#— michi answers

[howtofightwrite]

Is it possible for a character who is 18cm shorter and not as muscled as their opponent to pin said opponent to the ground in a few calculated moves? Both characters are fit and exercise regularly, but the shorter character has trained in various martial arts (with and without weapons) and the taller one is more proficient in sword duelling. My intent is to write a sparring scene where the shorter character humbles the (overconfident) taller one. Any specific martial arts I should look at?

So... being shorter doesn't matter. In fact, in this situation, it is an advantage.

I'm going to point out here that if you're not careful, your character that you want to have a badass moment is going to look like an complete asshole because they are humiliating another character who they actually are better than. If they haven't been trading off humiliations to build tension (safely so no one gets hurt) then you're going to have a lopsided “sparring” session. Or, you will, if you haven't been building up your narrative to support the humbling. (And there is a lot that goes into these scenes to make them work, which, if you're not familiar with how martial arts training works then you'll approach it from the wrong mindset and hit Starke's pet peeve.)

Let's hit the ground running with the high points:

Sparring is not dueling.

Sparring is not play fighting.

Sparring is not so you can humiliate your opponent.

Sparring is not about fighting anyone or anything.

Sparring is a training exercise so that both of you can work on improving specific techniques.

Do people in real life get carried away sparring? Yes, they do. Are they complete competitive idiots about it? Yes, they are. Do they get punished for it? Absolutely, they do. This is especially true where they'll be expected to put their lives on the line. Treating violence like a game is detrimental, and leaves the trainee ill-prepared for dealing with real danger when in the field. Make no mistake, that is exactly the mindset you are describing in this question. Your characters (at least your minor ones, the trainers in this situation if your leads are too young or too dumb to comprehend their reality) should care about stomping this attitude out. And you as the author should to. Why? Because if you don't take the violence in your narrative seriously neither will your audience.

There are rules, as a writer it's imperative you establish the rules (and there no rules means you haven't established them for violence in your setting and therefore won't be able to establish the baseline that can be built upon later) and one of the rules is that you're not going to spar someone with a weapon (wood or otherwise) unless you both have weapons. There's not a lot of value in having one character spar with a weapon and one spar without one unless it's a knife, and the point is learning the dangers of knife fighting. And knives make sense because they are in the same distance range as fists. Swords are in a completely separate distance category. They are mid-range weapons.

You don't practice disarms by sparring, you practice disarms by practicing disarms in a controlled setting where you're repeating the motion over and over. Can you humiliate a person by being good at practice disarms? Yes. You do it by being a complete dick. It also requires the character in question to be better at the moves in question than the other character performing them because they need to be able to confidently, or at least believe they can, counter the other person's growing anger while taking the move a step further or two than they're supposed to. It also means they can get away with it without arousing the suspicions of their instructor (or act with their instructors approval) and no one gets hurt. (We hope.) For a character to do this is a sign of overconfidence, FYI. As is trying to humiliate someone in a sparring session. The characters that are good enough? They don't do it.

In fiction, good sparring scenes serve one real purpose. They establish a baseline of skill in safe setting so the audience becomes comfortable only for that to be disrupted and thrown into chaos when the characters encounter real violence. There's two paths for this. Either the character is a big winner only to be brutally beaten later, or they get dumped on their ass to find that they're actually much better prepared than they thought later when it matters. That's why so many stories with these scenes dump their MC on their ass, especially in any Wuxia or Shounen manga. This is because the authors of these stories understand that sparring has no reflection on how well a person will do when they're allowed out of the training safe space. If your baseline is: my character is awesome. Then it's all downhill from that point on.

Say it with me, Losses Create Tension. If your character is winning all the time, you have no tension and your fight scenes will be boring. The goal when it comes to creating a character who is good at fighting is to make other characters look better. Or, from an antagonistic/mentor point they exist to establish the height our MCs must eventually reach/how much further they have to go in their journey. Kakashi's fight with Zabuza or the first fight between Itachi and Sasuke in Naruto are both great examples of how to do this well.

I'm not saying you can't write a sparring scene like the one you intend. I can't tell you to do anything, what I want to you to start doing is considering the implications of the scene, what it may say about your world and characters that you didn't intend, and it's overall impact on the whole of your narrative. Narrative gratification here is work you'll need to do to build back your tension later. Is it a win your MC can afford?

Now, you can look at any martial art that has a ground fighting component for what you want to do unless you're planning on having the duelist spar with their sword. If you want that, you're going to have to do a lot more work with a smaller pool. This will be doubly true if your characters are of European descent and you want to avoid the East Asian martial art styles.

