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milling-around · 3 days

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The Bad Batch Finale and Joel Aron’s cryptic tweet

Okay so Joel Aron, Director of Cinematography Lighting & VFX at Lucasfilm, tweeted this:

Initially, I thought that this was going to be the runtime of S3E15 The Cavalry Has Arrived. This episode being longer would make sense as it’s the finale of the show and it’s close in length to S1E1 Aftermath. However, I saw a screenshot floating around the other day that says the runtime of the final episode “spans 24 to 25 minutes”.

If this episode is the typical length then this timestamp must be referring to a different piece of media. The question is, what media? In an effort to determine what could happen in the finale, I went to that point in the films to see what I would find. None of them strike as much fear in me as what’s happening in A New Hope.

The Phantom Menace - Anakin has just won the pod race and they are celebrating his victory.

Attack of the Clones - Jango Fett and Boba Fett have just attacked Obi-Wan with seismic charges.

Revenge of the Sith - Anakin is looking out over Coruscant from the Jedi Council room. He has just revealed to Mace Windu that Palpatine is a Sith.

A New Hope - Before leaving to disable the tractor beam on the Death Star, Obi-Wan delivers a line which may foreshadow what’s to come in The Bad Batch.

Empire Strikes Back - Luke is trying to lift the ship out of the swamp on Dagobah.

Return of the Jedi - Luke, Han, and Chewbacca, along with the droids, are captured by the Ewoks.

Star Wars: The Clone Wars - Anakin and Ahsoka are heading towards Tatooine to deliver Jabba’s son back to him.

At 01:09:56:01 in A New Hope, or as close to it as I could get (Disney+ sucks) this is what we see:

Sorry it’s a photo of my computer, I don’t know how y’all take screenshots of Disney+.

“Your destiny lies along a different path from mine.”

Many people have been theorising that the show could end with the Batch and Omega surviving but being separated, either by choice or by circumstance. This line from A New Hope, as well as the fact that Omega’s voice actor, Michelle Ang, has described the ending as “bittersweet”, definitely make that a solid theory.

Maybe I’m barking up the wrong tree though. There’s also speculation about whether Omega is force sensitive, so maybe Luke using the force in Empire Strikes Back is the real clue. Despite Ventress not believing Omega to have a high m-count, and her not being one of Hemlock’s designated m-count specimens, we have seen characters with a low m-count who were capable of wielding the force. Sabine Wren, for example.

Still, Omega being force sensitive doesn’t prevent the theory that she gets separated from the Batch from being true. It could actually be a reason for that separation because she may pursue training or decide that her proximity to the Batch endangers them.

But wait, there’s more!

At this timestamp in S1E1 Aftermath, Omega is on the Marauder with the Bad Batch (minus Crosshair) and they’re setting off on what will be her first big adventure. Omega’s Theme is playing and she’s gazing out at space with child-like wonder. While they’ve just parted ways with Crosshair, the overall feeling in this scene is hopeful.

If the tweet is referring to this episode, it could mean that we get a wholesome Bad Batch family moment. Whether Tech is there or not may rely on CX-2 being unmasked. Perhaps it’s bittersweet because Tech truly is dead or because he’s alive but they cannot save him from the Empire. Or maybe it’s bittersweet for a whole host of other reasons.

Honourable mention

@kiffobaby also looked into what is happening at this timestamp if you combine the runtimes (including credits) of all episodes in clone relevant story arcs and didn’t really find anything of note. If credits were removed then it would put at us a different point in the arc, however it’s unlikely that we’d be looking for a timestamp in an arcs combined duration anyway.

If you’ve read this far, I love you and don’t worry, we’re almost done.

Secret 16th episode?

Seasons 1 and 2 each had 16 episodes which leads me to speculate that this timestamp could actually be the runtime of the final episode, a secret 16th episode.

Is it likely? No. Can I dream? Yes.

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batfambrainrotbeloved · 3 days

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How to Writing multiple characters in a scene!!

Writing tips w/ Sunny (part 1, because I ramble and im positive ill end up doing this again if people want or for my own satisfaction)

This is just my methodology put in a way I think makes sense, if this doesnt apply to you thats okay everyone has different stradegies that work for them <33

SO lets begin.

"Rules" of writing multi character scenes + arcs, (First half is how to add them into a scene, second half is maintaining and not letting them vanish)

AHEM- Well there are four ways to place a character in a scene

Narration POV Aka the protagonist, this is the perspective ever present unless you CLARIFY the story is now through the lens of another character (Take for example my fic, while I play with multiple perspectives- a bulk is from Tims POV)

Secondary POV This is the character that DIRECTLY interacts with the narrator aka their "first point of contact" so to speak, they ground the narrator in the scene as not alone and is actually interacting with other people. (This DOES NOT have to be a speaking role, it can be purely observational if need be- but its the character that gets the most attention via the narrators perspective SIDE NOTE- THIS CAN SWITCH AS WELL)

Interactive POV Now we get to the "filling"- since Secondary doesn't need a direct tie to the narrator, you can have another character interact with the secondary character. But since they are not the focus of the scene its good to have a REASON they "Enter" or else if you spend so long giving the narrators perspective on #2 then you risk having someone "Materialize" in thin air. (This isnt really a concern unless you wait too long into the scene to go "Oh this guy exists-" you have time as you paint the reader a picture of the new enviornment/scene)

Enviorment POV Last but most certainly not least (and the one i've seen people struggle with the most) is the character that is PRESENT A N D NAMED- But serves no plot importance/relevance (to the narrator) during the opening part of the scene.

To put in better perspective- think of being in a room, The Narrator is you observing your surroundings (depending on POV style how "into the mind" of the narrator we go)

Secondary is the person you focus on, you hear their conversation, see their body language, expression, clothing, etc. They are the personal "focus" (there can be multiple as well)

Interactive is people SURROUNDING the focus, those who still play a semi active and visible role. They can either be within your line of sight interacting with the enviorment or speaking to a secondary/narrator character.

Enviorment is the person in the back of class that you know, but don't really register unless they do/say something- but you are still AWARE of their presence. CAREFUL NOT TO INTRODUCE THEM TOO LATE, OR ELSE YOU HAVE THE "MATERIALIZE" PROBLEM AGAIN

Now into a scene(aka recycling an old one)

Tim starred ahead silently from his side of the couch, watching Jason fidget with the soda tab on his shitty off brand Doctor Pepper he always insisted on getting. Around and around over and over, it was giving him second hand anxiety.

Thankfully they weren't forced to stay in the moment as Dick leaned over and pressed his shoulder into Jasons with a beaming smile "Oh come on it'll be fun"!

"Says you golden boy" Steph teased, half hanging off her chair and a foot almost knocking over Cass chip bag, only stopped by the fact Duke snatched it and moved it further along the table.

Well at least Damian seemed to be reacting rationally, seeming intent on slouching in on himself the more Dick tried to pull him and Jason together into a "group hug". It was a wonder his arms could even reach that far- even more so that they were still intact.

But Jason, like the rest of them, was weak to Dicks puppy dog eyes. Tim saw the moment he gave up a losing battle and his shoulders slumped in defeat, though his scowl ever present. "If I say yes will you fuck off"

"Ah ah language, we have children here"! Dick gasped, placing his ears on Damians ears which only earned him a snarl in return.

"I don't think Damian counts as a kid- and I just turned 16 which is basically an adult" Duke tried to defend, but his 'fierce glare' had less effect with his hand stuck in a bag of gummy worms.

Tim huffed- if Dick kept it up, they would end up with "family night", and he doubted all of them would come back alive.

(END SCENE)

Now to break down- Tim was of course the "Narrator" perspective that was viewing the scene, we get his insight even while not directly interacting with the characters just by his description tone.

Jason was of course the main "Secondary"character (though Dick was a mix as well) where the scene introduced by Tims perpective and tone by someone else in the enviornment.

Then you have Dick who is a perfect mix of Interactive character (how he entered the scene via movement, placing himself in perspective to the established other two) while shifting to have the most "scene impact" whilst still not being Tims focus.

