#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

[anomalys-bane]

Male and Female Sexualization are NOT Equally Bad

given the new popularity of games and other media such as Love and Deepspace and yaoi and stuff, i see many men going 'SEE! women are just as depraved as men are, now stop complaining about female sexualization in games!'

and oh my god you idiots. lets take some super typical examples from popular media. what differences can we see?

note how much male 'sexualization' (more of a power fantasy on men's part) focuses on musculature, on explicit strength, power, vigor and toughness. they don't even need to be showing any skin. all these are considered sexually attractive by men and women, as a result of our lovely culture. now for female sexualization, its mostly about the showing the (unnatural) curves and arches of their body, being coy and inviting, passive and alluring. women are a spectacle to be acted upon and men are the actors.

look at the filmography, angles and posing for each image, look at how sexy men are shown as relaxed, yet towering and active, and how sexy women are dressed skimpily, are coy and posing unnaturally to invite attention. this is the standard across genres, aimed at both men and women.

imagine if you opened a survival game you were greeted with a man in booty shorts and a ragged crop top, with his back arched, looking longingly at the the player. is it the same as a shirtless man with defined abs and a smoldering look? exactly, it is fucking NOT the same. men would consider it extremely humiliating to be sexualized the way women are sexualized. if its humiliating for a man to do, its humiliating for a woman to do, you're just used to women being humiliated.

take a moment and imagine if sexy women were almost only shown as dominant, active and physically strong, and sexy men as only meek, coy and passive. now imagine if these unnaturally posed meek, coy and passive sexualized male characters were absolutely everywhere, in games, tv shows and movies where it made no sense for them to be there. imagine if they were the only male characters present and you couldn't change their looks. if this held true for at least half of all sexualized characters in media, i would cede my position and admit that male and female sexualization are just as bad as each other. until then, shut the fuck up 😘

[tahbhie]

The Act of Writing Psychotic Characters 

Part 1: Attention vs Intention

It's been a while since I received this request, and I ensured I took my time with the thoughts, evaluation, and analysis. This topic will be covered in three parts, so here's the first.

Before we proceed, please note that I am not a psychiatrist, psychologist, or any professional in that field. This is just an insight into how this kind of concept can fit into your novels.

Okay, let's begin.

The Attention vs Intention part of this topic will discuss two ways of portraying these type of characters in scenes. 

First, you need to understand that psychotic characters aren't psychotic based solely on their speeches or actions. If that's all you have in mind before approaching a story, you might leave a huge gap in the execution.

Rather, it's how they feel—the desire to satisfy their current emotions.

They have drives and motives, but most especially beliefs which, in most cases, are hardly understandable by other people. It's wrong and unacceptable by society, but to them, they wouldn't do it any differently.

That's why most psychotic characters have no remorse. You simply can't apologize or feel sorry if you don't 'believe' that you're in the wrong.

➜ Attention Psychosis

Psychotic characters whose main purpose in a story is limited to presence (i.e., showing up in scenes and visibly serving the role of a psychotic character) are attention psychotics. You don't flesh out their backstory or why they are who they are.

Their drives and motives aren't talked about enough to the point of justification. Readers hardly care about them, but the action they bring to the scene creates a rich narrative with the purpose of psychosis.

In summary, their role is minor. We see such cases in movies like The Babysitter.

Let's agree that none of the cult characters in that movie are exactly sane, as their main aim is to end their victims’ lives in the sickest ways possible. However, there's a certain character, Max, who simply enjoys the idea of "killing and seeing people bleed."

That has exceeded the central idea of being a cultist who gets involved in blood sacrifice to achieve their 'dream life' like the rest of the characters. It's now something more and different.

Something that has to do with homicidal ideation.

Max worked in a diner where he dealt with people that annoyed him so greatly that he wanted to kill them. So he got the opportunity to join a cult and do just that.

It was plain clear this guy had something else going on for him, but throughout the movie, his character had no special attention or even a peek into his thoughts. Although, it still worried the audience. Job done.

➜ Intention Psychosis

When a story is centered around a character's mental state, their motives, drives, beliefs, actions, and the story actually unfolds by going deeper into this concept, you have intention psychosis.

If not entirely, at least mostly, it defines the entire plot surrounding that character. People get to understand why they are who they are, their mode of action, what drives them, and even a peek into how they perceive the world around them.

Such scenarios are seen in movies like The Joker and Pyramid game (Korea). The audience gets a glimpse into their overall life and understands at least to an extent why they are the way they are.

Their beliefs get twisted for certain reasons, and there was just no stopping them. Here the characters were more than a presence; they were a central core.

In the movie Joker, we watched Arthur’s impoverished life unfold, with every event and incident worsening his condition further.

Baek Ha-rin in Pyramid Game literally created an entire game system to watch a student, who happened to be her old friend, suffer both physically and mentally. She went to great lengths to carry out this nefarious act under the guise of the game. Although this movie encompassed more than just this storyline, it was hard to ignore the unhealthy drive and actions of the young lady with an innocent face.

Before incorporating a psychotic character in your novel, determine their form of portrayal and appearance in the overall story. Are they going to serve as an attention psychotic or an intention psychotic?

Inspired by @sothera

Stay tuned for the next part!

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[oceantornadoo]

ch6 something borrowed something blue (mafia!price x simon's sister!reader)

tw: dirty talk and fingering

masterlist | next

The following week, you learn John Price’s meaning of “friends.”

It means no repeats of the library incident, as you’ve dubbed it. It means no more handfed breakfast. It means no hourlong cuddle sessions.

It does mean waking up tangled together, even though you went to bed on opposite sides. It includes five, and no more, minutes of breathing in each other’s presence, pretending to be asleep while knowing the other person’s awake. It proceeds to mean you staying in bed while John gets up at an ungodly hour, watching him get ready through half-lidded eyes. He always wears some kind of workout set, shorts that show off his unfairly thick and hairy thighs and a tight shirt that you can see his defined pecs through. Even if he’s going to the gym, he tucks his Glock into the back of his shorts. He comes back an hour later (you’ve timed it to be sure) and while he’s careful not to wake you, your body simply doesn’t allow more sleep. 

If you’re lucky, he’ll take off his shirt before walking into the bathroom. He’ll shed it with ease, swiping it down his face as he calms his breathing. This routine of his is addicting, as if a higher power is forcing you to watch how sweat drips down his upper half. Then he’ll shower, sometimes with the sound of skin slapping against skin, and don one of his many suits. Always with a black button-up, never white. Sometimes a tie, sometimes not on the days he seems more agitated than usual, like he can’t be bothered putting on his mask of professionalism. When he’s ready to leave, after he tucks his gun back in, he approaches you in bed. That’s when you play your game of false-sleep, eyelids stone-still as he finds your hand and kisses the top of it.

When he leaves, you don’t see him until he crawls in late at night.

This bed of yours, your new gilded cage, is in the master bedroom of John’s Eaton Square apartment. Apartment is in an inadequate word, a building for normal people who aren’t filthy rich. John’s apartment is a palace, complete with a sitting room and courtyard garden. After the library incident, where you were shuffled back your Ritz hotel room and passed out on the bed from sheer embarrassment, you woke up in the morning with Gaz of all people in the corner chair of your room.

“Finally, she wakes.” You blink rapidly, trying to process the scene before you. The bed is cold, no John to be found. Morning light streams through the windows, turning Gaz into something like an angel with a golden halo. He looks positively affronted at your lie-in, frowning as you stay silent. “Aren’t ya s’pposed t’ be a mouthy brat?” Instead of replying, you fumble around the bed until you can find the decorative pillow that was digging into your back all night. You grip it tight and aim true, clocking Gaz in the chest as he smirks. “There she is. Welcome back t’ the land of the livin’, Mrs. Price.” You groan at his words, smothering yourself in blankets. “I’ll be outside when y’r ready, don’t have all day.”

When you emerge from the room, he looks slightly mollified, probably due to the biscuit in his hand. “You didn’t get one for me?” He scoffs, then hits the button to call the elevator. “If you’d waken ‘fore noon, you would’ve gotten a whole feast.” You wonder if you would have seen your husband as well. His presence, or lack thereof, is the elephant in the room. Well, elevator.

“Where’s…” He raises an eyebrow with intrigue. “Wha’, don’t say y’r gettin’ attached!” You roll your eyes, scooting away from him so you’re on opposite sides of this metal torture machine. “E’s workin’. I’ll be takin’ ya t’ the Castle.” He sounds positively miffed at this being his day’s work. “A castle? I thought he lived in London.” Gaz smiles ruefully. “We call it the Castle, real behemoth it is. Don’t worry, it’s in Eaton Square.” You knew he was rich, but wow. Did he even need this marriage if he has all this money? It seems like his bank account is big enough to buy out the Riley family outright.