Type: “how do you knock your opponent off balance?” into Google and you'll find a lot of variations.

The basic concept behind putting someone on the ground isn't strength, it's balance. The key is disrupting your opponent's balance. If you're skilled enough or your opponent's footwork is bad enough, it can be done in a single move. In fact, it can be done a variety of different ways from a variety of different moves from countless different martial arts. The question isn't can it be done, the question is how does your character want to do it? The fact they are short only helps them because their center of gravity will be lower than their opponent's, they don't have to work as hard to maintain their balance, their stance doesn't have to be as deep, and they will have an easier time knocking a taller person over. Most people who've never practiced martial arts have no idea how foundational the footwork is or how important the feet are to staying upright.

I personally like reviewing Silat for studying balance, not necessarily for techniques, but because I find their instruction on the concept easy to grasp/digest. They do the string on the top of the head and the balance triangle, which if you can wrap your mind around that you'll be able to conceptualize fight scenes where the character focuses on knocking an opponent off balance better. 

The above is a more advanced video, but if you have no martial arts background or even a sports background whatsoever then you want to aim for instructional videos that focus on concepts over techniques. The advice is always write what you know and if you don't know learn. Copying techniques onto the page won't create a great fight scene. Understanding the concept, philosophy, and basic body mechanics behind the techniques will get you much further. None of them are stand ins for real experience or doing it yourself. If you really want to be good at it, find a martial art you like, find a school nearby, and invest the time.

All of your characters' martial arts moves (whether they are dueling with a sword or fighting hand to hand) function around the body's center of gravity. Your center of gravity is slightly above your hips and in your core muscles i.e your abdominal muscles. They will be trained so maintaining their balance is second nature. When martial artists talk about overextending, they're talking about putting your weight past your balance point which puts you in danger of losing your balance/falling over or being grabbed, kicked, etc and getting thrown, tripped, or forced into a fall. This can happen when you're throwing a punch, doing a kick, lunging with your sword, or doing any other sort of movement. You end up in a position where your balance between your front and back leg is destabilized, which creates the opening for your opponent to throw you. Or when you fall over on the ice, because that happens too.

Some other martial arts to turn to:

Judo

Jiu Jutsu

Aikido

Baguazhang (Seen in Avatar the Last Airbender as the basis for Air Bending)

Tai Chi Chuan

Northern Shaolin

Taekwondo (if you want to do it via kicks, all kicking martial arts innately focus on balance)

Krav Maga

Ninjutsu

The list goes on.

I also recommend dipping your toes into live action martial arts flicks to start getting yourself accustomed to more complex choreography. This is getting yourself out of the animated space (like in anime) and into the space where you have to watch a live person perform the techniques. Asian cinema has a different choreography style than the US does, because there are different cultural expectations. Overall, the choreography is more intricate and they break the action down a lot more (as opposed to American media where they zoom out to cover for the stunt double.) It's easier to see how the bodies are working and they put a lot more focus on destabilizing balance as part of the fight sequences. Hollywood doesn't get into the weird martial arts shit unless it's an actual martial arts action film. You can also do an Avatar the Last Airbender/Legend of Korra deep dive because the action there is also usually on point, but I'm a proponent of going to the source when you want to learn something. So, you know watch Alchemy of Souls instead.

-Michi

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[twstchaos]

🚪

11. covered in confetti

Knuckles tapped the wooden door.

Tonk. Tonk.

Silence.

Tonk. Tonk.

More silence.

BANG! BANG! BANG!

Peri opened the door to be met with a very pouty Missy Chievous. Her face and hair was covered in sparkly shreds of paper, glitter, sequins, and everything else shiny under the sun.

"Wha-"

"Ester shot a confetti cannon at me, and now I need help plotting my revenge.

[canisalbus]

Hmm yes it's definitely a dog...

Ah! Vasco the dog!

Vasco the dog indeed ;o; I think that's a Segugio Italiano, one of the breeds he was inspired by! He could've been a proper segugio if they weren't just a little too small for it, also I tend to visualize Vasco with a slightly more rounded build.

[mmmichyyy]

hiiii!!! 🖤🧡 what about 43 'Pick up lines only work when I'm drunk.' and 50 'Is it just me or is cold as hell in here?' 😋

#50. "is it just me, or is it cold as hell in here?"

"try the door again."

ian rolls his eyes, but pulls at the frozen metal handle again for the tenth time. still stuck. doesn't budge, not even a little bit.

