#How can we Define AIMS

[intellectgrow]

Vision to Achievement: Aims, Goals, and Objectives for Success

AIMS, Goals, and Objectives are commonly used terms in various fields and organizations to define the direction, purpose, and desired outcomes of a project, program, or organization. While the specific definitions and usage may vary depending on the context. Read more

[fairuzfan]

19 October 2023: In Gaza, we have grown accustomed to war

Horrific experiences of death and destruction have permanently impacted Palestinians’ culture, language and collective memory. “Is it war again?” asks my little Amal, 7, memories of the previous Israeli assaults still fresh in her mind.

The wording of the question shows the maturity she has been forced to develop. Last year, Amal asked her mum if it was “another war.”

Yes, it is war again in Gaza! In Gaza, we have grown accustomed to war. War has become a recurrent reality, a nightmare that won’t go away. A brutal normality. War has become like a grumpy old relative, one that we can’t stand but can’t rid ourselves of either.

The children pay the heaviest price. A price of fear and nonstop trauma that is reflected in their behaviors and their reactions. It’s estimated that over 90 percent of Palestinian children in Gaza show signs of trauma. But also, specialists claim there is no post-war trauma in Gaza as the war is still ongoing.

My grandmother would tell me to put on a heavy sweater because it would rain. And it would rain! She, like all Palestinian elders, had a unique sense, an understanding of the earth, wind, trees and rain. The elders knew when to pick olives for pickling or for oil. I was always envious of that.

Sorry, Grandma. We have instead become attuned to the vagaries of war. This heavy guest visits us uninvited, unwelcomed and undesired, perches on our chests and breaths, and then claims the lives of many, in the hundreds and thousands.

A Palestinian in Gaza born in 2008 has witnessed seven wars: 2008–2009, 2012, 2014, 2021, 2022, 2023A and 2023B. And as the habit goes in Gaza, people can be seven wars old, or four wars old. My little Amal, born in 2016, now holds a BA in wars, having lived through four destructive campaigns. In Gaza, we often speak about wars in terms of academic degrees: a BA in wars, an MA in wars, and some might humorously refer to themselves as PhD candidates in wars.

Our discourse has significantly changed and shifted. At night, when Israel particularly intensifies the bombardment, it’s a “party”: “The party has begun.” “It will be a horrific party tonight.” And then there is “The Bag,” capital T and capital B. This is a bag that is hurriedly prepared to contain the cash, the IDs, the birth certificates and college diplomas. The aim is to grab the kids and one item when there is a threat of evacuation.

The collective memories and culture of Palestinians in Gaza have been substantially impacted by these horrific experiences of war and death. Most Gazans have lost family members, relatives, or loved ones or have had their homes damaged or destroyed. It’s estimated that these wars and the escalations between them have claimed the lives of over 9,000 (it was 7,500 when I started drafting this last week!) Palestinians and destroyed over 60,000 housing units.

Death and war. War and Death. These two are persona non grata, yet we can’t force them to leave. To let us be.

Palestinian poet Tamim Al-Barghouti summarizes the relationship between death and the Palestinians that war brings (my translation):

It was not wise of you, Death, to draw near.

It was not wise to besiege us all these years.

It was not wise to dwell this close,

So close we’ve memorized your visage

Your eating habits

Your time of rest

Your mood swings

Your heart’s desires

Even your frailties.

O, Death, beware!

Don’t rest that you tallied us.

We are many.

And we are still here

[Seventy] years after the invasion

Our torches are still alight

Two centuries

After Jesus went to his third grade in our land

We have known you, Death, too well.

O, Death, our intent is clear:

We will beat you,

Even if they slay us, one and all.

Death, fear us,

For here we are, unafraid.

23 October 2023: Five stages of coping with war in Gaza

Our familiarity with war in Gaza has led us to develop a unique perspective and unique coping mechanisms.

We can identify five major emotional stages that Gazans go through during these grim conflicts. The stages are denial, fear, silence, numbness, hope, despair and submission.

This is day 16 and Israel has killed more than 5,000 Palestinians (many are still unaccounted for under the rubble), including over 2,000 Palestinian children, Gaza authorities tell us. More than 15,000 were injured and over 25,000 Palestinian homes were destroyed. And Israel says it is ready for ground invasion.

Stage one: Denial

In the early stages of a crisis, there is often a sense of denial. We convince ourselves that this time won’t lead to war. People are tired of the recurring conflicts, and both sides may appear too preoccupied to engage in warfare. As missiles fall and soar, we maintain a form of partial denial, hoping that this time will not be as lengthy or devastating as past wars.

No, this time it’s not going to be war. Everyone is tired of wars. Israel is too busy to go to war.

Palestinians are too exhausted and too battered to engage in a war. It could just last five days, give or take, we hope.

Stage two: Fear

Soon, denial turns to fear as the reality of another war sets in. Gaza is paralyzed as civilians, including children, are attacked by Israeli bombs. The pictures and videos of massacres, of homes obliterated with the families inside, of high rise buildings toppled like dominoes turn the denial into utter terror.

Every strike, especially at night, means all the children wake up crying and weep. As parents, we fear for our kids and we fear we can’t protect our loved ones.

Stage three: Silence and numbness

This is when Israel particularly intensifies the bombing of civilian homes. Stories are interrupted. Prayers are cut short. Meals are left uneaten. Showers are abandoned.

Therefore, amid the chaos and danger Israel brings, many in Gaza, especially children, withdraw into silence. They find solace in solitude as means of coping with the overwhelming emotion and uncertainty that surrounds them. Silence prevails.

Then numbness follows. As people attempt to protect themselves from the constant onslaught of distressing news, they grow indifferent. Because we could die anyway, no matter where we go. Emotional numbness sets in, as individuals attempt to detach from their emotions to survive.

Stage four: Hope

In the midst of despair, glimmers of hope may emerge. Even in the darkest moments, Gazans may hold onto the belief Israel might at least kill fewer people, bomb fewer places, and damage less. The most hopeful of us wish for a lasting ceasefire or an end to the siege or even the occupation. But this is merely hope. And hope is dangerous.

We hope that politicians will man up. We hitch our hope to the masses taking to the streets to reassure their politicians and warn they will be punished in future elections if they support Israeli aggression against Palestinians in Gaza.

Stage five: Despair and submission

Unfortunately, hope can often be fleeting, and many Gazans have experienced recurring cycles of despair. The repeated loss of life, homes and security lead to deep feelings of helplessness.

In the final stage, there is a sense of submission as Gazans accept the reality that they are unable to change the situation. That they are left alone. That the world has abandoned us. That Israel can kill and destroy at large with impunity. This is a stage marked by endurance, as Palestinians strive to adapt and persevere in the face of ongoing challenges.

These stages of war have become an unfortunate part of life in Gaza, shaping the resilience and perseverance of the Palestinian people in the face of unimaginable hardships imposed by the Israeli occupation.

27 October 2023: What it’s like when Israel bombs your building

I have six children. And so far we have survived seven major Israeli escalations, unscathed. We are an average family. My wife, Nusayba, is a housewife, I have two children in college and my youngest child, Amal, is 7. In Gaza, Amal is already four wars old.

We are an average family in Gaza, but we have had our fair share of Israeli death and destruction.

So far, since the early 1970s, I have lost 20 (and 15 last week) members of my extended family due to Israeli aggression.

In 2014, Israel destroyed our family home of seven flats, killing my brother Mohammed.

In 2014, Israel killed about 20 of my wife’s family including her brother, her sister, three of her sister’s kids, her grandfather and her cousin. And destroyed several of my in-laws’ homes.

Combined, my wife and I have lost over fifty 50 members to Israeli war and terror.

2023 war on Gaza

As the bombs fall and Israel targets sleeping families in their homes, parents are torn between several issues.

Should we leave? But go where, when Israel targets evacuees on their way and targets the areas they evacuate to?

Should we stay with relatives? Or should our relatives stay with us, whose home is relatively “safe?” We can never be sure. It’s been more than 75 years of brutal occupation – and over six major Israeli military onslaughts in the past 15 years – and we have so far failed to understand Israel’s brutality and mentality of death and destruction.

And then there is the fear of what to do if – when – we are bombed. We try to evade them. But how can you evade the bombs when Israel throws three or four or five consecutive bombs at the same home.

The big question Palestinian households debate is whether we should sleep in the same room so that when we die, we die together, or whether we should sleep in different rooms so some of us may survive.

The answer is always that we need to sleep in the living room together. If we die, we die together. No one has to deal with the heartbreak.

No food. No water. No electricity.

This 2023 war is different. Israel has intensified using hunger as a weapon. By completely besieging Gaza and cutting off the electricity and water supplies and not allowing aid or imports, Israel is not only putting Palestinians on a diet, but also starving them.

In my household, and we are a well-off family, my wife and I sat with the children and explained the situation to them, especially the little ones: “We need to ration. We need to eat and drink a quarter of what we usually consume. It’s not that we do not have money, but food is running out and we barely have water.”

And good luck explaining to your 7-year-old that she can’t have her two morning eggs and instead she will be having a quarter of a bomb! (Israel later bombed the eggs.)

As a parent, I feel desperate and helpless. I can’t provide the love and protection I am supposed to give my kids.

Instead of often telling my kids “I love you,” I have been repeating for the past two weeks:

“Kids, eat less. Kids, drink less.” And I imagine this being my last thing I say to them and it is devastating.

Israel bombs our building

If we had a little food last week, now we barely have any because Israel struck our home with two missiles while we were inside. And without prior warning!

My wife Nusayba had already instructed the kids to run if a bombing happened nearby. We never expected [our building] to be hit. And that was a golden piece of advice.

I was hosting four families of relatives in my flat. Most of them were kids and women.

We ran and ran. We carried the little ones and grabbed the small bags with our cash and important documents that Gazans keep at the door every time Israel wages a war.

