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#even on a narrative/genre level

ghostdrinkssoup · 1 year

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something I find really interesting about hannibal’s character is how he uses people’s expectations and ingrained assumptions to hide himself. no one suspects he’s a serial killer because he doesn’t present as one. he’s elegant and refined and isn’t cruel to animals. he’s highly sophisticated, a polyglot and has a deep admiration for beauty and life. he appreciates saving lives just as much as he appreciates ending them. in fact, this particular aspect of his character is partly why it takes will the entirety of s1 to accept hannibal’s true nature. will saw hannibal save abigail and accompany her to the hospital in apéritif and he also saw hannibal save a man’s life by performing emergency surgery and taking over the operation at the end of sorbet.

this moment in particular is interesting because of how it’s framed to make hannibal look almost godly from will’s point of view:

1) hannibal is positioned immediately higher than will due to being in the ambulance, meaning will is looking up at hannibal, while hannibal is looking down on him

2) hannibal is standing under a bright light as he works to save this guy’s life, while will is standing in almost complete darkness

3) the usual orchestral, classical music is playing in the background, emphasising the apparent “holiness” of the act and framing hannibal as some sort of saviour

the impact of this scene is even more potent when considering the context of the rest of the episode, since will has already stated that the ripper is not the type to save people or enact mercy on anyone. his style of murders doesn’t suggest this characteristic whatsoever, and although will’s assessment is correct, hannibal’s personality and overall demeanour doesn’t match what we’d imagine a person like that might look like. I think will is confronted by this as well, because even if hannibal’s surgical skill means he matches the ripper’s profile (which makes him a valid suspect) his actions contradict will’s image of the ripper, while simultaneously affirming it:

it’s difficult to reconcile these facets of hannibal’s character. it’s inherently contradictory and defies our cultural expectations. nonetheless, hannibal’s inclination to save people is sometimes more insidious than his murders. he doesn’t save people out of altruism, he does it because he thinks he’s superior and enjoys deciding outcomes. he doesn’t view himself as insane, he views himself as god. this is most aptly explored in takiawase, through the acupuncturist/beekeeper killer. here we see a murderer who confesses that she killed a man to quiet his mind, and tells jack that it’s beautiful that she managed to protect him and her other patients. this is one side of hannibal’s character, the one who’s a doctor and therapist and sees death as a cure from disease, even if the ‘disease’ itself is literally just discourtesy. it’s ultimately an act of power.

and yet in this same episode he flips a coin and saves bella on a whim. this of course is framed to others as an act of mercy, however the reality is he took bella’s power away in an act disguised as kindness. once again, he hides in plain sight. this is the other side of his character, and it’s just as deadly.

it’s still about power.

but we don’t associate acts of mercy with monstrosity. when hannibal comforts abigail in trou normand we question whether he’s as bad as we think, because what negative connotations are tied to paternal tenderness? we miss that hannibal is fostering dependency, that he literally looks dead in the eyes as he holds her, and that he blatantly just told us that he’s using abigail to manipulate will:

hannibal often does this actually. he either directly says what he’s doing or suggests that he’s the culprit (often through cannibal puns, as we know) but no one ever interprets him correctly because doing so would contradict the image he’s carefully constructed for himself. it would cause too much dissonance.

and what’s fascinating is that on a subtextual level this is largely what the show is about. the story is an exploration of societal roles and the struggle to fit into stiff categorisation and expectations. will parallels hannibal in this regard because he’s desperately trying to repress his identity by taking on certain roles. and the audience is lured by this persona the same way the characters are lured by hannibal because will defies our understanding of certain tropes. on a genre level, will assumes the detective archetype, meaning we are primed to think he’s inherently good. when we see him say he wants to save people we believe him, even though he often only does so to prove to himself that he’s a good person. will is indeed righteous, a characteristic we often view positively, however he’s violent, wrathful and actively enjoys murder due to how powerful it makes him feel. he’s not dissimilar to hannibal, we just don’t see this straight away because doing so would disrupt our understanding of good and evil.

will hides the same way hannibal does, except will hides from us as well

#ghostie once again goes on a tangent #but it’s so !! I really love how the show fucks with everyone #and uses our expectations to do it #even on a narrative/genre level #the key to unveiling it is letting that conditioning and urge to categorise everything go #also wow I’m back to writing meta hello there #nbc hannibal #hannibal #will graham #hannigram #hannibal meta #ghost speaks

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masonsystem · 4 months

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its always a sad and cold day when i have to agree with video game fans but as i read and consider the history of loz's development, i can to a degree understand the backlash towards toon link and the zelda franchise's choice to market towards younger children, bc zelda ultimately did not begin as a game that was made for young children. the first two zeldas were deliberately made difficult bc it was targeted towards players who wanted a challenge bc challenging games were the hot thing back then, and i cant speak for links awakening but alttp somewhat continued this level of difficulty which was also aided by poor design bought about by hardware limitations + unachieved overly high ambitions. oot then lowered difficulty by a significant amount, but only for mm to kick it right back up... so yes during those days zelda was generally a challenging game. so to see such a drastic shift in not just art style, but difficulty and age demographic too.... yeah i can somewhat understand the criticisms

#z*eldas development is veryyy interesting to read about bc their identity is all over the place #even now (especially now w the genre shift to open world) they dont have a solid footing #whether its age demographic or overseas/domestic fans or artstyle or level of narrative inclusion #theyre always changing their minds #which like is great for the creativity of developers! but it does not inspire confidence or trust in your playerbase

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supersoakerfullofblood · 2 months

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Point of View: the Biggest Thing You're Missing!

Point of view is one of the most important elements of narrative fiction, especially in our modern writing climate, but you rarely hear it seriously discussed unless you go to school for writing; rarely do help blogs or channels hit on it, and when they do, it's never as in-depth as it should be. This is my intro to POV: what you're probably missing out on right now and why it matters. There are three essential parts of POV that we'll discuss.

Person: This is the easiest part to understand and the part you probably know already. You can write in first person (I/me), second (You), and third person (He/she/they). You might hear people talk about how first person brings the reader closer to the central character, and third person keeps them further away, but this isn't true (and will be talked about in the third part of this post!) You can keep the reader at an intimate or alien distance to a character regardless of which person you write in. The only difference--and this is arguable--is that first person necessitates this intimacy where third person doesn't, but you still can create this intimacy in third person just as easily. In general, third person was the dominant (and really the only) tense until the late 19th century, and first person grew in popularity with the advent of modernism, and nowadays, many children's/YA/NA books are written in first person (though this of course doesn't mean you can't or shouldn't write those genres in the third person). Second person is the bastard child. Don't touch it, even if you think you're clever, for anything the length of a novel. Shorter experimental pieces can use it well, but for anything long, its sounds more like a gimmick than a genuine stylistic choice.

Viewpoint Character: This is a simple idea that's difficult in practice. Ask yourself who is telling your story. This is typically the main character, but it needn't be. Books like The Book Thief, The Great Gatsby, Rebecca, Dr. Jekyll and Mr. Hyde, and the Sherlock series are told from the perspective of a side character who isn't of chief importance to the narrative. Your viewpoint character is this side character, the character the reader is seeing the world through, so the main character has to be described through them. This isn't a super popular narrative choice because authors usually like to write from the perspective of their most interesting character, but if you think this choice could fit your story, go for it! You can also swap viewpoint characters throughout a story! A word of warning on that: only change your viewpoint character during a scene/chapter break. Switching mid-scene without alerting the reader (and even when you do alert the reader) will cause confusion. I guarantee it.

Means of Perception; or, the Camera: This part ties the first two together. If you've ever heard people talk about an omniscient, limited, etc. narrator, this is what they mean. This part also includes the level of intimacy the reader has with the viewpoint character: are we in their heads, reading their thoughts, or are we so far away that we can only see their actions? If your story is in a limited means of perception, you only have access to your character's head, eyes, and interpretations, where an omniscient narrator sees through all characters' heads at once. (This doesn't eliminate the viewpoint character--most of your writing will still be in that character's head, but you're allowed to reach into other characters' thoughts when needed. You could also be Virginia Woolf, who does fluidly move through everyone's perspectives without a solid viewpoint character, but I would advise against this unless you really are a master of the craft.) Older novels skew towards third person omniscient narration, where contemporary novels skew towards first person limited. You also have a spectrum of "distant" and "close." If omniscient and limited are a spectrum of where the camera can swivel to, distant and close is a spectrum of how much the camera can zoom in and out. Distant only has access to the physical realities of the world and can come off as cold, and close accesses your character's (or characters', if omniscient) thoughts. Notice how I said narration. Your means of perception dramatically effects how your story can be told! Here's a scene from one of my stories rewritten in third-person distant omniscient. The scene is a high school football game:

“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” She shivered; the wind blew in. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, stuttered there, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” She met his eyes, which he pulled away. “You don’t mean that," Piper said. “Maybe not. He’s too confident, though.” The cloth of Carmen's uniform caved and expanded under Piper's fingers.

With distant-omniscient, we only get the bare actions of the scene: the wind blows in, Piper shivers, the cloth rises and falls, Carmen points, etc. But you can tell there's some emotional and romantic tension in the scene, so let's highlight that with a first person limited close POV:

“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” Frost spread up from her legs and filled her as if she were perforated rock, froze and expanded against herself so that any motion would disturb a world far greater than her, would drop needles through the mind’s fabric. A misplaced word would shatter her, shatter him. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, thought better, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” “You don’t mean that.” She spoke like a jaded mother, spoke with some level of implied authority, and reminded herself again to stop. “Maybe not. He’s too confident, though.” Piper felt the cloth of his waist cave and expand under her fingers and thought: is this not confidence?

Here, we get into Piper's thoughts and physical sensations: how the frost rises up her, and how this sensation of cold is really her body expressing her nervous fears; how she "thought better" and put her arm around his waist; her thought "is this not confidence?"; and how she reminds herself not to talk like a mother. Since I was writing from the close, limited perspective of a nervous high schooler, I wrote like one. If I was writing from the same perspective but with a child or an older person, I would write like them. If you're writing from those perspectives in distant narration, however, you don't need to write with those tones but with the authorial tone of "the narrator."

This is a lot of info, so let's synthesize this into easy bullet points to remember.

Limited vs. Omniscient. Are you stuck to one character's perspective per scene or many?

Close vs. Distant. Can you read your characters' thoughts or only their external worlds? Remember: if you can read your character's thoughts, you also need to write like you are that character experiencing the story. If child, write like child; if teen, write like teen; etc.

Here's another way to look at it!

This is a confusing and complex topics, so if you have any questions, hit up my ask box, and I'll answer as best I can. The long and short of it is to understand which POV you're writing from and to ruthlessly stick to it. If you're writing in limited close, under no circumstances should you describe how a character other than your viewpoint character is feeling. Maintaining a solid POV is necessary to keeping the dream in the reader's head. Don't make them stumble by tripping up on POV!

#writeblr #writing #writing advice #fanfic #writers on tumblr #writing questions #creative writing #bookblr #writerscommunity #booklr

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milesandcorysupermacy · 3 months

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"Infection"

Miles!42 x Black!Reader

Genre: Enemies-to-lovers, Angst, Fluff

Warnings: Cursing

Summary: Miles is known as the school playboy, he's flirty, athletic, and attractive. Everyone wants (and has) a peice of him. But, how do you react when the one boy you're told to stay away from is falling for you? Do you do the same, or reject him?(maybe even a little bit of both?)

---------------------x-o-x-o---------------------

Now, Miles Gonzalo Morales was NOT the true definition of a playboy. When you think of a playboy, you usually think of a guy who just uses women as a number to add to their body count. Or, someone who just cheats on women left and right. But, that's not him.

You see, Miles just couldn't find someone who could relate to him or be on his level. He's been in about 10 relationships within the past year, but not for the reason people think. Every girl he dated was just boring, nobody could truly connect with him and that further deepened his loneliness. They all just wanted him for his looks, but never truly knew anything about him. So, he just kept leaving them. But, that didn't quite help his case.

