responsibility for others often leaks through. And despite trying fight against this part of her identity, she made the choice to take on the difficult role of Wrath’s mother. It is their closeness that ultimately leads to her demise.

Envy: ESFP

Envy is essentially the theatrical, fun-loving ESFP gone horribly wrong (or having lived for 400+ years with an abusive mother and a deep grudge.)

ESFPs are known for their showmanship and are drawn to excitement. Envy seems to be the most theatrical of the homonculi, turning his battles into performances. He uses his transformation abilities to shock, traumatize, and “wow” those he faces. They are drawn to experiences from which they can derive immediate satisfaction from, and often complain about boring tasks.

ESFPs are also known to place a particularly high importance on aesthetic, which may account for Envy preferring to take on a unique “cute” form in his everyday life.

They are also known to be a highly sensitive and emotionally tumultuous type if hurt. Envy’s deep-seated feelings of rejection after abandonment by his father fuel a 400-year grudge that fuels his revenge narrative.

Lust: INTP

Lust is interesting in being a character that is presented as highly feminine, but correlates strongly with an MBTI type that is rarely associated with female characters.

INTPs are highly intuitive types who live primarily in their own worlds of logic. When we see her in the first half of the series, Lust displays common INTP outward traits of straightforwardness and detachment. She completes her tasks fully and with ease — also consistent with the type’s avoidance of failure.

Once we learn more about her, it becomes apparent that (despite being unable to use it) she has an impressively deep knowledge of alchemy. She is the most open in teaching and discussing it, showing her preference for the theoretical.

Due to their ability to spot discrepancies in patterns, they can be highly suspicious of others and appear stand-offish. They dislike rule and authority, especially if doesn’t appear logically sound. Consistent with this, Lust is the first of the current homonculi to rebel against Dante, rightly suspicious of her motives.

INTPs have been known to go to lengths to avoid deep emotional engagement. As the series progresses, we see her actively averting any opportunity for close connection — especially if it is reminiscent of her past.

Gluttony: ISFJ

Due to being seemingly developmentally delayed, it was not possible to accurately type Gluttony. However we approximated by reading up on the types’ behaviors as children. ISFJ children are known to be quiet and polite, with a high regard for doing “the right thing.” Outside of his final form, he is relatively quiet and low-key. Although Gluttony has an endless hunger, he rarely eats someone without asking for permission. In his singular attachment to Lust, he holds her to a high regard and respects her decisions.

For the MBTI nerds out there: these were typed using functions, but I used more general descriptions to make this accessible to multiple levels of MBTI knowledge. If you’re interested more in-depth, function-based analysis of any of these characters, please let me know!

#fma 2003 #fullmetal alchemist 2003 #homonculus #mbti #fullmetal alchemist #greed #envy #wrath #lust #sloth #pride #myers-briggs #fma #some are longer than others due to my knowledge of the chracter and the type #king bradley #homonculi #lol i dont know what to tag this

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dailyenricopucci · 6 years

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Gee Pucci, Three 「Stands」?

Everyone knows Pucci has three Stands. It’s practically a meme at this point. But the problem is, with so many Stands, all three of whom throw the ‘one ability per Stand’ rule off a damn cliff, it can be hard to keep track of what they can all do. So I’m here to help with that.

Strap yourselves in, it’s gonna be a long one.

Info under the cut~

WHITESNAKE:

Destructive Power: ? Speed: D Range: ? Durability: A Precision: ? Development Potential: ?

Whitesnake, Pucci’s original Stand, was used by Pucci to peruse parts of GDSt Jail that he couldn’t access, finding and manipulating Stand users or eliminating ones he has no use for and stealing their Stands away just in case.

Strength: Whitesnake is no slouch when it comes to physical combat. Although his punching speed can’t reach the levels of Star Platinum, Whitesnake can still move much faster than a human, and punch much harder as well. An open-handed strike can easily chop through a human leg, as found out the hard way by Weather Report, and Whitesnake can also spear a human (Annasui) through the chest and still be strong enough to lift them off their feet. During his fight with Foo Fighters, Whitesnake was shown to tear his way through the engine compartment of a truck, presumably through the engine as well, another testament to his physical power.

Range: Pucci states in the Heavy Rainfall Warning arc that Whitesnake’s maximum range is 20 metres or so, and his strength only increases the closer he gets to Pucci.

Independence & Intelligence: One of Whitesnake’s quirks is that he is, in fact, fully sentient and possesses a consciousness completely separate from Pucci’s. He is cold and sinister when calm, but unlike Pucci, is very quick to explosive bursts of anger, particularly when things don’t go his way. His independence means he can do jobs for Pucci on his own volition, without Pucci having to supervise him. However, such independence has its risks, as Whitesnake will sometimes hesitate while thinking over Pucci’s orders (like being ordered to eliminate a certain adorable plankton gal). He also exhibits technical knowledge, such as skilled close combat techniques, critical thinking, and proper use of a handgun.

Discs: Whitesnake’s most notorious ability is his creation of Discs. At first glance they appear the same as a normal CD disc, but closer inspection reveals that they are completely indestructible. Bend ‘em, drop ‘em, shoot ‘em with a gun, the only way to destroy one of Pucci’s discs is to put them into a host and have the host die with the disc inside. What the Discs actually do varies depending on what kind of disc is used. Most often shown is Whitesnake compacting the memories and Stand (the soul) of a person into Discs and stealing them; the Discs can then be inserted into other people, granting them access to the memories or Stand contained by the Disc (although Stands can reject incompatible hosts, like Star Platinum rejecting Jolyne). The now Disc-less person will fall into a comatose state, during which their bodily processes will shut down and their bodies will begin to decay. Restoration of the Discs is the only cure; restoring only the Stand will leave the person alive, but lacking in any memories whatsoever, even basic functions, and restoring only the memories will still leave the individual soulless and dying. Whitesnake has also been shown to be capable of creating discs from his own body with orders imprinted into them; inserting these discs into a host, such as a prison guard or a bird, will force them to carry out those orders no matter what. Pucci has also been shown to remove his eyesight as discs, which leaves the question of whether he can remove more bodily functions, or do it to other people.

Illusion Mist: Whitesnake is capable of generating, through unknown means, a misty gas of some sort. The gas induces stupor and unconsciousness in those it envelops, making them experience vivid dreams to prevent them from realising they’ve even fallen asleep. While the victim dreams, the mist will slowly collect on their bodies and congeal into a white goo with powerful acidic properties, slowly dissolving the victims like stomach acid, just like a snake as it swallows prey. During this time, Whitesnake is free to snatch the victim’s Discs and leave them to die, a gruesome fate that took Emporio Alnino’s mother, as well as others before her. The mist can also be used to create illusions outside of dreams, as seen when FF tricked Whitesnake by making attack his own reflection in the mist, or Whitesnake wrapping the mist around himself and disguising himself as Weather Report.

Mind Control: Only seen once, Whitesnake is capable of ramming his fingers through the skull of a victim (in this case, Annasui) and taking control of their mind. In this state, the victim’s free will is eradicated, forcing them to do whatever Pucci tells them to do so long as Whitesnake’s fingers stay jammed in their brain.

---

C-MOON:

Destructive Power: Zero Speed: B Range: B Durability: ? Precision: ? Development Potential: ?

C-Moon is the next step in Whitesnake’s Pokemon evolution. Created by Whitesnake fusing the biological matter of the Green Baby and the fragment of Dio’s The World contained within into his body, C-Moon is undoubtedly a very dangerous Stand.

Strength: Don’t let Araki’s stats and Annasui’s comments fool you: C-Moon is immensely strong.With the already formidable strength of Whitesnake supplemented by The World’s power, C-Moon’s power leaves little room for mistakes when fighting him. His strength doesn’t seem to diminish as he moves away from Pucci, as C-Moon, while at least 50 metres away from Pucci, is shown to hit Jolyne and her Stand so hard the impact crumpled the ticket booth wall underneath her. Later, C-Moon punches both of Jolyne’s arms so hard they bend at very, very unhealthy angles, and before that, a classic Muda Muda from C-Moon demolishes a steel support column like tissue paper. Jolyne is pretty lucky she dodged most of C-Moon’s hits during their 1v1, because the fight would’ve been over much quicker if she hadn’t. And just in case you were wondering, C-Moon’s surface inversion takes a few moments to take effect, so all the damage listed here was purely a result of C-Moon’s raw strength. His Destructive Power is listed as ‘Zero’ or ‘None’, but that doesn’t indicate a lack of strength: it could be that C-Moon’s Destructive Power is so high that it lacks an appropriate rating altogether.

Independence: Although he doesn’t express his emotions as much as he used to, C-Moon is still capable of thinking and acting separately from Pucci. During his fight with Jolyne, C-Moon demonstrates critical thinking, using his environment and his powers to his advantage, and displays some pretty sweet MMA fighting skills. He also talks a few times, if only to inform Jolyne he’s going to kill her, and to tell Annasui to fuck off, essentially.

Range: C-Moon seems to have a range greatly exceeding that of his previous form, being at least 50 metres away from Pucci at one stage. His gravity field also extends roughly 3 kilometres.

Physical Body: Easily C-Moon’s most bizarre trait is his seemingly organic form. Jolyne is capable of hitting him by herself, without using her Stand, which shouldn’t be possible; C-Moon is also shown to bleed from injuries sustained, and said injuries don’t pass on to Pucci. Additionally, C-Moon is almost never shown levitating, as most Stands do, and he is never summoned partially; his body is always whole when manifesting, unlike some Stands who can appear as just an arm or the upper body. Given that he evolved when Pucci absorbed the Green Bay, and the fact that all that organic tissue had to go somewhere, it may well be that C-Moon is one of the only Stands with a fully tangible organic body.

Gravity Inversion Field: With Pucci as the centre, C-Moon can invert gravity in all directions away from Pucci, essentially forcing everything to fll away from him. The field has a radius of roughly 3km, extending outwards, so anything that attempting to enter the field will find itself pushing back out until they leave the field.

Gravity Manipulation: C-Moon has also shown the ability to redirect gravity at will, at least within a short distance of himself. The strength and direction of this seems to be under C-Moon’s control, as he used gravity to slam Jolyne’s arm down, crumpling the ticket booth under her (this is after the aforementioned hit, see the Strength section), and when he flung concrete tiles at Annasui at high speed by flinging them via gravity manipulation. The extent of this ability is unknown, but as long as he keeps using it to beat up Annasui, it’s fine by me.