We escaped with a miracle, with only bruises and tiny scratches. We checked and found everyone was fine. And then we walked to a nearby UN school shelter, which was in an inhuman condition. We crammed into small classrooms with other families.

With that, we lost our last sense of safety. We lost our water. We lost our food and the remaining eggs that Amal loves.

We are an average Palestinian family. But we have had our fair share of Israeli death and destruction. In Gaza, no one is safe. And no place is safe. Israel could kill all 2.3 million of us and the world would not bat an eye.

[eamour]

method · alter ego

many people which are now known as famous and popular celebrities have created their alter egos long ago. jennifer lopez' alter ego called lola, eminem's alter ego slim shady or mariah carey's alter ego mimi — they all serve one purpose: to extend one's self-image. in other words, becoming someone, which is exactly what we do when we manifest!

definition

an alter ego — latin for "other i" — can be referred to as a secondary self, a hidden or even opposite side of one's self. it’s an alternative personality which is believed to be different from a person's actual or original personality. some even say it’s a better or enhanced version of oneself, possessing all characteristics which your first self desires or aspires to have. your alter ego is defined by everything you wish and intend it to be defined by. in manifestation terms, an alter ago is simply a different concept of self or state of mind which you can embody or identify with at all times.

suggestion

creating an alter ego for yourself can be quite beneficial if you find it exhausting to embody your desired version of self all the time or experience difficulties representing or relating to a fixed state of self continuously or repeatedly. inventing and alter ego helps to be able to identify with a made up side of yourself without feeling the pressure or the need to show up as them every minute of the day, especially if they are inherently or drastically divergent than how you are normally.

on the other hand, it serves as a means to express yourself in a way that’s in contrast to how you usually are, reducing anxiety and inducing confidence instead. it guides you into thinking and expecting more of yourself naturally and get over your mental limitations and restrictions. your alter ego is an extension from who you are to who you could be. what you can’t do, your alter ego can!

invention

let's create your alter ego together!

biography. give them a name. it does not have to be your exact first and last name. your alter ego's name could be your actual first name and a different last time, a nickname or variety of your first name or an entirely new name. you can continue by choosing their age, their sex, their birthday, their zodiac sign or even birth chart, deciding on their nationality, their political, sexual, spiritual or religious orientation,…

personality. define their personality. who are they? what do they know? what are they interested in? what do they like? what do they dislike? how do they talk? how do they walk? how do they look like? how do they dress? how do they behave? how do they treat others? what do they know? how do they think of themselves? how do they act? what do they think? what do they own? how does their home look like? what’s their social life like? do they have a routine? do they have a signature smell? do they own a motto they live by? or do they have a catch phrase they always use? who is in love with them? do they have a partner? do they have several lovers? who do they know? what is their family relationship like? do they have a best friend? are they in a friendgroup?…

expression

now, we need to get to action. our next step is all about embodying and expressing. having an alter ego is one thing but showing up as them is another.

whenever you intend to become your alter ego and let them "take over yourself", your job is to get into the mindset of that specific alter ego. you need to let them live through you. let them be who they are while using your body as a "vessel". think about it, what would they do? how would they act? if you were to make a decision, how would they choose? what would they say? make it your aim to BE them.

with love, ella.

[anotherocean]

THE SEED IN YOUR SOUL:

This reading is about a dream your soul has for you. This is my second PAC reading and it's like a compass for your soul-- something you deeply desire, something that is already occurring on some level, and something that has seeds within you already. Please feel free to pick more than one pile, or pick them all, or just pick one. This is meant to be a glance at something essential inside you that popped out at me, and some advice moving forward toward a more complete realization of it. Please let me know if you found this helpful or if it resonated! :)

PILE I. You are so beautiful to me Pile 1, and your life is abundant with riches. There is SO MUCH peace here. You can finally rest. The energy I see is you on a tropical island swinging in a hammock without a care in the world. You are allowed to take life as slowly as you want. You really appreciate the sensuality of things. Really truly. That’s what makes you rich. The abundance spills forth from there, and you have the money to cover all the basics (and more) without worry. You even have enough money to take care of your loved ones it seems, which is something that matters to you. You want to share so much of what you have, and that's part of what makes you feel rich too. You’ve carved out a gorgeous life for yourself, and that life is just for you. It doesn’t look like a life that anyone has ever seen before. It’s fully YOURS... you invented it! If the word “mine” isn’t your guiding word, it should be. You are learning about all the things that are yours, and it makes you truly rich. You can live your life in secret if you want. Or you can live it very loud and big. There is a duality to you. Somehow your legacy in life is both very small and very huge. You live both a very secret life, and a very public one. You acquaint yourself with the riches of the world and live in true luxury, as personally defined by you.

Advice: You’re coming off of a really hard time it looks like. Recognize the difficulties you’ve been through. Honor them. Address concerns you have about security and how that may be holding you back. Security is your birthright, but it is a state you can feel without obsessively pursuing it and valuing it above all else. RELEASE your regrets for how you wish things could have been. People and situations are flawed. We are flawed. Life doesn’t always take the twists and turns we like, and it’s your time to move on. It’s time to step away from those things and embrace your confidence, your fire, your passion. Aim to complete what you’ve started and begin afresh. It’s the end of a cycle and the beginning of a glorious new one. You are headed for exciting new opportunities and the feeling of inspiration is just around the corner.

PILE II.

My graceful and gorgeous pile 2. Letting your body be completely free makes you really happy, and this is something you feel allowed to do privately.  You are utterly unique and solitude just allows you to stretch out into that.  You loooooooove to be alone, and it is a truly gorgeous thing.  I think a lot of the time solitude gets a bad rap, but this pile is all about the gorgeousness that comes from really getting to enjoy your own company, and the world around you.  You are EXTREMELY sensual and I mean sensual with a capital SSSSSS.  Your greatest joy is pure quiet, and the sounds of nature.  From this place of solitude, and a deep knowing, you find absolute and utter, tranquility.  Maybe this is a pile that has experienced pain or trauma or power struggles but that is all over.  It’s like all the nature you’ve surrounded yourself with has just sucked it out of you completely.  Your body is going to take over.  I keep getting that this is maybe a scary thing, but it shouldn’t be.  You are 100% aligned with something holy.  Deep down I think you know this.  Anyway, the divine will wash over you.  Just say thanks, or say nothing at all, and melt.  You are here for this kind of bliss. You are absolutely absorbed into a spirituality that many people would die to experience just a fraction of.  You are existing on other wavelengths entirely, and what a stunning thing that is.

Advice: You’re undergoing a massive transformation.  Embrace the upheaval you are going through.  Move away from rigid thinking (“this is the way it should be”).  Rules and adherence to rules are not your friend right now.  You will still want to use your mind to think clearly, but be playful and inquisitive as you do it.  Ask a lot of questions and be curious.  Understand too, that emotional pain may be part of the process toward what you most want right now, and that is okay, it will only make your heart stronger and you more beautiful.  Let joy, friends, community and camaraderie lift you up and be part of your healing process.

PILE III

Right away I get the glory of good food!  Of nourishment!  This is just the surface.  You have absolutely incredible, deep-in-your-body physical confidence.  You are an athlete, a chef, someone whose whole world depends on their body.  Still, you are going to the gym, making the smoothies, swimming, dancing, your world is revolving around your physical self.  You get massages.  In a sense you are free to worship yourself.  You are free to worship your world.  Judgements from other people (and there are some) only thrill you, and you might even enjoy the fiery friction.  Sexuality is a part of your life, and it’s tied to your creativity.  You are of the body, by the body and for the body.  You get the pleasure of standing up for what you believe in.  You are some kind of star.  Something old-fashioned even.  Or there is something about the way you live that is old fashioned.  Or your notoriety (fame?) is old fashioned somehow… You are my most musical pile.

Advice:  You are setting out on a brand new adventure right now—how thrilling.  I can feel the potential and excitement.  You are a bit concerned about the long term stability of your plan and it’s holding you back a bit.  There is some hesitation, and it might be hindering your progress.  Don’t be so conservative right now, but also don’t be reckless.  There is a bit of a push-pull between a conservative approach, and a devil may care attitude.  Balance your enthusiasm with steady and thoughtful planning.  Above all else, embrace collaboration and teamwork.  Recognize the importance of collective efforts.  I promise that even if this does not relate directly to your goals, that peripheral collaborations will still help you.  Learn from people around you.  My other word of advice is take time to rest and recollect.  Be diligent, responsible and practical and be in it for the long haul.  There is stability in that alone, which should give you some comfort.  Practicality without conservatism will do you a world of good right now as you set out on your exciting new path.

PILE IV

You are a traveler down to the deepest parts of yourself.  You see the world and different people in the world, and make connections everywhere you go.  You rush hurriedly from one flight to another, and then you find yourself somewhere exotic and your world gets bigger and your whole mind expands.  It’s like the drapes were drawn in your living room for your whole life and now you’ve finally opened them letting light stream in, and even the windows are open and fresh air is finally getting inside.  You see so many things.  Greatest mountains, other oceans, animals and flora and fauna of other worlds.  In a sense you are like an alien walking on earth and just want to see as much of it as possible before you have to leave.  You are so free.  You step so lightly in this world, and with so much joy.  You go to cafes you’ve never been to, shops you’ve never been to, temples and fragrant forests where the caterpillars are huge and orange and you reach out and touch one out of curiosity.  You are a true citizen of the world, and deeply connected to humanity.  Your travels do not alienate you, they deepen your roots to Earth and connect you with your global family.  

Advice: You are on a new path, perhaps related to the material world or financial comforts.  There are real tangible beginnings now.  What’s holding you back are indecision and possibly procrastination.  Let go of indecision and avoiding the task at hand.  Make a decision and move forward with it… at some point in the future it might be appropriate to make adjustments, but not right now.  Right now you must embrace your vision and your confidence.  Be bold!!!!!!!!!  You might encounter worry, fear, anxiety but face it head on.  Don’t try to deny or hide away.  See the fear for what it is and have a direct confrontation with it (sometimes this is the war in our mind).  Persevere and value your resilience.  Say thank you to yourself for it.

