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crystalsenergy · 2 years

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Mars placements: how and where

pic not mine

remembering that Mars is not just about sex, but also about energy in general. sex is one of the ways to release that energy that we can have, but it's not the last, nor the only way.

ENERGY IN NATAL CHART

MARS IN THE SIGNS / MARS IN THE HOUSES

✨🔥 Mars: how and where ✨🔥

HOW? Mars in Aries: Energy is intense, assertive, immediate, competitive, physical, aggressive, argumentative, active, passionate, incisive, combative, native explores, dominates.

Mars in Taurus: Energy is patient, calm, connected to the five senses, distributed, solid, practical, secure, stubborn, indulgent, slow, consistent.

Mars in Gemini: Energy is restless, mental, noisy, busy, alert, opinionated, communicative, ambivalent, intelligent, open, dual, versatile, sociable, dynamic.

Mars in Cancer: Energy is internal, emotionally strong, compassionate, comfortable, shy, emotional, quiet, slow, sensitive, vulnerable, defensive, passive-aggressive.

Mars in Leo: Energy is high, externalized, affectionate, vital, fun, demanding, proud, determined, dominant, dramatic, creative, loyal, sincere, impatient, arrogant, stubborn, hardworking.

Mars in Virgo: Energy is methodical, rational, organized, analytical, busy, careful, perfectionist, practical, detail-oriented, conscientious, cool, adaptable, productive, reserved, hardworking, precise, diligent, efficient, helpful, modest, intelligent, but insecure.

Mars in Libra: Energy is passive-aggressive, sensitive, impractical, perfectionist, gentle, judgmental, hesitant, avoidant, passive, pleasing, reasonable, considerate, charming, aesthetic, impartial, sensual, manipulative.

Mars in Scorpio: Energy is intense, strategic, headstrong, demanding, obsessed, controlling, cruel, destructive, surgical, detective, secret, penetrating, powerful, proud, determined, regenerative, strong, transformative, turbulent, vengeful, intuitive, extreme, emotional, devout, faithful, mysterious, sexual.

Mars in Sagittarius: Energy is courageous, free, impetuous, optimistic, wise, profound, adventurous, positive, philosophical, extravagant, irresponsible, careless, expansive, exaggerated, frank, intellectual, versatile, risk-taking, aspiring.

Mars in Capricorn: Energy is controlled, planned, practical, pessimistic, punctual, reserved, conservative, ambitious, conventional, hardworking, organized, consolidated, traditional, cautious, shy, insecure.

Mars in Aquarius: Energy is objective, impersonal, mental, friendly, altruistic, eccentric, rebellious, egalitarian, restless, unpredictable, inventive, creative, intelligent, futuristic, original, responsive, independent, fanatical, supportive, questioning, trustworthy, detached.

Mars in Pisces: Energy is introspective, changeable, passive, calm, psychological, imaginative, intuitive, adaptable, very creative, empathic, reflective, psychic, expansive, elusive, confused, multiple, receptive, reluctant, transcendental, gentle.

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WHERE? ↳ 1st house: oneself, individuality, temperament, image you convey to others, character, willpower.

Ex.: Mars in Libra in 1st house has a manifestation of Libra energy in 1st house affairs. it could be that, for example, the person has difficulties in imposing him/herself, because Mars in Libra 1st house means a more passive energy. at the same time, the person can be very sensitive physically speaking, and can have a lot of artistic capacity for dances.

↳ 2nd house: material life, self-worth, search for stability, search for comfort zones, money, self-respect.

Ex.: Mars in Pisces in 2nd house manifests its energy especially in 2nd house matters, having a more imaginative and calm view in relation to money, being able to be more spiritual than a person who seeks a lot of material security, natives can even be quite altruistic in this matter.

↳ 3rd house: communication, knowledge, studies, problem analysis, debates, intelligence, interest, relationship with colleagues, brothers, cousins.

Ex.: Mars in Aries in 3rd house can manifest its energy by being very communicative, assertive, direct and often even rude, if native doesn't pay attention to it.

↳ 4th house: home, family, relationship with mother, emotional, internal structures, initial reactions, emotional memory, private space, roots, internal life, foundation building, intimacy, humor.

Ex.: Mars in Aquarius in 4th house natives can manifest their energy especially in 4th house matters, having a very impersonal relationship with their family, also directing some rational energy to their emotions.

↳ 5th house: ego, self-importance, self-esteem, happiness, personality, projects already started, children, creativity, arts, expression, personal fulfillment.

Ex.: Mars in Taurus in 5th house can express Taurus energy in an expressive way, which can be seen in the arts, in the very expression of the person's personality. native may act in a Taurus way. he/she will have creative energy not as energetic as is natural for the 5th house, energy will be calmer, more stable.

↳ 6th house: routine, service, tasks, organization, work, body, physical health, food, body care, occupations, responsibilities.

Ex.: Mars in Cancer in 6th house may have a lot of difficulty with activities that demand a lot of energy, may lack energy to do several things, being more passive and may tend to be disorganized. at the same time, Mars in Cancer represents a fondness for taking care of the domestic environment, the problem will be the energy that will tend to be low, preventing this from manifesting.

↳ 7th house: relationships, affections, appearance, balance, attachment, harmony, relationship mirroring, projections, love, relationships in general.

Ex.: Mars in Scorpio in 7th house demonstrates its intense and penetrating energy in relationships, being able to attract people intense and penetrating. also, native can be very demanding in relationships.

↳ 8th house: sex, unconscious, depth, problems, mystery, death, privacy, spirituality, secrets, vulnerabilities, taboos, inheritance, debts, karma, competition, crimes.

Ex.: Mars in Virgo in 8th house can manifest its analytical energy in the study of spirituality, the phenomenon of sex, the mystery of the human personality, etc.

↳ 9th house: deeper knowledge, beliefs, faith, religiosity, languages, higher education, ethics, plurality, freedom, travel, diversity.

Ex.: Mars in Leo in 9th house natives can manifest their energy of pride through their knowledge, their beliefs. native can do this by being a recognized person in an area of study, or by understanding that his/her beliefs manifest who he/she is, expressing them proudly.

↳ 10th house: public image, reputation, career, conservatism, future, life path, professional path, goals, limitations, time, father, authority figures, status.

Ex.: Mars in Gemini in 10th house can express communication energy and high career mutability, whether changing careers several times, having more than one career/professional vocation at the same time, or specifically working in careers related to communications.

↳ 11th house: friendships, aspirations, conscience, social responsibility, social circles, groups, ideas, ideologies, dreams, society.

Ex.: Mars in Aries in 11th house can emanate its energy of independence and assertiveness into relationships, being the one who influences others but is rarely influenced. in addition, you can have a circle of friends in which competition is practiced (whether healthy or not).

↳ 12th house: collective unconscious, introspection, deep self-knowledge, intuition, dreams, psychology, creativity, what few see, what almost no one believes, mysticism, esoterism, escapism.

Ex.: Mars in Aquarius in the 12th house natives can transmit their mental and objective energy to know more about themselves on a deep level, having more of a need to spend than to socialize, as some would expect from this sign. they may demonstrate an interest in rationally understanding psychology, but still with intuition and openness.

#mars in signs #mars in houses #mars #mars and energy #energy in natal chart #energy #Mars in Aquarius in the 12th house #Mars in Aries in 11th house #Mars in Gemini in 10th house #Mars in Leo in 9th house #Mars in Virgo in 8th house #Mars in Scorpio in 7th house #Mars in Cancer in 6th house #Mars in Aquarius in 4th house #Mars in Aries in 3rd house #Mars in Pisces in 2nd house #Mars in Libra in 1st house

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ghoststookournightmares · 7 months

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Why did Nick's goodbye affect Boston that way?

I think it's hard or jarring to understand why Boston felt like he was coming undone listening to Nick when the most stuff they did was just f**king. The thing is even if they were doing the nasty 80% of the time, that 80% was when Boston was the happiest. And Nick did LOVE him, like love him. And I mean of course what Nick did wasn't just stalker-ish, it was what stalkers do!!! BUT, I think what happened is that neither of them is completely mentally A-OKAY... They both have their issues and Boston especially has always shunned connections, especially long-lasting ones, because he knows he'll leave and that is just burdensome, so he treats everything as use and throw, hurting so many people in the process.... And I don't know, but I'm speculating he also treats the concept of LOVE similarly, probably after watching his parents, coupled with the fact that Boston uses both himself and others with sex as a currency in exchange for something like a good time, a power play, a way of feeling good about himself, a trade-off, a way to obtain conquests, which at the END OF THE DAY makes Boston extremely lonely... He is a human and you can't avoid connections just like that... BUT NOBODY SEES/OR SAW THE HUMAN BOSTON, not the evil, villainous slutty, assholey Boston, but also the artist Boston, the humane Boston underneath..... UNTIL MR. NICHOLAS ARRIVES.