"i told you, linda will come save us once she realizes no one's manning the store out front."

"yeah?" mickey spits out. "and what're we gonna to tell her when she asks why we're in the freezer together, huh?"

"i'm pretty sure she already suspects something," ian points out. "i mean, we're not exactly slick about it."

"should've fuckin' kept it in your pants," mickey mumbles, not meeting ian's eyes, "you and your stupidass dick."

"didn't hear you complaining a couple minutes ago when i was balls deep inside you," ian replies wryly.

if he wasn't already shivering his ass off, he'd probably die just from mickey's icy glare, sharp cuts piercing into his soul.

"whatever. just stay the fuck away from me."

"fine."

"fine."

mickey lets out a huff before crossing his bare arms across his chest, the security vest doing nothing to keep him warm, making it an obvious point to not look at ian's direction. ian does the same, wrapping the thin hoodie around his body to conserve whatever limited body heat he can, stewing in frustration at how infuriating the boy in front of him is being.

a few minutes of stony silence goes by, save for the motor of the freezer fan continuously circulating cold air. ian has a moment of weakness and chances a peek out of the corner of his eye, and he's met with the sight of mickey, teeth chattering and goosebumps lining his arms. an indescribable pang of something curls deep in ian's stomach.

"is it just me," ian says, lightly, a feeble attempt at levity, "or is it cold as hell in here?"

nothing. nada from mickey. ian sighs.

"you want my hoodie?"

mickey scowls and continues to give him the silent treatment, mouth pressed into a tight line. but ian can see mickey's tough facade slowly chipping away, the continuing drop in temperature draining the colour from his face.

"c'mon man, you're freezing," ian sighs again. "just take my hoodie."

zip. zilch. ian lets out a huff of exasperation.

"fuck it," he mutters, before taking three steps and wrapping an extremely bewildered mickey into a surprise hug, tight enough so that mickey can't squirm or escape or whack him in the head.

"the fuck, gallagher," mickey practically yells, but his voice comes out hoarse and raspy. ian doesn't budge. "get off me, you lunatic."

"just relax, mick," ian whispers into mickey's ear, softer than he intended, and mickey goes completely still. "no one can see us. and i don't want to bury your body if you die of hypothermia."

ian feels puffs of air tickle his neck. it takes a minute, but ian senses the exact moment when mickey gives in, sagging his body weight into ian's embrace. they've never touched like this before without the pretense of sex, and it almost sends ian down a spiral. his heart starts thumping against his chest when mickey's hands skim along the exposed sliver above his hips, tentatively ghosting his skin like he's not sure if he's allowed to touch.

you can touch me, ian wants to say. touch me wherever you want. do you care about me the same way i care about you? do you?

"gallagher," mickey breathes, and ian's heart soars, "i–"

"ian? mickey? are you in there?"

mickey jumps, breaking apart from ian's embrace, and ian feels the loss immediately as linda whips the freezer door wide open.

"what the–" she starts to say, just as mickey slips past her without a word or a backwards glance. a hollow twist curls tight in ian's stomach. "what the hell were you two doing in here?"

"mickey was helping me with um... stocking the shelves, then the door closed behind us and the handle was stuck, so...." ian trails off lamely.

"uh huh." he can tell by the look on linda's face that she doesn't believe him, but she doesn't push him any further. probably too tired to get into it. "go drink something hot and warm yourself up. i'll call someone to fix the door tomorrow."

ian fully expected mickey to ditch the rest of his shift, so he's surprised when he sees mickey still in the store, standing by his usual spot by the door. ian feels mickey's gaze on him as he passes behind the counter, watching quietly as he starts a new batch of coffee, pour the steaming liquid into two paper cups, then hand over one of the cups.

"thanks," mickey says quietly, and ian nods in response.

mickey doesn't say anything else for the remainder of their shift, but ian can feel mickey's eyes on him when mickey thinks he's not looking.

tell me what you're thinking, he wants to plead. tell me you feel the same way. but he doesn't.

as they silently part ways after work, ian wonders if he'll ever get the chance to break down mickey's walls. if mickey will ever let anyone inside his heart.

and, well. ian is patient. he'll wait as long as it takes.