=====

I hope you enjoyed this reading! I may eventually do paid services if people want additional info or clarifying questions. Very grateful to help and hope some of this information resonated with you. I had fun doing it and the hours slipped away. Put in my inbox or in comments if you want to see me focus on a specific reading.

[felassan]

More from Game Informer: ''A Deep Dive Into Dragon Age: The Veilguard’s Combat, Abilities, Skill Tree, And More''.

The article contained new screenshots of skill trees - one for Level 30 Warrior Rook, one for Level 30 Mage Rook, one for Level 30 Rogue Rook, and one showing the 'pop up info' for the skill Wall of Fire. Going by these screenshots, the 3 specs for mage Rook are Death Caller, Evoker, and Spellblade. I think this is the first time the three specs for mages are confirmed. I wonder, is "Thorne" this Rook's custom first name, or one of the faction-defined surnames?

Text in last image reads:

"- Large circle: Class - Diamonds: Abilities - Medium circle: Major Passives and Ability Upgrades - Small hexagon: Traits - Small circle: Minor Passives and Stat Boosts"

Other excerpts from the article:

"Every single entry reimagines what combat is like and I would say our goal was to make sure we had a system that allowed players to feel like they actually were able to step into the world of Thedas. They're not a player observing from afar – they are inside of this world. Being this authentic world that's brought to life, the combat system needs to support that, so you are in control of every single action, every block, every dodge, every swing of your sword." [...] "During my demo at one point, we use a sword-and-shield Warrior Qunari that hip-fires and aims their shield to throw it like Captain America while hammering down big damage with a sword" [...] "a Mage's firewall that deals continuous damage" [...] "This extends to companions, who, at your choosing, bring three abilities (of their five total) into combat, executed either with quick select buttons or the pause-and-play combat wheel. Every time you rank up a companion's Relationship Level, you unlock a skill point to spend specifically on that companion – this is how you unlock new combat abilities. This extends to companions, who, at your choosing, bring three abilities (of their five total) into combat, executed either with quick select buttons or the pause-and-play combat wheel. Every time you rank up a companion's Relationship Level, you unlock a skill point to spend specifically on that companion – this is how you unlock new combat abilities. " [...] "Passive abilities unlock jump attacks and guarantee critical hit opportunities, while abilities add moves like firewall and spartan kicks to your arsenal" [...] "Busche says BioWare's philosophy with the skill tree is "about changing the way you play, not the statistical minutiae." 

-

"If you completely ignore companions in combat, they will attack targets, use abilities, and defeat enemies all on their own. "[Companions] are their own people, "Busche says. "They have their own behaviors, they have their own autonomy on the battlefield, they'll pick their own targets. As their plots progress, they'll learn how to use their abilities more competently, and it really feels like you're fighting alongside these realized characters in battle."" [...] "Busche says there are more explicit synergies, with intentional combos where specific companions can play off each other, and you can queue up their abilities to do just that."

-

"Busche utilizes Veilguard's dual-loadout mechanic. As Rook, you can create two weapon loadouts for quick switch-ups mid-combat. As a mage Rook, she uses magical attacks to add three stacks of arcane build-up to make an Arcane Bomb on a Sentinel, a mechanical set of armor possessed by a demon. If you hit the Sentinel's Arcane Bomb with a heavy attack, the enemy will take devastating damage. Once the Sentinel has an Arcane Bomb on it, Busche begins charging a heavy attack on her magical staff, then switches to magical daggers in Rook's second loadout, accessed with a quick tap of down on the d-pad to unleash some quick light attacks, then back to the staff to finish charging its attack. She then unleashes the heavy attack, and the Arcane Bomb explodes in a liquidy whirl of green magic."

-

""I've seen [Veilguard's combat] refined over time [and] I love it," BioWare general manager Gary McKay tells me. "I love that balance of real-time fluid action, but also the ability to have the depth in the RPG, not just in terms of pause-and-play, but the depth in terms of how you bring your companions into the battlefield. What are you going to do with their skill points? What's the loadout you're going to use? Everything is about bringing Rook to the center of the battlefield, and I love it."  Former Dragon Age executive producer and Veilguard consultant Mark Darrah feels Veilguard is the first game where the combat is legitimately fun. "What I see in Veilguard is a game that finally bridges the gap," he says. "Uncharitably, previous Dragon Age games got to the realm of 'combat wasn't too bad.' In this game, the combat's actually fun, but it does keep that thread that's always been there. You have the focus on Rook, on your character, but still have that control and character coming into the combat experience from the other people in your party."  I get the sense from watching Busche play several hours of Veilguard that BioWare has designed a combat system that relies heavily on players extracting what they want out of it. If you want to button mash and use abilities freely when their cooldowns expire, you can probably progress fine (although on the game's easier difficulties). But if you want to strategize your combos, take advantage of elemental vulnerabilities, and min-max companions and Rook loadouts, you can do that, too, and I think you'll find Veilguard rewards that with a more enriching experience."

[source]

[sokosmic]

Love, Values & Money:

Venus Thru the Houses

Venus, often known as the planet of love, beauty, and money, holds a profound influence in astrology, symbolizing what and how we value life's treasures. It governs our affection, the way we express love, and our aesthetic preferences, shaping our attractions and the pleasure we derive from art, beauty, and social interactions. Beyond the realms of the heart, Venus also dictates our financial wellbeing, highlighting paths to prosperity through what we cherish and find joy in. It reflects our approach to money, from earning to spending, emphasizing the importance of harmony and satisfaction in our material pursuits. Essentially, Venus serves as a guide that illuminates our desires, and defines our sense of beauty. It also steers our financial ventures towards fulfillment and balance. Understanding Venus's placement and aspects in a birth chart can unlock secrets to navigating relationships, financial success, and uncovering what truly brings us joy.

Venus 1st House -

You love working on your self-image. You value your independence. You make money through your creative pursuits. You love sticking up for the underdog. You value confidence. You make money in leadership positions. You love showcasing individual expression. You value authenticity and charm.

Venus 2nd House -

You make money in the food industry. You value your own self-worth. You love material comfort. You make money in real estate or business related fields. You value sensuality, physical touch, and gifts. You love creating an aesthetically pleasing environment. You make money in joint ventures or by building partnerships. You value being rewarded for hard efforts. You love luxury items. You make money with wise investments or through avenues that appreciate value over time.

Venus 3rd House -

You value your mind. You love to talk. You value good communication. You make money in your local community. You value your siblings. You love a nice vehicle. You make money in sales or commerce. You value facts or the opportunity to learn new things. You love to research. You make money as a researcher or writer. You love taking short trips.

Venus 4th House -

You value family. You love your mother. You make money in real estate or by having a family business. You love your childhood memories. You value security or being secure. You love emotional expression. You make money working from home. You value your intuition. You love being a homebody. You make money researching history.

Venus 5th House -

You value creativity and pleasure. You love expressing yourself through artistic or creative endeavors, finding joy in romance and leisure activities. You make money through the arts, entertainment industry, or any field that allows your creative juices to flow. You value joyful experiences and love affairs. You love investing into creative projects. You make money in businesses related to leisure and entertainment.

Venus 6th House -

You value service, health, and daily routines. You love helping others and are passionate about improving well-being for yourself and those around you. You make money in health care, the wellness industry, or services aimed at enhancing others' lives. You love animals or caring for people or animals that require help. You value efficiency and practical solutions. You make money in administrative roles or businesses focused on efficiency or making improvements.

Venus 7th House -

You value relationships and partnerships deeply. You love when interactions are harmonious and fair. You make money in legal fields, counseling, or through partnerships that require a balanced approach. You love social gatherings and networking. You value collaboration and partnerships. You make money via marriage or from a partner. You value compromise and diplomacy.

Venus 8th House -

You love exploring the depths of relationships. You value transformation, intimacy, and shared resources. You make money in finance, investments, or managing other people's resources. You love researching occult topics and taboo subjects. You value psychoanalysis or digging into fields dealing with crisis or trauma. You make money with an esoteric or occult business.

Venus 9th House -

You value adventure, philosophy, and higher learning. You love traveling and exploring different cultures. You make money through education, publishing, or international business or travel. You value freedom of belief and wisdom. You love engaging in philosophical debates and spiritual quests. You make money from religious or spiritual leadership, or as a cultural ambassador.

Venus 10th House -

You love achieving goals and gaining recognition. You value aspects of career, reputation, and your public image. You make money in high-ranking positions, the arts, or public relations. You love to plan and structure for success. You value ambition and responsibility. You make money in entrepreneurship or industries that value tradition and prestige.

Venus 11th House -

You value friendships, community, and your goals for the future. You love social reform and working within groups. You make money through technology, innovation, or community-driven projects. You value individuality and collective progress. You love unique expression and the freedom to be authentic. You make money in networking and social movements, such as non-profit organizations or social enterprises.

Venus 12th House -

You love spending time alone. You value your spiritual connection to Source. You value your privacy. You make money working remotely or in isolated environments. You love visiting far away lands. You make money from embracing your spiritual path. You love fantasy genres. You value compassion. You make money working in hospitals or prisons.

[thewriteadviceforwriters]

Hey! I was reading on your character arcs and was wondering how you would write character regression over the course of the story :)

Hey there, fellow writer! Thanks so much for your message. Sorry, this response took so long. But, I'm thrilled that you found my posts on character arcs helpful, and I'm excited to dive into the topic of character regression with you. It's a fascinating and complex aspect of storytelling that can add so much depth to our narratives when done well.

What is Character Regression?

Before we dive into the nitty-gritty, let's define what we mean by character regression. In essence, character regression is the opposite of character growth or development. It's when a character moves backwards in terms of their personal growth, beliefs, or behavior. They might lose skills they once had, revert to old, harmful patterns, or abandon positive traits they've developed.

