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mianonnadellozen · a year ago
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exitwound · 10 months ago
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It is difficult to defend the subordination of safety to desire. I think of Barthes: Someone tells me: this kind of love is not viable. But how can you evaluate viability? Why is the viable a Good Thing? Why is it better to last than to burn? I believed my love for Z to be selfless, because there was nothing to be gained from the way I suffered. I believed that anything experienced so utterly, so wholly as to obliterate and replace all other needs, would raze the ego. Selfishness, I had thought, was a matter of agency. If one was suffering, or worse yet, if one did not know what one wanted, and behaved in deference to the desires of another, how could any act be selfish? I hadn’t yet learned about penance. I hadn’t yet learned the difference between masochism and indemnity. I hadn’t learned that agony can feel like absolution. Nevertheless, undergoing needless pain is not a means to make amends for past harm. I understand why one would like to think so. If this were true, then we could be passive in the redemption of our sins.
Hannah Seidlitz, “Notes from Underground”
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tavlepwmov · 11 months ago
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meyerlansky · a year ago
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oh??? there's a switch from formal to familiar you between daniil and artemy?? hidden by the translation from english speakers like myself? do I hear that right?
with the caveat that i am also an english player [and if i get anything wrong here russian players please feel free to correct me] APPARENTLY THERE IS
in the conversation in the theater about the cathedral and steppe words, the branch of the tree that goes like this in the english version:
D: […] So don't laugh at me either, dear colleague. What's the word… "erdem"?
A: Holy shit… Sorry, excuse my language. So you've checked, then?
D: You don't have to watch your tongue with me. Yes, I've checked. […]
the corresponding lines in the russian dialogue doc are:
D: […] Так что и вы не смейтесь надо мной, коллега. Как вас там... эрдэм.
A: Ты проверял?.. То есть... вы проверяли?
D: Можно и на ты. Да, проверял. […]
so from what i can tell with liberal application of google translate, instead of cursing and saying “excuse my language,” in the russian version artemy switches from the formal you [вы] to the informal you [Ты] after daniil calls him “erdem,” but corrects himself back to the formal, and then daniil, instead of saying “you don’t have to watch your tongue with me,” says “we can switch to Ты”
i’m not sure how intense the formal/informal split is in russian, but from what i can tell they are almost completely formal up until this conversation: from a cursory flip through the dialogue doc, i dooon’t think daniil uses Ты for artemy any earlier than this conversation—artemy uses it when he’s pissed off or insulting daniil, but otherwise he uses вы up til this conversation as well
i’m definitely biased because this is my favorite conversation the two of them have in the entirety of p2, mostly because i do think it comes across in the english translation that this is a tipping point in their relationship: daniil doesn’t strike me as the type to be self-deprecating like the “arrogant fool” comment with someone he doesn’t trust, artemy doesn’t shoot him down over it, and i have an ENTIRE other post’s worth of thoughts on the whole discussion about words in the Steppe language [tl;dr artemy’s willing to share and daniil’s willing to learn, which is A Lot for both of them]. but i looove knowing that there’s an actual verbal shift in the russian text, it makes this interaction so much better
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permian-tropos · a year ago
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HOLD UP! WHERE ARE ALL THE BABUSKHAS IN TOWN-ON-GORKHON??? WHERE ARE THE OLD LADIES!! ARE THERE NO GRANDMAS IN THIS PLACE? HOW DO THEY MANAGE!
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treeofliferpg · a year ago
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Consejos de escritura: Romance en la escritura Parte 1 - Dominando los tropos
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Recordamos que el siguiente texto no ha sido redactado por el staff de ToL, solo lo hemos traducido para que pueda llegar a más personas. La autoría pertenece @inky-duchess. Podéis leer el post original en su tumblr así como en nuestro tumblr bajo la etiqueta “idioma original”.  
El romance es un elemento básico en la mayoría de las historias de hoy, ya sea una trama secundaria o la veta principal de una historia, y vale la pena escribirla de manera creíble. El romance no siempre es fácil de escribir, como la mayoría de los tropos puede ser increíblemente complejo escribir un arco romántico que no haga que el lector ponga los ojos en blanco.
Tropos románticos
Aunque los tropos a veces pueden considerarse la perdición de cualquier género, los lectores los esperan, incluso los exigen, dentro de la historia. Al escribir romance, no evites usarlos, con moderación, por supuesto.
