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merrysithmas · 2 years

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Anakin as the primary ego trapped in Vader

sue me, but: genuinely believe anakin is trapped inside vader. he is lost in such abominable blackness he literally cannot escape, he's not choosing it anymore, not fully, he is trapped, enslaved.

the dark side blackness feeds off more blackness to numb it of its own horror, and so on and so forth. an endless cycle of isolation and powerlessness that chokes out from the purported scions of passion, the Sith. but it is only emptiness that feeds more emptiness.

yes, undeniably, when he had a moment of free will (which was not often, being a servant of the Force/Fate, a child slave, a padawan, and Sidious' leashed dog) at one of those infrequent points, he himself most definitely chose the wrong path. and that one mistake led to a lifetime of agony, pain, purgatory, and servitude from which he was never freed.

but no, solidly do not believe he "chooses" to be evil Vader everyday. same as an addict does not choose to be addicted to a substance. the dark side warps him, takes on its own personality. and secondly, Anakin is not entirely in control, part of the Force's will.

Vader/Anakin is constantlly in conflict! that is the whole point of his character, how he acts as a metaphor for people/the force/the galaxy at large. Anakin is not choosing evil everyday so much as the Dark Side is winning, and he is simply not strong enough. beaten down. rightfully guilty. and as always, a demi-god, unstable, lost, until his prophecy is fulfilled. until death releases him.

he is clearly a victim as well as a villain. a demi-god tasked with fulfilling a horrendous prophecy, thus not entirely bound by human morality. a child groomed and manipulated and unprotected. a young man desperately alone. a destroyed soul used as an attack dog by the Sith, and agent of fate by the Force.

and as Luke saw, he is worthy of mercy. at the very least he is worthy of freedom. he is such a tragic character. and no one deserves slavery. not even a man who became a monster by choices both his and not his own.

As a Judas-figure, Vader in Luke's eyes reminds me of that Mark Twain quote, "But who prays for Satan? Who, in eighteen centuries, has had the common humanity to pray for the one sinner that needed it most?" Luke did.

anakin isn't out there "choosing to be evil every day." that perspective just... seems to be lacking the nuance of the series. Anakin is aware of his mistakes "I am not your failure, Obi-wan," Anakin says. He inhales as Vader, the prime ego subjugated, "I killed Anakin Skywalker."

Anakin feels this is true. He chose Vader, and Vader killed him. And now he is trapped. Eternally. Obi-wan can't save him, and he can't save himself. Vader, the Dark Side, Fate, his own mistakes are in control. And he must own it, the prime ego buries itself and is simultaneously buried by the alter ego. The two are not exactly one in the same, as per the Force's control of him. They certainly need to be reconciled, but so does the galaxy.

Anakin does admit he was wrong, that his fork-in-the-road mistake was evil, he definitely sees himself as irredeemable. Despite all that influenced him (Palpatine's grooming, his demi-god status, the abandonment of his mother, not meshing with the Jedi bc of his childhood slavery) he sees himself as irredeemable. He sees his choice as evil that led to evil in control. The primary ego recedes.

He sees Order 66 as evil as evidenced by letting Reva live in episode 5. As evidenced by mourning Padme, even as Vader. By all his instances of momentary flickering humanity in the comics. Of hearing Ahsoka in Rebels. Of never, ever being able to let go of his partner Obi-wan. Of breaking free for Luke.

Vader is a villain, but it is a Tragedy, and a modern classical myth, because Anakin, the Prime Ego, is certainly trapped inside of him, enslaved by so many entities, including his own mistakes that he can't bear to carry.

but not only those.

#anakin skywalker #obi wan kenobi #darth vader #everyone is entitled to their own opinions youre all valid #he d o e s recognize and own up to his dakr #dark mistakes (order 66) that led him down this path #he knows it was evil and it was his choice #but being Vader? being Vader every day is not his choice at all #obikin #tried to articulate smth here lol #like he is a sympathetic character for sure #it doesnt sit right when i see it written off so black and white #but again thats just my take on it #not the end all be all #i just have to defend my daughter anakin #naturally #the alter ego of vader is both created by anakin and forced upon him by fate both

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solarisgod · 3 months

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I still do think it's quite interesting that people would fakeclaim plurals who'd discover they have OSDIDD at such a later time of their life when, not only is it normal for people to learn they have it in a great amount of years later, but also OSDDID is meant to be a covert condition that protects the individual / system from negativity and traumas and potential danger. Of course, we wouldn't know if there is someone present who would (co-)front when a distressful event occurs to be the one endure it instead or if someone else has been fronting while """ pretending """ to be this person to avoid them + the system falling into danger. Usually, alters would resurface when they feel safe + comfortable enough to reveal themselves or when the individual suspects they're not alone and engage in things that would create a safe space for them to show up over time. It's unfortunately quite easy and frequent for people to assume people are pluralfaking when they would come out at a later age instead of knowing they would have it this whole time / since childhood, but that is completely not the common case at all.

#ABLEISM CW #///#//#/#𓁹 ༑ ࿐ྂ ⩇⩇ : ⩇⩇ ⚠︎ [ 𝙴𝚇𝙸(𝚂)𝚃 : 𝙶𝙾𝙳 ] * ‹ OOC . ›#𓁹 ༑ ࿐ྂ ⩇⩇ : ⩇⩇ ⚠︎ [ 𝙴𝚇𝙸(𝚂)𝚃 : 𝙶𝙾𝙳 ] * ‹ PLURALITY . ›#[ I'm fine to talk about it I'm okay but ]#[ I discovered I wasn't alone in May 2022 with Sunhound being the ' second ( discovered ) ' alter ]#[ that was around the time when Moon Knight came out in March but is still popularly talked about in May and ]#[ that's like when a lot of newly came out plurals were present and I can see why some people think they could be faking ]#[ because - for some fucking reason - a lot of people think OSDDID is ''' cool ''' and they would ''' want to have mind friends ''' ]#[ and watching this show could prompt this but ]#[ I don't understand why it's so hard for folks to at least try to see that this show represents DID overall well ]#( beside the whole dramaticness to it like the way when Steven and Marc switched )#[ that this show essentially created a space where alters can feel safe and comfortable enough to resurface ]#[ while it provides meaningful and informative details of how DID generally goes for the individual ]#[ to be able to understand their plural symptoms and experiences more ]#[ like my first meeting with my sunmate wasn't even anything dramatic or traumatic ]#[ but I was just minding my own business and I haven't thought of this character who I really adore for like a week ]#[ and suddenly I just heard their voice calling the name of that character as to tell me that's their ( past ) name and ]#[ then few days later when I was going through extreme thoughts + emotions 'cause of Mother's Day ]#[ and that's when they came by more and doing + thinking these things that I found and go ' yeah this is Not Me ' ]#[ since I shared to the dash about me seeing we have OSDD1 - I have lost a LOT of mutuals and received a bunch of hate ]#[ with one who sent us an ask few hours before my birthday basically saying Sunhound isn't real and I'm faking ]#[ even since we came back here April 2023 to this day ; we have been hardblocked by a lot of people and I can't help but think ]#[ it has to do with our plurality if not our DNI criteria but even we did have a Moon Knight writer hardblock us which is. Huh ]#[ but anyways yeah it's completely normal for people - especially in their 20s and even 30s - to later learn they're a plural ]#[ for real. ]