Surface Inversion: C-Moon’s most infamous ability is Surface Inversion. The lightest touch from C-Moon’s hands can cause an object to have its gravitational centre invert itself, causing said object to quickly and violently turn inside out. This usually causes catastrophic structural damage to the object in question, like a ticket booth or Jolyne’s fingers. The effect can be reversed by C-Moon touching it again, but the damage done will remain. The power can be used strategically, as seen with C-Moon using it to change the terrain to destabilise his opponent and put himself in a better position. However, Surface Inversion really shines as an offensive power; the slightest graze from one of C-Moon’s punches turned Jolyne Kujo’s fingers inside out, crippling her hand, and a full force open-handed stab to her chest resulted in her heart turning inside out, reversing her blood flow and cutting off the oxygen to her brain (as if the massive blood loss and shock wasn’t enough). Even if he wasn’t so physically strong, C-Moon is an extremely dangerous Stand to go toe-to-toe with.

Time Acceleration: In the Jailbreak arc, we see Pucci, sick and in pain, as his Stand struggles to cope with the changes it’s undergoing. He states that it is no longer Whitesnake, indicating that this was when the transition to C-Moon was starting, and that it was no longer under his control. During this time, Pucci briefly touches a woman while helping her with her groceries; the thumb of his Stand, with the same blackstripe/GACT markings as C-Moon, appears and activates its power. The woman’s watch starts to spin at blinding speeds, and her fingernails grow dramatically in less than a second; the eggs she was holding all hatch into chicks, and worst of all, the whole left half of her baby son’s body is instantly accelerated into a full-grown adult man. This was just a precursor to Made in Heaven’s power, but since it accelerates objects on contact, and at such a massive rate, this ‘weaker’ version may be even worse... especially since it’s out of Pucci’s control.

Time Stop(?): It’s important to remember that Whitesnake absorbed a fragment of The World’s power when he evolved into C-Moon. This affected more than just his powers and his appearance; after being exposed to Jotaro’s time stop just twice, Pucci was noted to be able to move his eyes and look around in the stopped time, allowing him to make note of and -mostly- avoid the spear Jotaro threw at him. Considering that this development mimics Jotaro’s own development of time stopping during his fight with DIO, there is a very real possibility that C-Moon, given time and enough exposure to the stopped time, could have developed The World’s ability to stop time himself. As if he wasn’t OP enough already, right?

---

MADE IN HEAVEN:

Destructive Power: B Speed: Infinite Range: C Durability: A Precision: C Development Potential: A

The final stage in Whitesnake’s evolution and the final step in DIO’s master plan, Made in Heaven is, simply put, one of the most powerful Stands in existence.

Strength: Made in Heaven’s strength is still as impressive as his previous two forms, capable of bending back a palm tree with his bare hands (anyone who has tried to bend a palm tree will know this isn’t easy). His speed, combined with his strength, lends his blows a cleanliness not present in his previous forms; where Whitesnake’s strikes would roughly chop off a limb, Made in Heaven can slice through flesh and bone like a scalpel, as seen with Ermes Costello’s arms, or Jotaro Kujo’s entire head. His strength is also enough for him to be able to stab Annasui through the chest... with another Stand’s hand. He also seems to be able to lift Pucci, not unlike The World and Star Platinum did for their users in Cairo, allowing Pucci to move through the air; it’s possible, however, that Made in Heaven just threw him instead.

Range: Made in Heaven’s physical range is severely reduced, never being seen to leave Pucci’s side. However, the range of his time acceleration affects the entire universe, which is pretty impressive.

Independence(?): Made in Heaven never speaks, and is almost never seen without a calm, almost serene expression on his face, so we have little proof of him having the same sentience he had in his previous forms. However, he does exhibit frustration and anger at times, and he busts out a mean slasher smile when murdering Jolyne Kujo, so it’s up for debate really.

Time Acceleration: A vastly more powerful version of the ability possessed by C-Moon, Made in Heaven can manipulate gravity on a universal scale to speed up time exponentially. The rate at which time speeds up increases over time; early on, an hour is observed to pass in roughly two minutes, and by the time the acceleration is nearing its peak, clothes dissolve to tatters in seconds and rocks can be seen eroding in the water. Any living thing possessing a body block is unaffected by the time acceleration; bacteria and microorganisms carry on at lightning speed, but humans and animals will be left behind to behave at normal speeds. The acceleration can even affect Stand abilities, as noted by Jotaro, whose time stop was reduced in length by Pucci’s power. Speaking of Pucci, he is the exception that proves the rule; he himself is affected by the acceleration, zooming around at blinding speed. Although he isn’t technically moving faster (he’s moving at his normal speed, just over a shorter time frame), the fact that everyone else is left behind means that Pucci may as well be moving at super speed, making him almost impossible to fight.

Universal Overwrite: The concept that time has an ‘end point’ is one of the driving concepts behind Made in Heaven. The ‘end point’ in question is the point in time where time ends, loops around and starts all over again, exactly the same as the first. Made in Heaven’s acceleration hastens the cycle and brings about the reset of the universe in a matter of minutes, creating what we can call the ‘Pucciverse’. However, this overwrite functions a little like overwriting a file on a computer; once the loading bar fills up (time reaching the point where Pucci initially began accelerating), the old file is completely overwritten and can’t be retrieved, but if the loading bar is interrupted (Pucci dying before the loop completes), the old file will be restored (the old universe returning). This is the universe we see at the end of Part 6; the original universe is still here, and Parts 1-5 still happened, but something changed so that Part 6 never did, and the main cast lived different lives with different names. Why this happened isn’t clear.

Soul Memorisation: Although living things aren’t affected by the acceleration, their souls are; as time speeds up, their souls will memorise everything that should have happened to them in their lifetime. Then, once the timeline loops around and starts again, all humans will have memorised, in their souls, every single event that can occur in their lifetime. This grants them a weird ‘future sense’ like a really powerful feeling of deja vu. The principle behind this is Pucci’s philosophy of ‘peace of mind’, the idea that if humans always knew what was going to happen to them, good or bad, they would have time to come to terms with it and be at peace. This is Pucci’s idea of Heaven: a world where mankind can know its own fate and be at peace with itself. If one should die during or before the acceleration, that’s fine; their souls will still carry across into the Pucciverse, but they’re now locked into their fate. The only person exempt from this rule is Pucci, who can move and manipulate people’s fates as he pleases. Additionally, if someone is killed directly by Made in Heaven, their soul will be left behind, and their role in the time stream will be filled by a similar, but fundamentally different individual, as seen by the strange Not-Jolyne and Not-Jotaro Emporio found in GDSt. Should Pucci be killed and the Pucciverse collapse, however, those souls will be restored along with the original universe, albeit with different names and lives.

And that’s the end, folks! Hope you enjoyed it, because it took me nearly three hours to get this all typed out! If any of you learned something from this, I can consider my job done. Have a good one!

#jjba #stone ocean #enrico pucci #whitesnake (jojo)#c-moon (jojo)#made in heaven (jojo)#long post #very long post holy shit

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iwaywardcreatorstudentblr · 3 years

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Task 1 - 2D Animation Characters and What Makes Them Believable

For a 2D video game character I am going to analyse Ori from Ori and the Will of the Wisps. This character is actually a 3D model but the developers wanted to “trick” the players to think this character was actually 2D, which they did splendidly as I was unaware until I started researching Ori. What is interesting about this character is that even though he does not say anything he is an extremely expressive character; this is largely due to how he is animated. For example, Ori is always in a state of motion, when he is just ‘standing’ he is always swaying back and forth, this not only conveys that he is an energetic character but that he is a character who is ready to fight or react at any moment, it also makes him seem more realistic as the size of him in gameplay would not allow us to see him breathing, and this gives us the illusion of life and breath.

Though there are animations that were easy for the producers to create due to him being a 3D model, which were the full body spin animations which occasionally take place when he is jumping, namely from one wall to another and when he is receiving special powers. If I were to make these animations with 2D methods, I would make use of the Pose to Pose animation principal. The reason for this is that I would be able to carefully plan and draw the key frames of the animation and once established I would draw the frames in between. This would safeguard me against mistakes, misdrawing the character shape, while giving me a guide on how the character should move. So, I would start by drawing the frames of the beginning of the spin (facing right), then the middle, then the other end (facing left) and finally draw his back. Once those key frames are complete, I would then draw the frames in-between these four keyframes to create the spin animation.

Follow through & Overlapping Action: is very prevalent in Ori's animations, this is because he is a bipedal being with large ears, a long tail, arms and head fur pieces. Because of this no matter what animation sequence Ori is doing these parts of him will have a Follow Through & Overlapping Action. This not only makes the character seem more realistic but at the same time also works to make him more appealing in a cute manner to the players. This is noticeable when Ori is running, these body parts follow the main body in an up and down motion.

https://youtu.be/PDaDpF0NeN4?t=62

(Stop at 3:11)

Secondary Action: is mostly noticeable in the cutscene animations, this is because the camera is closer to Ori and so the player can make out more details. The principle of Secondary Action is used when the animators want to convey more emotion and/or want the player to understand Ori’s physical state. An example of this is the final cutscene, due to him being badly injured and exhausted the animation shows him moving with a dragging tail, lowered ears, lowered head fur pieces and a bent arm. All this coupled with the sad & tired expression he makes emphasis how badly hurt he is.

https://youtu.be/DvuB8cImPIg?t=1719

(Stop at 29:36)

Timing: is used in different ways in Ori’s animations. The timing that is most prevalent in the game is faster timing, which means animations have fewer frames. The reason for this is that Ori’s character is one made for speed and agility with a lean streamline physique so most animations he makes keep in mind his abilities. Even so there are times that the animation timing is slower, this mostly happens during cutscenes and when he is using a heavy damage weapon, like the Energy Hammer. They do this because more frames with a slower timing can help convey the emotions of Ori, show deliberate actions more clearly and in the case of attacks they can emphasis the power and strength behind that specific attack.

Squash & Stretch: is used a lot in Ori’s animations, mainly the ones that showcase his speed or jumping ability. As he is a very flexible character majority of the time during the gameplay the player has to use these features to navigate the environment. A prime example of the Squash & Stretch principal being used is when Ori has to escape from the watermill, the stretch being seen when he has to jump up, is being pulled or pushed by a force and/or is dashing. The squash is used in different increments, because depending on his fall height there will be different levels of squash to show how much the landing has affected him.

https://youtu.be/DvuB8cImPIg?t=157

Slow in & Slow Out: is mostly reserved for the cutscenes. This is because as mentioned before, Ori is a fast character and the player view of the world is quite vast. So, the only instances that the player would be able to appreciate Slow In & Slow Out animations is when the camera is closer. This is used to enhance Ori’s body language like curiosity and wariness or to enhance the scene to make it more believable. You can see this when Ori is falling through the floor at the beginning of the battle with Mora, he first goes very fast then the webs slow down his speed, finally when he hits the ground and start rolling you see that the speed of the rolls getting slower until he finally stops.

https://youtu.be/DvuB8cImPIg?t=262 (Stop 4:31)

Exaggeration: is very important for Ori’s animations. As mentioned, the player has quite a wide range of view, which is needed due to Ori being in a platform game. As such Ori is not very large, so the exaggeration principal is used to not only make Ori’s animations more realistic looking but also so that the player themselves can properly see what Ori is doing at the moment. A prime example of this is the exaggerated animations of Ori when he is swinging an energy sword in battle. As the animations itself is quite fast, the exaggeration is needed to portray the strength of the blow while allow the viewer to keep track of how many times Ori has swung the sword.