I mean, a pretty boy who dates a girl for no longer than 2 months and leaves them? How does that look? And it didn't quite help that he had gained a nickname from this, 'Month Morales'. You had heard everything about him and his little reputation, some of the girls he was with even calling him a manipulator for making them think he liked them. There was a clear narrative to stay VERY far away from 'Month Morales' But, how could you do that when he couldn't leave you alone?

You were walking out of your last period for the day, the hallways crowded from everyone trying to rush out of the Visions high school. You were almost at the door, almost! And then...

"Ayo, Y/n! C'mere."

You heard the most annoying, gut wrenching, slow, dumb, stupid, DRAINING voice in the world. Miles Morales. You turn around with a stern tone and eye roll as he smirks from you listening to his command.

"Look, Morales. I don't have time for your bullshit, I just wanna go to my dorm and crash. Ok? So can you just leave me the hell alone for once?"

You said with your arms crossed and a death glare. But, this mother fucker remains unfazed. Instead of just apologizing or walking away like a normal person, he tempts you. He walks toward you, getting so close that you could feel his breath on your face. You wanted to push him, punch him, yell at him, tell him to back up, or even just walk away yourself. But, you couldn't do that.

There was just something that had you so addicted, maybe it was the forbiddance of it all? Or maybe it was just that you found him so handsome? He had that stupid smile on his face and a glisten in his eyes. But, no! You don't even like him! No! Absolutely not! You had to let him know that he can't just flash a smile and get any girl he wants! You were not gonna be a ploy in Morales' game.

"You know that's not what you want, mama."

He said with immense eye contact. Making you feel small, flustered. There was a feeling in your stomach that you've never had before. You kept your facade up and answered, sternly.

"How would you know what I want?

He softly chuckled and said...

"Because, if you truly wanted me to leave you alone..."

He trailed off and whispered in your ear.

"Why haven't you walked away yet?"

He then cocked his head to the side, waiting for your response. You genuinely didn't have one, why haven't you walked away? It's not like you couldn't, there was a clear path behind you. The door was open, and you just stood there looking like an idiot. You truly didn't know what to say, so you just shook your head, rolled your eyes, and turned around, heading to the exit. Miles had the cheesiest grin on his face, shouting from where you left him as you walked out the door.

"You'll realize that we're meant for each other soon enough!"

You sighed and shook you head as you grabbed onto your backpack straps. You walked over to the dorm building and took the elevator to your shared room with your friend, Sofia. She was already inside, due to her not being stopped by an annoying boy who won't leave her alone. You sighed as you set your stuff down in the corner of the room. She glanced up from her book, reading the pages assigned for homework.

"Hey, what took you so long?"

She questioned

"There was a...incident."

She smirked, cocking an eyebrow. She was immediately intrigued and placed her bookmark in her book, shutting it.

"Oh, a teenage boy by the name of Miles Morales related incident?"

You sighed, sitting in the rolling chair by the desk.

"That would be the one."

She smirked, sitting up and facing you. You rolled your eyes playfully.

"And was there any way that you could've prevented this incident?"

Your eyes grew wide from the question.

"Well...I mean...maybe...but like could I really have prevented it? He was so close to my face how-"

"Close to your face?! Did you guys kiss?"

"Wha-? No! Of course no-"

"Well then what's he doing so close to your face?"

"I dunno, I mean he's just weird like tha-"

"He totally likes you."

"No! He doesn't like me, he just likes to embarrass me. Which is why I don't like him eith-"

"I never asked you if you liked him, are you getting defensive?"

"No! I-"

"You totally are."

"Why would I be defensive?"

"Because you like him."

"I don't!"

There's a knock on the door that interrupts the whole rapid conversation. You thankfully sigh, getting up to open the door. Once you do, you nearly gasp in shock from who it is.

"Hey, mami."

-----------☆--------☆--------☆----------------

#miles morales #across the spiderverse #atsv #earth 42 miles x reader #earth 42 miles fluff #earth 42 miles morales #miles morales fanfiction #earth 42 miles morales x reader #42 miles morales #earth 42 miles #earth 42 prowler #earth 42 miles x you #spiderman across the spiderverse #atsv x reader #miles morales x reader #miles morales x black!reader #miles morales fluff #miles morales x y/n

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stainedglassthreads · 6 months

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I feel like the four leads of Deltarune--Kris, Susie, Ralsei, and Noelle-are just. Somehow two different levels of queer-coded.

(Edit: Just to be clear: not saying any of this to disparage or insult shippers of Kralsei, Suselle, or Kriselle, I've just seen a lot of cool analysis about tropes, romance, and lack of choice in Deltarune and wanted to chime in with some of my own thoughts. If you ship any of those ships in Deltarune--fantastic! May you find a lot of content precisely to your taste.)

Like. On the one hand, if you're looking at tropes, they are very neatly set up into two romantic partnerships. Noelle is very blatantly interested in Susie, and Ralsei's feelings for Kris are often portrayed similarly. On a surface level, both pairings appear very clear. Noelle is a girl in love with another girl, while Ralsei is a very effeminate boy in love with a teen who doesn't appear to use pronouns. And a big deal isn't made of either pairing, there's nothing really in the way of Suselle or Kralsei on a societal level we've encountered so far. At least in terms of gender and sexuality. But if you look a little closer, it's kind of...'these are a very straight idea of queer ships', y'know?

Noelle and Susie are both girls, but one is very effeminately coded, anxious, uses magic, and is more traditionally cute, while they other is crass, crude, intimidating, and physically strong. Ralsei and Kris are gender-noncomforming, but Ralsei is a sweet pacifistic healer who bakes cakes while Kris uses a sword, and keeps being mistaken for a boy by much of Youtube and Reddit. The active one and the passive one, the fighter and the mage, the one with cute hobbies and the one who eats moss, the one in pants and the one in a dress.

And here, I start thinking of some posts I've seen analyzing how, in Deltarune, romance is used to explore how Kris doesn't really get choices. Kris has been cast as the leader and knight, and Ralsei has been cast as the healer and Princess, even if he is a boy. The leader often ends up with the healer. The knight often gets the princess as a happy ending. But Kris doesn't seem to like this! Their reactions to Ralsei are constantly lukewarm at best, and that's not getting into how Ralsei seems to be in love with his idea of Kris, while being very. Asriel-coded, who the game describes often as Kris' brother, in sharp contrast to how ambiguous Chara and Frisk's relationships with the Dreemurrs were.

If we and Kris reject Ralsei as a love interest, we can a different romantic partner in Noelle...but this choice has a bodycount, traumatizes Noelle, doesn't seem to leave Kris any happier, and it's still a kind of straight-coded ship. Now it's the knight being paired up with the apocalypse maiden, for the doomed codepedent toxic tragedy lovers out there. But it kinda makes sense too, right? If Kralsei is the expected RPG romance, then Kriselle would be the expected romance if there were no Dark World and Ralsei weren't an option. They're childhood friends and neighbors in a small town, their families used to be very close, Rudy is still very fond of Kris. They're even extremely angel/devil coded.

But the most interesting part is. It's implied that there IS someone that Kris is very interested in, either platonically or romantically. It's Susie. Kris never seems frightened by Susie when they're bullied by her, and rejects Noelle's offers to switch seats. They seek comfort from Susie rather than Ralsei after the Spamton fight, they call her their friend when Toriel calls, they share moss with her, they refuse to think about her during Snowgrave when Ralsei prompts them, they make it clear that out of all the people they COULD go to the Carnival with, Susie is the one they'd ACTUALLY want to choose.

And this is the part that drives me crazy. Because while Kris is so tightly controlled by genre and narrative, and those things would usually push them towards Ralsei or Noelle, and Ralsei keeps encouraging Kris to stick to the narrative. Susie is the one who refuses to be bound to the narrative. Susie is the character of Deltarune who is most unapologetically herself--and isn't that a very queer thing, refusing to be anyone but yourself despite everything? She says no thanks to the prophecy, until she comes around to it on her own terms! She makes herself and Ralsei learn to take their own actions, and drags Ralsei off to have fun with him instead of letting Kris choose who to with! She doesn't stay in her box of the damage-dealing fighter, she insists on learning Healing magic, even if she's not particularly skilled at it at first! Even Ralsei is forced to admit that it's wonderful that Susie is Susie, and not anyone else!

I think Kris likes Susie a lot. And part of it may be admiration. That while Kris is controlled by the player and the narrative and the prophecy and humanity and divorce and a dozen things outside their control, Susie refuses to ever be bound by anything. And Kris and Susie together happen to be the two more masculinely-coded party members, the two melee fighters, the two troublemakers. It honestly makes me wonder a little if Susie and Kris might be able to make their own ending beyond the bounds of gender expectations and romance expectations together? It would be cool. And I think it would make Kris very happy to break free like that.

#deltarune #deltarune meta #deltarune analysis #deltarune theory #kris dreemurr #susie #noelle holiday #ralsei #kralsei #kriselle #krusie

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badass-queer-couples-battle · 8 months

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⚔️🌹The final round is here! 🎇⚔️

Propaganda for Griddlehark here

Propaganda for Utenanthy: "Utena wins basketball games, sword duels, and boxing matches with kangaroos. She keeps on fighting for her beloved even after being simultaneously stabbed through the heart (metaphorically) and stabbed through the heart (literally).

Anthy, meanwhile, is a different kind of badass: secretly wrestling with the narrative she's been immured into enforcing, and in the end – again, for the sake of her beloved – overcoming it.

Together, they literally defined a genre. Every modern yuri anime which draws on "prince/princess/witch" themes, or explores the dynamic of one person becoming the support that the other needs to climb out of her coffin, is, on some level, speaking with the vocabulary and symbol set that Revolutionary Girl Utena trailblazed."

#bqcb finals #revolutionary girl utena #the locked tomb #tlt #rgu #utenanthy #griddlehark #harrowhark nonagesimus #gideon nav #utena tenjou #anthy himemiya

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perpetual-stories · 1 year

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Tension vs. Conflict: What’s the Difference?

Good morning everyone! It’s my birthday today and because it’s my birthday I thought I’d post today (that’s kind of an obscure reference to Star Wars Guy and his girlfriend lol)!

Conflict and tension in literature help build drama and keep readers engaged through the end of the book. Learning the distinctions between conflict and tension will help elevate your writing and make your storylines more engaging.

What Is Tension in Writing?

Tension in a literary context is the sense that something ominous is right around the corner. Building a large amount of tension as a writer keeps your readers engaged up until the end of the story. Mystery novels are full of tension and foreboding, and they generally feature tense scenes from beginning to end. Working within the genre of mystery writing is a great way to learn how to layer tension into your narrative arc. Good use of tension makes a story worth reading and keeps readers guessing.

3 Tips for Using Tension in Your Writing

Learning to build tension is no easy task. Even the most seasoned professional writers have trouble maintaining tension from beginning to end. Here are a few tips for using tension successfully in your writing:

Foreshadowing: An important part of building tension is using foreshadowing to build dramatic tension and keep readers on the edges of their seats. In Harry Potter, author J.K. Rowling uses flashbacks and backstory to foreshadow the eventual major conflict that will unfold between Harry Potter and the villainous Voldemort.

Inner conflict: Sometimes inner conflict and self-doubt can be layered in through character development and used to build levels of tension. In William Shakespeare’s Hamlet, the main character wants to avenge his father’s death but is beset by self-doubt, paralyzing indecision, and mental strain. As an audience, there is a sense of tension in every scene as we wait to see if Hamlet will act on his inner desire for retribution or remain stuck in a place of indecision.

A time limit: One great way to build tension in your story is to place a time limit on an action your character has to undertake. By adding the element of a ticking clock, you build tension and increase stakes. This is a common technique used in thriller novels and films as well as action and adventure stories.