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birdkittenn · 5 months

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it is an *interesting* development to see how my iterator sun and moon designs developed to go form a whole new iterator oc that isnt meant to be them

if i had a nickel every time i turned an au variant of the dca into an oc, id have 2 nickels

#rambles #the thing about the dca fandom ive found is that.... theyre all very ooc #majority of them. mine are not excluded from this #part of a characters identity is their location and history #by removing that you just get an oc wearing their face #and. yknow. this fuckin fandom loves its aus like crazy #(i was part of this too!)#but at this point when i look at my work and what ive created for the dca #it is just... ocs committing identity theft #i dont have to change much at all to remove them from their initial identity. i already did all that work. all i do is peel the paint away #the fics of them that i read where they are like Some Kind Of Animal or something im just kind of thinking in the back of my head:#'that is a name change and perhaps a few minor story alterations away from an oc'#but i know that original work gets 0 attention. its much MUCH easier to use a pre-existing character('s name)

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silver-horse · 2 years

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Spent more than an hour creating this character. Today I ran into a nearly identical player. It’s like wearing the same dress at a party. She also stopped and we kept staring at each other and walking around each other for like 2 minutes. Nonverbal communication of “what the fuck? why do you look the same?”

#I guess multiplayer has its own entertaining moments #ESO #the elder scrolls online #funny #I'm the one on the left in the light armour by the way #and I altered basically every part of the default face radically when I created this character so it's pretty strange to see a twin #she was significantly taller and bustier (although that's not very visible in this pic) but the face?! basically identical #The Elder Scrolls #the vestige #TES #my post #my posts #video games #also I know she looks a little bitchy (it's very difficult to create a high elf that doesn't look bitchy) but some bitches are good bitches

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dimiclaudeblaigan · 1 year

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Poked my head into some of @mysticdragon3md3′s thoughts regarding popularity with DimiClaude fanon and am happy to say I’m here to Talk (tee em).

I also saw the post from the user saying why they were falling out of love for the ship, and... yeah. The people they’re talking about, the generalized group of people who do certain things, definitely bother me as well.

I love that you pointed out Claude is not flirty and is just playful. It’s not the DimiClaude fandom alone unfortunately with that though - it’s the entire fanbase that views him as a flirt. And, according to Twitter, a slut. Yeah. Yeah. I know what they... “mean”... but it is still not him.

Them being annoyed with each other is also fanon and a very strange one. Never in Houses did Dimitri come across as being annoyed or bothered by him. In fact, they have friendly banter! Dimitri doesn’t get specifically exasperated at Claude, but that’s just more so how he is as a person and he sometimes doesn’t understand playfulness. That said, he does not berate Claude the way he berates others. There’s one instance I can think of where he berated Claude and that was in the DLC when they were talking to Aelfric for the first time.

In Hopes, same deal in AG. In fact, he’s quite fond of Claude in AG. GW itself was a well discussed mess in a lot of ways, and even then as a ship they didn’t have a lot of negativity. If nothing else it was an odd opposite, because even as enemies when Claude admitted he couldn’t defeat Dimitri alone, Dimitri just basically laughed, smirked and walked away. That’s like... the worst of their relationship in GW and it’s extremely mellow.

I think part of the problem some dmcl fans are facing are the fanon version of the ship rather than what they’re like in canon. It is definitely true that part of the dmcl fandom has absolutely warped the ship into being something it really isn’t and never was in canon. There’s also this whole thing about Dimitri being the dominant, feisty one with Claude being the uwu blushy one and it’s just... not them. Not as a pair canonically, and not individually. When Dimitri gets “dominant”, he’s, uh, not in a good mental state. It’s a mental illness that makes him like that and personally I’ve never appreciated seeing people use it for a kink for a ship. Normally I’d say people can like what they want, but I get the feeling a lot of dmcl fans have absolutely pushed their views onto others and driven fans away.

I will also say have absolutely, 150% come across those kinds of fans. The ones who refuse to listen to anyone else, but if your headcanons don't vibe with them then you’re just completely “wrong”. Not only do they portray the canon characterization poorly if portraying it at all, but they tend to also bring it down a racist route, which is... beyond ironic considering they should be the last ship that deals with that based on their characters and stories.

Engage kinda went wonky with a good few things regarding the previous lords, so I don’t see Dimitri being like that as some kind of definite canon. Actually, even in Heroes their interactions are friendly and calm. The “worst” banter they had was their swim alts, while on the opposite end we have the brave alts who apparently hang out together outside of the castlegrounds, and for so long that they can’t be of any help in a search for someone (which like lol how long you gotta be gone to have no idea and can’t help at all lmao).

I think people see outside-Houses canon scenes like those and just... decide it’s their actual canon. Dimitri is not, in any way, actually mean to Claude in canon. That is unfortunately a very popular fanon. In Houses especially, when Dimitri doesn’t know Claude well in the mock battle he’s more like ummm hey Claude your defenses are open what are you even doing, more than being like ugh Claude you’re so annoying. In the real version of that mock battle though, a good few months had passed and their battle quotes are significantly more approachable and they clearly have respect for each other. Dimitri knows Claude likes to fuck around and be goofy sometimes, and he picked up on that and played along with it in the JP version (in the English version he simply picks up on it, but there’s no anger whatsoever and it’s just more oh okay I get it).