Appeal: is quite obvious to me, I absolutely adore this little guy! But this principle is used in quite an interesting manner when it comes to Ori. Looking at stereotypes and biases this cute being would normally be used as a character who would portray safety and that he is harmless. Ori is very capable, strong and knows how to fight, these characteristics of his directly contrast his outward appearance which make him that more interesting to players. Though the only way to see past Ori’s initial cute appearance and see his capabilities is through his animations, namely his combat and movement animations.

Arcs: is very intricate to this character’s animations. The reason for this is that Ori is a very graceful character, something which is a bit easy to miss because of his speed. The best example of how the Arc principal is implemented in Ori is his multiple jump animations. The fact that there are more than one already is a sign of how important jumping and being airborne is to this character. You can see a lot of these arcs in when Ori is escaping from an avalanche. Since there is a lot of jumping and airborne animations you can see how his body always moves in an arc, whether he is landing, jumping up or moving through the air.

https://youtu.be/DvuB8cImPIg?t=844 (Stop at 15:44)

Anticipation: is a principal that works not only in Ori’s fighting animations but also in his cutscenes. This Anticipation is used to bring out suspense/tension, enrich an emotional scene and/or make certain actions easier for the player to view while making what they see more realistic. An example of Anticipation being used to make actions easier for the player to see while adding realism is Ori’s animation when swinging a weapon, since to add realism you need to prepare the motion, the sweeping motions of the weapon coincides with what we would think as real movements. An example of Anticipation being used to charge an emotional moment is when Kwolok dies, the way that Ori moves towards him while holding his hands before slowly touching Kwolok face draws out the moment and makes the viewer feel more emotional, because they already know that Kwolok will die and Ori will feel dejected about it.

https://youtu.be/DvuB8cImPIg?t=22 (Stop at 0:58)

Another 2D video game character that I will be analysing is Troupe Master Grimm from Hollow Knight. Grimm is a very interesting, mysterious and strange character which is reflected in his animations in the game. This character is very quick and the majority of his appearances are bursts of motion, with only a few appearances being slow and deliberate animations, such as when he is still but the cloak he wears is constantly swaying. Though there is this animation Grimm does not have movements that make him seem alive by the normal human standards, this is because he does not blink or actively breathe, in this case it is easy to overlook because he is not human at all and because the cloak moving is kind of a replacement for the breathing motions and acts as an indication of life.

What is interesting about this character’s animations is that he maintains an air of sophistication and class until suddenly he erupts with a burst of savagery and ruthlessness as he attacks The Knight, something which would surprise the player at the quick change in attitude. This complete change of personality is intriguing and while disorienting at first it displays the character’s hidden side, one only shown through Grimm’s animations, if he was just standing still then viewers would not to see let alone fully understand this part of Grimm.

Anticipation: is instrumental for this character’s attacks and quick movements for two reasons, not just to make it seem more realistic to the player but also so that the player has that split second to analyse what attack will be used and how best to avoid or counterattack it. A great example of this is how Grimm dramatically throw his head upwards, his cloak pieces go upward and then pierce the ground so that they can skewer The Knight.

https://youtu.be/qXe9HIUY93c?t=69

(Stop 1:12)

Appeal: Grimm is a very different character in the Hollow Knight world, this is due to his circus design. So he stands out from the majority Non-Playable characters who are usually made in different shades of monochrome with navy and if there are any colours then they are of duller tints, exempting a few characters such Hornet, the Knight and the Nailmasters. While still retaining the dark scheme of the game world/characters it is his use of a brighter colours and his more flamboyant animations that make him interesting and exciting.

Arcs: are found in a few of his animations, but it is found in two of his attacks, his bow and the taking the Grimmchild animation. The arc of his bow is slow and deep, a movement made to commandeer respect to his opponent. The arc of his slash is to accentuate the fact that the slash is deep and powerful attack against the player. The other arc attack is when he dramatically opens his cloak to release his Fire Bat attack, this is not only to give the player a chance to react, but it is mostly a tip off to his personality.

https://youtu.be/qXe9HIUY93c?t=19

(Stop at 0:26)

Timing: is very instrumental in his animations. Since he has a fast movement then his timing is very quick and requires less frames, this is help to emphasis the sharp and fast actions of the character. These animations are regulated to the fast battle actions like the dive and slash attack. There are slower timing animations made, this is outside of battle to build suspense and anticipation and certain battle animations such as the cloak attack which are made to last longer.

https://youtu.be/qXe9HIUY93c?t=120

(Stop at 2:02)

Exaggerated Action: is used again mainly in the attacks so as to give players time to react. Though it could additionally be because of Grimm’s personality itself, as he is ringmaster like character which is usually a dramatic personality themselves. This use of exaggerated action makes the battle animation more interesting and realistic to the player, this is because even though Grimm is moving very fast pace so it is very hard for player to see and react to him, so the use of Exaggeration Action is very necessary for this character. A great example of Exaggeration Action animation is when Grimm goes for a slash attack and then jumps upward to burst into flames. The animation frames are a longer downward and upward slashes than normally required, this could be not only a way to make it seem more realistic to the player but also a way to show how powerful these strikes are.

https://youtu.be/qXe9HIUY93c?t=63

(Stop at 1:05)

Follow through & Overlapping Action: is not overtly seen. It is there but due to speed of the character it is hard to see unless you pause the motions. Otherwise in the slower animations like the Fire Bat attack the follow through and overlapping action is very short and stiff, maybe this is an indication on the toughness and material of the cloak itself, especially because Grimm uses it to attack at times.

https://youtu.be/qXe9HIUY93c?t=101

(Stop at 1:44)

Staging: is found in how the developers set the scene. Since Grimm is located in the spacious circus tent we have the environment itself helping in staging. But the staging animations emerge before the battle begins, this is shown in the absorption animation of Grimmchild, which gives the player an idea of something different and focuses their eyes on Grimm. This focus is marginally changed when Grimm undergoes the snapping fingers animation which then rapidly changes our focus to the audience characters. The staging is then complete when Grimm brings our attention back to him by performing a bow and scream animation before the fight begins.

https://youtu.be/qXe9HIUY93c?t=27

(Stop 0:38)

Straight Ahead & Pose to Pose: is found in this character but from my analysis I believe that he is mostly animated using pose to pose. The reason for this is that he has sporadic and fast movements, then it is not surprising that the fast animations would be made like this since they are not made to be spotted easily. This is because Grimm is a character that does not move much from one spot, he is usually standing in one area, whether talking or attacking, it is only with two attacks does he actively move across the screen and/or when the player is too close to him then Grimm moves quickly away from him and then attack.

An animation character that I find amazing is Katsuki Bakugou from the anime Boku no Hero Academia, I am sure that you are not that surprised that he made it on my list. He is a character that I greatly admire, as I wish that I could be more outspoken and confident like he is. But what makes Katsuki such an interesting character is that he is so unapologetically different and not what one would expect to be a hero. This is due to him being aggressive, prideful and rude, which are normally characteristics reserved for villains characters, but in the anime he is actively training to be a hero, with the aim to surpass and be greater than the Number 1 Hero. What interests me about this character is the gradual character development that he undergoes, a positive growth that does not destroy who he is at his core but instead builds him up from that core.

Viewers are given a hint at his nature when he is in a still position, but many people can misunderstand this character from just a still drawing thinking him as evil or villainous, so it is only through animation that his true self fully shines through. The animators though are not afraid to display all of Katsuki’s characteristics good and bad, so his animations fully reflect his very vocal, aggressive, passionate, focused and anti-social personality by using exaggerated motions and extreme facial expressions to display his character. There is also the fact that Katsuki’s fighting style itself is so dynamic and explosive that it needs exaggerated animated motions to fully appreciate to full extent of his abilities, due to the quick yet powerful impact of this attacks and movements. The animation of this character is drawn frame by frame, not just because Japanese animators prefer this method but also so that they have full controls of the details of the animations, which is essential when you are creating a character of a television series.

Appeal: is very instrumental in Katsuki’s design and in his animations. As he is the only one to have these extreme types of motions he naturally sticks out from the rest of the characters and draws the viewers’ eye. Additionally, as he is a hero the contrast in his attitude and design to his designation makes for an interesting character to the audience, this is proven as he has come first in the global popularity polls of Boku no Hero Academia five times in a row. His animations are a mix of comedic attempts and giving the viewers an interesting character which they can relate to, one which has flaws but is able to move forward despite them, which makes him seem more realistic than the other characters. Additionally, his design and animations are the pinnacle of honesty, he doesn’t hold back in what he thinks, how he acts or what he says which I am sure many people have a hard time doing either because of the unwritten rules of society or because of their own difficulties, which also makes a character like Katsuki really easy to admire, which enhances his appeal to viewers. His appeal is also upped because of how inspiring he is, as a character Katsuki shows viewers that no matter what walls are put in front of you, no matter what people think of you, no matter what kind of person you are and no matter what happened in the past if you have the will to do whatever you can to reach your goal you eventually will get there; this kind of strength of will and character I find can be only be fully conveyed through his animations, as the still images can only show so much.

