#Structure of the Story

[falseandrealultravival]

Where is love going? : I Ching Divination for July 4, 2020 and "Structure of the Story"(Essay)

Last year 2020 was an unforgettable year for me, especially regarding love. I had a hot relationship with a certain female blogger (let's call her J), and I wanted to meet her, while J said she only had an online relationship. So, after about five months of online exchanges, I said to her, "I'll try to predict the future of the two of you."

The following notes are the results.

Cahier (field notes)

July 4, 2020 ・Impossible Interpretation Note

The theme is "If love is fulfilled, what should I do after that?"

@ Operation by the Zhongyi method

The hexagram that came out is ``meng,'' which represents an infant. Sansuimon.

Of these, the 2nd, 5th, and 6th will change, and it was a change I had never seen before.

Then, what shifts is the "ratio," which represents unity. water-to-land ratio.

The fortune changes from "Monu" to "ratio".

If you look closely, the hexagram after the transition seems to represent a more or less stable relationship. (The only thing is to be careful about cheating men.)

In other words, the two are still young children, but in the future they will be married and live side by side.

Fortune-telling operation completed at 16:30.

When I sent this result to Ms.J, I received a negative comment, "No, no, absolutely no!" I was asked, "Can I call you stupid?", but in less than a month, their relationship ended. The I Ching fortune-telling is "off". The only thing I can say is that the word "ratio", which is made up of two overlapping characters "hi", has both a happy meaning of getting close to each other and a lonely meaning of facing apart. The two chose to "leave" the relationship. (The contradictory meaning of the nearer the farther is the basic yin and yang implied by the I Ching.)

It was a very sad ending, but this fortune-telling had a big by-product. (Even if I fall, I won't get up for free.) In this fortune-telling, the hexagram changed from "Monu" to "ratio", but this "short story" is just like the Japanese "Ise Monogatari". It reminds me of the story of "Tsutsuizutsu". It is a cute story about a man and a woman who have been familiar since childhood (Mou), a man proposes, a woman accepts it, and becomes a couple (ratio). A man is having an affair, but he touches his wife's sincerity, returns to his wife, and lives happily ever after.

This kind of situation... I can't help but think that the story of "Tsutsuizutsu" is incorporated into the logical system of the I Ching. Because it takes into account even men's cheating. If so, the 64 hexagrams of the I Ching itself can be thought of as containing "every story in the world."

Today's word: Russian formalism in a field of literary criticism: Vladimir Propp classifies folktales and myths from around the world into 31 patterns in his book Morphology of Folktales (1928). It was supposed to be, but the I Ching seems to go beyond that. I think this is one of the strengths and greatness of Chinese philosophy.

[physalian]

How to Make Your Writing Less Stiff Part 3

Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.

Part 1

Part 2

1. Eliminating to-be verbs (passive voice)

Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.

There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.

My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.

She was standing /// She stood

He was running /// He ran

Also applicable in present tense, of which I’ve been stuck writing lately.

There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.

For once, it’s a cloudless night. /// For once, the stars shine clear.

Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).

Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.

He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.

2. Putting character descriptors in the wrong place

I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.

She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)

Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.

He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.

To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.

3. Lacking flow between sentences

Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.

Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.

From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.

Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.

This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.

4. Getting too specific with movement.

I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.

A ridiculous example:

Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.

Unless tying his shoes is a monumental achievement for this character, all readers would need is:

Jack shoves on his running shoes.

*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.

This also happens with multiple movements in succession.

Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.

Or

Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.

Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.

Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.

If you’re not writing something where the extra details service the character or the story at large, consider trimming it.

—

These are *suggestions* and writing is highly subjective. Hope this helps!

[agentravensong]

thinking about how the extra area added on to a pacifist run of undertale, the true lab, is about alphys's past mistakes. how it ends with the story reaffirming that, despite the pain she's caused, the thing that matters is that she has now made the choice to do the right thing. she's still worthy of her friends' love.

thinking about how undertale doesn't expect the player to get a pacifist ending for the first time. how it's more likely than not that the player will kill toriel the first time they battle her, how lots of players don't initially figure out how to end undyne's fight without killing her, etc. what it expects — not even expects, really, but hopes — is that the player, if they care enough, will use their canonically acknowledged power over time to make up for those mistakes.

no matter how many neutral runs a player has done before committing to the pacifist run, the thing that matters to the characters, to the story, is that you've chosen, now, to do the right thing.

compared to alphys, the player honestly gets off lightly, in that you're the only one (other than flowey) who really remembers any harm you might have caused. and any direct guilting the game could have done about it is long past at this point. instead, as undertale often does, it makes its point via parallels: alphys caused harm, and she knows it. she has committed to being better. in doing so, she has unlocked for herself a better ending to her story. and she deserves it. she's forgiven.

those structural narrative parallels are all over undertale, if you know where to look. and that's one of the things that makes it so fuckin' good.