As far as Engage goes, ultimately I just see it more as an extremely condensed version of their mannerisms, and yes, they for some reason, especially in the localized versions, try to keep up the whole rival shtick when Dimitri never even felt that way about Claude, and he never gets truly annoyed at Claude. Ffs, in canon Dimitri literally drops everything after retaking his home from the Empire/TWS, and runs to go save Claude. Literally. The next day. While Claude is a little tsun about it (!), Dimitri is just “come on let’s go hurry hurry no slowing down pick up the pace we are saving Claude”, and that’s basically him the entire chapter except with the Arundel specific stuff. When he talks to Claude one on one, there is literally not a single shred whatsoever in any plausible way or in any damn universe any tension from Dimitri to Claude. He just wants to know he’s okay and relaxes once he knows Claude isn’t hurt. I mean literally, no, like... that’s them, in canon, in their Natural Habitat together and I have no fucking clue how the portrayal of them in fanon got so insanely warped beyond recognition.

Also, Engage kinda dropped the ball with a lot of stuff with the other lords. Hell, they’ve been unable to keep Ike’s character consistent throughout all of his non-canon appearances (Awakening didn’t seem too bad, but Fates was pretty awful for example. They can’t seem to really understand the character they’re writing anymore, and idk if it’s just because the writers have changed and such/aren’t the same as Tellius’ games had, or they just don’t care to keep him consistent).

They also try to make Sigurd sound wise and super helpful in every single solitary iteration of him outside of FE4 which is honestly just obnoxious as fuck lmao. Sigurd was naive, foolish, overly trusting, and far too kind and gentle for his own good. It ultimately was what led to him following orders blindly, having blind faith that his king was righteous and would give him the right orders (without realizing the court was very much in disarray during his absence and with several other prominent court figures away because of the war). Sigurd was too quick to believe in the good in humanity and that things would work out, and it led to him not realizing how wrong he was until it was way too late and he had to take shelter in a foreign country to avoid having to fight the same people’s armies who had the court’s ear.

Basically Sigurd is nothing like they write him to be in every. single. solitary. iteration. outside of FE4.

(SPOILER here just in case you care lol. Or anyone who is reading this. Or if you’re someone who somehow does not know about the biggest known spoiler in the whole game) He has one little section of potential dialogue (i.e. it’s triggered by a very specific condition) that shows somehow ghosty Sigurd has grown more wise and understanding ??? while being dead ??? and somehow learned while being dead that the world do be full of grief and Stuff. (END SPOILER)

So they pretty much took like, two lines of dialogue from FE4 and made it Sigurd’s entire fucking character forever in every single game he’s been in since. If nothing else, let that be your insight on never to trust content you see outside of a character’s original game. At that point it’s simply fanservice because they don’t even know their own characters. If they wanted to write even a semblance of Actual In Game Sigurd’s Personality And Not Two Lines Of Dialogue That Are Completely Optional And Quite Honestly HIDDEN, it would be very easy and reasonable to do so. They choose not to, and then we get what they did with Houses’ lords.

Another portrayal I see too often is that Dimitri and Claude... argue??? I won’t lie, their Heroes summer alts was the very first time they even seemed to “argue”, and it was mostly just goofy nonsense that means nothing because they’re literally alts in swimsuits, and it wasn’t really them being vicious at each other. Meanwhile in canon, they’re always very calm and able to talk through their problems - even in fucking Hopes in the GW route. Even in the worst possible circumstances for them to be in, that is, as enemies, they were still able to talk it through. Barring Claude’s written in idiocy so he could be a mouthpiece for Edelgard and do her bidding by invading the Kingdom (which was literally nothing but plot convenience because Actual Claude would’ve reasoned his way out of doing that), even in the worst possible situation, they still called a truce and still worked things out verbally, calmly and peacefully.

Point being, this whole cat fight dmcl portrayal isn’t even remotely close to their canon selves, and normally I’d say, you know, like what you want and enjoy your ships how you want... but it’s pretty much almost entirely the people who view the ship that way that uh, attack people who don’t agree with them or insult them/laugh at them for seeing the ship differently. These are the people who make you feel bad, for enjoying a fictional ship of two pixelated characters kissing, because you don’t like the concepts in their head more than the way you’ve interpreted the canonical characters.

To be totally frank, I have a visceral hatred for the fanon portrayal of dmcl because it makes Dimitri out to be terrible and makes Claude some kind of punching bag for Dimitri in various forms. There comes a point where it’s like, you ship something and then there’s the point where you ship two characters you made up in your head, who aren’t the same characters you first started to ship, because you’ve warped them so extensively that they became nothing but a person’s OCs with their faces and some similar backstory elements at best.

#DCB Comments #not sure what else to put this as but yeah... the dmcl fandom is not that large tbh and #what it does have is extremely divided and a lot of the fans can be completely ignorant of how poorly they handle Claude #especially in a franchise that already poorly handled him re: Hopes #but also I know exactly the kind of people you're talking about... and they're also hypocrites so.#they're the ones who shit on others for having different views of the same ship and decide you are inarguably ''wrong'' for your takes #also mind you if you call 'em out for that they get uwu mad and it spirals from there bc then they gotta vent to their #uwu friends who do the exact same things they do. can you tell I'm literally speaking from actual experience?! :D #like yeah I get it... a lot of the dmcl fandom in particular is gross about Claude #I personally prefer Dimitri as a character for a lot of reasons but when I began shipping them I didn't love Claude /as/ much as now #shipping them got me to look more into Claude as a person and I started loving him more as well #thanks to loving this ship I got to know him more and understand him more /and/ that made me love the ship more #also like it's one thing to have AUs and modern AUs in fics and stuff... bur just don't do... you know... things worth side eying #also if you have to change the dynamic of the ship to make it how you like it then you... probably don't actually like the ship itself #it's the same as with people warping characters to create a personality put onto a face #it's what a lot of Edel stans even do. they make up who they want her to be instead of seeing her for who she is #and they like the made up version of her more than the actual version so in that sense they don't really like who she is in the canon #not all of them are like that and some DO like her for who she is (which could be... arguably WORSE in her case lol)#but it's the same thing with ships. they alter the dynamic and just want to use the pretty faces #which by itself would be fine ig. confusing af to me but fine. not fine anymore though when it starts becoming an actual fandom problem #ppl take ''fandom drama' too lightly most often imo. I don't think ppl realize this kind of bullying over the internet #has a lasting impact and that seeing words on a screen doesn't make them any better or worse than how they'd be irl #in a sense it makes it more cowardly if anything bc ppl fear no repercussions for what they say :/

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crownedflora · 2 years

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Thanks for playing!