Exaggeration: is one of the intricate features of Katsuki’s animations and design, as such it is one of the most used principals for this character. This is prevalent in the characters facial animations, specifically when he is displaying intense emotions such as rage, enthusiasm and excitement. This exaggeration is also used in a lot of his body movement animations, this is mostly when the animators are trying to convey his state of mind with his body language, when he is fighting his opponents or when he is airborne. I could also say that this Exaggeration is an indication of Katsuki’s will to do anything to be at the top and to defeat any opponent/situation that may be in his way. This principle can also be an indication of how much strength he is putting into a motion, such as punch or a blast.

https://youtu.be/qLbusvD4UKA?t=65

(Stop at 2:02)

https://www.youtube.com/watch?v=DETTZ557y0c

Anticipation: is also a principal which is very intricate to the design and animation of this character. The reason for this is that it is linked to the Exaggeration principle, this is so that certain animation like punches, kicks, facial expressions and extreme walking cycles like stomping are enhanced. This anticipation not only adds an element of suspense but at times it also creates a comedic effect for some facial animations. But at the same time, this anticipation principal is also used to enhance Katsuki’s intimidating persona at times but is only used sparingly. A prime example of Anticipation being used is when Katsuki is throwing a ball to see his Quirk Aptitude. The longer time used to draw out the exaggerated motions not only give it realism but also gives the viewer a full insight to his personality and his strength.

https://www.youtube.com/watch?v=tttQ_XpaJ2g

Secondary Action: is used mostly to display or enhance his emotional state, usually his anger. This is usually regulated to his hands, as he uses them as a form of discharge when he is angry or irritated, either as explosions and/or as hand gestures that enforce his mentality. By using Secondary Action this way, depending on the actions themselves and the scene we can also get a peak into Katsuki’s more hidden depths and emotions, the ones that he does not allow himself to feel.

https://youtu.be/7IQ1AG3IEZ0?t=47

(Stop at 0:48)

Arcs: is very intricate to this character, mostly in his fighting or airborne animations. This is because the fighting style of this character is centred around explosions and on strong blows, which require the character to move the limb in a sweeping arm motion to put more power behind it. The explosions themselves also factor into the style, making him go between land and air combat, when in the air arcs will naturally occur as any force that emerges from an angled small area will make the body jump and arc in the opposite direction.

https://youtu.be/BBpLjSRcS-Y?t=429

(Stop at 7:12)

Timing: is used in his animations in various degrees. When he is trying to be intimidating for example, there are more frames that are created for the animation’s movement, they do this so the animation will be slower and make the actions more deliberate and menacing in this case. On the other hand, he has many animations that call for timing that is quick, explosive with as a reaction, an example of this is when he has bursts of anger or more often when he is fighting in a fast manner then there will be less frames made for those animations. A good example of how fast and slow Timing animations are used is when Katsuki is fighting the villain called Mummy, he needs to move fast to not only evade the attacks but also so that he can attack himself, but the slower timings are done to draw out the moment and movements, to add a sense of suspense to the scenes.

https://www.youtube.com/watch?v=jRqaimNBs9k

Solid Drawing & Solid Posing: is used many times to convey Katsuki’s dangerous aura. This is reserved for animations where he is displaying a huge amount of rage at the subject. It is also when the animators want to remind the audience in a way of his temperament towards others when he is pushed too far. At times, this principle is used in conjunction with the Appeal principle believe it or not! This is because this animation principle is used in a way to enhance Katsuki’s uniqueness, making him not only stand out but remind the audience and other characters of the different parts of his personality.

https://youtu.be/l1ExwsTNIZ8?t=242

(Stop at 4:17)

Slow In & Slow Out: is used mostly when the character is doing animations that display his level of anger and/or when he is being serious but it is also used for his fighting animations, as he uses explosions then there are many times that he is moving at different speeds. The use of Slow in & Slow out is used sparingly which is why it is so effective, it either enhances the emotion of Katsuki or in some cases give insight to specific mental state, for example when he is being contemplative. A great example of Slow In & Slow Out is when Katsuki is fighting Izuku, as Katsuki propels himself forward he has a slow start then speeds up. Along with the fight sequence Slow In is used to slow down the scene and create a suspense and tension in the viewers.

https://youtu.be/KrmHh9HTpOQ?t=218

(Stop at 3:53)

The second animation character that I find interesting is Yona from the anime Akatsuki no Yona. This character is a young princess who is blissfully naïve about the world and in some ways people. It is only when her father is murdered and attempts on her life are made that she is suddenly forced to confronts the reality of the kingdom she was shielded from. What is so interesting about Yona is that even though she was dealt with huge tragedy she found the will and grit to keep moving forward. She became a survivor more knowledgeable about the world and faced it with determination and a lot of courage.

This mentality is important to note because the animators needed to keep this in mind when animating her, making sure to bring out and merge her old aspects and her new ones. The overly exaggerated animations of Yona are usually reserved for comedic scenes, such as when they want to display in a silly, childish or an extreme angry state but we do see exaggerated motions used to make her movements seem more realistic and in some cases used to make the scene that much more important. Yona's animation is to a point of realism, as even when there are close-up scenes you rarely see the body move in that subtle way to show life, like the body in and out breathing movement, and though there is blinking it is a more deliberate animation, in that the blinking is only to show some realism but is not done at the real time rate.

Appeal: is already achieved because Yona is the main character and female lead of the anime. Though a larger part of her appeal, which is reflected in her animations, is the switch between serious and childish, hardened survivor and naïve princess. It is this difference in personality that gets viewers interested in her character, because she is a contrast of sweet and hard, childish and mature, weak and strong. The fact that the main character is also female is another point, nowadays strong female characters are becoming popular with viewers but at the same time people like female characters which are at times weak while being strong, the reason for this could be because personalities are more relatable to viewers, making them more real to us.

Staging: is used with Yona’s animations in different ways. One method would be by creating a simple background with Yona drawn in simpler manner, both in design and animation, makes the scene to encourage a light-hearted and comedic view, this is one area where exaggeration can help enhance the comedic effect of the animations. The other method for staging to enhance the animation is when there is actually no background and becomes a bright white area. Animators do this when there are tension filled or important scenes so that the viewer can focus on the character. An example of this is when Yona makes her very first human kill, with the anticipation principal in effect by drawing out the moment she releases the arrow, the bright background makes us focus completely on her animation and at the same time create suspense.

https://youtu.be/xWrrjOWU7rQ?t=68

(Stop at 1:15)

Exaggeration: is used very much when it comes to Yona’s expressions. The reason for this being that the animators want to add a comedic effect to what is going on in the scene. The exaggeration principle is also used when Yona is performing certain actions, like the releasing of an arrow from the bow to demonstrate the force behind the released string. An example of exaggeration being used in design and animation to create a comedic effect is in the 1st episode of the series when she is frustrated about her hair.

https://www.crunchyroll.com/en-gb/yona-of-the-dawn/episode-1-the-princess-yona-662351

(3:52 – 3:57)

Anticipation: is used in tandem with exaggeration and at times with staging. The reason for it working with exaggeration is to emphasis animations before they start by making suspense in the audience. As for how it could work with staging, when there are important or tension filled scenes the anticipation of drawing out an action/animation coupled with the right settings make the moment more poignant and important to the viewer.

https://youtu.be/xWrrjOWU7rQ?t=32

(Stop at 0:51)

Slow In & Slow Out: is used in Yona’s animation mostly in situations where she stops being childish and/or silly and start to be especially serious. The moist poignant animation of this is when her clothes and hair is blowing in the wind. Though you would think this is a common animation it is actually not. In fact, animations like this are used to signal an important moment, a prime example is when Yona is going to shoot a person, the scene is introduced with her hair slowly waving in the wind, then pans to include her clothes also moving. Why this is impactful is that with the expression on her face and the solid stance she has would show how serious and focused she is, which is enhanced by the movement of her clothes and hair. A simpler example of Slow In would be when Yona is thrown and falls to the ground, the speed of movement is slow then speeds up a bit until she hits the ground.

https://www.crunchyroll.com/en-gb/yona-of-the-dawn/episode-21-spark-668251

(4:43 – 4:47)

Follow Through & Overlapping Action: is more noticeable in the beginning of the series. The reason for this is that Yona at the beginning has longer hair so when she is running away and falling the Follow Through & Overlapping Action principal is more enhanced, especially because Yona’s hair colour is a feature that the story focuses on. After she cuts it the principle is then used more on her flowing clothing, unless the animation is important to the scene then the principal will not be that often show because of the shortness of her hair will not allow the viewer to see this as clearly unless it is being emphasised or if there is a close up scene of Yona. A good scene that shows this principle is when she has long hair and she is searching for Hak, the hair is swaying side to side following the body’s subtle swaying motion and when she stops we see a close up of her lower jaw which allows the viewer to see the hair moving forward then stopping.

https://www.crunchyroll.com/en-gb/yona-of-the-dawn/episode-5-howl-662359

(5:16 – 5:23)

Straight Ahead & Pose to Pose: is used in Yona’s animations as well. They are both used but there is more emphasis on Pose to Pose for Yona’s animations. The reason for this being that even though she is a survivor she is not very physical strong or fast, so she does not engage that much in animations that would be chaotic, which is where Straight Ahead shines. As she is an archer and a fugitive princess her actions are slower and concentrated. A great example of this deliberate actions is when Yona is trying to save Hak we see how the Pose to Pose principal with its pre-planning of key frames would be needed for such an important scene, one which shows Yona’s true hidden spirit and grit.

https://www.crunchyroll.com/en-gb/yona-of-the-dawn/episode-6-red-hair-662361

0 notes

jumpthethunder · 6 years

Note

I wish you would write a fic where Emma was the one to bring back Regina’s memories

Thanks for the prompt! My very first one ever!! So I’m going to bend this one a little and have Emma not so much be the one that starts the process, but the one who is there when Regina returns to herself with her memories of life before Roni. Oh, and I sort of set this in the same universe/headcanon as my little blip of a fic “Out of the Woods”, which is on Ao3 if you want to check that out too.

Ok, here goes nothing:

Roni knew the instant the top shelf whiskey slipped past her lips that it was tainted. She’d worked in this bar for years, since she was far too young to have been allowed through the door nevermind behind the bar itself, becoming more than a little familiar with alcohol of all types along the way, and this was (sadly) not nearly the first time someone had tried to sneak something into her drink. She felt the way the drugged liquor clung to the inside of her mouth unnaturally, her pulse rate quickening as her adrenaline picked up and panic began to set in. She had no idea what Ivy’s intentions were here, though everything in her gut had told her from day one not to trust the girl she certainly didn’t expect her plan to involve roofies, and she knew without a doubt that she likely had minutes to act if she was going to get out of this situation before whatever toxin was leaching into her bloodstream knocked her off her feet.

Ivy was speaking, though Roni had stopped listening several bloated bragging statements earlier, doing her best to look mildly annoyed but otherwise unbothered lest she risk alerting her that she knew what she’d done. The second Ivy turned her back, stilling rambling on and chuckling to herself as she reached for something more her taste further down the bar, Roni was up, silently sliding from her stool and slipping to the corner of the counter, her hand blindly curling around the edge, fingers wrapping around the baseball bat she kept there. She had just barely managed to get a grip on it when Ivy glanced over her shoulder, her eyes showing just the slightest bit of shock at Roni’s change in position before she grinned wickedly and slowly began to approach, her hips swaying confidently, gesturing with the drink her in hand as she spoke,

“I should have known I wouldn’t get that by you. It seems you haven’t lost your knack for sensing when someone is plotting against you. I’m sure you have ample experience with assassination attempts, Queenie.” She laughed again, the sound grating against Roni’s ears as she felt her pulse begin to throb in her head, the lights of the bar suddenly becoming fuzzy and far too bright. Ivy tilted her head curiously as she watched Roni blink once, twice, a hand falling to the counter to steady herself. “Hmmm, seems it doesn’t matter, one sip was all I needed to get the job done. It’s too late for you now, Roni…or should I call you Regina?”

