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demenior · 3 years ago

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Dem’s Big Post About The Spn Fics Part 1/2

aka The Wrap Up to celebrate To Exist Again and To Become a Man now being finished!

(This will be a long post. This is your only warning.)

Admittedly this is a bit of a weird thing to be doing, but I wanted to try it out for 3 reasons:

I love talking about my own work and

It functions really well as a self-reflective tool for me to improve on, and

I can answer some big questions people might have because there was a LOT of worldbuilding in these stories.

We’ll start off with reflective stuff, and move into the juicier world-building focused stuff later into the post. There will be major spoilers for both fics to come!

To begin with a funny anecdote, Why Did I Write These Stories?

I was beginning to write and work out the story that I wanted to write for Spn (what will now be To Destroy a Man. As I was writing the scene, I realized I had a LOT of ideas and while I was trying to avoid as much exposition as I could, it became quickly apparent that I was needing to create my own au (this scene eventually became chapter 34 of To Become a Man). A short prequel seemed like a good idea, to quickly hash out the ‘prior’ events that I needed to go through so all the readers could be on the same page. While plotting out prequel points, I realized Sam and Dean were going to have drastically different experiences during the same time period, and I was trying to figure out who’s pov would be better for which scenes, and how to keep momentum when they’re going through such radically different types of changes. Ultimately I decided to split their povs, which I also thought would be a fun project! And I naively assumed each pov would take about 2 chapters each, rounding out to maybe 15k total.

I had my ending points: Dean n Cas soul-merged and (basically) married, Cas on the lam from heaven and a complete anomaly, and Sam juiced up full of powers and a weird mix of archangel and antichrist but still 100% human and ready to fight God.

Now I needed to add weight to these changes, so I wrote 200k of build-up.

Am I proud of these fics?

OF COURSE I AM!!! These are the longest fics I’ve ever written AND finished AND in the fastest freakin turnaround ever (both were finished writing, barring edits, in like 6 months holy shit)

I didn’t write a single scene that I “didn’t” want to write. If I had trouble writing it, as in it was fighting me, I scrapped it. Most obviously was the scene in Dean’s pov where he and Sam were intended to meet some other hunters and Dean declines working with them because he’s nervous about being outed as queer. It was meant to be a good scene! I wanted to introduce some new characters! But it just wasn’t working so I said ‘thank you, next!’.

But it means this story was an absolute joy to write. Because for a while all I was doing was ‘if I wanted to write one scene into supernatural, what would I write?’ and then just DID that!! It’s why there’s a lot of ‘Salmondean do dumb shit or have really dumb heartfelt conversations’ scenes.

Would I change anything?

If I’d been less eager to start sharing, I might have planned out the story beats a little tighter so there were less ‘soft’ chapters and a draw/pull for people to come back and keep reading. I felt Dean’s story specifically lagged at points and could have used some tighter editing (there was a noticeable lull in directed movement between Dean n Cas getting together, until Sam corrupts Amy).

I also probably would have held Sam’s story until I’d finished Dean’s so I could make the two line up better! Probably could have inserted more scenes into Sam’s fic that way, and made sure things were a little more consistent. In an ideal world one concept I had was to release 1 chapter from each pov every week that would correspond to the same time frame so we’d be getting real-time SalmonDean pov narrative. Unfortunately that didn’t work!

The biggest takeaway overall is for me to focus more on what moves the plot, and to make my scenes do more than 1 thing so I can cut down on wordcount and increase my efficiency.

Of course every writer will find things they want to fix in anything they’ve ever written, so these are minor “mistakes” at best. I’m so dang proud of these fics.

Onto more interesting things!

How Did I Put These Fics Together (because it’s different than anything I’ve ever done before)

Normally when I write a story, I plan out the beats I need to hit, see where I need to insert any kind of foreshadowing/buildup, and then write from A to B to C and so on and so forth. Hence, this is why I can normally post things as I complete chapters, because it’s all a linear progression.

For these two stories, rather than linear plot/a normal story structure, I just sat and free-wrote any and every scene that came to mind and then pieced them into a kinda-linear form like putting a quilt together. You’ll note that this is why there’s not a lot of internal callback or a feeling of sense of time flowing within the fic (save for points where I went back and specifically edited it in). How long does the story take place over? Hard to say! Your author has the barest grasp on linear time even on a good day (how many times did I say ‘see you on [wrong day]’ at the end of chapters lmaaoooo)

This also meant EXTENSIVE editing on the back end once I decided in what order I wanted my ‘quilt pieces’ to be. Hard to say if this is a bonus or a negative!

But I did want to try and capture the vibe of the lives they lead, as a bit of a ‘slice of life’-style story, when the slice of life is the profound weirdness of the Winchester roaming life, and how things are status quo- until everyone almost dies oh shit!! And then they have to keep living because no therapy we die/undie like Winchesters. Do I think I captured this effectively? Hmm. Good question.

Dem where the FUCK did the inspiration for a lot of the magic and creature weirdness even come from?

Honestly? Music, primarily. And completely mishearing lyrics!

Nightwish ‘Ever Dream’: the line is ‘my song can but borrow you grace’ and because my brain is scrambled eggs on a good day, I heard ‘grace’ ‘song’ and ‘borrow’ in that order and have had, for YEARS, the mental image of Cas borrowing Dean’s soul to power himself up for battle.

From there I’ve always been enamored with the ‘wavelength of celestial intent’ descriptor that Cas drops in s6 for “what he is”.

I also really like ocean metaphors mostly because I’ve been obsessed with the ocean and things in it since I was like… 5??? So really this was me just rolling with what I know lmao. I love using (somewhat) accurate scientific metaphors for very intangible things!

I was also finishing my degree in biology/ecology while writing these fics and I think it shows

Stars ‘The Night Starts Here’ gives us the series title and the fic titles. Except for ‘To Exist Again’. TEA was almost titled ‘The Upwards Fall’ because I wanted all 3 of the Main Stories to have titles from this song, but I couldn’t make anything else work in tandem with the series name ‘The Love It Takes’ while also working for Sam’s personal story. So Sam, as always, is the rebel <3

Stars ‘Up In Our Bedroom, After The War’ is basically the vibes of the whole story. TFW has been, literally, to hell and back!!! There’s a bit of melancholy and sadness, a lingering dark, but the chance of a bright new tomorrow and a soft start.

Let’s Talk About Themes in The Story! What were you looking to accomplish?

My earliest notes for TFW are, as follows:

Dean’s journey of self-discovery (who am I when I’m not trying to be Dad?)

Dean wants to settle down! He wants a big family! He wants to be domestic!

Basically: Dean doesn’t want to have a short life of hunting. He wants to live!

Dean’s journey of realizing he’s bi, and him accepting that

Dean’s relationship to Sam is both older brother/parent

And continuing Dean balancing these roles while also letting Sam be an adult

Dean’s Big Issues/Fears about never being good enough for people to want to stay with him (these are effectively highlighted in that Cas thinks he’s not useful enough to be wanted)

Sub Plot:

Castiel’s autonomy

Cas’ fall from grace, to trying to restore Heaven, to wrecking it further

He’s majorly depressed by the end of s7 (before purgatory)

Wants to stay in Purgatory but doesn’t tell Dean

Remains depressed after leaving, but resolved to keep living on because he’s clearly meant for something

After the seraphim reveal: does he have free will?! How does he grapple with this? How does he live in a way he can be proud of?

And lastly

Sam gets his powers back CAUSE THATS HOT

where tf did they go????

he got them from Lucifer?????

sleeper agent??????

Sam is The Chosen One

Accepts that he is More Than Human and to celebrate all parts of him

Lucifer and Sam friends?? Work together????

Sam needs autonomy in his choices/his life

If you compare these to the overall arc of TFW within the two stories, I think I got a lot of them! But you’ll also note a lot of these things aren’t concrete goals that are easily measurable (ex: Dean wants to learn to bake pie. In chapter 1 he starts a fire in the kitchen. By the end of the story he finally makes A Good Pie.) part of the lack of concrete milestones was why I felt it was important to tell Dean (and Cas’) story by going back to the point they meet, in s4! Dean’s gradual change towards his feelings for Cas, his relationship to Sam (heavily influenced by the s7 events of this fic) and then his own relationship with himself were such slow burns that I felt it would be a disservice to try and cram a change like that into a timeline like “1 year”.

I felt like these subtle changes and adjustments actually felt a lot truer to life-- people often change in very small, gradual ways over time, even without realizing it and often times not consistently! If only we could all gain skills like the sims, where we can easily level up and remain at that high level of performance!

So the Guy Who Ate Satan, A Celestial Nuke that Developed Sentience, and Dean walk into a bar…

Sam’s story in Spn The Show has always been a ‘chosen one’ kind of narrative. Sam is living with one foot in the realm of the monsters, and I wanted to bring that back full force! It really makes sense for him that he should only continue to grow in power, might, and magic!! As the story progresses.

Cas also got a power up! I do desperately love in the show that he was kind of a grunt/nothing angel, and so even when he defected to TFW he was a huge help for them, but in the scale of things he was an annoying fly to most other angels. It really worked for the underdog story of s4/5. In this I wanted to give him a power up, and originally it was actually going to be close contact with Sam that eventually changed Cas into something unknown (you can still see traces of this in ch34 of TBAM, where Death remarks ‘Castiel could be [Sam’s] first creation’. But for a combo of reasons: how Sam’s magic needed to have intent, the entire concept of free will and consent, and how much I wanted Dean and Cas to have their effect on each other, I decided to go with the route that Cas has actually always been something angel-adjacent rather than becoming something new. TFW/Supernatural has always been about free will and making your own story, so I amplified that with Cas.

Dean has always been A Normal Guy, which is part of the appeal of him and Sam (2 normal dudes!) taking on the Very Not Normal. As explained above, Sam’s story is ‘normal guy finds out he’s the chosen one’ and so, in a story about very large concepts and huge monsters and acts of magic, I felt it was very important to keep Dean as normal as possible. To the point it became a running gag to me, personally, in that ‘no matter what cool shit happens around him, Dean has to stay as Just A Guy’. And it’s a very humanizing role that allows the story to have the scale it does!

What were the most important themes in your story?

Sam’s Autonomy

I wasn’t even going to include the plot about Lucifer’s death in this story— that was going to come up in a later story, actually! And rather than Sam having ate Lucifer, the original idea was that they’d become a SamandLucifer entity (this harkens back to a concept I wanted to write when Swan Song first aired).

That storyline would have involved a lot of mental ‘Sam and Lucifer discuss what it means to live, which one of them is more worthy of life and if they do deserve to destroy the world for the pain they’ve been forced to go through, just to create the dichotomy of good and evil for everyone else’ discussions. There would be a lot of talk about how Sam hates and fears Lucifer for the pain Lucifer put on Sam, how Lucifer hates Sam because he and Sam are the same but Sam’s brother loves him anyways, etc.

Ultimately that was scrapped because Sam’s entire story in the show is always about how the world and everyone around him manipulates him and that he never actually gets to make choices about his own life or body that aren’t influenced or part of someone elses’ design. And that always bothered me that Sam was never allowed to be himself without having to be ashamed of it, and I wanted to make sure that Sam’s triumph of being proud of himself/proudly choosing to exist (again) was evident in his story

In the end I needed Sam to have this visceral win over his tormentor. As the story shows, in this case Lucifer was abused and put into a position where he was incapable of empathy and could only express himself in violence. Sam even understands this! But it doesn’t change the fact that Lucifer tortured Sam in unimaginable ways for thousands of years.

With that in mind I didn’t like the idea of Lucifer and Sam having “co-ownership” of their new identity, so I made the choice that Sam had to be the survivor. This tied in well with Sam’s new crusade to restore free will to the universe, because he’s breaking the narrative of his own story!

While Castiel wasn’t a pov character, his own autonomy and free will was equally as important. You’ll note that many, many paragraphs and conversations revolved around that theme and that in the end Cas followed himself (and love!) which ensured his freedom of self <3

The Brothers are WEIRD PEOPLE!!!! And Codependent to a Worrying Degree, but It’s Also How They Survive

It’s very hard to show “unusual” relationships when you’re writing from the pov of the two people who don’t think there’s anything weird about their relationship. Sure, they say ‘yeah it’s probably weird that we still share a bed’ but that’s kinda more in line with ‘I had a nightmare and I want to be close to the person who makes me feel safe’. Hashtag normalize co-sleeping when you need it!!!

From there I did try to point out how the boys have a weird perception of lifestyle in the little things they did.

From thrifting everything from clothes to appliances to books (thrifting is a valid lifestyle! It’s incredibly handy when you’re on a budget.)

To never actually having condiments or knowing how to use a dishwasher cause they’ve lived in a car, a motel room, or squatted in old houses their whole life.

I tried to have them wear each others’ clothes or casually swap things as much as possible. They live out of each others’ pockets!

Also the brothers are just weird people!! It’s hard to show from their pov, cause they don’t know how far off from normal they are, but like…

Everything about Sam and Amelia was NOT right like holy shit those two were wilding in their grief. They are very lucky things worked out for them and that they got to be hashtag Weird Girls together

Dean explicitly, in the story, gets horny after killing stuff!! Violence has done a number on his psyche and he’s gotten some wires crossed that maybe shouldn’t have been, or maybe could be worked out in a safe space but… uh… how likely do we think Dean is gonna go find a safe space to deal with any of his shit???

LOVE!!! Love is truly what this whole story is all about

If you’ve read the stories, you know how much emphasis I put on love. Love is the strongest force in the Spn Universe! It’s what averted the apocalypse and saved the world (Swan Song), it’s what created free will (Cas’ entire arc!) I love love!!!!

I went out of my way to not put any definitions on platonic love vs romantic love because I think love is love is love and how you express that is the difference. Neither is more powerful than the other because LOVE is powerful!! Sam and Cas are the most important people in Dean’s life and he loves them equally! He shows this by giving Cas kisses and stealing Sam’s socks.

It’s a personal pet peeve of mine when I have to hear explanations like ‘I love you, like a brother’ or ‘I love you, but like, as a friend because I’m a lesbian and you’re a man’ etc etc in media. If you have to continuously define how your characters love each other, then I don’t think you’re doing a good job of portraying their relationship. So you’ll see that I never put those parameters in any conversation. Dean DOES muse that he loves Cas differently than he loves Sam or Bobby, specifically because there is a romantic and sexual tone that his feelings for Cas takes, but not because he loves Cas more or less than he loves Sam or Bobby.

Which means, if you haven’t realized it yet, the Series + Fic Titles are meant to be a complete sentence because the power of love IS the thesis of this series:

The Love It Takes To Exist Again (Sam’s journey!)

The Love It Takes To Become a Man (Dean’s journey!)

The Love It Takes To Destroy a Man (TBA)

And now for fun stuff. Behind the scenes!!

What’s Something People Probably Don’t Know?

The demonic fungal/hydrothermal vent growth on Sam’s arm was thrown in literally as I was posting the chapter because I had just finished a 48 hour cram session of writing a report on tube worms for an ecology class (I was chanting my tube worm song as I wrote it) and it ended up being a HUGE hit with both readers and myself. But it was so last minute I had trouble fitting it in more throughout the rest of Sam’s story!

Cas’ orders? That may or may not have bound him to Dean and removed his free will? Were written into Sam’s story and I went ‘oh SHIT that’s compelling’ and then left them there as a ‘guess I’ll figure that out when I get to Dean’s story lol’

Originally Dean and Cas were supposed to get together after having their souls bonded, and have been in a UST limbo the entire time before that. Mostly because I think the entire concept of ‘we just got married of the soul I guess we should try dating?’ is very funny. CLEARLY the two of them were way more eager to fall in love than I anticipated (thank you Cas for your honesty) but you can still see shades of this original idea here and there (especially in ch35 of TBAM)

I never intended Dean and Benny to connect so well!! Benny was going to reunite with Andrea, she was going to live, and they were going to go off into the world and leave the story. And, uh, here we are. I’m still debating if I need to adjust the relationship tag or not haha. Polyamory is fun, especially when I was planning for Sam to be the polyamorous brother...

Speaking of, I can’t believe I forgot about Sam and his sexuality! If I rewrote TEA I would have had Sam contemplate more on his lack of sexual appetite due to trauma, up until he meets Benny and he gets to rediscover how he wants to be a sexual person

Many of Sam and Dean’s absolutely stupid sibling conversations were lifted near-verbatim from conversations I’ve had with my siblings

And lastly...

Dem where’s Kevin????????????? Where is our sweet baby boy????????

He’s SAFE!! He’s in the Hunter pipeline somewhere cause Sam handed him off to Bobby’s people. He and his mom are safe and at some point they probably got rib sigils like SalmonDean did against angels, but for demons. I didn’t have room in this story for him!!! But my baby boy is SAFE and I want to get him back to university because it’s WHAT HE DESERVES!!!!

To that point: god there were/are SO many characters that I just didn’t include in the story so far because I didn’t feel comfortable including them without stalling the story for them. To that point: pretty much everyone who is alive/dead in s8 is that way in this story, except Bobby who gets to live.

[Check Out Part 2 for reader questions!]

#the love it takes series #to exist again fic #to become a man fic #dem speaks

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olivinesea · 4 years ago

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Here but I’m Gone

a/n: I had a Hotch-thought about where that hand thing started and then I wrote something! It is a little bizarre and very imperfect but oh well. Only 1k words so it’s like a small snack. Implied abuse I suppose but nothing graphic.

The exact memory of his fingers being crushed had been lost. There had been yelling and crying and pain, most certainly pain, but unfortunately there were too many memories like that for those to be helpful markers. Had it been an accident? It was possible. The distinction between accident and intention blurred with each carefully recounted story. When he was very young, his mother made a game of it. “Tell me how it happened,” she’d prompt, except in this game none of the words meant what they should. Then she’d have him repeat after her, exactly how it did not happen. He would say it first for practice, then for consistency. If you played correctly, the repetition eventually made it true. The key to belief was the inversion of meaning. It wasn’t lying, only a message lost in translation.