[michi-hawkeye]

*chin hands* Tell me about the stickynote

Ooh you’re gonna love this it’s a alternate first meeting and it takes place 2 years pre canon, where Tommy and Buck meet at a book signing of their favorite author. Also the sticky note mentioned in the title is plot relevant I just don’t wanna spoil why

Here’s a snippet (unfortunately I haven’t written Buck and Tommy actually talking to eachother yet 😂) (cause you know why I have too many plot bunnies)

Tommy had been reading Chasing Starlight by Savino C. Zambrano in the bunkroom for a good chunk of his shift after getting his usual tasks done, to make up for the fact he couldn’t go to the signing event for the latest installment that was being held today. Sure he could have asked for the day off weeks ago but he’s pretty sure Captain Gerrad would have laughed in his face and deny the time off if he had, he’s pretty sure the only books his captain had read were the textbooks at his time in academy if the old man’s ability to be obtuse and a asshole were anything to go by.

The novel was the first book in the series and if he had his way he would have had the 4th book today, but for now he’ll be content to reread the book that got him into Sci-Fi in the first place, with the cracked spine and age worn, tea and coffee stained pages that are threatening to fall out. He had finally gotten to his favorite scene where the sweet but jaded bounty hunter turned hermit finally admits to the optimistic hero of the series that he sees him as a friend, when the alarm bell started to blare throughout the firehouse. He tries not to groan but he can’t help it he hates getting interrupted even though its work. He goes to hide his copy underneath the mattress of the bottom bunk that he had unintentionally claimed as his during A shift, so long ago.

Its not like he’s ashamed of his favorite series or his love for reading but he would rather not have to deal with the less than kind ribbing the team tends to do being aimed at him if they find out that he likes reading what could be seen as softer but dramatic character driven books, but its also not like he’s any better than them if him not stepping in to help Hen or Chim when they had been the targets was a sign, he’s gotten used to laying low at best and humoring the team at worst. There’s a reason Eli would rather keep to himself or take Chim under his wing when he had worked at the firehouse.

——-

He tries not to look too interested when he hears Captain Gerrad rattle out the address for Lavender Sprig Bookstore where the signing event was taking place, he would think the universe was trying to mock him or something if it hadn’t been for the fact that Gerrad had stated that the emergency was that a bookshelf had collapsed on top of a group of civilians, hopefully it wasn’t as bad as it sounded.

When they arrive they’re greeted by a bookseller who’s hiding her worry surprisingly well for someone’s shop dealing with a pretty sizable event telling by the line at the signing table they passed that he tried not to eye to long, regular flow of customers, on top of possible several medical emergencies. “A Good Samaritan seemed to have the bookshelf handled, he’s been holding it up and when others tired to move the injured from under the shelf he told them not to and to wait until the proper medical professionals have it handled” the bookseller, Mara said as they weaved through bookshelves and people which explained why she was more calm than frantic which isn’t a reaction that’s seen very often on the job.

“Sounds like a dumb kid trying to play firefighter who’s just going to be more of a hindrance” Captain Gerrad grumbled out as they finally got to the collapsed shelves.

“More like he’s just trying to help and he clearly has look around you” he hears hen snip back as she and Chim brush past the crew. Tommy does give a quick courtesy glance at that and notices that despite how close this area of the bookstore is to the signing, the front of the store and registers it’s clearly deserted instead of being filled with the typical nosy bystanders.

He hears captain Gerrad angrily retort “Kinard, De Luca secure the shelves and make sure that kid is out of the way” he gives Gerard a nod in response as he says to Sal “you take the left side I’ll take the right” Sal gives him a thumbs up as he hands Sal the other cord to secure the shelf. As they follow Hen and chim, Tommy taps on the stranger’s shoulder to get his attention since he was clearly crouched in a way that was easier to bare the weight of the bookcase as one person instead of what should be two at minimum which was made harder since the stranger was also being careful to not be in the way of the injured civilians

[r1ch1exl1psch1tz]

Max stands outside of Richie's home, awkwardly knocking on the door and shoving his hands into the pockets of his letterman.

-Jagermeister (@jagermeistermax)

[ Richie opened the door and smiled up at Max. ]

“ Maxie ! “

[ they grinned, stumbling a bit before standing up straight. ]

[24-guy]

[Michie be like]

Max: I just like to up at the stars and wonder what it all means huh?

Richie: You got that right!

[He looks at the stars, they read "Wanna make out?"]

Max: (*ゝω･*)

Richie: 0////0

https://youtu.be/aJU0qxBGn-8?si=YSvFOOJgTuXYlSMO

Answering two in one here. :)

[starchasing-cryptid]

Just hopping on here to say that I adore you and I wish you have the best summer ever! Okay, bye! :)

michi :(( you :(( i love you so much wtf you're so sweet, thank you for this 🫶 i hope you have an amazing summer as well!! mwah <3

[michi-chelle]

also the screen does momentarily fuck up like on purpose right?

