#conflict resolution: extreme edition

[deusluxuria]

per my last email..........

(image descriptions: first is pesci and doppio badly edited onto a stock photo of two men getting married. second is a different stock photo of two wedding men with prosciutto and diavolo edited onto them)

#conflict resolution: extreme edition #how can u possibly be a bully to your brother or subordinate when ur busy being domestic #doppesc #uhh what would the other ship name be #diaprosc #cool i hate it #doppio vinegar #pesci jjba #diavolo jjba #prosciutto jjba #golden wind #vento aureo #jojo's bizarre adventure #jjba #shipping / #( doppio is 33 btw; i have problems with the DID narrative for multiple reasons )

[therealdogsinmymind]

✩ My Rival (All Mine) ✩

18+ MDNI

✩₊˚.⋆☾⋆⁺₊✧

AO3 Link | Word Count: 2,394 | Chapters 1/1

✩₊˚.⋆☾⋆⁺₊✧

Synopsis: Sung Jinwoo pisses you off but maybe you've you've finally found a way to ruffle his feathers a little bit.

✩₊˚.⋆☾⋆⁺₊✧

Pairing: Sung Jinwoo/Reader, Sung Jinwoo/You

✩₊˚.⋆☾⋆⁺₊✧

Tags: Reader POV, Gender Neutral Reader, Virgin Sung Jinwoo, Jealous Jinwoo, Rivals to Lovers, Bickering, Kissing, Neck Kissing, Tenderness, Light Angst, Miscommunication, Conflict Resolution, Happy Ending

✩₊˚.⋆☾⋆⁺₊✧

Picture from @oo0mika0oo ‘s icon edits

“You piss me off,” you say under your breath, fully intending for him to hear it. He always fucking does. 

You don’t like Jinwoo, you never have. Not before you awakened as an S-Rank hunter and you saw him on TV and certainly not now that you know him personally. He’s got shitty vibes and an even worse personality. He’s closed off, and you can smell his fucking god complex from a mile away. 

“Good to know,” Jinwoo says coolly, taking a sip of his water. You don’t know why he needs it, he hasn’t even broken a sweat, despite the fact that he’s been running circles around everyone in the training arena for hours. Just to show off, you suppose. He’s kicked almost everyone’s ass so far, sans for yours. You really don’t feel like going up against him though, you’d like your ass to remain un-kicked, thank you. There’s also some cards you’d rather keep close to your chest; but god you wish you could rub his face in the dirt just once. 

As Jinwoo lingers against the wall next to you, head turned just barely so you’re in his line of sight, you grow increasingly agitated. Why the fuck did he come over here? Why is he looking at you? What’s his deal? He’s always doing this, he’ll follow you around just to piss you off. You swear he started going to the only coffee shop you like just to torment you with his extremely pretty, extremely punchable face. As your irritation reaches max cap you decide it’d be better to just take a deep breath and walk away, you don’t need to get into a pissing contest with this guy, you’re better than that. You’ll be taking your leave now.

You spring up, intent on heading for the door when Jinwoo calls after you, ”You don’t want a round?” Yeah, no. 

You turn around briefly, still walking backwards towards the door. ”With you? No. I can think of better things to do with my time.” You take a little pleasure in the way Jinwoo looks slightly shocked at your rebuff. You turn around and pick up the pace, hoping to get the hell out of dodge. 

Suddenly Jinwoo’s in front of you, blocking the door, having somehow appeared out of the shadows. ”Fuck!” You startle, you didn’t know he could do that, is there anything he can’t do? 

“The better things, what are they?” Jinwoo asks, staring at you intently as if your face will reveal the answer.

”What?”

”What are the better things?” He repeats.

”I don’t know, dude? Get laid? Not that you would know anything about that.” It doesn’t even occur to you until his face twists, all sorts of emotions that you’ve never seen on him. They mar his usually such impassive features; he’s jealous. You said it as a joke, really more than anything wanting to call him a virgin, but this is too good.  You have to hold in a laugh, it’s almost unthinkable, you have an antagonistic relationship with him at best. It intrigues you though, you wonder if you could push his buttons like this, he’s usually so unconcerned with others.

When Jinwoo doesn’t reply right away you take that as your cue, needling him, “Anyway- I do actually want to get fucked sometime today, so if you’ll excuse me…” You have no such plans but you wave your hand at him dismissively anyway, just to be a bitch. 

His face stays twisted but he doesn’t otherwise react so you push harder. Leaning in close to him and speaking low so as to not be overheard, “Unless you want to see to that.” It’s just to throw him off his game, you just want to see him gape like a fish, or maybe sputter, curse you out, anything. You’ve thought about what Jinwoo might be like in bed before of course, who hasn’t, a simple curiosity if you will. That’s neither here nor there, you’re truly just aiming to rile him up at this point; surely any second now he’ll reel back and run away.

 Instead Jinwoo grabs your wrist and pulls you out of the training arena. All that comes out of your mouth is a grunt, too worried about making a scene. Although maybe you should, where the hell is he taking you and why? He says nothing, simply dragging you down the hallway until he seems to sense an empty room where he promptly tosses you in; and for all your agility and grace you still land right on your ass. Great.

He shuts the door behind him just as you’re springing up, ready for a fight. That’s the only reason you can think he dragged you out here, to kick your ass away from prying eyes, the room is kind of small though, maybe he’s just that overconfident. You decide you won’t let him throw the first punch but it’s too late, Jinwoo’s fast, faster than you. You’ve barely had any real combat training as a new hunter and he’s the real deal. He’s in your space before you can even blink and you’re sure he’s about to beat you to a pulp. However no pain comes, there’s only a horrible sense of too-quick motion and then you’re seated firmly, feeling a bit dizzy. It takes you all but a moment to realize you’re sitting on Jinwoo’s lap, he seems to have scooped you up and sat down on a couch; you must be in someone’s office. 

“I’ll be seeing to that now,” Jinwoo says in a low voice, giving a healthy pause before he moves at all, perhaps to let your brain catch up with his words. 

It sure tries its best, running at a million miles a minute. You think about the fact that you hate Jinwoo, he’s fucking annoying, he’s stupid as shit. Your mind screams at you that he’s too powerful, it's dangerous, you shouldn’t get close. He’s too confident even if he can back it up, it’s kind of hot. You ignore that last part, you don’t who said that. However you also have eyes, he’s really fucking good looking and maybe if Jinwoo wants to fuck you so bad you can make him work for it a little.

You slip out of his arms and off of his lap. You don’t even dream of laughing at the poorly concealed heartbroken look on his face; it’s actually kind of sad to see. You click your tongue before sliding back onto his lap but this time straddling him.

“Come now, don’t make that face, I'm just getting comfortable,” you coo at him, stroking your thumb across Jinwoo’s cheek, it’s oddly tender for what the two of you have. He just looked so sad. He leans into it and it makes you want to be nice to him again, disgustingly enough. You lean in and give Jinwoo a soft kiss on the tip of his nose, deciding to kiss him more when he sigh softly, happily. You’ve never heard him make that noise, it’s entirely new to you, you wonder what kinds of other new sounds you can drag from him. More kisses, one on each of his cheeks, and again on the corners of his lips, missing the true mark purposefully. Jinwoo audibly swallows and his arms wrap loosely and hesitantly around your back. It appears all of his earlier confidence has sapped right out of him. You wonder if you were right on the money when you said he doesn’t know anything about getting laid.

You press a kiss to his jaw and linger there. “Jinwoo,” you whisper softly against his skin and he shudders. That’s cute, but you must stay focused, you have to ask, “Have you done this before?”

Jinwoo stiffens, “Define…’this’...”

“Fuck someone, baby.” He whines a little at the pet name and you make mental note of that. “Have you ever fucked someone before? Been with anyone? Made out? Kissed? What are we working with here?” 

He clears his throat and turns his head away from you as his cheeks go red. You groan and drop your forehead onto his shoulder. You were just going to mess with him a little, kiss him a bit and leave him wanting more; but there’s no shot in hell you’re going to fuck up his first time. He deserves someone better than you for that, someone he actually likes. You have to ignore the way that thought stabs you in the heart so badly you can barely breathe. 

“I’m sorry, baby,” you say, your forehead still resting against his shoulder, “We can’t do this.” 