El triángulo amoroso
Quizás el pan y la mantequilla de la mayoría de los romances de ficción. Involucra a tres (o más, entonces es un cuadrado) participantes. Por lo general, dos participantes están enamorados de un protagonista de interés amoroso y discuten sobre quién de ellos es mejor para el protagonista (The Hunger Games, Twilight, Reign, Shadow and Bone). Los triángulos amorosos a veces pueden ser entretenidos, pero solo si cada parte tiene la misma oportunidad de ganar el corazón del protagonista. Realmente no tiene sentido si una parte tiene más posibilidades de ganar que la otra, lo que hace que el tropo no sea un triángulo equalateral sino un escaleno sesgado (mira, usé matemáticas). Los triángulos amorosos nunca deben ser unilaterales ni arrastrarse hasta que el lector se canse del tropo.
Amigos a amantes
Amigos a amantes es probablemente el romance tropo más aclamado, ya que es realista. Los amigos a amantes pueden ser un tropo usado en exceso, pero es uno del que la mayoría de los lectores no se cansan siempre que se haga correctamente. Los amigos a amantes nunca deben apurarse, ya que la mayoría de los amigos se toman su tiempo para salir de la zona de amigos. Sin embargo, debes evitar un Ross y Rachel, donde se burla y se ordeña durante tanto tiempo que el lector simplemente se da por vencido. Amigos a amantes tiene un sistema escalonado que tarda muchos años en convertirse en una relación romántica en toda regla: amigos, amigos que cuestionan, angustia por cruzar la línea, cruzar la línea para involucrarse románticamente.
Enemigos a amantes / interés amoroso con el villano
El villano siempre es, de alguna manera, atractivo en la mayoría de las historias de hoy. Ya sea Darkling en Shadow and Bone o Maven Calore o Anakin Skywalker, hay algo emocionante tanto para el lector como para el protagonista al ver al villano bajo esta nueva luz. A pesar de ser un tropo popular, en realidad no se ha extinguido, pero aún no se ha convertido en la norma donde se espera en el canon. Va en contra de las ideas preconcebidas del lector y humaniza al villano hasta cierto punto, dándonos la esperanza de que salgan a la luz. SIN EMBARGO: los enemigos a amantes / el interés amoroso por el villano NUNCA deben cruzar la línea entre la intensidad y el abuso. NUNCA NUNCA NUNCA NUNCA.
Los opuestos se atraen
Los opuestos se atraen son básicamente dos personajes que se enamoran a pesar de ser dos personas fundamentalmente diferentes, divididas por opinión o afecto. La atracción de opuestos solo puede funcionar si los dos intereses amorosos tienen suficiente química para que la relación sea creíble y tienen suficiente terreno en común para no estrangularse el uno al otro. Ahora, a partir de mis propias experiencias y de ver relaciones de los opuestos se atraen, estas generalmente se basan en conflictos que son emocionantes pero se extinguen rápidamente. Para crear un escenario de atracción de opuestos, los dos ersonajes deben poder encontrarse en algún tipo de terreno común, ya sea un interés, un pasatiempo o una tarea.
Amor prohibido
Amor prohibido es la columna vertebral de mil historias románticas y arcos. Los amantes a menudo se encuentran en lados opuestos de un conflicto o en diferentes lados del tiempo o de un sistema de clases. La angustia de romper las reglas alimenta la historia. El amor prohibido o el escenario de Romeo-Julieta a menudo se pueden dominar trazando las líneas con firmeza a lo largo de la narración. El lector debe entender por qué estos personajes no pueden estar juntos, debe haber una razón válida que parezca casi imposible de sortear. Por ejemplo, nunca entendí a Twilight en absoluto, pero lo que realmente nunca pude entender fue la negativa de Edward a convertir a Bella en un vampiro. Ella estaba dispuesta, conocía los riesgos y se lo había preguntado varias veces. Incluso si la relación no funcionaba, la habría hecho inmortal. Es un ganar-ganar para Bella. El amor prohibido también debe ser creíble.
Almas gemelas / Atado por una profecía / destino
Las almas gemelas y predestinadas generalmente se reservan para personajes dentro de los géneros de fantasía o ciencia ficción. Sin embargo, las almas gemelas a menudo se etiquetan como un ultimátum "grabado en piedra" y pueden considerarse aburridos. Sin embargo, la mayoría de los amores de almas gemelas y del destino no tienen por qué ser aburridos o predecibles. Los tropos del alma gemela deben extenderse y usar el elemento de profecía para cambiar las expectativas del lector. Los tropos de las almas gemelas no requieren amor romántico. Puede ser cualquier tipo de relación, incluso platónica.