He wasn’t sure if he had been leaving or returning, only that before he could make it all the way there, the door had been slammed shut. Though the events surrounding the moment are long gone, the image of his hand without fingertips is crisp. Unnaturally abbreviated and frozen, the clarity of that instant made it a touchstone in the uneven landscape of his childhood story. What he did remember in detail were the months that followed. The time spent watching his small, dented fingers swell and then darken, the nails turning black where he had been caught.

He can remember days later, the world spinning indifferently onward, forgetting himself and gripping a pencil full force. His hand dropped it immediately, insulted by the carelessness. He stared down at the uncooperative digits, then experimentally pressed down on a bruised nail. He had gasped at the sharp pain, quickly releasing the pressure. But then he did it again, a little longer this time. Again and again he repeated the test with each of his fingers. The three in the middle had sustained the majority of the force and produced the clearest pain. He imagined that pain as a needle, drawing all his focus to its point. Everything else faded out, not real enough to be a part of this revelation.

He discovered he could use this powerful focus to his advantage. When the tension at the dinner table crackled like an electric storm, he pressed his thumb against his injured middle fingernail and like a wish fulfilled, his mind slipped out of the present. Neither parent noticed, his wide, unfocused eyes trained down on his untouched plate. Their currents of anger snapped uselessly above his head, no longer a lone figure on a hill. Instead he sank into the controlled discomfort, an unusually docile cousin of the chaotic rage that permeated his home. He built a room inside that sensation. It was simple, austere maybe, white walls and white floors. It could be blinding but so much more preferable to the dull purpled-blues and black-reds of reality. He visited this place often: when the yelling downstairs became one sided, when staccato footsteps hunted in the hallway, when he couldn’t remember the correct answer to “What’s your problem?”

He thought he had always been nervous, though not inevitably so. In a different set of circumstances his sensitive reflexes would have made him a celebrated competitor. Instead he was a trapped animal, neurons rapidly firing information to brain, all desperately repeating the same instruction: run. Convinced he would listen to their overwhelming plea, his systems started doing the work of escape. His heart beat faster trying to pull him forward with its own momentum. His lungs dragged in as much air as possible but were never satisfied, each gasp trying to outdo the last. Every muscle strung so tightly he could hear the tendons singing. He didn’t move though. He pressed on a fingernail, outlining the nail bed with his thumb. It released the tension like a steam valve. Now he could be still, now he could do as he was told. Slowly the fingers healed, the damaged cuticle growing out into shadows like tired moons, disinterested in rising. The bruise black became algae brown became waxy yellow.

One day he made a mistake and knew the correction would not be easy to endure. Seeking to hideout in his stolen space, he applied a now-familiar gentle pressure only to have the entire fingernail pop off. He looked at his hand in horror, suddenly as foreign as first sight. Where a whole nail had once been was something small, thin, the pale pink of new skin. It was still a fingernail but only half the size it should be. He felt it gingerly and found there were deep grooves in the plate, no longer smooth and perfect. Recognizing an underlying truth exposed, he brushed it with his thumb again, memorizing the new topography. He was so caught up in the discovery that he didn’t flinch when a familiar crack echoed through the house.

He wondered if the other nails would fall off as well, revealing more of the gnarled creature he knew lay beneath. One did not, but one did. He was content with two out of three. The nails grew larger but never lost the ridges. He felt them frequently, assessing their shape, their progress. The months of seeking escape this way created a habit he was no longer in control of. Each time his anxiety rose, his fingers curled around themselves, seeking comfort in a finely cultivated sensation.

He managed to grow up whole and left as much of that house and those memories behind as he could. He didn’t have to hide in an imaginary room, only able to protect his mind, and that just barely. He was the one to fear now, but he did his best to not let that be the only truth about him. He didn’t realize he still rubbed his fingers instinctively when he was uncertain. No one would ever point this out to him. Everything else about him was so controlled that they noticed, they wondered how he didn’t notice. They won’t know how it started or how he would find a twisted humor in this lingering piece of a carefully excised childhood—that his secret comfort has become his only obvious sign of unease. They leave it be because everyone is allowed a little escape.

#Criminal Minds #aaron hotchner #hotch #writing

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mbti-notes · 4 years ago

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My esfp brother has recently started saying racist things, talking about how white men have it worse in this country than anyone, etc. I’m having a hard time dealing with it. I’m intp, so my instinct is to counter with a factual argument, but this is not an effective way to communicate. For one, he tends to see challenges or contradictions as personal hostility, even when they’re gently stated, and a debate usually ends up with him digging in, raising his voice, and resorting to statements (1)

[con’t: like “It’s just my opinion” or “You just hate me no matter what”. Secondly, he has a slippery relationship with facts and not a lot of philosophical integrity, so logical debate is pretty pointless; sources that confirm his argument are real and ones that don’t are Fake News, and he’ll also freely change his line even if it contradicts what he was arguing yesterday. For these reasons, our family doesn’t usually take the bait when he picks fights or says something outlandish (I think in our interactions, he’s motivated to be racist because he likes to provoke and knows it’s one of the few things he can say that will consistently get under my skin, and also because he thinks I look down on his alt-right friends (he’s right, though I’ve always tried to be diplomatic about why I find that worldview disagreeable). I don’t want to think my brother is a lost cause, and I don’t think he’s as invested in the ideology as some of his friends are at this point but I still don’t know what if anything I could do to get through to him. Any ideas?]

I often hear people say that they hope to have “a reasonable debate” about controversial issues, but then what they proceed to do is not debate but rather squabble, lecture, preach, proselytize, compete, or browbeat. You know that constructive debate (i.e. one that reaches a satisfying conclusion for both parties) can only happen under very specific conditions, including:

good faith: the willingness to give fair consideration to the opposing viewpoint as well as the willingness to allow fair critical examination of your own viewpoint

higher purpose: a commitment from both parties to seek out the truth and put it above personal ego and pride

critical reasoning: the ability to carefully construct and deconstruct arguments such that one can draw logically valid and sound conclusions

I’m not making any statement about you or your intentions. I think you’ve shown patience and restraint. I’m simply pointing out the fact that most people are not prepared to have a proper debate because they do not meet the conditions for being able to debate well. This matters in the sense that you should ask yourself whether it’s worth it for you to engage in debate with someone who is obviously not debating in good faith. This also matters in the sense that, if you are the person who isn’t able to engage in good faith, then you might be part of the problem in creating and continuing the conflict, despite whatever good intentions you possess.

I think many of us know someone who likes to be contrarian for the sake of being contrarian. Perhaps they like the drama of provoking people. Perhaps they like the feeling of being “special” in going against the grain or belonging to an “underdog” tribe. Perhaps they hide behind victim mentality (i.e. claiming “persecution” of their beliefs) because they don’t want to feel responsible/guilty for their ignorance or complicity. If someone is irrationally motivated to hold on to their beliefs, they’re not open-minded, in fact, they might even “debate” you just to use you as an excuse to double and triple down on their beliefs. It would be nice if everyone in the world were rational and came to their beliefs rationally and listened to reason all the time, but humans are just not that simple.

People at low levels of ego development have a very difficult time admitting when they’re wrong, often due to misplaced pride. Also, Fs use their moral beliefs to define who they are, which adds an additional obstacle to changing their mind. ESFPs are not particularly serious people, and that can be an advantage because it means that they are mentally flexible in terms of easily getting bored with any one idea. If you are right that your brother is only “flirting” with these beliefs and doesn’t actually believe in them wholeheartedly, then you should be careful about pushing him the wrong way. You don’t want to push him into a position where he is: 1) too embarrassed/ashamed/guilty to admit to being wrong, and 2) too personally identified with these beliefs to change his mind.

Fs are often insecure about their intellectual abilities, so perhaps it is difficult for you to understand how they feel when they have to admit to being wrong - it is a vulnerability for them that serves to harm their self-esteem. Different types have different vulnerabilities, but most people don’t like feeling vulnerable and do what they can to avoid it. Therefore, if you want to change someone’s mind, do it in a way that lets them maintain a sense of dignity in their vulnerability. In other words, make it easier rather than more difficult for someone to change their mind by being sympathetic (e.g. by creating a “we all mistakes” social atmosphere) rather than indulging the desire to humiliate or punish them for their mistakes.

If he’s just trying to provoke you to get your attention, then he’s not interested in debate, right? It’s a “game” that he plays with you, on repeat. ESFPs are mostly about having fun because they are easily bored, so perhaps this is his way to create some interesting drama between you, though it isn’t fun for you. If you take it too seriously, you push him into defending his beliefs, which has unintended consequences. Studies have shown that simply being asked to defend a belief for a few minutes leads people into identifying more strongly with it. Therefore, avoid putting him on the defensive too often, otherwise the beliefs get gradually subsumed into Fi, and then he really won’t budge.

Also, note that he may genuinely feel that he has it tougher as a guy, etc. Something that people often don’t understand is that inequality hurts everyone. It doesn’t hurt everyone equally, but it does hurt everyone in some way. For example, men also suffer from rigid gender expectations in that they are extremely limited in the ways they can express their identity. Maybe this is the point he’s trying but failing to make. If so, you’d do better to acknowledge the feeling itself while not agreeing with the subsequent conclusion/belief. Of course, you know that feelings do not equal fact, but he doesn’t, because FPs treat feelings as facts. You coming in to counter him with your facts doesn’t work because you’re ignoring that his beliefs don’t come from "fact” as you define it, rather, they come from his personal feelings. Instead of letting him bait you into conflict and invalidating his feelings, tell him that you respect his right to have his feelings/opinions, though you disagree.��

Explicitly establish that you agree to disagree, and you stop playing your role in this game of his. Show people that you understand why they have their beliefs (despite them being wrong), or let them know that you will continue to love them (despite disagreeing with what they stand for). Then they have little reason to feel defensive and hold even tighter to their beliefs. When people approach you with the attitude of “winning” or getting the upper hand (though you have nothing in particular to lose), you should NOT join in and try to get the upper hand over them, because this will make it harder for them to change their mind, since they will perceive it as being “defeated” and then feel “inferior”. Leave people their pride by remaining as neutral about them as possible, then they are more likely to calm down and be reasonable.

Remember that Fs value relationships and, deep down, they often want nothing more than to be validated and loved. If they have psychological development issues, they may choose the wrong methods for seeking love and attention. In that case, it’s up to you to be the bigger person if possible and avoid playing their game of “bad attention is better than no attention”. He already knows your beliefs at this point, so there’s no need to debate him in circles over and over again. You can simply say that you disagree and leave it at that. If he suddenly shows the willingness and capacity to examine his beliefs, then by all means guide him. But, until then, don’t give him an excuse to engage in tribal mentality and fashion you into his enemy, especially when he’s already feeling “aggrieved”. Focus on the fact that he’s your brother and you care about him. Remember that “to err is human; to forgive, divine”. From there, your approach should be empathetic enough to create the space that is necessary for him to change his mind without losing too much face. It’s hard, but sometimes you have to admit that you can’t help people who don’t want help and/or you might not be the right person to help them at this time.

Yes, some beliefs are quite morally abhorrent and difficult to stomach. But the fact is that they exist out there. The point isn’t about eradicating them, it’s about trying to discover the best strategies for reducing the number of people who believe. One subject I came across in my studies was about people who had been politically radicalized and then later de-radicalized, e.g., incels, terrorists, white supremacists, etc. If you are interested, you might benefit from reading a book or watching a documentary about why people get radicalized so that you understand how it happens and how to avoid exacerbating the process.

#intp #intp relationships #conflict #debate #communication #empathy #relationships #politics #ask

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itsclydebitches · 4 years ago

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I know you say that the Adam stuff in v3 was a good example of visual storytelling in rwby, do you think there is anything else, in your opinion

Yes! Let’s praise poor RWBY for once lol

I’m sure there’s a lot that I could choose from but that would require me combing back through old content to jog those memories. So let’s stick to Volume 7. Overall, I quite enjoyed the JNOR vs. Neo fight. There are plot convenience issues (the stupidity of having the group carry the relic around instead of putting it in the vault) and choreography issues (I’ve heard a number of complaints about the slow-mo and how Jaune and Oscar don’t integrate well with Ren and Nora), but the fight does a good job of conveying a lot of information visually. It’s one of the few moments in the volume where I felt like RT was successfully a) using the medium to its advantage and b) achieving more than one thing in a single scene.

Warning: Here be lots of screenshots.

First, I want to acknowledge that lately RT has been demonstrating a talent for horror-esque writing. RWBY obviously isn’t in the horror genre, but via the Apathy we saw that RT can crank up the creep factor when they choose to. This scene does something similar (though admittedly much more subtly) and it starts with the opening shot of the destroyed guards.

It’s a simple thing, but note how dark the room is, especially compared to the hallway outside. This is supposed to be a terrifying moment. The team has just arrived looking for Oscar and have instead found a disaster zone. There are scorch marks on the walls. The guards aren’t just lying powered down, they’ve been hacked to pieces. Though AIs without aura or souls, they’re designed to look like people and at first glance it definitely seems like we’ve got three bodies decorating the bedroom. Nora’s panicked cries tell us how bad the situation is, but we get that loud and clear from these visuals first. Also note how, despite being lighter, the hallway is dominated by a very deep red. I’d actually say to a certain extent this is a mistake - the pink/reds of the environment make it easy for Neo and Nora, with their predominantly pink costumes, to blend in too well during the fight - but in regards to color associations we get some nice shots throughout that convey danger and high emotions.

When “Oscar” comes on the scene we know, instantaneously, that it’s not Oscar. Not just because we as the audience know that Neo is off doing something nefarious, but because via the language of film/television that’s not how you re-introduce an established character. You don’t hide their face like that unless you’re about to reveal something - like the fact that that’s not really them. This is also the first of a number of medium closeups on the relic, putting emphasis on it first because someone currently holds it who should not have it, and then as a means of reminding the viewer what this fight is about.

Via some great attention to detail, we see again the clear wrongness about this “Oscar.” That’s not how Oscar stands. That’s not how Oscar smiles. More than just animating him differently, this shot pulls from those subtle horror tropes. He has the dead-eyed look of a doll or a supernatural being that immediately makes the viewer (if not Nora) go, “Wait...” It helps that Oscar is a short boy with dark hair. Put him in different clothes and he could play any number of possessed kids.

With Neo’s deception revealed, we get what the fandom knows is not good visual storytelling. AKA, Oscar charging down the whole length of the hallway while Neo just stands there and lets herself get hit. I don’t need to re-hash how stupid that was. What I like a lot more is the subtleties in how she communicates given that, obviously, Neo can’t rely on any dialogue. Coming out of the hit she immediately has her umbrella leveled at the group and pulls out the blade to communicate, “Yes. I’m taking you on.” The neat choice though is that she brings the umbrella down to do it. She takes her weapon off the group, if only for a moment. Jaune has just gotten done insisting that she should give up because it’s four to one. The blade says, “I’m taking you on” but lowering her umbrella likewise says, “I’m so confident about taking you on I’ll even make myself vulnerable for a second.”

Which retroactively makes her getting hit like that even stupider but it’s fine we’re moving on.

During this time we also get a lot of insight into Oscar. Check out how utterly bedraggled he is, showing us how tough the initial fight with Neo was and how lucky he is to have escaped. He clutches the relic close to his chest and stares, scared, at the rest of the team. Oscar hasn’t reached a point yet where he instinctively draws his weapon and prepares to defend himself (indeed, he didn’t even have his weapon out during that initial encounter. That’s one hell of a rookie mistake). He’s still a terrified kid who hopes he won’t have to fight at all, literally hiding behind more powerful friends. This is all great characterization, the only problem is consistency. Nothing about Oscar has been consistent. One moment he’s holding his own against Lionheart and insisting he fight Hazel. The next he’s getting his ass kicked by Neo and cowering at the prospect of more. One moment he’s positively done in by these fights, horrified, scared, unsure of himself. The next he’s confronting the general of a kingdom with all the wisdom of Ozpin. This guy:

and this guy:

Exist about fifteen minutes apart. Because though RWBY is great at visual storytelling within each scene, they don’t keep it consistent from one scene to the next. Which is why Oscar is (accurately, imo) animated as an inexperienced kid in Scene #1 and then inexplicably becomes a wise old mentor in Scene #2. Not because anything occurred between Scene #1 and Scene #2 to create that change (let alone such an extreme change), but only because the show suddenly wanted Ironwood to look like an unhinged character. How do you achieve that? Not by having the guy he’s talking to act as winded, wild, and emotional as him, but by having Oscar speak calmly, rationally, softly, sounding oh-so-persuasive so you don’t listen to the actual words he says and how nonsensical they are (you’re as bad as Salem). Instead, you pay attention only to the visuals (Ironwood looks crazier than Oscar so he must be wrong). Ironwood is a great example of how RT sometimes tries to get visual storytelling to outweigh basic logic/what’s been said on screen.

Anyway, I’m getting off track. The fight begins and I do still love how Oscar is depicted here, even if it doesn’t align with what we get later. The moment that umbrella and cane cross was great because who doesn’t love visual symmetry? Oscar grabbing Neo is wonderfully in character because he’s barely trained! He’s a kid! He’s flying by the seat of his pants and going with whatever vaguely successful act pops into his head. The absurdity of, “I’m just going to grab her” is tempered by Oscar’s furiously determined expression as well as Neo’s brief look of shock. It works up until they realize what Oscar grabbed was just a copy.

I mentioned early that JNOR often doesn’t work well as a team, unless it’s specifically in the context of Jaune giving orders and the others executing them. Oscar and his lack of integration is obviously exempt from this, being the newbie both to fighting and this particular team’s dynamics, but Ren, Nora, and Jaune have no excuse. The first half of this fight is a good example of what I mean. We see Nora attack. She’s tossed aside. Then Ren attacks. He’s slammed into the wall. Oscar attacks (umbrella vs. cane) and it’s only at the last second that Jaune arrives with his shield to stave off a blow that would fell him too. Why is everyone taking turns here? They know none of them can beat Neo one-on-one and Jaune just said that their victory lies in it being four-to-one. So why separate out all the attacks? Arguably we can read this as a major flaw of JNOR’s and visual setup for something they’ll have to overcome later. In reality though I highly doubt this was deliberate on RT’s part, leaving this as bad visual storytelling (in that it makes the characters look stupid) as opposed to good visual storytelling (JNOR will realize this flaw and work to correct it).