Once the elevator opens to the lobby, Gaz guides you to a sleek black car waiting at the curb. It’s a silent car ride, only punctuated by Gaz’s occasional short phone call. When you arrive at the Castle, you feel a sudden kinship with Cinderella, feeling like a peasant in rags compared to the riches before you.

It looks a bit like the American White House, with columns of marble on each level of the ‘apartment’. The outside is all white, a testament to how clean this part of the city is. When Gaz guides you out of the car and through the gated entrance, you note how the two guards at the entrance nod at him with respect on their eyes. Before stepping into the house, you turn and find men stationed throughout the small park across the street. They seem like casual city-goers to the untrained eye, but you know too well the stiffness of a mafia man.

The entrance feels like you’re back at the Ritz, with its marble flooring and manicured potted plants. Gaz takes on the role of real estate agent, guiding you through a floral dining room and modern kitchen, giving you time to glimpse one of the bedrooms before turning you to the gardens. As you walk, you note a chef in the kitchen and a few men at the dining room table. They nod in greeting but not much else, seeming to be absorbed in the laptops in front of them. They lower their eyes in deference to you, like they’ll turn to stone if they glimpse at you for more than a few seconds. Gaz seems at ease with all of this, pointing out decor and architecture like you’re not at the base of London’s prime criminal headquarters. 

Once you enter the gardens, a sense of peace settles between you two, an acknowledgement of the garden’s natural beauty. “As y’know, Price has a lot of time on his hands t’ garden.” You can’t help but giggle at the joke, smiling at the gardener who’s watering some of the white flowers. There’s outside furniture, couches and tables, and you can’t help but imagine reading here on a balmy summer night. 

Instead of walking through to the other side, Gaz walks you out the way you came in. “Price’s study’s on th’ other side, so we’ve turned tha’ an’ th’ two bedrooms to a security area an’ supply room. Nothin’ you’ll be interested in.” Actually, you’re extremely interested in what Price’s business is, but you bite your tongue as Gaz walks upstairs and into a beautiful sitting room. “Christ, this house is more for a Victorian lady than John.” There’s a sense of winning in your stomach as Gaz barks out a laugh at your joke, nodding along. The sitting room has walls miles high, decorated by rigid furniture and old paintings. It doesn’t look used, seeming to be designed to keep people from overstaying their welcome with its lack of warmth. You absentmindly wonder how lonely John was before this marriage.

Finally, Gaz takes you to the master bedroom. There’s a guard stationed outside of it, a younger-looking man who’s probably been given the job with the least amount of responsibility - guarding a room when it’s not in use. The decor of the bedroom is more modern than the rest of the house, clean lines and beige walls. Unsurprisingly, it’s very organized, a glimpse into the closet revealing Price’s suits hanging next to each other. What is surprising is recognizing your own clothes next to his, tops and bottoms hanging in color-coordinated order. The closet is wall-to-wall, with a room between the bedroom and bathroom, dedicated just for changing. 

“Right, well, tha’s the tour.” You’re back in the bedroom, standing awkwardly. He slips you a business card: Kyle Garrick - Security Professional. You snort. “Don’t knock networkin’, princess. Tha’s got my number if ya need it, but only use me as a last resort. Price’ll hav’ my head if you call me before him.” You tuck it into the pocket of your jeans, then scratch your arm out of nervous habit. “What am I supposed to do now?” He shrugs, clearly unequipped to handle this discussion of your future. 

“Reckon you get comfortable. Lot of shit’s goin’ down now, so don’t expect Cap t’ be home at 5.”

“Cap?”

“‘S what we call Price. Runs this ship tight as a captain.”“So without him, you’ll sink?” Gaz nods seriously. “Y’ve got no idea.” Clearly wanting to get back to his actual work, and uncomfortable in his boss’s bedroom, he makes a quick goodbye, leaving you alone. Something to get used to.

Your usual solution to combat the feeling is to call your brother. He picks up on the second ring, concern etched into the vowels of his speech. “Alright, love?” You nod, then remember he’s not here. “Yeah, just bored, I guess. I just got to Price’s apartment, it’s a mansion, Si,-” “‘m sorry, kid, I’m dead busy right now. Let’s plan a call on the weekend, yeah?” Oh. Stupid, you should have remembered he has a life outside of you. If it were a regular day you’d have one too, opening your bookstore for your late Monday hours. “Right, sorry. Let’s call later.” He grunts, clearly distracted. “Olrigh’, talk soon. Love ya, kid.” “Love you too, Simon.” He hangs up right after your goodbye, not even a second of breathing between you. You’re really on your own. Guess it’s time to explore.

The thrill of exploring lost its sheen five days in. Five days of John leaving in the morning, five days of hand kisses and nothing else. You explore a room a day, forcing yourself to flip through every dusty book or memorize every old painting. You tried talking to the staff, but it’s clear they’re only there when necessary, wrapped up in their own duties. The Friday after your wedding, only a week after the club incident, you finally get to talk to another human.

She happens upon you in the dining room, eating a late breakfast.

“Kate Laswell, solicitor.” A hand appears in front of your cereal bowl, stopping your spoon from reaching your mouth. Deciding to be courteous, you put it down instead of spilling milk on her hand. “Mrs. Price, ghost of the Castle.” She gives you a small smile like it’s a concession. You shake her hand firmly, noting callouses unusual of the prim and spoiled lawyers you’re used to. She doesn’t say anything, so you take a second to analyze her while she does the same.

Kate’s dressed in a sharp suit, pinstriped and tailored well. Blonde hair in a bun, with chic bangs on her forehead. What’s more intriguing is her accent. “You’re American?” She nods, sitting down at the table with you. There’s a stack of folders in her hands, laid carefully on the sleek table. “Dad’s British, old friend of Price’s father.” She lets you fill in the blanks, assuming she grew up in America with her mother. Every word of hers is thought out, leaning towards calculated but not quite. It’s silent for a moment as you continue eating your cereal, neither of you in much of a rush.

“Well, I’m quite flattered, but I’m assuming this isn’t a social call since the last time I saw you, you were negotiating this blooming marriage.” She nods, opening the first folder of her stack. It’s a…real estate report? She passes it your way and you note the pictures of various storefronts, mainly old retail stores. “Available Price businesses. Mainly purchased for tax reasons. This report details location, average foot traffic, measurements, etc. Questions?” The report is ten pages long, thick with ink and possibility.

“Is this for my…?” The thoroughness of the research impresses you. She takes out more stapled papers, detailing market value in the area and payment plans. “Bookstore? It took a bit to gather the paperwork, some of these places haven’t been looked at in a long time. I thought this might be more interesting than haunting the Castle.” Your hands nearly shake with excitement. You’ve been positively bored, nothing to do and no one to talk to. “Do you have somewhere to be after this?” You ask, almost timidly. She checks her watch, then shakes her head. “Not until lunch.” You grin. “Let’s talk.”

You talk for nearly two hours. Business plans, target market, the walking patterns of Londoners. She tells you more about the city than you could ever find online. She points out up-and-coming neighbors versus those slowing down. It’s refreshing to talk to a woman and not a man calling you nicknames and making your head spin. She’s smart and sharp, joking less than Gaz but greeting your own with rare smiles.

The two of you decide on a storefront on Carnaby Street, surrounded by boutiques and small businesses. It’s different from the vibe of your Manchester store, but a new challenge is all you need. You have enough money from the profits of your bookstore plus some your father left you, enough to buy the property in full from John. You have a feeling Laswell, as she’s asked you to call her, is underselling you, but you’re not going to blame her for saving you a few thousand. A few calls get made to respective bankers, and Laswell promises a contract and detailed payment plan by next week. 

“Laswell?” She tips her chin in acknowledgement as she packs up the folders. “Thank you for visiting. You’re welcome anytime, for lawyer stuff or not.” Laswell gives you a half-smile, then slips her business card onto the table. “Here’s my info, lawyer stuff or not.” She winks, then bids you goodbye using your first name. It’s a relief to be acknowledged. The whole interaction gets you out of your week-long funk, riling you up.