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modlisznik · a year ago
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based on p2 artemy’s impeccable deadpan wit and tendency to lie in absurd ways for the sake of amusing only himself, p1 oyun’s idea of testing artemy being hazing him and jerking his chain, aspity in marble nest dying in front of daniil to assert dominance, ‘’look a snake-man. let us call him moga’’ sounding like a call to Bully This Guy, I kinda headcanon the kin have an extremely advanced grasp of ironic humor
yes!!! and let’s not forget Aspity vaguely threatening to fuck your wife if you turn your back on her (the wife. not Aspity. unless...)What an icon. Ofc we can’t judge the delivery of these lines because of, well, the lack of dubbing, but I can totally imagine them being masters of deadpan humor
also remember that one boatman Worm (Boatworm) bullshitting you in your face how “oooh, there’s this totally *cryptic* and *magical* reason for which I can’t take you out of the infected district to spread the plague all over, oooh” and then admitting that he does that because otherwise, the townsfolk won’t take “no” for an answer? I can imagine them doing that, for once taking advantage that people around them are mostly ignorant about their believes and customs. “Yes, there’s *mystical and exciting reason* for which you can’t pet this bull” and the reason is the booha doesn’t trust you and can run faster than you asfgaagfdas go away
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cerasus--flores · 5 months ago
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listen man i hate to be the one to say this but "a purely queer reading of encanto erases most of the latinamerican struggles it's trying to portray" and "people headcanoning camilo and mirabel as queer isn't the pinnacle of racism" aren't the opposing, completely different takes that you think they are
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inflammatory · a year ago
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do NOT separate (they are separated as we speak)
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spoilersgr · a year ago
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Δευτέρα 12 Οκτωβρίου - Επεισόδιο 21  Μια εβδομάδα αργότερα, το Διαφάνι δεν προλαβαίνει ακόμα να μετρήσει τις πληγές του από τις απανωτές τραγωδίες που συνέβησαν. Ο Νικηφόρος προσπαθεί να κουμαντάρει την περιουσία των Σεβαστών αλλά ��α βρίσκει σκούρα και κάποιες αποφάσεις του τον φέρνουν σε σύγκρουση με τη Μυρσίνη και τον Κωνσταντή. Ο Δούκας χρησιμοποιεί τους δύο συμμάχους που του έχουν απομείνει προκειμένου τα πράγματα να γίνουν με τον τρόπο τον δικό του και όχι του Νικηφόρου. Η Δρόσω μένει, πλέον, στην Αθήνα στο σπίτι του Ανέστη ενός παλιού φίλου του πατέρα της αλλά το περιβάλλον κάθε άλλο παρά φιλικό είναι. Πιάνει δουλειά στο κουτούκι του Ανέστη κι εκεί θα κάνει μια ενδιαφέρουσα γνωριμία. Ο Νικηφόρος κάνει μια πρόταση στον Λάμπρο που θα φέρει νέες αναταραχές στους Σεβαστούς. Η Ελένη βγαίνει από την απομόνωση και έχει επιτέλους το πρώτο της επισκεπτήριο. Όμως, ο Βόσκαρης συνεχίζει να της κάνει τη ζωή δύσκολη και το ίδιο βράδυ η Ελένη θα καταλάβει, με τον πιο εφιαλτικό τρόπο, τι θέλει επιτέλους από εκείνη.Τρίτη 13 Οκτωβρίου - Επεισόδιο 22 Η Ελένη υπομένει σιωπηλά τα βασανιστήρια του Βόσκαρη, ενώ ταυτόχρονα παλεύει με τις ενοχές της για τα τελευταία τραγικά γεγονότα. Ο Νικηφόρος ζ��τάει από τον Λάμπρο να ενώσουν τις δυνάμεις τους και να συμμετέχει κι αυτός στον Συνεταιρισμό, μ’ όλη την περιουσία των Σεβαστών. Στην Αθήνα, η Δρόσω γνωρίζει τον Τάκη, έναν λαϊκό μουσικό που τη φλερτάρει ανοιχτά. Ο Παναγιώτης αναγκάζεται να ομολογήσει στον Προκόπη πως σχεδιάζει να φύγει μετανάστης στην Αμερική. Η Βιολέτα επισκέπτεται τον Μιλτιάδη στην κλινική και συνειδητοποιεί πόσο ανησυχητική είναι η κατάστασή  του. Κι ενώ οι δύο σύμμαχοι του Δούκα στήνουν την πρώτη παγίδα στον Νικηφόρο, ο Δούκας στήνει τη δική του παγίδα στη Μυρσίνη.Πηγή: TVNEA.COM
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leafyverde · a year ago
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TENGO UNA DUDA CHRIZACH y tu eres la experta en el tema 👀
ahem. Imagina que Zach reprogramara a Toodles con la personalidad identica de Chris. Usa verde, es amante de los animales, tiene recuerdos sobre sus infancias, etc, etc. Hasta el punto de que ahora sí es imposible diferenciarlos (excepto que sigue siendo de metal PERO no recuerda que lo es. Hasta donde Toodles/"Chris" sabe está hecho de carne y hueso). Mi duda es ¿ésto contaría como Chrizach? 🤔🤔🤔👀
Ains, me halaga ser tu referencia de confianza uwur
Respecto a tu duda, sí y a la vez no: Como lo describes, Toodles está bajo la genuina creencia de ser Chris, se percibe como él y no tiene identidad propia. Si fuese lo contrario, pues no sería exactamente Chrizach, porque Toodles sería alguien diferente
Depende de como lo trates en tu ilustración y/o escrito
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deamsgirl · 10 months ago
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Title: Warming (1/1)
Fandom: Pokemon
Pairing: Ash/Gary
Summary: Ash and Gary get stuck in a cave during a snowstorm. Heavy feels ensue.