What Are the Differences Between Conflict and Tension?

While tension simmers under the surface, conflict is generally out in the open—it's tension realized. Tension might be present an unspoken rivalry between the protagonist and antagonist or in the audience’s awareness of an impending disaster.

Conflict, on the other hand, involves an active clash; maybe the protagonist and the antagonist engage in a firefight or a heated debate, or maybe a character fights off a pack of animals or works to prevent climate catastrophe. Even if the conflict is interior—a character battling low self-worth, perhaps—it still involves opposing forces struggling for supremacy.

What Is Conflict in Writing?

Conflict can come in many forms. Conflict in a story can be a physical fistfight or a passive-aggressive war of words. All that is required for conflict is a manifestation of disagreement or incompatibility between a character and something else. Characters can be in conflict with other characters, with natural forces, or with society at large.

Another type of conflict is internal conflict. Conflict is one of the fundamental principles of narrative and creative writing. In order to write a story worth reading, you need characters whose point of view is in some way challenged and to whom bad things happen. Without conflict, you won’t have a narrative or any meaningful character arc.

4 Types of Conflict and Tips for Using Them in Your Writing

The kind of conflict you use depends on what your plot and subplots are centered around and what your main character wants and needs. New plot points generally introduce conflict or advance existing conflict. Here are some types of conflict to employ in your writing and a few tips about when and how you migh

Person vs. self: An internal conflict is a kind of conflict that only manifests within a character’s head. Though we may see this conflict dramatized through narration or dialogue, or play out in the protagonist’s actions, it is an internal struggle within a character.

Person vs. person: The simplest and most common form of external conflict is when two characters are in conflict with each other. The first stories we are told as kids generally have a clear good guy and bad guy. These stories are early introductions to person vs. person conflict. Person vs. person conflicts are very common, and it’s rare to find a narrative without an interpersonal conflict present at some point in the story.

Person vs. nature: Conflict between a person and forces of nature is a good example of external struggle that can raise the stakes in a story. Some notable stories that included conflict between a person and a natural force include The Old Man and The Sea by Ernest Hemingway and Robinson Crusoe by Daniel Defoe. Consider using person vs. nature conflict if you’re interested in writing a story with one main character and few, if any, supporting characters.

Person vs. society: Conflict between a person and society at large is a type of conflict often found in science fiction. Some notable examples of this type of conflict are found in The Handmaid’s Tale and The Hunger Games series. In The Hunger Games, Katniss Everdeen finds herself contending with a dystopian and oppressive United States government that pits citizen against citizen in order to keep dissent down and quell rebellion. If you’re interested in science fiction or narratives about social justice, you might want to consider exploring conflicts that pit an individual character against society at large.

#writing #writing advice #writing tips #original writing #writers on tumblr #writersconnection #writerscommunity #short story #storytelling #writersupportingwriters

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windienine · 1 month

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the best game of 2024 was an hour-long visual novel demo, and i can't tell you how it ends

attack and dethrone god.

okay. oh my god. soul of sovereignty by ggdg (of lady of the shard & deltarune fame) is discounted for only a few more days, so i need to get this one out while the iron's hot.

so: i'm inviting you along on another journey. we're following a polite gentleman of the wizardly inclination (loïc) who is approached by a sickly woman in dire need (ysmé). all she requests, in her plea, is an escort to guide her to the nearby temple. his decision to support her may turn out to be the most important choice he ever makes.

... have you ever enjoyed the kind of narrative that traps two people with heavily contrasting motives and personalities together in an unbreakable contract? do you like stories of absolute devotion?

i could look at this shot forever ngl

... are you compelled by immersive speculative fantasy worlds where the use and study of magic heavily influences the rhythm of people's day-to-day lives?

(really intriguing magical linguistics system going on here)

... do you ever promise too much of yourself to others, sometimes, even when it's a bad idea?

... if it was possible -- if you could -- would you abandon your humanity for the power to change your world forever?

and, whatever you may feel in your heart about the above...

do you want to see behind the eyes of a hot trans girl as she bullshits her way into a truly volatile level of power and influence and gets everything she wants?

(+ her pet dilf lovely assistant)

if even one of these elicited a "yes," i think you'll love this story.

i'll go out of a limb:

i think, if you open up your heart, you'll find yourself falling for both of the leads. It's a game that really wants you to look at it from every angle, take it apart, and ask questions about loïc, ysmé, their stories, and what they believe to be true about the world and one another. subtext -- especially the charged subtext this story throws at you and hopes you'll piece together -- is a beautiful thing.

the number of talksprites in this demo is kind of staggering

the jrpg-inspired world of the mosaic and its surroundings is as vibrant as it is profoundly lonely, color folded into every facet of its character as you move through it. appropriately, it's really invested in a lot of questions that arise not just from high fantasy as a genre, but from the modern fantasy sensibilities of jrpgs and the interrogation of what divinity even means in a world where the gods are forces you can interact with and draw power from, however indirectly.

what can i even say? that gg and toby fox's collab score for the prelude is downright heavenly and made it onto my work playlist right alongside the deltarune ost the day it came out on bandcamp? that gg's art, especially their use of light, conveys every scene with vivid beauty?

i wouldn't be posting so much of it if i didn't want to eat every CG. oh my god. he's so pretty. it's not even fair

beyond all of that, i think the game's main resonance point with people is that gg's writing is genuinely thoughtful. they use art detail and deft character writing to convey everything about the leads, using the limited time you get with it to paint layers and layers of information on who these people are and why they make the decisions they do. soulsov's roughly an-hour-and-change of text, expressive talksprites, and lush CGs is infused with so much heart and so much horror and so much intrigue that it leaves you feeling like you're a part of this world, carried along for the ride right alongside the two leads. gg clearly really adores these two, and that level of passion makes everything loïc and ysmé do shine even brighter. in spite of (or perhaps because of) all their friction and flaws, they're easy to love.

(it's really fun to read aloud as a script, too! ysmé's a hoot.)

i hope you experience it with high expectations and an open heart. i don't think it will disappoint. it is, perhaps, just a little bit magical.

i hope you see it through to the end!

#soulsov #soul of sovereignty #indie games #deltarune #long post #i'm not saying everything i want to say here but #i need you to discover the rest and leave a nice review #ok??#i love it

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elexuscal · 4 months

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Re-reading His Majesty's Dragon and the immediate thing that sticks out to me (besides my brain just flailing DRAGONS like the inner fangirl it is)...

Is how much the English treatment of dragons sucks.

I remember that being something of a slow build the first time I read it. Admittedly, I think that was mostly because that was like, over a decade ago, and I was just a teenager who just wasn't as media literate. It was also partially because of genre convention. For every 'dragon rider' story out there where the dragons and the humans are equal partners in societies where they have the same status, there's probably two others where dragons really are more animal-like, and must be trained like horses or raptors. (Or else, ones where they have human-level sapience but the narrative doesn't see anything wrong in treating them like animals.)

But in this series?

Temeraire comes right out of the egg talking. And not baby talk or anything. Fully formed, thoughtfully constructed sentences. He's young and naive and inquisitive and prideful but from the start he's clearly a person.

Yet what's the first thing he-- and all other English dragons-- receive?

A harness. Or else he might fly away, a wild creature.

Over the first part of the book we learn how:

the average person deeply mistrusts dragons, fearing that even "well trained" ones will lash out and kill humans

joining the dragon corps is considered... well, not a fate worse than death. but certainly not a respectable profession by any means

as such, said dragon riders are pretty firmly cloistered from polite society as much as possible.

all dragons are subject to eugenics breeding program to develop specific skills and traits

the army does everything it can to control who a dragon's handler is. they tell Temeraire truly dreadful lies about Laurence to debase his self-esteem and trick him into accepting another rider... No doubt these tactics are not unusual.

All these passing comments about "no one understands" the intellect of dragons, or how they make decisions, or roll their eyes at the creatures being so headstrong

but they're just

they're just people

and yes this becomes a bigger themes in later books. as we begin seeing other societies and discover that in other cultures dragons are treated as people, sometimes with great social standing...

but man it should be apparent from the start how truly fucked up the British Empire was on this front. (but then, it was the British Empire. So of course)

#temeraire #his majesty's dragon #anyway hey Chi this is your fault

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suzannahnatters · 28 days

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A hot take for you this morning:

The conviction has been growing upon me for several years that whole segments of Western media are steadily losing the ability to write for & about women. Female characters, female-led stories, and romantic literacy are all getting worse.

I grew up largely free of TV/movies, and for a long time prided myself on reading no book younger than 50 years old (yeah, I was insufferable). I've since sought to change that. That's why I believe I have the authority to say this: I see a really stark contrast between how it is now and how it used to be.

Compared to today, male authors like Shakespeare, Trollope, and even Tolkien had active empathy & respect for their female characters. They centred whole narratives around believable women. And they wrote unabashed romances.

That's largely gone now.

Compare western media to kdrama. Kdrama usually centres male protagonists in a way it doesn't centre female characters. But it also centres romance - HIGHLY sophisticated & detailed romance.

Watching kdrama cemented my suspicions, because it feels like the first storytelling I've found since the 1800s to treat romance with dignity and respect, & above all as something worthy of male attention. That is SO RARE these days.

I don't think something needs to get male attention in order to be worthy, but as any woman will tell you, if something DOESN'T get male attention, it's viewed as trivial and contemptible if its existence is noted at all.

It's true that more women than ever are writing stories about women, including romances. The problem is, this seems to have resulted in women's stories getting shoved into a ghetto; either YA or romance or the dreaded "chick flick"

As this genre divide developed between stories for men and stories for women, it seems like too many male storytellers took it as a license to care even less about writing for & about women.

Ahem, Popular Urban Fantasy Author Who Lists His Female Characters' Bust Size Without Fail.

Please note, I know many good and sincere men who want to do better. I see you and I'm so grateful for your efforts. But if you've mostly been reading "blokey" stories - and I know the appeal of stories about & for oneself - you haven't been given the tools you need.

The final straw seems to be the rise of vocal, self-consciously chauvinist online fandoms which rubbish media they see as being too feminine and loudly demand increasingly chauvinist storytelling. These people DO have an impact. Shows they bless get renewed season after season. Media they curse is lucky to survive. I mention no names. But we've all seen them shape public discourse.

What it all adds up to is this: if I want believable writing about women, in a lot of ways I'm better off reading a man from 1850 than a man from 2020. And that's pretty messed up.

How is this going to change? On a cultural level, I don't know. But I want to shout out to the fellow author who read my mixed review of his book, reached out to me for a detailed critique, and listened for an hour as I talked. You, sir, are one of the real ones.

#writing #kdrama #asian drama #writing romance #romance #female characters #male authors

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let-us-cultivate-our-garden · 1 month

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I had a long argument with someone on whether or not stomping Belos before he dies was better than letting him die pathetically, and I asked myself if that is what fans really believe in... or if they would hail any Belos' death as the perfect one if Dana choose a different one?

They also justify the stomping as being part of horror-comedy genre and that Belos should not have any dignity what so ever because apparently letting him die in despair with no stomping is running the risk of making the audience feel "sorry" for him.

Honestly, these justifications make The Owl House feel more shallow. Like, why shouldn't the audience be allowed to feel sorry for Belos? What is the danger? That people would agree with Belos' views?

Or are we supposed to develop a black and white view of the world akin to a conservative view but inverted? And then hide behind the horror comedy genre to justify less drama? I hate to say it, but Nostalgia Critic is right about Belos being this strange outlier. The show seems to be afraid of actually doing a complex, tragic and yet irredeemable villain.

It doesn't make any sense to argue that Belos' death fits because of toh's genre as a horror comedy because the scene was neither played for horror nor laughs. At best, you have the image of Philip slowly being dissolved by the rain and then Raine's smug "that was satisfying" line. The overall tone of the scene is one of contempt as Philip tries one last plea to Luz only to be snuffed out (and weirdly validated) by the heroes. Its intent is to be cathartic for both audience (though as you know doubt know, YMMV) and the characters.