After Neo disappears we get a chase through the hallway that does a great job of showing us precisely how weaker Oscar is compared to his teammates. He doesn’t have their stamina, breathing heavily and falling further and further behind. At one point (screenshot #2) he arrives just in time to find the team turning back in the direction he’s just come, showing not only how he can’t physically keep up, but also his place in this team/the group. He’s literally not with them. Anyone who has followed my blog knows my thoughts on how the group has treated Oscar and if (again) I were inclined to think that RT was aware of that treatment and working to integrate it into the show with the intent to resolve it, this would be another great detail. As it is, I think Oscar as a character is just continually going to get the short end of the stick. In particular, the crane shot shows us exactly how far behind Oscar is. The others charge ahead without him, not caring where he is or if he can keep up. Which leads to this.

Oscar rounds another corner and they’re gone. Nowhere to be seen. If anyone had the thought, “He’s not that far behind. It’s not as bad as you’re making it out to be,” Ren, Nora, and Jaune were clearly moving fast enough to round another corner and leave Oscar stranded. Here those subtle horror elements come back into play, particularly the maze-like design of the corridors. The only unique marker we get is the info board, otherwise it’s all identical hallways, housing a killer, with Oscar now left alone in it. The long shot makes him look small and emphasizes his isolation.

Then he’s attacked and it’s suitably scary. The hand over his mouth. The dark room again. We only get the briefest glimpse of Neo-as-Nora before she attacks, but that one second is another excellent moment of animation. Nora has never sauntered away like that. Even the quickest look in an action-driven scene is enough for the viewer to go, “Nope. Not Nora.”

The attack itself is the one moment where I think the slow-mo serves a good purpose. We might know (via that quick shot, how characters act (Nora is unlikely to pull Oscar aside like that) and expectations for how a story functions) that that’s not Nora, but Oscar doesn’t know that. The slow-mo gives us - and him - the chance to focus on Neo’s eyes changing, that stomach-dropping moment of realization, and we see Oscar’s horrified shock in the close up on his own eyes. Though RWBY doesn’t always grapple with the emotional implications of every encounter, I think it’s worth noting that this can really mess someone up. Oscar thought he was safe with an ally and had the rug pulled out from under him. He will now forever have the image of Nora attacking him, regardless of the fact that it was really “Nora.” Jaune likewise exclaims in horrified surprise when “Nora” charges him down the hallway. The ability to turn into someone else is an advantage that Neo knows how to use to its fullest. Not just in regards to spying, but how to unsettle your opponent too.

Waiting for the day she turns into Pyrrha ngl.

We see that same work when she encounters Ren. Admittedly, I’m torn on this one. If only because I agree with others when they ask, “Doesn’t Ren spar with Nora all the time? He should be able to hit her.” The context of “Barely trained kid thought he was with a friend and then watches said ‘friend’ attack him” is not the same thing as, “Much more experienced fighter realizes the moment ‘Nora’ rounds the corner with an umbrella that that’s not her, has no doubt hit her numerous times in the past during training, yet for some reason can’t bring himself to hit her now.” It... doesn’t quite work. Here, I think RT does a good job of showing us Ren’s distress, it’s just that this is paired with a very bad job of establishing what that distress is and why it exists. This is what we needed to hear about during the party conversation. If Ren and Nora had actually talked rather than just kissing, we might have understood why Ren is suddenly incapacitated here when “Nora” looks at him sadly.

As said though, the emotion of the scene is great even if we don’t quite know where it came from. Neo’s pitiful look, Ren freezing in shock (check out the red there too), his dumbfounded expression as he just sits in the middle of a battle, and when we come back to him we see the tear tracks. Overall, this scene does a great job of incorporating lots of information beyond “Team JNOR is fighting Neo for the relic.” We just need to connect that information better to what came before this scene (Ren) and what comes after (Oscar).

Finally, Neo slams into the other guards and transforms again. I love this final shot of her, both for how she moves and the implications of the transformation itself. Meaning, Neo is a professional. She had a job and she did it. Once the relic was in her possession and she had an escape route, she took it. Neo doesn’t get distracted by taking revenge - these are some of the people we fought against when Roman died - or trying to take them out to please Cinder, or even just going after them because she’s Evil. Neo is focused, no unnecessary actions taken, and that, just as much as her semblance and skill, is what makes her dangerous.

#Anonymous #rwby #mymetas

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nightwingshero · 4 years ago

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Full bingo angst answers for Wren please! 💋💕

Thank you, baby!!! Kinda hitting it where it hurts today, huh?

TW: Mentions of self-harm, alcohol abuse, and child loss...just kinda...it’s angsty. Sorry guys.

💙 What would your OCs last words be (or if they’ve died what were their last words)? What were their final moments like? How did they die?

Probably...man, knowing Wren, she’s gonna go down fighting and defending a loved one. She...Wren will use her Wrath to draw the attention to herself, even if she knew it was a battle she wouldn’t win--sacrificing herself to give the other person a chance. Her last words...would be deep and meaningful, something that would hit hard. She would either quote something with a deep meaning or something so pure from the heart...I could also see her saying “Free...I’m finally free.” Or maybe being excited to see her mom again.

💧 What’s the worst pain your OC has ever been in? Mental or physical? What was the cause of this?

That’s a toss up between her father blaming her for her mother’s death/being mentally and emotionally abusive or the car accident and losing the baby. Both had Wren spiraling in very different ways, both still giving her nightmares to the point of insomnia some nights. Then also losing John later in life. It hits her hard to know that her life partner died sacrificing himself for their son, and that he’s just...gone. It’s hard for her to bounce back from it.

🔷 Has your OC ever had to leave something behind or abandon something they didn’t want to? Have they ever had this happen to them? How has this effected them over the years?

There’s a locket, a gold locket with a tree on it, that her mother used to wear before she died. It was one of the things she held onto dearly after her mom died, because it was pretty much all she had. Her father got rid of most of Lily’s things, including the piano, and so Wren clung to it through her childhood, drawing strength from it. It “mysteriously” disappeared after her father found out about it, just a few days before she left for college. In turn, she stole her mother’s ashes to scatter them, but it still haunts Wren. It had a picture of the two of them together.

🔵 Has your OC lived through any particularly traumatic events? Does this event (or events) still effect them or have they tried to bury it? Is there a reason why this event is so traumatic for them?

JFC, where to even begin? Honestly, the cards are stacked against her in the worst way, I feel for her. The biggest ones would be abusive childhood, losing her mom, unhealthy relationship with college professor, the horrible car accident, the drinking problem that followed...Wren tries her best with it, truly. It still effects her, mostly through panic attacks (triggers) and her nightmares. She will fall into depressive episodes as well. Most of the time, she will bury it though, like, she’s guarded--if you’ve been through some shit, you could probably pick up on it, you know? But with anyone else, you can’t tell. She hides it well.

❄️ What is (one of) their biggest regrets or biggest mistake they’ve made? Is there anything they can do to fix this or is it so far gone there’s no point anymore? Is this something they dwell on a lot?

Wren...Wren is on the path of learning what she can and can’t control, and it’s...going as well as it can, because she has such a control issue. She tries to tell herself to not dwell on the things she can’t control...but the thing with Wren is that she needs to feel in control. The biggest ones would be the college professor and the path she took after the car accident. Wren hates giving parts of herself for it to be taken for granted or advantage of. She also sees the alcoholic chapter in her life was a little too close to her father than she cares to admit. But well...you can’t fix the past.

💦 Does your OC have any self destructive habits? Addictions? Urges? What is the cause of these or the reason for them?

Wren used to have a drinking problem, mostly because of an emotional thing versus having to have alcohol. She just used it as an outlet, but most of the time, it just lowered her walls and made her more emotional in a self-destructive manner--depressive, angry, and antagonizing. She would start fights, which is why she got in trouble and got her shit together. Wren internalizes too damn much, overthinking and jumping to conclusions based on her own observations because she’s not one to trust someone else’s intentions or words. While Wren isn’t judgmental, she’s very open minded and accepting--she can be quick to judge in cases where you’ve invoked her wrath. Did some shit when you were young? Who hasn’t, I still care and accept you. You just crossed and betrayed me? I’m going to make it my personal goal to make life hell for you-- She also has a tendency to use her wrath to push people away and then close off, hurting them both in the process.

🌊 What is your OC like at their most depressive? In the middle of a breakdown? Having a panic attack? What are they like with dealing with anxiety and stress?

Wren during a panic attack starts with her not being able to formulate actual coherent sentences because her mind is going so damn fast, and her hands shake. Her muscles will stiffen, making her super tense and she shuts down mentally. Most of the time, she will curl up on the ground (in the corner of a room, etc) with her legs hugged to her chest, forehead against her knees. Mostly to hide her face and to make herself as small as possible and to provide herself some sort of comfort (sometimes she’ll grip her hair, too). If someone catches it (if they know what to even look for), they can intercept and help kinda deter it. But Wren internalizes, closes herself even more, buys a ton of whiskey or wine, and just sits with her dark feelings. They consume her easily, which is why she usually tries not to drink when she’s down, it makes it too easy to spiral. Wren handles stress the best she can, but she internalizes that too. Anything negative has a chance of coming out in the form of wrath, so she can be a bit...yeah.

☄️ Does your OC struggle with their emotions and trauma? Do they find it easier to open up to strangers or those close to them if at all? Do they tend to hide their pain from everyone?

Wren struggles hard. Like, she has a harder time coming to terms or understanding the why behind everything, and has a constant struggle with her desire to change what happened that her emotions and traumas don’t fully get resolved. She’s so desperate to be free of it, but there are times where she’s holding her own self prisoner for it due to guilt and heartbreak. She will never open up to strangers, she doesn’t trust people easily, you have to have earned your way close to her before she’s confiding in you. She hides her pain (or tries to) from everyone, including herself. You have to actively pursue Wren and be supportive consistently for that to spill from her mouth.

📘 Write a sad journal entry, an unsent letter or short sad drabble. + bonus, give a theme!

A piece from Wren’s journal while going through therapy:

"I wish...it starts off normal, and it’s inconceivably misleading, but it draws me in anyway. Then...then its sneaking up on me, so before I know it, I’m in the deep-end, drowning in something dark and sticky, feeling as if it will become my second skin and suffocate me in the process. That’s when I start to hyperventilate, desperate and clawing to find the surface, but I can’t. I start crying, my chest constricting in panic. I turn...I turn and I see an open door, the inside is even blacker than what’s around me and I slowly start getting pulled back into it...and he just watches--laughing and taunting. I cry more, because there’s nothing else to do. Until the hand...it grabs me and yanks me back...I wake up then, screaming and panicking before the door slams shut. I take a shower once I wake up, because I can feel the hand, I feel the darkness on my skin. I don’t sleep most nights. Not anymore.”

🔹 Does your OC have any scars? What are the stories behind them? Do they have any mental scars? Talk about the effects of their trauma in general on their day to day life.

*Nervous Laughter* Scars....alright...so, Wren growing up would often resort to self-harm to cope, unfortunately. She avoided her wrists and opted for her inner thighs, aiming to hide the marks better. Once hitting college, she moved on from it, until the car accident. She started again once she spiraled, even using it a bit as she stopped drinking. It didn’t happen too often, just in major low points. She dropped it completely after she started going to therapy, learning to try and find healthier coping mechanisms. Wren’s traumas come out daily in the form of her having to be in control of herself and situation at all time. She’s the one driving, she makes her own choices, she sits on the outside in booths at diners and whatnot, having the option to leave when she wants. Wren hates feeling trapped and is super claustrophobic because her dad would lock her in the basement or her room for hours at a time. She buys a Jeep so she has the option to remove the top and the doors, everything in on her terms. You don’t touch her unless she wants you to, you don’t come visit her space unless she wants you to. Things like that.

#deputy wren blake #my ocs #answered #risenlucifer

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lilmajorshawty · 6 years ago

Text

Mercury In The Houses: Mental Space

Mercury In The First House: A rams Mind

(Zella Day - Mustang Kids Feat. Baby E)

The mind is quick, but can be lacking in future thought. the tendency to think of the situation as it is rather than what it could become is very present. The idea of “now” rules the head space which can cause a few short comings when it comes to planning. The “gun ho” perspective they have on their environment and those they interact with can be limitless in its potential but slightly limited in its afterthought. The mind is often the first thing people notice about these natives, That can be their mischievous nature, alert eyes, or their tiny squinted features. Smaller facial features and or eyes can be indicated by this placement of mercury. Their is a crude and rather overtly blunt nature to these natives but its very genuine and simplistic in its meaning that makes these natives very honest people at heart. mercury here can create pixie like features.

Mercury In The Second House: The Stubborn Mind

(Nav - Know Me)

The point A and B of matters is usually on their mind. very rarely will you catch them entertaining small chit chat as they prefer conversations with substance. They can have a melodic or rather pace by pace manner of speaking. The neck in some ways can be long or fragile. because of their easy link of sensory information and mental connectivity they are able to collect and store crucial facts and intel rather easily. That being said they’re a bit slower when It comes to learning and require a more hands on or physical manner of being taught as it means far more to their brains to have palpable information. They take time to make decisions and aren't the types to jump down the rabbit hole without “feeling” everything out first. Much like animals they can sense energy and vibes via smells, skin touch or even just their own hairs raising. The mind here is living off the 5 senses in such a way it creates its own 6th sense. These natives much like their Eighth house counterparts tend to love the lyrical aspects of rap, most can enjoy the sultry songs or something that embraces low sax and bass. for them the more sensual their realm the more of their mind they feel like sharing. make no mistake though, these natives are extremely independent minded and loathe anyone who doesn’t respect a stance they’ve chosen to take. It’s not so much a “my way or the high way” energy but rather a “you can feel that way, but don’t overstep”

Mercury In The Third House: The Scattered Mind

(Jacques Greene - Unreleased; Night Service Feat. Cadence weapon)

Mercury is often elated to be here, but for the native with the placement it can feel like mental gymnastics as every brain cell plays the audience. The mind in more understood terms is multifaceted. It has as many heads as the hydra and as many layers and intricate colors as the stars in the sky. The curse is that as vast as the mind is, it lacks grounding here. These natives can often hear audio from seemingly nothingness. a certain type of premonition like wavelength inhabits their mind subtly. The high vibrational effect of this placement can cause shifts and sudden thought burst sometimes causing the native themselves to write off some of their more outlandish celestial call back as either being too good to be true or rather too crazy to follow. Reading the intentions and emotional states of others is easy for these natives, this makes them great performers and chameleons when It comes to playing a “role.” but the draw back is that figuring out their own thoughts and feelings is a constant and ongoing journey for these natives. They can compact and isolate feelings and sensations which can make their speech and mannerisms seem “distant” or far away in a sense to strangers and even to those who know them. The mind is immensely adaptable allowing them to devour information quickly and use it just as fast. keep in mind the third house is half of the ninth house so despite their fast mind they can sometimes only scratch the surface of topics never digging deeply enough to make use out of it. Mercury here can make the arms fragile and a bit on the smaller side. Bodybuilders with this placement tend to get rather lean arms as opposed to bulky ones unless another planet rest in this house. This placement tends to create individuals with escape rooms from aspects of their personality, especially the darker sides which is why they can seem like different people at different moments and sometimes all at once.

Mercury In The Fourth House: The Quiet Mind

(Drake - Light up)

The mind here is rather sentimental at heart but can be rather overwhelmed with the psychic call back it receives from its surroundings. The tendency to become recluse or silent is mostly a response to the draining aspects of relating to others in a superficial environment. Mercury being so close to “home” makes these individuals crave authentic and deep relations with others. sometimes they can convey mountains of truths and pains in one symbolic phrase or sentence, while other moments they are unable to convey the deep intensity of their feelings into something as trivial as words. It can be quite suffocating and even heavy when these natives fall into one of their moods as being so heavily run by their heart they can often cause them to fly in-between moods, thoughts and feelings just as quickly. people around them can feel on edge or a bit unknowing when it comes to the feelings and desires of these natives due to how constantly they fluctuate. Outlets like music and poetry are very healthy ways for them to express the un-expressible. These natives on the onset can wear a rather aloof expression but the eyes themselves can seem sad or unavailable. these natives are keen readers of body movements and often learned from their parents in doing so. they tend to take sudden energy shifts, changes in tone or a emotional tension very seriously and cause them to instinctively act out in a defensive manner. Mercury here is self defensive as a means to protect the natives inner realm. these natives can fly between rational vs irrational constantly which causes them to on occasion lie about what it is they’ re feeling towards something even if there actions say otherwise. The manner of speech is moody and can sway between talkative to detached. the home life could’ve been busy and rapid. natives like this tend to have a highly talkative home life or at least on that was filled for better or worse with “communication.” the chest can be rather fragile or boney in both men or women unless another planet rest here. these natives can be far more talkative and scattered at home that they would out and about.

Mercury In The Fifth House: The Prideful Mind

(Neon Indian - Slumlord & Slumlord Re-release)

The mind here is in a constant groove. These natives tend to find a natural illuminance in their day to day lives no matter how hard things get. These natives tend to seek out stimulation even more so than most other mercury placements. in some ways they are searching for excitement whilst in others they are searching for the moment of inspiration and gull. to them life is one long tirade and if you can’t find a way to make amusement out of it, its a waste. they can be hard to read in many ways, because much like a lion their attention can shift and lapse quicker than you have time to blink. they crave acknowledgement and can easily grow bored the second they notice the tone in your voice is lacking in that delicious “oomf” they need. they’re very creative when it comes to hobbies and many with this placement adore books and quotes and often tend to pass on this mercurial nature to their children. They can draw the attention of rather brainy children and tend to debate with kids quite a bit. That being said romantically they can be either choosey or a wild card. they want to meet all forms of intimacy, but this “thought” can be fleeting especially if something more entertaining catches their eye, be it drama, art, children or a new fashion trend. so make sure if you’re fancying a mercury in the 5th you keep in mind how quickly the chase can turn into a solo jog. These natives can have beautiful backs as mercury creates a rather slow arch and increases the smallness of the ridges along the back. that being said the spine and back can be very fragile.