This doesn't mean your character simply becomes "worse" or "evil." Regression is a nuanced process that can happen for various reasons and manifest in different ways. It's about your character losing ground on their personal journey, facing setbacks, or struggling with challenges that push them back towards old habits or mindsets.

Why Use Character Regression?

Now, you might be wondering, "Why would I want my character to regress? Isn't that the opposite of what we usually aim for in storytelling?" Great question! While it's true that we often focus on character growth, regression can be an incredibly powerful tool in your storytelling toolkit. Here's why:

Realism: Let's face it, real life isn't a straight line of constant improvement. We all face setbacks, make mistakes, and sometimes fall back into old patterns. Including regression in your character's journey can make them feel more authentic and relatable.

Conflict and Tension: Regression can create internal conflict for your character and tension in your story. It gives your character something to struggle against, adding depth to their arc.

Emotional Impact: Watching a character we care about struggle or backslide can be incredibly emotional for readers, creating a strong connection to the story.

Set-up for Greater Growth: Sometimes, a character needs to hit rock bottom before they can truly grow. Regression can set the stage for even more significant character development later in the story.

Exploring Complex Themes: Character regression allows you to delve into themes like addiction, trauma, fear of change, or the difficulty of personal growth.

How to Write Character Regression

Alright, now that we've covered the what and why, let's get into the how. Writing character regression requires a delicate touch and careful planning. Here are some steps and tips to help you navigate this tricky terrain:

(Beware Very Long Post!)

Establish a Baseline

Before you can show regression, you need to establish where your character starts. What skills do they have? What are their core beliefs and values? What positive traits define them? This baseline will be crucial for showing how the character changes over time.

For example, let's say we have a character named Alex who starts the story as a confident, outgoing person with a strong sense of right and wrong. This is our baseline. (I will be using "Alex" as an example character for the remainder of the post)

Identify the Catalyst

Regression doesn't happen in a vacuum. There's usually a triggering event or series of events that start the process. This could be a traumatic experience, a significant loss, a series of failures, or even a gradual wearing down of the character's resolve.

In Alex's case, maybe they witness a horrific crime that shakes their faith in humanity and the justice system.

Show Gradual Changes

Regression, like growth, usually happens gradually. Start with small changes in behavior, thought patterns, or reactions to situations. These should be subtle at first, things that the character (and maybe even the reader) might not immediately notice.

Alex might start being a little less friendly to strangers, or hesitate before helping someone in need – small shifts that hint at bigger changes to come.

Internal Conflict

As the character begins to regress, show their internal struggle. They likely won't be happy about these changes and might fight against them. This internal conflict can be a great source of tension and character depth.

Alex might berate themselves for their newfound hesitation, trying to force themselves to be the person they used to be.

External Consequences

The character's regression should have real consequences in their world. How does it affect their relationships? Their job? Their role in the main plot of your story?

Maybe Alex's friends start to notice their withdrawal and become concerned. Or perhaps their hesitation in a crucial moment leads to negative consequences in the main plot.

Escalation

As the story progresses, the regression should become more pronounced. The character might start to rationalize their behavior, or fully embrace their new, regressed self.

Alex might start actively avoiding social situations, or develop a cynical worldview that contrasts sharply with their former optimism.

Rock Bottom

In many stories with character regression, there's a "rock bottom" moment – a point where the regression reaches its peak. This is often a powerful, emotional scene that fully illustrates how far the character has fallen.

For Alex, this might be a moment where they refuse to help someone in danger, fully betraying their former values.

Potential for Redemption

Even if your story ends with the character in a regressed state, it can be powerful to show a glimmer of their former self. This hints at the potential for future growth and can leave the reader with a sense of hope (or tragedy, if that potential is never realized).

Maybe in Alex's darkest moment, they have a flicker of doubt about their new worldview, or a memory of who they used to be.

Tips for Writing Effective Character Regression

Now that we've covered the general process, here are some additional tips to help you write compelling character regression:

Keep it Believable: The reasons for the regression should make sense for the character and the story. Don't have a character completely change overnight without good reason.

Show, Don't Tell: Instead of simply stating that a character has regressed, show it through their actions, thoughts, and dialogue.

Use Supporting Characters: Other characters can serve as mirrors, reflecting the changes in your regressing character and providing commentary on those changes.

Maintain Sympathy: Even as your character regresses, try to maintain reader sympathy. Help the reader understand why the character is making these choices, even if they don't agree with them.

Consider the Pacing: Regression can happen at different speeds. It might be a slow burn throughout the story, or a rapid descent following a major event. Choose the pacing that works best for your narrative.

Don't Forget the Positives: Regression doesn't mean a character loses all their positive traits. They might still show flashes of their old self, adding complexity to their portrayal.

Use Metaphors and Symbolism: Visual cues, recurring motifs, or symbolic elements can help underscore the character's regression in subtle ways.

Explore Different Types of Regression: Regression can be moral, emotional, professional, or related to specific skills or relationships. Mix and match for a nuanced portrayal.

Common Pitfalls to Avoid

As with any writing technique, there are some common pitfalls to watch out for when writing character regression:

Making it Too Sudden: Unless there's a massively traumatic event, regression usually doesn't happen overnight. Be careful not to have your character change too quickly without proper buildup.

Losing Reader Sympathy: If your character's regression makes them completely unlikeable, you risk losing reader investment. Always strive to keep them understandable, even if not always sympathetic.

Inconsistent Motivation: Make sure the reasons for your character's regression remain consistent and logical within the context of your story.

Ignoring the Impact on Plot: Remember that character regression should impact your main story. Don't let it become a subplot that doesn't connect to the main narrative.

Overdoing It: Regression doesn't mean your character has to become a completely different person. Maintain some core aspects of their personality to keep them recognizable.

Examples from Literature and Media

Sometimes, it helps to see how other writers have handled character regression. Here are a few examples you might find inspiring:

Walter White from "Breaking Bad": His transformation from mild-mannered teacher to drug kingpin is a masterclass in character regression.

Daenerys Targaryen from "Game of Thrones": Her descent into ruthlessness in the final season is a controversial but noteworthy example of character regression.

Oscar Wilde's Dorian Gray: His moral decay over the course of the novel is a classic example of character regression in literature.

Michael Corleone in "The Godfather": His transformation from war hero to ruthless mafia boss is a powerful portrayal of moral regression.

Studying these and other examples can give you ideas on how to handle regression in your own writing.

Final Thoughts

Writing character regression can be challenging, but it's also an incredibly rewarding aspect of storytelling. It allows us to explore the complexities of human nature, the fragility of personal growth, and the myriad ways that life can shape and reshape us. When done well, it can create some of the most memorable and impactful characters in literature.

Remember, there's no one "right" way to write character regression. The key is to make it authentic to your character and your story. Let it grow organically from the events of your plot and the unique personality of your character. And most importantly, don't be afraid to dig deep into the messy, complicated aspects of human nature.

As writers, we have the privilege and responsibility of reflecting the full spectrum of human experience in our work. Character regression is a part of that spectrum, and embracing it can lead to richer, more nuanced storytelling.

Balancing Regression and Reader Expectations

One thing to keep in mind as you write character regression is the balance between realistic portrayal and reader expectations. Readers often come to stories expecting character growth, so a character who regresses can be jarring or even frustrating if not handled carefully.

Here are a few strategies to help manage this:

Foreshadowing: Hint at the potential for regression early in the story. This can help prepare readers for what's to come.

Clear Motivation: Make sure the reasons for the regression are clear and understandable, even if not agreeable.

Moments of Hope: Intersperse moments where the character shows glimmers of their former self or potential for growth. This can help maintain reader investment.

Character Self-Awareness: Having the character acknowledge their regression can help readers process it.

Narrative Purpose: Ensure the regression serves a clear purpose in your overall story. If readers can see why it's necessary, they're more likely to accept it.

Character Regression in Different Genres

The way you approach character regression might vary depending on the genre you're writing in. Here's how it might look in different contexts:

In Literary Fiction: Character regression often serves as a deep exploration of human nature and societal influences. It might be subtle and psychological, focusing on internal changes rather than external actions.

In Fantasy or Science Fiction: Regression might be tied to magical or technological elements. Perhaps a character loses special abilities, or technology they relied on fails them, forcing them to regress to a more primitive state.

In Romance: Regression could manifest as a character retreating from emotional vulnerability, perhaps due to heartbreak or fear. The challenge becomes learning to open up again.

In Thrillers or Crime Fiction: A character might regress morally, crossing lines they never thought they would. This can create intense internal conflict and external tension.

In Horror: Regression might take on a more visceral or psychological form, with characters losing their grip on reality or reverting to primal states in the face of terror.

Character Regression and Story Structure

Consider how character regression fits into your overall story structure. It can be a powerful tool at different points in your narrative:

As an Inciting Incident: A character's sudden regression could be the event that kicks off your main plot.

During the Rising Action: Regression can add complications and raise the stakes as your story progresses.

At the Midpoint: A significant regression at the midpoint can dramatically shift the direction of your story.

During the Dark Night of the Soul: This low point in many story structures is a perfect place for a character to experience severe regression.

In the Resolution: Sometimes, a story might end with a character's regression, leaving readers with a sense of tragedy or unresolved tension.

The Role of Regression in Character Ensembles

If you're writing a story with multiple main characters, character regression can play an interesting role in group dynamics. Here are a few ways to use it:

Contrast: Have one character regress while others grow, highlighting the different paths people can take when faced with similar challenges.

Domino Effect: One character's regression might trigger changes in others, either pushing them to grow in response or causing them to regress as well.

Support Systems: Show how a group responds to one member's regression. Do they try to help? Enable the behavior? Distance themselves?

Power Dynamics: Regression can shift the balance of power within a group, creating new conflicts and alliances.

Regression and Theme

Character regression can be a powerful way to explore and reinforce your story's themes. For example:

If your theme is about the corrupting influence of power, showing a character regress morally as they gain more influence can underscore this idea.