When’s she gone, you reach for your phone, calling one of your newest contacts. “Price.” You scoff at his greeting. “Jeez, not even a hello?” There’s a pause, like he took the phone away from his face then put it back. “Sorry, sweetheart, didn’t check the caller ID. You okay?” He hasn’t talked to you all week, so the petname’s a shot to the heart. “I think Laswell lowballed me, but I officially own one of your properties.” He chuckles, low and soft in your ear. Friends. Frenemies. Stay solid. “Tha’ righ’?” God, admitting this victory is like handing him your beating heart. “Yes.” It comes out stern and he stops laughing, mistaking your tone for anger. “Can’t promise dinner but I’ll be there ‘fore lights out, yeah?” The topic change throws you off. You nod, swallowing an embarrassing notion of asking about his dinner plans. “See you then. And, John?” He’s quiet, waiting on you. “I’m going into the city for dinner, taking a guard so don’t worry. Bye!” That leaves him sputtering, scales tipping towards balance again. “Wait, don’t-” Beep! He doesn’t get to finish the thought as you hang up.

You find a spare guard in the hallway, who tells you his name is Terrance. “Ma’am, I don’t think the Captain’ll be ok with this.” Another American. “Well, I’m leaving with or without you, Terrance. Let me know what you think he’ll be more okay with.” That gets him going, talking into his ear piece before moving to shadow you. You walk swiftly without direction, turning left down the street in search for a cab. Terrance clears his throat behind you. “Center of the city is the other way, ma’am. Let me call a driver, the cabs’ll cheat you.” You concede, the raging hunger in your stomach your main motivator. He probably wouldn’t have let you take a cab anyways, safety protocols and all that. You brush the small revolver in your purse for comfort and think of the small knife strapped to your upper calf. It’s not the best placement, but you’re overly cautious with your first venture into the city. You tap your foot impatiently as Terrance calls a driver. You didn’t eat lunch after meeting Laswell, too eager to explore.

After a short ride, Terrance sitting up front with the driver, you arrive to your destination: your new storefront. It’s a bit rundown but the street is busy even at this early dinner hour, a good sign for business. Huge glass windows frame either side, and you try to peak through to get a look inwards. It seems dusty but well kept, no signs of natural damage. A perfect clean slate.

Satisfied, you turn to look for a cafe, since the restaurants aren’t open just yet. Settling on a quaint one down the street, you order a sandwich and find a seat. It’s nice to spend time surrounded by others, lives flashing by yours in a flash as you sit by a window, picking at your food. You invite Terrance to sit with you twice but he refuses, content to stand near your seat at the window, eyes on both the inside and outside. You brought a notebook with you, so the hours fly by as you plan your bookstore. You force yourself to stay past dinner, only conceding to a ride back when Terrance looks dead on his feet and the cafe workers are clearly closing.

When you get home, John isn’t there.

Your veins go cold but you shake it off, reciting reasons why you shouldn’t care: just friends, childhood enemy, influenced the breakup of your family, forced you into a marriage, practical stranger. Then the other side of your brain responds: the honeymoon period, agreed to negotiations, doesn’t pressure you into sex, gifted you a library, holds you tight every morning, takes care of you when drunk. It’s a tie, like your cartoon devil and angel can’t even decide. Typical.

You decide on a long shower, shutting yourself away in the bathroom. Body scrubs, haircare routine, shaving, the works. The excitement of the day hits you and you smile to yourself, thoughts of your new bookstore drifting through your mind. Maybe you need some stress relief. Maybe you’ll give yourself what John won’t.

You drag a hand down your wet body, pinching your nipples. A scene from the library appears in your mind, the memory of being completely exposed under John’s view. How he brushed the lace of your underwear, testing the wetness of your folds. Your other hand starts to circle your clit, faster and faster as you imagine what would have happened had the clock not struck twelve. How he would have stuffed a finger, maybe two, into your hole, exploring the limits of your body. How he would’ve called you sweetheart in that rough voice. Your core tightens unreasonably fast, careening towards the edge of your orgasm when it just stops. You groan in frustration, then reach for the detachable showerhead. 

This time is rougher, torturing your poor cunt with harsh water pressure. You find yourself on the edge again, clenching with anticipation before it escapes you again. That’s enough of a sign that it’s not going to happen for you tonight. Defeated, you end your shower quickly, speeding through the rest of your night routine.

You exit the bathroom clothed in pajamas, sweating from exasperation and effort. Two failed orgasms is enough to break any woman’s heart. This thought is what keeps you from immediately realizing John’s sitting up in bed, reading glasses on, shirt off. It stops you in your tracks.

“Nice shower?” He asks, not looking up from the reports in his hands. You stutter, long enough for him to look up in confusion. “You good, sweetheart?” You shake your head, wiping your hands on your pajamas. “Sorry, lost my train of thought. Think the hot water fried some of my brain cells.” He chuckles, a sound that goes straight to your core. He looks so damn delicious, better than your shower fantasies. The glasses make him look like a frazzled professor instead of the head of a criminal organization. The fantasy is a bit broken by the Glock on his bedside table, but you shrug it off. You make your way to the bed, shutting off your bedside lamp as soon as you get in. His eyes bore a hole into the side of your head, like he can tell you tried getting off to the thought of him for half an hour and failed.

“Laswell tol’ me ‘bout your meetin’.” He says after a few minutes. You flip to face him, tugging the covers up to your chin. “I love her. She’s like who I want to be when I grow up.” Instead of reminding you that you are, indeed, grown up, he nods like he understands. You hate it. “She has tha’ effect. She’d make a mean school principal.” You laugh and he turns to hit you with the full force of his smile. “Like that lady from Matilda. But without the corporal punishment.” He nods. “Like a calm Trunchbull. Instead of yellin’, she’d jus’ stare.” You both laugh at the image, breaking the ice of his abandonment during the week. John turns out the light, disappointingly taking off his glasses and putting away his reports. You both get comfortable, facing opposite directions on your respective sides of the beds.

“‘M sorry for this week. Wasn’t real friend behavior.” Did he just apologize? You clear your throat, forcing yourself not to turn to face him. “It’s okay, I get it. I’ll be busy soon, too.” He’s quiet for a while. 

“I wish we had a longer honeymoon.” It physically hurts you to say. You quickly try to take it back. “You know, to spend in the library.” You mutter. “‘S ok, sweetheart. I would’ve liked more time too.”

Oh.

Oh.

“Right, well, goodnight, John.” What else can you say? I wish you’d stay longer in the mornings? I wish we had dinner together? I wish this was under different circumstances and our families weren’t entwined? “Goodnight, sweetheart.”

Except sleep doesn’t take you. The memory of your shower is too recent, your core fluttering with the memory of your failed orgasms. You shift against the pillows, the scrape of the bedsheets torture against your skin. For a madness-induced second, you dip your hand down your pajamas, but you quickly pull it back when you remember John is a foot away. After fifteen minutes of squirming, he finally says something.

“You alrigh’?” You huff, still moving to get comfortable. “Sorry, I’m just hot.” He tugs the covers off you and towards him. “Can keep the covers off?” But now you’re shivering without their warmth. He moves closer to put them back, his face inches away as he tucks you in. “What’s wrong?” It’s low and sweet, like how he was on the phone. It makes you cave.

“I couldn’t get off.” He doesn’t react, like he was expecting you to say that. Which would be crazy. Right?

“Tha’ righ’?” You nod in the darkness, almost pouting in pain. “I tried in the shower and it didn’t work. Sorry, I can sleep in the sitting room if it makes you uncomfortable.” You feel him shaking his head, the whooshing of air surrounding the two of you. 

“You want help?” He can’t be serious. “You’re joking.” Instead of responding, his hand brushes your face, much closer than you originally thought. You inhale at the sudden rush of his scent, hips canting in the air in a biological response. He’s leaning over you, too out of reach.

“Christ, you’re gaggin’ fer it.” Your mouth drops, a perfect opportunity for him to brush the rounded O of your lips. He dips his middle finger into your mouth and, against your better judgement, you suck. “Look at tha’, so sweet fer me.” It’s encouragement to suck harder, rewarded with one of his groans. The moonlight catches the blue of his eyes, alight with hunger. You moan, and he evilly tugs his finger out of your mouth and into his own. Its a brutal show of spit swapping, leaving you panting. “John, please.” He gets the memo, sliding the finger under your pajama shorts. And then he just explores. Manipulates your folds this way and that, missing your clit by miles. 

“This a gyno exam that I didn’t-,” but he cuts you off with a rough kiss, his thumb pressing on your clit as he finally pushes a finger into your messy hole. It’s as possessive as your kiss at the wedding. He sucks on your top lip, then pulls away before you enjoy it too much. “So fuckin’ wet. This all fer me?” You nod desperately, hips moving to join the rhythm of his fingers. He finds your G-spot with ease, stroking you with a ‘come here’ motion as you rock against him. “Missed you, baby. Y’r cunny miss me?” And all you can do is plead, chests brushing against each other as he kisses his way down your neck, sloppy and unrestrained. “Yes, yes, missed you.” He grunts his approval.