The name, foreign to her until this morning, tugged at something deep within her mind as an odd tingling sensation began to build just at the base of her skull. She knew this was it, these were the last seconds before the quivering feeling in her legs would become too much to ignore and the tilting of the room around her would take her down. She hoisted the bat to her shoulder with more effort than she cared to admit and staggered a few steps forward.

“You know what Ivy?”

“Yes, Regina?” Ivy remained completely at ease, not even bothering to back away as Roni closed the distance between them, clearly confident that Roni would be rendered useless before she could inflict any damage. How wrong she was.

“I don’t know who the fuck you think you are, but this is MY bar, and you are just a little girl trying to play with the grown ups.” Roni could feel her palms sweating, the hands now both wrapped firmly around the grip of the bat shaking, but she proceeded to take the last step that would put her within striking distance of her target even as Ivy looked like she was going to interrupt with some no-doubt self-satisfied snarking. Before she could speak Roni settled the bat over her shoulder and quirked one eyebrow, a snarl crossing her lips, speaking as she swung with all her strength, “Consider this last call-”

The sound the bat made as it connected with right side of Ivy’s head was very nearly as satisfying as the expression of utter disbelief that crossed the wretched girl’s face before she crumpled, unconscious, to the floor.

“-Bitch.”

Roni dropped the bat, the metal hitting the floor with a loud clanging, and slumped over the bar, her fingers grasping at the edge to try to keep herself on her feet at all as she felt the drugs in her system begin to take full effect. She knew she had to get out of this room and away from Ivy should she wake up and retaliate, get to a phone and call for help, call Rogers, or Henry–

Henry.

A pain sparked through her already pounding brain and she cried out, clutching at her head as images of the photograph she’d found hidden in Victoria Belfrey’s office building flashed behind her tightly closed eyes, blending with other images of a young Henry, images she couldn’t possibly know. One foot slipped out from under her and she tumbled towards the ground, her chin hitting the bar on the way down causing her to bite her tongue and shout out in pain once more. She was crying, hot angry tears fall down her cheeks, by the time she managed to start dragging herself blindly across the floor, her vision failing her as flashes of things that had never happened, could never have happened, mingled with her own memories and danced before her eyes. She saw a baby boy, one she’d never known or held, swaddled in blue wailing in her arms, and then he was gone, his face replaced by the ruddy and boisterously laughing face of her own father, the well-meaning bar owner who loved her dearly but struggled as a single father with a taste for alcohol that would ultimately take him from her when she was just 17 years old, leaving her with nothing bad debts and a run-down bar to her name. She saw the car accident that at 8 years old had left her with the scar slashing across her upper lip, but then it was replaced by another scene, one where she was somehow restrained mid-air high up above a forest before being dropped through a thick canopy of trees where branches clawed at her face resulting in the very same scar.She wasn’t sure when she had stopped crawling, when she had curled into a ball grasping at her head, fingers digging into her scalp so hard they drew blood, all she knew was that suddenly everything stopped, just for an instant when she heard an unknown and yet comfortingly familiar voice, choked with emotions she couldn’t understand, call out from behind her,

“Regina?”

It was the last thing she heard before she passed out, one word echoing through her mind as the darkness took over.

Emma.

She was too late, in classic Emma Swan fashion it seemed, to defeat the villain and save the day. How often had this happened before? Too late to stop Henry from eating that turnover, too late to stop Gold from cursing Regina with the Wraith, too late to stop Hook from kidnapping Regina for Owen, too late to stop the trigger from being activated in the first place thus putting everyone she loved in danger, too late to stop Cora from framing Regina, too late to stop Zelena from taking Marian’s place, too late to stop Hades from making it through to Storybrooke where he could attempt to murder Regina and instead end up destroying Robin’s very soul, too late to stop Gideon and the Black Fairy, too late to stop the curse that somehow stole everyone she had ever loved away from her…again.

And now here she was 10 years and mere minutes too late to protect Regina from Ivy, or whoever the fuck she was. She had finally found her family, finally, after 10 years, there was Henry (a grown man) and Regina (somehow looking barely a day older than the last time she’d seen her), even Hook’s double and Gold were here (both frozen in time like Regina, though this was to be expected when it came to the Dark One himself).

She had spent the past 36 hours more-or-less stalking Regina, trailing her every step of the way and trying to sort out who this new person before her eyes was-with her leather jackets, torn jeans, and leopard print boots, her swagger and charm, her easy laugh and one serious ability to hold her liquor. She followed her to Belfrey tower and later watched her leave looking shaken to her core, though she was sure only years of being well-versed in Regina’s body language allowed her to see this fact as this new woman, Roni as she seemed to be called, was putting on a solid front in an effort to project an outward cool. It was odd, Roni was so very different from Regina, even in the way she displayed and protected her emotions, and yet Emma found she could read her like a well-loved book.

Emma had decided that whatever had shaken Regi- no, it was Roni, was worth investigating further, so she’d stayed behind, lingering at a coffee shop across the street. Using skills she hadn’t relied on in what felt like a lifetime to break-in after hours that evening and investigate, she soon decided to venture to the secured top level (instinct told her that anywhere that needed a thumb print or a secret code to get into was suspicious). Emma had eventually discovered that luckily for her it seemed her magic still worked just fine when she’d grown so frustrated trying to guess the security code that she’d short circuited the whole panel. With a self-deprecating sigh and a voice in her head that sounded suspiciously like Regina’s calling her an idiot for not having even thought to try reaching for her magic earlier, she poofed her way into one creepy ass room only to find it empty save for a disturbingly spiky little plant that appeared to be growing out of a pile of dirt on the floor. With a little help from her magic, and 10 years spent with little to do but pour over Regina’s extensive magical library back in Storybrooke, Emma realized exactly what the plant was for and, in a panic, completely forgetting about her magic, she’d literally run down the flights and flights of stairs to the ground level and out to the old Mercedes waiting for her by the curb. She’d broken traffic laws and blown through red-lights on her way and yet still, as she burst through the door of the bar, she knew in an instant she was too late.

Regina was in a heap on the floor shuddering and alternating between scrambling at the hardwood with her fingertips like she was trying to find something to hold on to and gripping at her own hair and head so hard her knuckles turned white. She was wailing, heart-wrenching screams scratching their way from what was an already raw throat only to be choked back and broken by sobs so wet they sounded like they could drown. When Emma dared to speak her name, forgetting about Roni and calling instead for the woman she knew so well, everything stopped. Regina stopped shaking, stopped sobbing, stopped screaming, stopped breathing, and then, with a rattling gasp, her entire form went limp before Emma’s eyes.

The minute Regina stilled Emma’s legs starting working again, propelling her forwards until she landed with a hard thud on her knees, dragging the other woman’s dead-weight across the floor and into her lap. For a horrifying moment she thought Regina was dead, that she’d been wrong about the plant and that it had in fact been some agony-inducing form of poison. Her violently shaking fingers reached out and, terrified to find nothing, pushed down gently on Regina’s pulse point. She only realized she’d been holding her breath when it came back to her in a rush upon finding a strong, if too fast and erratically beating, pulse below the skin. She smoothed her hand over Regina’s forehead, the skin clammy and flushed, her surprisingly curly hair sticking to it.

“Oh god Regina, what do I do?”

She knew enough about the plant to know it’s purpose, remembered Regina telling her about it back when Henry had been missing his memories and they’d spent hours together trying to create a potion to safely bring them back. But she also knew enough to know that she didn’t know half as much as she needed to fix this. These plants were dangerous, the impact on the mind unpredictable at best and, if not handled in exactly the right way, could fracture an already splintered consciousness beyond all repair. Memories, and the mind, were fragile and tricky things. In order for memories hidden by magic to be recovered like this the mind had to be pushed to just the right point and then given very specific triggers to stimulate the release of those memories, or of a whole hidden persona in Regina’s case. Without knowing how Regina had become Roni, how any of this had happened, it was far more likely that anything Emma did would only serve to further tip Regina’s mind over the precipice into complete and irreversible madness. At this point the best she could hope for was that Regina might come out of this in a state similar to that of Jefferson in the early days after her arrival in Storybrooke, or Graham when his former life began to mingle with his cursed persona. She would be mildly deranged at times, but there would be moments of lucidity. But even this, given the state Emma had found her in, seemed like wishful thinking.

Lost in thought Emma hadn’t realized that she was now cradling Regina’s body to her chest, rocking gently back and forth, her lips pressed to deep chestnut hair as she murmured her fears and failings aloud.

“I’m so sorry Regina. I’m so sorry I wasn’t here sooner. I’m so sorry I lost you for so long. I’ve been so alone and then I found you and you weren’t you anymore and you know I think I could have been ok with that, could be ok with that, if you are just ok too, whoever you are now. Please Regina, please don’t leave me again. You have to help me fix this. Tell me what to do to fix this.”

She pushed tangled curls away from Regina’s face, tucking them behind her ear, her movements frantic yet tender, her eyes taking in every feature of the woman she used to know so well and had missed with an ache that burrowed deep within her chest and refused to let up.

The woman it had taken her 10 years of solitude to realize she loved more than life itself.

A tear rolled down her cheek and dripped onto Regina’s nose, alerting her to the fact that she was apparently crying. The droplet ran down her nose, sliding down the side before getting caught in the line that connected her nose to the corner of her mouth and ended up cradled between Regina’s slightly parted lips, and it was then that Emma was struck with a thought. It was something she hardly dared believe, could only barely find the strength in her heart to hope for, before remembering another night when it seemed things were coming to an unavoidable end, when it seemed her own destiny was inescapable and her demise certain. It was the night Regina had spoken to her about hope, about winning when you had no idea how to even fight and it seemed like the deck was stacked against you.

“What should I do?“

“You’ll know when the time comes.”

Emma let out a watery chuckle, picturing the way Regina had said those words to her like she had complete faith in their validity, complete faith in her, in Emma Swan, the woman she so often (and so fondly) called an idiot. She’d been right then…maybe, just maybe she was right now.

With one finger under Regina’s chin, tilting her head up ever so slightly, and her other hand cradling the top of Regina’s head so gently, as if she could put her damaged mind back together with shear tenderness alone, Emma bent forward, more tears falling from her face Regina’s.

“I love you, Regina Mills. I will always love you.” She whispered before closing the last breath of distance between them and placing a kiss with quivering lips to the hauntingly motionless ones below.

For one heartbeat, then two, then three, there was nothing. Emma remained with eyes closed, drawing on every last drop of magic and hope and passion and love that she could find in her body and forcing it outward through their connected lips. The air was still around them. Too still.