Finally you have everyone else serving as Enviornment characters, with either a simple Line-action (ex-Steph) or a name drop in general placement (Cass) or establishment through movement, and only relevent later in the scene (Duke).

Damian kind of floats between, he is introduced via a reaction + Narrator observation, but then is mostly just an eviornment character. He is THERE but not really awknowleged beyond that.

NEXT- If that doesn't help much you can rely on "Environment rule"

Aka everyone is always doing something in any space they occupy- apply that to your characters. It can be as simple as when you have one character speak loudly to the narrating POV, another character shifts away or laughs.

They didn't need to speak nor did you need to detract from the tension/pacing of a scene by describing in detail their expression, positon, etc.

BUT in that moment your reader just clues in to "Oh okay x is here-" that is established, and whether or not x plays a role in a future scene within that enviornment doesnt matter much.

This is also the PERFECT oppertunity to give characterization. If a tense moment is going on you can have the narrator notice another character stiffen/flinch (aka affected by the conflict, even if not an active participant)

FINAL PART- MAINTAINING

This is where shit can hit the fan f a s t- getting a bunch of characters in a scene is one thing but keeping them there?? Hell at times.

But once again this all relies on "Narrator perspective" and unless you are switching narrators, you need a "cone of vision" to determine what is or isn't important unless you might break the tension of a scene.

Methods include-

Reactions

Two+ background characters interact (verbal or not)

Interact with enviornment

Enter/Leave a space (of note)

A sound registered but not explored (a chair creaking back, a glass dropping, snack bag rustling, or even my favorite which is the sudden absense of sound implying an audience)

"Incidents" (Someone drops something, attention goes to them for a sec- apology/oneliners, then switch back)

Check ins from NON NARRATOR, (or narrator, but usually works better to keep track of who is focused on who)

Characters don't need to be "ever present" just remind your reader they exist somewhere generally in the scene (and keep them in your back pocket)

But The best possible tool at your disposal?? BANTER.

Let characters interact, feel out their dyanmics- If you dont know how they interact in non tense situations, how does that change when tension amps up. Have a background character throw in a one liner- or the narrator observe a conversation they aren't a part of.

LET PEOPLE BE PEOPLE- And they basically write themselves

Last but not least- if you feel stuck or lost?? Treat EVERYONE like a narrator.

Who are they paying attention to? What are they seeing? How do they REACT to that? Do they speak up, do they tense, do they try and slip away or stay strong?

You don't need to know this for EVERY scene- but sometimes it helps out of a rut moment

ANYWAYYSS- This is my rant and personal methodology of how I place/maintain multiple characters. I hope this helps for anyone interested, if not find what works for you!!

My Asks are open if anyone wants me to give any other advice, tips, or just general ramblings about writing.

Otherwise,

Happy writing!!

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aerialworms · 1 year

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+ bonus Midam :)

(Shoutout to @bloodydeanwinchester for inspiring this, although I’m 75% sure this has been done before 😅 ID under the readmore!)

[Image ID: A series of screenshots of the Supernatural characters paired with the answers from a Buzzfeed quiz. The first image is the title of the quiz: “...would you fuck a clone of yourself?”

2. Sam Winchester, looking weirded out at his alternate self in 15.13 Destiny’s Child, answers “I don't want to fuck my clone because it would be gay sex and I'm not gay.”

3. Eileen Leahy, smirking at Sam in 15.07 Last Call, answers “I'm not gay, but I would actually totally fuck my clone.”

4. Jack Kline, looking baffled in 13.01 Lost and Found, answers “I'm gay, but I still don't want to fuck my clone, that's gross and weird.”

5. Castiel, looking scared as the Empty yells at him in 13.04 The Big Empty, answers “I don't want to fuck my clone because my self-loathing is THAT strong.”

6. Crowley, looking suggestively at Dean in a bar in 9.11 First Born, answers “I'd fuck my clone because who would know better how to fuck ME than ME?“

7. Dean, handcuffed on the floor in Endverse Dean’s cabin in 5.04 The End, tells his alternate self “I'd totally do all sorts of weird things to my clone I'd be embarrassed to ask someone else to do.”

8. Arthur Ketch in 13.07 War of the Worlds, pretending to be his twin, Alexander, answers “It's basically the same as masturbating, right? So no big deal.”

9. Mary Winchester yells at Ketch “It's not the same as masturbating; it'd be like having sex with your twin. Wrong and bad!”

10. Good!Charlie Bradbury from 10.11 There’s No Place Like Home says “I would not have sex with my clone because what if my clone is evil.” except the “what if” has been crossed out.

11. Mustachioed Gabriel from the Casa Erotica DVD in 5.19 Hammer of the Gods answers “Not only would I have sex with my clone, I'd probably make a bunch of clones and just get it on with all of them at once because that's how pro-clone fucking I am.”

12. Chuck, in 11.20 Don’t Call Me Shurley, shrugs and tells Metatron “I'd totally fuck my clone because I want to know if I'm good in bed.”

13. From the start of 9.18 Meta Fiction, Metatron tells the viewer “To be honest, fucking my clone has always been my fantasy.“

14. Michael and Adam on their dinner date in 15.08 Our Father, Who Aren’t In Heaven. Their answer is simply “Yes.”

All the images are watermarked with the creator’s url, “@aerialworms”. /End ID]

#whoo boy i spent way too long on this #worth it though #spn #memes #and now for the tagging jesus christ #sammy #eileen leahy #jack the baby god #castiel #deannnnnn #king of hell #ketch #mary winchester #charlie bradbury #gabe the babe #midam #i added the episodes in the id because i spent ages finding the perfect screenshots #from relevant scenes (or as relevant as i could make them)#especially dean's ketch's and cas'#and sam and charlie's #and of course the midam one because they're canon #the amount of doppelgangers on this show is insane #i also wanted to include that one shapeshifter that turned into mary while ketch was torturing him but alas mary's faces weren't any good #for the answer i wanted to pair her with #also SORRY if i left out anyone's faves i was going off vibes #metatron wants to fuck himself (affectionate) and the rest of us want him to fuck himself (derogatory)#and chuck's an insecure little bastard #also that's the scene where he was talking about how he'd slept with girls AND guys #eileen's 'i'm not gay' means 'i'm bi'#original poast

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sonknuxadow · 3 days

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they werent lying that knuckles series barely has knuckles in it

#i pirated that shit Btw just so we're clear. also gonna talk about it a little bit in the tags #nothing too spoilery but also might not wanna read if you want to go in knowing absolutely nothing? idk #anyway he WAS a main character still he was present for a decent amount of the first couple episodes #but the amount of screentime he gets just starts dropping after that . hes barely there at all in the second half ???#and it feels like theres a lot of scenes mostly focusing on wade and his problems and not near as many for knuckles and his whole deal #overall it feels more like a wade show with knuckles in it than a knuckles show with wade in it. which sucks #and human characters having plot relevance isnt the problem here i dont mind human characters at all i think they can be really fun #its the fact that the human characters are taking over the story and spotlight when the show is called knuckles #and all the marketing makes it look like knuckles is the main focus #and i also would have preferred if they just went with a differnet character to be knuckles' human friend #because i dont particulraly care about wade. and the knuckles (and sonic and tails) i know would not be friends with cops </3 #well at least the story wasnt knuckles training wade to be a better cop like a lot of people were expecting but thats like.the bare minimum #also aside from the issues relating to knuckles' screentime (or lack of screentime) i thought the ending was unsatisfying #regardless of all that though there WERE some parts i enjoyed or found kind of funny or whatever. because knuckles so cutesy as always #knuckles being a cute little guy is the most important part of the show actually #and i liked the parts with sonic tails and maddie even if they were only there for like 5 minutes #(i really wish those three had gotten more screentime. i feel like they could have easily worked in at least one more scene with them)#and its a minor thing but the opening sequence is cute. was honestly expecting just a title card or something #overall the show is just . kind of okay i guess. not the worst thing ive ever seen but still disappointing ? idk how to explain..#my expectations also werent very high in the first place #so maybe im being a bit more generous than i would have been otherwise. idk #and i definitely would not recommend this to anyone who already dislikes the sonic movies . youll probably hate this more #like people who thought the human characters got too much screentime in the second movie would lose their minds if they saw this