Frankly, despite its marketing, I don't see toh as either a horror or a comedy because it spends more time on slice of life stuff and high school teen drama and romance. And even when it does go for the horror and comedy, both are rather tepid. You want a real example of a horror-comedy for kids, then go watch Courage the Cowardly Dog or Invader Zim.

The reason why I argue the heroes validated Belos is because in the moment of his death, he clings to the idea that as humans, "we're better than this!" It's a moment of pathetic delusion that is appropriately met with silence but then it's ruined with Eda and Co. barging in with "Well, we ain't!" only to then prove his point by mercilessly stomping an already dying man to death. There's a reason why kid shows usually end with either the villain being imprisoned or not outright being murdered by the heroes. Evil has to die by its own hubris, not get killed by the heroes after the Big Battle when they're no longer a threat. I made a post about the importance of defeating a major antagonist twice.

Belos' death also doesn't work with a "Kill your oppressors" theme because the show isn't about that. The show barely spends any time showing why the EC is bad for the Boiling Isles and Eda is the only named wild witch we see getting harassed by them and even then, it's mostly played for laughs given how inept the coven scouts are (seriously, they're able to quit without fear of repercussions).

I think a reason fans are split on Belos' death is because of differing expectations; the fans who paid attention to Belos and the implication of his backstory and waited for every lie to come crashing down on him since that's what the show seemed to be building up to only to be unceremoniously ignored in the end were no doubt disappointed. Then you have the other fans who hated the character to the point that any gruesome death will do, regardless whether it made narrative or thematic sense or not.

Ultimately, I think the biggest reason his death doesn't work is because Belos fails as a villain.

Belos' status as a colonial puritan only works on a meta-level; it serves a cathartic release for marginialized people to see a representative of real world oppression beaten by queer characters as it fulfills the fantasy of finally overthrowing an oppressive system. The fatal flaw though is that none of this works on a narrative level because the coven system is either treated as a joke or simply a career path one must choose and we never see the disenfranchisement of wild witches. People largely get off scot-free opposing Belos, which undermines his credibility as both a dictator and a villain because no one cares about him until the plot needs them to. Luz doesn't even care about proving he's evil until Hollow Mind, which is halfway through season 2.

Belos as a villain only works if you project your own feelings and desires in wanting to see the Evil Christian/Evil Parent destroyed. While this is extremely satisfying emotionally, it does not make a sound story.

All the reasons why people like his death ("it's great the evil colonizer died so pathetically!" "omg, the white christian colonizer was killed by two queer people and their adopted son!" etc) are all meta reasons. And to be clear, it's totally fine if you thought his death was satisfying. But for many people, it did not work for a variety of reasons, including narrative ones. And that differing opinion should be respected instead of arguing some nonsense like "we have to make our villain as stupid/evil as possible or run the risk of people liking/sympathizing with him."

Belos should have died in a manner that connected back to his original sin: the murder of his brother. All of his lies and delusions and fear of being wrong should have played a part in the finale. He should have not died thinking he was right. He should have died realizing that all he did was for nothing. And that he is to blame. And that there is no one waiting for him back home.

#the owl house #toh critical #toh criticism #emperor belos #philip wittebane #long post #asks

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sahonithereadwolf · 11 months

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Can I tell you about the very queer game I made this Pride?

In A World That Hates and Fears You, Living Becomes an Act of Rebellion.

Exceptionals is a game inspired by X-Men about and for the spaces and communities marginalized peoples make for themselves. Play as a Geno, one of little less than 0.5% percent of the population that has gone through a mysterious process called Claremont-Simonson mutation, as you try to navigate a world that won’t make room for you. Exceptionals is a game about what the mutant metaphor means to you and the different lenses through which we view it. Punch back and build something of worth together in this narrative tag-driven tabletop role playing game. 🧬Features Open-Ended Character Creation🧬 Mix and Match between (23) open-ended but guided protocols. Answer questions to create high concept and unique super powered characters where the only real limit is your imagination. Get invested in who you make as a whole person, and not just a set of powers. Build a Community 🧬Create a living and dynamic community space full of colorful characters. 🧬 Grow your base as an anchor for other geno and help fill it with the resources they and you need. Understand how your actions effect others and gain trust through the bonds mechanic. It’s a game where you get stronger by growing your community and heal by being part of it.

🧬Comic Book Storytelling 🧬 Play as a creative team of writers and editors working to tell the best version of the story you can over time and storyline-based experience to model changes of the status quo and creative direction. Enjoy panel based action pacing and the ability of characters of all power levels to coexist and carry the same amount of story weight.

🧬Not Pain Tourism 🧬 While Exceptionals offers a number of places to push back, we understand and recognize that the most important part of a punching bag is that you choose to hit it, even if it’s not at all. We recognize not everyone gets to set the issues that the mutant metaphor is used to talk about down when they leave the table and offer many ways to tell stories outside of a lens defined by pain. We also put an emphasis and mechanical weight on the importance of joy and celebration. 📚You can buy the Core Book here:📚 https://bramblewolfgames.itch.io/exceptionals 📚You can buy the Expansions here:📚 https://bramblewolfgames.itch.io/exceptionals-expansion-bundle 📚You can buy the bundle with everything here:📚 https://bramblewolfgames.itch.io/exceptionals-expansion-bundle I didn’t go out with the intent of making this a very queer game. Not explicitly. I started making games because I got frustrated waiting to feel seen or acknowledged. Another game got me mad about using my peoples stories to be transphobic, to be racist, to be ableist. Nevermind my people have more than two genders traditionally and faced a genocide. That was too much for me. I said this was enough and the quite indignities I suffered to feel included wasn’t worth it. I could do better myself. So I set out to make a superhero game. I hated just about every comic book game on the market. It never seemed to capture what I did like about big hero comics with high concept storytelling and powers and couldn’t care less on a mechanical or narrative level about who this person was outside the mask. More focused on bashing action figures together and golden age pastiche that doesn’t really reflect the decades of character and genre developments that have happened since then. I later found games that do it better, but I was dissatisfied... I chose x-men for the homies. I’ve always been an x-men fan. A lot of people my age were. My first action figure was one of rogue I got at a garage sale, where she then went on to fight many a play-dough monster. But for many of us it was the first place we were allowed to be heroes. There are no natives on the 90′s x-men team. But I had uncles and older kids all too eager to tell me about Forge and Warpath (I hate that name) and my favorite Dani Moonstar (I ain’t the biggest fan of that name either, but she’s the closest thing mainstream hero comics have to a good NDN).

After that, things just kinda flowed from there. The X-men have such a focus on community. It’s “comics greatest soap opera”. It can be messy, complicated, beautiful and life-affirming all at the same time. They take the time to play basketball, go to the mall, and have birthday parties as they grow. Two of my favorite x-men comics aren’t about fighting at all. One is framed around a sleepover some students have, and another is about a wedding and framed around everyone filming their part of the wedding tape.

So I started thinking about the communities I’ve been a part of. A big core of the game is informed by my time and the people I met in these sort of spaces. As a native, as a queer person, as a disabled person I’ve been both someone who needed them and someone who gave back.

Which suited x-men just fine. X-men has cared about that sort of thing from about X-men #3 with the first appearance of The Blob, establishing it’s tone of sympathy and mutants as a minority analog.

I just kept going and I didn’t stop. And apparently I did a good job. Someone out there has been using my game as game-therapy and community outreach in a gender health center out in California. I got a lot of kind words for the game too (which is good, because I spent 3 years on it).

KUDOS

-As featured on; io9/Gizmodo, Kotaku, Listen to Theses Nerds, Team-Up Moves, Yes Indie'd Pod, Team-Up Moves, and The Voice of Dog -#1 Best Seller and Popular on Itch.io in both Analog & RPG Games, Sept 2021

Listen to the Team-Up Moves AP Here!: https://teamupmoves.com/runs/exceptionals "Exceptionals is a beautiful, brilliantly designed superhero RPG. It's truly a masterpiece, and if you haven't checked it out, do yourself a favor." -@PartyOfOnePod

"This thing COOKS, Sahoni doesn't just tap into the queer/minority readings of mutants, but also ties in the weirdness that really gets my mind racing when it comes to X books." -@froondingloom

"A refreshingly different game, that strikes a good balance between unlimited player freedom and solid guiding handrails. Really gets at the full potential of what the ;mutant outcast heroes' genre should be about: found family, building communities, and lives lived to the fullest despite being lived in defiance." -@guywhowrotethis

"The whole game oozes love for its inspiration while also going further than they dared...." -@Phoenix24Femme

"Astonishing! Uncanny! All-New! And all other X-Adjectives available. This book gets why one would want to play the Mutant Metaphor in an RPG. It cleverly weaves the power fantasy of powerful individuals with the drive to do good for one's community. It's well-researched, well-written and, well, so much fun to play! This is the superpowered game I've been wanting for a long, long time. I can't wait to tell an Exceptional story of my own!" -@Kokiteno Team-up moves even made a recommended comic reading list. It has some of the best x-men has to offer and then some. It even includes that New Mutants comic with the sleepover. They read me for filth and I love it.

I hope you play my game too. I hope you like it. I hope you tell queer stories and build community around you. I hope it’s messy, complicated, beautiful and life-affirming all at the same time. Thank you for reading this. Please reblog if you can as well as share it with x-men and rpg fans in your life.

#exceptionals #Indie TTRPG #ttrpg #comics #X-men #pride #mutants

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magicshopaholic · 1 month

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Another World

Summary: Jungkook finds himself going down a path he never intended - and his best friend might just be collateral damage.

Pairing: Jungkook x OC, Taehyung x OC

Genre: Angst

Rating: 18+

Word Count: 7.7 K

Warnings: none

A/N: Whew. This required some research. A disclaimer for any gaming fans out there: the kind of liberties I have taken with the video games described in this fic cannot be overstated. Think Troy butchering The Illiad source material (but with good plot anyway). Set over a period of a couple of months, starting a month after Los Angeles pt. 2)

Tagging: @bbl32 @ggukkieland @bangtannoonalvg @pb-n-juju @juciu @jeoncookie-bts @quarter-life-crisis2 @dreaming-with-happiness @meirkive @faearchives @margopinkerton @sumzysworld @purpleseoul7 @kflixnet (italics cannot be tagged. If you want to be added to the taglist, drop a comment or ask)

Listen to: "layla" by eric clapton

taehyung masterlist | jungkook masterlist | main masterlist

Jungkook liked gaming. He liked how immersive it was, how fast it was, how much it required him to get into character and beat the bad guys. Most of all, Jungkook liked to win. Video games were winnable, for the most part. Whether it was rules, strategy or just plain speed, gaming was about beating the bad guys and winning the game.

It may have been due to this reason that all the games he owned and played broadly followed this narrative: hero, quests, bad guys, save the world, win. When he and Dilara moved away from FIFA and Real Racing (both extremely winnable games), this was how Jungkook had introduced her to his collection and invited her to play Mortal Kombat.

Dilara hadn’t been super impressed, although she’d played without fuss. She was in London and he was in Seoul, the night beginning for her and for him, the dawn nearing. They played together, shooting, jumping, killing, running. Winning. She’d played with supreme focus (he could see her on the video at the bottom of the screen). Her eyes were trained on the screen, slight frown on her forehead that remind him ostensibly of Taehyung, her fingers moving rapidly on the console, not uttering a single word except at the beginning of the game: save the cheerleader, save the world.

Jungkook hadn’t got the reference, but she’d said it wryly, as though it was a joke only some people were meant to get. Still, she played with him and four hours later, when they were less than halfway done, she’d sat back in her chair and raised her arms over her head, stretching.