And I'm very intrigued by Nick's character too, I wish we got some backstory... But Nick as we can see is very naive, very impulsive, and introspective but strangely and foolishly thinks that he is clever... He has abandonment issues, and self-esteem issues too... But what he has that Boston never had was EMPATHY, intense EMPATHY, or clinically illegal empathy, with which he sees the world. And he in his own warped mind accepts Boston, good, bad, and ugly, and even if to Boston they were just FWB, those times he spends with Nick are enjoyable, happy, pleasurable (in a different, not exactly sexual way) unknowingly allowing Nick to burrow under his skin. And even though Nick loves Boston, most assuredly, still he does feel upset too... And we saw that when he told Mew about Gap... But the thing is Nick feels things deeply, more deeply than the others, and in a way he is softer, gentler, and more straightforward than probably anyone Boston has ever known.

And before Boston could even comprehend what had happened in his strictly FWB relationship with Nick, he was ALREADY ATTACHED TO him. He never considered that he would be the one pining for something other than sex, but he did, and that's why Nick's betrayal seemed so drastic for him. Because he genuinely was becoming fond of Nick. But Boston would never have acted on this feeling, instead choosing to bury it away IF NICK HADN'T GIVEN HIS FINAL GOODBYE MONOLOGUE TO HIM.

Nick changed the trajectory of their relationship. THE FIRST PERSON TO SAY SORRY TO BOSTON. To say that I appreciate you, I think you're not a terrible person even if you think so, and I appreciate your dreams and hope you achieve them one day and I love-you-enough-to-let -you-go.... And finally goodbye my lover, I wish you nothing but the best, shook Boston because not only was Nick brave, he was vulnerable, he owned up to his mistakes and he affirmed that yes, you made me happy and I see you, all of you and I still love you. It broke Boston to be 'loved' at all, but in this way by a man, he cheated on and broke his heart.... Also, I want to add, that a lot of people make fun of how Nick eavesdropped on other of Boston's hookups but poetically it is so ironic because in that moment Nick was actually grounding Boston away from another one of his meaningless hook-ups, stopping him from running away from his actual thoughts and processes... And what was very interesting was it was Nick apologizing and bidding him farewell, but it was Boston who couldn't meet his eyes. I would also like to add, that honesty is Boston's saving grace, something we also see in Nicholas in episode 9, like two peas in a pod.

Lastly, I think all credit goes to Mark and Neo for fleshing out such complex, selfish, almost-criminal characters with such finesse, humanity, and vulnerability with so little screentime.

#only friends the series #boston only friends #nick only friends #boston ofts #nick ofts #boston x nick #boston nick #thai bl #ofts #ofts meta #bostonnick #nickboston #only friends nick #only friends boston

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theheirofthesharingan · 12 days

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In defense of my pov and maybe I wasn't very clear in the ask... I do think the point of Itachi in the earlier arcs is that he is meant to come across as one dimensional (of course to writers and those who read a lot this actually should equal something potentially being incredibly fishy), so when we get the conspiracy reveal after his death I mean that I wasn't surprised there was more to it and I love how it threw every interpretation of his actions from beginning to end into a new light. (And I realize I forgot to fix a sentence and I love Itachi now, but when I first encountered naruto in my early teens, he honestly didn't scare me that much 😅, he comes into town, doesn't kill any of the main characters because that point in the story wouldn't have made sense for such a thing, and then he leaves, seemingly on a tactically considered whim which fits his characterization at that time)

I also think it's actually incredibly important that Orochimaru and Itachi are both meddling in Sasuke's lives at the same time, which is why I brought them up as a "comparison" even though their motives are never even remotely the same! Orochimaru is horrific as an individual and a villain, but from a narrative standpoint serves as an incredibly effective smokescreen. Orochimaru is an immediate threat from the moment he is introduced, he's a constant and threatening presence and Sasuke goes and exposes himself to that for years which leaves him very little time to introspect on the circumstances around his family's death.

Itachi on the other hand is more of a goal than a threat. He's dangerous, we see enough of him vs other cast members like Jiraiya and Kakashi for that, and he very badly wants Sasuke to pursue him (seen as early as the hotsprings town attack and later made abundantly clear to be because he wants Sasuke to spend his vengeance on him, although even that reasoning is multi layered). He's one of Sasuke's primary enemies, but he functions so differently from Orochimaru that the audience just sees him as a different kind of big bad is all.

(Sorry for the long explanation, I just don't want you to think I'm stupid 😅 but I also might be coming at my interpretations from a different place than you and that's fine too! I appreciate your first answer regardless and thank you for those panels! The manga is so long that I definitely forget things.)

For the purposes of my own work, I often think of how information is compartmentalized in the village... because other members of the konoha 11 also come to the conclusion Sasuke should be killed, but the tactical ones have different justifications than Sakura if I'm remembering correctly? I think they're mostly meant to parrot the village policies, esp since they're secondary characters at best, just cementing the way that villages sacrifice individual members for the sake of less war (which is different than real peace!), but it still makes for some interesting considerations of how much/what other characters know and where they get their information from.

Anyways, sorry again for the long ask but thank you for so much uchiha content!

Oh, of course. Initially, he is meant to be a one dimensional villain, and there are hints dropped to give him more nuance, which make sense after the truth reveal. When we move towards the chapters/episodes leading to his death, the story starts to explore his fragility while he's still a villain.

His reveal didn't surprise me. It devastated me. I've been one of those who had some gist of him not being evil, but the tragedy was entirely unexpected.

If you love Itachi too, then welcome to our hell because we suffer forever here, loving both the brothers.

Don't worry, I loved reading your interpretation of both Itachi and Orochimaru and their influence on Sasuke. Itachi is a big deal because even though Sasuke faces an actual threat from Orochimaru, he isn't scared of him. But whenever he sees Itachi, his reactions are always intense. And even after their battle, he was completely shaking, even if he knew Itachi would have exhausted his chakra too. The only person Sasuke was really scared of was probably Itachi. Other than Itachi being invincible, there were a lot of feelings. Itachi had been cruel to him. Not only physically or psychologically but also emotionally. The only one who could dismantle him was Itachi. And Sasuke had all the unanswered questions in his mind because from his POV, his beloved brother one day stopped loving him when he'd always been so supportive of him.

I think other Konoha Shinobi wanting to kill Sasuke is different from her wanting to kill Sasuke. They didn't love him, they didn't care about him, and that also includes Kakashi. She claimed to love him, and concluded that he needed to die for his own sake. I have no expectations from Konoha 11 and I don't care about their opinions on Sasuke either. But she married Sasuke and never bothered to know why he changed so suddenly and why he would want his brother back. Does she even know anything about the Uchiha clan and its history? And what happened with Itachi and all? Probably not.

Don't worry about the long ask. It's totally fine. Thank you. :)

#itachi #sasuke #uchiha brothers #anti sakura #anti sakura haruno #anti ss #anti sasusaku #i'm writing so much sakura slander nowadays it's crazy #ask

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whinlatter · 11 months

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Any headcanons about Fleur? I feel she’s very underrated…

Fleur is underrated, it's true! For me, what makes her interesting to think about, though, are all the ways in which she's flawed, complex, and elusive as a character and also, frankly, a bit of a dickhead with some room to grow. In some fandom spaces, there's a tendency to sanctify Fleur (coming particularly from the anti-Weasley sides of the fandom), and portray her as a victim of horrible bullying that she never deserved, which I don't agree with. Do Molly, Hermione and Ginny cover themselves in glory in their initial approach to Fleur? Of course not. But for all her many strengths, Fleur gets off on the wrong foot with Bill's family in part because she can be a bit of a rude and inconsiderate houseguest, thoughtless in her remarks, and occasionally vain in ways that make sense but that do demand a bit of introspection and self-improvement.

I do think it's clear that Fleur's experience coming of age in a world that sexualised her from a young age was both formative and deeply harmful in ways I think she would have to unpack and unlearn as an adult. Patriarchy conditions Fleur's worldview: it also shapes how other female characters respond to her. Everyone's losing. Whenever I've written Fleur, I've tried to give her lines that portray her as someone disarmingly honest, rarely meaning to wound, but certainly a bit tactless and bearing the unexamined scars of a childhood and adolescence that sexualised her young, hardened her and made her feel like appearance and looks are a currency. In Orchards, it's the line about Fleur giving Ginny her an expensive-looking French conditioner for her birthday. (‘It will help with – how do you say - ah, split-ends' - like, kind to give Ginny a present, but comes off as patronising and a criticism of Ginny's appearance, especially to an already unimpressed and unforgiving audience). The bit I just put in Beasts is me trying to flag this sense I work with her of her as a character: ''You are very pretty, even if you do not try,’ Fleur had said, that afternoon. (Her sister-in-law always did like her compliments backhanded.)' ‘Boys will like your ’air, if you do it nicely. Remember, if you take care of your looks, zey will take care of you.’'