His other hand moves to stablize his weight, forearm digging into the bed as his fingers curl around the crown of your head. Your hands find purchase in his hair, tugging him back to your lips when he gets too far. A second finger, his ring one, meets his middle. You haven’t sex in a while, the only explanation for how full you feel. 

“Gonna hav’ t’ work ya open ‘fore you take my cock.” He whispers like it’s a note for him to remember, not meant for your ears. “Someone’s, oh fuck,” he circles your clit harder, tightening the coil in your belly. “Someone’s confident.” Is what you finally bite out, panting hard. He chuckles, nosing at your neck before kissing you again on the lips. “You opposed t’ future orgasms, baby?” You shake your head, babbling nonsense as he fucks you deeper on his fingers. Your cunt is begging for release, squeezing so hard you can’t breathe.

“Gonna come.” He nods, licking the sweat behind your ear before nipping at your jaw. “Let it out, sweetheart,” and you do, spasming on his fingers. He works you through it, slowing his motions with practiced ease. You breathe a sigh of relief, the tension in your body having disappeared. John captures your lips, allowing you to tug him closer so he’s inbetween your legs. You rub your sweat-soaked body against his, whimpering at the sensitivity of your skin. He shushes you, petting you with hairy paws as your breathing calms. “What a good girl fer me.” He whispers, almost condescendingly. You mewl at his tone, cat-like in his arms.

“I hate you.” You lie. All he does is kiss your forehead, then your nose. “Sure ya do, sweetheart. Feel better?” It turns you to butter. All you can do is nod, bashful at his tone. “Maybe.” He kisses your cheek, then rolls to the side, tugging you into him. “Sleep.” He commands.

It’s the best sleep you’ve gotten all week.

-

This is John’s mansion: https://search.savills.com/property-detail/gbsshsslh240021

Disclaimer that i have no clue how to write the differences between Gaz and Price’s accents so your patience and possible suggestions are much appreciated. 

🚨

i have no more room on my tag list. pls turn on notifications. if you’re not tagged, that’s why!

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@heretoreadanddrinktea

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[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.

[mariacallous]

The attempt to humiliate Volodymyr Zelens'kyi in the Oval Office a week ago was an American strategic collapse. It heralded a new constellation of disorderly powers, obsessed with resources, seizing what they can. Inside that new disaster is something old and familiar that we might prefer not to see: antisemitism. The encounter in the White House was antisemitic.

I am historian of the Holocaust. I was trained by a survivor. Jerzy Jedlicki was nine years old when the Germans invaded, and fourteen when he emerged from hiding in Warsaw, and a prominent Polish historian by the time we met. He talked to me about antisemitism for decades, from the time of the breakup of the Soviet Union until his death in 2018. The way that I reacted to the scene in the Oval Office, and how I have pondered and considered it since, have to do with my research, but also with him.

Jerzy survived the Holocaust because his mother Wanda, a literary translator, refused to go with her children to the Warsaw ghetto. Thanks to her courage and ingenuity, and to others who helped her, he and his brother survived. Jerzy's father was murdered, like more than three million other Jews in Poland. The family history emerged bit by bit, as we became friends, as some of his own colleagues wrote memoirs of childhood survival, as my own interests turned towards the war. During my research, I found a recollection, by his mother, of their time in hiding in Warsaw. It turned out that he had helped her to write it.

In post-communist Poland, in the 1990s and 2000s, Jerzy was an activist against antisemitism and xenophobia, and I attended at his urging some of the meetings of the association he helped direct. The entire time, I think, he was trying to train my eye.

Some forms of what he defined as antisemitism had to do with his memories of occupation. Jews had to show deference. Germans mocked the ways Jews dressed. That was before they were sent to the ghetto and murdered. Jews were scapegoated, made responsible for what the Germans wished to do anyway.

Some characteristics of antisemitism as he described it were more abstract. Jewish achievement was portrayed as illegitimate. Jews only gained success, antisemites say, by lying and propaganda. If a Jew was prominent, that only proved the existence of a Jewish conspiracy, and thereby the illegitimacy of the institution where the success was achieved. A prominent Jew was always, went the antisemitic assumption, motivated by money.

Some of what Jerzy said had to do with his experience after the war. Non-Jews will deny the courage and suffering of Jews. They will claim all heroism and martyrdom as their own. He kept a photo of his mother in a locket. It was important to him that she had been courageous. There was a legend in communist Poland, which still survives, which suppressed Jewish courage and claimed all resistance for non-Jewish Poles. And there was after the war a Soviet antisemitism, with a broader and longer heritage, that claimed that Jews had somehow all remained at the rear while others fought and died. The facts were no defense.

The elements that emerged in conversation with Jerzy over the years -- the mockery of Jewish appearances, the need for Jewish submissiveness, the claims about dishonesty, greed, cowardice, and corrupt conspiracies -- figure in the scholarly literature on the subject. And the scholarship is very important, as are the testimonies, and is the teaching in schools. But all of this should help us to see antisemitism in real life. Some cases are so overwhelming in scale that we find them difficult to confront and name. As Orwell noted, it can be hard to see what is right in front of your face.

Much has been said about the evils of the full-scale Russian invasion of Ukraine in February 2022. Its antisemitic element, however, has been underestimated. Russia's major war aim was fascist regime change, the overturning of a democratically-elected president in favor of some sort of collaborator. The premise is absurd: that Ukrainians do not really exist as a nation, and in fact would prefer a Russian. But it was also antisemitic: that it is unnatural that a Jew could hold an important office. Volodymyr Zelens'kyi, the Ukrainian president, is of Jewish origin. Members of his family fought in the Red Army against the Germans. Others were murdered in the Holocaust. Although his Jewishness is not very relevant in Ukrainian politics, it is highly salient to Russian (and other) antisemites.

Ukraine, says Putin, does not really exist. But another theme of the propaganda is that Zelens'kyi is not actually the president of Ukraine. These two bizarre ideas work together: Ukraine is artificial and can exist thanks to the Jewish international conspiracy. The fact that a Jew leads the country confirms — for Russian fascists — both the unreality of Ukraine and the reality of a conspiracy. This Russian regime perspective is implicitly (and sometimes explicitly) antisemitic. Russian propaganda treats Zelens'kyi as obsessed with money and as subhuman. Zelens'kyi was elected on a peace platform in 2019, but Putin did not want to talk to him, in part because he did not think that Zelens'kyi showed him enough deference. The Russian regime that ordered the invasion is itself obviously fascist, on any definition of fascism you care to choose.

Last Friday I happened to start watching the discussion at the White House between Zelens'kyi, Donald Trump, JD Vance and Brian Glenn towards the end, when Vance was already yelling at the Ukrainian president: "you're wrong!" I took in the tone and the body language, and my first, reflexive reactions was: these are non-Jews trying to intimidate a Jew. Three against one. A roomful against one. An antisemitic scene.

And the more I listened to the words, the more that reaction was confirmed. I won't speak for how Zelens'kyi regards himself. Ukrainian, of course. Beyond that I don't know. These things are complex, and personal.

But not for the antisemite.

It was all there, in the Oval Office, in the shouting and in the interruptions, in the noises and in the silences. A courageous man seen as Jewish had to be brought down. When he said things that were simply true he was shouted down and called a propagandist. There was no acknowledgement of Zelens'kyi's bravery in remaining in Kyiv. The Americans portrayed themselves as the real heroes because they provided some of the weapons. The suffering of Ukrainians went unmentioned. An attempt to refer to it was cruelly and falsely reduced to a "propaganda tours" led by Zelens'kyi. The Americans portrayed themselves as the real victims of the because they paid for some of the weapons. It was all, bizarrely, about money. There is this odd Trumpian notion, unique to Ukraine, that aid should be paid back as if it were a loan, with Trump himself just making up the amount owed. Zelens'kyi was portrayed as someone who was taking our cash, giving is nothing in return, ripping us off. He was also mocked for not knowing how to dress for the space, as not belonging. And his deference was demanded: "Have you said thank you once?" "Offer some words of appreciation." And then was thrown out of the White House. And told to resign his office as president of Ukraine.