“Don’t get lazy,” he’d commanded, still in the zone. He’d tapped his headset. “We still have so many levels to complete.”

“JK,” she’d sighed. It must have been hot in London; her neck and chest were shining in the fluorescent light from the screen. She swept her long hair up into a bun and her tank top rode up slightly, suddenly revealing how tight it was.

Jungkook had looked away out of habit. It never did well to check out your friends’ girlfriends.

“Don’t you need to sleep? Isn’t it morning for you?”

It was - but Jungkook had the day off. He told her as much but she told him she had to sleep.

“In the middle of the game?” He was aghast. “How can you do that?”

She’d wrinkled her nose. “It’s not a cliffhanger. We can just pick it back up tomorrow. The next levels will be the same. Just shoot ‘em all.” She made a finger gun and pointed it at him before dropping her hand. “There’s no story. All the characters are just… graphic. There’s no emotion, no empathy, no… passion to save the world.”

He’d stared. “It’s saving the world. You need passion to do that?”

Dilara had chuckled tiredly. “Even guns and explosions can have a compelling story. Have you ever played Yakuza?”

Of course Jungkook had played Yakuza. It wasn’t bad, but it had been a lot of information to keep track of. Too many characters, too many plots. He’d played until he’d won, but only because it would’ve killed him not to.

“I have to be at the factory at eight am. I’m going to bed.” She’d pushed back her chair and stood up, and the screen filled for a moment with her chiselled torso, hips, and tan thighs from under her shorts. This time, it took Jungkook a moment longer to look away.

He’d bid her goodnight with a bit of half-hearted whining until she promised to resume play the next day. Once she’d logged off, Jungkook switched back to his screen and took a sip of his Americano, debating continuing without her anyway.

A moment later, he’d sighed and switched off the game, heading to bed.

—

The day Jungkook realised he wasn’t cut out for elaborate, story-telling games was the day he played A Way Out with Dilara.

She had told him about it in passing, mentioning that she’d also only played it once, years ago, before life had got in the way. Jungkook had been about to shut it down with glee right then but she’d seemed so mournful about never playing it again that he’d relented and bought the game, sending her an invite to login as well.

“It’s like I’m sixteen again,” she sniffed dramatically, making herself comfortable on her chair. The Red Bull logo on her oversized t-shirt came into full focus for a moment while she adjusted her camera, and Jungkook grinned in satisfaction.

“Well, you wouldn’t shut up about it so you basically forced me to buy it.”

“You know what? Even if that’s true, it’s going to be so worth it. This is the best game, JK,” she added, her face shining. “Emotional connections, moral conundrums, deep friendships…” She sighed and shook her head in wonder. “Just the best,” she repeated.

Jungkook raised his eyebrows at this display but said nothing. “Shall we start?” he asked.

“Yes. Okay, now, don’t worry about not getting the game initially,” she informed him. “I haven’t played it in forever either and I’m sure with the updates and everything, it’ll practically be a different game.

This, Jungkook supposed, was in response to a rather childish moment he’d had a couple of weeks prior where, amidst his inability to grasp the concept of the game, he’d sort of shrieked, yanked off his headphones and proceeded throw himself on the bed in the gaming room, face down for several minutes while Dilara called his name in irritation.

He scowled. “I’ll be fine. Will you?”

Dilara grinned sheepishly; she didn’t take well to losing either. “I’ll be okay. I’m Vince and you’re Leo?”

They commenced the game then. The story read more like a movie than a video game; Jungkook watched in awe as their characters, both in prison and holding a grudge against the same mobster, formed a begrudging alliance and escaped.

It was a gorgeous game; the screen, the special effects, the dialogue - he and Dilara read them out as quickly as possible, eager to move through the game.

“Oh, my God,” muttered Jungkook after a while, shaking his head slowly as Leo and Vincent, on the run from the law, made a campfire in the dead of night. “That’s why Vincent hates Harvey, too?”

“Harvey was an arsehole,” said Dilara with feeling. “There’s a reason Vincent wanted to partner with Leo, even if it meant he risked getting caught. There’s nothing like common hatred of a person to bring two people together.”

Jungkook stole a glance at her, which she caught.

“What?” she asked, chuckling and looking a bit embarrassed. “That’s the fun of these games. You have to really get into it.”

He smiled without meaning to. “I get it. He killed Vincent’s brother. Vincent gets to hate him.”

“Shut up. Ooh, look, it’s Leo’s story now.” They started reading the dialogue boxes together, Jungkook reading them out in slightly accented English, when a sound cut through the soft soundtrack.

“Helicopter!” Dilara yells. “It’s the cops! Okay, go left!”

“No, I think it’s right!” The screen changed as both characters ran through the wilderness, the animated figures running faster than Jungkook could ever hope to. “Okay, we have to get into that house, I think.”

Their characters took shelter in a hut, evading the police, and looting the place for clothes, weapons and a truck.

“It’s a car chase!” Jungkook exclaimed. “You should drive!”

“You know it’s not a real truck, right?” she called out, but still manoeuvring Vincent into the driver’s seat. “Okay, let’s go! Seatbelt on!”

“I thought you said it wasn’t real!”

“I didn’t stutter, JK!”

Jungkook snorted before getting back into character, his heart racing; if the cops caught them, they were back in prison, meaning the game was over.

“Cliff!”

“Get out of the car! There’s a rowboat! And go from behind the trees!” she added as the sounds of the police’s gunshots got louder. They hopped into a conveniently placed rowboat by the banks of a thrashing river and began steering with their controllers.

“Is that a - is that a waterfall?”

“Jump!”

“What?” Jungkook’s eyes widened in a panic. “We don’t have life jackets!”

“It’s not a real river, JK!” Dilara yelled as she threw her character into the water, escaping a gunshot by a nanosecond. “Leo knows how to swim!”

Feeling his ears get hot, Jungkook obeyed and Leo jumped. The two characters somehow made it through the river and landed on the other side, the police finally no longer in sight.

“Whew.” Jungkook exhaled and takes off his headphones for a moment, shaking his hair out of his eyes. He put them back on to see Dilara grinning in the pop out screen.

“Great game, huh?”

“Holy shit. This is what you meant by emotional connection?” When she nodded, he shook his head. “Crazy. Oh, wait - Leo’s story.” He read the dialogue again, his own tone sounding more and more surprised. “Harvey betrayed Leo, too? What a jerk!”

“Villians,” was all Dilara said by way of explanation. “Oh, look! Aww…”

Jungkook followed an instruction to call home with a nearby telephone. “Leo has a wife and kid? What is this game?” he exclaimed. “This is like - like something that should be in the Oscars! Where are the machine guns and the aliens?”

“I can see your eyes tearing up, Jeon, so don’t give me that.”

He didn’t even bother defending himself; he was more engrossed in this fully human story than he ever had been in a video game before. He glanced at Dilara again, his stomach settling comfortably when he realised he wasn’t alone.

It was a flurry of activity after that: purchasing arms, being betrayed by the arms dealer, getting in touch with a mysterious pilot from Vincent’s past who offered to fly them to Mexico to escape. The pilot also dropped another bombshell.

“Vincent has a kid?”

“Vincent is having a kid,” she corrected him. “Okay, we have an option to go to the hospital. We’re going, right? No way is Vincent abandoning his daughter before she’s even born.”

“He’s not abandoning - okay, sure,” he said quickly, catching Dilara’s surprisingly troubled expression. “It could be a trap, though.”

But Dilara ignored him, and both characters headed to the hospital. Warning bells instantly went on in Jungkook;s head, for he’d played enough video games to know what a calm spell looked like before they got attacked. But he followed Dilara until Vincent met his newborn baby girl, Julie.

“I’ve never made it this far in this game,” murmured Dilara, her voice wobbling slightly. Jungkook couldn’t help but feel like this was a slight overreaction over an animated baby, but something stopped him from commenting on it.

“Gwaenchanha?” he ventured, but at that moment, a pop-up appeared on the screen, informing them that the police had surrounded the hospital.

“Told you!” Jungkook exclaimed, but his heart raced with excitement. What a game.

“I’m not sorry!” she replied as they rushed out of the hospital. “I swear to God, JK, if you and Tae are ever running from the police and I’m in the hospital giving birth to his kid, you better make sure he’s there!”

“Er, sure thing,” he assured her, before changing the subject. “Okay, we have to split up.” With no indication either way, he went right while Vincent went left. He avoided the police as best he could while continuously keeping an eye on the split screen to see Dilara’s progress as well.

She escaped; Jungkook breathed a sigh of relief and took his eyes off his own screen for a moment too long to see Dilara pump her fist in the air - long enough to get captured.

“Shit!” He’d lost the game - swallowing his disappointment, for Dilara hadn’t yet, he urged her to continue. “Go! Keep going!”

“I can’t,” she muttered determinedly, turning Vincent around and going back into the hospital with his gun loaded. “We’re in this together, mate - if you lose, we both lose.”

Despite the tension, Jungkook felt his stomach flip in excitement: he loved playing with Dilara. She was competitive, she took risks and she was good at gaming. It had been a long time since he’d met someone who matched this well with him online; it was no surprise that he constantly looked forward to their next session.

“Okay, hold still -” Dilara frowned in concentration, aiming her gun - only two bullets left - at the cop who had Leo in a headlock. Her thumb swiped over the controller ever so slightly and shot the cop straight in the head.

“You saved me!” Jungkook gasped, immediately spurring his character on and out of that damn hospital.

“Don’t sound so shocked,” she muttered, although she looked relieved as well, a grin flashing across her face.

They escaped after that, taking up the pilot’s offer to take them to Mexico, where they were ambushed by the mobster Harvey and his men. There was the old school gaming face-off: guns, fire, jumping off buildings and eliminating NPCs left and right.

“Oh, my God,” said Jungkook in surprise. “We did it. We killed Harvey.” He looked up hopefully at Dilara. “Is that it? Does that mean we win?”

“I don’t know…” The game told them that now that Harvey was dead, they could return to the US but the moment they did, they were surrounded by the police again. “Oh, no…”

“No! Come on!” Jungkook whined, frustrated now, but something was wrong. He frowned as one of the policemen, took the gem they had stolen from Harvey from Leo’s hand and handed it to Vincent… along with his gun.

“Oh, no…”

“Wait…” Jungkook frowned. “Why did the cop just -” He squinted at the screen to read the dialogue box, even though Dilara was reading it out loud. “Is - is Vincent a cop?” His eyes darted to Dilara’s picture in the pop-out. “Are you undercover?”

“Shit, I had no idea,” she murmured. “I told you I’d never reached this far in the game before.”

His stomach churned. We’re in this together, she’d said. “I’m supposed to take you hostage now,” he stated, reading the instructions. Before she could shrug in acceptance, he subdued her and ran. It ensued in a chase again, but this time between Leo and Vincent, with Leo trying to run and Vincent trying to catch him.

It’s not real. Jungkook knew, he knew Dilara knew, and he knew the game was set up to be a certain way for the story. But it still stung, being betrayed, and before he knew it, he was being chased into a warehouse by Dilara, both of them injured and losing energy.

“Some game, Komyshan,” he muttered, sighing. He didn’t know how long they’d been playing; bonding over their shared hatred of Harvey felt like hours ago, as did each of them discovering they had kids. He chanced another look at Dilara on the pop–out and paused.

Her eyes were wet, tear tracks down her cheeks. He started, suddenly wondering if her sixteen-year-old self knew that she would have to betray her ally like this.

They climbed up the warehouse and onto the roof, both their energy packs beeping to indicate they were running out. There were their guns, bright and clear. This, Jungkook knew, was the end. One of them got the gun and shot the other, and the other died at the hands of a one-time ally.

She was still crying, even as her fingers flew over the buttons on the controller. Jungkook watched, as though in slow motion, as Vincent on screen dove for the gun and pointed it at Leo, shooting him, ending the game.