[pan-kuzu]

✨🧡🌙SEND THIS TO TEN OTHER BLOGGERS YOU THINK ARE WONDERFUL. KEEP THE GAME GOING. ✨🧡

You're so sweet; thank you, hon! The feeling is mutual~ I'm so sorry for answering this late ;; I hope you've been well! You always inspire me to draw Michi so:

[ecogirl2759]

Your honor please let him be punk rock

WHY IS HE SO DAMN PASTY IN HIS CANON MATERIAL???? MY BOY NEEDS SOME VITAMIN D ASAP

Also released this too late for Delinquent Brawl FUCK

Original sketch because it doesn't look too bad lol

[howtofightwrite]

I'm writing a scene where a cultivater (chinese martial artists who fights ghosts) falls in a forest and I'm trying to figure out how someone who fights on rough terrain would train to fall. I tried looking at martial art/parkour/stunt man tutorials, but I feel like a lot of the basic techniques (rolling, and slapping the ground to distribute weight) wouldn't work well on uneven ground. I also tried looking at hiking advice but they just say to fall on your pack. Any insight?

Chinese cultivators don’t fall, they choose to reacquaint themselves with the ground.

That sounds like a joke, but the best way to understand Chinese cultivators and Chinese fantasy media is to realize that martial arts are the gateway drug to magic. And that will get you into a lot of trouble if you follow that all the way into Martial Arts Give You Superpowers, which is both the outgrowth of the western understanding of Chinese culture and a trope rife with orientalism. Cultivation seems simple on the surface when you’re watching Chinese media, but it’s more than martial arts, it’s more than religion, it’s more than mythology, (though it is all of those too) it’s a genuine transition into metaphysics that reorients how we understand and interact with the world around us. The concepts we see in cultivation come from real martial arts philosophy that you find in Tai Chi, Shaolin, and most other Chinese martial arts. They come from real religions including Daoism, Buddhism, a healthy dose of Confucianism, general mythology and mysticism from a wide range of subcultures, and, to an extent, Animism. If you aren’t doing your reading with the Eight Immortals, Journey to the West, The Legend of the White Snake, and others then you should dig in. I also really suggest watching the live action C-Dramas whether they’re true Wuxia or more Xianxia idol dramas (and in this case the idol dramas are better because the action is slower) so you can acquaint yourself with the stylized martial arts portrayals, a wide variety of choreography, character archetypes essential to motif based storytelling, and the most important aspect of all—wire work.

Understanding and conceptualizing stunt action done on wires is essential when you’re trying to visualize and create action scenes in any East Asian genre. Your first instinct might be to dismiss the stylized movement as unrealistic (it is) but remember that it’s also genre essential. Hong Kong action cinema has a very specific feel to it that’s very different from the way Western cinema structures and films their fight scenes. Even when you’re writing, you’ll want to find ways to imitate it through your visual imagery on the page.

Probably the best way to contextualize cultivators is that they’re wizards who do martial arts. They’ve learned to transcend the limitations in our understanding of reality through knowledge and study to perform superhuman feats. How superhuman? Well, it gets wild. They can be anywhere from Crouching Tiger, Hidden Dragon/Who Rules the World fly through the trees levels to Shang Tsung’s “I’m going to slam my hell reality into your normal reality because commuting to work is too much of an inconvenience.”

Which is to say, they don’t always fight ghosts. Sometimes they fight other martial artists, sometimes they fight other cultivators, sometimes they fight demons, sometimes they fight gods, and sometimes they fight incredibly overpowered monkeys. They’re often monks living in seclusion on a mountaintop, but not always. Cultivation is more of a state of mind. Anyone can do it if they learn how to absorb spiritual energy from the world around them through meditation and breathing exercises. Gods cultivate. Humans cultivate. Animals cultivate. Remember, the demons and the ghosts cultivate too. Sometimes, your master gets reincarnated as a demon. Sometimes, you do. The amount of wacky spellcasting you can do is dependent on how much energy you’ve cultivated, which is dependent on how old you are and how good at cultivation you are. Using the power means you need to cultivate more energy, the greater the spell or difficult the battle then the more energy is lost.

This is important to the question of: how does a cultivator fall?

Metaphorically? Existentially? Physically?