As always with antisemitism, facts are no defense. Zelens'kyi consistently thanks Americans, as can be easily verified. He is the elected president of a country that is a democratic republic under a constitution. Zelens'kyi won the last election with 73% and his approval rating is now 68%; if there were another election, he would win. By the terms of the constitution, the next election will be held when the war is over and martial law can be lifted. It is the general opinion in Ukraine, shared by Zelens'kyi's opponents in parliament, that elections cannot be held while Russia is invading, holding swathes of Ukrainian territory, and coercing Ukrainian citizens. Zelens'kyi has been personally courageous. He stayed in Kyiv when everyone expected him to flee. He visits the front on a regular basis. Ukrainian suffering, sadly, is all too real, from the torture chambers through the executions through the kidnapped children and destroyed cities. It is quite true that the anti-tank weapons Trump authorized during his first term were very important during the first few weeks of the war. But it was the astonishing fact of successful Ukrainian resistance that led to the delivery of further weapons. The arms allocations to Ukraine were aid, and aid is not a lone. They are an essentially invisible portion of the U.S. budget, a penny on the dollar. Most of that penny on the dollar remains in the U.S., restarting assembly lines that had gone cold. Much of what the U.S. has given Ukraine were obsolescent weapons that would have been otherwise been thrown away. As everyone in the room in fact knew, what Zelens'kyi was wearing was meant as an expression of solidarity with a people at war. It was not so unlike what Churchill wore in the White House in 1942.

To conclude that the scene in the White House was antisemitic, one does not need to know anything further. It's all right there: the demand for deference, the obsession with money, the claims of corruption and dishonesty, the encirclement, the loud voices, the bizarre grievances, the underlying sense that a Jewish person does not fit and must be expelled. The context was evocative enough, and nothing more is really needed: those historical markers of antisemitism; Zelens'kyi's Jewish origins; the particular way he was treated by non-Jews.

If we consider for a moment the men who tried to humiliate him, however, the picture only sharpens and clarifies. The man who asked him about his clothes, Brian Glenn, is a conspiracy-theorizing far-right journalist. It is not clear why he was in the Oval Office; but he does seem to know Marjorie Taylor-Greene, she of the Jewish space lasers and the determined defense of Russian propaganda. The man who demanded deference and spoke of "propaganda tours," JD Vance, had just returned from Germany, where he made a point of publicly supporting the German far right. Vance presents Zelens'kyi as a corrupt liar, with no evidence beyond what was brought to him by an internet which has, apparently, found his vulnerabilities. The man who insisted that the Americans (and indeed he himself personally) were the real heroes, Donald Trump, told Jews last fall they would be held responsible if he lost the election -- among many other things. And the man behind them all, Elon Musk, supports the extreme right in several countries, adapts his social media platform to support fascists, and is notorious around the world for his Hitlergrüß. Musk's idea that Zelens'kyi is a grifter could hardly be more antisemitic.

And what have the Americans done since last Friday? They have scapegoated Zelens'kyi. They have doubled down on lies that, sadly, only make sense in an antisemitic worldview. They have blamed him, over and over again, for the things that they wanted to do anyway. It is somehow his fault, rather than their choice, that they are denying weapons to Ukraine and supporting Russia; that they are denying Ukraine necessary intelligence and thereby making it easier for Russia to kill Ukrainians in missile and drone strikes. The scapegoating is antisemitic in form, relying on preposterous notions that American strategic choices can and should be shaped by an ally's dress and demeanor. And it is antisemitic in content, shifting all responsibility from oneself to the Jewish person who must take the blame for everything. The Americans continue to encircle Zelens'kyi, on media, denying his legitimacy as president, calling for his resignation. Musk piles on, calling Zelens'kyi names, and demanding that he be replaced and removed from his country.

Underlying this all is an assumption that can only really be understood as both antisemitic and anti-Ukrainian: that if Zelens'kyi were to resign, the war would somehow end, because he, and not Putin and the Russians, is somehow its instigator. And that is profoundly and weirdly wrong: Zelens'kyi is not some master conspirator who is somehow getting Ukrainians to do something that they would not otherwise do. Ukrainians are actors in all this. Ukrainians have been attacked and who are defending themselves. Their president is, in his own words, just one grain of sand in the hourglass. If Zelens'kyi were assassinated, an outcome that the American abuse has made more likely, Ukraine would continue to fight.

The American antisemitism now merges with the Russian antisemitism and reinforces it. The idea that Zelens'kyi is not a real president, and that his government is therefore not a real government, has been a very specific Russian antisemitic trope from the beginning. And the Russian approval for the American behavior in the White House since Friday could hardly have been more explicit. A spokesman for Putin expressed his pleasure that policies were aligning. A spokeswoman for the Russian foreign minister compared Ukrainians to pedophiles and thieves. The foreign minister himself said that Zelens'kyi was "hardly human." A former Russian president called Zelens'kyi a swine and cheered on Trump. Russian television has celebrated Trump as a Russian ally all week. During this chorus of Russian praise, the White House halted military aid and limited intelligence assistance to Ukraine. And so the United States is now aiding the fascist invasion, and legitimating the attempt at fascist regime change.

It is harder in the 2020s to call things by name than it was, perhaps, in the last century. Actual fascists now call other people "fascists" to make the word meaningless, and so they themselves cannot be seen for what they are. This is the normal Russian practice, now picked up by American fascists. Antisemites likewise can call other people "antisemites." When Russians say that they had to invaded Ukraine because of someone else’s antisemitism rather than their own, they are just trying to make the term meaningless. When Americans claim that antisemitism means that universities must be harassed, they are doing much the same thing. The fact that someone wants to ban protests does not mean that they oppose antisemitism. History would suggest rather the contrary. A concerted effort is being made to train us to think that antisemitism is something besides traditionally hostile ways that non-Jews regard and treat Jews. The result of these semantic abuses is a trivialization of antisemitism — a concept we all need to be able to take seriously, a phenomenon we all need to recognize.

In addition to abusing the word, antisemites can react with manufactured outrage when called out. They can try to hide behind Israel, or by pointing to Jews in their vicinity. So when confronted by actions that appear antisemitic, you have to consider what you see for yourself. The moral and political implications are of the greatest significance. I had a strong personal reaction to that scene in the Oval Office, and I checked it for a week with friends and colleagues, who confessed that they had had the same reaction. I reconsidered what I had learned as a historian. I looked at the scholarly definitions. Everything, sadly, lines up.

The negative reactions to the Oval Office scene can of course take other forms. The antisemitic element of the confrontation, though important, was not the only dynamic. Ukrainians and Europeans, understandably, took the attempt to humiliate Zelens’kyi as a prompt to begin discussions of a security order that accounts for an unreliable United States. Moral assessments along other lines also came in, including from former dissidents in eastern Europe. On Monday, thirty onetime Polish anti-communist oppositionists signed a letter to Donald Trump. They expressed their repugnance at how Zelens'kyi had been treated in the White House. They pointed out that no monetary currency can be equivalent to that of blood shed for freedom. They compared the atmosphere in the Oval Office during that confrontation on Friday to that of a communist interrogation or communist trial, in which the person who had taken the risk to do right was told that they held no cards, that might makes right.

My dissertation advisor, Jerzy Jedlicki, had been a dissident. Polish communists placed him in an internment camp. Perhaps Jerzy, were he still with us, would have signed that letter. As someone who has studied and written about communist terror, I can see the dissident perspective; and given their own personal experiences with interrogations and communist terror, it is one that must be taken seriously. What they failed to mention, though, is that communist interrogation techniques in the 1970s and 1980s were antisemitic: people of Jewish origin were presented as alien to the nation, and were subjected to special abuse. Multiple interrogators would encircle the dissident, and talk among themselves about his supposedly Jewish betrayals and failures. Encirclement, bullying, belittling.

And so I can't escape that first reflexive response to that scene in the Oval Office: here is a person of Jewish origin being treated in a very particular and familiar way by non-Jews. I get the dissidents’ comparison to an interrogation or trial, and can imagine the cell or the courtroom. But what struck me was the circle of bullying gentiles -- as in Europe in the 1930s, and in other places and times, at the particular moment when the mob felt that power was shifting.

But is it? In writing about antisemitism here I am obviously making a moral point. I am asking us, Americans, to think seriously about what we are doing, about Russia's criminal war against Ukraine, in which we are now becoming complicit. That Russia's war is antisemitic is one of its many evils; taking Russia’s side in that war is wrong for many reasons, including that one. At a time when antisemitism is a growing problem around the world, I would like for us to be able to see the obvious examples, especially when we Americans are so closely involved in them. There is a certain mobbish mindlessness in the growing circle of American voices calling for Zelens'kyi to leave office, and I think it has a name and a history. I would like for us to recall that history and remember that the name can apply to us.