For a theme about the importance of human connection, you might show a character regressing into isolation and the negative effects this has.

If you're exploring ideas about identity, having a character regress to an earlier version of themselves can raise interesting questions about who we really are.

A Word of Encouragement

As I wrap up this deep dive into character regression, I want to offer a word of encouragement. Writing regression can be emotionally taxing. It often requires us to delve into dark places, to imagine our characters at their worst, to confront difficult truths about human nature. This can be challenging, even distressing at times.

Remember to take care of yourself as you write. It's okay to step back if things get too intense. Talk to fellow writers about what you're working on. Engage in self-care practices that help you process and separate from the darker elements of your work.

And most importantly, don't lose sight of why you're including regression in your story. Whether it's to create a more realistic character journey, to explore complex themes, or to set up a powerful redemption arc, keep that purpose in mind. Let it guide you through the difficult moments of writing.

Remember, every character's journey is unique. There's no one-size-fits-all approach to writing regression. Trust your instincts, stay true to your character and your story, and don't be afraid to push boundaries and explore uncomfortable truths. That's where the most powerful writing often emerges.

I hope this deep dive into character regression has been helpful! Keep writing, keep exploring, and never stop pushing yourself to grow as a storyteller. Your voices and your stories matter.

Happy writing, - Rin T

Sources:

K.M. Weiland's blog post: "How to Write Character Arcs: The Flat Arc"

K.M. Weiland's "Helping Writers Become Authors" blog: "5 Ways to Write a Negative Character Arc"

TV Tropes: "Fallen Hero" 

[brujamala-aka-gigi]

emotional attachment and distorted perceptions...

although embracing emotions and giving ourselves time to experience them fully is highly necessary, we owe it to ourselves to be responsible, and make sure those same emotions are not blocking our ability to have a clear vision of our lives. this tarot reading is aimed to give you some guidance if you feel like something about the past is still impacting your thoughts negatively.

pile one pile two pile three

images from pinterest and dividers by @pommecita

꒰ঌ ✦ scroll down for the results ໒꒱ ༘*.ﾟ

-ˋˏ ༻ ❁ Masterpost and Tarot Menu ❁༺ ˎˊ-

PILE NUMBER ONE

Soon, you will face situations where you are not expected to put your emotions first, as you are now too compromised by ruminating thoughts regarding your past. You need to understand that part of your healing journey involves moving forward when it comes to more material and seemingly superficial notions of success. You must begin allowing yourself to experience the joy simpler things can bring into your life, as they will signify deeper manifestations of emotional and spiritual growth. It is understandable to feel disappointed and disenchanted by apparently mundane things, but you have the mental strength to think more positively about the little things you miss out on enjoying from your daily routine.

It’ll become more noticeable to you that many things have already fallen into place once you get yourself out of toxic thought patterns influenced by emotional scars that you are not allowing to heal properly. Be kinder to yourself and be patient, stop expecting certain things to move faster and enjoy the actual process of healing. Anxiety won’t produce any helpful thoughts, so it’s better to be aware on how those ideas are affecting your wellbeing and sabotaging your growth before allowing them to take so much space.  

PILE NUMBER TWO

Major turning points in your life might be accompanied by long periods of introspection, but it’s also key that you develop better abilities to understand the emotional depth of others around you, especially when dealing with the consequences of other’s impulsive emotional decisions. You might not be taking into consideration that even if you are great at solving problems and creating new ways of dealing with them, other’s are too reliant on your strength, which is making you tired due to rightfully not being willing or able to provide support or company for everyone.

Being someone who is naturally generous and nurturing is amazing, and valuable. But this shouldn’t be taken as a defining characteristic of yours, you don’t owe the same level of care to everyone, even if it’s natural to you, it doesn’t mean that is not affecting you negatively. It is completely normal to want to walk away or to not know how to process absolutely all of your emotions as long as you don’t hurt anyone on the process. Stop allowing yourself to be carried away by the emotional immaturity of others.

PILE NUMBER THREE

During this moment of your life, the independence you might have fought for in the past is not giving you the freedom of choice you expected. This disappointment might get you in an overly defensive state where you are in denial of actually wanting and needing some help, especially when it comes to situations that involve conflictive ways of dealing with them. The need to advance in your life path is heavily influenced by fear of being stuck, instead of ambition to grow further.

Expect your problems to be solved in rather explosive ways soon. Many things in your life will begin to happen in order for you to move past the anxiety of loosing what you already have. You do have control over what happens and how it happens, yet this power won’t manifest unless you become more confident when dealing with mistakes, the ones you made and the ones from others, as it’s not healthy to remain resentful if you are not willing to learn from the experience.  You might not realize it, but any kind of abundance you have in your life, won’t be taken away by others, but will rotten if you are not transcending the fear of loss and abandonment.

[probablyasocialecologist]

Being a “centrist” sounds eminently reasonable, doesn’t it? A centrist is a moderate, right? Someone who is rational and practical and takes the middle ground. Someone who isn’t extreme like those crazy ideologues on the far right or far left. A centrist, logic dictates, is really what everyone should strive to be. But stop for a moment and ask yourself how you would define a centrist in more specific terms. When you start spelling out what the word really means, it becomes clear that it obfuscates more than it illuminates. The word does not describe a set of ideas so much as it reinforces a system of power. This, of course, is a feature not a bug of political language. As George Orwell wrote in his famous essay Politics and the English Language: “In our time, political speech and writing are largely the defence of the indefensible. Things like the continuance of British rule in India, the Russian purges and deportations, the dropping of the atom bombs on Japan, can indeed be defended, but only by arguments which are too brutal for most people to face, and which do not square with the professed aims of political parties. Thus political language has to consist largely of euphemism, question-begging and sheer cloudy vagueness.” Orwell wrote that essay in 1946. Today, 78 years later, it feels just as relevant. Look, for example, at the carnage in Gaza and the West Bank. Look at the statements from Israeli leaders that clearly suggest genocidal intent. Look at the tragedies that barely make a dent in the public consciousness any more. Last week, for example, an Israeli airstrike killed four-day-old twins, along with their mother and grandmother, when their father went to collect birth certificates in central Gaza. Look at the levels of brutality that barely seem to register any more: there is video evidence of the sexual abuse of Palestinians at a notorious Israeli military prison (though the more accurate term is “torture camp”) and, even with that evidence, we know there will be no real accountability. Look at the dead. Nearly 40,000 people in Gaza are now dead, including nearly 15,000 children. When you look at the scale of devastation, it seems likely that those figures are an underestimate. Further, counting the dead is excruciatingly difficult: kids are being blown into fragments so small that their surviving relatives have to collect pieces of them in plastic bags. Then there are the tens and thousands more who are now dying from starvation, or facing a looming polio epidemic. Look at the West Bank, meanwhile, where Israel has published plans for new settlements, which violate international law. Since 7 October, the Israeli army and settlers have displaced 1,285 Palestinians and destroyed 641 structures in the West Bank, according to the United Nations Office for the Coordination of Humanitarian Affairs. Ethnic cleansing is taking place before our eyes. Now look at how all of this is being justified. This war isn’t just being waged with bombs, it’s being waged with “euphemism, question-begging and sheer cloudy vagueness”. When you lay out what is happening in clear language, it is indefensible. So political language dresses all those dead and starving children up in euphemism. It obscures ethnic cleansing with vagaries. Don’t believe your eyes, political writing says. What you are seeing is far more complex than your eyes can possibly comprehend.

[...]

In order to defend the indefensible, politicians and political writers move away from concreteness, from clear language, and hide behind the respectableness of terms like “centrism”. Pro-Palestinian protesters are labelled the far-left or extremists. Continuing to unconditionally send arms to Israel and shield the country’s far-right government from accountability, however, is considered a centrist – and therefore reasonable – position.

[...]

As Orwell wrote, atrocities can be defended, “but only by arguments which are too brutal for most people to face, and which do not square with the professed aims of political parties”. If the Democratic party were to be honest about why it is doing very little to stop the carnage in Gaza and the settlements in the West Bank, the bluntest argument would be along the lines of: “Israel is an important tool in maintaining US imperialism and western interests. The ethnic cleansing of Palestinians is expedient to those interests. Human rights law doesn’t apply to atrocities enabled by the west.” Of course, being pro-ethnic cleansing doesn’t quite square with the do-gooding branding of the Democratic party. Instead, we are bombarded with the idea that massacring children is somehow a centrist and moderate position.

22 August 2024

[olderthannetfic]

Reading Comprehension – The Film Version

I was talking to someone a while back about the grammar of film editing and how they'd like to know more, but info isn't really available. This is one of my soapboxes. It floors me how simple a lot of this shit is to explain, yet even top film schools just assign In the Blink of an Eye and call it a day. Walter Murch is a great writer, and he has the film cred to back up his treatise on aesthetics, but can we really not manage at least a couple more books anybody cares about? (No, On Film Editing and that book of interviews with Murch don't... cut it.)

For all that film has supposedly been democratized, Youtube et al. are a wasteland for actual discussions of film grammar. Every Frame a Painting has some stuff. Lindsay Ellis has a couple of videos. But most educational film content is very much aimed at either the technical side of camera and editing or is waaaaay too obsessed with the screenplay. (I await the whiny-ass anons from last time who insist that their favorite youtubers discuss this all the time. Nah, dude. If they did, you'd have been willing to name names.)

It's an approach that's overly literal and overly verbal, which makes sense given that what reading comprehension we're taught is all focused on picking apart some essay or maybe a classic book.

Unfortunately, words aren't what define film: reaction shots are.

Having a command of film grammar matters for everything from detecting political propaganda to recognizing when Hollywood is like "Ohhh, but we gave them liiiines in the scriiipt" but the actual product they put out completely undercuts those characters, whether it's not even filming a single or stuffing them behind other characters in the group shots or being embarrassingly incapable of lighting dark skin properly or a host of other obnoxious shit.