And then a gasp, the air sucked right from Emma’s lungs and into Regina’s as their eyes flew open simultaneously, gazes connecting and holding, locking together as something reminiscent of a sonic boom blew out from around their interwoven bodies. A brilliant light illuminated everything it touched and rippled outwards, through bar stools and bottles, through walls and windows, across a community garden and a cemetery, across a looming tower and a run-down apartment, across a would-be food truck and the shell of a burned-out chicken joint, across a stone troll and the old VW bug held within its mighty fist.

Emma was the first to break the stunned, reverent silence because, well, she was Emma Swan.

“Regina?” the desperate longing hope in her voice was unmistakable.

“You found me.” Regina’s voice was raspy as much from disbelief and awe as from tears and screaming.

“Did you ever doubt I would?” Emma smirked around her own tears, coming now from the joy of it all, the overwhelming gratitude at finally, finally not being too late, not when it counted. Regina laughed, and coughed, and laughed some more.

“Idiot.”

“Yours.”

And then they were kissing again. Kissing and laughing and gasping and holding.

And less than 2 miles away a man sat up in his bed and realized that everything he’d written was true. He was no orphan, he did have two mothers, and a wife, and a daughter. He was loved, so very loved.

And less than 2 blocks away a woman fell off the couch where she’d fallen asleep watching tv and clamped a hand over her mouth as her eyes settled on her daughter’s copy of “Once Upon a Time” and she realized it as all true. She was not alone. She had a husband and mother-in-law who wasn’t wicked or evil. She had a family.

And in her bedroom at her Step-Grandmother’s penthouse a little girl stood by her window, having watched the magic as it exploded from Roni’s bar, and smiled a toothy grin knowing that she had been right. It was all real and she had a mother and a father who were true loves and she had a Grandmother who adored her, and another she’d never met, and they were going to win. Good will always win. That’s what Henry’s book had taught her even before she could remember that that was what Henry himself had taught her from the day she was born, from the very first time he cradled her in his arms and told her stories of love and redemption and family and hope. Hope and love above all things.

#swan queen #swan queen fic #prompts #my writing #my fic #emma swan #regina mills

28 notes · View notes

nedraggett · 7 years

Text

Run ragged

It didn’t work. And while I wasn’t surprised by that, I did want to tease out why, at least for myself.

I honestly was openly skeptical of Blade Runner 2049 for a while, so I can’t hide my bias there. I wasn’t totally ‘salt the earth and never mention it again’ then and am certainly not saying that now. But each new trailer left me feeling more ‘uh...really?’ and the explosion of immediate praise from many critics even more so. I wasn’t contrarian, and neither did I think groupthink was at work, but I suspected a massive wish fulfillment was.

So I generally avoided reactions after that and figured I’d wait for things to die down a bit -- even more quickly than I might have guessed, seeing its swiftly collapsing commercial performance over here. My Sunday early afternoon showing near here was about maybe 2/3 full on its third weekend, so it’s found an audience, but I’m in San Francisco -- I expected an audience there. Enough friends have posted theater shots where they were the only person in the room to know this is dying off as an across the board thing, and never probably was.

I’m not glad it failed, but I’m not surprised -- in fact, being more blunt, I think it deserved not to be a hit. The key reason for me played itself out over its length -- it was boring. It’s a very boring movie. It’s not a successful movie except in intermittent moments.

That said, of course not everyone agreed (I’ll recommend as an indirect counterpoint to my thoughts this piece by my friend Matt, which went up earlier today). And boredom is not the sole reason for me to crucify it -- there were a variety of things one can address. I’ll note two at the start since they could be and in a couple of cases I’ve seen were particular breaking points for others:

* The sexual politics of the movie, however much meant to be in line with the original scenario as playing out a certain logic, were often at least confused or hesitant within a male gaze context, at most lazily vile beyond any (often flatly obvious) point-making. I often got a mental sense of excuses that could be offered along the lines of ‘well...you know, it’s supposed to be like that in this world, it’s a commentary!,’ which is often what I’ve seen in positive criticism of, say, Game of Thrones. Maybe. That said: not that any sort of timing played into it, but the fact that Harvey Weinstein’s downfall began two days before release, and the resulting across-board exposure and on-the-record testimonials from many women against far too many men, couldn’t really be escaped. Further, since the fallout was first felt, after all, in the film industry, seeing any film, new or old, through the lens of what’s acceptable and who gets through what hoops -- and who is broken by the experience -- is always important. It’s not for nothing to note that the original film’s female lead Sean Young got shunted into the ‘she’s crazy’/’too much trouble’ file in later years where male actors might perhaps find redemption; the fact that she played a small part in the new film made me think a bit more on her fate than that of her character’s. (Another point I saw a few women brought up as well -- having a key to the whole story be pregnancy and childbirth as opposed to infertility wasn’t warmly received.)

* It’s a very...white future. Not exclusively, certainly. But people of color barely get a look in, a quick scene here, a cameo there. A black female friend of mine just this morning said this over on FB about the one African American actor whose character got the most lines, saying:

to have the only significant black character be this awful, creepy man who seemed to be an "overseer" type to the children, was really uncomfortable and another perfect example of scifi using an 'other' narratives or american slave narrative but within a white context. We all know what it's supposed to represent and so it's just straight up lazy writing at the end of the day and exploitative.

Meantime, another sharp series of comments elsewhere revolved around how a film perhaps even more obviously drenched than the original in an amalgamated East Asian imaginary setting for the Los Angeles sequences barely showcased anyone from such a background. Dave Bautista certainly makes an impact at the start, but after that? The fact that I can think of three speaking roles for actors of that (wide) background in the original, as in actually having an exchange with a lead character, and only one in this one, maybe two if you count the random shouting woman in K’s apartment building, is more than a little off. Add in a ‘Los Angeles,’ or a wider SoCal if you like, that aside from Edward James Olmos’s short cameo apparently has nobody of Mexican background, let alone Central American, in it, and you gotta wonder. My personal ‘oh really’ favorite was the one official sign that was written in English and, I believe, Sanskrit. Great visual idea; can’t say I saw anyone of South Asian descent either.

Both these very wide issues, of course, tie in with the business and the society we’re all in -- but that’s no excuse. And there are plenty of other things I could delve into even more, not least my irritation over the generally flatly-framed dialogue shots in small offices that tended to undercut the grander vistas, or how the fact that Gosling’s character finding the horse carving had been telegraphed so far in advance that it was resolutely unremarkable despite all the loud music, etc. My key point remains: boring. A sometimes beautifully shot and visually/sonically striking really dull, draggy, boring film.

The fair question though is why I think that. A friend in response to that complaint as echoed by others joked what we would make of Bela Tarr films, to which I replied that I own and enjoy watching Tarkovsky movies. Slow pace and long shots aren’t attention killers for me per se; if something is gripping, it will be just that, and justify my attention. Meanwhile, the original film famously got dumped on for also being slow, boring, etc at the time, and plenty can still feel that way about it. Blade Runner’s reputation is now frightfully overburdened and certainly I’ve contributed to it mentally if not through formal written work; it succeeds but is a flawed creation, and strictly speaking the two big complaints I’ve outlined above apply to the predecessor as much as the current film, it’s just a matter of degrees otherwise. But if you told me I had to sit down and watch it, I’d be happy to. Tell me to do the same with this one, I would immediately ask for the ability to skip scenes.

I’ve turned it all over in my head and these are three elements where things fell apart for me, caused me to be disengaged -- not in any specific order, but I’m going to build outward a bit, from the specific to the general, and with specific contrast between the earlier film and the new one. These discontinuities aren’t the sole faults, but they’re the ones I’ve been thinking about the most.

First: it’s worth noting that the new film brings in a lot of specific cultural elements beyond the famed advertising and signs. Nabokov’s Pale Fire is specifically singled out both as a visual cue and as an element in K’s two police station evaluations, for instance. Meanwhile, musically, I didn’t quite catch what song it was Joi was telling K about early in the film but a check later means it must have been Sinatra’s “Summer Wind,” featured on the soundtrack. Sinatra himself of course shows up later as a small holographic performance in Vegas, specifically of “One For My Baby,” while prior to that K and Deckard fight it out while larger holographic displays of older Vegas style revues and featured performers appear glitchily -- showgirls, Marilyn Monroe, Elvis in his later pomp, Liberace complete with candleabra. All of this makes a certain sense and on the one hand I don’t object to it.

But on the other I do. Something about all that rubbed me the wrong way and I honestly wasn’t sure why -- the Nabokov bit as well, even the quick Treasure Island moment between Deckard and K when they first talk to each other. The answer I think lies with the original film. It’s not devoid of references either, but note how two of the most famous are used:

* When Rutger Hauer’s Roy Batty introduces himself to James Hong’s Hannibal Chew, he does so with a modified quote from William Blake’s America: A Prophecy. (This fuller discussion of that quote and how it was changed from the original is worth a read; it’s also worth noting that Hauer brought it to the table, and wasn’t planned otherwise.) But he doesn’t do so by spelling out to the audience, much less Chew, that it is Blake at all. You either have to know it or you don’t. If, say, we saw Batty clearly holding a copy of the book -- or maybe more intriguing, a copy in Deckard’s apartment -- then that would be one thing...but it becomes a bit more ‘DO YOU SEE?’ as a result. Clunkier, a bit like how Pale Fire worked in the new film.

* Even in the original soundtrack’s compromised/rerecorded form, I always loved the one formally conventional song on the original soundtrack, “One More Kiss, Dear.” I just assumed as I did back in the mid to late 80s, when I first saw the film and heard its music, that it was a random oldie from somewhere mid-century repurposed, a bit of mood-setting. It is...but it isn’t. It’s strictly pastiche, a creation of Vangelis himself in collaboration with Peter Skellern, an English singer-songwriter who had a thriving career in his home country. It just seemed real enough, with scratchy fidelity, a piano-bar sad elegance -- which was precisely the point. You couldn’t pin it down to anything, it wasn’t a specifically recognizable element. It wasn’t Elvis, or Liberace, or Sinatra.

This careful hiding of concrete details -- even when the original film showcased other clear, concrete details of ‘our’ world culturally, but culturally via economics and ads -- is heavily to the original’s benefit, I’d argue. There’s a certain trapped-in-baby-boomerland context of the elements in the new film that, perversely, almost feels too concrete, or forced is maybe a better word. It’s perverse because on the one hand it makes a clear sense, but on the other hand, by not being as tied to explicitly cultural identifiers -- whether ‘high’ literature or rough and ready ‘pop’ or whatever one would like to say -- the original film feels that much more intriguingly odd, dreamlike even. I would tease this out further if I could, but it quietly nags -- perhaps the best way I could describe it is this: by not knowing what, in general, the characters, ‘human’ or not, read, listen to, watch in the original, what everyone enjoys -- if they do -- becomes an unspoken mystery. Think about how we here now talk about what we read, listen to, watch as forms of connection with others; think about how the crowd scenes in the originals feature people all on their own trips or in groups or whatever without knowing what they might know. We know Deckard likes piano, sure, but that suggests something, it doesn’t limit it. We know K likes Nabokov and Sinatra -- and that tells us something. And it limits it.