“Oh,” Jinwoo says, voice flat, devoid of any emotion, truly reminiscent of the closed-off man that you so often see. His hands fall away from your back and you wince at the way he shuts down. 

“Hey,” you pour as much emotion into your voice as possible, “I promise it’s not you.” You tuck your head into Jinwoo’s neck and squeeze him tightly. You wonder if he can still breathe like this, you feel like you can’t despite nothing restricting you. “When you find someone you like you’ll be glad we didn’t do this.” He says nothing so you pull back to take a hesitant look at his face. Jinwoo looks angrier than you’ve ever personally seen him. 

“Already did.”

He grabs you by the face with both hands and before you can figure out if you heard him right, Jinwoo crushes your lips together too hard and too fast. However once your lips are touching he hesitates for a second, unsure of what to do next. Well, apparently you heard him right, and his hasty kiss answers all of your follow up questions about what he said, go figure. 

You can’t just leave him hanging, so you kiss him back like your life depends on it. All in all it’s a crappy kiss. Your teeth clack together painfully, he can’t seem to find a rhythm with you, and you bump noses incessantly too. Despite all this you can’t fucking stop kissing him; you don’t think you could even if the world was ending. Jinwoo pulls back after a bit, gasping, apparently no one ever taught him how to breathe.

You grab Jinwoo by his hair, “Breathe through your nose, dipshit.” Using your hold on his hair you pull him back into another kiss, delighting in his shocked moan. This kiss is slightly better, he seems to be learning quickly. Jinwoo wraps his arms around you again and grasps at the back of your shirt, you worry if he pulls any harder he might tear it. That could be hot though, an idea for later. 

This time you pull back first and Jinwoo emits an uncharacteristically pathetic whine in response. “Shh.”

 You press kisses up his jaw, before sucking a mark directly below his ear. You’ve never known anyone to leave a scratch on Jinwoo, maybe you’ll be the first. The thought fuels something new and feral in you. You begin covering his throat in as many marks as you possibly can, something delightful burning inside of you when you see each new bruise forming. You want him covered, you want everyone to know that this stupid man, this dangerous, closed off man is yours. Nobody else is allowed to see Jinwoo a mess like this, this is for your eyes only. That’s all you’ve ever really wanted, isn’t it?

“Jinwoo…” you whisper, your breath fanning across the spit-slick marks you’ve just made on his throat. 

Jinwoo shudders beneath you, “Yeah?”

“We are not fucking in a stranger’s office.” Just on so many levels that is not happening.

He sags into the couch like a puppet that just had all of its strings cut. “I truly hate you sometimes…” he says with absolutely no malice, in fact it sounds kind of whiny and you have to hold in a giggle. 

“Until about ten minutes ago, I was under the impression that you hated me all the time.”

Jinwoo scoffs and runs his hand up your side gently, “I don’t hate you ever, you’re just really annoying.”

You rub a thumb over one of his blossoming bruises, admiring your hard work. “Awww thanks, you’re also a real fuckin’ peach.”

“I do try.”

You roll your eyes, patting him on the head now that you know he won’t kill you for doing that, “Come on, you can fuck me in my bed later. I’m dying to know if I can fit your dick in my throat.” The last bit is tacked on with a pointed wiggle of your hips, just so you can feel Jinwoo’s cock straining against his pants. God, he’s such a virgin, it’s painfully cute. You absolutely would give him a quick hand job here just to help him out but it’s so much funnier not to. 

Jinwoo’s hips twitch and he groans deeply, the sound reverberating in his chest, “Fuck you-” 

“Happy to help!” Being a hindrance is your favorite activity, especially when it’s Jinwoo you’re hindering. You can’t believe you’ve finally found his weak spot. 

“Yeah, I’m sure you are…”

“Aww, I’m sorry baby,” you say, voice thick with condescension, “I promise I’ll make it up to you later, just be patient.” You press a quick kiss to his lips before you slip off his lap. He sighs, folding over and dropping his head into his hands.

“You’re a nightmare…”

“Yeah but I think you might like that about me… Just a hunch.” You’re not actually sure if that’s true or not. You’re not sure of anything anymore. Really where the two of you stand now is a total mystery, but the soft laugh Jinwoo warms your chest, and that’s something isn’t it?

With a soft tone Jinwoo says, “Get out of here, menace.”

“Yeah, yeah… Hey- see you later?” Your words come out as a question, quiet and hopeful.

He sits up and looks at you, the corners of his lips quirked up. “See you later,” he says, as if it’s the most obvious thing in the world.

Of course, you almost forgot, ever since you came here it’s been that way hasn’t it? Where you go he follows and vice versa, he’s your rival after all, what would you do without him?

#solo leveling #sung jinwoo x reader #jinwoo sung x reader #only i level up #solo leveling x reader #sung jin woo #sung jinwoo x you #jinwoo sung headcanons #jinwoo sung x you #jinwoo x reader #solo leveling fanfic #solo leveling headcanons #solo leveling jinwoo #Zephyrs Stories

[maddyhessesblog]

The Best of Both Worlds

The 2006 Disney Channel original television series Hannah Montana featured the double life of Miley Stewart and her (secret) second persona as the teen pop sensation, Hannah Montana. The show explores Miley's journey as she navigates her early tween years while also experiencing the challenges of fame, friendship, and keeping her celebrity alter ego a secret from her best friends.

How does the series use dual-focus narrative as a strategic storytelling tool beyond heteronormative romantic pairings?

In Hannah Montana, the dual-focus narrative extends itself far beyond the conventional romantic pairings as it provides a multilayered exploration of adolescence, fame, and identity.

Similar to Smash and Nashville (Stillwell), where the central conflict revolves around more professional rivalry and individual ambitions, Hannah Montana more closely employs dual narratives to depict the protagonist's struggles in merely maintaining a public identity as a celebrity who is also, in private, navigating the challenges posed by adolescent life.

As outlined in Stillwell's analysis dual focus is not solely defined by gender or heteronormative romance, but rather encompass broader themes and conflicts. The tension that rises between Miley's persona as Hannah Montana and her private life as a regular teen forms the real crux of the narrative.

Having this instilled narrative allows for Miley/Hannah's relationships to have less importance because we focus more so on her stories with her friends rather than romantic interests, especially considering her age.

What are the inevitable couplings within the series and how are they accentuated through cinematic similarities and contrasts?

The inevitable couplings within the series are not limited to romantic relationships. Hannah/Miley's relationship with Lily and Oliver encompass conflicts and resolutions within the narrative that are not rooted in just romance.

The series emphasizes the dual nature of Miley's identity and all of the conflicts that arise from it, from hiding her second life from her best friend, hiding her normal life from her first boyfriend, and learning that hiding any part of herself from the people she loves will always prevent her from being able to truly be loved in return. Miley's double life and the conflict that arises is accentuated through parallel editing and contrasting visual elements that highlight the difference between her public and private life.

Quicker cuts as Miley transforms from her regular self to Hannah Montana and vice versa creates an unorthodox sense of continuity despite the extreme differences in her public and private personas. Both identities face similar challenges like navigating friendships and familial relations despite different underlying contexts. Hannah Montana endures the same teenage troubles as Miley does, but she does so in the eyes of the media.

How does the series use musical numbers within and beyond the narrative world to replicate fairy tale, backstage, or folk musicals?

In the show, musical numbers exist as more than just entertainment because they are integral to the narrative and contribute to the replication of classic musical genres. Miley's everyday life is depicted with natural lighting and casual attire while Hannah's world is characterized by glamorous stage settings, bright lights, and elaborate costumes. The series accentuates these inevitable coupling of Miley's double identities is through musical numbers that distort the lines between fantasy and reality. These sequences transport viewers into a world of spectacle which mirrors the allure of more backstage type musicals.

The musical numbers in the show often serve as a reflection of Miley's internal struggles and desires which then Hannah performs on stage. She expresses her struggle with the double identity and how she goes about navigating those complex emotions and dilemmas is explained in the songs she rights, though obviously not exposing the truth about her life. These musical sequences replicate the spectacle associated with fairy tale musicals with transforms Miley into a practical modern day princess, a pop star.