Anyway, I made a couple of my own little attempts to put out some free educational materials about how film grammar works.

Carlos "Cougar" Alvarez: Human Exclamation Point is about how to make a character feel like a lead when they have no lines and like two seconds of screen time.

Aisha is the Object; Clay is the Subject is about how to make someone not a protagonist by training the camera on their butt all the damn time.

IDK why I was suddenly thinking about this this afternoon, but I was.

[forgotten-daydreamer]

I love how inclusivity is handled in The Dragon Prince, here's why.

In most shows, as much as it bothers me to admit so, some people are right, inclusivity does feel forced sometimes. But it's not the characters' fault, it's not because of them being part of the lgbtq+ community, or being disabled, or being POC, or being strong women who do not conform to patriarchal standards.

It's not that.

It's that the show they are part of is a straight, white, abled parade - and notice, most of said shows won't even pass the Bechdel test.

So yes, in a show written by and aimed to straight, white, abled people, even I, a gay, non-binary, chronically ill person feel weird seeing charcters that are there just for the sake of inclusivity, albeit 'inorganic'.

In a show with the premise of "straight, white, abled men are the indiscussed MCs", seeing that one side-character that stands out and is often ridiculed and/or reduced to a single trait of their 'personality', such as 'the gay one', 'the asian one', 'the disabled one' (etc) is upsetting and feels uncomfortable as hell.

But TDP is different.

They immediately introduced powerful women, people of color, characters that are openly part of the lgbtq+ community, disabled characters etc. And not one of them per 'category', no. For the lgbtq+ community we have Amaya, Janai, Runaan, Ethari, Terry, Kazi. For the disabled community, we have Amaya again, Villads, and even a disabled wolf Ava. For the POC community, we have literally half of the cast, starting from King Harrow, then Ezran, every sunfire elf, Terry as well, etc. Same goes for women, who take up on roles that are rarely considered 'for women', like Opeli being the main member of the High Council, Amaya being the General, Rayla being the main Dragon Guard, Claudia being one of the main antagonists, etc.

Both main and side-characters are part of the communities, everything is so much more organic, enjoyable, thrilling.

We do not come in 'minor quantity'.

We are everywhere, among others, living our lives, doing our best, existing, thriving, proud. It's not just one or two of us among thousands. Surprise, 'categories' can mix! Just like I, a real human being, can be gay, enby as well as chronically ill, we can have characters like that as well! Amaya being lesbian and disabled, Terry being black and trans, Janai being black and lesbian, etc. And, another surprise, 'categories' don't define us. We don't 'shove it' in anyone's face like they say we do, we're just being us and cishets are upset because we don't conform to their sick standards.

Inclusivity is organic in TDP because nobody in that universe questions anyone else's color, gender, orientation, etc. And it's organic because we didn't have to wait half a season to see a black character, or a disabled character, or a gay character.

The key to inclusivity is to realise that we aren't just 'bonuses'. Fill shows and comics with lgbtq+, POC, disabled, and female characters. Not just one every 15, 20 characters. Everywhere.

We are everywhere! We are proud! We deserve to be seen! We deserve to be depicted as the normal people we are, without diminishing our traits but without making them our whole personality either. Treat us like human beings, be considerate like you should be with everyone on the planet of course, but treat us like humans.

Antagonising people who are 'different' (in the mind of straight, white, abled people) will not suppress us. We will keep insisting until you hear us. It's literally one of the main messages, one of the main teachings of TDP and it's so damn important.

Every single person on Earth should watch it. Every single kid should be introduced to TDP at an early age. Every old bigot should watch it, as well. Everybody. Even if it's considered a y7 (y10 for s4 and s5 apparently) show, everyone, no matter their age, should give it a try and watch it thoroughly.

Lots of love to the creators and everyone, literelly everyone involved in the production of one the best, most entertaining, most exciting, most formative shows ever. Please, keep it up! And thank you so much!

[borderlinereminders]

I've talked quite a bit about conflict, and arguments. I've also talked about how in arguments, we shouldn't be arguing to "win" but to solve the problem. These arguments should be done "fairly." But I've been asked, what is "fighting fair?" So, let's talk about that.

Before you begin your discussion, try and figure out why you're upset.

Sometimes, we're not upset for the reasons we think. Before confronting the other person, you should have an idea of what you're upset about. This might mean walking away to calm down and collect our thoughts before engaging.

Don't use degrading language or yell. Try and focus on the issue at hand and not attacking the other person. If this is a relationship you value and want to continue, it can be important to approach this with an openness to resolve the conflict, and that's more likely to happen if the other person doesn't feel attacked.

Take turns speaking. Both parties should have space to talk about their feelings. There should be space for each party to say their piece.

Try and find a compromise if relevant. Sometimes there isn't a perfect fix. In fact, there usually isn't. This might mean compromising. Maybe you're feeling frustrated your partner isn't pulling their weight because they keep skipping a certain chore. Maybe upon speaking to them, you find out why that is and for some reason, that specific chore just is too overwhelming or not feasible for them to do. In a case like this, a compromise might involve them taking on a different responsibility while you take on that chore. This would allow them to pull their weight in a different way, and you may not have to feel like it's all on you.

Express your feelings clearly. Don't hint at your feelings, or use an accusatory statement. This might mean saying "when you don't text me when you say you will, I feel worried about whether you're okay" instead of "You didn't text me when you said you would!" While it can be hard, I-Statements usually lead to a more open discussion and are less likely to leave the other person feeling defensive to where they may shut down. Here's a longer post I wrote about them.

DEAR MAN is an overall helpful skill to handle conflict. This skill helps you to express your needs in a way that is respectful of all parties involved and its goal is to reach a positive outcome.

GIVE is a skill that can be useful in how we approach conflict, and act during conflict. It's useful to use along with a skill like DEARMAN.

If you need to apologize, I wrote a post on that here.

It's important to note that this advice isn't for all circumstances. How I approach conflict depends on my relationship to the person. To someone like my life partner, or my best friend, my goal is always to preserve the relationship and have a positive outcome. Therefore, I will put in the extra effort to make that happen. I will aim to communicate with the intent of us solving the problem together.

With someone like a certain family member, I will say what I can to appease them for my own emotional safety. And I just want to say that that is so valid. Sometimes it isn't the time for us to confront someone for many reasons. It's okay if you can't do that.

Having conflict in a relationship is normal. What I think is more important in defining a healthy relationship is how you handle conflict together.

[eamour]

mental diets.

in regards to manifesting, a mental diet is considered a diet in relation to your daily thoughts. it's a diet for the mind that prescribes you which thoughts you can "feed" and "nourish" yourself with and which thoughts you need to avoid or abstain from. in short, it's an inevitable and essential part of everyone's manifestation journey.

thoughts.

before we get into procedure and practice, let's first define the two types of thoughts that we have. our thoughts are categorised into either positive or negative. positive thoughts are the ones you are permitted to have, negative thoughts are the ones which are forbidden to think about.

positive thoughts.

these are thoughts that confirm or contribute to you having your desire. they help you live in the end and stay in your desired state. they are in alignment with who you want to be and how you want to show up as.

negative thoughts.

these are thoughts that stand in opposition to your desired reality. they contradict your aim and are in the way of being or becoming your desired version of self.

practice and procedure.

when going on a a mental diet, you become more conscious of the thoughts you think of on autopilot and on a daily basis. you try to observe the thoughts your mind keeps coming back to habitually and make decisions upon the direction of your inner conversations, controlling and managing thoughts of good, bad or indifferent nature. in other words, you start to consciously change and correct your thoughts, as you are in complete charge!

when it comes to positive thoughts, you are obviously allowed to think and accept them. your goal is to think as positively as you can and engage with thoughts in your favour. with negative thoughts however, your aim is to deny any ideas that do not serve you or your desired self. you have to refuse to entertain any opposing thoughts concerning your desires and not let any undesired thoughts influence who you are conscious of being.

after rejecting these thoughts, your job is to redefine yourself. this means that you are revising negative statements made in the mind and replace them with positive ones, validating your desired story. whenever you catch yourself thinking unfavourably, you alter ("flip") that thought on the spot, then and there. you basically reaffirm it.

purpose.

there are several intentions of a mental diet. some include realigning yourself with your desired state, not allowing your mind to fall into old, undesired thinking patterns, eliminating and erasing as limiting or contradictory thoughts, getting rid of intrusive thinking, leaving no room for uncontrolled thinking, purposely filtering bad thoughts, not indulging in any unpleasant ideas, provide yourself with positive thoughts, creating new thinking habits and establishing a new mindset, building trust in the law and yourself, solidifying your desire in your mind as yours, strengthening your belief and faith in your assumptions, understanding that you have the ability to select your thoughts, training and learning how to spot unwanted thoughts right away, practicing mindfulness, discipline and self-awareness, directing your focus, attention and concentration, exercising self-reflection,... and more.

permanent diet.

the way you go on a mental diet is pretty natural, as conscious manifestation itself is all about filtering thoughts and choosing between what’s good and what’s not. it’s a diet that persists as it turns into a lifestyle, a lifelong commitment, which starts to feel more and more familiar over time. you do not suddenly stop supervising your inner monologues, even after obtaining your desire. you will most definitely continue to persist in your desired assumptions as well as your overall desired mindset and way of thinking.

only once you fixate too much on perfecting your mental diet, that’s when it becomes unnatural. a mental diet's purpose is to support you in staying in your wished state. it’s simply guiding you towards better attitudes and approaches of the mind.

implementation.

you can improve your mental statements by …

interrupting your thought process. with this technique, you basically intervene and stop yourself from thinking. whenever you find yourself assuming something unfavourable, you won't "complete" the thought.

revising ("flipping") your thinking. after you have interfered with your own thoughts, your next task is to revise the statement you were making mentally. you do this by replacing your old, undesirable thought with a new, desirable thought.

reassuring by reaffirming. especially when you are revising your thoughts, you can use affirmations such as "i remember when i manifested ...", "regardless of everything, i have manifested ...", "remember when i manifested ...?" or other umbrella affirmations to make you feel self-assured.

diet in steps.

this is a mental diet simplified:

reflect · you reflect on a thought and decide whether it's positive or negative.

reject and correct · if it's a negative thought, you reject it and then correct it.

accept · if it's a positive thought (again), you accept the it.

persist · you insist on persisting in the (now) positive thought.

with love, ella.