Mercury In The Sixth House: The Practical Mind

(TV Girl - Every stupid Actress)

This placement is what I like to call the sad gal/boy aesthetic placement. I’m kidding of course(please don’t take it seriously lmao) that being said this placement can produce a very somber and rather mentally pessimistic person. they tend to see the world in a far more untrusting and linear way then most, but can also feel the world in a way some of us could only dream of. the way they process information and navigate the world is physical in nature as they often need to experience the world, as if they’ve done it for the first time as some tourist from a far away land. The nerves tend to be bad here so often these natives tend to develop “time killers” or “nerve relaxers” be it reading, jogging, working out, smoking, drinking, sex or otherwise. they tend to place value in the consistent aspects of life and this can make them seem rather dull and dry to most people as they’re the few people who actually tend to place value in what lies there before them in proof rather than a feeling things might “be” as they want them to. These natives can seem like the bad boy or girl as many of them don’t actively support much of society or the norms people have in place. they conform and work in the silence but underneath that readily servicing mind they are in fact observing and yes, they are ranking, ordering and neatly filing everyone like files in a drawer. moody or dreamy types can piss them off as they live in a more fabricated/rose colored world than these natives do which often makes them rid the nonsense or take on a more aggressive attitude. the belly can be rather sensitive to foods and the natives themselves can be conscious about their tummy. they often have jobs that require a lot of movement or communication in some way.

Mercury In The Seventh House: The Bicameral mind

(Empress Of - Everything to Me)

The mind here is actually a two sided coin. on one end there is a talkative social butterfly, eagerly embracing thoughts and ideas of others but inadvertently remaining passive towards these ideas, never inputting their own thoughts. on the Other end we have a less talkative side, observing and speaking only in response, this time every response being a direct inner opinion and thought in response to what has been spoken. these natives can be a true half of halves due to their tendency to take a particular side or stance unknown to them. The challenge is figuring out which side you’re talking to as these natives can be immensely detached when it comes to more serious and tense testimony. they love interacting but can at times lack the tools to direct a conversation on their own. they tend to appreciate a certain level of calm and chance in their meetings with others and attract this same energy to them. they’re sweet and generous but have a perfect balance of knowing when to retreat or give space to others. they tend to need marriage partners who are just as much as a conversationalist as they are. in men this can mean an attraction to a more lean or skinnier partner whilst in women this can mean the same. the buttocks can be rather fragile or petite in its look. the pelvis region can on occasion have issues whilst sleeping as well.

Mercury In The Eighth House: The Rhythmic Mind

(Asap Rocky - A$AP Forever Remix Feat. Moby, T.I., Kid Cudi)

These natives are the epitome of the gambler. The type I'm referring to isn’t just the casino but rather it’s the fact that these natives take a certain level of excitement in pushing the limit. for them there isn’t a line, its merely a hurdle people fool themselves into creating as a form of limitation. These natives deeply believe in pursuing life and all of its aspect in every extreme. some who are disconnected with their eighth house eventually feel this placement as its something that grows in its intensity as the years go. these natives are where the “testing” comes from. many blame Scorpio for the trials and tribulations, when in reality these natives are the judge and the jury in that regard. they can read people, infact people are mini character studies for them. everything they learn from others is in some way etched into the character and melded to become a new trait, a new defense, a new tactic. they’re intimidating and in many ways far more than any Scorpio mercury due to how intense mercury swirls in the world of death, inheritance, loss, communion, and most of all the other side. they can often have a curious mind when it comes to the undead but often the spirits they attract can be mischievous, childish and irritating. in some ways spirits pose as children to lure in this native and often times these natives can have a certain level of darkness they flee from related to their own childhood. Mercury here makes people rather fearful but in a strange way trusting of telling these natives their darkest secrets. These natives can have rather petite or tight genitals. for them sex and intimacy is a meeting of the minds even more so than the body. they can be detached towards sex if a mental connection isn’t formed no matter how many “I love you’s” are said. the eyes can be deep, penetrating and ICE like a cool winter sky. they are not the types to let someone hold control over them in a conversation and will easily snake it in a way that suites them.

Mercury In The Ninth House: The Loud Mind

(Jacques Greene - Nordschleife)

These natives are ambiguous in nature. the mind can be thinking a million and one different scenes and scenarios and in reality what is spoken can completely be a whole other concept in itself. Their mental aptitude is something to be commended as they can easily dance circles around anyone with their vast mental compacity. they have a keen sense of the world, the land, its ancestors, it’s lore and history as if they’ve lived it countless times. That being said in opposition to its third house sister, these natives can lack the small and more crucial baby steps or mental facts that are necessary to give the bigger ones a face. They are gracious and gluttonous when it comes to ideas and knowledge as they love to soak up everything. knowledge and perspectives are the fountain of youth for them as they often need those different views and concepts to further deepen their minds. although mercury is a bit estranged here, he still bubbles and gasses at the Hugeness of the ninth house. foreign travels are usually riddled with opportunities to “learn” and are often plentiful in compacity. These natives are very hard to catch and even harder to maintain as they often have their own set of beliefs that they will fight tooth and nail to convince you to see. they can have a bi-polar relation with religion and can either support or ignore it depending on which side wants to be present that day. University life is often stimulating as hell for these natives and provides them many opportunities for self expansion if properly used. the thighs tend to be petite and rather intricate in form. these natives usually have a rather “entertained” expression as if they’ve already given themselves all of the conversation before you even appeared.

Mercury In The Tenth House: The Heavy Mind

(Drake - 9)

for These natives the mind can be rather intense. In many cases mercury being situated in a house it would normally share and in-conjunction with in theory can be a bit tense as they say. the mind is extremely disciplined here and often the manner of speech can be pressed or withholding as these natives often slip into moments of silence or intended distance. sometimes these natives do it for the masses while other times its because of the rather unfair critique they give themselves. they aren’t the types to act and many prefer to present themselves authentically which can make them seem like a cold, mercenary. in some ways they are the queens and kings of detaching emotions from intellectual situations but in moments when emotions are needed these natives can still struggle to turn on the sensitive switch. The value work and ethic and place a high caliber to who and what they care to listen to as far as opinions go. they can do what must be done to rise to the top as they don’t have the same limitations others would from tearing down the competition. these natives have a rather fragile bone structure and can easily damage their body if they overextend themselves. They are well known through media and through their careers by being a communicator and someone who is competent in electronics, photography, and so on. the dream career could be one in the media in some way or even to a lesser extent acting(but for the most part anything in communications)

Mercury In The eleventh House: The colonized mind

(Julian Casablanca's + The Voidz - Dare I Care)

Mercury in this house can produce some far out head spaces. These natives can live in a whole new parallel but at the same time you wouldn’t know unless you really got to know the native. they tend to enjoy the game of hide an seek when it comes to which persona they’ll show you. much like all the other air houses, the multiple faced persona is a big play on into how they express themselves. om one hand they revel in their uniqueness but on the other hand unlike Aquarius mercury they are not set on being above or beyond others, they simply want to connect, connect, connect until they have seen it all, every part of it. they can be geniuses, their minds and the way they think is both humbling and terrifying as these natives in most cases struggle following more common or relaxed means of relation. For them the real joy is the build up, the initial hum and drum of relating to someone you share nothing in common with. they tend to be broad minded and adore a multiverse of different personalities, archetypes, scenarios and settings. to them so long as it’ s different or new they are down for the time it takes to understand what they’ve gotten themselves into. strange and more isolated themes are fascinating to them as they often want to know the why and how of it. as far as dressing goes these natives are very unique, but naturally so. they just have this electric. sensational energy to them that makes everyone want to catch a whiff of their beat. Their friends tend to have Gemini placements or operate on a mercurial vibration. they can adore communities and groups and be involved in many. the ankles tend to be small and thin depending on what else rest in this house.

Mercury In The Twelfth House: The vibrational Mind

(Charlotte Gainsbourg - Rest)

Mercury in the twelfth house is a rather complex placement, more complex than any other placement. unlike its other water house sisters, mercury in the twelfth is about more than fluctuating thoughts, or intensity, rather its about the lack of. mercury here is quiet, mercury almost takes on this ghostly role. these natives suffer from what I like to call the silent miss syndrome- this is the act in which certain actions or feelings are felt and thought upon but acted out in passive aggressive and dismissive ways. these natives tend to avoid their emotions and thoughts which creates a separate means of dealing with both that makes these natives in concept difficult to read or even understand. they can express one thing and not just feel something else but do something else completely opposite of what either of their previous actions or thoughts had dictated. the mind here is cloudy and changing, but above all else it’s mute because its never consciously expressing anything. mercury in the 12th Houser's are expressing their feelings but rather as a frequency or a current rather than anything direct or visible to the naked eye. mercury in this house creates an energy in which what ever is internally felt by these natives is picked up by others and passed on into them, almost like an electrical current. it changes the moods of those around them in their environment in a powerful way. Their sadness, happiness, anxiety, pain, rage, hate, content, tiredness, all of their inner feelings become voices in the environment causing an almost domino effect. this is one of the hardest placements for mercury and for most of their early years these natives can be rather introverted and have self- isolating tendencies due to how sensitive and vulnerable to others they truly are. they can feel everything, and anything almost like a psychic sponge. their dreams can be riddled with the being communicative or in a way far more hand capable than they might actually be in the real world. They are so beautiful and gentle spirits but for a long time until they learn to fly free of Neptune's waves there mercury will be held in a glass cage.

#mine #mercury in the houses

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sundropscribbles · 5 years ago

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Not Her | Ten x Reader | 5.4k

A brand new story for everyone, but mostly for @starflight4842!

You’re an absolute angel for being so patient with me, of course. Apologies are a common occurrence with me, obviously, but I hope this little drabble lives up to your expectations! Thank you. ✦

Things don’t go to plan.

Not that it’s all that much of a surprise; things hardly ever went to plan when it came to your adventures with The Doctor. It was the opposite way around on most occasions, in fact, and on a normal day, you didn’t count that as a problem. You had quickly become accustomed to the idea that there would be an inevitable threat looming around every corner — you had been traveling with The Doctor for a couple of months, now, but that particular detail hadn’t taken you more than a couple of days onboard the TARDIS to figure out. Today’s outing had gone especially awry, though, even by comparison to the thrills and chills that had become your every day life.

The creatures that you had had the, er… pleasure of encountering today had been less than hospitable, putting it lightly. The Doctor had been raving all morning long about this little planet he’d been planning a visit to, going off on tangents about the sights that you would see and the wonders you would behold there — all the usual. Apparently those wonders included a waterfall three-times the size of anything you’d have seen on Earth, at the heart of something that he had referred to as the Valle de la Luna.

“Valley of the Moon,” he had translated for you, even though you had been fairly certain that you knew what the name meant. “Absolutely beautiful. Bit vague, though — there are 3,860 moons at this end of the universe alone. Should really’ve thought of that when they picked the name, since it’s only meant to be named for one of those moons. Xelraeria 34, to be exact.”

You, of course, had tuned out when he had started waffling on about the particular moon that the valley was named after. You didn’t think you could be blamed, not really — The Doctor was hard to keep up with, both physically and mentally, on the best of days, and you would be seeing everything that he had talked about shortly anyhow. Surely you weren’t missing much. And if you were, well — The Doctor would certainly be the first to let you know.

You had traipsed on out of the TARDIS and into the open atmosphere of this planet (called Aarmis, apparently) expecting to be met with one of the many sights that The Doctor had talked about. To your surprise, it had been fairly barren to start — well. Not barren. It was greener than green, just the way The Doctor had described it, and the expanse of thick, green grass was speckled with what looked to be some breed of wildflower, similar to something that you might have found back on Earth. This scenery had been what stretched on for miles, and while it was utterly breathtaking, it was definitely lacking the gargantuan waterfalls and the Lagoons and the rocky cliffs that The Doctor had implied would be present. When you had voiced your confusion, however, he had informed you that the Valle de la Luna was quite a distance from where the TARDIS had initially landed. You had supposed that that had made sense; there had been trails, after all, paths here and there and everywhere that appeared to spiderweb off in a number of different directions, and there had looked to be mountains — or something similar to mountains, at the very least — in the distance.

There had been a stretch of walking from that point onward which had consumed roughly an hour, maybe and hour and a half’s time, and had consisted mostly of you asking questions about the planet’s history to distract yourself from the ache in your calves and the cramps in the soles of your feet. The Doctor had been answering those questions in as much detail as he could; in fact, he had just begun to explain the structure of the cliffs, the geology of the massive things and how they had come to be what they were, when your impromptu nature walk had been interrupted by a decently-sized group of the planet’s natives — or so you had thought.

The Doctor had contradicted your first impressions near immediately, muttering to himself about how he had thought that Aarmis was still uninhabited; not because it was uninhabitable, but because it was what most beings in the universe referred to as a leisure planet. Like the national parks and day spas of the universe, he had told you once before, on one of your earliest adventures.

Nonetheless, he had brushed off his surprise and proceeded to introduce himself to the group, just like he always did. And apparently, that had been his first mistake.

The creatures had reacted to The Doctor’s friendly grin and forward greeting not by introducing themselves in return, but by scuttling backwards defensively and promptly drawing weapons that had looked a bit like blasters. You had recoiled on instinct, but The Doctor had been persistent in gaining the creatures’ trust.

“Oi, c’mon now, boys. No need for any of that,” he had said, and had then proceeded to reach into his suit pocket (for his psychic paper, more than likely) — his second mistake. These beings were especially tetchy, evidently, because they had jumped to the conclusion that The Doctor was reaching for a weapon of his own, and hadn’t hesitated a second before jumping on the offensive and subduing the two of you.

You had yelped and squirmed as two or three of the aliens had restrained you, twisting one of your arms and then the other behind your back and rendering you incapable of using them at all. They had been humanoid, definitely, but they looked to be made of rock, which — obviously — meant that being gentle wasn’t exactly in their nature. They had struck the backs of your knees, too, which had effectively forced you into a kneeling position in the dirt.

“Doctor?” you had squeaked, confused and afraid as the scene had unfolded. He had looked to be in a predicament similar to your own, but his gaze had been as reassuring as ever as he had looked over the shoulders of his own crowd of hostile aliens to meet your eyes, so you had tried not to be too concerned. The creatures were intent on making certain that he wouldn’t pose any threat to them, right? Maybe they would cool off once they realized that you were only here for a vacation, just like everyone else.

The scuffle had gone on, and to your dismay, had seemed to get worse the more that The Doctor attempted to explain your side of things. One of the creatures had cut him off mid-explanation to say — or to roar, more like — that Aarmis was the property of the Klojfio, and that there were no tourists here; only the Klojfio and the quarry. It was certainly out of line with everything that he had told you about this world, and to make matters worse, the Klojfio didn’t seem to be a race whom he was familiar with in the least. Even in your very limited experience, it was never a good sign when The Doctor wasn’t immediately familiar with his surroundings.

Your mind had begun to reel from that point onward, wrapping question over question and weaving a nauseating panic into the mix as you had knelt there, with gravel cutting into your knees and a blaster just a few inches from the back of your head. In your defense, you were still fairly new to all of this. You knew a fair bit about ducking and running from one alien species or another, and a bit more about smiling and laughing and playing along with the charades that The Doctor so often used to talk the two of you out of harm’s way, because they usually went over a bit better than this. Much better than this.

This was the first and only time that you could recall that things had spiraled out of control so quickly, and it had terrified you. It wasn’t too often that The Doctor wasn’t able to sway things in his favor near immediately, and you’d had trouble seeing a way out of the frightening situation.

It’d all worked out in the end, of course. As it happened, The Doctor was much more familiar with this kind of situation than you were, which, really — you definitely should have expected. He had been able to formulate an escape plan within moments of your capture, and had made a noise under his breath to draw your attention not two minutes after the creatures had drug you to your feet, growling something about bringing you back to their base for “a proper feast” (which you suspected didn’t have anything to do with feeding you).

The Klojfio hadn’t bound his arms behind his back the way they had yours, and unfortunately for them, he had been able to tuck a discreet hand into his pocket to retrieve his sonic screwdriver. As soon as he had your attention he waggled the device in between his fingers and nodded to his left, toward one of the blasters being used to subdue the two of you. You hadn’t understood immediately, not until he had mouthed a single word to you: “disable”.

It had hit you, then, what he was going to do, and you had nodded your head frantically, immediately onboard. These aliens were large and angry-looking, sure, but that was about all they had going for them as intimidation went. They were made of rock and considerably strong, yeah, but they didn’t seem to have fangs or claws or anything else that could pose a threat to you once you were an arm’s length away. The assumption was that they wouldn’t be overly threatening without the use of their weapons, and all you had been able to do in the moment was hope that that assumption was correct.

It had been, to an extent. You had heard the quiet buzz of the sonic screwdriver, first, and then a chorus of hollow clicks from the Klojfio’s blasters. They had all been momentarily startled and distracted by the sound, and you and The Doctor had seized the opportunity to duck out of the creatures’ slackened grip and take off running back the way you had come.

“Terribly sorry to ruin dinner, fellas, but I’m not much feeling up to being boiled and fed to the masses,” he had shouted as you had run, and you had smiled, because there it was. The clever, cunning snark. The quick wits. “Frankly, I’m not sure I’ve ever felt up to that!”

The initial rush of adrenaline and your amusement had kept you running, keeping pace with The Doctor nicely, but the relief that you had felt upon escaping hadn’t lasted long. You had gotten away, yeah, but you were still miles from the TARDIS with little to nothing in the way of places to take cover. It was a matter of time before the Klojfio caught up to you, wasn’t it? You had said as much to The Doctor, but he had reassured you that there was no need to worry; the TARDIS had a homing device, apparently, and when given the signal she could find him no matter where he was in the universe.

He had gotten on with giving that signal as he had explained it to you, pointing his sonic into midair and hitting the button a few times in quick succession.

“She’ll find us,” he had said as he had tucked the screwdriver back into the pocket of his coat and kept on, never for a second looking unsure of himself. What had followed had been a few more minutes of running with the Klojfio hot on your heels (for creatures made of stone they were quick, damn it), and desperately hoping that the TARDIS would meet you in the middle soon.