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stewyhosseini-bf · 1 year

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sorry to randomly bring this up but. I think the thing that makes Kenstewy stand out to me so much is how their scenes feel so earnest ? to the point that they BOTH feel like almost different characters when they interact with each other. Like the way Kendall has a hard time looking everyone, even his own FAMILY in the eyes, but with Stewy he doesn't flinch and he holds steady eye contact almost all the time (and when he doesn't, stewy searches out his gaze but let's not get into it) .. the way Stewy never shies away from telling people what's on his mind in a totally blunt way but with Kendall he still tries to be nice about whatever he says.. like okay, Argestes:

first of all, they're like actively fighting and this is how they interact, FIRST time seeing each other since the big betrayal btw

then also the fact that Kendall genuinely wants to warn Stewy about the acquistion.. like he's NOT lying, at that point they ARE about to acquire Pierce and it WOULD kill their approach and he wants to warn him, which is fair enough considering everything that happened.

but then also:

even when Stewy's telling him he doesn't trust him he's nice about it but you can STILL tell kendall is really hurt by it.... like ... and re: Kendall being visibly hurt by Stewy saying 'I don't trust you' .. this is the same guy whose been told 'everyone here fucking hates you' 'x fucking hates you' millions of times and has essentially reacted with 'yeah okay, whatever, I can handle it' each time. but THAT'S his reaction to this ?! in a show where there is SO little space for genuine affection/consideration even between characters who are related or married .. the fact that these two seem to so genuinely care abt each other is kind of shocking.....

#why is this relevant now? it isn't but i'm making an amv and watching scenes and . it's insane #it's INSANE!#kendall literally fucked him over so hard (from stewy's POV) after 1x10 and he still said you can talk to me! there's a human thing #standing in front of you! sorry. anyway it doesn't matter etc #i'm always thinking about them though. just so you know. PLEASE S4. LET THEM BE IN A ROOM TOGETHER AGAIN #and with stewy being nice about telling ppl shit honestly. remember when he told logan 'everyone fucking hates you' and said about #roman that 'people say he's a coked up dauphin who can't tell sh it from shinola' but with kendall he's like. bro people don't love you :(#it's tough :(#in 1x3.#like it's the same message it's just said soooo much nicer. and they could be such assholes to each other but they just aren't #i guess thats what i'm saying. i love that. also it's like. why is that. well we know why but WHY #kenstewy #argestes

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todayisafridaynight · 1 month

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would it be okay if u told me why u like aoki😭/gen😭😭😭😭BEEN TRYNA LIKE HIM FOR SO LONG I JUST CANTT but i love ur art so much so i still consume it otherwise lol

i liked tohru adachi in high school and tbh i think that alone is enough of an explanation for why i ended up liking aoki

#snap chats #haha see i told you last post's tags were relevant #anyway vLKVJEVLKAEJVLKJ IM CRYING ANON youre so funny. this is the funniest ask i coulda got thank you so much #i dont know why i like him either <- yes i do #fine lets get Real Talk about it #well first off all i thought he looked hot rolling out the elevator and i was playing the eng dub and i think his voice sounds hot there #and thats like. not athing that happens to me ever <- literally thought sawashiro was hot two frames into the game but anyway #i like politician characters. or characters that are in a position of power ESPECIALLY if they have to act like they dont suck balls #like i very much love the idea of the power of charisma and that type of thing not to mention the 'strategizing' as aoki puts it #that comes with politics. LIKE HE SUCKS DONT GET IT TWISTED HE SUCKS BUT //shrug emoji//#like its why i love the mine rggo stories i like seeing mine's thought process and how he uses his intelligence #smart's sexy to me idk what to tell you but moving on #its fun watching him lose his cool too ESP IN HIS FIGHT LMAO HE STOMPIN HIS FOOT LIKE A TODDLER SHUT UP #i also really love the arakawa family in general and thinking of aoki's relationship with each of them makes my brain explode #especially him and sawashiro that shit is painful to watch and i love it so much #i also thought him going from goth to republican was the funniest shit in the world like i howled at that AND i was distraught #aokis so interesting to me from the notion that he IS loved by his family but he has so much hatred for himself it eats him up #and as a result he cant be happy no matter what he does- how hes constantly seeking validation even if it's nothing meaningful #his lil. Dog-Eat-Dog world world belief to ichi also appealed to my edgy depressed high schooler brain. sorry.#his speech at the lockers also got to me. unfortunately. sorry everyone i empathized too hard it got too real it wasnt funny anymore #like as much as i complain bout the very end the ending is what solidified me liking aoki if not also cause of ichi's impact in those scene #plus... analyzing him and the environment around him is so much fun too....#idk reasons for why i like aoki also boil down to personal reasons. he still sucks tho so i cant be upset when people hate him LOL #i probably have more reasons or could elaborate more i love rambling but i mean. who really wants to read all that 💀💀#maybe for a character that WASNT the worst but. aoki is so LMAO #thank you for loving my art regardless :) im sorry i have to be attached to the worst guys ever

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birbhouse-doodles · 2 years

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When someone believes in you, man, you can do anything, any fucking thing in the entire universe. And when you believe right back in that someone, then watch out, world.

Ok I gotta be honest. I went into Christine expecting, at best, a good bad movie that I'd enjoy laughing at. Hee hoo haunted car go brr how silly

...but then I ended up completely unironically loving it

(scary movie artober #2/10)

#mine #tober 22 #christine #stephen king #john carpenter #genuinely shocked that I pulled this one off. its ugly phase was very long and very discouraging #but look at me! I drew a car AND fire! and I decided to just post it and stop messing with it because I have other things to do today #and discovered a lucky coincidence where when this paper starts to break down from too much water #it gets this great texture that looks a lot like wet pavement. extremely convenient #I can't even nail down why I love christine so much. maybe just because such it's a deeply fun movie #or it could be the tragedy of people who get sucked into violent obsessions because it gives them some sense of accomplishment or belonging #that's missing from their lives and how super scary relevant the metaphor still is almost 40 years later #and how the obsession will kill them and spit them aside too in the end no matter how much of themselves they give away to it #OR it could just be the goofy over-the-top dirty jokes or the beautiful cars or the great music #all I know is I saw it for the first time several months ago and this scene burned itself (no pun intended) into my head so vividly #that I knew I was going to be making this piece for this October project way back in like. February

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payasitas · 1 month

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took 30pts of psychic damage today in visiting my old online stomping grounds

#escritos #i've held onto this vague memory of what i was like when i was younger but i didn't know just how relevant the parallels would be #it's been *looks at scrawled ink smudges on my arm* 14yrs???#it feels like it's easiest to project the more memorable and defining moments into the past 5yrs though...as if they're a lot more recent #rinse and repeat #possibly because i go through these periods where it's reaaally hard to feel like a person and i wind up back at act 1 scene 1 #in the familiarity of going through something big in my life and needing to figure out how to come back from it (stronger + insightful etc)#despite how much more refined and evolved i know i am now #it's a little embarrassing albeit endearing to actually read back on all of my younger unfiltered thoughts though #bittersweet in knowing where i was and where i've gone #i can't really do much about what's happened inbetween the years of thinking i was suffering #in contrast with the realized distinction of *knowing* i really have suffered since then #but even now i can make up for it by viewing that person as an extension of myself and taking care of them #even if i can't go back in time and make things right for whatever moments of the past were too unbearable to them #i'm just so willing to offer myself a patience i didn't even know i could extend inwards while shedding remnants of shame #i guess it's some like...ouroboros of self-love? lol

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twilightcitysky · 9 months

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Everything Is Meant (long S2 analysis, part 1)

I cannot figure out for the life of me how to make gifs so this will have to be a gif-less essay. If anyone more tech savvy than me wants to reblog with relevant media, please do!