A only have a couple of headcanons for ya, none of which are very ground-breaking, forgive me!

I think of Fleur as a solitary person, with a strong sense of self and little interest in explaining her inner life to others. I think Bill and Fleur's relationship is the meeting of two similarly self-sufficient people who find a sort of calm together, but that isn't defined by emotional co-dependency.

I like to think Fleur moved back to England for work as an adult because the Triwizard Tournament was both emotionally and politically formative for her. The circumstances in which the tournament ended struck at her own strong sense of justice, but she also felt drawn to a place where she had been changed, in some way. I think there's something in going back to places that changed you but that you feel you have unfinished business with. Her crush on Bill was secondary to her pursuing that more elusive feeling, following up on a question mark

I like to think Fleur benefits a lot from her relationship with her sisters-in-law as an adult, albeit slowly and quietly. While I love the idea of her and Ginny being able to talk about why they clashed years later, I don't ever really imagine Fleur as being best mates with Ginny, but I think both come to a place of mutual respect, unspoken but deeply felt, and that they admire each other as parents a great deal. I think a more mature and reflective adult Fleur would be intensely sympathetic to the ways Ginny was almost certainly harassed and sexualised in the wizarding press as a figure in the public eye.

#another one for my 'let female characters be dickheads' campaign #women can fall out both sides can have points and the conflict can be rich multifaceted interesting and productive #but sure yeah fleur's a saint and hermione/molly/ginny are monsters whatever whatever #fleur delacour: unbothered queen who learns to be a little bit more bothered with age and maturity #fleur delacour #thanks anon!#headcanon #headcanons #ask

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doggirlbuffysummers · 2 months

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Trying to work on getting back to being more comfortable sharing my thoughts so going to jump right in the deep end. I do feel like there is a very good argument for faith lehane as an aromantic allosexual. I feel like faith in season three is specifically obsessed with Buffy in a way that is definitely tied at least in part to some degree of sexual attraction. I would like to note, however, that this attraction can exist absent romantic intentions entirely.

I definitely do feel like there are a lot of indications that faith is potentially romantically interested in Buffy, especially some amount of jealousy of Angel/desire to be in Angel's position. This is, of course, a very valid interpretation of Faith's character. I also very much hold that Faith does not have any real emotional attachment to any of the guys she hooks up with/has sex with, but does have something going on between Buffy and herself.

I do find, as an aromantic, getting into a pattern of obsession with others. It's kinda like this non-romantic non-platonic desire for emotional closeness. I don't think it's exclusive to aromantics but absent romantic inclinations it stands out more. I have definitely had bad times where I do feel resentful when friends prioritize their significant others over me. It can be tough feeling like you will never be able to be the most important person in someone's life. At this point I have been able to move past these feelings, but it takes time and introspection.

A lot of aro people talk about this idea that there isn't anything that is exclusively romantic except for intent. The idea that friendships look one way and romantic relationships look another way is not an accurate one, as the actions generally deemed to be romantic change based on cultural context.

So back to faith. She spends most of season three isolated. The only people she really knows are the people in Buffy's friend group. She wants this close emotional connection with Buffy. She also very obviously wants sex with Buffy. It is easy to see why she would see Angel as an obstacle to that connection when Buffy not only does not confide in Faith about Angel's existence, but also Faith is not necessarily clear on if what she wants from Buffy is actually friendship or not.

I do think that the argument for Faith as alloallo lesbian is 100% a valid interpretation, but I think that as someone who has repeatedly interpreted her (my) platonic feelings as romantic due to the perceived intensity of her (my) desire for emotional connection, I believe this interpretation is a valid one.

#PLEASE go easy on me #faith lehane #aroallo

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chefboyar-zeee · 14 days

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Idlewild - Roundtable Jukebox

Idlewild is a musical drama film released in 2006, directed by Bryan Barber and starring the hip-hop duo OutKast, which consists of André 3000 (André Benjamin) and Big Boi (Antwan Patton). The film is set in the Prohibition-era South and blends elements of music, drama, and crime with a jazz and hip-hop-infused soundtrack.

This was a beautiful film and very aesthetic. I have not seen another musical quite like this one and it’s for a reason. Here's why...

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What are the social aspects within the film’s narrative that align with the film’s songs?

The characters in "Idlewild" demonstrate resilience in the face of adversity, a theme echoed in the film's music. Many songs highlight the characters' determination to overcome obstacles and fight for their dreams, reflecting the broader struggle for justice and equality.

The film's love songs align with these themes, expressing the joy, passion, and challenges of love.

Rooster's involvement in the criminal underworld is depicted through intense and energetic musical numbers that convey the danger and excitement of his lifestyle.

The film's songs reflect their desires for a better life and their struggles to achieve their dreams. Percival's introspective ballads, for instance, convey his longing to break free from his small-town life and pursue his passion for music.

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How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers?

Most of the songs in Idlewild had already been featured on the OutKast albums Big Boi and Dre Present...OutKast and Speakerboxxx/The Love Below, essentially making it a jukebox musical. Seven of the songs from the film, along with several unreleased songs, were released by LaFace Records as an OutKast album entitled Idlewild at the time of the film's release.

This is such an interesting question for my film considering all the film’s score was performed and produced by the lead actors, Andre 300 and Big Boi, with a few credited features in the film. Obviously it isn’t just circumstance that the leads were a famous Hip-Hop duo, so it isn’t hard to assume that the actors/artists were chosen specifically to star in this film for their transformative and notable music style and sound. Without their unique sound and talent for performing, the film could not, and would not be what it is.

The historiography of this film is unique in the way that the character actors are also the creators of the featured soundtrack. On one hand, the audiences may feel more compelled to the characters and their narrative because they are in support of their music exclusive to the film, as well as some of their originals. In general though, I think historiographies definitely inform the audience’s relationship to a narrative. It can make you more engaged with the characters and their conflicts if you personally feel the music is fitting, or on the other hand, it can make you understand and better comprehend the narrative you're following because you may be familiar with the meaning and significance of the music. I also think about people’s ability to see artists they like and songs they love being performed in a different medium. In a way, your brain might see the visuals from the first time they heard it; or maybe the song originally had a music video. It’s up to directors to build the narrative strongly around the music.

youtube

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

The hip-hop, funk, and soul stylings of the song score are intentionally anachronistic, a choice made to complement the film being set in 1935. Elements of 1930s-era blues and jazz music are, however, featured prominently in many of the musical numbers. The film's dance numbers, choreographed by Hinton Battle, also feature many period dances, primarily the jitterbug and showgirl moves, like featured in the above video.

The film does a lot of blending hip-hop with jazz, blues, and gospel influences.

Idlewild is known for its visually stylized and innovative approach to storytelling, incorporating musical numbers, fantasy sequences, and animation.

The film defines itself by taking place in the 1930s, in addition to casting vetted performers and songwriters as your leads. The musical simply wouldn't have the same storytelling element had anyone else written the soundtrack, whether prior to the film or not.

#oxyfilmmusical #disguisedmusical @theuncannyprofessoro

#Youtube

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phaerlax · 4 months

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you as the WolfBoyGuy and me as someone who has just recently seen the puppy light, do you have any tips or what you'd consider Required Reading to get a good grip on writing wolf boys? moreso karu than garu just because i personally have a hard time writing dudes with as much bluster and "doesn't tend to default to conventionally agreed on niceties". i have (admittedly mild) torments I'd like to put him through >_>

Anon is asking me about blorbo... I have been training for this for so long... behold now the ramblings of a man possessed by two wolves. I'll talk a bit about how I approach writing Karu and then include some curated recs.

It took me some time to really get going on wolfboy fics; I also found it challenging to handle Karu's characterization. Two big reasons why:

Tsunderes are just difficult to do if you're grounded in realism. It's a very 'anime' archetype and people don't behave quite like that. This makes it harder to naturally reach for reasonable/appropriate responses when putting the character in situations. The big want/think/say/do splits can also complicate straightforward scenarios (e.g. the character wants something and does what he needs to do in order to get it. This path is often closed to the tsundere).

The game gives little insight into Karu's inner world. NU: Carnival is very dialogue-heavy in its narrative. When we do get introspection, it's often Eiden-focused. This means we basically never get to see the thought process that leads Karu to act this way or that, except in the rare instances in which he talks to himself (like in some H scenes when he goes "ugh it feels so good but-").

The style that I ended up developing for my angry wolf boy writings follows these principles:

Keep him silly. This is because I fundamentally see Karu as a comical character. Yeah, his personality can be traced back to traumas and there's a lot of interesting stuff to explore in that regard, but I am not personally interested in that tbh. The reason I love him is the wacky nonsense and ridiculous behavior that we see in the game. It was at first sight for me. I didn't need depth and I still don't XD Any advice and references I provide are skewed by that. I have a preference for almost never taking him seriously.