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exitwound · a year ago
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hi! i hope i'm not bothering you but im looking for a poem/passage that talks about a person with their therapist in i think san francisco? and it's about perfectionism and the speaker says like "it has to be perfect because it's me. to make up for the fact that it's me" or something near that? do you possibly know that passage? i've been dying to find it recently and i just can't alskdjfasldf
hi no not a bother at all! sigh. i know that one all too well... here it is:
The San Francisco therapist kept telling me I shouldn’t be terrified of creative experimentation.
"I don’t know what’s going to come out of me," I told her. "It has to be perfect. It has to be irreproachable in every way."
"Why?" she said.
"To make up for it," I said. "To make up for the fact that it’s me.”
— Suzanne Rivecca, Ugly Bitter and True
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tavlepwmov · a year ago
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ta lipton fakelakia me geush, perissotero xrhsimeuoun san aposmhtika xwrou para san legit fakelakia pou mporeis na valeis sto tsai sou kai na to apolauseis
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meyerlansky · a year ago
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since I watched u play thru marble nest and you had all those withheld Thoughts and Opinions can I ask ur thoughts on one aspect of the story: the way everyone in town seems to disagree on what kind of person dankovsky is, what he wants to do, etc.? it feels to me like it's meaningful on a story and meta level that he's so built up by others to be whatever they want to see?
admittedly most of those went unsaid because i’m inarticulate as shit when i can’t write my thoughts out and i lost my train of thought talking to npcs, and also all of them basically just end in "godDAMN i love him"
BUT YES oh man i definitely agree, daniil is on the receiving end of a TON of projection and assumptions, and i think the thing is, he sort of... cultivates it? like artemy gets people's assumptions projected on him too, but he's MUCH more vocal about correcting it when someone's expectations of him don't match up with how he sees himself. daniil, on the other hand, tends to wear people's perceptions of him like a second skin, and doesn't push back nearly as hard or as often when those perceptions don't sync up. i will be nice to my dash and put my rambly bullshit under a cut, but tl;dr i think daniil finds value in finding out how people see him and utilizing that perception to get what he really wants, and he's willing to play the villain in particular because a. negative perception is as useful as positive perception if you're clever enough to use it to your advantage, and b. based on some stuff in artemy's route but especially based on the particular circumstances of marble nest, he thinks that, to some degree, he deserves to be thought badly of.