“What - what did you do?” Dilara frowned, looking taken aback. “You didn’t even go for your gun. Did - did you let me win?” she demanded, sounding horrified.

“No!” But didn’t he, though? Jungkook couldn’t tell. “I - I didn’t see the gun,” he explained weakly. He fell silent as the epilogue appeared on screen.

“Vincent tells Linda about Leo’s death…” she read out, swallowing, “... and goes back to his wife and newborn daughter.” Dilara blinked rapidly.

“That’s a happy ending, right?” Jungkook murmured. “He didn’t have to abandon his daughter.”

Dilara was quiet for a moment. Then she chuckled softly, without humour, not looking away from the screen. “Jesus Christ, JK,” she sighed. “It’s not real. It's just a game.”

Jungkook nodded but it didn’t matter. He hadn’t seen Dilara ever break down in front of him like that, even though she’d held it together reasonably well. It stayed in his mind even as he went to bed at dawn, the image of her biting her lip while her eyes swam with tears at a fictional character leaving his wife and newborn at the hospital, and he privately came to a conclusion: he was not cut out for story-telling games.

—

The worst loss Jungkook had ever faced in a video game was the night he invited Taehyung to play.

He didn’t truthfully know what he’d been expecting when he’d invited the older member to join. All he remembered was that years before Dilara entered their lives, Taehyung had been the person who stayed up with him into the wee hours of the night when they were crippled with jet lag and played video games all night.

But it didn’t feel the same. Even the way the plan came to life felt… off. They were in a supermarket in Seoul, during a serendipitous week where their tour schedule and Dilara’s F1 calendar had somehow coincided to have all of them in the same location. A get-together had been planned which Hoseok had volunteered to host, with all seven members, Seokjin’s girlfriend Seulgi, Sooah, Chaeyoung and Dilara in attendance. All the members had been delegated by Namjoon, who seemed to be making a huge effort to gather everyone together, to bring different accompaniments for the night; in the gigantic mall, five out of seven members roamed around trying to fulfil their duties.

Taehyung, Jungkook and Dilara had been dispatched to purchase liquor and mixers. On their way to the store, Taehyung bumped into a friend and, after fondly introducing Dilara as his girlfriend, encouraged her and Jungkook to go on without him.

“How are you balancing this thing?” Jungkook asked tightly, as he tried to keep the cart he was standing from bumping into any of the aisles.

“It’s called steering,” she said knowledgeably, her much smaller frame somehow managing to manoeuvre the cart with ease, almost as if she were riding a manual scooter.

“Race you to the end?”

She grinned as they positioned their carts next to each other. “Remember, we buy what we break.”

“Good thing we can both afford it.” Jungkook winked at her, half-heartedly dodging her playful kick to his shin. “Ready?”

“Go!”

They were careful to keep quiet and not attract attention, staying at the back of the store where they were the only customers. They stifled their giggles while trying to maintain their balance and simultaneously sabotage the other.

“Careful, Lara,” he called to her as her cart wobbled slightly.

“Oi, you don’t get to call me that,” she admonished him, wincing and straightening her cart. “Something’s wrong with this cart, ugh…”

“Oh, yeah? Brake failure?” he taunted her. “You can’t blame everything on your engineers, you know?”

Dilara gasped as she turned her cart at the last minute to avoid hitting a standalone shelf of bottles. “How dare you, Jeon Jungkook. I’m going to kill -” She gasped again, out of his sight this time, followed by a soft oof! from someone else. Just as Jungkook spurred his cart on to make sure she hadn’t hurt herself, he heard the giggles - both of them.

“You’re not allowed to do that in here,” he heard Taehyung’s deep voice, and his heart sank unexpectedly. “You could be arrested for that, you know?”

Jungkook appeared just in time to see Taehyung tugging Dilara backwards to him, gripping both her wrists loosely in one hand. His head was tilted towards the side of her face while she smiled in a way that made Jungkook feel as though he’d walked in on something extremely private.

Fortunately, she caught sight of him and stepped away from Taehyung, albeit still staying close. “Alright, don’t we have stuff to buy?” she asked, changing the subject. “Who has the list?”

Jungkook and Taehyung both opened the group chat to check the list compiled in it, naming different liquors out of order. “Why don’t we split up?” Dilara suggested. “I’ll go to the wine section,” she volunteered, waving at both of them and disappearing behind the aisle, leaving both boys to scan the hard liquors.

“Whiskey, obviously,” stated Taehyung, picking up a bottle of Glen Fiddich and checking the price. “Probably the first bottle Hobi hyung will ever have in his house.”

Jungkook forced a chuckle. “True. I don’t think I’ll be able to stay long enough to see him at that stage of the night, though.”

“Oh, yeah? Got plans?” He raised his eyebrows mock-seriously. “Hot date tonight?”

Yeah, but it’s with your girlfriend. It was only a moment later when he looked up to see Taehyung frowning slightly at him that he realised he’d said the words out loud. “No, I just meant -” He let out another choked laugh, his heart jolting in panic. “We - well, she wanted to game tonight. We don’t have a schedule tomorrow, so…” He cleared his throat.

Taehyung paused for a moment, but then simply nodded. “I meant to ask you, Jungkook,” he said after a moment, now examining another bottle. “Is everything okay?”

“I - how do you mean?”

“I mean, like with you and me. Are you mad at me or something?”

Jungkook’s eyes widened. “N-no. Not at all. Why would you think that?”

Taehyung shrugged. “You’ve been a little short with me the last couple of days,” he remarked casually. “Did I do something?”

He shook his head, lost for words, for this was getting seriously out of hand. What was wrong with him? The tiredness from the tour was bound to catch up sometime but were his moods that erratic, that Taehyung could have misinterpreted them for hostility?

“No, you didn’t,” he answered honestly. “I’m just tired, I swear,” he added, throwing an arm around Taehyung’s shoulders and squeezing them. “Sorry, hyung.”

Taehyung nodded, seemingly a little surprised at this reaction. “Oh, don’t worry about it. Get some sleep tonight, maybe.”

“We’re gaming tonight, though,” he answered apologetically. “You know, you should join us,” he suggested, still reeling in the mild panic that Taehyung might think he was angry with him. “We used to game all the time, before. It’s been ages since we’ve done that.”

Taehyung raised his eyebrows, a slow smile spreading across his face. “Are you sure? Wait, do I still need to let you win?”

Jungkook scoffed, hugely relieved. “Don’t worry, Dilara has beaten me more than once so losing isn’t as shocking as it was before.”

Taehyung grinned and was about to respond when Hoseok appeared out of nowhere, looking distinctly unamused.

“Wasting time, are we?” Before either of them could respond, he slapped Jungkook lightly on the shoulder. “You - go get the beer. And you - wine. Now. Now,” he repeated when Taehyung opened his mouth to argue.

They exchanged a meaningful look and went their separate ways, Jungkook straight towards the fridges with the beer. After filling an entire cart with multiple six packs of different brands, he looked around for the others, finally spotting Namjoon in the middle of the store, typing on his phone.

“Hey. Got what we need?” Namjoon asked when Jungkook joined him and peered into the cart. “This is just beer. What about the rest?”

“Hoseok hyung was with Taehyung and Dilara getting that stuff…”

Hoseok joined them then. “Take me with you,” he stated to Namjoon, looking mildly traumatised.

Namjoon frowned. “What are you talking about? Have you guys got everything?” All three of them turned to see Taehyung and Dilara by the wines, seemingly in a serious conversation. “What’s going on over there?”

Hoseok raised his eyebrows. “Well,” he began, “Taehyung is pretending to be a wine connoisseur giving a tour of his private winery to Dilara, a socialite who is trapped in a loveless marriage.”

Namjoon stared at him, evidently able to make neither head nor tail of this statement. “What?”

Hoseok nodded. “Yeah. Like I said, please take me with you.”

Namjoon responded, but Jungkook barely heard him; he watched Taehyung and Dilara, standing apart but still close together, their hands brushing and their gazes fixed on each other, apparently having forgotten that they were not alone.

The party was supposed to start in three hours; they simply did not have time for this right now. “I’ll get them,” he volunteered, abandoning the older members with the cart of beer and striding over to the happy couple.

“Sorry, guys,” he muttered, stepping in between them, for that’s where the Pinot coincidentally was. “Namjoon hyung sent me - he’s getting really impatient.” He pretended not to notice Taehyung’s annoyed sigh or Dilara self-consciously fluffing out her hair.

Later that night, after a pleasant evening at Hoseok’s apartment, Jungkook settled into the gaming chair in his own, ready to play Trine. In light of Taehyung joining them, Jungkook put forward the one three-person game they had in their backlog, a medieval fantasy game with Zoya the Thief, Amadeus the Wizard, and Pontius the Knight, played by Dilara, Taehyung and Jungkook respectively.

Jungkook was determined to have this session go well. He wasn’t exactly sure why or what it was, but he felt as though he had something to prove to Taehyung, probably because he was the guest during their regular two-person gaming sessions.

Trine was different from A Way Out, mostly in the sense that while the latter was a human story of moral conflict and emotional connections, Trine was, in every sense of the word, a game. Three misfits having to free themselves of a magical curse, each with their own weapons and abilities - it was straightforward and promised to be fun.

Dilara, in Jungkook’s opinion, was made to play Zoya the Thief. Zoya’s skill was archery and with her excellent hand-eye coordination, Dilara shot every single arrow exactly where she was aiming, her brow furrowed slightly in concentration. Jungkook and his character, Pontius the Knight, watched in awe, his sword dangling uselessly at his side - until something appeared out of nowhere and hit him in the head.

“What was that?” he demanded, his eyes darting across the screen and groaning when he saw that Pontius’s energy level had dipped. Without thinking, he slashed his sword through the air, the animated flame at the end of it rising but causing no damage.

“Pay attention!” Taehyung - or Amadeus - had evidently thrown some kind of object at Pontius. As Jungkook watched, Amadeus conjured up another similar looking object, while Taehyung grinned in the pop-out screen. Begrudgingly, Jungkook had to admit that even Taehyung was made to play Amadeus the Wizard - quick, witty and wearing ridiculous robes.

“Oi!” Dilara’s voice rang through his headphones. “You both know we’re all on the same side, right?”

Jungkook rolled his eyes as they continued through the game, entering a ruined castle.

“Okay, here goes.” Taehyung cleared his throat as a dialogue by Amadeus appeared on the screen, and proceeded to read the entire thing in a gruff, grandiose sort of voice that Jungkook supposed he considered a wizard’s. Through the dramatics, he could hear Dilara laughing at the voice and when he glanced at the pop-up screen, saw her looking at something to her side, and it occurred to him for the first time that Taehyung and Dilara were sitting in the same room.

The thought annoyed him more than he expected. This wasn’t how gaming was supposed to be done. Gaming was different timezones, dead of night, coffee runs and straining eyes - not sitting ten feet apart in the same bedroom and giggling at inside jokes.

It didn’t get better as the night went on. The game went well; in fact, they were progressing at an alarming rate, finding objects, overcoming obstacles, gaining points and keeping their energy levels at an all-time high. All three of their characters seemingly worked well together, their powers in perfect tandem.

However, Jungkook was slowly starting to regret inviting Taehyung to play - not because he wasn’t good, but because it wasn’t right. There was a disturbance; he didn’t seem to understand Jungkook and Dilara’s normal trash talk, had a habit of making rather asinine observations in the graphics of the game that more often than not, ended up leading to a clue the other two had missed, and seemed to be more interested in the personality of all three characters than the actual quest.

Most frustratingly, Taehyung was beating the game - and the other players. He seemed to be able to come up with the most absurd solutions to problems - and all of them worked. During a play where they had to get at a clue that was sneakily tucked into the ceiling, Jungkook and Dilara were looking for ways to unlock a ladder that the game was offering them for a certain number of points.

“Do you have enough energy to break through the wall with your arrows?” Jungkook urged her.