Mind his 'narrativization' tendencies. Karu is comically very enamored by the idea/narrative that he's a mighty warrior with many great skills who will conquer humanity and who should be respected and served. On some level, he knows this isn't entirely true, so he will sometimes (try to) avoid situations that would bring attention to his shortcomings. But most often he's trying to prove himself and get others to share his narrative. When something or someone reinforces the narrative, he gets proud, pleased or happy-flustered. When something or someone goes against the narrative, he gets annoyed and angry-flustered. He is very good at ignoring reality, however. Even though he'll seemingly take exception to every little slight, he moves on very quickly and pretends nothing happened. And though he's stubborn, he's also willing to surrender, cut his losses and 'try another day' when he's foiled.

Mix his narrativization with the narration a lot. This kind of free indirect discourse is just my style in general, but with Karu I find myself using it more intensely, to such an extent that the narration can get quite dialogue-like in how it expresses his thoughts. When I want to portray a 'tsundere stumble' moment, I sometimes make the narration interrupt itself as Karu consciously aborts a line of thinking that would lead him to unacceptable conclusions.

Let him just be rude for no reason and with little consequence. Karu's default way of addressing and dealing with people (other than Kuya) is rudeness. At best, he attempts some form of condescension in which the reason he's doing something 'nice' is because you're so weak and he's so awesome or whatever. Most characters seem to simply not mind his behavior and, again, it's usually played for laughs anyway.

Bibliography of Karu Studies

Keep in mind that many Karu fics are kuyaru, and Karu in kuyaru is quite different from the core of the character, since he's uniquely eager to please Kuya. Still, even kuyarus can have some nice insight.

who let the dogs out has a lot of juicy Karu inner conflict, and it even explores the ways in which such hangups make him outwardly grumpier. Due to kuyaru, it ultimately leads him to a place of submission, but his initial thoughts are very in-character.

Baser Instincts is a kuyaru in which Kuya gets to see the pups in a new light, because they help him in a difficult situation. It's another great source of inspiration for Karu struggling to express his feelings.

Bow Down! explores how he might react to Eiden letting him top, in a very true-to-character way.

Lonely at the Top is Karu/Dante, which means you get to see Karu at his prickliest and most insufferable, and how that can be managed.

A Matter of Pride is a good example of the 'concessions' dynamic that can be done in Eiden/Karu.

Goshujin-Ai is an older Karu/Yakumo and a good example of Karu feeling comfortable and doing the 'attempts at condescension' thing I mentioned before.

Slave number one, rub my chest again is me speculating on what it might look like for Karu to ask Eiden to do things to him and try to control sex.

Warden slander wolf Commander is probably a good example of the 'fine I give up but I'll get you next time' potential of Karu, as well as the kind of bleed-heavy narration I talked about.

Master, do you have another wolf besides me?! delves into Karu's potential for jealousy as a way of expressing affection. It's pretty canon-compliant because most of it is adapted from NEON Carnival.

There are many other fics in the Karufic Archive, but I think the ones above are among the best for the purposes of thinking about the writing.

Please feel free to talk to me non-anonymously if you ever want to discuss wolf boy content! As you can see I am cursed with thoughts and need places to put them. I'm also always very happy to do anything that I can to shepherd and sponsor GaruKaru content; if you go ahead with your impulse to write about them (please do) and want a beta reader, don't hesitate to ask~

#nu carnival #nu carnival fanfic #nu carnival karu

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indignantlemur · 2 months

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🌟

OH MY GOODNESS, ANON, I AM SO SORRY! I didn't see a notification about your ask at all! I only found it by clicking on my inbox by mistake! You have my most profound apologies for neglecting you! For this one, I feel like rambing on a bit about Chapter 46!

Spoilers below the cut for folks that haven't caught up to the latest chapter!

Chapter 46 picks up shortly after the end of chapter 45, and is a much more introspective and static chapter than the previous two, which were full of vibrancy, colour, and activity.

For the most part, I wanted this chapter to be about Dagmar and Shral and how they've progressed from the early days - but more importantly, it was an excellent time to address some lingering questions that had been hanging over Dagmar's head for a while now. Dagmar has mentioned that she has a bunch of questions before, but she's never actually managed to find a moment to ask some of them that felt right until now. There is a lingering sense of strong attraction throughout the scene, of giddiness and excitement, but it's balanced with caution and reserve. As much as I had fun writing spicy content for Dagmar and Shral after so long, now wasn't the time for the scene to lean towards that again. This chapter was supposed to be about intimacy without sex.

There's a bizarre and terrifying intensity about letting a new partner undress you for the first time (chapter 45 doesn't quite count), and for some there is a horrible, profound anxiety and sense of vulnerability that comes with that as well. There's a lot of non-verbal checking in, which is just so important, but also there's the way that Shral reaches for her face first above all other options that speaks of a kind of regard that bodes very well for their future. It's very much a deliberate choice on his part.

As the chapter progresses, Dagmar finally asks a very important question, which leads to a much, much overdue conversation between our intrepid heroes. We also see more about the level of insight that Dagmar now has into Shral's character, where before he was still very much a mystery. She's able to puzzle out a lot of his behaviours now, with the help of the bond, but she's also aware that without the fledgling bond she may never have managed. Moreover, Shral is hyperaware of this as well, and was agitated enough about it to conveniently neglect to mention a few small details that provided him with a sense of affirmation without him having to actually ask for it.

“I should have explained at the time,” Shral murmured when she remained quiet, his eyes flicking down and away as his antennae lowered into a posture she hadn’t seen on him before; curled close to his brow in submission. She’d witnessed that positioning before, of course - usually when Thoris was bossing someone around - but never on Shral. Never towards her. He was behaving as though he expected her to be a lot angrier than she was. The fact that she hadn’t reacted according to his expectations seemed to confuse him. “I’m not angry. I could have asked then and I didn’t,” Dagmar began slowly, watching Shral carefully as his antennae perked up and he glanced up at her again. The bond seemed to swell with a feeling she struggled to name, but whatever it was it left the impression of disbelief mingled with several other very complicated feelings. It dimmed considerably when she continued, “but I would like to know why you didn’t say anything.” “Foolishness, mostly,” Shral answered, brutally honest in the quiet of the room, as water dripped and steam curled. “And perhaps a little selfishness.” That last bit caught Dagmar’s interest. “Selfishness?” “I knew you didn’t realise what it meant…” A grimace stole over Shral’s features, but he held her gaze and spoke with that same blunt, upfront tone, trailing off abruptly as if he hadn’t figured out how to finish the sentence yet. That alone was unusual.

For the record, this is not a good behaviour and even Shral recognises that. Dagmar is rightly dismayed by the whole thing. If it had been much more alarming issue being discussed, such as a binding arrangement versus what she flippantly describes as advertising big feelings, she probably would have been justifiably angry about it. The fact that Shral very clearly knows that he was in the wrong both helps his case and hurts it, here. Instead of getting angry, Dagmar takes the time to consider the matter - and her reaction - carefully. This is probably what I love most about Dagmar: she can be reactive under the right circumstances, but she vastly prefers to stop and think things through more often than not. Dagmar tends towards problem-solving over emotional outbursts more often than not, and this conversation is no different.

Instead of choosing the confrontational route, she bypasses it entirely by expressing a gentle, remarkably forgiving sort of disappointment in Shral's choices and proposes an alternate course of action in the future. It's very clear to them both that they need to make an effort to talk more openly at this point.

Not bad! Actually a pretty mature approach to the issue overall! You know, except for the bit where Dagmar conveniently neglects to mention that she's planning on harassing her poor doctor for a basic Andorian sex ed class in a few days, which would explain a lot of her weird behaviours to Shral at that moment.

This is also not ideal behaviour, and in fact rather hypocritical of her. Does Dagmar realise this? No, no she does not.

Shral’s eyes, vividly green and flecked with gold, narrowed shrewdly at her. “Perhaps you should lead by example and elaborate about your experiences with our security checkpoints.”

Shral, of course, immediately turns the tables of Dagmar using her own words against her, and then we come to The Hair Thing.

Shral is understandably dismayed and displeased to learn that his girlfriend basically let the security officers paw at her hair, which is apparently vastly more important to her culturally than he'd previously been aware of, instead of just asking for him to come vouch for her. Worse, she demeans the value of her customs and culture like it doesn't matter - like she doesn't matter - which is blatantly insulting to both of them, really.

“I see.” Shral sighed, and the bond carried a strange kind of weight across the gap between them. It felt heavy, stifling. “I’d better ask if I’ve overstepped similarly, then.”

Then there's the dawning horror of realising that he basically did the same thing not an hour ago. Actually, what he did was probably worse. After all, what would Shral know about it? She's as alien to him as he is to her, after all, and if Dagmar says her hair is supposed to be kept up and away from prying eyes for some sort of alien modesty thing, then he's very probably made some kind of horrendous faux pas by yanking on it during sex. Never mind that she pulled his hair, too (and we will discuss Shral's incredibly slutty hair cut some other time) - he's Andorian. It's not the same.