When we’re talking physically, wire work becomes very important. Think of your cultivator as being on wires. If they have the knowledge and understanding to do it, they can slow their own fall through the air to land harmlessly on the ground or twist over like a cat and launch themselves back off the ground to fly at their opponent in a counter attack. If they have the knowledge and understanding, they can teleport. If they lack the knowledge and understanding or want to trick their opponent, they can hit the ground like a sack of potatoes. If they’re relying on basics, they can also smack the ground to counter and spread out the impact then use the momentum from that fall to roll back onto their feet. They’ll do it no matter what terrain they’re on because it’s a basic technique that’s trained into their foundation to the point it’s a reflexive action. Any force distributed away from, and reducing impact on, important body parts like your spine is better than nothing. It’s better to sacrifice your arm than be paralyzed. At its heart, that’s the point of the technique. If you’re able to walk away with a functioning spine, it’s done its job. Your shoulder hurts? That’s normal. Your arm is sprained or broken? Sucks, but that’s better than the alternative that is paralysis and death. For reference, learning to fall was the first lesson my Wushu instructor ever taught me. It is that basic.

A lot of the time when portraying cultivators in media, the goal is to show them as being beyond the limitations of standard martial artists. How vast the gap is between the cultivator and the average human is dependent on both the setting and the cultivator. So, the average martial artist who possesses superhuman talents but hasn’t dedicated themselves to a life of cultivation and cultivators who are new to the path are going to be on the rung below and more likely to be knocked on their ass. Cultivators in the mid-range are more likely to have crafted or trained in solutions to being knocked on their ass which put them in a less vulnerable position while recovering and empowered/enhanced their martial arts. Cultivators in the top tier are usually straight up masters at spellcasting, if they deign to fight at all. Gravity need not apply. Rember, the time it takes you to hit the ground and roll to your feet is time your opponent has to launch a counter attack or move to a better position. Also, it means you’ve taken your eyes off your opponent. This is bad enough against a normal human opponent. Against another mostly immortal or ancient magic user this risks a terrible outcome.

Cunning and strategy are both as important as skill. Wisdom, knowledge, and hard work outweigh talent and raw potential. You’ll have to decide how esoteric you want to be and what limits you want to set. I really urge you to do this because the danger of power creep is real and especially prominent here. A character’s growth in power is often linked to their growth in character or their arc, as they gain a greater understanding of themselves and the world around them their skill increases. The self-discovery/self-reflection/self-interrogation/intense suffering to reach enlightenment portion is just as important and intrinsic to the martial arts portion of Martial Arts Give You Superpowers. It’s easy to focus on the Superpowers or the Martial Arts parts of the equation and miss the genre necessity of character growth. This growth often happens through heaps of steadily increasing trauma. Or, failing to undergo that by being too powerful and thus unable to progress is the joke like it is in Qi Refining for 3000 Years. (Go to hell, Bai Qiuran, you hilariously overpowered monstrosity.)

The irony is that the trajectory in character growth is the same trajectory the average student experiences when practicing martial arts. The only difference is that the power arc is inflated. This includes overcoming ingrained truths that you believe about yourself, about your own abilities, what you believe yourself to be capable of (both good and bad,) about your biases toward yourself and other people, your biases about reality in general, your understanding of good and evil, the potential upending of right and wrong, and facing the greater complexity found in the world at large. The stripping away of these illusions, coming to terms with uncomfortable realizations in a more complicated world, and the gaining of new understanding and confidence are vital to that growth.

Skill isn’t just represented in the power creep, it’s also found in a character’s sophistication and complexity in their approach to combat and life in general. Their awareness both of themselves and of other people, their ability to read intentions, their predictive abilities, their complexity in initiating their own strategy and tactics while also recognizing and countering the plans of others. It’s their insight into human nature and their cunning. It’s not enough to be powerful. The world is full of powerful people and not so powerful people who have the capacity to be just as dangerous. This isn’t Goku and Freeza slamming into each other while the planet explodes in nine minutes. You also need to be smart. It’s also not about being a better person. It’s about being a self-aware person. A person who is self-actualized. Monkey’s growth is in his awareness of the world around him through his experiences and in approaching problems differently rather than becoming less of a little shit. If you grow up in the West, one of the issues you’re going to face is thinking of these hurdles as materialistic rather than emotional or intellectual.