“I can try…” Dilara aimed and Zoya shot an arrow which simply bounced against the wall. “I don’t think that’s the way. And I’m running out of arrows. There has to be another way to break down that wall.”

“Okay, well, the ladder is behind it. Maybe we can blow it up?”

“You’re the one with the flaming sword.”

“Maybe I can throw it at the wall or something… burn it down…” Jungkook searched the screen frantically, passing by Amadeus, who was using his power of conjuring to simply create cube-shaped objects. “Taehyung hyung? Some help?”

“Yeah, hang on just a sec…” Taehyung, seemingly ignoring their conundrum entirely, was now stacking the objects one above the other with a slight gap between the edges, levitating the ones at the top. “There,” he said, once they almost reached the ceiling. “Use those as steps and get to the top.”

Dilara gasped and Zoya immediately sprinted up the slanting tower of blocks, easily retrieving the clue from the ceiling. “It worked!” she exclaimed in wonder, the character jumping down gracefully. “My hero,” she said dramatically, looking out the side of her screen again, which Taehyung returned with a grin and a wink at her.

Jungkook poked his tongue into his cheek. “We have, like, seven more clues left,” he said stonily, but his words were drowned in the midst of their joking and laughing. This, right here, was the problem, he reflected: he, Jungkook, had the obvious goal, which was to collect the most points and win the damn game, whereas Taehyung’s primary objective seemed to be to make Dilara laugh, the game a mere secondary.

He wondered why Dilara wasn’t more annoyed, for she enjoyed winning just as much as he did. But she seemed equally excited at the prospect of a fellow player reading out the dialogues as though they were a script, inventing a voice for Zoya and changing her accent, getting immersed in the characters and the story along with Taehyung, with Jungkook having to remind them that time was running out.

“We’re going to lose,” he stated sullenly after a while, when it seemed unlikely that they would finish before their energy packs died.

“Not necessarily,” pointed out Dilara, moving Zoya through an empty corridor to look for the last clue - the Trine.

“Found it,” said Taehyung casually, as though he had just found his sock and not the Trine that would allow them to win the entire game. “Let’s go?”

“Yes - oh, my God!” Jungkook ran down the castle, making sure Zoya and Amadeus were both following Pontius, his heart racing with the familiar anticipation of possibly winning the game.

“Ah, my controller is stuck.” Taehyung clicked his tongue as the animated Amadeus slowed down without Taehyung speeding him along.

“What? Don’t you dare make us lose this, Tae!” Dilara threatened him, when they’d almost reached the final destination, where they could see the other two artifacts they must combine with the Trine.

“Wh - I can’t help this! Lara - catch!” Amadeus flung the Trine - the Trine - to Zoya, who lunged for it at the last moment, fumbled it and dropped it just as the timer ran out.

“No!” Jungkook dropped his controller and covered his mouth in horror. “No, no no!” He glared at the pop-out screen, vindicated to see Dilara glaring out the side of her screen before she stood up and disappeared from view, reappearing in Taehyung’s video.

“I’m going to kill you,” she muttered to Taehyung, who grabbed her hands to stop her from doing any damage. It was a few more seconds before Jungkook realised they had moved on from the momentary seriousness to mock-anger, until Taehyung tugged at their clasped hands playfully and she fell into his lap, giggling.

Jungkook watched, dumbfounded, until Taehyung, laughing, said into the speaker, “This was so much fun, really. I think I’ll head to bed now, though,” he added, as Dilara got off his lap and went to her own laptop, pulling on her headphones.

“Yeah?” Jungkook muttered. “No rematch?”

“We’ve been playing for three hours,” he remarked. “You want to play more?”

“I want to win. Dilara?” he asked hopefully.

“Oh, I -” She bit her lip, apparently mulling. On the pop-out screen, Taehyung had already logged off. Jungkook stared at her, his stomach churning in premature disappointment as she looked at something off screen and visibly tried to hide a smile.

“Dilara?”

“Uh… I think I’m done for tonight, too. But let’s play Person 5 tomorrow, JK. Without Taehyung,” she added deliberately, Taehyung’s muffled protests audible in her background. “Had fun, though, love. Good night!”

Jungkook swallowed as the screen went dark. Had fun? Jungkook didn’t think he’d ever hear Dilara say that about a game she had lost, even though he had never seen her laugh this much while gaming before.

Still reeling from the loss, he went straight to his gaming menu and clicked on Real Racing. No characters, no story - just cars and speed. It was weird playing this game alone, but he needed this win right now.

Anything to not feel like a loser.

—

Sometime in the summer of that year when the group was in New York, wrapping up the America leg of the tour before starting in Europe, Dilara Komyshan DNF-ed a race.

Partly due to jetlag and partly due to the fact that it was pouring outside, almost all the members were in the suite where the race was being aired. Only Yoongi and Jimin weren’t there, the former because he was working and the latter because he was in the gym.

Jungkook had declined Jimin’s offer to work out together; he was tired, and there was the race. He would work out later, for sure. The rest of the members lounged about, doing various activities while the race played at low volume. It was beyond exciting, real-life cars going at a speed of three hundred kilometres an hour between the gorgeous mountains of Mugello, Italy.

Jungkook wished he were there; Italy had been one of his favourite countries to visit during the Red Bull collaboration last year. The views were incredible, the weather was summery, the air was pristine and the house they’d lived in had been so beautiful and rustic, with enough space outside for him and Dilara to work out together while she went through her extended break-up with Taehyung.

Jungkook sneaked a glance at the aforementioned member. Taehyung didn’t look like he was thinking about Italy last year at all; his gaze was fixed on the screen, biting his lip and tensing up every time Dilara’s car was shown on screen, as though he expected her to crash any second.

Therefore, when her car did touch another car and they both spun out, Jungkook flinched and Taehyung was on his feet instantly, eyes wide at the screen. It didn’t seem like a violent crash, but he stayed standing, the veins in his neck popping as he stared until Dilara climbed out of the car and took off her helmet.

“Oh, thank God,” he muttered, sighing hugely in relief and sitting back down, dropping his head in hands.

Jungkook frowned; of course he was glad Dilara was okay, but she was also disappointed, for sure. She had effectively lost the race - didn’t Taehyung care about that?

The rest of the race went by with far less interest from anyone in the suite, Dilara appearing briefly in the garage, having changed into jeans and a team t-shirt. From the sounds of it, the commentators seemed to agree that it was a “racing incident”, though caused by Dilara who had apparently attempted a very ambitious overtake that had gotten away from her.

Taehyung’s face was unreadable; he was flitting between looking at the screen and constantly checking his phone, most likely waiting for a text from Dilara. The race ended and the winners were celebrated, followed by post-race interviews where Dilara was asked about nothing but the crash.

“I did speak to Carlos as soon as we were out of the car,,” she said, nodding. looking a bit cornered with several mics being shoved at her. “We’ve sorted that out. It’s definitely really unfortunate about both our races; it wasn’t the intention and I wish we’d been able to continue, but at the same time…” She shrugged. “It was a gap, you know? What kind of a driver would I be if I didn’t take the opportunity?”

“Even if it was at the cost of a fellow driver?” asked a faceless journalist off screen.

“No - of course not.” Dilara frowned and shook her head. “Like I said, Carlos and I talked about it and I’m - I’m very sorry, obviously. But I tried to go for the gap and he tried to block it - we would’ve both done the same thing if the roles were reversed, I’m sure.” But she looked visibly rattled. The interview ended then and Lewis Hamilton appeared on screen for his interview.

Jungkook reached for his phone and typed out a text.

Jungkook [11:15] I saw the race. I’m sorry. Let me know if you want to get your mind off it. We can play anything you want :)

It didn’t take long for her response to arrive. Jungkook waited, recalling how this had genuinely helped her get over a bad race earlier in the year.

Dilara [11:20] Thanks, JK. Just don’t feel like it today though. Sorry.

As Jungkook read her message, once, twice, thrice, trying to process this and not feel disappointed, Taehyung’s phone buzzed on his lap.

He answered it immediately, jumping to his feet. “Hey,” he said softly, as he walked away towards the rooms. Jungkook stared after him as he nodded at the conversation, his voice growing quieter as he left the group, eventually going into his bedroom and closing the door behind him.

A couple of hours later, after Jungkook had dragged himself to the gym and worked out harder than his body was technically allowing him, he sat at his laptop with a coffee, knowing he had only a little while before it was night in Austria.

Jungkook [14:40] Last chance? We can play Life Is Strange. Seeing me play a teenage girl might make you feel better. I’ll do the voice too.

Dilara [14:44] Haha. That might. Will have to take a raincheck though. Sorry.

Jungkook [14:45] No problem. Let me know if you want to talk or anything.

Dilara [14:46] I will. Thanks, JK. You’re a good friend. The best actually.

The message stayed in Jungkook’s mind the rest of the day, through rehearsal, soundcheck and the concert. The best. The best. He was her best friend. He’d cheered her up on a bad day, even if it was only on text, even if it was only for a moment.

Later that night, once everyone else was asleep but for some reason, he was still awake, Jungkook checked his phone. He didn’t know what he was expecting to find; it was the crack of dawn in Italy and almost the next night in Korea. The only people he knew were in remotely the same timezone as him were on this very floor of the hotel.

He turned to Jimin with whom he was sharing a room. After a long and borderline nauseating conversation with Sooah that Jungkook had accidentally walked in on, Jimin had finally gone to sleep and was now dead to the world. Jungkook reached for his laptop and opened it to Life Is Strange, connecting his headphones before the sound could disturb Jimin.

As it turned out, it was a good thing Dilara had declined taking part in this game for it didn’t seem to have a multi-player option at all. The single player was to assume the character of Max, a photography student in Arcadia Bay with the power to turn back time. It was the most cerebral game Jungkook had ever played; it was difficult, required concentration that was in short supply for Jungkook right now, and he found himself missing having a partner to solve the puzzles and quests with.

But Jungkook was a solo player, as was Max. He started feeling a kind of kinship with Max, who also seemed to be surrounded by people in her hometown and yet, played alone. The game began with Max experiencing a vision of a tornado during class that destroyed the town, following which, while stepping out to calm down, she witnessed a fellow student shoot another in the head and kill her.

Jungkook flinched at the gunshot, the sudden sound startling him, when he discovered Max’s new ability to rewind time. Upon going back in time to before the student - Nathan - shot the girl, Max saved her, a girl who was apparently Max’s childhood friend Chloe, now her partner in solving a series of mysterious deaths in the town of Arcadia Bay.

Jungkook imagined Dilara reading Chloe’s dialogue, even though Chloe wasn’t a player. Chloe had a very similar vibe to Dilara, he felt; they looked nothing alike, but there was a determination of a kind that Dilara had. Chloe was sensitive, asking for Max’s help to find out what happened to her missing friend Rachel, brave in her desire to fight the bad guys not afraid to cry when they discovered that Rachel was dead.

Jungkook sniffed but powered through; this was exactly the kind of game Dilara liked, with characters and story and human relationships and connections on screen. He got it now, now that it was Max and Chloe against the world. Best friends. He watched, played, went through every motion to keep them together, including going back in time to save Chloe’s father from dying in a car crash. When that alternate reality meant that Chloe was instead injured in the crash and paralyzed from the waist down, Jungkook didn’t hesitate: he went back in time once again, letting her father die and saving Chloe once again.

It was almost dawn when the game was coming to an end. Jungkook could tell the end was nearing because the timeline was meant to span less than a week, but he couldn’t tell where it was going. He frowned as the game took him, Max, to San Francisco for the opportunity to display her photo at an art gallery. It almost felt as though the game was getting away from him, for why had the story moved so far away from Arcadia Bay and from Chloe?

Max calls Chloe.

Jungkook read the dialogue, his heart skipping a beat, for here it was: the tornado, the one that Max had had a vision of hours ago at the beginning of the game, was here in Arcadia Bay, threatening to destroy everything and everyone.