I've seen a lot of people saying how Aziraphale's actions in the final ten minutes come out of left field and are OOC, and when I first watched the episode I felt the same, but now I think I couldn't have been more wrong. And I don't think Aziraphale is being controlled... I think the entire season showed us exactly what was going to happen.

On first watch, what struck me was the number of plot points that seemed disconnected. I couldn't figure out how Job related to the present, or the Victorian era, or the Nazi zombies (still at sea on the zombies part tbh). I didn't know where the Maggie/ Nina subplot was going, or why we were bothering with it. Then I put my "psych hat" on and it was like seeing one of those 3D pictures come into focus. It's a psychological networking rather than a plot-driven one, which is what Neil told us to expect.

Detailed analysis under the cut, with spoilers:

I went back through the season in my head and started asking myself: why is this element there? What does it contribute?

1. Start with scene one. Why include it? Does it matter for the climax that Az knew Crowley as an angel? YES. It's actually huge. Angel Crowley was joyful, he was bursting with delight at creation, he was idealistic. He wanted to be a part of everything rather than run away from it, and that's still how Aziraphale feels. He loves being a part of things. He's a joiner. He's a landlord. He dances at clubs and he makes human friends and he learns magic. Crowley the demon doesn't seem to want any of that, and I think that's hard for Az. He wants Crowley to be free of the cynicism he thinks prevents him from enjoying life now. At some level, I think he senses that Crowley is depressed (empathy's not his strong suit but I'm sure he's aware that Crowley's in a "what's the point of it all" kind of mood; see the eccles cakes scene). He wants to fix it. Aziraphale is a fixer. Metatron offers him a chance to do that.

Another thing is that Aziraphale knows Crowley ended up Falling just for asking questions that seemed innocent. That's not okay with him. He thinks that with the two of them in charge they can actually MAKE the changes that Crowley wanted to see way back at the beginning, starting with a suggestion box.

2. Okay, now Jim. Obviously Gabriel/ Jim is the central mystery, but why does he matter? First and foremost: he's there to show Aziraphale that angels can CHANGE. Gabriel terrorized and threatened Aziraphale. Az has been terrified of him. He ordered Aziraphale's execution. And now here he is, drinking hot chocolate, doing noble self-sacrificing things, with morals that suddenly align with Aziraphale's. What an absolute game-changer that must have been! He thought Heaven was unfixable, but here's Gabriel in his shop for weeks, slowly convincing him otherwise.

Then two other things happen. First, they find out that this all happened to Gabriel essentially because he fell in love. He was fired and his memories were stolen and the only reason he recovered was because Beelzebub happened to give him the one thing that could save him. That must have seemed like incredible luck. Now, how does Aziraphale feel about memories? He lives in a bookshop that is stuffed to bursting with the records of all of human history, essentially. His memories of his time with Crowley are incredibly precious. He sees, there at the end, that everything he is can be taken from him as a punishment for falling in love. Aziraphale doesn't have a magic fly container. He'd be forever robbed of Crowley, his life, himself. It's a very real threat in his mind when Metatron intervenes.

Which brings us to the second thing. Metatron saves Gabriel. Not only that, he prevents him from being punished for loving Beelzebub and lets them both go. What better way to win currency with Aziraphale? HE doesn't want to go off to Alpha Centauri, he never has, but suddenly he sees that Metatron might protect his relationship. And he's probably the only entity with the power to do so.

So we come to two conclusions: Aziraphale, when he goes off to talk with Metatron, is feeling like maybe it's not intrinsically bad to be an angel. He believed all the angels sucked, and only God was good... but now he sees that even Gabriel can change. He met Muriel, and he likes them. (He also had a huge crush on angel Crowley, which is neither here nor there but he loves Crowley in all his forms.) So if Crowley became an angel again, would that really be so bad? In his mind, it wouldn't change who Crowley is. It would just make them both safer and allow them to be together. (He's wrong! And Crowley doesn't see it that way! But this is a key miscommunication. Aziraphale doesn't really believe that becoming a demon changed Crowley. Back to the first scene, which Aziraphale references during the Job minisode. In his eyes, Crowley is the same person (just more cynical because of what's happened to him)-- so why would it matter if he's an angel again? I truly don't think he was trying to save Crowley, or saying that Crowley would be Better as an angel. To him, it doesn't matter what Crowley is. Which is reductive and harmful, but not the same as thinking Crowley needs rescuing from himself.)

Second conclusion: he sees that an angel and demon can be in love, but they have to run away to be together. Gabe and Beelz couldn't go home again. Earth is Aziraphale's home, but after the attack on the bookshop he learned that without Heaven's protection he can't really keep them safe there. Metatron says: "Come with me, do this thing, and you can have guaranteed safety AND be with the love of your life". Poor Aziraphale wants this with every fiber of his being. All he's ever wanted was for Crowley to be safe. He's never been able to offer it. Over the past four years, he thought they were safe, but he's just learned that he was wrong.

This is getting long. Continued in Part Two!

#good omens #good omens analysis #good omens meta #good omens season 2 #good omens season 2 spoilers #gos2 spoilers #everything is meant #the psychology of it all #forumulating a TV show in my spare time what can I say #crowley #aziraphale #character analysis #putting the pieces together

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bearhugsandshrugs · 7 months

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Gortash scolding Karlach for not “seizing power” in Avernus in Zariel’s court speaks volumes to me. Like he convinced himself he gave her a chance to be “more” than she was.

Similar to how he was traded to a warlock and ended up at Raphael’s HoH, learning about the Crown of Karsus there. He knows his parents were horrible (seeing as he tadpoles them) but their betrayal, his fate as a prisoner of Raphael, is something he hasn’t processed and instead filed under: “I made the best out of a horrible situation”.

Come to think of it, the fact that Gortash is explicitly listed as a prisoner that “escaped” from Raphael is relevant too. Raphael doesn’t really keep children prisoners. Look at Mol: Mol isn’t forced to stay in the HoH. Korilla was given a choice. So was Hope. Only those that defy Raphael so openly and that he truly cares about suffer the fate of being his prisoners. Raphael prefers to utilize their skills, and Gortash was nothing if not talented and ambitious.

I think little Enver did not want to bend. Did not want to be a servant, no matter how autonomous. I guess the hunger for power was always there, and when his parents betrayed him, that just shot up to a million, making him refuse Raphael almost out of spite.

So instead he made plans to escape. And executed them. Successfully. He came out of that situation stronger (or so he thinks, ignoring the emotionally stunted growth he had).

Him selling out Karlach is a consequence of all that. He knows it’s the ultimate betrayal. But similar to how Durge had something good in them despite their upbringing, so did Gortash – and that part of him speaks in that scene. It’s so loudly telling Karlach she should have seized power because that’s the only way to assuage the guilt. He was giving her a chance, you see? To be more. To share his fate. To rise beyond.

Imagine Karlach taking down Zariel. Potentially ruling the first Hell, the realm that houses Raphael’s HoH no less. Imagine Gortash ruling over Faerûn with Karlach ruling the Hells. They would have been glorious. His friend, ascended, bonded by the same trauma. A cycle of abuse repeating endlessly. No wonder he is angry. No wonder he despises her for not “rising” beyond her fate.

Karlach is the living, breathing example of clinging to love and hope despite the betrayal, despite the trauma. She is the living, breathing reminder that he could, too.

#enver gortash #karlach #having thoughts about this pos again

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numberonetrashwitch · 8 months

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Some observations about Baldurs Gate 3 that hit too close to home.

After another few runs i will probably just make an in-Depth Character Analysis for every character simply because they are good reflections of actual trauma-manifestations and how abuse can manifest in people. They are also so well written that it serves a narrative purpose to explore all the material that is out there about them. I am also personally cursed with actual medically-relevant levels of Empathy and Hyperfixation; so writing this helps me put a pin in it and move on.

But so far here are my highlights

(SPOILERS and obviously content warning bc these are deep)

before you ask; i have almost 300h in this game.