[licorice-and-rum]

SOC and Neoliberlism

So, as promised, here it is my analysis of Six of Crows and how neoliberalism is amazingly portrayed in Ketterdam, and how the city is an example of what happens in a community that is not provided for.

Before we begin, I wanted to say that English is not my first language, and, considering I read SOC in Brazilian Portuguese, I might translate some names literally or differently from the English version but I think it's manageable to read and understand my point. If not, I'll edit the text.

The first thing we have to understand is how neoliberalism works and the theory behind it, and then we'll talk about how it's portrayed in Ketterdam.

So neoliberalism is a theory born more or less at the end of the 20th century (70s-80s), and it finds its roots in laissez-faire capitalism, meaning that it's a political current that tries to suppress and/or eliminate the State's influence from the market. The neoliberalist view understands that the market can supply by itself the population's needs without help or limitations imposed by the State.

The thing here is that most people listen to this and think neoliberalism is about electronics, cars, and other stuff. The truth is, that neoliberalism aims to suppress the presence of State-run facilities in ALL corners of society, such as health care, housing, water access, electricity, etcetera.

So, we can use the American and Brazillian health systems to understand it better, for example:

In the US, the ones providing health care for the population are great corporations - they decide the price of care, they work together with pharmaceutical companies to define medicine prices, and the laws that bind them are pretty much only offer and demand. There is almost none State intervention to provide the population with accessible health care.

However, this brings problems, of course: not everyone (actually, most people) has real access to health care simply because they can't afford it, or they can't afford it without taking a big financial hit, which threatens their other basic needs, such as food, housing, water, electricity, etcetera. Not everyone can provide for their medical needs, such as diabetic and disabled people.

That leads to:

(a) an increase in poverty;

(b) a decrease in educational levels - if you don't have the means to pay for higher educational levels because of health care debt, or if you're sick and need to go to class and tough through it but you're not really learning anything, and so on, which leads to a major workforce in base level production and a minor class who has access to this education;

(c) an increase in overworking people - meaning that we have a lot of people taking on several jobs to be able to pay for things like health care, which increases the competitiveness between people, making individualism levels go up and breaking up human beings' natural sense of community.

I could also talk here about how this breeds isolation and increases the potential for mental health problems but I think you got what I was saying.

On the other hand, we have the Brazilian health care system (SUS), which is a universal gratuitous medical care service through the whole country. Its purpose is not profit, it's providing health care for the community, so therefore, any SUS unit is bound by State law and run by the State. By law, every SUS unit must provide for anyone who enters its premises in need of medical care. Everyone, Brazillian and foreigners, poor or rich, must be treated if they need to. It's the law.

Of course, that doesn't mean it's all rainbows and flowers, there are definitely many problems in SUS. However, what I'm trying to showcase here is that, when the needs of a population are met, the population itself is more resilient, their life quality goes up and so does their participation in their community.

On the other hand, in neoliberalism, when the State is absent from these areas of community service, the market is, in theory, the one providing for the community. In practice, however, what we observe from neoliberal policies in cities with a great poor population in Latam for example, is that when the State doesn't provide for the community, the market is unable to step up for them because of their obscene prices.

The poor population that doesn't have their needs met by the State or the market sees a great boom in criminal activities within their spaces. That's mainly why criminal organizations are so present in slums and favelas throughout Latin America: criminal organizations are a way for the community to provide for themselves and, as a means to become more powerful, they provide for the community in exchange for their services (not to say they do that for the good of their hearts, of course not).

It's why it's so common, for example, that criminal organizations such as PCC in Brazil pay for kids from favelas to undergo Law school, for example.

And that's is where I wanted to go to start the conversation in SOC: one of the main traits of Ketterdam is the Barrel and, in the Barrel, we have the presence of many criminal organizations, such as the Dregs, the Dime Lions, the Menagerie staff (not the girls, ofc), etcetera.

This, as observed by Kaz himself, is one of the only ways to survive on the Barrel - you filiate yourself to a gang because you need to be able to provide for yourself and, more times than others, for your family as well.

Kaz's story is actually a perfect example of how Ketterdam is the representation of America in the early 20th century in full policies of laissez-faire (neoliberalism): as we can see in Titanic and many other historical fictions, the said American Dream had people believing the US to be this economical paradise where they could all enter the market and become millionaires.

The result of it is the Great Depression, of course, but I'm getting ahead of myself here.

When Kaz and Jodi leave Lij for Ketterdam, Jodi believes he'll become a merchant - which is a pretty common belief of those who arrive at Ketterdam, as Pekka Rollins and Kaz himself state in Crooked Kingdom.

The reality of it, though, is much harsher, because the truth is that when you have a market that controls everything, as we see in Ketterdam with the Merchant's Guild (I think that's how it's translated?) and the Stadwatch as a police force, you see perfectly how neoliberal policies really work in real life:

You have a higher class who controls the market and the riches (question: who do you think got the money Shu Han sent to Ketterdam at the beginning of the first book: the people of the city/country or the merchants in the "government"?), and a lower class that, without support from the State or the market to have their needs met will turn to their own means to do so.

So you have the trafficking that brought Inej to the island, the unlimited gambling that Jesper was trapped in, the cons Jodi and Kaz fell for - it's all product of liberal policies.

And so, you have Ketterdam and its neoliberal policies (:

(I really love to make this kind of analysis, please, if you have something you want me to talk about, don't hesitate to ask)

[niqhtlord01]

Humans are weird: What use is honor in war?

( Please come see me on my new patreon and support me for early access to stories and personal story requests :D https://www.patreon.com/NiqhtLord Every bit helps)

*Clouds of ash part to reveal burnt out husks of barracks complexes, shatter communication towers, and looming over all of it was the crumbling structure of the once proud command center itself.*

*Setting down in front of the command building a small squad of human soldiers approach and form a cordon to either side of the lowering boarding ramp.*

*General Marius Fimble slowly walks down the ramp flanked by a pair of black clad honor guard. His robotic left foot slamming against the ramp with a resounding cannon like echo until he reaches the bottom*

Colonel: *Salutes* General.

Marius: *Returns salute lazily while scanning surroundings* Colonel.

Colonel: You can relax sir; we’ve cleared the area of all resistance.

Marius: Complacency breeds overconfidence; never forget that.

Colonel: Sir!

Marius: Do you have him?

Colonel: We are keeping him in the main building to prevent escape.

Marius: *Confused* Have they made attempts?

Colonel: First one he killed three and injured twelve.

Marius: First?

Colonel: Second he killed seven and injured six, then again three hours later with eight injured.

Marius: He’s tried escaping three times already?

Colonel: Oh no.

Colonel: Those were all within the first seven hours of capture; we’re on twenty seven attempts by now.

Marius: *Grunts*

Marius: Let’s get this over with then before he kills any more of my men.

*Colonel escorts the general and his guards inside the command center. Descending three flights of stairs the group comes to an armored door guarded by twenty soldiers and an auto turret pointed at the doorframe*

Marius: Open it.

*The armored door slowly creeks open as all twenty guards take aim at the opening. The auto turret slowly begins spinning its turrets in preparation to fire as the general walks by.*

Marius: *Waves his bodyguards* Wait here.

Colonel: I would not recommend that, sir.

Marius: *Walks past Colonel and into the room* Noted.

*The door slams behind Marius as he takes in the surroundings. A single light hangs from the ceiling illuminating a lone figure secured firmly to the ground my numerous heavy chains*

Marius: Commandant Fring, we meet at last.

Fring: *Spits out glob of purple blood at Marius’s feet*

Marius: *Steps over it without acknowledging it*

Marius: I had heard tales of the great Grung military back in my academy days and I must say after fighting you, I am deeply underwhelmed.

Fring: *Low growl*

Marius: *Circling the room* Over a thousand years of military prowess and I took you apart in less than a day.

Fring: YOU STRUCK WITHOUT HONOR!

*Fring lunges at Marius who doesn’t flinch. The chains straining under the sudden pressure with Fring just out of reach of Marius’s throat*

*Marius watches in silence as Fring continues for several minutes before relenting*

Marius: I never understood that.

Fring: What?

Marius: Honor.

Fring: You do not understand it because you have never held it.

Fring: You preach of taking down our military when you attacked like cowards and thieves in the dead of night! Slaughtering my warriors while they slept rather than dying by their hands on the field of battle!

Marius: The purpose of war is to win.

Marius: Everything else takes a back seat to that one concept; because if you don’t win nothing you were fighting for matters.

Fring: And yet it is the manner of how you fight that defines who you are.

Fring: And you are a coward!

Marius: So you justify your incompetence by claiming I am a coward?

Fring: You dare!?!

Marius: You were unprepared for an attack despite declaring war on my people. They should have been mustering for war and already onboard troop ships heading out of system; instead they were…how did you put it? Ah yes, they were sleeping.

Marius: *Leans in close to Fring who lunges again only to be grabbed by the general’s hand*

*The general’s grip is iron and Fring claws at it as he gasps for air. There is no emotion behind the eyes of the human leader as he watches his foe*

Marius: Honor, is a novelty for those who can afford it. A justification to fight in a manner of combat they prefer regardless of how many souls die by the outdated ideal that is “Honor”. I fight to win wars, and though my victories seem beneath you I ensure that my men, my soldiers, will return home safe and sound because I fought using my head and not my heart.

*Marius let’s go of Fring who collapses to the ground*

Marius: *Looks down at Fring* You fought with your heart and you lost five field army’s worth of soldiers in a single night.