You had just begun to feel like you might make it out of Aarmis alive when things had taken another nasty turn; a nasty turn in the form of a rogue patch of grass, dead in the middle of the path you’d been following. The Doctor had managed to dodge it, but you hadn’t seen it in time, and it had caught the toe of your shoe and sent you tumbling through the dirt.

The fall itself had been enough to shake your focus, but your misfortune hadn’t stopped there. To top it off, one of the Klojfio had gotten its blaster working again, and the next thing you had felt was a horrible shock of pain, radiating from your right shoulder outward. A part of you knew that you had been hit, hard, and that putting additional stress on your body by running probably wasn’t the best thing to do in the moment, but you didn’t let it stop you.

It would have been worse, after all, if you had allowed yourself to be captured by the hostile creatures determined to make a meal of you, and so you had scrambled to your feet and taken off running once more. Trouble was, your fall had disoriented you enough that you had bolted down the wrong path — not that it was any more dangerous than the original. It may not have been much different from the trail you had followed into Aarmis, but it had definitely taken you in a completely different direction than The Doctor.

You had heard him call out your name as you had run, but by that time you were well off the beaten path, and the fear and adrenaline burning beneath your skin wouldn’t have allowed you to turn back if you’d wanted to. You were vaguely aware of the heavy footsteps chasing after you — the Klojfio — so you had kept on, running and running until you were sure your lungs would burst and your legs would buckle from beneath you, until — a tree.

A patch of trees, actually, just off the trail.

Your first instinct had been to veer toward them, and you had followed it, tearing through the tall green grass with one palm pressed to your wounded shoulder. Could the Klojfio climb trees? Would they simply shoot you down from your perch if you climbed up into one of the trees? You couldn’t say for sure. There was nothing certain about this mess you were in, and you hadn’t climbed a tree since primary school, but you had gathered every ounce of your strength and leapt up to grasp at a low branch, anyways.

The tree you had chosen hadn’t offered much for climbing, in the end. You had been able to scale the trunk one, maybe two branches higher from the ground before there had been nothing else that you could reach, and you were effectively trapped. Your assumption that the creatures wouldn’t hesitate to shoot you out of the tree had been correct, too, because it wasn’t another moment before they were firing freely, aiming their blasters and shooting into the leaves that only barely concealed you. Round after round grazed you, close enough that you felt them whiz by, but you had managed to avoid them (thank god for that— the wound you were harboring from the first one was beginning to sting like nobody’s business, and you couldn’t say you were keen on the idea of having any more of them to tend to).

Another few shots from the Klojfio’s blasters had caused you to shuffle where you’d stood, and you had nearly lost your balance more than a few times. The next blast had done it — one of the creatures had damn good aim, apparently, because it had landed a shot right at your feet, and your attempt to protect yourself from the fire had sent you sliding and flailing as your feet went out from under you. You had hit the ground fairly hard and twisted one of your ankles in the process, which had been evident the moment that you had tried to pick yourself up and take off running again.

With your feet having gone uselessly out from beneath you a second time and the angry, stone creatures advancing on you, you had made a half-hearted attempt to shield your face — as though that would somehow protect you against the aliens’ hungry rage — and braced yourself. You had just begun coming to terms with the fact that you were well and truly doomed when the familiar, rumbling grind of the TARDIS’s engine had come thundering onto the scene, effectively startling the Klojfio long enough that there was a window of opportunity for you to make an escape. Or, well — for The Doctor to come hurrying out of the TARDIS and scoop you up into his arms.

“Yeh, sorry, you’re not getting her either. Not today,” he had grumbled, more to himself than anyone else as he had hurried back toward the TARDIS once more, giving a quick snap of his fingers to close the doors hard and fast behind the pair of you as soon as you were inside.

You had barely had time to process what had just happened — let alone the fact that he was holding you, carrying you through the console room — before he was scolding you. Well, no, not exactly scolding you so much as expressing his concern… passionately.

“Blimey, Y/N, you had me scared stiff!” he’d admonished you, but had given you a little squeeze, just a ghost of a thing, before he had laid you down lengthwise across the bench beside the console — where you were now. “Don’t run off — that’s rule number one, you know that!”

The Klojfio were persistent, still, pounding and clawing at the doors of the TARDIS, so The Doctor had taken pause in caring for you and run to the console, rushing about hitting this button and that to get you away from Aarmis. You weren’t sure where you would wind up, exactly, and if you were being quite honest, you didn’t think that he knew either. It didn’t matter, though; what mattered was that you were both out of the way of immediate danger. Even if you wound up smack in the middle of space somewhere, not a planet or moon or an asteroid in sight, it would be better than where you had just come from.

He returned to your side, eventually, once the clawing and the pounding had ceased and the TARDIS’s engines had settled, and crouched down beside you to have a look, first thing, at the damage to your ankle.

“You know, in my defense, I was being — ouch — chased,” you argue, hissing mid-sentence as he prodded at your injured ankle with long, cool fingers, rotating it from one side to the other. He scoffs at that, clearly doing his best for a good few moments to remain annoyed with you. It doesn’t hold very long, though, and his smile betrays him, eventually, as he spares you a quick glance before returning his attention to your ankle.

“Alright, so it wasn’t entirely your fault,” he admits begrudgingly, leaning back a bit and shrugging out of his long coat in favor of balling it up and lodging it beneath your ankle as a makeshift pillow. You smile at that, making your best effort to ignore the flutter in your chest as he turns his focus on your wounded shoulder.

You hadn’t really taken the time to look at it in the heat of things, but you can’t very well help stealing a look as The Doctor very gently moves the sleeve of your top aside, taking care to remove any of the burnt bits from the worst of the wound. It did, in fact, look more like a burn than anything else, which was both a blessing and a curse. It didn’t seem that there were any bullets for you to worry about removing, but it was painful - extremely painful, as burns tended to be.

You bit back a whimper as he went about exposing the wound to the open air, and he winced along with you as he ran one careful fingertip along the angry red edge of it.

“I’m sorry,” he murmured, shaking his head a bit. “So sorry. Your ankle is definitely just sprained, but this is a nasty burn. Bloody pulse phasers. Don’t worry, though, we’ll get you patched up.”

Before you have the chance to respond he disappears from beside you, hurrying into another room to collect some first aide supplies (or so you hoped, anyways). You take the moment of alone time to allow yourself a full-fledged reaction to your condition, which comes in the form of a loud groan, muffled against the crook of one elbow. Your frustration is directed not only at the pain of your injuries, but at the embarrassment, too. You had really, really thought that you were getting better at all of this, but here you were, battered and bruised and unable to care for yourself. How were you ever going to prove that you were worthy of traveling with The Doctor if you couldn’t keep yourself out of these kinds of situations?

“Oh, come now, it’s not that bad, is it?” you hear him tease, and you fluster, cheeks reddening as you look up just in time to catch him sauntering back into the room with an armful of supplies — some of which you were familiar with, some not so much.

“It is,” you mumble, still quite irritated with yourself. You can’t help but smile as he laughs, though — that bright, lively laughter has never failed to make you smile since the day you’d met him, and today is no exception. He proceeds to kneel by your side once again, dumping his gathered supplies on the floor beside him and sweeping his unruly hair out of his face as he reaches and positions your arm so that he can tend to your shoulder properly.

He’s as gentle as ever as he goes about cleaning up the bits of your skin that’d been burned by the blaster (or phaser, as he’d referred to it), but it still hurts like mad — not even his murmured apologies put a stop to the pain, so you busy yourself watching his expression as he works.

It’s not the wisest decision, you know; especially not in your current predicament. Watching The Doctor work for any length of time inevitably led to an embarrassing infatuation, to butterflies in your stomach and rushes of affection that clouded your judgement… all things that you had been trying like mad to stave off for weeks now. It was a bit difficult, though, when he was in such close proximity — and caring for you nonetheless. His brown eyes are intense as he concentrates on his task which, now, has gone from cleaning up your wound to applying some sort of a balm (a numbing agent, it seemed), to a larger area of your arm than was probably necessary.

You’ve just begun to allow yourself to enjoy the gentle way he’s touching you, to believe that maybe, maybe you could mention the way you felt about him without it taking a violent turn toward disastrous, when he speaks up and promptly proves you wrong.

“Don’t dwell on it too much,” he says, and you blink yourself out of your stupor, tilting your head as he meets your eyes. “You’re still quite new to all of this, after all. Something similar happened with Rose a long, long time ago. Only it was about a hundred times worse, and we wound up trapped, hiding out in this cave — a cave, Y/N. Musty air, drippy icicles hanging from the ceiling — the whole lot.”

The story doesn’t stop there. He goes on detailing the experience that he had had with Rose, on another planet, in another time, and whatever hope you had been feeling fizzles out. The color drains from your face, as it so often does, and you sit there in silence, humming acknowledgments every now and then as he talks animatedly about the cave, and the snowstorm, and the glacial aliens that had wanted to crown Rose the leader of their species.

This wasn’t the first time you’d had your hopes crushed, of course, but that doesn’t mean that it stings any less when he looks you in the eye, one hand holding yours steady while the other goes about nimbly placing a bandage upon your shoulder, and talks animatedly about his previous companion. It had never been quite clear to you whether she had been his companion or his girlfriend, though, and it was times like this that you began to think that it was definitely, definitely the latter.

It’s quite some time before you really tune back in to what he’s saying. You could offhandedly acknowledge his stories about Rose for days. You had gotten used to it, because a good majority of the time you couldn’t bring yourself to actively listen to them. Not really. You brush off your own indifference to all of it, and think with a humorless smirk that maybe you would be better at all of this if you did listen to The Doctor’s stories. Took note of them, memorized them, tried to be more like the incredible girl he seemed to miss so much.

“—but she was clever. So clever,” he concludes his tale, at the same time he finishes wrapping your arm with something that looks similar to gauze. It’s not gauze, though, because gauze isn’t wet, and it doesn’t adhere to your skin the way this bandaging seems to. You refocus your attention on his face once he’s gone quiet, and there’s a twinge of guilt in your heart as you realize that there’s a hint of sorrow, there, a darkness in his expression that betrays the smile he’s wearing. You sigh, soft and resigned, and put on a smile of your own as you watch him check his work.

“It bloody well sounds like it,” you agree, despite the fact that you had only caught maybe a quarter of what he had been talking about. The glint of happiness in his tired eyes at your agreement is worth it, though, and in the next second he’s getting to his feet.

You think for a split second that he’s about to walk away and leave you be, so you close your eyes and begin trying to get comfortable where you are. The console room isn’t the most ideal resting spot, with its flashing lights and its humming and thrumming, but it’ll do — you’re not about to try and get to your bedroom with your ankle throbbing like it is, after all, and the day’s ordeal has left you knackered to your bones anyhow.

Your effort doesn’t go very far, though, because in the next second The Doctor has scooped you up into his arms once again. You cling to him with a surprised yelp, all fluttering eyelashes and flushed cheeks once again as he cradles you against his chest and proceeds to carry you on down the hallway and into your room. Your cheek is pressed firmly to his shoulder as he walks, and you can’t help but notice the scent that clings to the fabric of his suit. It’s not something you can describe, not exactly, but if you had to put words to it you would say that it smells like thousand-year old cologne and moon-dust. It’s obscenely distracting.

“That old bench is no place for a good nap, Y/N,” he jokes. His voice is soft as he settles you down onto your bed, and it snaps you out of your preoccupied state in an instant. You think you feel his thumb brush across your cheek as he straightens up, but you’re not sure whether you’ve imagined it or not, because the feeling of his arms around you has gone and scrambled your brain all over again. You mentally kick yourself for it, reminding your flighty heart repeatedly that there’s no point in it — none. He was the object of your affections, the unfortunate focus of your primary-school crush, but he didn’t return those feelings. That was that. No blurred lines, no questions asked.

“You get some rest, now,” you hear him say. “Gotta have you back at the top of your game for our next trip — it’ll be much, much safer, I promise. Well. Maybe not safer, not exactly — I’m not sure I can ever reasonably promise that. But it will be more fun. I can always promise fun.”

You bite back a bit of laughter at his rambling. It’s typical of him, definitely, but more than that it sounds eerily similar to one of his half-apologies (which was another of the quirks that you had become closely acquainted with over the past few months). Thinking on that, you want to reassure him that none of what had happened on Aarmis had been his fault; he hadn’t known, after all, that there would be hostile, stoney-faced aliens waiting for you outside of the TARDIS doors. How could he have? You keep it to yourself, though, well aware that The Doctor isn’t exactly fond of facing feelings of any sort head-on.

“We’ll try to keep it a bit more novice next time around,” he quips as he turns to go, “Bit less climbing trees and running for our lives. The caves and the icey fellows of the universe can always come later, after all.”

And that — that stings.

It was one thing to listen to him talk about her so consistently; that much was tolerable, at the very least. You would be the first to admit that it would always be hard not to take all of his talk about his beloved Rose to heart, especially considering the way that you felt about him, but it was tolerable. You could ignore it when and where you had to, and as they were, the stories weren’t actually hurtful, no matter how impossible they may have felt to live up to sometimes. To hear him compare you to her so directly, though, and to have him outright call you a novice, of all things (even if it was true), was a bit… low. It felt very low, and dirty — like an unbelievably cheap shot. And it left a sour taste in your mouth.

The hopeful side of your brain (predictably) piped up near immediately with a feeble attempt to convince you that he didn’t mean it like it had sounded, but the other side, the logical side, was there to snuff that out in the next instant. How many other ways were there for him to have meant what he’d said, after all? Sure, maybe his intention hadn’t been to hurt you with his words, but that didn’t change the way that they had landed, not in the least, and no matter how hard you try to avoid it, it all leaves you feeling very… second-rate.

Before you really come back to yourself, The Doctor turns and ambles out of your room. He makes another offhanded comment about your next maybe-adventure, the next planet you might or might not be visiting once you were up and moving again, but you don’t hear it. You dismiss it entirely, in fact, as you roll onto your side with a huff and a groan, and fight to ignore the sting of angry tears in your eyes. You squeeze your eyes shut stubbornly as you turn your back to the bedroom door, and you vehemently ignore the sound of The Doctor’s distracted pacing as it echoes from the console room.

As you lie there, you do your damndest to beat it into your brain that this won’t get to you; it won’t, damn it, you won’t let it. It’s useless in the end, though, even despite all of your determination. Because in the end, you still find yourself lying there with a sprained ankle, a nasty burn, and wet eyes, wondering all the while if you were ever going to be anything to him. A friend, a companion, a partner in crime, a lover, a fling — anything other than not her. And when all was said and done, if someone had asked you to make an educated guess? You seriously doubted it.

#doctor who #dw #new who #tenth doctor x reader #David Tennant #the doctor x reader #imagines #fanfiction #dw fanfic #doctor who imagines #reader insert fics #angst fics #lfv fic #10th doctor x reader

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so-shiny-so-chrome · 6 years ago

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Witness: Donda

Creator name (AO3): Donda

Creator name (Tumblr): thatonezombiecosplayer

Link to creator works: https://archiveofourown.org/users/Donda

Q: Why the Mad Max Fandom?

A: I kind of just tend to find one thing I like, and latch onto it with a deathgrip, though there's not really one specific reason I latched onto Mad Max. The only post-apocalyptic thing I had any interest in prior to Fury Road was a comic called Romantically Apocalyptic, but I wouldn't have called myself a die-hard fan of the genre. I think it was just that Fury Road was such a fantastic movie in so many ways that it really caught my attention, and then when I got involved in the fandom, I found it to be all around a really really great group of people, and they were talking about such interesting things, and I just fell in love and decided this was my fandom home! Since then, I've made some really good friends through this fandom and gotten involved in Wasteland Weekend because of it, so this fandom will always remain near and dear to me.

Q: What do you think are some defining aspects of your work? Do you have a style? Recurrent themes?

A: I really like to take this dark, gritty world, and make it kind of light and fun, honestly. Or at least as much as one can without completely detracting from the reality of the state of the world. I've written a couple of darker or more serious fics, but my favorite things to write involve putting a touch of magic or an interesting little twist into the world, and handling the sillier side of things.

Q: Which of your works was the most fun to create? The most difficult? Which is your most popular? Most successful? Your favourite overall?

A: I think I had equal amounts of fun writing my Pocket Sized and Corvus Cormax, because they were just light and silly and kind of intriguing situations for me. I also really really enjoyed writing No Going Back, even though it was on the more serious side of things for me. The prompt just grabbed my imagination, and I was really inspired to write from start to finish. For most difficult, I'll have to go with Consonance, because I am presently stuck on it and have been for months and if you were reading and enjoying that one, I am so so sorry. D: Convalescence got the most hits and kudos overall, but I think that was mostly just because it was posted very early in the Fury Road fandom. Just based on response, I'd say Corvus Cormax was my most popular/successful, and was also my favorite overall.

Q: How do you like your wasteland? Gritty? Hopeful? Campy? Soft? Why?

A: Hopeful with a bit of humor and sometimes a little wasteland magic. I'm into escapism first and foremost, so the least like our own world I can make things, the more enjoyable.

Q: Walk us through your creative process from idea to finished product. What's your prefered environment for creating? How do you get through rough patches?

A: The idea itself usually sparks scenes in my head, and I build around those. Sometimes I'll be writing along and think of something I'd like to happen down the line, or a scene will just start playing through my head, so I'll go write that, and connect the pieces later. Which can sort of cause problems, because when I go writing all the good bits first, filling in the bits in between that are less interesting can get tedious. When I hit a patch that just leaves me completely stuck, most often running the fic by someone else and bouncing ideas around with them helps me tremendously. I tend to like to write from the comfort of my room where there aren't a lot of distractions, but sometimes I'll write on my phone if I'm away from my computer and bored or inspired.

Q: What (if any) music do you listen to for help getting those creative juices flowing?

A: Honestly I basically always listen to my entire music library on random. It's super eclectic, but I'm so familiar with all my songs that it's basically just background noise. Very occasionally I will skip a song that's not suiting the mood of what I'm writing, but mostly anything goes.