A lot of Western media misinterprets the concepts of “giving up” as physical sacrifice. One of the popular examples is physically sacrificing the person we love. In order to have enlightenment, we must be separated from them. We can’t physically be with them anymore. Whereas under a Buddhist structure, what we are actually sacrificing is our own ignorance, our own preconceptions, and beliefs that keep the world comfortable. Under this structure, we’re sacrificing our preconceived notions of who our loved one is. The person that we invented when we first met and we must force ourselves to come to terms with who they really are. The outcome of this isn’t necessarily going to be bad, but it’s still painful. The person we think we love could be perfectly wonderful. However, they’re not who we imagined. If we choose to hold onto the illusion we created, to ignore the realization that the illusion is the person that we love, we’ll only end up causing ourselves and our loved one more pain. We must fall in love with them all over again. Coming to terms with that is painful. All pain comes from ignorance. In sacrificing, letting go of, or overcoming our ignorance, we grow.

These are the emotional, intellectual, and spiritual challenges necessary for a cultivator because they allow the cultivator to level up. Yes, level up. Whether this is coming from the influx of gaming culture into media at large or because the concept synergizes with the Buddhist goal of progressing through the Six Realms toward nirvana, leveling up is how a cultivator’s increasing power is often depicted. Of course, once we reach the next level we can’t go back except by falling or failing and are no longer the person we once were. This then gets mixed in with Daoist principles of finding divine understanding by living in harmony with the universe. The more understanding we gain of the world, the more energy we can absorb as a result, but our original goals may be lost or changed in the process. If a character begins their journey on the path of revenge, their newfound contextualization of the situation that caused them immense pain may force them to give that revenge up or find they don’t want revenge anymore.

Failure is also an option and often a common part of the story. These stories usually follow characters through multiple lives and rebirths over hundreds and even thousands of years, especially if they’re also gods. This is the existential fall. The fall to the Dark Side. All our heroes are going to go through it at least once. This is also why a lot of Chinese media ends in tragedy with hope for the next round.

-Michi

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[twstchaos]

Jack x Epel?

Ahh!!! I fuckin’ LOVE the 1B ship!!! Best boys, perfect boyfs!!!

I love how one of their interactions is:

Jack: Eww, it smells like shit in here.

And it’s just Epel with a shit ton of onion.

Need more content of them together!!! I’m so excited for when Portfest comes to NA, because I love their interaction in the event!!! So cute and hilarious!!!

Honestly, my favorite first year ship, more than Adeuce.

I have no idea what their ship name is though.

Thanks for the question, anon~

[canisalbus]

I love these characters! The uh....

.

[gojoallmine]

UR JJK SMAUS ARE SO GOOOD U GET THE PERFECT ENERGY FOR EVERY CHARACTER PLS NEVER STOP COOKING 🙏🙏🙏

OMG???? THANK YOU SO MUCH THAT'S LIKE THE BEST COMPLIMENT !!!! I TRY !!! THANK UUUUU 💋💋💋

[michi-hawkeye]

If you need a tourniquet or if you wanna turn and quit Know that I'll be by your side << michi u need to tell me moooooooooooore 😍😍😍

I gladly wil! ❤️

The fic is actually a prompt fill, kinley have been dating for six months before shit hits the fan and the fic starts in Tommy’s pov and takes place right in the aftermath of Buck being struck.

Here’s a snippet of the opening (fair warning its in its rough draft stage)

Tommy watches the rain pound onto the ground of the airfield under the safety of the hanger. He had been anxious all shift due to the anticipation of introducing himself to Captain Nash and Sargent Grant-Nash as Buck’s boyfriend tomorrow night and hopefully be able to ask them a question the little black box to go with it tucked away in his locker. Something bigger than that was eating at him now like some premonition that something is going to go wrong tonight, he usually didn’t let storms get to him since it was part of his job to fly through them. Although he knows Buck is out there working right now and he knows his boyfriend is an unintentional danger magnet so him feeling anxious for somewhat no reason is definitely justified. He takes a deep breath and closes his eyes as he hopes Buck and his team are staying safe out there before he leans away from the hanger door threshold to go and try to focus on keeping his anxiety at bay.

He tries to keep checking his phone at a minimum as much as he is anxious he can’t be distracted, so he goes through the station chores even through he knows they’ve already been done, so he tries to burn out the anxiety by working out. It wasn’t until he was walking out of the showers after his workout he was finally given the reason for his anxiety.

As he’s changing into a new uniform shirt, his phone goes off with the familiar sounds of the wind and percussion instruments that play The Mandalorian theme song, he had made it Eddie’s ring tone on his phone after watching the show with him, Buck and Chris one day and realizing him and Mando have a very similar personality to Eddie’s begrudging annoyance. Eddie is also one of the few people who is on Tommy’s short Do not disturb bypass list, a rock of dread sinks down his stomach as he tries not to think of worse case scenarios but that would be naive with the storm raging outside tonight and how dangerous their jobs are in general.