The game took Max back to the moment she took the gallery photo and Jungkook swallowed, the lump in his throat painful as he and Max descended into a pit of alternate realities that existed as a result of them messing with time, only to come to the heartbreaking conclusion that it all began because Max had saved Chloe from being shot.

“No,” whispered Jungkook out loud, his voice breaking. This was why he hated story-telling games, he thought angrily, biting his lip and feeling his eyes fill up anyway. What was the point? You got attached to a character, to her best friend, to her family, and just when you thought you were making it, it imploded and forced you to choose between two equally important things, between freedom and the ally you made in prison, or between your best friend and your integrity.

What was he supposed to do now? Let the town be destroyed to save Chloe, a character who wasn’t even a player? That definitely wasn’t how the game was designed; he couldn’t imagine the programmers would consider that a win. No, if he had to win the game, he had to save the world. Save the cheerleader, save the world, Dilara had said, months ago. It always came down to saving the world.

Jungkook followed the instructions, his vision blurring as Max went back to Arcadia Bay while the storm approached, reuniting with Chloe when the moment of truth arrived. Jungkook’s finger hovered over the button on the controller, his face screwed up as he clicked on the option in the dialogue box.

He watched motionlessly as the animation exploded, the storm rolling in and destroying Arcadia Bay, the entire town razed to the ground. As the camera panned around the devastation, Jungkook swallowed the lump in his throat and let the tears stream silently down his face as Chloe appeared amidst the ruins, alive and relieved. She and Max clasped hands and left Arcadia Bay together, leaving the wreckage behind them.

—

Thanks for reading. Don’t forget to leave a review :)

#jungkook x oc #taehyung x oc #jungkook fanfic #taehyung fanfic #thebtswritersclub #bangtanwhq #micdropnet #k-vanity #wkcnet #bts jungkook angst #bts taehyung angst #bts v fanfic #bts jungkook fanfic

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cleabellanov · 2 months

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Fighting for good, one widow bite at the time: Black Widow's cultural impact

Critics scoff when I call the Black Widow movie a favorite, but hear me out. It deserved a better release window, maybe at an earlier time, when things would've been viewed differently. Sure, it doesn't rise up what it could've been, leaving so much lingering dreams in the hearts of us, fans. So much potential remains untapped, so many questions unanswered... but Natasha Romanoff? She rises above it all. If you doubt her power, think again, and as I said, hear me out.

Black Widow, the assasin with steely eyes that hide and protect a heart of gold, has transcended the screen to become a cultural icon. From her first appereance in the MCU in Iron Man 2 (2010) to Black Widow (2021), she truly went through a lot, took us with her, and thaught everyone some lessons on the way.

Shattering the mold of the damsel in distress: She's no sidekick, she's a strategist and a fierce fighter. She is a vital member of the Avengers, that's a fact we saw in the 2012 movie. After all, how many characters can you name that tricked the God of Mischief? Nat didn't only do it exceptionally, she is the first we saw doing this on screen.

Reclaiming Narrative: Unlike many superheroes defined by singular origins, Black Widow carried the trauma of a dark past, manipulated by the Red Room, a notorious spy program. Her movie explored this narrative, acknowledging the exploitation and abuse she endured. This resonated with survivors of violence and abuse, offering validation and representation. Her journey of breaking free from her past resonated on a broader level, highlighting themes of resilience, empowerment, and overcoming hardship. Furthermore, she hasn't always been a hero, an avenger. "Regimes fall everyday. I tend not to weep over that, I'm russian" and "I've got red in my ledger. I'd like to wipe it out" show how she's not just using the power she already has, but has the power to change as well. This isn't about brute force, it's about internal struggle and choosing to become a better version of herself despite her history.

Sisterhood and Solidarity: Black Widow's story wasn't solely focused on herself. In "Black Widow," she teams up with other women who share similar experience, even if at first this doesn't seem to work, indoctrinated as they are in the Red Room programme. This depiction of female solidarity resonated with audiences, particularly feminist movements advocating for women's support networks and collective action.

Representation Matters: Black Widow's portrayal as a skilled leader and strategist challenged existing portrayals of Russian characters in Hollywood. They are often depicted as villains or stereotypes, but her complex identity sparked conversations about diversity and representation within the superhero genre.

Defying stereotypes: As the sole original female Avenger, Black Widow carried a unique weight. She didn't need superpowers or a revealing suit — her determination and arsenal spoke for themselves. That's true power. I mean, in some situations she only had two cool firearms, but did better than Captain America with a vibranium shield! I also love how her costume evolved over time, prioritizing functionality over sexualization. Ditching the impractical neckline in her solo movie? A much-needed win! It shows that Black Widow commands respect through her actions, not her body.

Her impact and importance punches like her combat skills, if you ask me.

So, the next time you see the Black Widow, remember, she's more than just a character. She's a symbol of strength, resilience, and the unwavering human spirit. Thanks for being a constant source of inspiration, Nat ❣️

#Marvel #mcu #black widow #natasha romanoff #nick fury #maria hill #the avengers #avengers age of ultron #wanda maximoff #wandavision #marvel bucky barnes #buckynat #scarlett johansson #florence pugh #sebastian stan #cate shortland

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transmutationisms · 7 months

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I would love to hear more of your thoughts on House & its relation to the detective genre ! I think that house (completely accidentally and very badly) stumbles into a good critique of how doctors & medical structures view addicts & disabled people, with house being a horrible hegemonic mr malpractice to his patients frequently yet half is series is unironically just about all the injustice/mistreatment he faces because his doctor colleagues can’t see him as a person but only as a problem to be solved/rehabbed/therapized/institutionalized/treated like a child with stolen candy/treated like a criminal. and then it also randomly takes an incredibly pro MAID stance. which isn’t really part of this but I just remembered how batshit insane that show was. and then chase killed a dictator and I feel like the show was squarely on his side for that one. Anyway. Do you have thoughts? I really like house.

ok here's my house md take. like a lot of medical dramas, the show essentially relies for its dramatic appeal on the construal of patients as gross, weird, and stupid—rubes who are too uneducated and self-serving in their petty lies to solve their own bodies, and thus need the intervention of house to fix them. this is standard for the genre, although slightly meaner on house than on some other examples (cf. grey's or even the older and soapier generation of these shows). i don't even think house committing malpractice is all that new; it's relatively common as a plot point that positions the noble rule-breaking doctor as someone who 'does what needs to be done' and skirts the bureaucratic red tape to follow their own superior judgment. what makes house more interesting is that from the get-go, house himself is both a doctor and an unwilling patient. in itself this isn't a tension that's new to the medical soap (injuring a major character is pretty par for the course) but house's particular interactions with the ruling biomedical epistemology are, as you point out, characterised by hostility and resistance, and the show frequently either sides with house, or at least leaves it somewhat up to the viewer to decide whether house is right to resist the pathologisation that cuddy and wilson try to impose on him.

this is kind of a tricky line to walk for 7 seasons or however long the show is. my recollection is there are episodes, for example, where it's very clear that house's pain is physical, and the writers use this to morally justify his vicodin use. this is obviously not a full-throated defence of opioid users, but it is at least pointing to a position on chronic pain that allows for the possibility that for some people, long-term use of drugs with a high addiction potential and side effects is legitimately the best thing. but, this messaging is also undercut by the fact that it's primetime television, they need to make drama, and there are definitely also episodes where house is framed as potentially lying about his pain, or at least mistaking a somatic problem for a physical one, which the writers often (not always, but often) present as evidence that actually, house shouldn't be trusted to make his own decisions about drug use, and ideally should be 'de-toxed' and probably sent to cbt or whatever. of course all of these considerations are also contextualised by the fact that house is, again, not just a patient but a doctor: his right and ability to make these types of calls for himself is, it's suggested, a result of his having attained medical education and credentials. the patients who come to be treated by him are seldom, if ever, given this same level of consideration or presumed to have sufficient self-awareness to make their own medical decisions. this isn't to say they're portrayed entirely unsympathetically, but ultimately the narrative engine of the show relies on house being the smartest guy in the room (though ofc, sometimes tragically 'held back by his addiction').

so, although there are moments on the show that genuinely transgress some of the norms of the med-drama genre, i have never agreed with people who thought that the show as a whole was presenting any sustained critique of the medical system, the treatment of chronic pain/disability, or the power-imbalanced doctor-patient relationship. ultimately all authority on house md is supposed to emanate from the physician, or the physician's superiors (cuddy as a 'check' on house, though sometimes a failed one! again because of the need to generate drama for like 140 episodes), and at its most radical the show is really only capable of presenting house himself as an out-of-control aberration whose existence strains the existing system rather than being produced by it.

this is where i think the comparison to the cop show genre becomes more clarifying. house md never made a secret of being an interpolation of the detective genre, specifically sherlock holmes. however, i'm not sure i've ever really seen writing on the show that analyses what effect this actually has on house. like police, doctors are tasked with maintaining certain social norms; the dichotomy between policing and medicine isn't even a solid line, as criminality is frequently rhetorically construed as a pathology in itself and medical authorities can and do have recourse to carceral systems in order to discipline and confine recalcitrant patients, the 'criminally insane', addicts, and so forth. (policing has historically also been understood in a more expansive sense than how we use the word today; our understanding of the medical/public health system as separate from police authority is arguably more to do with university credentialling than the actual exercise of social and political power).

so, if we want to be serious about the portrayal of medicine in popular culture (i am always serious about this) then we're necessarily talking about broader systems of power, social control, and discipline, and doubly so on a show like house that is explicitly inspired by detective fiction. this is where house md is most ideologically objectionable to me: as with the trope of the cop who breaks all the rules, house is basically positioned in one of two ways throughout the show. either he's a lone genius who alone is willing to achieve noble ends (cure) through distasteful means (breaking into patients' homes, berating them, performing risky interventions on them, &c), or—and this is rarer on house but does happen—he's portrayed as genuinely crossing an ethical line, in which case he's a kind of monstrous aberration from the normal, ethical functioning of the medical system, often represented metonymously by the objections that cuddy, wilson, or house's underlings raise. in both of these cases, as with copaganda, the function is ultimately to reinforce the idea that doctors, though occasionally capable of human error, are prima facie wiser than their patients, looking out for their patients' best interests, and performing noble social roles as healers. house, ofc, is very rarely willing to admit that he has any underlying ethical motivations, though much of the show is driven by the flashes where he is revealed to 'secretly' care about another person (often wilson) and anyway, the construction of an ethical society in which all individual actors are motivated solely by selfish interests is a very established rhetorical move for those interested in defending liberal capitalist societies (cf. charles darwin, thomas malthus, adam smith, &c).

because of television's need to generate profit via audience engagement, house md always relied on a certain level of shock or at least provocation in order to sustain itself. so, there are certain aberrations from the more overtly doctor-valorising medical dramas, like the suggestion (sometimes tongue-in-cheek) that house was better at his job when he was mildly high on opioids. this was, for the reasons outlined above, never a serious entry into political critique, but it was at least refreshing in a certain way as a departure from, eg, the portrayal of addiction and drug use that we see on grey's, which is completely limited to the medicalised AA narrative of 'recovery' as a battle against the malevolent intervention of an external chemical agent. which is to say that although house md is ultimately reactionary in the way we should expect from an american tv show, it did at least dabble in a certain level of caustic iconoclasm that allowed limited departures from the genre conventions. even with what was ultimately a pretty solid vindication of the anti-opioid narrative, the show does stand out in my mind as one of the few very popular presentations of any kind of alternative stance on chronic drug use. that it's usually put in house's own mouth means it is occasionally legitimated by his epistemological authority as a physician, though ofc ultimately this authority is challenged not through a critique of the medical system, but by presenting house as individually and aberrantly licentious, undisciplined, and insane—and his chronic pain/disability are both a justification for this, and a shorthand for conveying it.

#house md

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