Q: What is your biggest challenge as a creator?

A: Getting stuck sucks so much and is my most common problem, because sometimes I feel like I have just exhausted all ideas and there's nowhere to go. Bouncing ideas off of other people always helps, but often I avoid that either because I don't want to bother people, or because I'm super protective of my works until I consider them done. I don't know, I just like people to read the work in it's finalized form, as I intend it to be read, and not in some incomplete messy state.

Q: How have you grown as a creator through your participation in the Mad Max Fandom? How has your work changed? Have you learned anything about yourself?

A: I'm sure my writing has improved, but it's been such a fluid process that I'm not really sure! I guess I've grown and my work has changed in that I've gotten braver in my ideas, more willing to just go for something and not worry about people thinking it's silly or I'm weird.

Q: Do you have any favourite relationships to portray? What interests you about them?

A: I'm aro/ace myself, so fandom ships have never been a big draw of mine. I tag a lot of my works with "platonic soulmates" because I've just fallen in love with the idea of Max and Furiosa being very close to each other, but not romantically or sexually. They have a really interesting dynamic, and I like to explore them really getting to know each other completely platonically.

Q: How does your work for the fandom change how you look at the source material?

A: I've explored some headcanons in my writing, and built on ideas in ways that let me sort of see more into the movie, imagine things under the surface beyond the canon, and feel like I know the motivations behind certain characters' actions, even if it's never explained.

Q: Do you prefer to create in one defined chronology or do your works stand alone? Why or why not?

A: My works stand alone for the most part. I've got two series that each consist of a couple fics that follow the same timeline, but otherwise each of my fics is a completely different world.

Q: To break or not to break canon? Why?

A: *Chanting* break canon, break canon, break canon. I like playing with new ideas! Sometimes it's fun to explore some headcanons with fic and build on the movie that way, but I've found that taking the canon and changing a detail and letting it play out from there is the most fun.

Q: Share some headcanons.

A: Immortal!Max is my biggest and most-loved headcanon. I like the idea that he's only sort of peripherally aware of it, too. He knows it's been a pretty long time since the fall of the world, and he's catching on that people who appear his age were born after the fall, but if it even has sunk in that he's not aging and not dying, he actively tries not to think about it too much because that seems like Too Much and he's not ready to face that. He's accepted it as a possibility, but he doesn't put much weight on it. It's just part of him now, and all he can do is live with it.

Q: If you work with OCs walk us through your process for creating them. Who are some of your favourites?

A: Eheh... My OCs are basically fleshed out juuuust enough to be believable and I put zero effort into them beyond that, to be honest. They're often only there to help along the story for the canon characters, and then I toss them away and never think about them again.

Q: What advice can you give someone who is struggling to make their own works more interesting, compelling, cohesive, etc.?

A: I don't know if my methods will work for anybody else, but three things: 1) imagine the scene like it's a movie playing out in front of you, before writing, while writing, and while re-reading. It helps me keep track of who is where, what's going on, and it makes any continuity mistakes really jump out at me. 2) really get into your characters' heads, think like they do, and share their motivations for what they're doing and their thoughts at what is going on around them in your writing. I think that helps people relate to them more and get into the story more, and it makes you think about how characters would react in realistic, if not always outwardly reasonable, ways. 3) Proof read like a crazy person. This may be weird, but similar to how I get into my characters' heads when I write, I also sort of get into... well, not my own head, when I re-read my works. I try to put myself in a different perspective, and proof-reading my fics with a different mindset really helps me see things that didn't end up making sense the first time around, or sound off, or might be confusing if you don't already know where I was going with it. If I'm thinking like I was when I wrote it, of course everything's going to make sense and work the way I imagined it. If I throw out those preconceptions and intentions, it can almost seem completely new to me, like it would be to a reader reading it for the first time.

Q: Have you visited or do you plan to visit Australia, Wasteland Weekend, or other Mad Max place?

A: I would love to visit Australia, though honestly when I do, priority number one is going to be bats, weird marsupials, and other wildlife. Australia stands out to me mostly as being this weird giant island where evolution just went fucking crazy. But Wasteland Weekend! Hoo boy am I involved in Wasteland Weekend, let me tell you, and I absolutely love it. I love the themed areas and how they completely immerse you in the world, I love the community (seriously, some of the best people I have ever met) and even though it was originally built on Mad Max, which is generally a pretty violent, hard world, I love the atmosphere people create there: the idea that even if the world ended and society as we know it collapsed, people would coexist, look out for each other, and celebrate life. 10/10, highly recommend, hit me up if you plan on attending in the future.

Q: Tell us about a current WIP or planned project.

A: I've unfortunately fallen out of writing quite a bit for the time being, so no planned projects outside of what I'm currently working on, but boy let me tell you how much I love the one I'm co-writing with Catlady! We've put a ton of thought and worldbuilding into it, and a lot of character development in the works for Max, as well as his developing relationship with Furiosa. It's an AU that really gets my imagination going, and I'm super excited for some of the things we have planned. If you like Fae and wasteland magic and discovering/learning to accept oneself, go check out our fic Forgotten Ways!

Thank you @thatonezombiecosplayer

#Mad Max Fandom Creator Spotlight #Mad Max Fandom Spotlight #mad max fanfic #mad max fanfic author spotlight #fury road fanfic #fanfic author spotlight #donda #thatonezombiecosplayer

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diveronarpg · 6 years ago

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Congratulations, LIA! You’ve been accepted for the role of PARIS with a faceclaim change to Jordan Bolger. Admin Rosey: Lia, you have no idea how happy we are to finally have a Priam in our midst. He’s a character that has always been very close to my heart because I love characters that you expect to be overlooked, shadowed by more gaudy and boisterous personalities. But you bring a subtle shine to Priam, like a dying star that’s about to explode and consume us all. Your plots for him make me especially excited because even then you bring his voice to life - you make him wholly yours while doing so. I can’t wait to see him on the dash! Please read over the checklist and send in your blog within 24 hours.

WELCOME TO THE MOB.

Out of Character

Alias | I’m Lia but my friends call me Lil Li Nasty. (not really :/)

Age | 20.

Preferred Pronouns | She/Her.

Activity Level | I’m able to login 3 to 4 days during the week for replies.

Timezone | EST.

Current/Past RP Accounts | You can look at this one if you’d like. ;-)

In Character

Character | The lovely Paris, AKA Priam Taravella. With a faceclaim change to Jordan Bolger.

What drew you to this character? | Let’s be real, I’m a sucker for morally ambiguous characters with a ton of internal turmoil sdkflfdgk. But I’ve never played a character quite like Priam, which is what drew me to him even more? Like I’ve always played dreamy characters with their heads in the clouds, but this isn’t Priam whatsoever. He has no interest in dreaming, if it isn’t something attainable, then he wastes no time thinking about it. He’s almost practical to a fault, like come on dude you can have one dream! The sheer purposelessness that pervades through his being, his overwhelming desire to belong to something, to someone. All of this contrasted by his inability to understand the concept of love (after all, how can you truly understand something you’ve never experienced?) and his ever shifting principles. Priam is the epitome of someone who gets excited and does something consistently for two days then loses interest and finds something new a few days later aksdjsdlkf I love him for it!

What is a future plot idea you have in mind for the character? |

il tipo volubile / the fickle fellow — everchanging are his ideas and everchanging are his loyalties. cosimo capulet gave him a sense of purpose and for that he’ll forever be thankful, but priam, ever the opportunist, is partial to whomever offers him the best opportunity. he doesn’t behave this way with the intention of appearing disloyal, but priam prioritizes his need to belong and find purpose over his loyalty. there’s no telling how far he’ll go to occupy his void and betrayal isn’t necessarily out of the question.

mobilità verso l'alto / upward mobility — priam is confident with his standing in the mob, and almost too comfortable with it. i’d be interested in a situation where he screws up, possibly compromising the mob, which will be almost unreal to him because he’s just used to everything going the way that he wants it for the most part? to also keep his position secure, i see him blackmailing a few people, caps and monts, so that’ll be something interesting i see playing out. ;-)

finché morte non ci separi / till death do us part — just as priam had suspected, the montague heir had blossomed into reasonable competition. an attractiveness unrivaled by most, with a soft disposition outlining sharp features, everything verona wanted and more. him and the phan girl had made quite the handsome couple, her perceptiveness balancing out his altruism, but neither the montague heir nor the phan girl recognized this wasting potential. priam had every intention of turning his and juliana’s engagement into an opportunity, as this was a chance for them to play up their marriage to the veronans, affording them just enough of a peak into their lives that they await with watering mouths, for any other opportunity at sight. the least he could do for the pair of them was make them loved by many. and into oblivion will the montague heir fall. priam desires to be remembered to such a degree, that there simply won’t be enough room in the mind of verona for both of them. and he is actively working for this outcome.

Are you comfortable with killing off your character? | Yes. >:-)

In Depth

In-Character Interview:

What is your favorite place in Verona? | We recommend looking at the location page and reading it over to figure out where your character’s favorite place is – if it’s not their own house/room.

He pondered the question for a moment, mouth pressed thoughtfully to his fist, before turning to the interviewer with a toothy grin. “There’s a garden on the Capulet estate, just west of the of the glass room.” Priam inclined backwards in his chair, perfectly manicured hands crossed in his lap, his eyes fixated on the wall reminiscently. “Juliana and I were first married there. She’d wanted a dress with a matching veil, but naturally her parents hadn’t approved, so she’d settled for the flower crown I made for her.” He’d been magnetizing. There was something about the way Priam carried himself, that just drew whoever he’d been speaking to in. His hands moved in unison with his words, the pictures building upon the story he told. “I made it out of yellow daisies. Tybalt officiated the marriage, and we’d done a butterfly kiss, and that was that. I intend on marrying her in that same garden.”

What does your typical day look like?

“Talking and more talking.” He chuckled purposefully. “In all seriousness, that’s what my job is. Knowing exactly what to say and in the right moment. It’s a delicate art form, you somehow have to make the other side satisfied, while simultaneously achieving the best possible outcome in favor of your own side.” He toyed with his Ferragamo cufflinks. “When I’m not doing that, I’m working with Cosimo. He’s practically taken me under his wing. I’ve learned so much in these past few years with him. He’s like a second father to me.” It had been an easy position to fill, with Priam’s own father being anything but. “When I’m not working, then I’m working out or spending time in nature. I’ve studied certain scenes so much that I could practically paint them from memory.” Priam had actually had his hand at painting, and while they’d been painted skillfully,per say, the complete lack of passion and lifelessness emitting from them had almost been disturbing.

What has been your biggest mistake thus far?

Something dark flashed across his countenance, as he recalled the Capulet soldier he’d nearly been caught disposing of. They’d been symbolic of the people who attempted to disrupt his path to wars spoils— the city and the throne. The bride. The notoriety. The name. “There was a time when I was younger,” he begun with pursed lips. “When I wore white socks and black shoes. My parents never let me hear the end of it. I haven’t made that mistake since.” Priam sinks into his seat, smiling humorously, beckoning the interviewer in with his silly, boyish hospitality. He hadn’t the time to dwell on the past or mistakes. Only of the now and what will propel him to the future.

What has been the most difficult task asked of you?

Mixing family and work— always a tricky task. Something he learned he ultimately could not handle. It made way to Cosimo gifting him a canvas, giving Priam the opportunity to paint whatever portrait of himself he pleased. Give me at least one part politician and one part killer. That was all that he’d required of him. And thus he began his Capulet reign. “Not losing sight of myself amidst the chaos,” he responded thoughtfully, careful to speak just the right amount. “Becoming one with Verona requires a certain fee. You pay in the relinquishment of your humanity. And if you don’t voluntarily pay, then she’ll force it from you.” Priam, on the other hand, had been on a quest to sell his humanity to the highest bidder.

What are your thoughts on the war between the Capulets and the Montagues?

“Inevitable. With great power comes great longing. No powerful person ever went without people desiring the power for themselves. And thus erupted a war.” This was one of those moments Priam had grown to appreciate, the ones where he’d been able to speak freely, from whatever parts of him that had remained authentic. He tilted his head with a raised eyebrow, lips etched into a teasing smile. “I’ve grown bored of your questions. Now, if there’s anything else outside of the interview you’d like to further discuss…”

Extras:

myers briggs: the commander (entj-a)

“Commanders are natural-born leaders. People with this personality type embody the gifts of charisma and confidence, and project authority in a way that draws crowds together behind a common goal. However, Commanders are also characterized by an often ruthless level of rationality, using their drive, determination and sharp minds to achieve whatever end they’ve set for themselves. Perhaps it is best that they make up only three percent of the population, lest they overwhelm the more timid and sensitive personality types that make up much of the rest of the world – but we have Commanders to thank for many of the businesses and institutions we take for granted every day.”

random brainstorming for priam.

muse tag.

playlist.

aesthetic—

cartier hoops, a poisoned tongue positioned between antidote lips, fickle values and fickler lovers, indefinite scowls, a pair of sunglasses for every day of the week, provocative realism, a tipsy crown (if it weren’t for the graff vivid yellow diamonds, it’s tilt might’ve been discernible), a gaping void, pompous vexation, flowery tattoos (the only evidence of permanence in your life), morsel of your true self, anything to belong, salvatore ferragamo’s limited edition loafers, an impassioned youth.

#accepted: paris #accepted

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treenewal · 3 years ago

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How to Properly Care for a Southern Live Oak Tree

Southern live oaks are a delightful and notable piece of the Texas landscape. These trees can live for quite a long time; however, they can require specific care to remain healthy and look great through our brief yet fierce winters and long, dry summers. Here are TreeNewal’s number one essential tips on the most proficient method to care for your Southern live oak tree!

About Southern Live Oak Trees

The southern live oak tree, or Quercus virginiana, is a type of evergreen oak tree. They are most frequently seen as in, you got it, the south — locally from Virginia right down into Port Lavaca, TX! Southern live oaks are eminently impervious to fire because of their monumental level and are worked to endure most floods and hurricanes considering the components of their mighty trunks.

These majestic trees are likewise well known for their very lengthy life and generally quick development rate. While it takes them as long as 70 years to arrive at their full trunk width, that is a short time span contrasted with the centuries they typically live!

Did you know: The most established realized southern live oak tree is viewed in Louisiana and is assessed as around 1200 years of age.

Step by step instructions to Take Care of a Southern Live Oak Tree

Sunlight

Make a point to plant your oak in a space that gets a lot of sunlight — they need no less than 6 hours of direct sunlight consistently. The species can deal with a touch of shade, however surely does best with full openness.

Pruning

The ideal time for southern live oak tree pruning in North Texas is once your trees have gone dormant for the pre-winter and late-fall seasons — November through January explicitly. This time span will assist with staying away from the dangers related with any unplanned non-life-threatening injuries to the tree that can draw in pests and diseases. It’s simply generally simpler to see where you’re cutting when there aren’t leaves obstructing your view!

Be particularly certain to abstain from doing any oak tree trimming or pruning between the long periods of February and June, as this is the top Oak Wilt season. The uplifting news is an oak tree just should be pruned on normal every 3–5 years whenever they’ve developed. Here is a thing to pay special attention to that lets you in on the ideal opportunity for pruning has come.

Signs Your Oak Tree Needs Pruning

Cracked bark

Intently covering branches

Unnecessary development

Storm damage

Hanging or broken branches

Uneven overhang

Dead appendages

To get more familiar with great pruning methods and practices, look at our Common Tree Pruning Mistakes You Might Be Making post. Recollect that you can likewise generally call TreeNewal to deal with all your pruning needs for you!

Note: Thanks to their huge covering length, southern live oaks should be planted far away from hazardous designs like powerlines. Their crowns frequently stretch somewhere in the range of 75 up to 135 feet across with the actual tree arriving at a full level of 40 to 80 feet tall!

Soil

Oaks will quite often lean toward acidic soil. In their common habitats, southern live oaks flourish with an appropriate equilibrium of potassium, nitrogen, and phosphorous. Along these lines, on the off chance that your dirt isn’t normally acidic, consider adding some peat greenery or pine bark mulch to the region around the tree’s foundations.

However, that is basically their inclination. They’ll endure fine and dandy insoluble soil as well as even dirt and sand assuming that it is accessible.

Pests and Disease

Bugs and ailments can be enormous, damaging issues for southern live oaks. Sap-sucking aphids, scales, and root drills are the most well-known bother reasons for underlying debilitating and branch dieback, while mold, root decay, and ulcer sicknesses lead to very much like outcomes also.

Learn more about root rot and how to control pests this mid-year.

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prixmiumarchive · 7 years ago

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The thing about Black Canary

I’m a couple weeks behind on Season 6, but I’ve been watching. However, I’m also a recently-returned fan who stopped watching Arrow (and lots of things at the same time) mid-S3. I have absorbed a lot of things through osmosis and gifs and reading wikis and so on, because sometimes I need spoilers for fannish activities, and it’s more about the journey it most cases. I’m disclosing this to let you know where I’m coming from, but anyway...

A lot of the time I see some ~discourse~ about how Sara is the true Black Canary because per Arrow she was the first. I also see a lot of posts that complain that Laurel’s becoming a superhero arc was really unconvincing and that they didn’t like it and wanted Sara to stay and so on... There seems to be a lot of “haha, in your face!” kind of victory dance goings-on when Sara gets used as the face of the Black Canary (there was some mobile app; there have also been other promotional materials that are not directly connected to the CW’s DCTV set that seem to use Caity Lotz’s likeness as a model). I think a lot of this is unnecessary, and since I am way more familiar with the front end of Arrow than the current back end of it, even though I’m closing the gap, I just felt like making a post sort of addressing this weird, competitive viewpoint that almost views Laurel as having foisted the Black Canary title upon herself, stealing it from Sara or something, when I just don’t think it’s a fair take on it.

Another disclaimer: this post has fuck-all to do with shipping, so check those counterclaims at the door, thanks.

So here are some things that are true in my view that tend to be used as things to back up the claim that Sara is the proper or true Black Canary and that we don’t need or want another one and that Laurel should’ve been removed because no one liked her or that this was a character development for Laurel that was never meant to happen and... so... on:

Per Arrow, Sara was the first Black Canary.