@theuncannyprofessoro

#oxyfilmmusical

[mrsiggytheimp]

did anyone else notice how useless the second part of scene 2 (chapter 2) of Stellarlune is? When it goes into too much detail about Dex explaining Keefe’s ability to Sophie, even thought it already explained it comepletely the previous book? I just think It could have been more brief, and it kind of slows everything down when for the chapters and a half previous to it, it was either releasing new information, new questions, answering questions, or solidifying those, and then half a scene is dedicated toward recalling a scene in detail just last book. It definitely needed to show that Sophie found out from Dex in this. Though I also think Shannon kinda built up Dex keeping the information secret from Sophie, just for Dex to easily be convinced and tell her everything. I personally think she either could have not built it up being a huge secret for half the scene, or kept it a secret for the other half of the scene, and revealed only what Sophie NEEDED to know for the plot, but kept the details that were more personal to Dex, Keefe, and Rex to himself. I feel like Sophie has been through enough books and has enough of her own personal secrets that Dex could have given her the bare minimum of what she needed to know, and she wouldn’t have pried, either that or she would, and Dex could have a personality or (forbid) an arc, and then we could further develop Dex and Sophie’s relationship ship through conflict, and the resolution T h r o u o u T the book instead of piling it all into one scene or conversation like Shannon does sometimes, and built it into every interaction between them, with a nice short exchange of words for communication. I also think that Sophie was kind of pushy with voicing her theory of how Dex and Keefe found out of all of this. I also think that throughout the series, Sophie has had a l o t of correct theories and assumptions, that her wrong assumptions just don’t outweigh, that’s kind of a Mary-Sue quality (I don’t think she’s a Mary-Sue, I just think she has some qualities) and I think that a reason a lot of people say the the co main characters are low key useless is because, while they help a lot, Sophie is defeinitly the main, in everything. I like that she’s the leader, and I love her arc throughout the series, but I think she should have defin… Defincitisies… the opposite of proficiency— (I’m so sorry) I think she should weaknesses in certain areas that other characters have skills and strengths that Sophie simply doesn’t match up to. It’s set up, honestly, but it’s not used. Keefe and Fitz could be the more charismatic, where Sophie can be overly Sarcastic without all that much self control around it, which is really something she does from the very beginning of the book, where she’s shy and withheld with her personality, but as soon is Fitz is like “yer and elf, Sophie,” she whips out the iconic Sophie Sarcasm. Cause she ain’t taking idiots and stubborn people, and in diplomacy, that can cause problems, and as Sophie accepts her role as kind of a diplomat, her sarcastic tongue can cause problems, is what we would think with how she acts with her friends and other characters, but, maybe I’m wrong, it doesn’t seem to. I just think that Fitz or Keefe would need to at times be like “Sophie no—“ as they’re the more charismatic characters.

(I’ve also noticed that the more level attitude tends to go to the male characters, a by product of most of the families haveing the same kind of girl boss personality, the ‘inability’ to speak up to authority often being characters with weak. I think the stereotyping of dumb weak females is quite obviously a problem, but the extreme avoidance of a stereotype can become it’s own stereotype when done to much) (edit: the exception being Edaline, not as a girl boss, she is, but with her, have a more level controlled attitude is portrayed as a virtue with her) on a more fun example, I think someone like Marella could, as a nod to her desire to manifest as an empath, could be very empathetic in nature, but a Marella fashion, not care. Which is why characters work together well. Marella could be emotionally intelligent and outspoken, but unsympathetic, and then other characters (idk who) tag onto that, being naturally blind to people’s emotions, but know how to respond. What I’m trying to say is, in the series, it tends to be “the other characters help, but Sophie Carrie’s the team.” This translates in the series to “Sophie can’t physically do everything because she’s a person, so other people hold her up.” If Sophie was hypothetically much mentally stronger, she could carry everything. What I think would be more interesting and for better would be, even if Sophie was perfect at everything she was good at now, it wouldn’t be enough even then, because there are things that she falls short of as a person, not as a strength level. Which is why she has other people, it’s why relationships exist, without them we couldn’t invent, we couldn’t progress. There’s a point where we stop being able to figure things out because that’s who we. So we figure things out to our extent, and someone else picks that up because of who they are, someone who couldn’t have done what we did. this isn’t to say helping people because they just aren’t strong enough to rise higher and picking up that slack isn’t an integral part of relationships. I envision it as sometimes there’s a wall, so we stack on top of each other to reach the top, but sometimes there’s a lever, a puzzle, and a key, so one of us pulls the lever, two of us work on the puzzle, one of us grabs the key, a few of us stack on each others shoulders to reach the key slot, and then we put it all together to get through the door. Idk though. I kind of went off on a tangent. I’m really curious about anyone who disagrees with any of my points, I want to know other people’s perspectives, or if you think Kotlc does portray the things I said it didn’t, or why is doesn’t portray the things I said it did, or why you disagree with that is a value.

#kotlc #stellarlune #sophie foster #dex dizznee #another example because obviously I can’t leave you all in peace: the Greeks did all the stuff with math #So that Einstein could figure out more stuff about math #So we could teach it to high schoolers who can apply it to other stuff #Maybe idk I don’t know all that much about this #Also #if you think I’m proof reading this to check for spelling errors #think again #keeper of the lost cities

[feluka]

what's up i'm still very ill with this bug/flu/whatever and i'm going to start binging all of good omens season 2 in a minute. but to spare you all 59850 posts on your dash about something you might not care about, i will instead use this post to liveblog! i will be going back to this post and editing it with every update, so if you're interested in hearing my thoughts you can come back here (and if you're not it should be easy to avoid)

here goes!

update #1: when i started watching i SWORE to myself i would let it all play out before obsessively rewinding the bits i liked after it was all over. less than 2 minutes in and i failed.

"I'd hate to see you getting into any trouble." now what if i chewed my arm off.

update #2: crowley shielded aziraphale first before aziraphale shielded him in the garden of eden???? what if i cried.

update #3: the power is finally back so i've finished episode 1. all this talk about the book of life is raising my goddamn hackles. terrified to see how it comes into play. it's very interesting to me that crowley hasn't told aziraphale about it, too. i personally think aziraphale would still hide gabriel even if he knew about the extreme sanctions.

also, shelly conn is fabulous but i feel her version of beelzebub is *much* more animated than anna maxwell martin's. she's incredible and i love all her mannerisms but at the same time i was very attached to the stoicness of the previous beelzebub so it'll take a little bit to get used to.

update #4: aziraphale doing the little 'one two three four' with his finger before singing to maggie. he's so precious to me he's the specialiest little guy in the world for me and i understand crowley because i, too, would get into trouble with both heaven and hell to keep aziraphale safe

update #5: episode two done. thoughts:

1- this is just a romcom isn't it. i mean.

2- the music that played while aziraphale said crowley needed to take him to hell invokes the music that played during the bandstand scene in episode 3 of season one. i LOVE each and every scene that examines the themes of 'your side, my side, our side' <3

update #6: i'm (not unpleasantly!) surprised that they're addressing aziraphale's classist rant from the book. on one hand i'd just considered it one of the things the adaptation decided to do away with, but now that they've acknowledged it, i'm now very excitedly anticipating a resolution to that conflict. because if i remember correctly in the book the matter didn't really get resolved, aziraphale just dropped this bombshell on me and i had to put the book down for a minute lol

i guess they've been hinting at beelzebub spying on the bookshop using the flies, but i'm curious as to why they would have that knowledge and pretend they didn't. what's the benefit for playing coy here? either there is, and we don't know what that is yet, or the flies are a red herring.

update #7: finished episode 3 and i'm honestly not sure i understood a lot of it! what happened to crowley after falling through the gorund?? did they send him to the pit of torture or whatever for stopping the suicide? also aziraphale is my favourite character but if he says something like "the virtues of poverty" again i'm going to bite his head off. anyway. crowley. don't you know you're a fictional character and that according to all laws of fiction, if you say "if any harm comes to aziraphale" it means it's probably gonna happen? smh

update #8: i still haven't watched any more since last update but. oh dear. i'm too worried to click 'next episode' because 1- the more it dawns on me what might've happened to crowley after getting pulled into the ground i get so hopelessly depressed and 2- 'it's too late. it's always too late' is a very worrying note to end on and i'm positively terrified!! for future reference don't watch anything emotional or worrisome while having a stomach bug. i'm writhing in my seat lol.

update #8: the chat between "jim" and crowley. i am gonna need a short break before unpausing :)

update #9: so i haven't updated for a while because i couldn't think but i just finished the series. i think i can't think. i think i need to sleep and i think i'm very very very very very sad.