You have to convince Shadowheart to eat the Noblestalk. She actually stells you she rather get her memories back from Shar but when you hit the persuasion or intimidation (what the fuck) check to get her to eat it she'll tell you about her childhood friend. Not her name, not her parents but her best firend. Possibly because she has had a closer bond to that person after being abducted and indoctrinated. With her believing herself to be an orphan, she would've looked elsewhere for comfort and sought out her own family, this is why she falls hard and heavy for Shar and builds the backbone of her indoctrination. She is literally ripped out of her home & given a new identity to server her from all she has known. Religious indoctrination, Gaslighting, Abduction, being forced to let go of your personality are her main themes.

There is a scene out there floating around in which you see Astarions pespective of the night when he bites Tav for the first time, in his meditations he is confronted with the rules Cazador put on him, including that he can't eat intelligent creatures, can't be away from Cazador unless allowed to, has to obey every command and that they are should know that they are property. Which in turn means that Astarion literally didn't just have any autonomy, he was objectified (and not just through seductive/sexual measures) and that is really the crux to understanding why he doesn't believe in kindness, but rather shows self-serving behavior in most cases. Since we know that Astarion was extremely young for an elf before he died and became immortal (literally stopping the aging /maturing process) it is also very telling that Cazador constantly calls him brat, boy or other very juvanile names, refering to them as a family... well it is also the story of a very controlling parent. Themes of (Bodily) autonomy, infantilization ( & puer aeternus, forever-child), slavery, depersonalisation, corruption of life and torture to break someone.

Gale isn't just a guy hung up on his Ex, but also a victim of abuse. In this case a power imbalance none of us can fathom; She is described as being a jealous goddess and rules over the domain of mysteries and magic. So with Gale being a Wizard, she is literally his boss. He admits that he was foolish enough to aspire to be an equal to her, but she is so jealous that she tells him he can't really be worthy as long as he takes breath. She could just take his powers away and be done with it, that would be more than enough punishment for a guy who literally made Mystra and her domain his life's purpose, but she rather makes him do it himself. Add to that, that she literally only tells him this after years of self-isolation (after he put down so many wards that he could've blown up a whole army as he says if you click the right dialogue) to really fuck him up well. He also talks about death pretty much constantly, not surprising giving your situation, but he will tell you that he will kill himself at several points in the game, for instance after he comes clear about his nethrese orb. Themes of romantic abuse, power-imbalance, toxic work enviorment, self-isolating behavior, suicidal ideation

Wyll ... well from the looks of it he is the most well adjusted of all the companions (my opinion) but he has something that i'd describe as the "eldest daughter"-syndrome, more commonly known as parentification. This pattern usually occurs within single-household parents and is commonly described as a parent looking to their child for emotional or practical support, rather than providing it to their kid. We meet Ulder and see that he talks over Wyll a lot, not listening but expecting him to follow the standard he sets for him. That is also why Wyll repeats his fathers words like gospel (because this is what, in his mind, fullfills the expectations bestowed upon him) and why he loves fairytales / bard tales so much (because they are an ecapist view of the job he set out to do) Ulder literally exiled his teenage son because Wyll did the only thing he could to save an entire city, by sacrificing himself. Thats a lot to expect from a 17 year old - even more so, he doesn't stop with the heroics. He expects himself, as a human who hasn't even reached the age of 30 to hold up to mystical creatures such as Astarion or Karlach, or even Gale who is a accomplished Wizard. Themes of parentification, escapism, self-harming through putting himself in danger, chronic-self-sacrifice

In plain words; Gortash, Karlach's Idol sold her to a Devil. But add to that that she must have been pretty young when she was sold (late teens to early twenties possibly) and being that if you play as a Tiefling, you face a lot of predjudice she was likely forced into that position as well. Starstruck she was, with a juvenile naitivy that Gortash used. Appropriately, as he is the chosen of Bane the god of "tyrannical oppression, terror, and hate, known across Faerûn as the face of pure evil through malevolent despotism" (Source: Forgotten-Realms Wiki / Bane) So she pretty much was raised in a toxic enviorment, which forced her to become a killing-machine, first figuretively, then with the extraction of her heart, literally. Themes of slavery, oppression, misuse of trust, being taken advantage by a more powerful/older(?) person, being drafted.

Jaheira - to be honest, you need to know the lore of the previous baldurs gate games or just listen to her dialouge, ask her all the questions. She is a war-veteran against Bhaal, the good of ritual murder, and has a long history of fighting to achieve some sort of balance of power. She lost her husband and several close people all to this, or any other war, but due to her wisdom and strength people look to her for guidance. Themes of: Survivors Guilt.

Halsin - he is really closed off at first but then just casually hits you with "i was captured in the underdark and spent 3 years chained to a bedroom wall by a pair of drows who used me as they pleased". He is reprimanded by some of his druids for leaving the grove as soon as opportunity struck, just to get back and leave the next day, and if you talk to him about his position in the grove he is actually very forthcomming. He actively holds himself back; indulging in simple hobbies because he knows what lies within his heart. He is afraid of himself and his potential (canonnically he can't control his wildshape, which is very weird for an ARCH-druid) Themes of: impostor syndrome, avoidant-based self-harm, sexual opression, loss of control, emotional regulation.

Lae'zel is a very tragic case, and one that closely resembles the stories of Shadowheart and Karlach. Her entire existence is based upon a matriachial war society allowing her to live if she proves she can be of use and that in a culture which only values brutality, dominance & service. All of that culimating in her finding out that her oh-so-beloved Queen is actually just an imposter, and that everything she has lived for up to that point is merely political propaganda created to make her, and the rest of her entire species, willing pawns in a war that has no longer bearing on their survival alone, but is fought to justify Vlaakith's (the reigning monarchs) personal ambitions. Not only is she forced to reconcile that she is turned into the thing that controlled her kind for hundreds of years, that the only cure she knows of would kill her and then on top of that, that her hopes and dreams were lies and that she is now the Nr 1 enemy of the person she has served with all her being. themes of: oppression, propaganda, casual violence, objectification, child-warfare, eternal warfare

Minthara in short, her story is about being shamed for growing up in the same scenario that Lae'zel grew up in. Lolth, the god of the Lolth-sworn drows is a crazy queen who values scheming & backstabbing so much and is so volatile that you can't know what to expect of your deeds (and i mean it; there were people who were appraised by her for scheming against her, but also those who were killed. It's almost random.) She considers Lolth to be cruel and abandoned her for the Absolute, only to then be used and abused the same way Lae'zel has. Not with promises, but erasing her memory and exposing her perceived weakness. Themes of: casual violence, violent culture, her own ambition colliding with her desire to be safe, being a pawn in a larger game.

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celaenaeiln · 3 months

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Was Dick ever mean to Jason when they first met? Because I’ve seen a lot of fanon where it’s implied/shown that he was, but I haven’t seen anything to prove that it’s canon (and I’m happy you’re back even though you weren’t gone long I love your blog)

Aww thank you!!

Ugh I don't know where fanon keeps getting the idea but Dick was never mean to Jason as Robin.

Let's start with the erased version, otherwise known as pre-crisis.

Jason Todd was born to acrobatic parents and also performed in the circus. Here's the interesting bit: it wasn't Bruce who found out about them, it was Dick who was at the circus and cheered them.

Batman (1940) Issue #357

Where was Bruce? He was busy becoming squid food in Gotham.

Anyway Bruce escapes and meets up with Dick who is still Robin and helps him solve part of the crime. As he's discussing the case with Dick, Dick mentions that there may be a connection to Bruce's case and something Trina Todd said.

Yup! Dick becomes friends with Jason's mom <3

Batman (1940) Issue #358

Bruce doesn't trust her but Dick does and Bruce trusts Dick so he accepts.

So Dick goes to meet Trina and her husband but they've already left to sneak into the villain's lair and get caught by Killer Croc. So he chases after them. Barbara joins in as Batgirl but Batgirl and Robin are too late because Killer Croc has already fed Joe and Trina to crocodiles.