In writing about antisemitism I am also making a political claim. The antisemite really believes that the Jew must defer, that the Jew cannot fight, that a state led by a Jew must duly crumble. This was one of Putin's mistakes, two years ago. And now, I suspect, it is also Trump's, and Musk's. America does have the power, of course, to hurt Ukraine. Just as Russia does. The combination of American and Russian policy is killing Ukrainians right now. The costs of the emerging Russian-American axis will be terrible for Ukraine. But Ukraine will not immediately collapse, nor will the Ukrainian population turn against Zelens'kyi. What he will personally do I couldn't say and won't try to predict: and that, of course, is my point.

In the world of the antisemite, all is known in advance: the Jew is just a deceiver, concerned only with money, subject to exclusion, intimidated by force. As soon as he is humiliated and eliminated, everything else will fall into its proper place. Consider the smirks in the Oval Office last Friday: the antisemite thinks that he has understood everything. But in the actual world in which we actually live, Jews are humans, perilous and beautiful like the rest of us. The United States has never elected a Jewish president, and perhaps never will. But Ukraine has; and that president represents his people, facing challenges that those who mock him will never understand. Those Americans have chosen to add their own to the evil he must confront. But that does not mean that they will control what happens next.

In 1936, before the war, Wanda, Jerzy’s mother, translated a book entitled Oil Rules the World. We seem to be heedlessly returning to an era where resources demand violence. American foreign policy now seems to be all about mineral wealth: in Greenland, in Canada, and in Ukraine — where the pressure on Zelens’kyi is connected to an American desire to control Ukrainian minerals. This is worrying for a number of reasons.

In the antisemitic imagination, everything is for the taking. I used to talk with Jerzy Jedlicki about Mein Kampf, whether and how it should be censored, who read it in the twenty-first century. Our world, as Hitler described it in Mein Kampf, is just thin crust of land, to be defined by the fertility of the topsoil and the bounty of the minerals beneath. Only the Jews, he thought, stand in the way of its conquest by the strongest. Behind all of the calumnies about the lying and the stealing and the conspiracies was Hitler's true fear: the Jews, he thought, were the only source of human values, the reason why we might think that there is something in the world aside from power and the greed of the powerful, something beyond an endless war for topsoil and minerals. To extinguish virtue the Jew must be mocked, and then marginalized, and then murdered. And that, of course, worked as politics in Nazi Germany; not because the premise was true, but because Germans went along, killing their own virtue along the way. Never again means attending to the smaller aggressions that imply the greater ones to come.

The war that Hitler began, the Second World War, was about eliminating Jews and stealing resources. He was aiming above all for the fertile soil of Ukraine and the mineral wealth of the Caucasus: for what he called Lebensraum, living space. To get to Ukraine, Germans had to cross Poland, where they created ghettos, like the one in Warsaw where Wanda did not go; and then the death factories, like Treblinka, where the Jews of Warsaw were murdered. Jerzy escaped gassing at Treblinka; decades later on he tried to helped me to see, and to think. He was trying to help me to have the eye of a historian in the present, and perhaps he succeeded, a bit. About one thing I am certain. Our eyes have to be open to what we do not wish to see.

[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.

[theconstitutionisgayculture]

It's Time to Put Hitler to Bed

Over the last 20 years it's become increasingly common when talking about western politics to try and tie the political opposition to Hitler. It goes beyond Godwin's Law at this point, because it's no longer just in internet phenomenon. It happens in real life. In real conversations and real debates. All sides do it. No issue is safe. And it's beyond ridiculous at this point. It needs to stop.

So let's just stop talking about Hitler altogether when it comes to western politics.

He's dead. He's gone. His ideology died with him. Yes, you read that right. National Socialism is dead. It was a very specific ideology with goals and aims beyond being racist and hating Jews. Nowhere on Earth is there a serious National Socialist party with any political power or any chance at gaining any. Modern day neo-nazis are nothing more than edgelord racists desperately trying to grab some of the "shine" Hitler has with other idiots for themselves. They're awful. They're racist. They should grow the fuck up. But they aren't nazis. They aren't storming government buildings and they aren't winning political office. Most of them aren't even committing crimes. They're just sitting online or in a basement somewhere snort-laughing like Bevis and Butthead while they whisper "k*ke" and "n*gger" to each other and post pictures of ovens with captions like "where the Jews go". How basic and boring. They are beyond lame, and it's long past time we stop bigging these people up like they're some huge existential threat to humanity itself. They're not. They're just pathetic losers who have no power over anyone, not even themselves.

Does this mean we should forget the Holocaust? No. Of course not. We should always remember what Hitler did. But if we don't take the right lessons from that dark era in human history, then we might as well forget it because misremembering, on purpose or by accident, is just as bad as forgetting.

Hitler was an evil man who did evil things. He is a cautionary tale to never let rhetoric overwhelm your better nature. He is a warning of what happens when you give into hate out of fear or anger. But that's it. He does not influence anyone with power. Not in the west. No one in the west is actually trying to be like Hitler. And as evil as Hitler was, not everything he did was automatically evil just because he did it. And that right there is the main problem with the modern trend of accusing everyone you don't like of being Hitler. Hitler did a lot of things. He woke up. He ate breakfast. He fell in love. He breathed air. He got dressed. He gave speeches. He liked art. He was a human being. I don't say this to downplay the evil things he did or to try and create sympathy for him. But surely you can easily see how literally every single person on Earth has something in common with Hitler just by virtue of also being a human being, yes?

Hitler was also a politician. Which means that, yeah, every politician is going to have a position that's at least similar to something Hitler proposed or enacted in his political career. His views and platforms ranged far and contain things that are both left and right wing. Things which, in the hands of someone other than Hitler, most likely would not have led to the Holocaust. Because the Holocaust is an evil that was unique to Hitler. He baked genocide into his ideology, then codified and streamlined it after gaining power. His was a cold and inhumane calculation that only the Aryan race as he defined it was worthy of life. That every other race, everyone who didn't fit his idea of purity, must be killed to preserve his Master Race. There have been other genocides before and since, but none quite as industrialized and far reaching. And, in the west at least, there is no one with any power who wants to reenact anything that even comes close to the Holocaust. Not even that politician you really hate. Not even that activist group that promotes that awful ideology.

All accusations of being Hitler, or like Hitler, do is muddy the already opaque waters of modern western political discourse. And people are so bored with Hitler comparisons. He doesn't evoke the same emotional reaction he did even 20 years ago because, by this point, everyone even remotely active in western politics or political commentary knows someone who has been accused of being Hitler or a nazi, if they aren't that person themselves. It's become little more than the (supposedly) adult version of "I know you are but what am I?" It's meaningless, it's dumb, and everyone needs to stop doing it.

Stop making posts about how so and so is just like Hitler. Stop re-tweeting/blogging/posting them. Stop bringing Hitler's name into discourse at all. Stop arguing about whether or not National Socialism is right or left wing. Stop pretending that superficial similarities to Hitler or one of Hitler's policies is absolute proof that an ideological opponent is evil.

[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]

[raven-at-the-writing-desk]

quick question- I was a bit confused in some dialogue during book 1 lol 😭😭 It’s during the later chapters when riddle has collared both ace and deuce after they’ve challenged him for his seat. More specifically, the part where yuu calls riddle out for his behavior (rightfully so) and he responds by insulting them and their parents I believe?

The confusion stems from aceyuu shippers (just wanted to clarify I’m not self shipping lmao) where they say ace ends up punching riddle because he’s explicitly defending yuu’s honor or whatever but i also see other people (non-shippers) who say ace punched riddle because he insulted ace and/or deuce’s parents? Im not quite sure which one it is and went back in the actual game to check but i feel like the wording of riddle’s insults is a bit vague? Idk, maybe im just being a bit of a dum dum and can’t properly comprehend the scene even though it’s quite simple. I feel like it’s also just because i see a lot of people saying different stuff and just wanted to hear your thoughts on it if that’s okay?

I just feel like you really understand both the story and characters in that regard haha

P.S. your posts r genuinely very informative and helpful especially for people like me who kinda have no media literacy (not in a negative way!!) pls keep up the good work you’re rlly great at it <333

Hmmm, I see 🤔

Before I get to responding to this question, I want to preface this with a few disclaimers! Firstly, I do not mean to invalidate or detract from Ace x Yuu shippers or anyone who may interpret their relationship as romantic. You should ship what you like and have fun doing it. My reply aims to be more objective, but that should NOT impede on your enjoyment or whatever it is you choose to ship. Secondly, for those who don’t ship Ace x Yuu, I will be discussing the pairing later on in this post, so please keep this in mind.

Let's first look at how the game and how it depicts the scene. This occurs in 1-22, shortly after Riddle collars Ace and Deuce in their duel for the dorm leader seat. With his victory secured, Riddle begins to gloat about how this is proof that he is "the most correct". At this point, Yuu/the player character is granted two dialogue options:

If you choose "But that's not right!", Riddle replies with, "I am the one who decides what is wrong and right! What sort of pitiful education have you received, that you cannot follow such simple rules?"