My second big point would also have to do with limits versus possibilities, and hopefully is more easily explained. Both films are of course amalgams, reflections of larger elements in the culture as well as within a specific culture of film. The first film is even more famously an amalgam of ‘film noir’ as broadly conceived, both in terms of actual Hollywood product and the homages and conceptions and projections of the term backwards and forwards into even more work. It is the point of familiar reference for an audience that at the time was a couple of decades removed from its perceived heyday, but common enough that it was the key hook in -- the weary detective called back for one last job, the corrupt policeman, the scheming businessman, the femme fatale, etc. etc. Set against the fantastic elements, it was the bedrock, the hook, and of course it could be and was repurposed from there, in its creation and in its reception.

2049 is not a film noir amalgam. Instead, it’s very clearly -- too clearly -- an amalgam of exactly the wrong place it should have gotten any influence from. By that I don’t mean the original film -- above and beyond the clear story connections, its impact was expected to be inescapable and as it turns out it was inescapable. Instead it’s an amalgam of what followed in the original’s wake -- the idea of dystopia-as-genre -- and that’s poisonous.

Off the top of my head: Children of Men. The Matrix. Brazil. Her. Battlestar Galactica, the 2000s reboot. A bit of The Hunger Games, I’d say. A bit of Mad Max: Beyond Thunderdome (not a direct descendant of the original at all, of course -- George Miller always had his own vibe going -- but I caught an echo still). The Walking Dead. A fleck of The Fifth Element. Demolition Man, even, if we want to go ‘low’ art. But also so many of the knockoffs and revamps and churn. There could be elements, there could be explicit references, there could be just a certain miasma of feeling. But this all fed into this film, and made it...just less interesting to me.

Again, the first film is no less beholden to types and forebears. But the palette wasn’t sf per se, it was something else, then transposed and heightened and made even uneasier due to what it was. 2049 has to not only chase down its predecessor, it has to live with what its predecessor created. But did it have to take all that into itself as well? It becomes a wink and a nod over and again, and a tiring one, a smaller palette, a feeding on itself. And it’s very frustrating as a result, and whatever spell was in the film kept being constantly rebroken, and the scenes kept dragging on.

This all fed into the third and final point for me -- the key element, the thing that makes the original not ‘just’ noir, the stroke of genius from Philip K Dick turned into tangible creations: the replicants, and the question of what it is to be human. Humanity itself has assayed this question time and time over -- let’s use Mary Shelley’s Frankenstein as a start if we must for the modern era, it’s as good as any. We as a species -- if we individual members can afford the time and reflection at least -- seem to enjoy questions of what makes us ‘us,’ and what we are and what we have in this universe. This much is axiomatic, so take that as read.

The replicants in the original film -- famously thought of differently by Dick and Ridley Scott, to the former’s bemusement when they met and talked for their only meeting before the latter’s death -- set up questions in that universe that are grappled with as they are by the characters in different ways. Between humans, between replicants, between each other, lines always slipping and shading. Their existences are celebrated, questioned, protested against. But we don’t live in these conversations for the most part, we tend to experience the characters instead; it’s often what’s unsaid that has the greatest impact. And if the idea of a successful story-teller is to show rather than tell, then I would argue that, again, flawed as it can be, the original film succeeds there be only telling just enough, and letting the viewer be immersed otherwise. (Thus of course the famous after the fact narration in the original release insisted upon by the studio, and removed from later cuts to Scott’s thorough relief.)

By default, that level of quiet...I would almost call it ‘awe’...in the original can’t be repeated with the same impact. The bell cannot be unrung, but that’s not crippling. What was crippling was how, again, bored I was with the plight of the characters in 2049. How unengaged in their concerns I generally was. One key exception aside, I never bought K’s particular angst outside of plot-driven functionality, and frankly they often felt like manikins all the way down from there. Robin Wright’s police chief had some great line deliveries but the lines were most often banal generalities that sounded ridiculous. Jared Leto’s corporate overlord, good god, don’t ask. As for Joi and Luv, Ana de Armas and Sylvia Hoeks did their best, and yet the characters felt...functional. Which given the characters as such would seem to be appropriate, but their fates were functional too. Of course one would do that, of course the other would do that, of course one would die the one way, of course the other would die that way, and...fine. Shrug.

So, then, Deckard? Honestly Harrison Ford had the best part in the film and while I found him maybe a bit more garrulous than I would have expected from the character, he did paranoid, wounded and withdrawn pretty damn well. Not to mention comedy -- the dog and whisky combo can’t be beat, and it’s worth remembering his nebbishy ‘undercover’ turn in the original -- and, in the Rachel scene, an actual sense of pathos and outrage. I bought him pretty easily, and it made everyone else seem pretty shallow. When K learns about the underground replicant resistance and all, the bit about everyone hopes they are the one was nice enough, but the rest of it, clearly meant to be a ‘big moment,’ was...again, dull, per my second point about the limited palette. A whole lot of telling, not much showing, and such was the case throughout. It was honestly a bit shocking -- but also very clear -- to myself when I realized how little I cared about humans or replicants or any of it at all towards the end. It all felt pat and played out, increasingly unfascinating, philosophy that was rote. It could just be me, of course -- maybe this is an issue where the stand-ins of replicants versus realities of robots and AI, along with the cruelties we’re happy to inflict on each other, means the stand-ins simply don’t have much of an imaginative or intellectual grip now.

Still, though, I’ll give the film one full scene, without Ford. As part of his work, and to answer the questions in his own head, K visits Ana Stelline, a designer of replicant memories. This, more than anything else in the film outside of certain design and musical elements, felt like the original, or something that could be there. It introduced a wholly new facet -- how are memories created for replicants? -- while extending the idea that instead of one sole creator of replicants there are multiple parts makers with their specialized fields in an unexplained (and unnecessary to be explained) economy. Stelline’s literal isolation allows for space and the limits of communication to be played out in a way that makes satisfying artistic sense, and Carla Juri plays her well. It builds up to an emotional moment that sends K into an explosive overdrive that is actually earned, and Juri’s own reaction of awe and horror is equally good. But -- even better -- the scene ends up taking a wholly new cast later in the film, when more information reveals what was actually at play, and what K didn’t know at the time, and makes the final scene a good one to end on in turn (and by that I mean back in her office, specifically).

The problem though remains -- one scene can’t make a film. One can argue that it’s better to reach and fail than not at all, but it’s also easily argued that one gets far more frustrated with something that could have worked but didn’t. I don’t think an edit for time would have fixed the film but it would have made it less of a slog while not sacrificing those visual/sonic elements that did work; it still would leave a lot of these points I’ve raised standing, but it would have gone down a little more smoothly, at least. But sometimes you’re just bored in a theater, waiting for something to end.

#blade runner #blade runner 2049

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diyguide37-blog · 5 years

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Do It Yourself Help to Sliding Glass Door Maintenance And Repair

If the sliding glass doors in your house are more than one decade old, you may observe that they are ending up being more difficult to move open. This issue is a lot more common on aluminum structure double pane doors. The reason is because the doors are much heavier as a result of the double pane glass, yet many of the aluminum devices did not make use of stainless steel rollers. So, in a lot of cases, the rollers obtain rusty from dampness and also they start to bind.

In order to change the rollers, you need to eliminate the gliding panel from the opening. In a lot of instances, the fixed panel must be eliminated in order for the moving panel to come out. There is a basic way to figure out whether your repaired panel needs to appear as well. If the slider is on the within track as well as the set panel gets on the outside track, you have to get rid of both panels, because the slider will just come out from the outside. There is a lip under of the track inside your residence. That lip keeps water from coming in. Regrettably, that lip is likewise too expensive to raise the sliding panel up as well as over. So, you have to remove the fixed panel initially, after that raise and turn out the slider from outside. If you are just one of the few individuals that have a slider on the outside track, after that you can lift your slider out without eliminating the taken care of panel.

But, let's think you need to eliminate the fixed panel initially. Below is what you do: Eliminate your screen door if you have one. The screen door will certainly have two rollers on the bottom. Raise one end of the door framework with one hand while using a flat screwdriver to lift the roller off the track. Do that on both sides, then get the display door and also established it apart. Now, seek a steel piece on the bottom track that runs from the lower corner of the dealt with panel completely throughout to the base of the side jamb that has the door lock hardware. If your door is actually old that piece might be missing out on. If you have one, you can tear it up from the track. It is broken in place although it resembles it is a part of the track. As soon as you have that piece removed, you wish to look inside your house where the repaired panel is against the wall surface jam. Search for screws holding the framework to the jam. They generally have one near the top as well as lower edges, as well as one near the facility. Get rid of these screws and also put them where you will not lose them. Currently, you ought to be able to pull the set panel out of the side jam. There is an excellent opportunity that it will certainly be stuck. If it is, grab the center rail near the bottom as well as raise as hard as you can. If you really feel the panel rise, pull it pull back. Do this a number of times, after that attempt to pull it out of the side jam again. This usually loosens it sufficient to draw it out. If it still won't come out, you will need to place a slim screwdriver in between the set panel structure and the side jam and also pry while an assistant draws the panel far from the jam. As soon as you obtain it without the side jam, get the set panel side rail and have an assistant get the various other rail. Raise the panel up right into the leading track and turn all-time low out of the lower track. Get rid of the panel from the top track and also set it aside with the display door.

Now, you can try raising the slider up as well as out, much like you performed with the set panel. If the slider will not clear the bottom track, you need to do a couple of points. First, aim to see if it's the old rollers sticking out from the bottom that is avoiding the door from appearing, or if the actual bottom of the door structure is striking the track. In nearly all situations, it will be the old rollers. However, if the opening is 8' wide, in some cases the timber header that stumbles upon the opening has sagged just enough to make it tight in the facility of the opening. If it's the rollers, you need to change them right up into the door. Search for an opening under side where you can place a phillips screwdriver and also discover the change screw. After that turn that screw counterclockwise regarding you can. Do that to both sides, then try lifting out the door. If you are still obtaining stuck, have your assistant lift one side and draw outward while you try to pry the framework and roller over the track. If you get one side out, have your helper hold that side with his/her foot to prevent it from returning in while she or he raises the opposite side for you to pry cost-free.