The scene progresses from there, and we learn a little more about the bond as well. By the end of the chapter we get an idea as to how their dynamic has shifted from this single conversation, just a little, to something just a tiny bit stronger than before.

“Are all Humans so adaptable?” Shral wondered with a narrow slash of a smile, shifting in his seat. Dagmar couldn’t imagine he was particularly comfortable on that footstool after so long - it wasn’t exactly designed for comfortable sitting. “Or are you simply determined to surprise me at every turn?”

By the end of the chapter we've learned that Shral is an uptight, emotionally constipated man who dislikes ambiguity in any form and yet also has a very low confidence level where his ability to predict Dagmar is concerned. He thought she'd be angry with him - she wasn't. He thought she'd uncomfortable with the bond and avoid using it - she wasn't and very clearly didn't. Earlier in Chapter 45, he'd most likely expected to be some kind of celibate for months according to some cursory research on her strange, alien customs - she threw that idea out the window immediately. Even in some of their earliest interactions, Shral's simple prediction that Dagmar would dislike vithi on principle, since Humans seemed somewhat averse to especially bitter things, was completely off. At every turn, Shral fails to entirely predict Dagmar. He can make accurate guesses most of the time, but every now and then shejust randomly jukes left when he anticipates her going right, and it's both utterly maddening and terribly interesting.

Whatever else he might feel at the time, Shral is never bored when Dagmar is around.

Alright, that's it! Ramble: completed! Thanks for the ask, anon! <3

#star trek #emigre by indignantlemur #ask box #andorian #andorians #chapter 46 of emigre by indignantlemur #author's commentary #Dagmar Gunnarssen #Vilashral of Clan Hrisvalar

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prahacat · 10 months

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Hi, I really hope you don't mind me asking a few of the questions from the fan fiction writers ask because I'm curious. Of course it's totally fine if you don't want to answer.

✨What's a fic you've posted you wish you could breathe life into again and have people talking about it? (or simply a fic you wish got more credit)

💝what is a fic that got a different response than you were expecting?

🍭why did you start writing?

And my own... Do you write in your first or second language and how does this affect your writing process?

Hey! I LOVE talking about writing and (fan) fiction so thank you so much for giving me an excuse to do so! <3

✨ A fic I wish got more credit: "The Red Night" (it's on both tumblr and ao3) Yes yes, I know. It's poetry, it's very short, it's kinda weird(?) but also kinda generic. Basically the kind of stuff where, as a writer, you're lucky if people click on it at all (and I'm beyond happy some people did and even liked it enough to leave kudos/likes or reblog <3). But I spent several days on those ~500 words, I love how it turned out, it's like my favorite child, it's so ME ... and sometimes I can't help but wish it would get the same love as my other fics.

💝 A fic that got a different response than I was expecting: All of them, in some way, but especially "Three Days of Thawing". It was the first fanfic I uploaded to ao3 after years of writing original fic only: a little oneshot I wrote as a part of a bigger project and ended up posting just for the hell of it. I honestly didn't expect to get a response at all. A fic where nothing happens, it's just 15k of two old jaded men bickering and drinking tea? Little plot, hardly any romance? they don't even kiss. Who'd want to read that?

🍭 Why I started writing: Writing in general: Because of my love for words. My family had a lot of books, so I grew up with stories. As a kid, reading was like eating to me. Sometimes, when I was starved for words and there was no book around, I'd read the tv manual, a cookbook, the labels on my cereal box. Whenever I was bored, I'd dig through my parents' bookshelves until I found something that sounded interesting. Naturally, since it wasn't geared toward children, a lot of it went right over my head. For example, I remember reading this passage from Bronte's Jane Eyre:

‘As we are!’ repeated Mr. Rochester—‘so,’ he added, enclosing me in his arms. Gathering me to his breast, pressing his lips on my lips: ‘so, Jane!’

… and it had me so confused. I didn't get it. "Pressing his lips on my lips? Okay, so like kissing? Why doesn't the author simply write kissing then? That's such a strange, roundabout way of phrasing it!" Yes, I was very young. But moments like that made me think about the different ways to use language for the first time. I feel like writing stories is all about expressing simple truths in a bit of a strange, roundabout way.

Writing fan fiction: I started writing fanfic (again) because I was stuck with my original story. So I wrote a short story about my current obsession, Star Wars. And then another one. And another. I love the disaster lineage, and I love writing for the PT because so many of my favorite themes can be accommodated in the stories. A lot of it is about family, about the more quiet, intimate struggles that happen inside of us, but there's also something so inherently "Greek tragedy" about the characters that makes their destruction feel intense and almost inevitable.

First and second language and how it affects my writing process: I write in both my first and second language. English is my second language. I don't think my writing process differs much in either language. My English is okay, I guess ... I keep looking up comma rules and prepositions when editing.

There are a few instances, especially when writing emotional, introspective scenes, where the idea of what I want to say evokes a strong, very specific feeling, but it remains abstract, almost like music or a blur of colors. Or like a train of vague thoughts, but they keep moving and flashing and I can't grasp them. And in such cases, I sometimes resort to my native language to "search" for imagery or tangible concepts that can be expressed with language. It's not like I have difficulty expressing my ideas in English, it's more that the process of pulling them from some unconscious, wordless depths into the realm of consciousness and language comes easier to me in my native tongue. I guess it's more of a creativity technique?

For example, I remember using this technique on this little paragraph from "Three Days of Thawing" (the fic where Dooku is stuck in his Redemption Arc, oscillating between self-loathing and the need for acceptance/forgiveness):

Maybe Dooku wasn’t happy, how could he ever again, but he had learned to put some distance between himself and the hated shadow inside him, the way most people no longer think about the bacteria living in their mouths or the mass of dead skin cells on their bodies, all a gross but inevitable part of the self. Him: the man he hated, and the man who hates, and the man who tries to forgive them both, and the dizzying distance in between. Sometimes, when he sits by the lake and stares at his reflection trapped inside the ice, he can delude himself into believing he might become whole again.

I felt the part about the split self very strongly, but it wasn't until I thought about it in my native language that the words to express this feeling came to me.

There are quite a few scientific studies about how emotions are accessed and processed differently in your native language and in your second language. I know I'm definitely a bit more detached from my emotions when I'm speaking/thinking in English. In contrast, my "English brain" is more rational and analytic, which is great for "killing your darlings" and avoiding sappy, melodramatic dialogue (something I love to write, but it often doesn't feel right for my fav characters like Dooku or Obi-Wan).

Gah, I could really talk about this topic for hours! It's so fascinating to me, and I'd be very interested in hearing the experiences of other bilingual writers!

Thank you again for the questions, this was a lot of fun!

#ask box #prahacat writes #bilingual writers

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rotteneldritchhorror · 7 months

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OK SO THANK YOU FOR STEALING MY HC, YOU CAN HAVE THEM

I think the chosen knew he was trans like very young and immediately fell into like toxic masculinity as a way to deal with a transphobic environment. He definitely internalized wayyy more than he externalized, but still, was a bit of shit. But also very young. And over time it got better, but especially the internalized part lingers longer.

And you got this interesting situation where he is a trans guy, but also has 14-year-old cis boy toxic masculinity and internalized homophobia for liking guys and being gay. But like he is a trans guy.

But he slowly grows and fights himself out of it (in my mind augustus plays a huge part in this, he also has problems but different)

And they both end up gender abolitionist and based.

(also autism but I will stop now, this is already so ahhh)

You’re so right and correct

Gender abolitionist chosen and Augustus is not something I really ever thought of but that’s absolutely genius and I’m stealing that too (I mean— I already hc that chosen uses xenogenders cause his gender is literally wolves, werewolves, games he likes, and the matrix movies— so gender abolitionist isn’t too far of a stretch for him lol)

I’ve decided to split my chosen headcanons between our universes Chosen and the BAF legacy universes chosen, BAF legacy chosen is trans to me, so tbh— I’m stealing most of that too to apply to him lol (bar the Augustus stuff probably? But I do think him and Augustus have had a lot of weird talks about gender /pos and they’ve probably caused a lot of identity crises and realisations, mostly through CFM explaining it to chosen and then chosen explaining it to Augustus like it’s something he already knew lol)

Also yes… super mega autism. It wasn’t intentional, but somehow Shayne Topp, a supposedly neurotypical (or at least allistic) man, created one of the most autistic characters in existence.