Fring: Do you keep me alive just to mock me? End me then, for I will hear none of this.

Marius: *Chuckles* I’m sure I had a reason for keeping you alive, but seeing you now I can’t for the life of me wonder why I thought it was worth the effort.

Marius: *bangs on door and the door opens*

Marius: *motions to the soldiers* kill him.

[finniestoncrane]

BTAA!Scarecrow x GN!Reader, word count: 2k commission: jonathan experiences the joys of getting to be the victim for a change, and you are more than happy to oblige if it means getting to test out your theory that nothing can actually scare him 🎃🧡 commission me here! request info • prompt list • send me a request • kofi • masterlist minors DNI!! 🔞 cw: roleplay, bondage, sensation play, impact play

It was a willing ‘kidnapping’. For all that Jonathan had studied film and screen, scrutinised and admired the various acting techniques of the horror star he loved so dearly, his acting skills were below par. But it hadn’t stopped him from insisting that there had to be a theme, a plot, to your change in the scheduled programming.

If he was going to relinquish his position as the father of fear, it was still going to be under his terms.

“You know, I always found myself tutting at those scream queens. Who falls over that often? Let alone when you’re being chased by a nightmare beyond your imagination…”

Jonathan’s eyes flitted to you quickly. Even now, there was still a predatory glare in them. That natural inclination towards control and dominance still lingering a little, despite the situation he, very willingly, found himself in. 

“... Now I understand. They wanted to be caught. To be the victim. It’s quite delicious, actually.”

His gaze fell to his wrists, bound to the chair he sat on, the soft, specialty rope equally tight around his ankles. He looked the perfect victim. Dishevelled, sweating, shirt on but unbuttoned exposing his soft stomach and chest, lightly peppered with greying hairs. Only his underwear covered the bottom half, giving you a glimpse of the obvious bulge at the front where his semi-erect cock stole the stage, twitching each time you came closer to him, fear and excitement ruling his reactions. 

“Or maybe that’s just me. Maybe it gets boring being the big, bad, villain. And maybe I needed a little subversion of expectations. Either way, this is a very interesting twist.”

The quieter you were, the more he spoke, filling in the silence with his rambling, a nervous trait, or perhaps just one that signified how impatient he was, how badly he wanted the real fun to begin. 

“I’m so used to every convention, every trope. But this? This is something new. This is how I felt when Pamela Voorhees was revealed to us. When we saw Norman in his mother’s dress and that terrible wig. When Kramer stood up from that bloody puddle in the middle of the bathroom floor. This is a genre defining moment.”

You lifted the satin scarf from the table where you had laid out your instruments slowly and carefully, allowing Jonathan a glimpse at what was to come, setting the scene, allowing the tension to build. His heartbeat was almost audible from where you stood in front of him, the steady thuds louder as you leaned in to him, tying the scarf around his head and adjusting it over his eyes until his vision was completely blacked out. 

“Ah, heightened senses? Or intentionally taking away an important one that allows for security in unfamiliar environments? Either way, I’ve got goosebumps!”

He was giddy, an almost childlike glee lilting in his words as he wiggled excitedly in the chair. Of course, the aim of the session was to please him, but you wanted to scare him too, and that still seemed like an impossible feat. 

Despite that, however, he still seemed enthusiastic about his lower position on the food chain. The moment his vision was rendered useless, his skin began to prickle with a warmth that started deep in his core, the slight twitch of his cock as he listened carefully for your movements was a dead giveaway of his obvious excitement.

“You know, this is often why horror movies are so dark, at least modern examples. Darkness is terrifying, what’s hidden there is left to our imagination. It’s a cheap and easy way to conjure terror without doing much.”

With your fingers hovering over them, dancing with delight, you tried to decide which of your tools to use first, eventually settling on the pinwheel. Something sour to begin, you could always soothe him afterwards if need be.

“Not that I think you’re looking for the easy way out, it’s more of an observation, a chance to educate you on- ooooh!”

Jonathan’s lecture was cut short, mostly of his own accord, as he felt the sharp points of the pinwheel begin to cross over his bare thighs in light tracks. You were careful to keep the pressure light as you pressed it towards the inner, softer areas, and back out again. 

“Actually, you could be a little rougher with the- ah, ah, ah…”

“Jonathan.”

“Yes, my dear?”

“Be quiet. I’m not asking you. I am telling you. Keep your mouth closed from here on out…”

You lifted your free hand to his cheek, a smile curling up on the corner of your mouth as he flinched at first then settled into the caress.

“... or you’ll really suffer, ok?”

“Y-...”

He silenced himself, immediately obeying your instructions, and nodded his head, hair falling loose from the tidy parting and falling in front of the silk scarf. 

Pleased with his ability to take an order, you increased the pressure of the pinwheel as a treat, finding yourself far more excited than you imagined by the small dots it left in Jonathan’s skin. He hissed a little, but never uttered any of the safe words you had agreed on, and each time you ramped up the pain, testing his limit, reaching his threshold, his smile only grew wider in response. 

When you finally stopped, deciding to move on to the next implement of torture, as Jonathan had called them, you could feel him arching his back in an attempt to keep you near him, his wrists straining against the ropes until he sat back down in the seat and made an effort to be patient. 

As far as his preferences went, it was becoming clear that Jonathan wasn’t a soft person, and his lack of pain threshold had begun to intrigue you. So the next item you picked up was the riding crop. You’d felt the pleasure of it before on your own flesh, Jonathan’s fist clenched tight around the end as he brought it down against your rear. He’d smiled as you yelped, a cruel satisfaction in coaxing any kind of animalistic sound from you. You wondered if he’d like to know what sounds he might make.

With the end of the crop hovering just over his bare thigh, you swatted down quickly, not touching his skin, but letting the woosh of the cool air give him a hint at what was to come. And, as predicted, as hoped, Jonathan’s body twitched and he let out a quiet exclamation. 

“Oh… are you tricking your audience into believing that this is a thriller? Offering up suspense before the true horror follows? Is that the twist?”

Despite the smug tone he was trying to convey in his words, you could hear his voice trembling ever so slightly. There was worry behind it. Excited worry, but worry all the same. You wondered how soon you might be able to get terror out of him, if at all. 

It was all well and good keeping up the slow build. Easing him into what was to come for him. That was what he wanted, after all. You’d seen his eyes widen when the third act of a film opened up, the tense but manageable pace of the first hour giving way to a thundering and panic-inducing climax. That’s what he wanted for his body. To be ravaged, hunted, terrorised. You could see it now in the way his fingers scratched at the arms of the chair, how his stomach tensed as he let his imagination run wild. Anticipation built, and it would hopefully give way to the delicious adrenaline rush of fear. You wanted to give him that, a good scare. 

With a quick movement, snapping through the air, you brought the crop back down again, pulling it back with a creeping grin as you watched the red welts form almost immediately on his legs, almost magical in the way they were created from nothing but the impact. Knowing it would smart, you sat down on his lap, watching him wince as you put pressure on his newly bruised flesh. 

Closing in on him, listening to his breath hitch and quicken as you dove into his neck. With your tongue pressed out, you let it drag up the front of his throat, watching the veins and tendons pop as he tensed against the surprisingly gentle touch. It was what he needed, but not what he wanted. The contrast was sweet, but only for a moment. And then you were both back to needing the blood lust.

Your teeth sank into him, sharp and tight, a force he hadn’t expected, and his wince, the sharp mewl that followed it, only made you bite down harder. And as that surprise fell away, you offered him another, raising your hand and placing your fingertips to his throat, increasing the pressure little by little, watching his gasps become shallower, more strained. The more he choked, the more he struggled, the harder he seemed to get.

Below the blindfold his eyes were widening, pupils dark and sparkling with excitement. His mouth hung open in abject terror as what was left of the air in his lungs finally expired, and his life flashed before his eyes as he tried to refill them. You eased up, watching him take a deep, panicked breath, enough for him to be able to answer you, then you closed your fingers again, speaking quietly, so soft in comparison to how you were treating him. 

“Tell me you want me to hurt you, Jonathan.”

His choked response was filled with enthusiasm. 

“I do, I really do.”

You leaned in further, lips touching, teasing, the shell of his ear.

“Are you scared?”

There was a pause, long enough that you realised he was purposefully avoiding the question. You tensed your fingers against his throat once more, watching his fingers scratch against the chair. He might not actually be all that scared, but he knew what you wanted to hear. And with a conniving little smile at the corner of his mouth, he answered.

“Oh, I’m just absolutely terrified.”

It was dripping in sarcasm, the kind of disingenuous statement you’d heard him make to his victims when they pleaded for mercy and he was stringing them along. Infuriating, almost. Of course, you’d set out with the main goal of pleasing him, and you’d succeeded. But you both knew that what you really wanted, almost equally desiring it, was to have his heart racing, chest pounding, as he let fear find him. 

Beneath you, you could feel his cock throbbing, desperate for a release, the tension ramping up. Incomplete. No grand finale. No closing scene, not even a cliffhanger. 

The monster was always scarier when left to your own imagination. When nothing was given away.

Without a word, you stood up and away from him, listening to his whimpers as he gathered his breath. He waited, breath hitching, for the next act. But it wasn’t coming. Even as he spoke your name, a quiver on the third or fourth time he asked for you, you refused to let him know where you were. You’d kept your footsteps imperceptible as you made your way to the corner by the door, content to find a good spot to watch him lose his mind in sensory deprivation. 

There he was, tied in place, blind to the room and so blind to where you were hiding from him. He called your name once more. Never the safe word, he wasn’t about to admit defeat. But you could hear the desperation in his words. 

You were going to let him worry. He knew that, deep down, even despite his pleading. 

It wasn’t fair, to resort to jumpscares, to torment him. But it was the only thing that seemed to work. Deny him the pleasure, deny him the happy ending he wanted. 

And it was working. He could feel himself edging closer to the end, core tightening as he wondered when you would jump out at him from the darkness, like the monster he hoped you were.