#good omens spoilers #gos2 spoilers #good omens

[ouyangzizhensdad]

Do you think with all the censorship in place there could be a good (or better than the one we have) live-action series adaptation of MDZS? I find the existence of this adaptation fascinating - not its popularity or reach because it's a fun, easily-consumable piece of media that is goldmine for fandom work - but the existence of it in the first place. Like, sure, there was a market for it, it was going to easily make money (and made way more than presumed) but it's fascinating to me that out of everything they could make a money-making adaptation of they chose a story with morally grey characters and actions, disrespectful depictions of death and afterlife, and same-sex romance when the censorship broadly covers these three things and MDZS is just these three things. So much of its conflict and themes are connected to these three points, so do you think there could hypothetically be a show that keeps the core of the dynamics and the characters and the themes while still censoring the romance and the gore? People keep saying "they did a great work with the censorship!" and while I do not know the nitty gritty of everything the censorship covers, I think a better writing (possibly with a better budget) could keep so much more of the source material intact.

Hi anon,

I think any adaptations of mdzs having to grapple with censorship will be extremely limited, if only for the fact that it is a romance that actually builds toward a resolution. However, I do think the creative team behind c/ql made many a questionable choices or displayed flaws that have nothing (at least inherently) to do with censorship

Misunderstanding wwx's character so fundamentally, to the point the actor who plays him says things like, 'it's so exhausting playing someone who cries so much' (and while I can understand what censorship had to do with it, could they have not found a way to keep wwx as the, you know, mdzs?????)

Making lwj into the chief cultivator at the end like.... what a Choice(TM)

The change to the non-linear timeline

Changes to dialogue that have nothing to do with censorship (I will never forget the mind-boggling decision to change 不管是什么人，总归是人，不是别的东西 to 不管是谁，反正是个人，不是东西)

Ruining Wen Qing and MianMian

Some truly incomprehensible casting decisions

Bad technical aspects (sound design, editing, costumes, cinematography, vfx etc. etc.)

Bad directing

etc.

#anon ask #brine corner

[stygianpen]

When Is a Book Ready to Query?

So you've written your book, and you're ready to take the literary world by storm. You've been daydreaming for months, maybe even years, imagining the thrill of seeing your words in print, captivating readers and stirring emotions with every turn of the page... but you still have one more hurdle.

The query process.

The querying process, dear writers, is a rollercoaster ride of excitement and anticipation - and sometimes sheer terror. Because of this, it's vital to gauge when your manuscript is truly prepared for the process. In this brief introduction, I'll chat about the importance of readiness and the key indicators that signify your manuscript is poised for querying success. Ready? Let's go.

Polished Writing and Editing

When preparing your book for the query process, I cannot emphasize enough how important it is to showcase strong writing skills encompassing proper grammar, syntax, and sentence structure. It is not uncommon for new authors to assume that the bulk of editing gets done once a publisher takes hold of their book, but that is not the case.

These elements contribute significantly to creating a polished and professional manuscript that captivates agents and publishers, so should be established before you send that first letter.

Additionally, thorough editing, revising, and proofreading are essential to eliminate any errors or inconsistencies, ensuring a seamless reading experience.

Last but not least, consider seeking feedback from beta readers or critique partners as it can immensely enhance the overall quality of your manuscript, through valuable insights and constructive criticism, refining your work to its fullest potential.

Always remember: Constructive criticism is your friend, NOT your foe!

Cohesive Plot and Engaging Storytelling

Your future readers want a book with a captivating plot that holds their attention from start to finish. A well-structured narrative with compelling conflicts and twists keeps readers eagerly turning pages and ensures their engagement throughout.

Focus on creating well-defined characters to add depth and relatability to the story. This will allow readers to connect with the characters on an emotional level which is SUPER important when it comes to their enjoyment of your story. And let's not forget about creating a fleshed-out world for your characters to exist in.

Finally, a satisfying resolution will bring closure to the narrative, leaving readers with a sense of fulfillment. Alternately? You can work with cliffhangers to build interest in future stories within your novel's universe.

With in your plot, character creation and world building, incorporate vivid imagery, skillful pacing, and a unique narrative voice. By going the extra mile in these areas you'll be more like to capture the interest of literary agents or publishers, but showcasing your talent and ability to create an immersive world, standing out in the extremely competitive literary market.

Market Awareness and Genre Fit

Do you know your genre? How about your target market? Knowing the intended readership and the conventions of the genre will allow you to tailor your work to meet the expectations and preferences of literary agents or publishers.

This may be something you push against for fear of it taking away your unique story or voice, but if you are pitching your work to traditional publishers, you're going to need to pay attention to the market and your genre.

By researching current trends and successful books within your genre, you can aligning your manuscript with these trends and incorporate elements that have proven successful, increasing your chances of capturing the interest of industry professionals.

You may even find a publisher during this process who has published works similar to yours, putting them at the top of your query list!

It is of course still important to strike a balance between originality and familiarity, ensuring that your manuscript stands out while still meeting the market's expectations.

Professional Formatting and Presentation

One of the more frustrating parts of querying your novel is the need to adhere to the unique requests of each publisher and literary agent you reach out to. Thankfully, there are some basic elements you can prepare to make it a bit easier on yourself. Before querying, be sure to have the following ready:

Your pitch

The synopsis of your novel

The outline of your query letter (to be tweaked for each target)

An author biography

The goal here is to ensure that your manuscript is presented in a consistent and polished manner, while being personalized to your chosen publisher or agent's requests. Let's use "Publisher 1" and "Publisher 2" to see what these differences could look like:

Publisher 1

When sending your submission, please write your query letter in the body of the email and attach the first 10 pages of your novel.

Publisher 2

All submissions must be sent via email and all items must be included in the body. Include the following:

A 150-word author biography and social links

Your story pitch

The synopsis of your novel

It is essential to carefully follow the submission guidelines provided by literary agents or publishing houses. Each agent or publisher will have other specific requirements, such as preferred file formats, word counts, or specific information they want to see in a query. Respecting and adhering to these guidelines shows respect for the industry professionals' time and increases the chances of the manuscript receiving a fair evaluation.

If you're not ready to really work on getting it right when sending your queries, you are not yet ready to query.

Confidence and Self-Assessment

Last but certainly not least, when you're trying to assess if you're ready to query. It's you who is going to really determine the answer to that question. Ask yourself these questions right now:

-Do YOU feel that your book is polished? -Do YOU feel that your book best represents the work you can produce? -Do YOU feel confident in the quality of your manuscript? -Are you prepared to send out at least 100 query letters and deal with 99 rejections?

That last one is as real as it's going to get. Because of this, it's important that not just your manuscript, but you yourself are ready to embark on the query process. If you don't think your ego can handle rejection at this point in your career (and I mean that in the kindest way possible!), then you are only going to hurt yourself.

Start by requesting external perspectives. Seek feedback from writing communities, friends, and even strangers online. Receive some criticism and get used to it. Once you've waded in the shallow end for awhile, you'll be ready to dive into the deep end of querying.

Final Thoughts

Embarking on the journey to publication requires persistence, patience, and unwavering belief in your work. Remember that the querying process may have its ups and downs, but don't let rejections discourage you. Stay confident in the quality of your manuscript and seek feedback to refine it further. Embrace the power of constructive criticism and use it to fuel your growth as a writer. With each rejection, you're one step closer to finding the right fit. So keep going, keep querying, and never lose sight of your dreams. Your words deserve to be shared with the world.

Best of luck on your publishing journey!

(Oh and hey, if you'd like to send me a query, I'm a great person to start with!)

#writing #writing community #creative writing #new author #writing help #writing tips #writing advice #writing resources #writing tips and tricks #query letter #how to query #find a publisher #find an agent #get published

[booksopandah]

The Eye of the World by Robert Jordan (The Wheel of Time 1)

Hi! Sorry, I haven’t posted any reviews in a while, I’ve been reading this book. It is very, very long.