He stays in the same clothes cause they’re comfortable and it’s his favourite shirt that he’s probably had for at least a decade, he’s so intensely hyperfixated on shit, he probably has the entirety of all of the matrix movies memorised entirely off by heart , he knows way too much about swords and katanas, he speaks weirdly that was definitely just cause he doesn’t know how to talk to people and masks by talking like people do in movies he likes— he’s also quite monotone? And talks about not feeling many emotions (which is like- obviously a lie, but there’s probably a little truth about not having much introspection and people thinking he’s emotionaless because he’s monotoned)

#🪲#🌀#smosh chosen #smosh characters #the chosen smosh #smosh augustus #smosh the chosen #smoshblr #smosh cfm #smosh #c!smosh headcanons #there needs to be a tag for smosh characters so I can tag #smosh headcanons #without it looking like I’m hcing real people lol #smosh character hcs #headcanons

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the-stove-is-divorced · 16 hours

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🎈describe your style as a writer; is it fixed? does it change?

People see things differently, especially creators of stuff, so I'm wondering how you see your own writing? And if it was a metaphor what would it be? Or an object or something or anything that describe it?

Oh my goodness these are such interesting questions! You got me getting introspective! (o^ ^o)

I think my style generally exists as 2-3 general forms, two of them being incredibly similar, if not overlapping? I think in general it stays within these forms, because I actively seek to curate my style in these specific ways (tho if stop using one, it will get rusty). But for the whole curate thing, I look at other writing I like a lot to get into the mood of a certain style for specific fics! So in my eyes, I've got Comedic Style, Descriptive Anguish, and Voice Strong.

Comedic Style is exactly what it sounds like, it's when I want to try comedic fics with much sillier tones like with Metamorphosis which starts as a more horror-ish but quickly dissolves into silliness. I re-read authors whom comedic styles I adore, which is mostly cereal_whore on ao3! I adore their style! But I've diving so much into angst, I'm rusty with this style again. Ugh (ノ_<、). Still working on the next chapter tho.

Descriptive Style also what it sounds like, it's when I really try to dig deep into figuring out the best way to make physical sensations, more commonly pain 'cause I love angst, and really intense emotions feel almost palpable through descriptions alone. Like, comparing frustrations as a simmering pot that grew into a furious boil, something annoyingly unignorable like an unscratched, terrible itch!References I get for this style are a wide range of novels and fic alike. I even keep samples of styles I like to quickly skim through if that helps something flow better. Novels like "A Certain Hunger" by Chelsa G. Summers (a recent read of mine, I adore horror), or quotes from fics like "The sentence sits between them; decaying and astringent, Fushiguro unapologetically leaves it as such. Yuuji’s sure he’s been decomposing since he ate a corpse's finger."

Similar to this, and hopefully overlapping with the previous to make a fic feel good to me is Voice Strong, also sounds like what it is, haha! The character's mindset determines what their feelings get compared to, kinda like context, if that's the right word? I'm sure I'm over-explaining here, but I don't think I've described this before, since it's always been in my head? To me, it should always be a bit unreliable, a POV's always limited unless omniscient. I'm best at writing high intensity, like panic/stress because than character's actions are so much easier to understand and thus predict. If I can't guess their actions, I kinda can't continuing writing. And if I know their mindsets, I know what general arcs to keep in mind, so the plot can take any form while staying in general directions.

Like with it feels like we only go backwards , Steven 2.0 (human!steven) is pretty much on the verge of a very bad mental breakdown. Consequently, he is incredibly easy to predict and thus write for! It's easy to jump into his voice. It's kinda hard to describe, but he often repeats phrases like "you see?" and "he is kind" when he's really close to losing it because he's trying to cling to his denial as a (bad) coping mechanism. Chunks of him glorifying/romanticizing, for lack of better word, his own discomfort, distaste, or plain hostility, are split by the snippets of truth he can't ignore, like the fact he misses Pinko, or he's angry or he's tired. He repeats stuff alot, often trying to stick to the pedestal he's falling from, like "But perhaps, he hit a bit too hard, a bit too rough, because Steven Universe should be gentle, gentle, gentle, he knows, because he is nothing but gentle and kind, gentle and kind." He wants to be gentle, but in reality he's becoming more and more violent in this scene. Mf is just contradicting at all times. I love him so much. (´꒳`)♡

WOAH, this got really long. (」°ロ°)」 I hope I didn't chat your ear off, haha! But if I had to describe my writing, I'd say water? It can fit into any style if I really try, like water can take the shape of any container, but I try to keep it specific containers. Or, three specific directions to flow through, kinda like three diff rivers? If that makes sense! (・_・ )ゝI get incredibly frustrated when it doesn't move how I want it to (often), so it needs constant upkeep. Me writing is a million re-writes and edits plus scrapping entire chunks, like, constantly. It also has to feel right to be published. Like I have an entire draft of my body's in backwards sitting unpublished but that mf is not getting posted until it feels right. I may or may scrap it entirely. Again. (」＞＜)」

I guess another comparable object is like some kind of hedge/bush/etc I keep trimming for the perfect shape, but never quite looks right until it totally does. Which could take so damn long.

Hope that answered ya question!!! TYSM FOR ASKING (´,,•ω•,,)♡

#asks #i rambled A LOT so hopefully this makes sense??#if not just tell me haha #tho i lose the battle in being succinct every damn time #i like WORDS OKAY I LIKE BEING WORDY #also werid to think about talking about what always goes through my head while writing? like my rules and method and thinking? not bad tho!#tis interestingggggg #introspective hours #my fics

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withacapitalp · 1 year

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this got so long i'm sorry lol. that post about jonathan hurting steve just reminds me of my number one issue w steve and jonathan/nancy becoming closer which is that the onus is almost always placed on steve to make amends and take that first step w/little to no emphasis on that effort being reciprocated. like, steve apologizes to jonathan for everything in s1 (as he should) and saves his life twice. whether or not you think jonathan should apologize for how intense the fight got is up for debate (i would just like acknowledgement of how seriously he did/almost did hurt steve) but steve def deserves an apology for 1)the photos (which he never got - obv he broke the camera but then he also bought jonathan a new one all w no actual apology to steve on jonathan's part, it wasn't only nancy's privacy he invaded) 2) the fact that he slept w nancy knowing she and steve were still together (which he literally verbally acknowledges when nancy says she waited for him or w/e). that second one obv also goes for nancy bc she also doesn't apologize to steve for leading him on for a year while having feelings for someone else then cheating on him. this isn't me saying jancy are terrible ppl and entirely unsympathetic (nancy is obv v traumatized and struggling w barb's death tho this does not excuse the way she treated steve) but they both did some fucked up shit to steve that ppl rarely make them acknowledge or even feel bad for, which creates a v unbalanced dynamic imo.

Oh boy this did get long!!

So this might just be curating different fandom experiences, but I don't personally see a ton of Steve being the one who has to make amends in fandom or Jonathan and Nancy not having introspection on their pasts. In canon I totally see that though, and it's a lot. Like I think they're all just really human, which I love. They fuck up, and they mistrust, and they have to learn and grow into being close. It isn't automatic.

I think like.......here's my thought process. Apologies are nice. Apologies are good. The right thing to do is always to apologize if you feel like you've wronged someone.

But I also think Steve wouldn't accept it.

Okay I'm putting the rest under a read more because I'm going on a little meta rant on Steve Jonathan Nancy and why apologies are a complicated thing for them and ultimately not what any of them really need.

First Steve because he's my blorbo. Steve is a really interesting character. He has this veneer of extreme self confidence that hides a really soft core of a person that ultimately experiences a significant amount of rejection. He has this brittle exterior that's bitchy and snarky and gives as good as it gets, but things touch him in a deeper way that I think is easy for a lot of people to ignore. I could totally see Jonathan awkwardly trying to bring things up to maybe try and apologize only for Steve to be like nah man we're fine! It didn't work out no biggie, I'm aok, you guys work together and we didn't.

Steve is constantly searching for validation and love (Implied because his parents are neglectful or at the very least have an extremely bad marriage that would be enough to add layers to anything) I think that the bullshit conversation really impacted Steve in a significant way, but if he shared that, then he's leaving himself vulnerable to getting hurt again, so he would do everything in his power to truly make everyone think he's okay, even potentially making himself think he's okay too, when deep down he isn't.

I alsoooo don't really think that Nancy or Jonathan necessarily feel bad. If Steve is pushing so hard to say he isn't hurt, then eventually I could see them not thinking too hard on it. Jonathan because in canon they aren't really friends obviously (Which is a goddamn travesty by the way I wrote an entire series of fics because I hated that they weren't friends) and Nancy because Nancy is an extremely self focused person.

Not selfish. I think it's important to make the distinction between selfish and self-focused. I don't think she's intentionally doing things to hurt the people around her for her own gain, but she thinks about how things effect her and how things impact her first and foremost. Not even just with Steve, but with everyone. A good example of this is in season three when she cost Jonathan his job too with her sleuthing. Her boyfriend who is in a very bad financial situation at home and could have really used a job that actually pertained to his interests and might have lead to future relationships in his industry. She didn't feel bad about that, she was too focused on the injustice to her. Even something as simple as never knocking when he's in the dark room and ruining his pictures over and over.