As soon as you obtain the slider out, nearly all rollers are held in place by the very same screw that holds the framework edges with each other. So, you require to set the panel on one side, get rid of the screw in the edge, turn the panel over, eliminate the screw on the various other lower corner. Currently, you can take a rubber mallet or the wood deal with of a hammer, and also tap the bottom framework off the glass. This will offer you accessibility to your rollers. Take a close look at how they are inserted right into the door framework. As a matter of fact, it's an excellent suggestion to only remove one roller to bring with you to match for the new ones. Then, when you return home, you can utilize the roller that is still in place as an overview to setting up the brand-new ones.

Places like Home Depot, Lowes, as well as Ace Hardware lug regarding 80-90% of the rollers around. So, you should have the ability to find them. Nonetheless, allow's claim this simply isn't your fortunate day, and also you can not locate your rollers anywhere. You are going to have to have them ordered. Bring the roller to your neighborhood glass shop. If you're fortunate, they will certainly have them in stock. If not, they can get the rollers, yet you will not get them for regarding a week. Don't panic. Simply go residence and tap the bottom framework back on the door panel, however leave the corner screws out. You can also leave the roller out that you got rid of. Lift the door back in position, install the set panel but don't break the lower item back in, as well as do not set up the within screws. After that, from inside your home, lift the slider as well as pull it closed. You don't intend to drag it if you left the roller out. It will scuff the bottom track. Just lift it sufficient to take the pressure off, as well as close and secure it.

When Your brand-new rollers been available in, take everything back out and mount the new rollers. Readjust the brand-new rollers completely up prior to putting the door back in. This way, the brand-new rollers won't interfere with you lifting it back in place. Readjust the new rollers down until the door slides good as well as locks. You want to be sure there is an equivalent void at the top and lower when the door is about an inch from closing right into the side jam. You can readjust the rollers to make this measurement even. If you can do the job by a specialist for $50 or $60 consisting of components, it may be worth employing a person to do it. However, in high populace locations such as Los Angeles, it's common to pay $100 in labor only. Then they mark up the cost of the rollers, as well as you might wind up investing $130 for a work that you can do on your own for http://diyguide53.over-blog.com/2019/05/ideal-home-window-treatment-suggestions-modern-curtains-blinds-coverings.html concerning $20.

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theothersidepress · 7 years

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Understanding the Distinct Types of Spirit Art Guided by Spirit Control

http://ift.tt/29FNqjn

It is certainly the Age of Aquarius! Everyone is interested in the psychic, aren’t they?

Nowadays, we find everyone is “a weekend medium/psychic/healer” after completing one perfect course online or at an event or workshop. And often we see, sadly, online writers, commenters and so-called “professional intuitive’s” (especially the freshly minted ones!) who know loads more than many of the experts who have spent years researching and developing themselves on the spiritual matter/phenomena being discussed. It is frustrating and scary to think of the harm these “sudden experts” can do to the image of the profession of spirit work. They may also negatively affect the historical and scientific facts within the macrocosm of Metaphysics, Spiritualism, and Spiritism worldwide. We have seen the damage that is in progress by so-called “scientist of the paranormal” eager to discredit and ruin reputations of legitimate psychics and mediums worldwide – for the purpose of being known as a “professional”.

Proper Spiritualist Terminology

And so I believe it is of utmost importance for us to all understand the proper terminology and explanations for the various phenomena we can experience with the world of Spirit around us.

In this article, I have chosen to focus on the field of Spirit Art and its spiritual manifestations in this third dimension of life. When it comes to the phenomena of spiritual art and writing, we see so many now who use the terminology incorrectly due to their lack of proper education (and general “spiritual laziness” to be honest) to take the necessary time to research proper terminology. Let’s look at the terminology we have used in both the past and the present for the many varied Gifts of the Spirit (Bible, 1st Corinthians 12) being expressed across this planet:

∞ Inspirational Art (conscious) ∞ Automatic Art (conscious & an effect of mediumship) ∞ Painting Mediums (entranced) ∞ Direct Art (an effect of mediumship) ∞ Precipitated Art (an effect of mediumship)

Inspirational Art – Many are aware of intuitive (psychic) artists who draw, paint or write through inspiration. The inspiration comes into the intuitive’s mind whereby the conscious artist is impressed to create something via their hands, even their feet. Psychic art tends to be inspirational. Mediums that draw or paint personalities from the spirit world fall into this category. The words “psychic and spirit artist” seem to be commonly used for such works.

Automatic Art – As we continue with conscious artists as an important factor in said phenomena, we find automatic art as a type of mediumship whereby spirit personalities control the artist’s limbs (hands and/or feet) “through the ethers” by directly controlling the limbs through an external unknown force. Using an internal force, spirit personalities can also harmonize with the mind and central nervous system of the artist to control their nervous system which moves the hand without the conscious influence of said artist. Mediums of note exhibiting automatic art (also known as Psychography) were Chico Xavier (Brazil) and Helen Smith (France). Please know that both were generally known as automatic writers with occasional automatic drawings of beauty.

Painting Mediums – Many have surely heard of entranced mediums painting in styles eerily familiar to the great master’s painters (ie. Picasso, Monet, etc.) These mediums are generally in an altered state (entranced) so they are not conscious of what’s being painted or spoken to an audience through themselves. Spirit personalities merge succinctly with the artist achieving entrancement whereby the Spirit has full control of all bodily faculties necessary for painting. Brazil is rich with the Spiritist history of such mediums working even today. Mediums of note who exhibited painting mediumship were: Luiz Gasparetto (Brazil), Jose Medrado (Brazil), Valdelice DaSilva Salum (Brazil) and David Duguid (Scottland).

Direct Art – Process whereby Spirit uses several forces including those from the medium to materialize “pseudopodia limb(s)” necessary for maneuvering the coloring and writing instruments. Many believe incorrectly that such painting and writing phenomena occurred predominately since Spiritualism began less than 200 yrs ago. Theologians and historians have noted such examples going back two thousand years. When one reads, for example, the Biblical Babylonian account of King Belshazzar’s temple being visited by a materialized, disembodied “floating hand” which “wrote upon the wall” the King’s demise to come (Daniel, chapter 5).

Here we have a materialized hand appear independent of any physical person. The hand intelligently rights in a “strange and foreign tongue” upon the wall. This is an example of direct art whereby spirit causes unknown forces to act upon tools such as paint brushes to create art and writing. One medium of note to have documented accounts of such was David Duguid (Scottland). An exceptional book on the subject: Bennett, Edward T. (1908). The Direct Phenomena of Spiritualism: Speaking, Writing, Drawing, Music, & Painting: A Study. William Rider & Son.

My question for Spirit on this phenomena would be – where did the pigment come from for suddenly writing? Think precipitation one must conclude!

Precipitated Art – A curious word is “precipitated.” It means a substance caused to be deposited from a solution. Snow, rain, fog – even ash, are examples. Most recall the precipitated painting stories of the Bangs Sisters and the Campbell Brothers (actually gay partners in unforgiving times.)

Some may recall the holy faces of Christianity’s Byzantine period, Acheiropoieta, “made not by human hands” (ie. the Veil of Veronica.) Holy images precipitated onto cloth through intelligent spirit control.

And yet many have heard little of David Duguid of Glasgow, Scotland (1832-1907). He was a physical medium known for automatic, direct and even precipitated art. In his later years, his precipitated paintings were no larger than 2 inches by 2 inches (5cm x 5cm) produced between his clasp hands while the sitter held the tiny torn off corner of their card being developed so as to remove potentials of fraud. The Arthur Findlay College’s Museum (England), on its second floor, holds and displays occasionally up to three owned Duguid precipitated cards with their tiny torn corners sitting beside them. I have seen such artifacts first hand on my past visits there.

In the United States, we have some awareness in the minds of those following Spiritualism and Metaphysics of precipitated art as a possibility. While I personally know of less than a dozen U.S. mediums in various stages of precipitation development, there is truly only one man at the forefront of this craft – Rev. Hoyt Z. Robinette (Camp Chesterfield, Indiana). He is publicly demonstrating at present and travels around the U.S. part of the year to share this highly evidential ability. His precipitated spirit cards are breathtaking and infused with vibrant and rich colors. Once you have seen one, you will never forget them.

An interesting side note I’m excited to share is that due to my extensive knowledge and passionate experiences with precipitation over these years, Spirit told me two years ago in a séance I’d be helping a lady in England. Sure enough, on an Autumn trip (2015) to the Cobber Hill Retreat Center near Scarborough, England to experience the remarkable, yet humble, Stuart Alexander – I met a “little dove” so eager to hear about my fascination with precipitated art and to witness the small collection of such artifacts I had brought along to share with others. This lovely lady was Sandy Ingham (UK), a spirit artist. I soon taught her all she needed to know to begin developing such ability and within a short time her efforts paid off with rudimentary precipitation upon blank index cards. Her guide, Leonardo da Vinci, pushed along her development away from the cards and towards her steady spiritual work drawing loved ones in Spirit for public audiences.

Leonardo soon began to manipulate the light’s qualities in the projected images (of her “real time” live drawings) upon the church walls. Evidential eye colors began to appear occasionally in the projected light images. For the last year, attendees receiving her black charcoal drawings (no color tools are used) found eyes coloring and/or skin coloring fused upon the drawing they had taken home – which was NOT there prior to departing the demonstration. In all honesty, this is incredibly remarkable as such as not occurred in Europe for some 150 plus years of documented mediumistic phenomena. Sandy and Leonardo are bringing forward new paradigms of highly evidential potential certain to infuse our Spiritualist and Metaphysical movement with much-needed spiritual possibilities.

“Gifts of the Spirit” are as varied as God’s flowers on the earth… And art is an outward expression of an inside state of being. Besides, who does not love art!? It stirs the soul and makes us joyful and happy. Art is the light emitted by the artist’s soul that truly nourishes us spiritually. If you have not considered adding art to your mediumistic tool belt, give it a try!

Who knows… “What Dreams May Come?”

Author information

Kevin Lee

Rev. Kevin Lee is the Senior Minister of the Metaphysical Chapel of South Florida

( http://ift.tt/29FNn7d ), a chartered church with the United Metaphysical Churches (Roanoke. Virginia). He is dedicated to researching and sharing the metaphysical truths of the “Continuity of Life after the change called death”; of spirit communication and its various phenomenal forms; along with helping others to unfold their innate “Gifts of Spirit” as spoken of in the Bible. Rev. Lee was both Ordained as a Minister and certified as a Medium through UMC’s four year seminary program.

An avid researcher and experiencer, Rev. Lee has travelled extensively to witness first hand both traditional and exotic forms of Mediumship. In 2014, he began presenting his research: “Precipitation Mediumship: Aspects of Art as Spirit Communication.” Rev Lee is now presenting at various conferences and speaking engagements focused on Afterlife Communication, Mediumship and Research.

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#IFTTT #The Otherside Press

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