Batman's still fighting his own case while all this is happening.

Waldo the Clown takes Jason to the manor and while Jason's in the kitchen looking for food, he finds the door behind the grandfather clock open, goes inside, and finds the batcave.

He finds a trunk of Dick's old suits as Robin and that's where the iconic pre-crisis Jason Robin scene comes -

Detective Comics (1937) Issue #526

Which first of all Jason why are you wearing other people's clothes without their permission? But anyway Jason hears people coming and finds Batman's busy grabbing information with Selina and so he hides in the trunk of the Batmobile. Robin Dick and Batgirl solve the case on their end and find out there's a trap for Batman so they come in and save Batman and his allies. Jason sneaks out of the car and finds his parents are dead so he tries to kill Killer Croc but Dick and Barbara stop him.

Detective Comics (1937) Issue #526

Dick's just like "oh, you sweetheart."

Dick wants to adopt him but Bruce is like mine because they're both like "It's my fault his parents died, I should take responsibility."

Detective Comics (1937) Issue #526

Dick was really nice to Jason.

Batman (1940) Issue #529

Dick is Jason's idol. He and Dick have a great relationship, so much so that Dick actually passes on the Robin name and suit to Jason.

Batman (1940) Issue #529

I could make a meme out of the handshake scene with Bruce being one hand and Jason being the other and in the middle the hands meet is "idolizing Dick Grayson".

So Dick and Jason had a fantastic relationship.

And then some things happen where this Jason wasn't well-recieved by the audience because of the way writers handled the transition from Dick's robin to Jason's so DC realized that they need to make Jason into his own person with his own personality, looks, and story.

So they magic marker erased the previous timeline and now we have the actual Jason Todd that's actually relevant to every comic that comes after.

Yet in this current timeline too, Dick treated Jason sweetly.

Here Dick's first meeting with Jason, he actually saves Jason from the hands of drug dealers.

Batman (1940) Issue #416

He let go of his hiding spot to get the new Robin out of trouble.

Jason is not at all happy about this.

Batman (1940) Issue #416

And Dick's pissed off because he found out there's a new Robin through a newspaper and he just lost a drug deal he's been waiting on to bailout the new Robin.

So Dick storms off and Jason asks Bruce about Nightwing

Batman (1940) Issue #416

And I'm going to reiterate parts of this post for this part (people please please read this post because tumblr has an image limit and I've explained it in detail there but I can't here)

Dick had no idea Bruce passed on the Robin costume. He finds out through the newspaper because Bruce is pissed at Dick. Like he's so mad that when he told Dick to leave, Dick actually left.

You know how there's a saying about not being able to take back words of anger? Bruce is feeling that heavily. He already had suspicions that Dick wanted to leave but before Dick could tell him, he fired him so he wouldn't have to hear those words. But Bruce is super mad that Dick left anyway. So what does he do? He makes the first boy he sees Robin.

And Jason finds out Dick was Robin when he confronts Bruce why Nightwing knows Bruce's identity. And that gets Bruce more mad because he's now feeling guilty which is when Dick comes to confront Bruce.

After meeting Bruce, Dick talks about what he's been up to since he left and put Bruce in a good mood before he starts tearing into him.

Batman (1940) Issue #416

Bruce looks so wrecked. The guilt and sorrow is tantamount to his pain.

Then Dick asks Bruce why he choose someone new.

Batman (1940) Issue #416

So Bruce tells him. But Dick and Bruce's relationship go way deeper than just friends or family. They know each other. They revolve around each other so Dick calls him out, and out comes the truth

Batman (1940) Issue #416

But here's what it means in terms of Dick and Jason's relationship:

Instead of letting Jason become some sort of spite move, Dick becomes the bigger man and decides to turn Robin into a legacy.

Batman (1940) Issue #416

He passes it down like it was meant to be passed down. Because let's be honest here. The Robin name and costume is Dick's. If he wanted to, he could've taken it back, Bruce be damned. And that was one of Jason's fears.

It's Dick's approval of Jason and them catching the drug dealers together at the end that cements Jason as Robin. It's his acceptance and good will toward Jason that Bruce is grateful for.

Batman (1940) Issue #416

Dick also validates and praises Jason in the comics whenever they meet.

The New Teen Titans (1984) Issue #31

He's basically, "Don't worry about Bruce, if you get in trouble, I'll take care of it."

The only problem is they didn't meet a lot but when they did it was good times all around.

The third version of Dick and Jason's meeting.

In this version holy honking heck. First of all it's a flashback when Bruce fires Dick because he feels like he's too busy with other duties to be with Batman and then after a series of events in present time, it shows that Bruce literally kidnapped Jason and gagged and tied him to a chair. And Alfred's like WTH BRUCE?!

Even more things happen on both sides (curse you 30-image per post tumblr limit) and Bruce essentially makes Jason watch all the videos of Dick and sets Jason's gauntlet test to be a game of tag with Dick.

Dick is completely unaware of all this happening because he's just having fun busting up thugs and playing with Barbara, having no clue that Bruce and Jason are literally watching him livestream through his bike dash cam.

Nightwing (1996) Issue #105

Jason literally shows up while Dick's pondering on a rooftop and is like who're you? Oh wait you're him lol. Move over there's a new robin in town! And Dick's just like WHAT?! He such a little shit about it.

Dick's immediately like okay I'm upset at Bruce but I have to help this new kid out. There's no hesitation, no regret, no anger towards Jason at all. Just pure desire to see him succeed.

Not gonna lie, Jason's just awful towards Dick because he thinks that Dick is his test or something Dick's just like, "can you cool it for a sec?" They soon find out about a huge crime drug activity going on and Dick sorta mentors Jason through it while on the case. I'm not gonna include the panels but it's just Dick and Jason working together. It's fun to read and cute because Dick's protective of him and Jason's like a little bird following a bigger scarier one.

At the end the crime is solved, Jason and Alfred go home, and Dick calls Bruce to tell him this -

Nightwing (1996) Issue #106

He was so, so nice to Jason. Actually it's impossible for anyone to treat Jason better than Dick treated him, not even Bruce was this nice to Jason.

In Nightwing (2016) Annual, there's another story of Dick and Jason's meeting. In this case Dick comes over after Alfred calls him and Jason's sulking in his room because Bruce grounded him. He pulls Jason away and they go on a Nightwing and Robin adventure where Dick talks to him, teaches him, and lifts his spirits.

Nightwing (2016) 2021 Annual

Dick being mean to Jason is pure fanon, it's so fanon that there isn't even a single comic panel that can be used in support of that horrible idea. He never ignored Jason. Dick makes it very, very clear that his problems are with Bruce won't interfere with his relationship with Jason. He treats Jason as an independent person with his own personality and genuinely looks after and cares for him in every retelling. The only thing is they didn't meet very often but when they did, Dick was such a good brother.

#dick grayson #nightwing #jason todd #red hood #robin jason todd #bruce wayne #batman #cl anon asks #cl asks #thanks for the ask!

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dykepuffs · 5 months

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Goncharov's name keeps being overlooked but it feels really relevant in thinking about the themes of the film.

"Goncharov" comes from "Gonchar"- as in, a potter, and "-ov" to make a patronym (Hence why in the Russian language scenes, we hear "Katya Goncharova" even when the subtitles say "Mrs Goncharov" - But I am not going to digress onto how to translate Russian language formality conventions into English)

Gonch is, metaphorically, a potter- In the speech about seeing the potential in his pseudo-legitimate-business' labourers, overlaid over a montage of them unloading palettes of bricks from a lorry, the colours are graded so that the bare backs and arms of the men, and the fired clay of the bricks, seem like one material- with the young, metaphorically green, Lyosha being darker and softer, like raw terracotta fresh from the ground.

Plenty of people have gone into the racial implications of it (which are many!) but the idea of the potter feels underexplored - Goncharov is not like a sculptor who sees the human form hidden in the marble, he is the potter who can take common raw clay and, by carefully adding things to the mix and firing it at the heat he chooses, can make whatever he wants. The older men are further along in the process, and can't change their path, but Lyosha (at this point!) Could still have been anything, before Goncharov's manipulation set him to inevitably come to the end he does(That promise to make him tough and to stand on his own... Oof).