so i realized halfway through writing this you probably meant marble nest's story specifically, but i think it's relevant to his characterization in artemy's route too, because... marble nest daniil is not that different from artemy route daniil, as far as i'm concerned—he's just more desperate and more beaten down. as for the actual question, overall i get the vibe that daniil's used to leveraging how he's perceived to get what he needs out of a situation, and he's waaay more comfortable playing the villain than, say, artemy is, if that's what people are putting on him from jump. it's less work, right? correcting people's assumptions is a waste of valuable time and energy, and people are hard to convince once they've set their mind to something. why bother when you can just play along and, if you're clever enough about it, get what you need out of the interaction anyway? he gets built up into so many different versions of himself by different characters because he's willing to be different things to different people without it eroding his goals or his sense of self. he has a flair for the dramatic, obviously, but i don't know how much of it is innate and how much of it is cultivated in service of that kind of perception leveraging. like, prime example, the day 1 conversation with artemy reads as EXTREMELY performative—from his word choice to his demeanor to the exclamation points in the dialogue to the fucking LIGHTING, he comes off like he's playing a role, and not a new one. and when the conversation's over, he's learned some things about what kind of person artemy is, what kinds of things get a rise out of him, all without really revealing too much of his own hand. but the front sloughs off the closer he gets to artemy, and it sloughs off QUICK, to the point that A DAY AND A HALF LATER he's gone from saying "you owe me" in the most facetious way possible to "i need your help" and "if this goes badly, i'll take the consequences" completely unselfconsciously, and subsequent conversations with artemy are complete turnarounds from how he approaches artemy and their relationship on day 1. on the whole, i think he cares way less about his reputation than he does about Getting Shit Done, and he's surprisingly willing to be the scapegoat for other people's fears and other negative emotions, as long as the end result doesn't hamper his goals. which makes some sense considering his corpus of research involves spitting directly in the face of natural law and the people who consider themselves responsible for enforcing it. you don't do that kind of shit if you care about being well-liked. so i think 99% of the time, daniil gets read multiple ways—often incorrectly—because he finds more value in utilizing those perceptions than he finds in correcting them and Being Known. as far as characters we see in the game go, artemy's the exception, which might change once daniil's route is out, but every comment everyone else makes to artemy about daniil leans on their assumptions about him, which means he's not going around showing anyone else what he really thinks.
i also think daniil has sort of... internalized that he's Unlikable, on a personal level. he doesn't walk into a single situation in p2 expecting to be liked, or willingly helped, or for his presence to be wanted beyond the utility he can provide. he relies almost entirely on his ability to deliver solutions [with, uh, declining success as the game goes on], the respect his reputation and his status as the kains' guest confers, and on the rumor that he's willing to get violent if things don't go his way. i think he's utterly convinced his ultimate goals will benefit humanity as a whole and therefore are fundamentally good, but i don't think he thinks HE'S good. there's a couple of moments in marble nest where he can pretty explicitly shoot down people saying nice things about him, and the "i guess i had to prove them right" and "do you condemn me?" lines in the shelter convo do not read to me like the words of a man who thinks he's 100% in the right in the way he's gone about achieving his goals. so like as much as i think he does have a very solid sense of Who He Is, i don't think it's a very generous self-image, and i don't think it's entirely accurate either, because i do think he's fundamentally a good person, despite people [in the game and out of it] not really bothering to push past whatever front he's put on. artemy pushes through it, and the kids in marble nest push through it, and i think it's somewhat telling that the kids in marble nest are... the only real people IN marble nest. georgiy undermining his authority as soon as he's indisposed is part of the fever dream; the soldiers and orderlies believing he's the one giving the okay to kill kids and civilians are part of the fever dream; the clerk assuming daniil will agree with his racist bullshit is part of the fever dream. all these negative images of himself are in his head—based on previous conversations with the real people, but at the time of marble nest, in his head. they're all things he, somewhere in his mind, expects people to think of him or expect of him, and to me, that's not the kind of stuff someone as arrogant and convinced of his own awesomeness as people seem to think daniil is would think about himself. but the kids worrying about his health and taking care of him while he's infected are real, and for whatever reason they think he's worth trying to save. THAT'S the reality, THAT'S who he really is, even if he can't see it himself, and i don't think he can.
so ANYWAY i think the multiplicity of daniils in marble nest in particular is to some degree a manifestation of the fact that he IS willing to be different things to different people, that he knows this about himself, and that he has SOME level of anxiety over the thought of the various masks becoming the reality, and him losing control over who he ACTUALLY is, not just how he's perceived. i think this bothers him in artemy's route as well—the last thing he says to artemy translates to "the greatest power is to have power over oneself" and i do not think he's talking about himself. i think he's talking about artemy, and the fact that, ESPECIALLY from daniil's perspective in artemy's route, artemy very much controls not only his own narrative, but at the very least strongly influences daniil's and everyone else's too. [there are also layers and layers with that line and the doll narrative but i am too tired to get into it right now and also the doll narrative fucks my feelings up in so many ways.] i have no idea if any of this makes any sense, but here it is /gestures weakly at All This
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permian-tropos · a year ago
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I booted up my phone after the battery had been dead for at least a week and opened messenger to find this prewritten!? like I wrote it before my phone died and the app saved it? what the fuck was i talking about
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kardia-apo-marmelada · a year ago
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to megalutero epixeirhma sto giati xreiazomaste to feminismo einai h antidrash twn anthrwpwn otan les oti to koino kapoiou kallitexnh einai efhves kopeles
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