She just doesn't think about other people, which makes sense! She's a teenager, she's a privileged person, and she's smart as all hell. She gets extremely focused on doing the 'right' thing (according to her rules and her mind because she knows she's smart and thinks she's the smartest in the room always) and she misses doing the best thing a lot of the time.

For Steve, someone who is clearly extremely not self focused-which is also not a great way to be because extremes never are- and Jonathan- Someone who has been forced to put his family first his entire life- that is always going to be a point of conflict in her relationships with them.

But I don't know if we've ever seen Nancy give a genuine apology in the show, and I honestly doubt we ever would. It's not in her character really. But! Regardless of all of that, apology isn't really the end goal. Saying your sorry shouldn't be the end of something. I would much rather see Nancy Steve and Jonathan grow into people with more empathy and ability to own up to their shit/call people out on their stuff in the future rather than rehashing their past again. Unfortunately I have a feeling season five is gonna be a lot of rehashing lmaoooo

#I actually have a WIP #That I was writing a lonnnnng ass time ago #with Nancy trying to apologize to Steve #not realizing she's kind of forcing him to hear her apology because she wants his forgiveness #not because she genuinely has remorse and wants to voice that #and Steve makes her stop apologizing to him by just saying okay I forgive you is that what you need to hear #and then she has a little oh fuck okay I really need to think on myself a bit moment #Steve harrington #Nancy wheeler #Jonathan byers #stoncy love triangle #character meta #st #stranger things #stranger things meta #anon #anonymous #ask #Liam speaks up

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creepy-kooky-mysterious-spooky · 11 months

Text

Positive and Negative Personalities Based on The Names of Wednesday Characters:

Positive:

Wednesday is likely an individual who is intelligent, independent, and analytical. They may take a analytical approach to problem-solving and be detail-oriented. Although Wednesday can be serious, they are also passionate about the things that interest them and enjoy deep conversations about topics that matter. Wednesday's strong will and sense of adventure can lead them down unexpected paths, and they may be more open to risks than many of their peers. They have an adventurous spirit and can be the life of the party when they let their guard down. Wednesday's ambitious nature guides them towards success and they may have a deep desire to always strive for more.

Based on the name Enid, the associated personality traits may include creativity, originality, intelligence, tenderness, sympathy, and cheerfulness. Enid is likely to be a sensitive and caring person who enjoys creative pursuits and is able to think outside the box. They typically have a deep appreciation for the beauty and wonders of the world and appreciate the small things in life. Enid is likely to be an excellent listener and have a great understanding of others. They tend to be supportive, encouraging, and inventive, while still understanding the importance of maintaining boundaries and being respectful of others.

Xavier is often seen as a charismatic individual and is known for his unwavering determination. He is comfortable in any situation and has the confidence and optimism to face any challenge that comes his way. He is a go-getter who strives for success and is extremely driven in achieving his goals. Despite his ambition, he is incredibly humble and generous, always willing to lend a helping hand or offer advice when needed. He is a person of high integrity who values honesty and loyalty above all else. His natural warmth and kindness makes him an incredibly likeable person, and he exudes an air of authority without appearing domineering.

People with the name Bianca tend to be imaginative, creative, and idealistic. They have a strong sense of justice and an idealistic perspective on life. They are also often independent and innovative thinkers who prefer to go their own unique paths. They also tend to be highly sensitive, emotional, and intuitive. They have a deep appreciation of beauty and are often charmed by the wonders of life.

Ajax is a strong and courageous individual who takes initiative and is not afraid to take risks. They are driven by a strong sense of ambition and have a lot of energy that they put towards their projects and goals. They have an intense desire for success and work hard to achieve it. They are reliable and have a strong sense of loyalty, often putting others before themselves. They are motivated, determined, and persistent in their pursuits.

Yoko is a name with Japanese origin and it means 'child of the ocean'. People with this name are likely to be independent, open-minded, and innovative. They have good problem-solving skills and are not afraid of changes. They are very active and enjoy trying new experiences. They tend to be creative and have a curiosity for the world around them. They can be somewhat unpredictable and need to be handled with care. Ultimately, Yoko is a name with strong and confident energy that will attract success.

The name Tyler is usually associated with creatives, innovators and people with an entrepreneurial spirit who are confident, ambitious and loyal. They tend to be natural-born leaders and their social skills allow them to establish meaningful relationships with others. They are also organized and enjoy taking the lead on projects.

Eugene is likely to be a wise, analytical, and level-headed individual. They are deeply intellectual and often quite introspective. They tend to be logical and use their analytical skills to reach solutions to problems. They are patient and can be discerning in their decision-making. They are often well-respected by their peers and value their relationships very highly. Eugene is often humble and unassuming, but can be determined and ambitious when it comes to their goals. They may also be a passionate individual who has a strong moral compass and good ethics.

The name Rowan is usually associated with strong, independent personalities. People with this name tend to be driven and ambitious, and have strong opinions and a high level of energy. They are usually creative and intuitive thinkers who can come up with innovative solutions to solve difficulties. People with this name are often devoted to a cause or project, often giving back to society. Rowan is generally a compassionate and empathetic name, with strong emotional intelligence and a caring attitude towards others.

Divina is a unique name that implies the person has a divine spirit. People with this name often have a strong sense of justice, and they can be quite stubborn in committed to their beliefs. They can be inspiring to those around them, using their influence to help others grow. Divina's are also known to have a strong sense of intuition and often prefer to analyze a situation before deciding. They are naturally curious and seek out adventures to challenge themselves. In general, Divina's are creative, determined, strong-willed individuals with a generous heart and deep sense of empathy.

Kent is a traditional name associated with a strong and reliable personality. People with this name tend to have a strong sense of personal principles, responsibility and solid work ethic. They make reliable friends and trust worthy colleagues. Kent likes to take the lead role, and they are often seen as natural born leaders. They usually show a great deal of enthusiasm and ambition towards work and life in general. Kent is a loyal and supportive friend who will remain devoted to those they care about the most. They are experts in problem solving and often have great ideas.

Negative:

Someone with the name Wednesday may be seen as impulsive, prone to making snap decisions, and occasionally impulsive. They may be seen as overly talkative or talk too much for their own good. They can be overly dramatic or suspicious of others, and have a tendency toward mood swings. They can also be unreliable, disorganized, and easily distracted. At their worst, they can be indecisive, indecisive, and irresponsible.

Enid is typically seen as a very analytical and serious individual. They take their work very seriously and are often seen as perfectionists. Enid has a tendency to be critical of others and their work and might come off as overly judgmental. They may be seen as a bit distant and unapproachable to others due to a lack of emotion in their interactions. They can also be very set in their ways and have difficulty adapting to new situations. In addition, Enid can be reserved and guarded, which makes them slow to trust others.

Xavier is associated with a negative personality that can be described as unmotivated, argumentative, and irritable. They often speak before they think and may be too blunt or direct in their communication. They tend to be suspicious of others and have difficulty trusting people. Additionally, they tend to be very self-focused and may not consider the needs and feelings of others.

Bianca might be seen as overly dramatic, selfish, and materialistic at times. She may resist authority figures and have a tendency to boss people around in an effort to get her way. She might also be seen as vain, with a strong need to be praised and admired. Additionally, her impulsivity might lead her to make hasty decisions that she later regrets.

A person with the name Ajax would likely have a negative personality due to its connotations with the heroic figure of the Iliad, as Ajax is remembered for his rashness and disrespect for authority. This could lead to an individual with the name Ajax having an aggressive and angry demeanor, as well as an inability to take criticism and cooperate with others. Additionally, the name could lead to impulsivity and a quick temper, making it difficult for the individual to stay focused and on task. Ultimately, the negative aspects of the name Ajax could result in difficult relationships and limited future success.

Yoko may be perceived as a pushover with a low self-confidence. They can be overly passive and may struggle to stand up for themselves. They may not be the strongest communicator and can be easily flustered when put on the spot. They may also be seen as distant and aloof, coming off as unapproachable and distant to those around them.

Tyler is known for being stubborn, extremely competitive, and sometimes overly confident. He can also be opinionated and unwilling to accept criticism. He has a tendency to be fiercely independent and to take charge in situations, but also has a hard time compromising. At the same time, Tyler can be loyal, honorable, and fiercely devoted to those he cares about.

Eugene can be seen as cautious, overly conservative, and prone to introspection. He can have a tendency to be overly critical and judgmental of himself and others, and can be perceived as distant and aloof due to his introverted nature. He also tends to be unyielding in his opinions and stubborn due to his thoroughness and determination. Lastly, Eugene can have a difficult time showing his emotions and connecting with others.