For those who know nothing about this book, much like I didn’t last month, it is the first book in a very long series of high fantasy novels. Have you read Lord of the Rings? Then you know what you’re getting into. Except it’s longer.

The story introduces Rand, Mat, Perrin, Egwene, Nynaeve, Lan, Moiraine, Thom, Loial, the eternal struggle between Darkness and the Light, and a bunch of people who I have probably forgotten where are bound to be important later because again this is high fantasy.

If you like witches and knights in shining - or bloodstained - armor, teenagers being told to save the world and suffering through it, great evil monsters and global wars and high stakes and the small joys that have to be cherished to not succumb to the agony and despair of a thankless and seemingly unending quest, with possibly only the knowledge that you helped, and are going to be killed for your assistance at the end. If you like that, you’ll love this book. It’s great for that. On the other hand, my absolute favorite part of the book was either a deliberate time loop, which was spooky and awesome and suprising, or an editing error, so you can see the predicament I’m in.

Do I feel like this book is extremely heavily influenced by Lord of the Rings? Yes. Is it a bad book? I don’t think so. It’s pretty good honestly, I did actually really enjoy the prose, and though the characters (and conflict resolution at the end) were a little lacking, I still consider it a good, very dense read. That being said, if all of this sounds exactly not like your cup of tea, don’t waste your time. There are like, 13 books in this series. It’s too long to not enjoy it. I will read the next book, eventually. Not now. Happy Reading!

#books #sff books #the wheel of time #robert jordan #the eye of the world

[chriswick47]

Sources from the world of “Totally Non-Biased News Agencies” report that the Israeli jets were on a mission to send a strong message to Iran’s Revolutionary Guards. Forget diplomatic channels; apparently, the international community has now adopted the “drop a building on them” approach to conflict resolution.

[852-between-the-pages]

"The Reluctant Fundamentalist" by Mohsin Hamid – A Masterpiece of Cultural Identity and Sociopolitical Commentary.

Rating: ★★★★☆ (4/5)

"The Reluctant Fundamentalist" by Mohsin Hamid is a thought-provoking novel that captivates readers with its unique narrative style and exploration of cultural identity, personal transformation, and the impact of global politics. Set in the aftermath of 9/11, the book offers a nuanced portrayal of the tensions between East and West, highlighting the complexities of belonging and the consequences of prejudice and stereotypes.

The story is presented through a gripping monologue by the protagonist, Changez, a young Pakistani man who once pursued the American dream as a successful financial analyst in New York City. However, following the tragic events of 9/11, Changez's perspective undergoes a profound shift, and he finds himself torn between his American aspirations and his loyalty to his homeland.

Hamid's writing style is engaging and evocative, drawing readers into Changez's world and allowing them to intimately experience his internal struggle. The author skillfully crafts the narrative as a conversation between Changez and an unnamed American listener, creating a sense of tension and ambiguity, leaving readers to interpret the story's true intentions and underlying messages.

One of the novel's strengths lies in its exploration of cultural identity and the effects of Western imperialism on individuals from the East. Through Changez's introspective journey, Hamid presents a nuanced portrayal of the complexities of identity formation and the challenges faced by those who straddle multiple cultural worlds. The book encourages readers to critically examine their own preconceptions and biases, challenging them to question the narratives fed by media and political agendas.

Furthermore, "The Reluctant Fundamentalist" serves as a powerful sociopolitical commentary, shedding light on the consequences of America's post-9/11 foreign policies and the subsequent rise of global extremism. Hamid raises important questions about the impact of power imbalances, cultural misunderstandings, and geopolitical conflicts, urging readers to reflect on the far-reaching consequences of such actions.

However, the novel might leave some readers longing for more resolution, as the open-ended nature of the narrative can be both intriguing and frustrating. While this ambiguity aligns with the book's themes, it may leave certain plot points and character arcs unresolved, potentially leaving some readers yearning for a more conclusive ending.

Overall, "The Reluctant Fundamentalist" is a compelling and thought-provoking read that seamlessly blends personal introspection with broader sociopolitical critique. Mohsin Hamid's masterful storytelling and exploration of complex themes make this novel a must-read for those interested in understanding the intricate dynamics of cultural identity, post-9/11 society, and the impact of global politics.

Asia Rahman Khan Lodhi [Consul Press at the Consulate General of Pakistan, Hong Kong (SAR) & Macau (SAR)]

Note: This review is based on the original publication of "The Reluctant Fundamentalist" and not any subsequent editions or adaptations. The views/ ideas in the book are purely of the book’s author and are not necessarily endorsed by the book reviewer. 

[makeshiftsun]

Submission week prep

Some thoughts to prompt discussion with during the meeting with Christina, based off Christina’s set of points.

1. Analysis of your art practice over the year:

- My work is sitting really as a culmination of the continuous development. It has been a lot of linear progress rather than tangential, distilling concepts, developing methodology. Previous work from this year can really be viewed as increments of progress. The first term was focusing on understanding these materials. The second term was looking at compositions, structures and motifs, with materials being more of a means to an end. This second semester has been the process of connecting the materials and painting methodology with the conceptual language, and distilling things down to their key elements.

2. Resolution and plans for completion of work:

3. Selection, editing decisions and exhibition requirements:

- The works I’m creating are all reasonably large scale, so while I’m creating as many works as I can, its still a relatively low quantity. I currently have four works in various stages of progress, but am aiming to complete maybe one or two more for install. Even the largest studio spaces, some of which I’m applying to install in, only have space for a max of many 4 large works. Having five or six large works would give me a couple of editing options, and I also have the option of bringing in some midyear works. I would most likely bring in the small ones as they are more different to these new works than the larger ones, and would be more dynamic in relation.

4. Contextual Portfolio:

My contextual portfolio will definitely be more heavily weighted towards this last term as a point of culmination.

5. Artist statement:

- The evolution of my practice, including the process elements are all heavily conceptual. It’s extremely important to me that the conceptual thinking is laid out in the statement, however a certain amount of opaqueness is also valuable. Some opaqueness is especially important because you can’t adequately describe your entire conceptual process in an artist statement, so you must choose what you make clear and what you leave out. This will also avoid my statement becoming too much of a manifesto.

The key pillars of my artist statement will be Conflict, Structure, Material and Painting/constructing process. Communicating these pillars and the connection between them concisely would be the key to adequately articulating my practice for a viewer/ external assessor.

[greysvs]

Sunrider academy denpa edition

#Sunrider academy denpa edition series#

Her default expression is a frown, and she almost never smiles during the story sections. She is cold and harsh towards everybody, demanding every student to obey every regulation, no matter how inane. This would be far more emotionally satisfying than simply having Chigara say they made up.Īva is a perfect embodiment of the overachieving childhood friend: she is the top student of Sunrider Academy, the President of the Student Council, and a stickler for the rules. This makes him involved in his story, giving agency to the player. Have him engage both sisters throughout the route, and convince them to make up. There’s a simple fix for this: have Kayto refuse to give up on the Asadas, and instead push them towards reconciliation. This is a romance story, though, and there must be a happy ending. The more likely and realistic outcome would be Kayto cutting ties with the Asadas permanently. The final reconciliation was also unsatisfying: it’s hard to imagine that Kayto would suddenly welcome Chigara back into his life after the sisters put him through so much emotional stress. The entire resolution occurs off-screen, delivered only by exposition. Throughout Chigara’s route, Kayto becomes increasingly passive, focusing solely on his club responsibilities and studies. Heartwarming, certainly, but with one problem: Kayto had nothing to do with it. By the story’s end, they have made up and stopped impersonating each other. Instead, the story is resolved in an extremely convenient fashion: as Chigara coaches Lynn to act like her, the sisters find common ground to bond, and resolve their differences. This could have been the setup for a psychological thriller. It gets to the point where Kayto can’t tell who is who anymore. Worse, Chigara gives in to her sister’s whims, allowing Lynn to take her place in the Academy. After all, Chigara is the favored daughter - created by their parents to be the perfect girl.Īs the story progresses, Lynn tries to impersonate Chigara and steal Kayto from her. Chigara just wants to get along, but Lynn wants to take everything from her sister. Where Chigara is all sunshine and bubbles, Lynn is broody and depressive. The conflict in her route is driven by her twin sister, Lynn. She is also meek, innocent and girlish, the very definition of a moeblob. She’s a genius, but she’d rather be a baker. Chigara is the captain of the science club. I��m a pessimist, so I’ll start with the worst route: Chigara’s. To illustrate this, I’m going to break down the romance routes in the story. Tropes are not bad in of themselves, but the developers relied far too heavily on them to carry the plot instead of building on them to build better stories. Sunrider Academy relies on a number of well-established VN, anime and manga tropes: the overachieving childhood friend, the moeblob, the genki girl, the emotionless girl, conveniently contrived clumsiness leading to predictable perverse positions, and so on. While Sunrider Academy delivers competent stories for all four routes, it is hamstrung by its Japanese influence. When you choose a girl to pursue, the humour gives way to drama, teenage angst, and romance. The common route, spanning the first few months, is chock-full of in-jokes and moments of hilarity. The player must juggle Kayto’s studies, club affairs and love life over an increasingly hectic school year. And, Kayto has to keep his grades up to retain his position. When he goes to school, his childhood friend Ava Crescrentia, President of the Student Council, charges Kayto with turning around three sports clubs in danger of being disbanded by the school. In the beginning of his second year, he promises his kid sister Maray that he would get a girlfriend. In Sunrider Academy, you play the role of Kayto Shields, Vice President of the Student Council. That said, I enjoyed my overall experience with the game.