Laurel began the show as a very slightly more competent than typical in self-defense normal.

Both Oliver and Sara had five years of lived experience combat training while Laurel had none to speak of except becoming increasingly more familiar with needing to defend her immediate self from constant threat of danger over the course of the show. Laurel was often sort of presented as a damsel in distress for both Oliver and Sara.

Laurel’s initial attempts at becoming the Black Canary were extremely ill-advised.

The fact that she was allowed out into the field with the rest of Team Arrow as a fully-participant superhero in her own right when she was is a really questionable in-universe decision even if they were going to allow her to become a part of their superhero team due to her relative lack of experience.

This lack of experience is one of the reasons she died, in-universe, possibly.

However, I think that the conclusions that some people draw from this about narrative direction are simply unfair, and I wanted to point out a couple of things that I think tend to show that Laurel was meant to become the Black Canary all along.

See below for a surprisingly humongous post in sections.

Sara

The first thing has to do with Sara’s journey as the Canary/Yellow Bird/Black Canary. All of this had to do with very brutal survival for her, and when she finally did become a hero, it was a journey similar to Oliver’s only with an even more deep and dark background. I do not know when plans for Legends of Tomorrow to exist came into play, and I know that there are critiques that they whitewashed “White Canary” because the White Canary from the comics was an entirely other character who was an Asian woman, but that critique aside what we have in this canon is that Sara was on her way to becoming White Canary. Laurel actually is given a very beautiful line about this when she and Sara are discussing Rip Hunter’s offer to her. She shows Sara the white uniform/costume and Sara asks where the mask is. Laurel tells her she doesn’t need one because it’s time for her to step out of the shadows and into the light. This seems like a very cogent progression of Sara’s character arc.

Sara ran away from the League of Assassins because she finally got to a point where she couldn’t take being a murderer anymore. She came back to Starling City to see that her family was alive after the Undertaking. She had no intentions of staying or of rejoining normal life because she had already become so dangerous and put herself in so much danger that she saw no way out. Then, through staying, she found friends and family and a support system again. This allowed her to begin to step out of mere survival mode. One of the differences for Sara and Oliver in this respect is that Oliver had the respite of a lot more experiences where people were not behaving toward him with ulterior, cruel, or evil motives. Sure, it was punctuated by trauma and needing to do awful things to survive all the time and every time right up until the end, but Oliver’s humanity was not quite so thoroughly eroded as Sara needed to make hers. It isn’t until she returns to Starling that she even begins to unravel that for herself. So when she ultimately passes on the mantel of Black Canary for good, rather than there being two, rather than anything else, this is an evolution for her character and self-perception and a continuing search for more of that becoming more human-again -- not a necessary scramble for a new moniker for her because someone stole hers. It didn’t come out of nowhere.

Had Legends of Tomorrow never come into existence, I’m not sure what they would have done with Sara’s character, but I still don’t think her end goal ever would have been to remain Black Canary forever. For her, it was intimately connected with her chosen name for the League of Assassins and the terrible things she had done to survive. First, she needed to take her identity as it was and use it for good, but then she needed some new dimension to herself, and so I don’t know why people insist that Sara needed to stay the one, the only Black Canary forever. It wasn’t what she wanted.

Laurel

Then, there’s Laurel. I will agree forever with some meta I read several years ago, around the time when I was still eagerly watching S3 before I just rage-quit-because-of-fandom everything I was keeping up with episode-by-episode at the winter hiatus, about comparing the way The Flash was handling Iris in S1 and comparing it to the way Arrow handled Laurel in S1. I think maybe it was in a post that was still defending the possibility of endgame Laurive/r which I don’t really care one way or the other about -- I’m a multishipper; I always shipped Olicit/y; I never didn’t-ship Laurive/r but I also never OTPed it. Anyway, it said something about how making Laurel an “intrepid normal” or “intrepid civilian” at the beginning of Arrow was a serious mistake for her entire character arc.

I’ll admit that I still don’t know why they made her a lawyer unless it was simply to give her a job within the legal system that was different from her father’s. I don’t really know if she has ever had a consistent civilian occupation in the comics - the wiki entry I found said “florist” (lol). I know in Young Justice that she shows some skills for counseling that seem to indicate a background in it, but that could even be a getting-things-past-the-radar allusion to her being in AA for a kids’ show. However, it is still beyond me that they went so far as to make her a very normal, typical noncombatant even though they do give her basic self defense class skills from the very beginning. For example, I’ll never understand, now that we have Dinah Drake, why Laurel couldn’t have been a rookie police officer or something except that they wanted to present a contrast between her and Quentin. But also -- her father in the comics is Larry Lance. Her mother is Dinah Drake. There are all kinds of allusions to the comics layered into Arrow and the CW’s DCTV or “Arrowverse,” even in really unexpected places, but they are not meant to be direct ports. Arrow is, in terms of itself, on its own Earth-1 and it is canonically a distinct reality from many others.

Back to my point, I can see why the fact that she was so deeply entrenched as a civilian at the beginning might make people be suspect of the idea that she was ever “meant to be” Black Canary. That doesn’t mean there weren’t signs though. They go to the trouble to establish in the second episode that Laurel has some self defense skills. “Cop dad, remember?” she reminds Oliver when he seems confused.

Furthermore, choosing a profession for her in the legal system shows us that she already has an investment in her own view of justice. When she finally does try becoming Black Canary, she uses the line, “I'm the justice you can’t run from,” representing a resolution of a very long character arc she had grappling with the morality and necessity of vigilantism. She went from being reluctantly enamored by it in Season 1 to violently opposed to it in Season 2 to finally realizing a need for it and being tempted into trying it out in Season 3. That is a progression of character, not wild inconsistency.

Now I want to talk a little bit about Laurel’s characterization and the way it is characterized by the fandom. There is a lot of mental retconning that goes on for a lot of people. I’m not necessarily blaming anyone; I view fandom as an experience to engage in, and if your fanon is what you prefer, go right ahead. But I think that the writing of Laurel’s character suffered from them keeping her in the dark and clueless for as long as she was about what was going on around her. In Season 2, Laurel is really struggling with what she does know about her life. She has abandonment issues. She is grieving very deeply. She feels guilty. She is developing a substance abuse problem and generally freaking out about her own life while trying to keep an adult and professional face on it.

... And people hated her for it. This was the time when I was most-active in an Arrow fandom that hadn’t splintered off into this faction and that faction at that point. Olicit/y headcanoning and campaigning and wishing was alive and well but hadn’t created its own whole side-fandom. People still watched it weekly and regularly and blogged about it on tumblr without it being justification to judge the viewer. What halcyon tumblr times those were. But anyway. So many people despised Laurel back then. I don’t know if newer fans (uh, are there newer fans?) would even remember.

Most recently, Laurel has been a justification for people to hate Arrow because she’s gone. #NoLaurelNoArrow was a tag protesting her death. Again, I think as with Olicit/y, there’s probably a chicken and egg argument about whether or not the writers responded to fandom outcry to keep Laurel’s character on in some form or if they were already planning to do that. If you know I wouldn’t mind being enlightened. But back in, like, early 2014, “no one” liked Laurel. (’Cept me~)

The main reason they didn’t like Laurel was because she “whined” all the time or was a “bitch” for prioritizing her own emotional angst over the plethora of other problems that were actually far more immediate, pressing, deadly, and overall traumatic. But the thing that people don’t get is that she doesn’t have a bird’s eye view (pun?) on everything going on around her, and the narrative deliberately kept her in the dark for a year longer than it should have.

Wouldn’t it have been more interesting if she’d realized that Oliver was the Hood in the Season 1 finale and then her drinking and vendetta and upset over Tommy and the Hood and everything had an even more personal, complicated edge to it? That’s one retcon/AU headcanon suggestion, but don’t mind me.

Anyway, all of these acknowledged critiques doesn’t mean that there wasn’t always a general direction they were headed with all of this. Laurel and Sara’s gradual reconciliation over the course of the season, culminating in Sara giving Laurel her black leather jacket was character development. The passing of the jacket was foreshadowing. And everyone knew it and made an outcry about how they-could-not-possibly-be-considering-doing-this-this-sucks-so-much because, again, no one liked Laurel. Fast forward two years and many of those same people were quitting the show because Laurel died, but I digress. It was foreshadowing at the end of S2, even when the audience didn’t want it to be.

The Crucible(s)

There’s also the matter of a theme that Arrow has carried around with it literally since the very beginning: the Crucible.

Lian Yu literally means “purgatory.” Oliver constantly describes it and his experiences on “the island” as hellish. We know that he was not always on Lian Yu during those five years, but he was always on “the island” in a metaphorical sense and going through hell. The same was true for Sara. She faced her own trial of fire which made her into a henchmen, a murderer, an antihero-at-best, and finally a hero who operates in the light.

One of the first times we hear Oliver get to talk about his Crucible and the nature of personal crucibles such as they are, the first time that word ‘crucible’ is used, is when he meets and befriends/catches-feelings-for Helena Bertinelli. Helena is convinced that her experience of losing her fiance is the same as whatever crucible Oliver has faced. She has hurt so much that there is no way anyone can outdo her suffering after all. I don’t think Oliver ever thought it was a contest per se, but he tries to convince her that even after all he went through that there has to be another way than being a cold-blooded serial killer, y’know.

Helena refuses to learn that lesson. Nevertheless, she plays a role in showing that many people go through crucibles but not all of them come out changed for the better. We’re not meant to especially like Helena on a narrative level, but she isn’t a filler character necessarily. She’s a minor character, sure, but that’s not the same as filler. She had this purpose -- to tell us about the nature of this kind of suffering and what it can do to people. That is literally the entire Symbol of her character. She recurs because she is that theme recurring.

One of the time she recurs is in the Season 2 episode “Birds of Prey” -- another comic book allusion to the group for which Dinah Laurel Lance is best known. There is no new superhero team formed in that episode, but it is an episode that is making that titular illusion for a reason no less. This episode has Laurel and Helena having several conversations while she is holding Laurel hostage. The actual plot of the episode is, you know, an episode plot, but it shows us how Laurel has grown in her survival skills and in her view of her own survival. Laurel uses her words to communicate with Helena about Tommy’s death and her descent into addiction. Helena tells her “Once you let the darkness inside, it never comes out.”

Laurel adopts and thinks about these words even after this ordeal. She is in a very dark place, and she has been trying to deal with it. Her story actually parallels Helena’s in many ways. Tommy was not her fiance, but there is a sense in which Tommy died in Laurel’s place when she was the person who was at “fault” doing what she believed to be the right thing at the time... just like Helena. I don’t think that this parallel is a totally accidental coincidence. Laurel is being given the opportunity to go through something similar and to use that darkness, that ordeal in a different way than Helena did.

As mentioned above with Sara, it seems that this story uses the mantel of the Black Canary as a sort of place where women who have been through something very dark, very terrible go to make peace and amends. This has been true for Sara, it was why Laurel became the Black Canary, and it remains true through Dinah Drake of Arrow acting as the Black Canary. When Laurel had this thought put in her head by Helena, that was a step closer to doing something like becoming the Black Canary. Sara giving Laurel that jacket was also a symbolic signal and a step closer. Sara’s death was yet another part of that crucible Laurel was being put through. Just because her Crucible didn’t happen somewhere remote and primal doesn’t mean it isn’t a crucible, and I think that is one of the things they were always trying to do with her and it may be why she was still “normal” when the show began. Laurel was meant to go through her own Crucible and to come out the other side as the Black Canary.

Felicity (and Serendipity)

I would be remiss not to at least address Felicity here. I know that I’ve seen photo manipulations and speculation in the past that maybe someday Felicity would become the next Black Canary. Even back when it was being foreshadowed that Laurel one day would take up the mantel (maybe especially then?), people would suggest that Felicity would be a better and more logical choice. I mean, sure 2/3 Black Canaries have been blonde when they were running around in the leather, but other than that, this was a nonsense kind of suggestion. Honestly, too, I think many fans’ desire to see Felicity promoted rather than Laurel was a shipping competition as much as it was anything else.

Felicity is also a good person to bring up here because of her character arc always being one of ascendancy to something no one ever expected her to become on meta and in-universe levels. From my understanding, Felicity was originally intended to be a minor, supporting, comic relief character to give a face to the employees of Queen Consolidated and to have her subplot with Walter and the Hamlet-esque Queen family drama. However, with whomever they Test things with to get reaction, Felicity Tested very well. She was well-received and well-liked and people wanted more of her, and so she kept staying on.

It’s hard to even imagine now because Felicity and the Original Team Arrow feel so deep and integral to the show and its developed mythos at this point. However, I want to point out that Felicity did not actually learn the truth about Oliver and join the original Team Arrow until after the midseason finale of Season 1. Now, again, I don’t actually have my finger on the pulse of the writing staff because I’m just not that kind of fan -- that stuff wears me out -- but that midseason finale thing might be important because it might indicate renegotiation and rewriting of a sort in order to make sure Felicity slotted into the space they’d sort of made for her through experimentation with her interaction with Oliver and John. Before that, “Team Arrow” was literally just Oliver and his “bodyguard.”

Anyway, Felicity was a new cog in the machine. She is and was an original character, as John is and was, and she was not originally intended to stick around. You know, cue the started-from-the-bottom-now-we-here meme. Given that Olicit/y might be a serendipitous thing, but it was completely and totally unplanned until it just started happening and they rolled with it -- if you write fic you know that feeling where your characters just start telling you what to do? I imagine professional writers are a little more shrewd and resistant to their own impulses when they think they could make more money by doing it another way, but Olicit/y is literally one of those “oops my hand slipped and now I have what is (arguably) a masterpiece!” things and people seem to forget that or make it into a point for arrogance when really you should just take the win if you like it.

The Interruption of Laurel’s Destiny

Now, the fact that Felicity was never a planned-on character meant that prior to knowing that Felicity was gonna be there for the long-haul, the writers... did.. have a plan. I am not sure when the various parts of the Arrowverse went into production conceptually, but Arrow was the cornerstone. Whether or not it had been successful enough to spawn its universe of shows, I heard somewhere once that the writers had a plan for six years of the show. (I’m wondering if this will end up voluntarily being the last season, but who knows at this point. More recently I read this sort of platitude-like statement that was like they know how Arrow is gonna end but they can take as long as they want to get there which scares me a lot because i can imagine what I bet it’s gonna be but that is a different and terrible point for another day.) And yeah, the six years thing makes sense. They wanted to do the parallel plots of the present and the “island” flashbacks for five seasons, and then they wanted at least a season for epilogue -- fair enough. And for so long, I’d thought that maybe they’d abandoned that plan altogether, but whatever this was I was told my best friend had read included allusions to a lot of the things such as William’s current role and so on. So basically, I don’t think they ever abandoned or changed their plan; they adapted it.

They adapted it to include Felicity, yes. However, they also didn’t adapt it to include Laurel in a new way but still chose not to get rid of her. Now, I’m glad they didn’t do that. I liked-Laurel-before-it-was-cool and everything. But the issue was not that they never had a plan for Laurel or that they changed it in terms of her becoming Black Canary. What happened was that she was clearly originally intended to be Oliver’s endgame love interest. But they fumbled it. Even before they decided to do anything with Felicity that we know of, they fumbled it.

They fumbled it by giving them such a big thing as what happened to Sara to be their big obstacle to overcome. It’s too big. They fumbled it by going to the trouble of almost bypassing the typical love triangle bullshit until right at the end of Season 1 to keep you guessing. They fumbled it by making Tommy ultimately still extremely-admirable. They fumbled it by writing the fact that Tommy, Laurel, and Oliver all cared really deeply about each other actually really well. They fumbled it by giving us the one really actually-moving and not just sentimental, confused soup of nostalgia (which was fine but like y’know not convincing romantic development) moment between Oliver and Laurel happen right before Oliver was about to go tank it forever by “getting Tommy killed” backlit by that stupid sunlight framing thing they do. I say that moment is the Moment because before that we were literally given nothing but the most oblique allusions for what on earth Laurel and Oliver saw in each other apart from “bad boy I can fix because he’s not an irredeemable monster” and “pretty girl who never stops giving me chances.” They did a very good job of early and often letting us know why Tommy and Laurel liked each other and did nothing to give us a convincing love triangle (thank God, but also, it make this thing Not Work). They fumbled it by making Tommy and Laurel’s relationship so precious that Laurive/r looked pale and sad and like people trying to cling desperately to something lost and miserable in comparison. I’ve heard people say that Green Arrow/Black Canary is kind of supposed to be two human disasters who keep staying together or ending up back together over and over again even though it’s a mess, but they got... almost there... but never had the stomach for it, and the obstacles and comparisons they gave us were just too much for them to ever move past it unless they’d gone a far grittier place with it than they were ever willing to go. They gave it the old college try, but they backpedaled because they knew they fucked up.

(Side note: I would remind current fans that the Arrow school of writing romance seems to have a steep learning curve in this regard because when they canonized Olicit/y it became such a soup of crying and high romance there for a little while that it broke the fandom in half or more pieces and that they literally broke Olicit/y up for a while so as to get the show back on track before they touched it again. I’m happy with Olicit/y now, but this is not a Laurel-problem it’s a what-do-you-think-romance-IS thing @ the Writers. I bring this up as a defense of her but also because it’s also unclear if the beginning of Season 2 Oliver and Laurel interaction was a backpedal from which they intended to consider recovering from or if they had already decided against it but were keeping Laurel on as an important character anyway. Either might be true, but a part of me is scared that it was the former.)

When the dust settled and by the time Laurel was finally ready to begin taking her place in the narrative as Black Canary, Olicit/y had already started taking root. It was not to spite Laurel, but it also kind of didn’t help her. I still think you need to see Olicit/y as an independent development for the most part. The problem was and still is that they failed to figure out what they were going to do with Laurel instead. Laurel had one of the most richly developed background lives and jobs of any of the characters. She had friends who were minor supporting characters off and on. Her job impacted plots on the show. Her relationship to her job drove some of her own philosophical self-searching. Overall, she had a lot to work with, but they... didn’t work with it.