Rowan could be seen as having a pessimistic attitude, sometimes appearing gruff and unapproachable due to a tendency to focus on the negative aspects of any given situation. Rowan could be viewed as a very independent thinker, but also as someone who is reluctant to take advice, due to a strong belief in their own opinion. They could also be seen as stubborn, persistent, and highly competitive.

The name Divina can suggest an overly independent, authoritative, and stubborn individual with a judgmental, critical outlook. They may be viewed as difficult to impress, often preferring to take the lead in situations they deem necessary. They can also be perceived as unbending and uncompromising in their views on how things should be done. In relationships, Divina may lack flexibility and have a hard time compromising, which can lead to tension in their social circles.

Kent could be perceived as having a stubborn and inflexible personality. He may be domineering and unyielding to others with a strong sense of pride and individualism. He may also come across as arrogant or critical to those who don't fully understand him. Additionally, he may be independent and determined, making him appear uncooperative or difficult to work with.

#the addams family #wednesday netflix #pugsley addams #enid sinclair #wednesday addams #xavier thorpe #bianca barclay #morticia addams #gomez addams #fester addams

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the-monkey-ruler · 11 months

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Dong Yue is such a troll because from the wiki I got this

At the end of the novel, the author lists twelve hypothetical questions that a reader might ask and answers them. Some of the answers are very similar in nature and, sometimes, contradictory.

The eighth asks how it's possible for Monkey to have a wife and children. He states that the book is simply a dream.

Since the Supplement is about Wukong’s desires, it would be funny if Wukong subconsciously thought Princess Iron Fan was pretty and that Demon Bull King didn’t deserve her (therefore uncle) and that she’d make a good mom for his 5 sons that he also apparently desired? Wukong desiring Tang to be a warlord though XD

Anyway bad timeline where everyone is OOC because it’s a fever dream sounds crazy awesome I wish I could read it.

Sometimes people are all about allegories, and nothing about substance! Which nothing wrong as long as it is entertaining. I do like how he anticipated the question because he knew himself, but he didn't explain them well enough. Also that Red Boy also doesn't exist in the book as it was said that these were Princess Iron Fan's first kids so its like Wukong willed Red Boy from ever existing as well! THAT IS FUNNY! He wanted a big family and no annoying nephew! Nooooo!

But you can read it actually it’s in English!

Here’s a link!

You are going to make a profile but still. Even comes with audio options if you want it out loud.

Have fun with the crazy fever dream!

While I will admit it is absolutely insane. I myself hope one day to have a script of how to make it into something of substance because I think there is a lot to work with. Time travel and inter-dimensional transportation aren't anything new but to know that this was one of the first 'time travel' books out there is pretty fun! It’s somewhere between a dream and a nightmare, where the dreams become so intense that they just go overboard. I feel like nowadays a lot could be played with, especially with how to look into what Wukong really wants and what he is willing to do to take it when in the middle of his journey. Like to measure himself mentally where he has changed from being willing to do anything in his power to get what he wants verse actually seeing the consequences of his desire affecting those around him that he has grown to care about and how their lives are ruined as well.

Sanzang becoming a general probably is too farfetched but the idea is that he becoming controlled by a Evil King because Wukong left and Sanzang lost his way. Now THAT can be interesting. Bajie tries to go back to Gao but as expected by rejected and thus he also joins the Evil Army. THAT is a cool take. Wujing being lost in all this and going back to hire hermit lifestyle, THAT IS SAD. BaiLong been forever, forgotten by his family and force the roam the Earth has a horse. THAT IS ALSO SO SAD. I don't know why people look any further for angst when if this story could be put in a more cohesive manner without the loose plot point or useless quests could be an interesting introspective of Wukong's desires have how they have changed from what he thought he wants versus what he wants now.

I do feel like a lot of the takes are more out of character but that is what makes it kind of scary and a bad timeline way. To think that because you (Wukong) can push people to new means. Maybe Wukong just wanted a big family before and missed his monkey, projecting that onto Princess Iron Fan who is deprived of both a son and husband and he understood that missing family. And maybe he feels responsible for both Bajie and Wujing on his journey to keep them together else they lose their ways and just go back to being forgotten criminals of heaven, nothing better than canon fodder. And his greatest fear of Sanzang losing his way... and becoming more like him. Choosing violence as the real answer to his problems, similar to Wukong. Any little desire he wished for Sanzang to be "more like him" taken to the extreme of him being a general sending out armies.

And it's that image of King Paramita, his desire for a family verse General Sanzang, his desire for Sanzang to be stronger (or rather just a little bit crueler to their enemies) being forced to confront each other in the climax!

Like I said there are a lot of wishy-washy side quests in the middle that really lead nowhere and are more of a commentary of the times and certain historical figures but there CAN be a lot of interesting plot points that could be SO MUCH FUN to play with! Wukong is always some of the first to say that he is a monk that left the family but maybe he still has that desire to be more than a grandpa to his monkeys and he a family man, but is that worth the cost of the friends he made along the way? I like to think that a lot of dreams are more his distorted desires which is what a lot of the book is. He even meets himself in a human form in the book which helps him out of his red strong of desire to help see reason.

It is only at the end when he sees the son he never knew kill Sanzang does he lose his mind, going into his giant form as he tries to destroy everything around him in a second.

But he can't.

Because he finally starts to wake up.

And when he sees that Fake Fish coming in as their "new" fellow disciples.

Man does NOT hesitate to snap his neck for messing with his dreams like that.

Have to admit that is definitely one way to end a story! But why anyone that is interested I definitely recommend it a read if anyone has the time!

#anonymous #anon #anon ask #jttw #journey to the west #sjttw #supplement to journey to the west #sorry i kinda went off on this book!#I just really loved certain idea that it gave!#Also love the idea of Wukong always battling his inner self #And that Wukong does have these moments of wishing things were different on the journey and that things were simpler #That he is unhappy with how things are #The grass is always greener on the other side kind of plot #Wukong seeing how the world is in fake WORSE OFF without him #and how him on the journey with these people who he thinks don't appreciate him actually need him so much #and how he kinda needs them to #And that maybe he really does make a difference in the world because maybe it isn't all that bad and maybe he is doing something good with #what he has #I know Im cherry picking this book BUT TRUST ME I GOT IT FROM THIS #Def not as good as I am explaining it but... I felt a lot of emotions when reading it at least.#ask

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denimbex1986 · 9 months

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'Cillian Murphy is currently receiving praise from all corners for his powerful performance as the titular character in Christopher Nolan’s Oppenheimer. While he has been a regular in many of the director’s films, Murphy has also gained a lot of fame for his role as the dangerous gang leader in the popular British drama, Peaky Blinders.

The series also benefitted from a brilliant ensemble cast whose collective chemistry and performance were appreciated by critics and audiences. Contrary to public belief about the closeness of the actors off-screen, Cillian Murphy confessed that he did not spend time with his co-stars off the set owing to the nature of the show.

Cillian Murphy Could Not Interact With Peaky Blinders Co-Stars When The Camera Turned off

BBC’s intense gang drama Peaky Blinders became one of the biggest and most popular television shows all across the world. Cillian Murphy who played the dangerous criminal Tommy Shelby, impressed viewers worldwide for his performance and his collaboration with a solid ensemble cast. While the actors seemed to have seamless chemistry on-screen, the Oppenheimer star revealed that the situation was not the same once the cameras were turned off. Speaking of the reasons behind not being able to hang out with his colleagues or crew members, Murphy said,

“Because it is such an intense shoot due to the nature of the material, and because we are working about 16 hours a day for about five months, we don’t tend to hang out socially when we aren’t shooting. I think that’s only because we see so much of each other when we work, but it has been a very collaborative journey and I’ve learned a huge amount.”

The Irish actor also spoke about the restrictions that the ensemble faced while shooting during lockdown with masks and other precautions which made it even more difficult to form a bond with the cast and crew on set.

Cillian Murphy Was Caught Unawares by Christopher Nolan For Oppenheimer

After playing different interesting roles in many of Christopher Nolan’s films, Cillian Murphy finally landed his most challenging role and his first time as Nolan’s protagonist in Oppenheimer. The film is already regarded as Murphy’s finest acting performance. While the Irish actor is no stranger to The Dark Knight director’s style of working, he was completely surprised when Nolan offered the character to him. Confessing to being caught unawares, Murphy said,

“He just called me out of the blue. That’s his MO; you never hear from him and then he calls. So he called me, and I genuinely didn’t know what it would be, and then he said, “I’m making this movie about Oppenheimer and I would like you to play Oppenheimer.” It’s a big shock, and a very pleasant one, but then you kind of go, “Okay, now I have a lot of work to do.”

The actor went on to say that he was grateful to Nolan for having trusted him with such a mammoth role that required a lot of intense preparation and internal introspection.'

#Cillian Murphy #Oppenheimer #Christopher Nolan #Peaky Blinders #The Dark Knight #Tommy Shelby

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