Doo-doo-doo-dooooo doo-doo-doo-dooooo~ Doo-doo-doo-dooooo doo-doo-doo-daaaaa~

#THIS IS IT LU-#...Oh right. My usual partner in crime for those slightly altered references isn't here for that.#Ahh... those were the days...#ANYWAY! It's been fun but I think it's finally about time to get my child ready for bed with how the blog's been for a while.#He is putting on his jammies and comedically miniscule night cap as we speak. Also being made to brush his teeth.#Doesn't mean it's completely over (yet) but just making and pinning this post in preparation for when the end truly and abruptly comes.#You'll likely just catch me reborgling some past asks - with or without commentated thoughts in the tags - for archival poiposes.#I'll do the same for any asks that were sent from here in the past that end up being answered/posted eventually in the future.#And of course send AT LEAST that one final (CURSED) ask I still owe to a /certain someone/... eventualy. |D #I keep saying ''eventually'' (to them) but will I finally get around to doing it? ... I'd say it's actually very VERY likely now.#Oh and any future received replies for interactions WILL be continued for as long as necessary and desired or felt by those involved.#Or at least there'll be an attempt from me to do so anyway.#I did consider and tried my hand at writing one final drabble as 'The End' for him as a muse but...#Nah. something simple like this will do instead.#Years of playing some minor boss character coming from source material that had what I liked to call 'Schrödinger's Canon' nearing its end..#Muse-wise he's been practically obliterated everywhere else and is seemingly only willing to linger just enough around here.#Where everything began so many years ago...#Layers on layers... of moments we've shared... Just like a lasagna... created with care.#The flavors are burning... a new page is turning... and I hope that you'll be there in the end. Goodbye my friend; The End

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romanromulus · 2 years

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the thing is like. i think marvel should stay in its lane. it doesn’t want to take the time to tell nuanced stories, so it shouldn’t. if you feel the need to gloss over anything that might resemble a moment of catharsis, just like. maybe keep it surface level. like yeah, unfortunately I DO believe stories have a responsibility to the people who consume those stories. sorry

#the more i think about this the madder i get #if youre gonna go there. then fucking GO THERE yk?#like this could have been marc’s jane patrol episode (aka a literally staggering good exploration of mental illness and abuse thru #a ‘superhero lense’). but instead it was clumsy and hollow and was moving so fast it left me utterly cold #and by me i mean the part of me that wasnt being triggered worse than ive ever been triggered #but thats my own shit. i think im irritated because it felt pointless. it didnt particularly add to the character.#it didnt actually delve into marc’s DID. i dont think the writers understood the significance of what they were doing #like if you have a character or aspect of self that was ‘untouched’ by abuse. and then you explain that actually. the abuse CREATED them #i think MAYBE you should spend more than idk two minutes on that. also just a quibble. you’re telling me marc hid an alter #for his entire life and childhood. when tf did jake show up?? its just getting stupider and stupider.#they could have used the mental hospital motif as a flashback to marc’s time in and out of treatment. they could have used layla more #and random dead brother less. you dont need steven=brother paralells. its pointless clutter #this is just so like. guy loudly yells about plotholes in children’s media. i was so blinded by oscar isaac i forgot marvel #cant tell a decent satisfying story to save its life #sorry i just had to vent

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princesandromeda · 7 months

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It doesn't matter what fandom you write for, you'll eventually end up googling baby names.

#this happened to my brother yesterday. bc he was trying to create an alter ego for a character. and he had indian names on a tab #i laughed so hard when he sent me the link #though tbh ive also googled baby names. chinese japanese.#fanfiction #random

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shesnake · 10 months

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Spider-Verse Artists Say Working on the Sequel Was ‘Death by a Thousand Paper Cuts’

Why don’t more animated movies look this good? According to people who worked on the sequel, Across the Spider-Verse, it’s because the working conditions required to produce such artistry are not sustainable.

Multiple Across the Spider-Verse crew members — ranging from artists to production executives who have worked anywhere from five to a dozen years in the animation business — describe the process of making the the $150 million Sony project as uniquely arduous, involving a relentless kind of revisionism that compelled approximately 100 artists to flee the movie before its completion.

While frequent major overhauls are standard operating procedure in animation (Pixar films can take between four and seven years to plot, animate, and render), those changes typically occur early on during development and storyboarding stages. But these Spider-Verse 2 crew members say they were asked to make alterations to already-approved animated sequences that created a backlog of work across multiple late-stage departments. Across the Spider-Verse was meant to debut in theaters in April of 2022, before it was postponed to October of that year and then June 2023 owing to what Entertainment Weekly reported as “pandemic-related delays.” However, the four crew members say animators who were hired in the spring of 2021 sat idle for anywhere from three to six months that year while Phil Lord tinkered with the movie in the layout stage, when the first 3-D representation of storyboards are created.

As a result, these individuals say, they were pushed to work more than 11 hours a day, seven days a week, for more than a year to make up for time lost and were forced back to the drawing board as many as five times to revise work during the final rendering stage.

"For animated movies, the majority of the trial-and-error process happens during writing and storyboarding. Not with fully completed animation. Phil’s mentality was, This change makes for a better movie, so why aren’t we doing it? It’s obviously been very expensive having to redo the same shot several times over and have every department touch it so many times. The changes in the writing would go through storyboarding. Then it gets to layout, then animation, then final layout, which is adjusting cameras and placements of things in the environment. Then there’s cloth and hair effects, which have to repeatedly be redone anytime there’s an animation change. The effects department also passes over the characters with ink lines and does all the crazy stuff like explosions, smoke, and water. And they work closely with lighting and compositing on all the color and visual treatments in this movie. Every pass is plugged into editing. Smaller changes tend to start with animation, and big story changes can involve more departments like visual development, modeling, rigging, and texture painting. These are a lot of artists affected by one change. Imagine an endless stream of them."