If you choose "You can't just use rules to do whatever you please!", then Riddle replies with, "If there were no penalties, no one would follow the rules. I have to wonder what sort of pitiful education left you unable to comprehend so simple a concept."

However, no matter which dialogue option you choose, Riddle continues on to say, "Clearly, you were born to parents with no great magical capability. And as a result... You lack even the basic education necessary to attend a school such as this. It's quite sad."

Deuce becomes upset after hearing this--but before he is able to act, Ace is already on his feet and manages to deck his dorm leader in the face.

Based on the fact that Riddle seems to react to something that Yuu says, the framing here implies that the "you" Riddle is using refers to them specifically. As you can see above, both Ace and Deuce take offense to what Riddle says, but it is Ace that acts preemptively and attacks Riddle for his rudeness. This is what Ace x Yuu shippers will point to as a defining moment in their relationship (though, to be clear, this scene can definitely also be interpreted as platonic!!).

… Buuut it’s not completely clear that Riddle is explicitly directing any and all insults towards Yuu and Yuu alone, even if Yuu was the one to prompt his tirade. Due to the visual novel style format of the game, we have limited assets to base our interpretations off of, so going by the game alone may not be entirely accurate to what is happening in this scene. For example, we don't know how the characters are oriented relative to one another. It's possible that Riddle responds to Yuu's dialogue and then turns away to berate Yuu, Ace, and Deuce for their stupidity, since all three of them are, in his eyes, rule-breakers. We simply cannot tell due to the constraints of a visual novel. Let’s consult the manga adaptation and see how that presents 1-22.

In the Episode of Heartslabyul, the framing of the panels centers Riddle and Adeuce; Yuuken is not involved whatsoever. (On a prior page, all Yuuken remarks on is how fast Riddle is able to cast his spell; Yuuken has no lines similar to game!Yuu’s earlierdialogue options.) Riddle stands imposing over his opponents and rants at Ace and Deuce about their lack of an education. You can see that it really strikes a nerve with Deuce (whom we learned used to be a delinquent prior to NRC). This still results in Yuu punching Riddle.

The manga seems to imply that Riddle is not insulting Yuu, but rather Adeuce. This makes sense to me, given that though all of them are rebels to Heartslabyul’s strict rules, Adeuce are the two who most directly challenge his authority.

You can see in a close-up panel that Deuce is gritting his teeth and trying to hold himself back from going at Riddle. The text in that panel involves the mention of parents who cannot use magic—which just so happens to be true of Deuce’s mother. The same mother that he worked so hard to make proud of, the mother he turned over a new leaf for. But again, it’s Ace that gets the hit in. Why is that?

Let’s check out our final source, the first volume of the light novel. On pages 319 and 320:

Riddle very clearly states “And as for you two.” This clearly refers to the fallen Ace and Deuce. He then unleashes his barrage of insults at them. Again, not at Yuu, but at Ace and Deuce. The text even goes on to remind us that Deuce would be especially rattled by Riddle’s words because of how he had come to NRC for the sake of his mom. In this version, we see our Yuu (Yuuya) being more involved by trying to keep Deuce from lashing out. Like in the game, however, Ace still gets in that punch on his dorm leader.

Okay, so… The game, manga, and light novels are different iterations of the same base story. Based on which you consume, you could walk away with an entirely different understanding of the scene in question. The game, being the most interactive medium with a self-insert main character, a gacha game which makes $$$ from endearing the characters to us, has the set-up which is most conducive for yumeshipping and thus making the player feel beloved and important in 1-22. This is obvious if you also consider that many fanservicey lines from other parts of the game (such as Ace wanting to sleep in Yuu’s room) being left out of the manga. It's also entirely possible that Riddle first reacts to what Yuu says, and THEN shifts his attention to address the group rather than just Yuu. The manga, with a more standoffish and level-headed Yuu, doesn’t speak up like game!Yuu does, so Riddle instead directly insults Ace and Deuce. The light novel, which features a timid and non-confrontational Yuu, is focused on deescalating the situation. And, like the manga, the light novel is NOT interactive and so it doesn’t need to concern itself with making the player feel special. Riddle isn’t mandated to acknowledge Yuu; he can instead be mad at Ace and Deuce all he likes.

If we were to combine information from across the game, manga, and light novel to decipher what is “truly” happening, here’s how I see it!

The light novel contains a scene exclusive to it on pages 176 and 177. As Ace is making himself comfortable at Ramshackle, he formally apologizes to Yuuya for being mean to him in the prologue. Ace explains that his meanness was because he thought that Yuuya had bullied his way to be admitted to NRC under special circumstances. “[…] the rest of us had to work our butts off to get in, and you just sorta walked in.” He proclaims that this was unfair, so it annoyed him.

This makes a lot of sense for Ace’s character. In book 7 of the main story, he expresses that he is insecure about being an ordinary mage and that he hadn’t even developed his UM yet. (Coincidentally, he has a Chat where he praises the Queen of Hearts for having no special magic but still being able to make it big—perhaps because her circumstances remind Ace of himself?) He calls himself lame and pathetic, someone who is always looking for an excuse to take the easy way out. This is in spite of the bravado he puts on and how he often brags about being better or smarter than Deuce (most notably in book 5). If we believe the light novel dialogue, Ace worked hard to get invited to NRC. He has pride in earning this, and he has something to prove while he is there. Recall that his older brother is an alumnus of the school, and that his own father is a magicless human. Ace canonically has a good relationship with both of these family members and often bonds with them through little things like card trick competitions. When Riddle insults Ace's background... he is also insulting Ace's brother and father. He is also insulting all the effort Ace put forth to get into NRC in the first place. Ace would of course lose it--especially when he has been the primary victim of Riddle's rage for most of book 1. He's the first to be collared, the one who had to apologize and attempted to make an apology tart (which got rejected). Bro's fed UP having to bend the knee to a tyrant and sick of watching everyone else do the same. The punch that comes out of it seems to me like the result of all Ace's pent-up frustrations, as well as his own fury at Riddle speaking ill of him and his family.

While Ace is unquestionably willing to ride or die for Yuu in books 4 (he takes a long public transit route from the Queendom to Sage's Island after receiving a SOS text from them) and 6 (he tries to protect his friends from Ferrymen)... I think book 1's a bit too early for him to be SO loyal to Yuu that he'd get this angry on their behalf and sock Riddle. (Book 1 takes place during the first week of school; Ace seems to have only known Yuu for a few days at this point + hasn't really hung out with them besides sleeping over at Ramshackle since he's not allowed back at Heartslabyul.) His punch definitely feels fueled by a bunch of other things rather than being extremely motivated to defend Yuu's honor. I think maybe a case could be made for the game specifically, since that's the only version where Yuu is potentially addressed rather than Ace and Deuce being addressed. However, this does take some extrapolation. You'd have to assume that Ace is actually very attached to Yuu this early on or pair it with the idea that Ace is sensitive about magicless humans in general being discriminated against because of his own father being magicless (ie Ace was insulted by proxy, even if Riddle might have aimed the comments at Yuu). Not sure if the latter argument holds up very well though, considering that Ace himself did discriminate against Yuu in the prologue because they lacked magic. Likewise, he doesn't get mad for Fellow and Gidel in Playful Land when they share about being looked down on for not being magically inclined. But hey, maybe that was just Ace being in denial and acting contrary in order to cope with his own complicated feelings on the topic. He’s been known to behave like this anyway, acting cocky despite having no UM and denying that Yuu would go home (even though we later find out he deeply does not wish for this to happen).

I definitely think that many of the game-exclusive lines and content are there as fanservice for the players, who are encouraged to project or to self-insert as Yuu. Ace in particular is one of the characters who gets a ton of this kind of yumejoshi bait-y stuff. Everyone has it to some extent, but Ace is one of the rare few who has several pretty overt instances in the main story (whereas most other characters have their fanservice content relegated to voice lines and maybe some events). On top of this scene (which could potentially read as "Ace defending Yuu's honor"), we have: multiple instances of Ace offering to share a room/bed with Yuu (once in book 1, again in book 3), he has shared his number with Yuu and invites them to call him if they "miss him", Ace's entire book 7 dream revolving around a reality in which Yuu is able to freely traverse between Twisted Wonderland and their original world (furthermore, he is the ONLY dreamer we have seen in which Yuu is involved in the dream), etc. Ace is also known to frequently tease Yuu, and, on top of having several voice lines inviting them to hang out, is actually shown hanging out with them and caring about them in various vignettes and events. For example, he has movie nights with Yuu (Idia's Labwear vignettes), asks for their opinion on whether or not he looks the part to woo the Ghost Bride, rides roller coasters with them in Playful Land while previously complaining that his ex-girlfriend wouldn’t, and worries for where Yuu might be (Endless Halloween Night). With this abundance of Ace and Yuu content, I can see why people that have the shipping goggles on--and even those who don't--might interpret early scenes as Ace acting out for Yuu's sake, be it romantically or platonically. More objectively speaking and when considering the manga + light novel though, I don't think I personally read 1-22 that way. I enjoy Ace as a character and I support Ace x Yuu shippers, but the evidence and context suggests that he's venting other frustrations to me.