Before answering the phone he tries to sallow the forming lump in his throat as he takes a moment to look at the photo he had taken of a smiling Eddie who had a arm thrown over a equally smiling Buck’s shoulder, who had his own arms wrapped around Tommy’s shoulders during a guy’s day out which was used for each of their contact photos.

He tries to keep his voice even as he hears an equally breaking breath on the other end of the line when it connects “Eddie what’s wrong?”

“It’s buck—- there was a accident on a call he’s in critical—-“ Eddie takes a shaky breath while Tommy’s heart shatters, “we’re at Cedars get here as fast as possible” we don’t know if he’ll make it goes unsaid, it kicks Tommy to start packing his duffle.

“Eddie what happened at the call?” Tommy asked, he doesn’t want to be in the dark on how his boyfriend had gotten injured enough to be considered critical.

“I’ll tell you more when you get here I don’t think it’s a good idea to tell you right now, drive safe okay”

“Okay, I’ll be there as soon as I can” he blinks away the tears that have been building up, as he listens to the call disconnecting.

“Cap I need to leave family emergency”

—-

Just as he pulls out of the airfield, the bachelor theme plays from his car’s speakers signaling that Maddie is calling, him and Maddie had been binge watching old episodes of the show together when they both had off days in the name of bonding while everyone else had shifts since they couldn't watch the new episodes without chimney, it would have been funny to hear if it wasn’t for the situation at hand, with his eyes still on the road he clicks the green call button on the dashboard screen.

“Tommy” he hears Maddie’s watery voice come through the speakers “did you hear what happened to buck”

He was a only child who has always wanted siblings and having known Maddie these past few months he grew to view her as one, and if she needed him to be strong he’ll try to be, he coughed to try to prevent the impending sob and to try to steady his voice before responding“ Eddie just called me to let me know, I’m heading over there right now”

“Good they’ll both need you”

“I’m here for you too, you know that right?” He asked gently, it always stings when he sees Evan and Maddie throw aside thier mental and emotional well-being in favor of focusing on others like they themselves don’t matter; giving until they break.

“I know but knowing those two Eddie probably saw first hand what had happened, so he’ll need someone to lean on who understands” he thinks back on the stories Buck had mentioned in the past when either one had been injured. They fall into a silence perhaps to let themselves process what's happening.

The silence breaks when he hears the faint barely formed word babbles from Jee-Yun “jelly bean is there?” He had given her the nickname shortly after meeting her and Maddie when he noticed she jumped and skipped around more than walked, and how it must have been a family trait because Buck would do the same given the chance, Maddie and Buck had cracked up when he commented on the shared mannerism.

Maddie gives a sad chuckle “I called Anne and John to pick her up to spend the night with them, they’re planning to meet us at the hospital”

“What about your parents?” Tommy asks, he doesn't trust the buckley parents for shit to care for the sweet girl that he’s starting to let himself view as his niece. He wants to know if they're gonna twiddle their thumbs and not show up for their son again but this time while he’s probably dying.

“I also wanted to warn you too that my parents are coming to the hospital, I know you have your reasons on avoiding them I respect that and this isn't the ideal situation to meet them now, in truth it surprised me that they decided to go at all”

“Maddie they hurt you and Buck, made both your lives hell that's why I avoid them you know that cause if I ever see them I won’t be able to not tell them what I think” he had avoided meeting the Buckley parents the last two nights because how much disdain he had for them but he has enough awareness that two people he cares about still want to try to have that bond and he’ll support them and be there when he helps pick up the pieces when their parents refuse to put in the effort to fix the damage they cause.

“I know, can we continue this later? , I’ll see you at the hospital” he hears Maddie say with a defeated sigh, kicking himself mentally for pushing her at an already stressful time.

He hears Maddie shuffle and with a much brighter tone say “Say bye to Uncle Tommy, Jee” hearing the new title makes him choke on the building lump in his throat.

“Buh Buh, Uh T’my!” Jee says with a giggle, oblivious to what is going on and Tommy hopes when she does learn, Buck will at least be okay by then. He can be strong for her, Maddie, Eddie, and Chris until Evan wakes up

“Bye sweet girl see you soon!” He attempts to say brightly but he can hear how weak it sounds to his own ears. He hears Jee giggle in response before the line disconnects. He lets a few tears fall as he turns another corner on the road towards the hospital.

————————

(You can thank my sister’s car playlist for the title its from Tourniquet by Zach Bryan)