"Over 100 people left the project because they couldn’t take it anymore. But a lot stayed on just so they could make sure their work survived until the end — because if it gets changed, it’s no longer yours. I know people who were on the project for over a year who left, and now they have little to show for it because everything was changed. They went through the hell of the production and then got none of their work coming out the other side."

#across the spider verse #spider man: across the spider verse #spiderverse #spiderman #marvel #atsv #phil lord #film #animation #vfx #post production #read the whole thing pls!

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deception-united · 1 month

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Let's talk about foreshadowing.

Foreshadowing can add a lot of depth to your writing and make it more exciting for the readers. They create a sense of coherence and satisfaction when future events unfold as hinted—or shock if they don't.

Here are some tips for effectively using foreshadowing in your novels and books:

Plan Ahead: Foreshadowing works best when it's woven into the fabric of your story from the beginning. As you outline your plot, think about key events and revelations you want to foreshadow, and strategically place hints and clues accordingly.

Use Subtlety: Foreshadowing doesn't have to be obvious or heavy-handed. The best foreshadowing is often subtle and understated, leaving readers with a sense of intrigue and curiosity rather than outright prediction.

Establish Patterns and Motifs: Look for opportunities to establish recurring patterns, motifs, or symbols that can subtly hint at future events. These can be visual, thematic, or even linguistic cues that tie into the larger narrative arc of your story.

Create Tension: Foreshadowing is most effective when it creates tension and anticipation for the reader. Use foreshadowing to hint at potential conflicts, obstacles, or twists.

Reveal Gradually: Foreshadowing doesn't have to be limited to one-off hints or clues. Instead, consider how you can layer foreshadowing throughout your story, gradually revealing more information as the plot unfolds.

Pay Attention to Timing: The timing of your foreshadowing is crucial. Introduce hints and clues at strategic points in your story, building anticipation and suspense without giving too much away too soon.

Revisit Foreshadowing: Ensure that foreshadowed events are eventually fulfilled or addressed in the story. Revisiting earlier hints or clues can provide a satisfying payoff for readers and reinforce the narrative coherence.

Balance Subtlety and Clarity: Foreshadowing should be subtle enough to intrigue readers without giving away major plot twists too early. Aim for a balance where foreshadowing is noticeable upon reflection but doesn't detract from the immediacy of the story.

Let's look at some ways to incorporate foreshadowing:

Symbolism: Symbolic imagery or motifs can serve as subtle foreshadowing devices. Think about objects, settings, or descriptive details that can serve as symbolic foreshadowing. A recurring image or object, for example, might subtly hint at future events or themes in the story.

Dialogue Clues: Characters can drop hints or make cryptic remarks that foreshadow upcoming events. Dialogue is a natural way to introduce foreshadowing without being too obvious.

Character Reactions: Pay attention to how characters react to certain situations or events. Their emotions or responses can foreshadow future conflicts or revelations.

Subtle Descriptions: Incorporate subtle descriptions or details that hint at future events. These can be easily overlooked on a first read but become significant upon reflection or when the foreshadowed event occurs.

Dreams and Visions: Dreams, visions, and other forms of altered consciousness can be effective vehicles for foreshadowing—they can hint at an upcoming event, or explore characters' subconscious desires and fears. This method can sometimes be either blatant or subtle depending on how it is incorporated.

Foreshadowing Through Setting: Use the setting to foreshadow events or developments in the story. For example, a stormy night might foreshadow conflict or turmoil ahead, while a serene setting might signal upcoming peace or resolution. (On the flip side, this can be used to catch readers off guard, like a "calm before the storm" type of situation.)

Parallel Storylines: Foreshadowing can occur through parallel storylines or subplots. Events in one storyline can subtly hint at future developments in another, creating anticipation and intrigue.

Recurring Themes: Identify recurring themes or motifs in your story and use them to foreshadow future events. These thematic elements can serve as subtle hints or clues for attentive readers.

Misdirection: Foreshadowing can be used to misdirect readers and create suspense by hinting at one outcome while actually leading to another. (See my post on misdirection for more!)

Happy writing! ❤

#writeblr #writing #writing tips #writing advice #writing help #writing resources #creative writing #foreshadowing #deception-united

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hayatheauthor · 10 months

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The Writer's Guide to Authentic Wounds and Fatalities

Writing fatal injuries in a story requires a delicate balance between realism and narrative impact. The portrayal of these life-altering events can evoke strong emotions in readers and shape the trajectory of your characters' journeys. In this blog, I will explore the intricacies of depicting fatal injuries in a manner that feels authentic, engaging, and respectful to the gravity of such circumstances. By understanding the nuances of fatal injuries, you will be equipped to craft compelling narratives that resonate with your readers.

Writing Fatal Injuries

When it comes to writing fatal injuries, it is crucial to approach the subject with care and accuracy. Fatal injuries carry immense consequences for your characters and can shape the trajectory of your story. By delving into the intricacies of portraying fatal injuries authentically, you can ensure that the gravity and impact of such events are effectively conveyed to your readers.

Choosing the right injuries for your story

Selecting the appropriate fatal injuries for your narrative involves considering various factors. Ask yourself: What purpose does this injury serve within the story? How does it affect the characters and the overall plot? Conduct thorough research to identify injuries that align with your story's context and resonate with the emotional journey of your characters.

For example, in a historical drama, you may research common fatal injuries during a particular era, such as battlefield injuries, diseases, or accidents prevalent at the time. In a crime thriller, you might explore the portrayal of fatal gunshot wounds or traumatic injuries resulting from violent encounters. By aligning the injuries with the context and themes of your story, you create a more immersive and believable experience for your readers.

Researching the mechanics of fatal injuries

To portray fatal injuries convincingly, it is essential to delve into the mechanics behind them. Understand the specific anatomical structures and systems involved, as well as the forces or mechanisms that can lead to fatal outcomes. Explore medical resources, consult experts if possible, and gather insights into the physiological and psychological implications of such injuries.