#Sunrider academy denpa edition series#

If not for its tangential connection to the Sunrider series I wouldn’t even have picked up Sunrider Academy. I don’t play dating sims, and visual novels only rarely. Where the original game was a turn-based strategy game featuring intense battles between starships and mecha, Sunrider Academy is a time/stat management dating sim. The Sunrider series is a collection of visual novels powered by the Ren’Py engine, with gameplay sections interspaced with VN storytelling segments. Set in an alternate universe, Sunrider Academy reimagines the main characters as high school students. Sunrider Academy is a spin-off from the Sunrider series.

#Sunrider academy denpa edition

[thediaryofaudreysaxton]

September 21st, 2022

When I realized I could see myself with The Scientist, I slept with his best friend the following weekend; an instinctual rebellion and clear escape.  

The Scientist was now a neuroscientist, but before that he was just the boy I’d known for 15 years. We swam in rivers and laughed until we choked making fun of our exes. He took me home, annoyed me, and answered my calls. 

I saw our potential in the morning. The potential life of The Scientist and I. 

Fully clothed, we lay in his bed staring up at the white stucco ceiling in silence. The air felt hot as a I adjusted my corduroy pants, tugging at the hip closest to his own vertical body. He wiped his mouth with the back of his hand. 

We had spent the previous evening making out at a bus stop in the rain. It felt weird and inappropriate and totally hot, me and my best guy friend kissing. 

We would live in a high-rise in a major city like New York or Boston, wherever The Scientist’s chief lab and team of researchers were located at the time. We’d move a lot. I was adaptable. I’d grow my own basil on the roof and he’d insist ‘the help’ tend to the garden and not me. Don’t muddy your softs hands, he’d tell me. I’d frown, kiss his cheek, and then twirl in my satin umbrella skirt—a skirt long enough to reach down and touch our heated floors. I’d skip off across the foyer and into my dense study to continue smelling first edition classics. I’d wear chopsticks in my long hair (I’d have extensions), open a home for foster-care children, and collect oddly shaped rugs. We’d attend gala’s where The Scientist would accept prestigious awards. I would charm his inferior yet distinguished colleagues, and he would adore our union because I made us both more likable. Intellectuals from every corner on earth would know me as The Scientists Wife; a magnetic woman who brought new thought to concert halls in Oslo and Stockholm. The Scientist’s wife, what a lust for life, her genius a surprise. Mars has two speeds of sound, the human genome has been decoded, and Audrey Saxton enhances the opportunity in every space she enters.  

I met The Scientist when I was 15. We had AP History together. He was funny, smart, my same height, and kind of ugly. A pale jewish boy with butthole eyes, a thick penis, and a particular mix of sexual bravado and extreme self-hatred. He was arrogant and judgmental, I was excitable and chubby. We were both severely insecure but hopefully I’d always be better looking and he more successful.  

We would live independently, in this life I let us have in the moment between sleeping and waking. He would be gone a lot and I would fane disappointment for the sake of our egos. Adhering to the expectations of my gender, I would miss him as he continually chose his research over me and our family. But in reality this would save me. Save me from growing bored of him, liberate me from complacency, allow me the constant thrill of conflict and delicious resolution. I would remain free and the chains attached to welcoming his bountiful resources would be brittle because of our history and thus loyalty. I would accept his gifts giddy and we would both know I could have been anything I wanted.  

When we woke up after a night of pressing our mouths into one another, dry humping in clothes, touching tongues, we were quiet. 

Next, we were loud. 

We both turned on our sides to face the other and we screamed bloody murder. We laughed and we cringed. Grimaced, grinned, and pretended to throw up. This is so fucked up, we both said. And we pinky swore not to tell anyone and agreed that this meant nothing.

 We were just friends. 

[deoffal-mp-adm7000-n-s1-2022]

My technique after the Spits (how the 57 and the 63 were made):

Before showing anymore posts which include images of my work in situ or publications etc, I want to give a quick synopsis of my processes and materials behind the final resolutions, and after having covered my paintings its only fitting that I elaborate on why I didn’t just keep making paintings on mass and instead leaned on revising and getting back into ink and the achromatic through illustration. As this post evidences in the top images and throughout my notes here, I’ve broken everything down into the most layman mode I could possibly do, for the sake of keeping this post about the practice and not the philosophies behind the imagery. This post is about how the job is done, not why the job looks a whole lot like this. 

Firstly I’ll evidence my materials and tools (bare in mind I won’t be showing pencils and rubbers I use, as I only use a simple cheap rubber and a simple and cheap box of 2 pencils, or HB depending on my mood, there’s no real character there either way, if it was super important I would include it, but those tools are just so common it’s not worth evidencing them when comparing them to the more complicate collection of ink tools I will be discussing):

Fig 1. The paper.

Fig 2. The selection of markers.

Fig 3. Whaline brush tip and edged tip markers.

Fig 4. Shuttle Art markers.

Fig 5. Whaline fine tipped liners. 

Fig 6. The Staedtler brand of designer pens. 

Fig 7. The Paint. 

Fig 8. The brushes, scrapers, straws, artificial hair brushes and natural hair brushes etc.

Firstly, I of course go through many of these Daler Rowney sketchpads, they aren’t too expensive and the rigidity of these sheets has often been a great medium for me to work with. No reason to be snobby about paper, when it works it works and I’ve made many hundreds of images on this paper and so I how it well and find it very easy to work with and to exhibit, it’s just as pliable as the lightest canvas material, yet strong enough that it can withstand water and paint incredibly well, and ink doesn’t bleed as easily into it. The selection of pens later applied on this paper run the gamut from making the finest of details in the wisp of a hair, blacking out the borders of a portrait for later painting, or simply to make hundreds of marks quickly without having to painstakingly scratch them in with the smaller tipped liners. This process of using liners and markers in contemporary art is of course a popular medium among comic illustrators and graphic novelists, in particular and found best in the works of Japanese illustrators such as Junji Ito, Suehiro Maruo and Kentaro Miura (as evidenced here, 1 is Junji Ito, from his graphic story: Planet Remina, 2005. 2 is Suehiro Maruo’s version of St Sebastian, 2021, many of his other pieces are maybe a little too graphic for tumblr so you get the picture. 3 is Kentaro, emblemised best by his series Berserk, 1988 to 2021, 41 volumes, may resume production this year after the death of Miura suspended the series in typical japanese manga tradition, in short, mangas often die with their creator, but Berserk is a gigantic franchise and won’t fade from public consciousness just yet, and with this one panel you can see why)

1.

2.

3.