But then, he is Gonchar-OV, he has inherited his place in the hierarchy, and Katya Goncharova in turn has inherited it, and the accompanying ability to manipulate her underlings. And, where it ends up being Goncharov's undoing, it saves Katya.

#Goncharov #gonchposting #unreality

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thatwritergirlsblog · 1 year

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10 worst ways to start a book

1. An irrelevant point of view

It's extremely frustrating as a reader to read the opening scene of a novel, get invested in the story and start rooting for the POV character, only to have that character never show up again or show up as an unimportant character.

Your readers will feel betrayed. Why did they get emotionally invested in this character? Why did they care?

One of the most important functions of your first scene or chapter is introducing your main character and getting the reader to root for them.

Don’t waste that crucial moment on an unimportant POV.

2. Too many characters

Starting to read a new book is usually a bit confusing. You have to get to know new characters, a new world, a new writing style etc.

Don’t add to that confusion by introducing two dozen characters in the opening scene. Readers won’t remember their names or care about them; they’ll just feel overwhelmed and confused.

Additionally, readers will also struggle to root for the main character, because there are too many other people crowding the scene.

3. Telling

My name is Lisa. I’m a short, feisty brunette who loves horse riding. I have two best friends called Anna and Daniel, and we carpool to college every day. I have a crush on Josh, one of my tutors, but he’s twenty-seven and isn’t interested in me.

Telling is boring. It has its place, but the start of your novel is not it. The above paragraph could have been an interesting scene in which you showed the reader all the information via action and dialogue.

Unless you’re using subversion to surprise the reader, e.g., My name is Lisa and I’m a class-three demon, don’t start with telling.

Immerse the reader in the story through action, dialogue and the senses. Show us who the main character is, don’t just tell us.

4. Description

Please don’t start your book with a page-long description of the setting. In fact, I would recommend not starting with description at all.

Yes, a few lines of description later in the opening scene is fine. But the reader needs to care first.

No matter how beautiful your writing is, readers won’t be sucked in by a five-paragraph description of a field.

5. Worldbuilding info dump

Please don’t start your book with an explanation of your world’s climate, politics, history, magic system etc.

Once again, the reader needs to care first.

There needs to be action and conflict and a compelling plot. The world exists as a backdrop for the story and the characters – it’s not the protagonist and it shouldn’t take up the opening scene.

6. The dream sequence

The main reason that this is a bad way to start your book is that it’s been done way too many times.

But that’s not the only reason.

It also feels like a betrayal to the reader, because they got invested in the story and the character and the events, and then you tell them it was never real.

And oftentimes the storyline and world of the dream is much more interesting than the actual story, which makes the latter look very boring in comparison.

7. Looking in a mirror

Once again, it’s just been done too much: A character looking in a mirror and describing their physical appearance to the reader.

Firstly, no one describes their appearance in detail when they look in the mirror.

Secondly, the reader doesn’t even know who this person is. We don’t know if we’re interested in the character yet. We don’t know why we should care. So, we don’t want a detailed description of the character’s appearance right off the bat.

Show us interesting aspects of your main character’s personality, hobbies and life. Weave in physical description as it becomes relevant. It’s not important enough for the very first paragraph.

8. Starting way too early

Yes, most books don’t start with the inciting incident (although I recommend that they do), but the start of your book shouldn’t be too far away from your inciting incident.

So, don’t start with a long scene describing the main character’s everyday life. The readers want the thing to happen.

Providing context and introducing the main character is fine, but don’t leave the reader hanging for too long before you get to the good stuff.

9. Trying too hard

“Your first line has to be amazing and hook the reader. It needs to be something no one has ever read before.”

I bet you’ve heard that piece of advice hundreds of times. It’s not bad advice, but taken to the extreme, it creates an opening that is disjointed, conflated and confusing.

Your first scene should introduce your character, story and voice. So, don’t write a single line of profound purple prose that has very little to do with your actual story as a first line.

Focus on writing a good story. Introduce the reader to the book and make the main character intriguing. You don’t need a mind-blowing first line.

10. The lesson

Most books have a theme or something the author wants to say. Oftentimes, that takes the form of a life lesson.

This is good, but the lesson needs to be subtly woven into the story.

It should not be forced down the reader’s throat in the very first scene.

Don’t tell me what I’m going to learn, show me the lesson through the story.

If you’d like to read a Fantasy Adventure novel that does not have any of these opening mistakes, check out my debut To Wear A Crown.

Reblog if you found this post useful. Comment with your own tips for writing a good opening scene. Follow for similar content.

#writing #writer #writers #writing advice #writeblr #write #Writing tips

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actually-safer-to-kiss · 11 months

Text

Well, Actually

Summary: Spencer gets frustrated as Reader proves him wrong about an unsub's profile.

Couple: Spencer Reid/Fem!Reader

Category: Fluff-ish

Content warnings: discussions of gender, sexy implications, Ernest Hemingway

Word count: 1.5k

It’s when I flip the OPEN sign to CLOSED that I can finally breathe. Saturday Sale Days at the bookstore are usually easygoing, but most people took refuge at the windows thanks to the crime scene across the street. Another sex worker was murdered, according to the agents who were here earlier. Well, one of them looked like an agent; coated from head to toe in black and seriousness. The other, however, might as well have been a pretentious preppy middle schooler who thinks a doctorate — three doctorates (he made sure to correct me) — gives him the excuse to lack social graces.

I’m not used to running into FBI agents regularly. However, I’m fairly confident that questioning civilians is more about further insight and not running to the end with confirmation bias. Dr. Reid, on the other hand, had his confirmation set that he and his team were looking for a woman riddled with internalized misogyny who was killing sex workers and leaving quotes from Ernest Hemingway pieces.

So, is it wrong that I may or may not have said they might actually be looking for a male with possible gender nonconformity issues? According to the quotes written in lipstick and discussions revolving around Hemingway’s relationship with gender, it was the first thing to pop into my head.

And it was Dr. Reid’s first instinct to take it personally, like any other gifted child who’s never learned what it’s like to be wrong (possibly). His reaction mainly consisted of raising his voice and saying my assumption “was not relevant to our case” and taking a collection of Hemingway’s short stories without paying for it. I haven’t found a suitable way to explain that to my boss yet.

Regardless of his reaction, I had no reason to expect to see him again. I got a card from Agent Prentiss after she questioned me behind the counter and haven’t heard a word since. It didn’t matter then because we were closed, and I had the day off tomorrow —

Knock, knock, knock. A simple three-raps on the glass. The night makes it difficult to see who it is, but I’m more than familiar with the panic button under the register. So before I turn the lights out, I get closer to the door to find out who on the other side can’t read.

And without thinking, I open the door, but don't let him in. “Agent Reid.” I can’t help but push him just a bit.

“Dr. Reid.”

“Right.” I faked a laugh (years of practice). “Well as you can see we’re closed for the night so —”

His hand is out, holding the book. The Complete Short Stories of Ernest Hemingway. The paper cover is already pulled up at the corners and the spine is cracked. Nothing display worthy, that’s for sure. “I took this.”

“And you had it for six hours. How did you decimate it so quickly?”

“I was using it as a source while we were trying to solve the case.” His hand was shaking, from nervousness or lack of strength to hold a paperback in one hand for longer than a minute, either could be possible. “I figured a way to make amends was to come back and purchase it.”

I looked down at the book and looked back up at him. Sincerity and boyish charm force me to hold the door open for him and let him in. When he comes in, his under eyes are darker, perhaps because he's a night owl, or because of his job. His hair is still fluffy like this morning but droopy.

He was prepared to call it a night before coming here. But thievery is apparently too heavy for this agent’s shoulders.

I walk to the register, booting up the fancy tablet. “So did you? Solve the case, I mean?”

“We did.”