For instance, if your character suffers a fatal stab wound, research the anatomy involved, the potential organs affected, and the potential consequences such as internal bleeding or organ failure. By understanding the specific details and implications of the injury, you can describe the physical and emotional toll it takes on the character with greater accuracy and depth.

Depicting the immediate aftermath

When writing about fatal injuries, vividly describe the immediate aftermath to capture the intense emotions and physical realities. Consider the sensory details, the shock and disbelief experienced by characters, and the chaotic environment that often surrounds such events. Balancing realism with the needs of your story, create a scene that immerses readers and evokes empathy.

For example, if a character experiences a fatal car accident, you can depict the chaos at the scene, the character's disorientation, and the reactions of witnesses. Emphasize the sensory details such as the sound of screeching tires or the smell of burning rubber, creating a visceral experience for your readers.

Emotional and dramatic impact on the narrative

The impact of fatal injuries extends beyond the immediate moment. Explore the ripple effects on other characters, relationships, and the overall plot. Delve into the emotional responses, grief, guilt, anger, or determination that arises in the aftermath of loss. Utilize these emotional arcs to deepen character development and drive the narrative forward.

For instance, the loss of a loved one due to a fatal illness might lead to grief and strained relationships among the remaining family members. The emotional journey of a character grappling with guilt and seeking redemption after causing a fatal accident can become a central theme in your story. By delving into these emotional arcs and their consequences, you add depth and resonance to your narrative.

Writing Minor Injuries

While fatal injuries may capture our attention with their dramatic impact, it is equally important to pay attention to the portrayal of minor injuries in your writing. Minor injuries, though less severe, can still significantly affect your characters and contribute to the authenticity of your story. In this section, we will explore the art of depicting minor injuries, ensuring that they are not overlooked or trivialized. By delving into the nuances of minor injuries, you can add depth and realism to your characters' experiences.

Types of minor injuries to consider

When crafting your story, it is essential to consider a range of minor injuries that can occur. These injuries can include cuts, bruises, sprains, minor burns, or even minor fractures. Each type of injury carries its own unique characteristics, associated pain levels, and recovery processes. By understanding these distinctions, you can create accurate and believable depictions that resonate with your readers.

For example, a character who sustains a cut on their hand may experience sharp pain, the sight of blood, and the need for immediate first aid. On the other hand, a character with a sprained ankle may struggle with mobility, experience swelling, and require rest and care for a few days. By paying attention to these specific details, you can enhance the realism of your storytelling.

Conveying pain and discomfort

When writing about minor injuries, it is important to effectively convey the pain and discomfort experienced by your characters. Consider describing the sensation of pain, the throbbing or stinging feeling, and how it affects their daily activities or interactions. Showcasing the emotional impact of pain, such as frustration, irritation, or vulnerability, can deepen the readers' connection to the character's experience.

For instance, if a character suffers from a sprained wrist, you can describe the dull ache that persists, making simple tasks like typing or holding objects challenging. By capturing these small but significant moments, you immerse readers in the character's struggle and create a more realistic portrayal.

Balancing realism with narrative pace

While it is important to depict minor injuries realistically, it is also crucial to strike a balance with the overall pace and momentum of your story. Consider the significance of the injury within the larger context of your narrative. Some injuries may require more detailed attention and impact the plot, while others may serve as background elements. Adjust the level of detail and focus accordingly, ensuring that the portrayal of minor injuries aligns with the narrative's flow.

For example, a small cut on a character's finger may not require an extensive description unless it becomes infected or triggers an unexpected consequence. By aligning the portrayal of minor injuries with their narrative relevance, you maintain a consistent pace while still acknowledging their impact on your characters' lives.

Writing Bloodshed And Realistic Blood Loss

When writing about wounds and injuries, it is essential to consider the amount of blood loss your characters may experience. Realistic portrayal of bloodshed can enhance the authenticity of your scenes and immerse readers in the gravity of the situation. In this section, we will explore the factors influencing blood loss and techniques for accurately depicting it in your writing.

Understanding blood loss and its impact on the body

To authentically portray blood loss, it's crucial to have a basic understanding of how the human body responds to injury. Research the circulatory system and the role of blood in transporting oxygen and nutrients throughout the body. Consider the different types of blood vessels and their potential for bleeding when injured. This knowledge will help you create realistic scenarios and determine the appropriate level of blood loss for specific injuries.

Factors influencing blood loss in different injury scenarios

The amount of blood loss can vary depending on the severity and location of the injury. Factors such as the size of blood vessels, the rate of bleeding, and the body's ability to clot play a significant role. For example, a deep laceration in an artery will result in more substantial blood loss compared to a superficial cut on the skin. Consider these factors when describing injuries and their resulting bloodshed.

Techniques for accurately portraying blood loss in writing

There are several techniques you can use to convey the realistic impact of blood loss in your writing. Describing the color, consistency, and flow of blood can provide vivid imagery. You can also include physical symptoms such as dizziness, weakness, or fainting that may accompany significant blood loss. Additionally, consider the emotional response of your characters and how they react to the sight of blood or their own injuries.

By incorporating these techniques, you can create scenes that evoke a visceral response in readers and enhance the authenticity of your writing.

Bruises: Colors, Progression, and Pain

Bruises are a common result of injuries, and understanding how they form, change in color, and cause discomfort can greatly enhance the realism of your writing. By accurately describing bruises, you can bring depth to your characters' injuries and portray their healing process convincingly.

Understanding the stages and colors of bruises

Bruises go through distinct stages of color as they heal. Initially, they may appear red or purple due to the broken blood vessels beneath the skin. Over time, the color changes to blue, green, yellow, and eventually fades to a brown or yellowish hue. Understanding this color progression can help you accurately describe the age of a bruise and the healing process.

For example, a fresh bruise might be vivid purple, indicating recent trauma, while a fading bruise may have a yellowish tinge, suggesting that healing has begun. By incorporating these color details, you can add realism to your characters' injuries and track the passage of time within your narrative.

Depicting the progression of bruises over time

As bruises heal, they often change in appearance and size. Initially, a bruise may be small and localized, but it can gradually spread and become more extensive. Describing this progression can provide a sense of the healing process and the passage of time within your story.