These panels of course take hours upon days at a time and are often drawn with much of the same tools, the greyscale and tonal differences between the gray and the rest of the marks is made in post through various forms of editing software, this of course being a graceful advancement for illustrators such as this, given just how many panels they make in a year and how often the panels have to be approved or reworked for specific stories and to best showcase all the narrative elements without overdoing it. I of course have no love for grey scaling within my pieces, as that would conflict the value found in the extreme contrast within each piece, in turn symbolising my work as the bridge between dark subjects and the literal and figurative ability to shine a light onto them, in turn making such bright details and yet with absolutely soaked in black backgrounds, further emphasising the faces on show. In the examples shown you can see the build up of marks in both my work and that of my featured idols, alot of what I do is about taking a simple sketch and ever adding and mutating it into the image I want it to be, and that’s why ink is such an exciting media, with it’s strong and dense pigmentation in it’s black choices, you can really see just how the page becomes a work of art and how the white isn’t merely dredged over, but becomes just as important as the patterns over it.

It’s important to mention that my pencil sketches as discussed in a previous post are automatically drawn and a featured best here, are by no means the same image by the end, it’s an evolution and this is of course most fitting given the subject of this piece. I also chose this piece to document as it’s one of the earliest works in the 63 and so I wanted to document atleast one piece for Instagram and for this project, knowing full well it would look good to explain and properly show how I work beyond a starting sketch, especially before I finished the 63. This trend of showing progress is quite popular on social media and so it’s a trend I can easily get behind given just how many sketches I make per month (at one point it was 40 within 3 weeks), I have been posting my sketches every time a new batch are started to clue my audience into the realism of what I do, and the response seems to be quite positive. Speaking now of my actual processes, firstly I take the finest of liners as evidenced above, and build up the essential shapes, this means outlining all the minute and much more minor aspects is essential, everything has to have an outline first before the larger, faster and darker marks are made. Once this beginning stage is out the way I work to strike in the majority of the black into the most dense of areas, while using various modes of hatching and scratching with the fine tips and more brush like tipped pens to create the texture of the piece. Once I am satisfied that the entire piece is marked up (This being shown best in the 5th descending order picture of my piece, all central and and greater details blacked in and well textured but no overworked due to how quickly I fill and finesse an area, with a combination of the smaller brush like dual tipped liners and the bigger fine point markers that are the average ink marker, sharpie sized I guess if I had to compare it to anything) I put a thick black mark round all the outer edges, so as to blend the final layer of paint with the rest of the piece, and so no outlines are lost when I go to paint, unless areas need softening to blend better with the background. The final steps are to paint in some darker shade and to fill in the background, this is done with a wide array of brushes, the background may be painted with straight square tipped brushes so that I don’t go madly over those outlines again, yet mainly to connect the ink border and the paint smoothly. The central detail may be worked over with a much smaller, rounder brush to keep the detail blended into each other, if I wanted more rigid blackness in the piece then I would just stick to the square tips and dry them so that the brush can use the paint the same a felt marker stiffly marks ink into things etc. I only apply as much paint as I need to cover areas of importance, the black I use for my paint and ink markers, typically dry quite matte and very pigmented so I don’t need to overwork or add multiple layers of paint and ink to any of this piece just to get a good concentrated blackness all over. Once the piece is painted it is dried in sunlight on my windowsill, then pressed under some books and old sketchpad boards, this flattens the piece for scanning, you can’t scan bowing pieces because it messes with the fitting of the piece in the scanner and it ruins the symmetry of the paper when scanned, so I use any weight to take the bow and it works perfectly. The ultimate and total resolution of the work is handled first by scanning the works into my laptop through my home printer and scanner, then filing the work into a plastic wallet into it’s grouping of ten pieces (just a way to chronologically group pieces so I can find them far easier, especially when working with tens of pieces that are all the same scale), then I work over the pieces on the laptops own editing software to up the contrast and replicate the real world look of the piece, given scanning can often make a piece brighter and so I have make the piece darker and more contrast centric and the ink and paint can reflect differently at first, looking often as if they are different tones of black, so I correct that and use the digital version for my Instagram and coursework of course so it has to represent the real piece exactly. Once a piece is edited it’s uploaded to my google drive for storing the works somewhere where they won’t be lost or mishandled, the last pictures of the piece on this post show how I edit on borders through a free mobile app called Snapseed (it allows you to make adjustments to a picture that don’t exist in the original image and is akin to something like adobe illustrator and/or photoshop), as I redownload the works onto my phone and then edit them thusly, the very last picture is me editing the image to a 3:2 aspect ratio so they can be well fitted to a typical Instagram post without losing any of the image. The choice of black border is quite the motif of social media horror art, so it’s typical that you do that, especially if you have a really dark collection of work like I do, though I may make white versions too just to have some variation, I prefer the black as it pops the whites more but that’s just personal preference.

Those are my processes and typically it can take around 2 hours to fully complete one portrait, I of course had to do this dozens of times during January, February, March, April and May, the majority of time so far on this project has been about finishing and cataloguing this overwhelming collection. Each piece is also numbered in pencil and catalogued in a small notebook to properly keep track of all my current and completed collections. I run quite the tight turn around with my work and so now you can see why I’m focusing solely on the documentation aspect of this project, the practical side is just so time consuming, but I still greatly enjoy the busyness and prolific nature of my practice due to how busy it keeps and me and how often I get to work on new collections of amazing one of a kind ideas through my portraiture, it’s often been one of the reoccurring peer compliments I get, I just have quite the work ethic and always have so I’m lucky.   

[mickules]

What are your opinions on rare Danganronpa ships? If you have any favorites, what would they be?

I'm afraid I don't really have any in the way of rare ones, since I tend to hover around canon-compliant. Even then, in general I don't err toward romance very often, rather I tend to land hard on platonic, ride or die, best friends interactions. There usually has to be something specific that suggests otherwise to me.

In the rare-pair platonic vein, I think Hifumi/Tsumugi are dream team collaborators. They would dominate any convention. I like to think they have a surface level rivalry where they try to top each other, but are extremely appreciative of the other's efforts.

Also, I don't know if this is that rare- I've definitely seen it floating around, I think first from @hatteymcstache Romantically or platonically, I think Celeste would love Gonta. Endlessly gullible and accommodating himbo who wants to be a gentleman? That's too perfect, she'd never let him slip through her fingers - although the bugs and lack of shoes might be a hurdle.

I mean is this or is this not her peak aesthetic?

I can see why antagonist-protagonist pairings can be so popular since there's so much interpersonal conflict to delve into and explore- especially since many 'rival' pairings are essentially two allies who are separated by circumstance. In essence that's what Taka and Mondo are, just fast tracked from enemies - friends - soulmates by way of sauna based conflict resolution.

I'm sorry to say that I've been primed by a childhood adoration of Seto Kaiba to be far too generous to Byakuya (excepting that nonsense with Chihiro) He'd never describe any of his relationships in terms other than 'temporarily interesting plebeians with some limited potential use' with any kindness he provides always having an ulterior motive; but his interactions with Makoto give off 'surly cat who happens to be in the same room as you 90% of the time' energy to me.

Nagito is a bit of a nebulous one for me to imagine since he seems a too preoccupied with his adoration of the talent the ultimates posses than necessarily caring about them as people which makes it difficult for me to see him engaging with any of them in a genuine way, either platonically or romantically. (there does seem to otherwise be some 'protag-oriented' energy in SDR2 with how the cast interact with Hajime lol)

I . . .uh. . . I'll be frank. I know he's a fan favourite but I just do not jive well with Kokichi. No shade meant, but because of that no matter how I try, I can't really imagine any interaction between him and Shuichi that doesn't boil down to:

Ah, for the record- No I don't, but I think this is continued confusion from the "v3 cast as the kids of the dr1 cast" post - in hindsight it's kinda opaque- so let me clear that up! The top part was supposed to show adult Mondo and adult Taka with adopted son Kaito meeting newly adopted sister Maki. In my mind it was unmistakable that they would be adopted so I plain forgot to specify! I can see how it looks like two separate parents introducing their kids.

The bottom part was supposed to be completely separate alternate take, showing adult Hiro with biological son Kaito from an unspecified partner. Unspecified because I don't personally picture anyone specific with Hiro romantically. (That's just me of course, I know there's a lotta love for Hiro in the fanbase!)