Anytime she had a love interest, he died (Tommy), was fundamentally too broken and misaligned with her to make it work whatever he wanted (Oliver), was evil (Sebastian Blood), and so on. Within the show, they never gave her anything that would work for her. A girl doesn’t need a love interest to be on a show, as we should all know, but this is a branch of a root problem with how they handled Laurel after Olicit/y started to develop. There was nothing wrong with Laurel no longer being Oliver’s planned endgame love interest. In fact, I find their dynamic as people who cared about each other and stayed-friends-anyway in the end interesting (which is why I hate her last words even though they could have so easily acknowledged that dynamic without Laurel throwing herself under the bus while praising Olicit/y when no one thought she had a problem with them in the first place but yeah).

The writers followed through on what appears to be their whole plan with her becoming Black Canary. Right down to her also responding to domestic violence suffered by another to initially motivate her the way Sara protected women down in the Glades. Laurel being intended to be the Black Canary was never the failure; it was the fact that Laurel was no longer intended to be the love interest and they didn’t know what to do with her on a personal level. I can think of suggestions that would have made me happy, but that’s for fic and another time and place. Laurel died for the in-universe reasons they give us, but on a meta level she didn’t die because she was a shitty superhero or because she wasn’t meant to be one. She died because we’re still living with her ghost today in the ways in which that six-year plan didn’t conform and adjust to make room for a personal life for Laurel Lance after Felicity joined the cast. I wouldn’t trade Felicity for anything, but I’d trade a lot of unnecessary subplots to give Laurel her life back.

(Final note: You want to come at us with the Laurel had no training and should never have been out in the field and blahblahblah but I just point you to Roy Harper and Thea Queen. Laurel is not the only offender.)

#Laurel Lance #arrowmeta #arrow meta #arrow #dctvmeta #dctv #dctv meta #Sara Lance #Felicity Smoak #Oliver Queen #Helena Bertinelli #mine #long post

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getfreelogodesign · 4 years ago

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9 Logo Design Mistakes and How to Avoid Them

Designing a logo for your business is like hiring a lawyer to speak for you at trial.

The lawyer works on your behalf to present you to the court in the best possible light. She introduces you, explains what you’re all about, and convinces a jury that you’re the best version of yourself.

The same goes when you design a logo. After all, it speaks for your business, it serves as customers’ first introduction to your brand, and it represents what your company does. And, just like you’d want the best lawyer representing you at trial, you’re going to want to get your logo right the first time.

While many of us may not have had the unfortunate experience of sweating it out in a courtroom, we all know what it’s like to make a first impression and try to get people to like us.

When you design a logo, there are 9 things you should avoid in order to make that first impression a good one!

1. Going in Blind

You’re a small business owner; nobody also expects you to also be an artist. That said, you need to do your homework before you start creating your logo.

A top-quality photography logo will have different design best practices than a construction company logo, as will a freelance writer from a finance corporation; if you don’t look at what your competitors are doing, you’ll miss out on both the industry norms and potential ideas for your own designs.

Look at what others have done before you to get an idea of where you’re headed; you can familiarize yourself with the logos of some top-performing businesses in your field, or browse through a list of general logos until you see something that speaks to you.

2. Only Thinking About the Trends

As you do your research, you’re going to find all sorts of design trends that will seem super exciting, and you may be tempted to apply all of them to your new logo.

This would be a huge mistake.

Trends tend to turn into cliches within the year, and the last association you want people to have with your business is that it’s outdated and tacky. On the flip side, your business’s logo should be timeless, because a logo that looks current tells your audience that your business is relevant.

This isn’t to say that you should avoid trends altogether; there are certainly logo design trends that will help your logo stand out and make a unique mark on the world. However, many of the trends that populate the design industry are quick to fade after their fifteen minutes of fame, so try to evaluate what’s a phase and what’s here to stay before becoming trend-friendly.

3. Embracing Clutter

Sometimes, we tend to hold on to things even when we don’t need them, but this is an instinct you should absolutely fight against when designing your logo.

While you’re browsing the world of logo design elements, you may get attached to a palette full of colors or an entire family of fonts – and that’s great! However, they don’t all belong in your logo. Simplicity = effective, where clutter = confusion for your audience.

Your business logo should feature the name or initials of your business, an icon, a font or two, and three colors at most.

That’s it.

Aside from a tagline, there is nothing else to include in your logo; don’t even think about bothering with trademark symbols like ‘™’ or a copyright. Remember that if a logo is too busy, it’ll detract from its point and turn customers away.

4. Forgetting Your Audience

What does your audience have to do with designing your logo, you ask?

Everything.

Like we said above, your logo is supposed to intrigue your audience and get them to see you in the best possible light. Failing to consider them when making your logo is like forgetting to include the grapes in a bottle of wine – you’ll end up with nothing usable.

Does this sound extreme?

Well, imagine you want to hire an entertainment company for your child’s birthday party. You’ve heard great things about them, so you go to look them up online – and find that their logo sports a tombstone on a black background. What are the chances you’re still going to take them?

That’s what I thought.

Always have your audience in mind for every part of the logo design process, so you can create a logo that will draw them in rather than chase them away.

5. Choosing Fonts at Random

If your logo doesn’t have an icon, it means the first thing your audience is sure to look at (and judge) is the text.

One of the biggest mistakes people make with their text is to choose the first font they see, without putting any real intention behind it. Fonts carry meaning, and you want that meaning to translate to your customers, whether you’re telling them your business is elegant and sophisticated or friendly and down-to-earth.

Also, you may choose to include a tagline in your logo that uses a different font than your main text – and that’s fine. However, there are a number of ways NOT to go about pairing fonts, so make sure to familiarize yourself with fonts that belong together before deciding on a team of typefaces.

6. Throwing Colors at the Canvas

Like with fonts, the colors in your logo are going to send your audience a message about your brand. As much as you may be attached to your purples or your browns, that’s not enough of a reason to apply them to your logo.

Let’s circle back to our audience mistake (#4): Why did the thought of a black logo for a children’s entertainment company immediately put you off?

The answer is that colors have their own psychology, whether we’re consciously aware of it or not. Blues convey serenity and sophistication, where reds convey passion and energy, while blacks certainly don’t convey cheerful-terrific-fun.

Also, as mentioned above, you should limit your color combinations to three at the most (such as black, white, and a third color that stands out). Too many colors will make for a messy logo, while two or three will make for a clean, crisp design.

7. Using the Wrong File

A high-quality file can make the difference between a logo that gets ignored and a logo that gets celebrated.

You’ll want to put your logo everywhere once you have it, which will often mean resizing it to fit the context in which it’s found. Unfortunately, pixelated images and JPEGs aren’t going to cut it, as resizing these files will render your logo illegible and useless.

A vector file, on the other hand, will allow you to resize your logo however many times you want while preserving its quality, including when you want to print it on merchandise or business documents. You can also use a vector if you ever want to edit your logo in Adobe Illustrator or other design software.

8. Poor Placement

While this is a post-design mistake, you can avoid it altogether by planning around it beforehand.

You’re going to want your logo everywhere that concerns your business, whether that’s on the homepage of your website or your printed merchandise. However, many people brand carelessly with their logo, without thinking about how it looks – an obvious mistake.

For example, logos in the center of a webpage appear awkward, as do logos that take up the whole width of a business card. (The top-left corner of your website, however, is the ideal place for a logo, as is displaying it in the center of your business card.)

Before you begin branding with your logo, picture it everywhere. Try different positions, sizes, and layouts and only then commit to its placement.

9. Being Inconsistent After you have designed your logo and begun to use it, you might be tempted to play around with the way it looks.

Don’t.

Have you noticed there’s no image to go along with this tip? That’s an example of inconsistency – and we know it doesn’t feel right!

Once you start branding with your logo, you need to stick to your design. As your audience gets to know your brand, they’ll come to associate your logo with your business and look out for it in the future. Not only that, but they’ll also come to trust you to deliver what they expect from you, because your logo will stand as a symbol of how reliable you are.

So, don’t start playing with your logo colors or changing the font to match the season. Trust us – your audience will appreciate the consistency in the long run.

#logodesign #logo #freelogodesign #brandinspiration #branding #logoideas #free #freedesign

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eyedelater · 7 years ago

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notes (translation and otherwise) on chapters 100.12 and 100.13

basically i typed these up the day of translation for the respective chapters but never published them because i was feeling weird about them but i figured i’d put them out there anyway

translation notes marked with a * at the front so you can read only those if you want. overall this is pretty long and kind of nonsensical

for 100.12

*the "brother you can earnestly compete with" is the same phrase that i translated last chapter as "serious conflict," as in "there's never been a serious conflict between us," and i can't decide whether i translated it too strongly and then too weakly or vice versa but basically the meaning of the phrase (honki de butsukariau) is like, “seriously clash.” yeah, clash is the best word, isn’t it. it’s got all the right connotations, like bouncing off each other and general conflict but not necessarily a destructive fight and also not necessarily a friendly competition. yeah i should’ve said clash both times, huh. do you ever have regrets

*i was right about the sound effect at the end of 100.11 being a flash, sort of..? it was a precursor to this first panel's sound effect, which is "PIGIIIIN" which is an unusual sound effect, or at least, one i haven't really seen before. i mean it's entirely possible to just invent a one-off sound effect for any particular situation, you know? but in this case the sound effect appears to describe the phenomenon of ritsu being utterly immobilized by ???% in an instant

i was wrong about the percentage meter being mob's :0

raise your hand if you lost your shit after doing a double- or triple-take between the omake title and the omake itself and finally realizing what it was

i still need to sort out exactly how ritsu's interpretation of ???% and my ???% hypothesis work out, but i've been too busy playing psychonauts... plus i'm sure we will continue to better understand the nature of ???% as this chapter progresses. [[edit: psychonauts was good, and i’m probably going to reserve judgment on ???% until we get the full story, since there’s no point in speculating when your speculations will be addressed a week later]]

for 100.13:

*well, i had a lot of decisions to make in this chapter... which i guess actually just means i was slightly confused/ambivalent a lot. it comes with the territory of not actually being that good at japanese. i've said this before, right? it's on my about page. so don't let it come as a surprise to anyone that i'm not that good at japanese. i mean i'm not terrible, i have a solid handle on it. it's just that my approach to translation is more like decrypting a cipher as accurately as possible and then phrasing it in a way that captures both the meaning and the feeling. i try really hard, but i know i couldn’t be a professional translator without further education. that’s why i never claimed/aimed to be the best or only translator of this series. but i do still believe my work is accurate.

*anyway, starting on the first page. ritsu says "wakatta... wakatta yo..." and wakatta just means "understood" and the "yo" adds emphasis, but we don't quite have any emphasis-adding particle in english, so i changed the latter to "i get it" to make it sound more insistent. even though i really try not to translate the same phrase two different ways, especially not in direct sequence like that. but at first i translated it as "i get it... / i get it, okay..." and that sounded way too whiny, so i thought the better way to phrase it would be to do what i did. i think ritsu feels bad about causing distress to ???% and is saying, like, "i know it feels bad, but i had to do it." (<< interpretation, not a translation)

*when ritsu says "right...?" i was thinking about translating that as "don't you think...?" (what he actually says is just "nee...?" which is just a call for confirmation basically) and while i do think "don't you think...?" would've been the cuter translation, i went with "right...?" because it has the same number of syllables as the raw line and maintaining brevity is important to me sometimes.

*thanks again to femoralynn for hand-drawing the "STOP!!!" on the third page~ i think it makes a big difference. in the raws it was also hand-drawn and it said "TOMAREEE" which means... "STOP," but in english there's no good way to add more letters to "stop" to indicate you're stretching out the pronunciation, so i added three exclamation points in order to convey the intensity and desperation of the line. even though i usually try my best to stick with the punctuation offered in canon without adding or removing any.

*translating newscasters is an ordeal because they use hella kanji but i think i got the majority of it down... the only bit i'm not very confident on is the speech bubble to the right of tsubomi's face, but like, i don't think it will have a huge bearing on the story, and i'm pretty sure it's close enough. i've said before that i'm not going for archive quality, and i'm not going to go back and fix little mistakes unless they're really annoying or really important to understanding the story (like the mistakes i fixed last week).

*i hope it's clear in the "the government has claimed that no official agencies are involved in this matter" line that they're saying that no official agencies are responsible for causing this disaster, and what they're NOT saying is that there's no government agency investigating it. because like. surely there is. like, joseph works for the government, and he dropped touichirou on it, so the government is doing Something.

*yes, ???% uses "boku" pronouns. an established fact, but just a reminder to the curious who forgot or didn’t know in the first place.

*oh, i might've mentioned this in previous translation notes, but whenever i put "power" in quotes like that, it's because it's in quotes in the raws. whenever it's Not in quotes (like in ritsu's "innermost power" line), i don't put it in quotes. i'm not yet sure about the significance of this, because although mob seems to use "power" in quotes consistently, he's not the only one who does it, and yet, not everyone does it. hmm.

i guess i’ve unconsciously switched to using “he” pronouns for ???% sometimes in my meta. this is probably exactly what ???% wants...!

*now about the confusion that led me to post the chapter an hour late. on page 8 of the chapter (labeled page 149 in the bottom right corner), you'll notice that the four speech bubbles in the last two panels have no tails to indicate the speaker. tailless speech bubbles are my mortal enemy, as both a translator and a comics reader in general, and if you're someone who makes comics or ever will, i strongly urge you to add tails to your speech bubbles no matter what (and if the speaker is offscreen, do the thing where you make an inverse tail in the speech bub by taking out a wedge). so basically, i rely heavily on context and got confused about who is speaking in the last two lines of this page. of course, i was also confused by the grammar to a degree, otherwise i wouldn't have had to rely on context in this case. anyway, at first, i thought it was ???% saying, "if you do that, you'll disappear. i live freely." the first line makes sense in a way, telling mob that he'd disappear if ???% disappeared, but the second line seems like a non sequitur, and i couldn't really make sense of it. then i thought, oh, it's mob talking from offscreen, and he's saying, "if only you would disappear. then i could live freely." that's a very reasonable sentiment for mob to express, and it would make sense as mob elaborating on the line that came directly before those two lines... but then, on the next page, it seemed strange for mob to be saying his fifth line in a row. it seemed like it should be more of a back and forth than just mob talking at ???%. and note that i had poor femoralynn typeset all these confused iterations as i thought of them at like 11:25 this morning. sorry again for that. but anyway i finally realized that ???% really IS the one talking in those last two lines (no thanks to the tailless speech bubbles, again), and he's responding to mob's request to go away by suggesting that mob should be the one to go away, since he's the fake one. and finally that makes perfect sense with the lines surrounding it. i don't know why it took me so long to understand that... but the speech bubbles definitely had something to do with it. remember, kids, if you put dialogue in your comics but don't indicate who is speaking, the reader doesn't know either! unless they're the only one on the page, like when mob was yelling into the void inside his own head.

it doesn’t help that in japanese, they often leave the subject (and sometimes the object) out of the sentence entirely and leave it to me to interpret who is doing a verb to what/whom. because in english, you can’t just leave the subject out of a sentence. (e.g. “korosu” is just the verb “to kill” but if you say “korosu” to someone, you’re essentially saying “i’ll kill you.” notice how i had to add the subject [i] and the object [you] even though the literal translation would be nothing but the verb “kill.” so if i see a speech bubble that says “korosu” and it doesn’t have a tail to indicate who is saying it, i Literally Cannot Know who is threatening to kill whom or what, except by using context to make an educated guess. you see why this is a problem? and naturally they do this with tons of verbs completely unrelated to killing, i just thought of “korosu” first because bakugou katsuki says it all the time)

(ONE-sensei is usually very good about tailing his speech bubbles. i wonder if the lack of tails was intentional here, meant to further reflect the fact that mob is arguing with himself and that they’re kind of both technically the same speaker. still confusing though)

(oh and for the curious, the raws for the last 3 lines on that page, page 149, were as follows: 「僕の中からいなくなってくれ。」「だったらキミが消えてくれ。」「僕は自由に生きる。」 yeah the "kure" in that second line really threw me off bc i'm a fool and also i translated that same "kure" as "please" for mob but i didn't put "please" in ???%'s line because i couldn't figure out how to put it in there concisely and also it's clear that ???% is being a dick even if he kinda said please. and also because i don't know shit)

(and fuck, if i'm being honest, that "please" probably teleported up to ritsu's "so please... come home..." line, because he didn't actually say please in that line. should i correct it? i feel like a fraud. i just thought the "please" helped convey the sentiment of the line, but in retrospect i could've translated it more accurately without losing the feeling of it.......... what ritsu really says in that line is "dakara... kaettekite ne..." which, if you've watched the one punch man anime, you can only hear as the lyrics to the extremely sappy ending credits song, so maybe that impression of extreme sappiness sapped through into my translation and made me make it sappier than it really was...............)

about how ???% is like "ritsu is my little brother. he was saying that i'm his older brother." i might be wrong in my interpretation (not translation, which is more or less literal, but the interpretation i'm about to give), but i took this to mean something along the lines of "just now, ritsu kept addressing me as his brother. i think that means i am his brother. today i learned that i am ritsu's brother." as opposed to meaning something more like "i'm the one he called 'nii-san,' so i'm his brother and you're not." (plus ???% did not literally say, “he called me nii-san.” i translated that line accurately.) although either way, it seems to indicate that ???% only just recently started noticing (or being able to notice) whom ritsu is addressing as "nii-san;" otherwise, ???% would have known that the other million times ritsu has called someone "nii-san" in his life, it has been directed at mob, not ???%. so even if ???% is suggesting that he is ritsu's only True nii-san, his claim is only based on the last few minutes of ritsu addressing him directly, which would back up my claim that ???% only learned/decided just now that ritsu is his little brother... if any of this makes any sense.

i love how serizawa is like "let's get out of here i'm sure kageyama-kun is fine" and reigen's like "...he's in the tornado isn't he" and seri's like "..........maybe"

and serizawa's new umbrella, which he must have picked out and bought himself specifically to use as his preferred vessel of psychic power, is transparent. is that... a bubble umbrella...?

#mob psycho 100 spoilers #MOB BLOG MOB LOG #very late but oh well

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singhamelia · 4 years ago

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