I scan the barcode, luckily he didn’t ruin that. “And? Did she explain the Hemingway quotes at least?”

Silence, only for a moment. I see his hands digging into his pockets. He pulls out a debit card and hands it over. “He, actually.”

“What?”

“He didn’t explain the Hemingway quotes but said he targeted sex workers because they were ‘freer than he ever would be.’”

Silence swallowed the room immediately upon saying that but of a different kind. The kind that was ripe for me to brag and possibly even do a little dance. But I’m patient, and I don’t like interrupting people. I tap the screen slowly so the good doctor can gather the words. I even took another glance and his eyes were already locked on me. It would’ve made me jump if he didn’t follow it with “You were right.”

There it is. “Hmm,” I say as I keep the arrogance down to a minimum as I contemplate my next words. I take his receipt and scribble before bagging the book. “So do I get a one-way ticket into the bureau, or do I take your place or —”

“Thank you for your help." He says slowly as if he were being ordered to apologize. Like he wrote these words in a document before coming here. “Your observation sent us in the right direction.” His hand is out, waiting.

I also have a talent for dragging things out. When I shut the techy stuff down again, I go back around and hand them to him, so I can get closer. Read his face. When he reaches out and just touches the paper, I jerk the bag back. “That’s not what you want to say.” I let the bag dangle off two of my fingers, shamelessly drinking in the moment. “Come on, it’s gotta be killing you.”

He rolls his eyes. Briefly, but enough for me to notice. “What could be killing me?”

“That you, an FBI agent, with two PhDs —”

“Three PhDs.”

This is so fun. “Three PhDs was outsmarted by a girl who works in a bookstore. Merely a bachelor's on my resume.”

“That is not the case.” He says.

“It seems relevant to the case now.” That intended to burn, and it did. Scorched actually. I could feel it from here, so I walked to the back to find the lights, expecting him to follow me.

He did. The creaking of the old wood floors echoed as we walked, there was no rhythm or synced steps, just two different walking patterns, one at ease and the other eager. “Just tell me how you figured it out.” He says. “Hemingway has been praised for his writing style and the way he wrote certain female characters but his macho personality indicated he enjoyed nothing feminine.”

A chuckle might have been appropriate, but I replied with a stark laugh. A bold “Ha!” As I opened the lightroom door. “Because macho men are known for being the happiest people on Earth, according to history.” With a click, the lights flickered steadily before turning off. I had my phone flashlight ready, though. “Honestly, Dr. Reid, it might be worthwhile to take a break from reading and watch a documentary on the man. It adds up quickly, even someone like you would get it.” I let the flashlight guide me back to the front, avoiding collateral damage from bookshelf corners.

Until Dr. Reid stepped in front of me, causing my head to collide with his chest. Somehow, I didn’t drop my phone and instinctively reached for my nose. “Someone like me?”

“Ow, first of all. But yes.”

“What is that supposed to mean?”

I rub my nose in the dark. “That even a predictable bookish boy like you can eventually come to grips with the fact that he doesn’t know everything.”

“And you do?” He asked.

“I never said that,” I admitted.

He looked at me skeptically. Even in the dark, I could feel my arrogance might have gotten the best of me here. I tried looking away, to another dark space.

He, however, did not. “What else did you say? Predictable?”

“You mean you don’t remember?”

He sighs, and air from his nose brushes above my lip.

Then so does his hand in my hair.

His lips, though, were quite the opposite. As if all his frustrations couldn’t take it anymore and needed to be let out with a teeth-smashing, saliva-coated spectacle (that no one could see. Not even us.) All I felt was wandering hands and the wall hitting the back of my head before he pulled away. His hands are still on my waist, and he breathes sharply in and out. “Was that predictable?” I heard him swallow.

I contemplated my response for a short while, wondering which one, a yes or a no, would get him to do it again. So instead, I just grabbed where I assumed his head would be and jerked him down to meet my lips again. It worked. His hands wrapped tight as if he glued himself to my skin. “Will you get reprimanded by your team for being somewhere you aren’t?” I ask between breaths and lip separation.

“Maybe. I’m sure you’d enjoy that.”

“I won’t admit anything,” I said. Whether it was to see Dr. Reid’s night turn out worse, or to keep a secret from his boss about a makeout session in a bookstore, I’m not sure. But his body was thin, layered with clothes. Warm.

“What will you admit to?” He whispers, moving our bodies, begging for more kisses. Or just more.

“Dinner?”

“For?”

“Education purposes, Dr. Reid.” My hands can’t help but explore. “Seems like we’ve got a lot to learn.”

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tossawary · 7 months

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The last time that I rewatched "The Fellowship of the Ring" (extended edition, of course), my favorite new detail that I noticed is that the characters, once they set out on their journey, are pretty much always traveling from screen-left to screen-right.

It had been a few years since I'd seen the films and I'd learned more about filmmaking in that time. I'm completely biased regarding the LOTR films; they're not perfect, but I grew up on them, I love them. I was trying to take notes on all of the little details that made the world of the films seem so rich and so enchanting to me. The camerawork, character staging, and editing is one of the many things that just happened to jump out at me at this time.

When Frodo and Sam are leaving the Shire, the camera is set up in such a way that they start on the left side of the screen (<- that side) and travel across it to the right side of the screen (-> that side).

This way to go the farthest you've ever been from home. ->

As the hobbits travel from Bree to Rivendell, as the Fellowship travels from Rivendell to the Misty Mountains, all of those gorgeous scenic shots of the Nine Walkers show them moving from screen-left to screen-right. I haven't rewatched the entire trilogy lately, but in "The Fellowship of the Ring", it is so beautifully consistent.

There are a handful of reasons why this is done. In staging and editing, consistency regarding where the characters are placed on the screen is a storytelling tool. For example: the "180 degrees rule" says to generally keep the camera on one side of the characters within a scene, so that the audience can mentally keep track of the characters within the environment and focus on the action/dialogue. If we're watching two characters talking in a diner, even in the close-ups, one character will usually be kept on screen-left and be shown facing screen-right, and the other will be kept on screen-right and be shown facing screen-left. It feels stable. (People will sometimes choose to break the "180 degrees rule". It can be a tool to create a sense of disorientation and/or instability in the audience.)

In "The Fellowship of the Ring", the maps that the audience is shown of Middle Earth tell us that the Shire is located in the West (left side of the map) and everything else of relevance (Rivendell, Moria, Rohan, Gondor, Mordor) is East (right side of the map). As the characters consistently travel screen-right, the audience builds up a firmer mental map of Middle Earth and can better keep track of the characters' progress on their long journey. With every step that Frodo takes towards screen-right (->), we know that he is traveling East, taking another step towards Mordor.

Left to right may also instinctively feel like the way forward in a culture that writes and reads from left to right. Regardless of which way you write: if your film establishes extremely consistently that one direction is forward, then this visual language can be used to tell the audience that something is wrong if the characters start traveling from right to left. They might be lost! It builds suspense in the visual depiction of the characters going backwards and undoing progress! This all suits the lengthy hero's journey of LOTR very well, in my opinion.

There's an old joke that knowing how anything is made ruins the magic, and another old joke that knowing anything about filmmaking makes you insufferable to watch movies with, but I've never felt that way, especially not here. How does that quote go? It's still magic even if you know how it's done. (GNU Terry Pratchett.)

I find it enchanting, honestly, that so many people can work so hard for an effect that can seem so simple. Actors, directors, camera operators, editors, storyboarders, and so many others on the crew of the films consistently placed characters, sets, and props just so! So that the audience could more easily keep track of where everyone was and lose themselves a little more deeply in the story.

It's such a simple rule! And it works so well! Left -> Right. West -> East. Shire -> Mordor. Home -> Adventure. Known -> Unknown.

I personally recommend trying to keep track of character movement across the screen in films, especially if you have any interest in visual storytelling (films or illustration or something else). It's fun! It's impossible for me to unsee, watching "The Fellowship of the Ring" now, and I think it's a wonderful piece of movie magic.

#tossawary tolkien #frodo baggins #samwise gamgee #long post

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