I hope that ^ clears it up! (Coincidentally my parents have the same age gap, tho' of course they didn't meet in high school with my dad havin' been held back like 6 times XD)

(edit: more pairing [asks])

(next set of asks [about Taka’s eating habits]) (previous set [Head-canons about Taka’s mum/Takaaki])

#danganronpa #ask #anon #yaysof11037 #hifumi yamada #tsumugi shirogane #mondo owada #gonta gokuhara #celestia ludenburg #yasuhiro hagakure #dr1 #I think the continuous love interest endgame subplots in media just exhausted me #like in telltale batman- me and 2% of players chose to be platonic with catwoman #and you still had to actively push her off you after being snogged #mickules #mick answer #dangan-answer-ranpan #long post

[bigstripeylie]

Ghosts theory- “sucked off” edition

Apologies for the title.

I have a theory about how each of the ghosts in Ghosts has a parallel with another Ghost and how this could be the key to them finally being able to move on, or “be sucked off’ as Mary would say.

Putting it behind a cut as this is extremely long and rambly. Spoilers for pretty much every episode of Ghosts

First of all I was listening to Mat and Jim on the Empire Spoilers podcast and Mat said something really interesting about how he intended “you stays how you dies” to refer to the ghost’s mental and emotional state, as well as physical. So Thomas always being obsessed with seeking love is because he died broken-hearted and Fanny always being so grumpy is because she died angry at her husband. 

I believe, therefore, that if the ghosts were able to overcome each of their emotional blocks that would be the thing that would allow them to move on. Furthermore, each of the ghosts has another ghost that seems perfectly suited to be able to assist them in that.

Let’s go through them:

Thomas- Thomas died believing his love never loved him back and now is forced to spend eternity seeking for love as a ghost. If Thomas was able to find someone who could reciprocate his affections, this would the resolve that issue. In the Series 2 episode “About Last Night” when Alison drunkenly tells Thomas “if you were alive and I was 200 years older, then we might have…” we hear a choir start singing and Thomas is pulled, as if compelled, through the wall, similar to how Fanny is pulled forwards towards the window to jump when she “doesn’t even realise [she’s] doing it.” Thomas desperately craves love and affection from another person, but in life was constantly rejected by the people he loved most. You know who else that sounds like? Kitty.

Kitty- Like Thomas, she is from a wealthy family who sheltered her a lot growing up, but is ultimately good and tries to be honourable. Kitty also craves love and affection as well as companionship and she tries to seek it, first in Eleanor and then in Alison (because Alison reminds her of  Eleanor, like how Alison reminds Thomas of Isabelle). However it comes up again and again that Kitty’s relationship with Alison isn’t as fulfilling to her as she would like it be because her being a ghost prevents her from sharing every activity with Alison, and Alison cannot show her physical affection. Kitty is trying to recreate aspects of her relationship with Eleanor using Alison as a substitute but this isn’t very healthy for her, as it simply traps her in the constant state of seeking affection that will not or cannot be returned fully. We don’t know the exact circumstances of Kitty’s death but after Series 3, if seems likely that her sister was in some way involved. Maybe what is keeping Kitty trapped as a ghost is her need for approval and love that she never got in life? But by seeking it in people who remind her of Eleanor exclusively, she is further trapping herself.

If Kitty and Thomas could find love with each other, they could each fulfil the other’s need for reciprocated affection. They are both equally needy so this quality wouldn’t likely annoy the other. Kitty seems to genuinely enjoy high romance in earnest and in finding an outlet for her love in Thomas, she could finally move on from her sister. Thomas would also find someone to love him and could devote himself completely to someone who would actually return his love, instead of fruitlessly pursuing women who remind of Isabelle’s rejection. This could lead to the resolution of both character’s finally moving on from their deaths.

Next up, let’s look at The Captain-

The Captain’s central conflict is obviously his sexuality. I believe that the resolution to this conflict would be him finally accepting and coming to terms with being gay and feeling comfortable with that part of his  identity. Which ghost could best help him in this?

Fanny. 

Maybe not the answer you were thinking, but hear me out. The Captain already has a strong positive relationship with Fanny built on mutual respect. He is more likely to value her opinion as an equal that any of the other ghosts and he seems to align himself with her on most issues. Which makes his choice to go against Fanny and defend the same-sex wedding and its guests to her in “Perfect Day” really remarkable.

In “Perfect Day”, Fanny expresses some pretty disapproving remarks about the wedding guest’s attire and some homophobic opinions about the same-sex wedding in general, which prompts the Captain to defend one of the guests to Fanny. “It’s chic, it’s now, and if it makes her feel fabulous…”

Imagine a scene where The Captain has to defend himself towards Fanny in a similar manner after coming out, showing that he is finally accepting of his sexuality as being the right thing for him. 

Anyway, that was a slight digression…

Fanny is still struggling to deal with the circumstances of her own death which was brought about in part because she caught her husband having an affair with other men. Fanny needs to accept and come to terms with the fact that her husband didn’t love her and that while he was obviously wrong for murdering her, she needs to move on so she can stop reenacting it by jumping out the window every morning. Because she died feeling angry and betrayed, she is trapped in that state in death. Discovering that one of her closest friends is gay and realising that it is possible for someone to be both gay and a good person might prompt her to think differently about her own life, as she started do with Humphrey in Perfect Day. 

The Captain, in turn, could be driven by Fanny’s ability to accept his sexuality into thinking ‘if she can accept that part of me, then maybe I can too.’ Personally, out of all the ghosts, I think it could only be Fanny who could prompt him to think that because it would mean the most to him coming from her.

Humphrey- Humphrey died because he was trying to protect Sophie, who rejected any attempt to get to know him and who he believed didn’t even like him. In death he is trapped in a state of being a selfless self-sacrificing people-pleaser and desperately wanting to be included in the other ghost’s activities, even allowing himself be kicked and thrown around if it means he can just be involved. In ‘I Love Lucy’ he even attempts to make a relationship with Fanny work, showing he is willing to sacrifice his own happiness for the sake of others.

Julian, by contrast, is the most selfish of all the ghosts at Button House. Deep down he feels guilty that his selfishness negatively affected the relationship with his daughter but seems not to be consciously aware that he feels like this. Julian’s selfishness to not spend time with his family ultimately leads to his death in Button House, as he neglected his family to spend more time at work and was clearly cheating on his wife, showing he is driven by selfish impulses.

If Julian were to perform a completely selfless act to the benefit of Humphrey, then Humphrey would get to feel as though someone was putting him first for once and valuing him the way he seeks to be valued. Julian would also break the pattern of selfish behaviour that caused his downfall.

The rest are little less well-defined:

Pat is the probably the ghost that we know the most about, through seeing his death and actually meeting his family in “Happy Death Day”, to the numerous anecdotes he reveals about his life throughout the show. However, I can’t decide for sure what is the thing that is keeping him a ghost. Pat himself seemed to think it was that he was missing his family, but this was ultimately proved wrong after he saw them again in ‘Happy Death Day’. Even meeting the boy who killed him and forgiving him in ‘Perfect Day’ didn’t cause him to move on. It could be something to do with Carol’s affair with Maurice but I just don’t know for sure. I like the idea of him fitting in with the plague ghosts. I think his personalty and leadership style would get along better with them than say, The Captain, who is too authoritarian. I also think Pat is someone who thrives in a group setting.

Robin and Mary are also tricky to work out what the thing keeping them as ghosts is because we know so little about their lives and deaths compared to the other characters. I think these are the only two ghosts who have not yet received a flashback to their lives. We know that Mary was in some way involved a witch-trail and this has traumatised her. Robin also has experienced a lot of trauma in his life but he seems to be more philosophical about it and accepting of it. He shows great empathy towards others both in trying to comfort Pat about his death in “Happy Death Day’ and Kitty in “About Last Night’, he could use his experience of trauma to help Mary deal with hers. They both seem to be looked down upon and ‘othered’ by the other ghosts due to their perceived lack of intelligence even though they are both very emotionally and socially intelligent.

If anyone has any thoughts about these last two pairings or any of the others, then please reblog and add your take!

I am not in any way saying that I think this is what will happen in the next series or what even I think should happen, but that this is one possibilities for much further down the road when the ghost are all ready to move on.

Also I have spent way too much time thinking about this…

#bbc ghosts #the captain #kitty bbc ghosts #thomas thorne #julian fawcett #robin bbc ghosts #mary bbc ghosts #fanny button #headless humphrey #plague ghosts #pat butcher #Horrible Histories #mat baynton #ben willbond #jim howick #larry rickard #martha howe douglas #simon farnaby