For instance, a character who sustains a significant blow to the face may develop a bruise that starts as a small spot near the eye but expands to cover a larger area over the next few days. By accurately portraying the progression of bruises, you enhance the authenticity of your characters' injuries and their recovery.

Conveying the pain and sensitivity associated with bruises

Bruises can be painful, sensitive to touch, and affect a character's movement and daily activities. Describing the pain and discomfort experienced by your characters can create empathy and immerse readers in their physical ordeals.

Consider conveying the tenderness of a bruise when pressure is applied, the throbbing sensation, or the limitation of movement due to the pain.

Remember The Side Effects

Injuries, whether minor or severe, often come with a range of side effects that can significantly impact your characters' lives. These side effects can extend beyond the physical realm and encompass emotional, psychological, and social aspects.

Physical side effects

Injuries can have profound physical side effects that go beyond the immediate pain and discomfort. Consider the potential consequences such as limited mobility, impaired coordination, chronic pain, or the need for assistive devices like crutches or braces. Describing these physical side effects can add depth to your characters' struggles and provide a realistic portrayal of their healing journey.

For example, a character who sustains a leg injury may experience difficulty walking, require physical therapy, or have long-term complications that affect their day-to-day activities. By addressing these physical side effects, you create a more nuanced depiction of the aftermath of injuries.

Emotional and psychological side effects

Injuries can have a profound emotional and psychological impact on characters. They may experience fear, anxiety, trauma, or a loss of confidence. Consider how the injury affects their self-image, relationships, or mental well-being. Explore the emotional journey your characters undergo as they navigate the aftermath of their injuries.

For instance, a character who survives a near-fatal accident may develop post-traumatic stress disorder (PTSD) and struggle with recurring nightmares or panic attacks. By incorporating these emotional and psychological side effects, you can deepen the complexity of your characters and their responses to traumatic experiences.

Social implications and changes

Injuries can also lead to significant social changes for your characters. They may face challenges in their personal relationships, encounter stigma or discrimination, or experience changes in their roles or identities. Explore how the injury affects their interactions with others and their sense of belonging in the world.

For example, a character who sustains a facial injury may encounter judgment or stares from others, leading to self-consciousness or isolation. By addressing the social implications and changes resulting from injuries, you can create multi-dimensional characters and explore the impact of their injuries on their social dynamics.

By incorporating these various side effects into your writing, you bring depth and authenticity to your characters' experiences and showcase the wide-ranging impact of injuries.

Conclusion

Writing authentic wounds and fatalities requires attention to detail and a deep understanding of the physical, emotional, and psychological aspects involved. By following the guidelines and exploring the subheadings discussed in this guide, you can create compelling and realistic portrayals of injuries in your writing.

Remember to conduct thorough research on the specific injuries you want to depict, understanding their mechanics, symptoms, and potential outcomes. Consider the immediate and long-term effects on your characters, both physically and emotionally. Incorporate sensory details to immerse readers in the experience, describing the pain, bloodshed, colors of bruises, and the progression of healing.

Additionally, don't forget to address the side effects that injuries can have on your characters' lives. Explore the physical limitations, emotional struggles, and social implications that arise from their injuries. By delving into these aspects, you can create well-rounded characters and compelling narratives that resonate with readers.

I hope this blog on forging epic battles will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.

Looking For More Writing Tips And Tricks?

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!

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stqrgirlie0 · 1 month

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⋆✮theodore nott✮⋆

part 2 / part 3 / part 4

theo’s had a hard childhood, his mother sadly died and all he has left his father. his fucked up father. there’s no wonder as to why theo took up smoking, but this doesn’t change the fact that he’s completely addicted. every inhale and exhale takes him further away from the walls of the castle, just what he wants. just what he needs. despite his mother leaving him from a young age, theo continues his and his mother’s shared passion for learning, doesn’t necessarily mean he’s at the top of his classes but he’s doing pretty good if he says so himself. theo was also taught how to play the piano but avoids doing so because he thinks it reminds him of his mother too much. but if you wake up in the middle of the night, you might faintly hear a sweet sweet melody being played from the common room.. all the neglect from his father’s end corrupted his innocence growing up, and as a child Theo often spent his time in solitude. however he didn’t let this affect his relationships in his teenhood, and still chose to foster relationships- but only as far as friendships. Theo has never been in a relationship and the ‘sleeping around’ thing his friends so often did, didn’t seem so appealing to him. that is, until he saw you. he was sure you were new but when you first talked and told him you’ve been here since first year, let’s just say it wasn’t one of his proudest moments. from that moment he knew exactly what he was going to do. it took a while, his grovelling weirded you out at first- did he like you? was he trying to do this as a joke? eventually you’d realised it was in fact not a joke, and theodre nott actually did like you, yes. however did you know what to do in response? absolutely not, so of course you turn to everyone’s go-to flirting method: feigned dislike. it worked wonders while also creating a tense but playful rivalry between you and theo. did this confuse theo at first? slightly, yes. but was he also turned on by it? absofuckinglutely. in case it isn’t obvious, things did eventually get heated… everything about you had him going crazy- your smile, your eyes, your laugh, your comebacks, your scent, your hands, YOUR HANDS. gosh he goes absolutely feral over your hands (mainly because he imagines he’ll be putting a ring on it one day, but asides from that..) the way that they fit so perfectly into his alters his brain chemistry or something because trust me this man will be holding onto it and fidgeting around with it EVERY. SECOND. OF. THE. DAY. while everyone thinks he’s a complicated character, he’s actually not. there’s a limited amount of ways to get to his heart- food, hugs and hickeys. food: you know it, every theo enthusiast has heard this about a million times, all the more reason to believe it to be true!! he will literally eat his whole weight and won’t think anything of it, and will STILL be skinny af. hugs: this man needs his hugs just to relax and have a lil breather. a back hug, a side hug, a bear hug, straddle hug, you name it he will hold onto you like a koala! hickeys: alright, enough of our soft teddy, Mr Nott knows his way around your neck, shoulders, chest, EVERYWHWRE. there’s nothing sweet about this, he wants everyone to know who makes you a hot moaning mess every night.