Again though, this is just my interpretation. Feel free to use this information however you’d like and come to your own conclusion.

[donovan-desmond-official]

Here's the thing about Anya.

Her primary goal is to achieve world peace, a concept she has no understanding of but she is fervently dedicated. Some part it is due to her childish attitude and obsession with spies but there is another part.

Anya does not understand her own self-worth and self-identity outside of her role as a tool in achieving "world peace".

When Anya grew up her main purpose was always "for the sake of world peace". Everything she did was for that sake. It was almost as if her entire reason for existing was for world peace. But it also wasn't, because she was made by accident. This adds an extra dimension where she was seen as optional. This would obviously damage herself esteem and really force her to want to please the people around her because in their minds she was more of a hassle.

When Anya was finally adopted by Twilight she found out he had the same goal as the scientists that held her before. Also, more directly he is willing to discard of her if she is not up to the task. In a way, Twilight is no different than the scientists that had her before. Of course over time he eventually empathize with her and focus more on her comfort than functionality. He does not directly scold Anya to force her fulfill this role but her telepathy gives her that knowledge.

But you clearly see the impact of the scientist on Anya's sense of self and how Twilight does not do much to help (although to some extent it is not his fault).

Anya remains fairly optimistic about the whole thing and continues to aim to achieve her goal. But we also see where these ideas negatively effect her. It makes her clingy, desperate, it keeps her in a constant fear of rejection. even the most minor forms of rejection can completely shatter her because she for her any failure puts her one step closer back into the street.

This is one of the traits she actually shares with both Damian and Becky. I will focus on Damian to keep it short though. Damian is very preoccupied with being the best. He lives a very isolated life and has no relationship with his own family. For what ever reason, he accredits this to his father. Damian believes that the only to get his father's approval and therefore his (and the rest of his families') love is if he succeeds. There is also this additional pressure put on him because of his father's status which externalizes this pressure. The reason he likes Anya so much is because she does not apply that pressure. She does not expect to be great, she just wants to be his friend for her mission. There is also that transparency which makes him feel less tricked and hence safe.

The Prince kid also mirrors that same dilemma. He has a responsibility as the Prince to maintain a certain standard and reputation. His family needs him to be strong and noble but in the end he is just a kid. When he is confront by the Freddy he is scared out of his mind, worried that if he loses he will disappoint his family.

The problem with this however, is that it further surrounds Anya with people that think the same way she does. This only encourages this kind of thinking. Anya is constantly surrounded by people that echo the same negative sentiments she has about herself and self worth. For Damian (and Becky) it works because it gives her ground to relate to them and her seemingly carefree nature allows her to motivate them to let go of this attitude.

But who is encouraging Anya to relax? Who is encouraging Anya to let go of these insecurities?

Anya's identity and motivation is still defined through her father and to a less extent the scientist. she is still motivated by the idea of world peace. However, Anya herself does not know what that means or why she should be aiming for it. It is more of a concept to her than a tangible goal. Her only true goal is to not be returned. For that reason she will never push back against Loid, she will follow his guidance and never develop a personal goal.

Now here is where i think Freddy or some delinquent of some sort will come in use.

For Anya to gain a sense of identity, she needs to push back against her father. She needs to start doing things that prioritizes her own happiness over her father's aim for world peace. She needs someone that will push into her more natural self. Anya is naturally a girl of chaos and mischief. She is not like the others who well behaved and properly trained, nor is she personally interested in being that girl. The only reason Anya is interested in achieving this is for the sake of father. She does not understand the purpose of a lot of these things she is just afraid of being sent back to the orphanage.

I feel like Anya having someone who can encourage her to lean more into the rebel side and allow to actually challenge the things she has been told. Children are curious by nature and one aspect of that is the question of "why?". Constantly provoking the people around them to explain and justify the things they tell them. Anya should also be able to decide what she agrees with and what she disagrees with. She also suffer from natural consequences of her actions. And you will never have that if never challenge your parents or teachers.

Anya is surrounded by goodie two shoes. Although she is still in touch with that curious and defiant side but if there is no one else around to encourage it she will continue to conform and eventually that curious side of her will disappear. If she never gets someone who can remind her to be young and curious she will lose that part of herself. She needs Freddy. Fuck you.

[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.

[nemesis-writer]

Alphabet Boy

Masterlist

Always aiming paper airplanes at me when you're around You build me up like building blocks just so you can bring me down You can crush my candy cane, but you'll never catch me cry If you dangle that diploma and I dead you, don't be surprised

Damian was never as special as he thought he was. He had his errors, and you had yours. But yet your errors were considered as a tarnish to the Wayne family. You're always better than him, yet your talents were always considered as beneath him.

Your pain was even worse than him, yet you didn't complain, and you didn't shed a tear. All of your talents were God-given, and you never had to practice since it was so perfect.

But, if you're so perfect why won't they look at you?

I know my ABCs, yet you keep teaching me I say fuck your degree, alphabet boy You think you're smarter than me with all your bad poetry Fuck all your ABCs, alphabet boy

You were the first to learn gymnastics, all the martial arts training to defend oneself, cooking, hacking, and more. But yet you always seemed so useless, so weak.

You grew up in the streets till you were 12, and had learned their language, their style, and how they were able to get money. But with all these self-taught talents, no one would give you the satisfaction of looking at you.

The only talents that truly helped you are, pickpocketing, hacking, and killing. You learned all of them from the streets and from training at school. You could've been the best vigilante for the city, you could even be more talented than Robin Hood.

I'm not a little kid now, watch me get big now Spell my name on a fridge now with all your alphabet toys You won the spelling bee now, but are you smarter than me now? You're the prince of the playground, little alphabet boy

You didn't get what you deserve, because of that thing. Since no one gave you your reward, you'll take it yourself. You never needed their help for a long time. Everything you did was for yourself and for murder.

You were never envious of them, since your talents were considered as an era-defining genius, but yet you remained untouched and unloved.

Apples aren't always appropriate apologies Butterscotch and bubblegum drops are bittersweet to me You call me a child while you keep counting all your coins But you're not my daddy and I'm not your dolly And your dictionary's destroyed

No one can hear your cries, no one can see your tear-shedded eyes, no one can see your fragile body filled with scars and demons of your past.

You remained haunted by the memory of your late parents wishing you could join their utopia. But no, no one would grant that wish, not a genie in a lamp, not a fortune cookie, not even the Joker could grant you that quiet satisfaction.

So you did the last thing that seemed so erratic for a person in your position...

You fled

Alphabet boy, oh, alphabet boy Alphabet boy Alphabet boy, my alphabet boy Ooh

You've become a villain of every story, you've become an urban legend that everyone feared. You've become top of the ladder of criminals, criminals and heroes alike have been searching for you. So much, that the Joker fears you and plans to eliminate you.

The Bats have been expecting your demise without even knowing what you really were, and what you became. You're known in the underworld as, 'Eurus', because it described the unlucky east wind, and that''s what you were.

Unlucky.

"Eurus! That's enough, no where to run."

"Cmon' bats you can't kill me even if you wanted to."

"We can and we will."

*cackles*

"Still righteous as usual Robin, or should I say,

'Richard'."

"Who are you?"

"Your demise."

"We know who you are", Damian

"You don't know shit. Damian."

"How do you know our names?", Jason asked.

"Because unlike you I made an effort to know Mr Wayne, or should I say. Dad."

"Y/N?"

You took of your mask and they were shocked.

It was their child.

I'm not a little kid now, watch me get big now Spell my name on a fridge now with all your alphabet toys You won the spelling bee now, but are you smarter than me now? You're the prince of the playground, little alphabet boy

A/N: I kinda rushed in this fic, but I hope you like it!

Taglist

@lunayaps, @not-aya, @iluvcatzz, @vanessa-boo, @ivyrose9194,@thesehandsarerated-e, @eyeless-kun, @errorunfound1, @gwyneveire

[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.

[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"