#hmm should I do a part two??🤔🤔#y’all know I’ll do anything for my theo bby

#slytherin #slytherin boys #theo nott imagine #theo nott smut #theodore nott x reader #theodore nott smut #theodore nott imagine #theodore nott #theodore nott x you #theodore x reader #theodore nott x y/n #theo nott #theodore nott x slytherin!reader #lorenzo zurzolo

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chitra111goddess · 2 months

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VEDIC ASTROLOGY NOTES ♡

(Can apply to any planet placement)

⚡️Ashwini women always stand out to me with their creativity especially in acting , they rly know to embody the character they're playing to the fullest even irl it may be easier for them to shift thro different identities or alter-egos just for funsies

⚡️There's smtg about purva phalguni women , they're gorgeous but for some reason I noticed they get hate esp from other women like they're called fake or pick-mes or they make up stories hmm

⚡️Purva ashadha women are so inspiring like they're always the ones to be teaching or preaching or saying smtg inspiring/motivational. They're beauties with soul and a mind of their own ! If u know a purva ashadha better take notes 📝

⚡️Magha women love wearing black and something about their looks or style is unconventional/gothy, it suits them

⚡️Uttara-phalguni women are so headstrong bruh and they have this leadership aura about them, they're gonna do what THEY think is right. Like other sun-ruled nakshatras they easily get attention

⚡️Mrigashira women love the push & pull , cat &mouse game, they either attract this dynamic or they create it themselves. There's also smth about Mrigashira and obsession 👀

⚡️Jyestha women embody the wild feminine archetype imo, when evolved theyre truly empowered and have this idgaf energy. people may be threatened by their power or skills. Their voice or the way the speak is commanding and naturally charismatic

⚡️Swati/ardra and their eyes 👁👁 most captivating eyes imo I'm in luv

⚡️Purva bhadrapada women seem to attract or be drawn to men with dark nature or men who carry trauma ? Or they know how to bring that out in a man

⚡️Dhanishta women love dancing and they appear to be friendly or have many acquaintances but very little people they relate to. Popular girlies

⚡️Rohini women feminine energy is undeniable , something about them feels innocent yet erotic. They just give off this juicy fertile vibee lmao💦 unlike jyestha which is more dry (not in a bad way its just different 💀)

⚡️Anuradha women are secretive as hell even if they tell u shit don't think u have them all figured out. there's so much to unpack with them , they're generally intriguing complex characters

⚡️Most bratty nakshatras are mrigashira and chitra lmao

⚡️Revati women are pretty privilege girlies also they're master manipulators 👀 they know how to use their femininity to get what they want

⚡️Pushya women have big MOMMY energy. they seem/look mature. They're either the ones taking care of others or others take care of them

⚡️Uttara bhadrapada women have dualistic nature they're either the sweetest ppl u know or ur worst nightmare depending on who theyre dealing with 💀they're like a mirror projecting and reflecting back ur inner self back at ya (Pisces energy) also don't forget the karmic saturn influence.. u don't wanna mess w them or any other saturn ruled woman

⚡️Viahaka women go through intense ups and downs , starting from their good girl phase then they snap and go wild then they mature/become spiritual

⚡️Chitra women secretly (or not so secretly) enjoy drama , they're either the ones caught up in it or they play the role of the "judge" where they can solve conflicts between others. Somehow they're surrounded by it.

⚡️Don't underestimate krittika women especially when it comes to survival 💀 these women can be dangerous and will stab a bitch if they rly had to (whether its for defending loved ones or them surviving) their symbol is 🔪 after all and taurus/aries gives them that survival instinct

⚡️Ardra women can make great poets/song writers , their creativity and inspiration stems from their own 'tragic' experiences

⚡️Punarvasu women remind me of that quote "home is where the heart is" they always end up coming back to their origins and what they feel in their heart

Lemme know ur thoughts & what I should make next

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superectojazzmage · 9 months

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My Adventures With Superman is honestly a really impressively good example of how you can make an adaptation radically different and new while still doing justice to the source material by just approaching said source from a place of love and respect. The show is unabashedly and upfrontly meant to be a very explorative and experimental take on Superman that does the classic premise in new ways, revamped for another time and medium.

So many of the characters, designs, aesthetics, and world feel so extremely unfamiliar and unlike “traditional” Superman. But it still FEELS like Superman. The core, the spirit, the SOUL is absolutely and unmistakably there. The characters are all incredibly in-character and instantly recognizable. The plotting and writing feels straight off the page of the comic.

Even with major reinventions, this is so obviously and clearly Superman. Not some hoary “deconstruction” or obnoxiously self-aware “parody”, it’s just unabashedly honest-to-God played absolutely straight Superman. Even through all the changes, it’s that same classic, undistilled, nostalgic vibe of a Superman comic with Clark as a lovable, goofy guy with powers trying to be an example to the world, fighting crazy bad guys, helping old ladies across the street, and winking to the reader after Lois and Jimmy fail to see through his disguise yet again before cringing because Perry yelled at him for calling Perry “chief” again.

Hot, overeager tomboy Lois Lane is a bit different from usual but she’s so clearly still that same gorgeous would-be star reporter that every Superman falls in love with. Jimmy has been reimagines as kooky conspiracy buff, but he’s still ultimately Superman’s Pal who gets into wacky situations by virtue of being Superman’s Pal. Perry, Lombard, Ronnie, and Cat are all very different from the comics superficially — hell, Ronnie has had his gender flipped — but they are all still instantly recognizable as the same eccentric bunch of newsfolk they were there. Livewire and the Intergang members are all totally changed but at their center, they’re the same; same powers and gimmicks, etc.. Dr. Ivo is now a douchey techbro and yet he’s still fulfilling the very same role he does in the comics as a self-centered mad scientist who creates things that spiral beyond his control. Even Parasite, the most radically altered of all to the point of no longer being sentient, is still identifiable as his core concept of a monster that feeds on the lifeforce of others and becomes more powerful as he does, while also weakening when he can’t do so.

I really, really like it. It’s a wonderfully imaginative and well-put-together take on a very old series that really brings the concept into the modern age in a way that hasn’t really been done successfully outside the comics since the DCAU back in the 90s and early 2000s. People writing Superman or just superhero fiction in general should absolutely take notes from this show.

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