[vpgoldenrod]

I’d like to share a short story I stumbled onto while reading Fragile Things by Neil Gaiman.

[alienssstufff]

textpost 2 cuz i move to desktop and i beatbox real gud

[ PART 1 ]

[redysetdare]

Soulmates are inherently amatonormative and it's so wild how many people refuse to acknowledge that and instead go around trying to "make it more inclusive" which mostly just leads to then forcing aspec characters into a amatonormative narrative.

[duckwnoeyes]

Something abt Willow defying the narrative itself to bring Buffy back. It’s so selfish, and thoughtless, and also the ultimate act of devotion.

She defies the laws of nature, she rips apart the fabric of reality, but she also defies the show itself. Buffy’s ending was always going to be a tragedy, she was always going to die young. Everyone knows this: Buffy, Giles, the showrunners, the audience. And that almost was the ending! The show was supposed to end in season 5, and obv external reasons led to it being continued, but in universe it’s willow forcibly continuing the story.

Willow was the only one who refused to accept that Buffy dying young was her ending. She defies the damn narrative to bring Buffy home bc that is her best friend!!! And yes it’s also abt her own power and showing that she can, but it’s also abt Buffy spending five seasons desperate to be more than just the slayer, and that Willow’s greatest kindness is refusing to let her die the way the narrative wants. Willow refuses to let Buffy suffer the destiny she’s tried to shirk from the beginning!! It’s abt Willow being physically unable to imagine a life without Buffy; a story without her best friend. They make me want to eat rocks.

[tender-emotional-music]

I need to do a whole post ranting about this, because it is so hilarious how people will see the leaks of byler always filming together and teaming up and say "it's just them on bikes! Byler isn't real!" or the alleged casting call for young byler + Jonathan and say "omg you delusional losers! There aren't going to be any romantic scenes between 8 year olds!"

Because surely they understand story structure and realise that El and Mike ending on ambiguous terms in s4 + Finn and Noah constantly filming together + Millie and Finn not filming together past the first two episodes + El apparently having a storyline with Hopper and Lucas/Erica/Max (just as the s4 finale foreshadowed!!) does indeed mean something?

I constantly see them refuse to place this information in the greater scope of the narrative and character arcs for s5, instead just interpreting them in isolation. We aren't excited about the flashbacks because we want to see romance between children; we're excited because it demonstrates that their early relationship is important enough to warrant showing on screen, and that whatever that scene establishes will be important to their current-day selves. The bike pics aren't significant because they're hanging out; they're significant because they suggest that they truly are teaming up in s5 and that this pairing will be important to the overall narrative (as is always the case when couples team up in the show). These things imply that the writers do take this plot seriously.

Of course, this doesn't CONFIRM byler, but as I've said before, the only place they can really take mlvn in s5 is them being a team, proving they did work through their issues in s4. But that does not seem to be happening, and yes, that does mean something. People will say that Will needs to move on and learn to be himself. If that were the case, he would not be paired up with Mike. He would be with someone/a group which enables him to foster his identity outside of Mike. Funnily enough, that does seem to be happening....with El.

[fuckyeahisawthat]

Furiosa thoughts

About 48 hours after watching, I think my take on Furiosa: A Mad Max Saga is coalescing into: I enjoyed it as a Mad Max movie but found it disappointing as a Fury Road prequel.

Any Mad Max movie made after Fury Road was always going to suffer the fate of being compared to Fury Road, which is the best action movie ever made. So like, compared to any other action movie you can think of, Furiosa: A Mad Max Saga (we'll call it FMMS going forward) is very very good! It just isn't Fury Road.

The rest is under the cut for spoilers:

The action sequences were compelling. (I was aware I was hunched forward in my seat in tension/anticipation almost the entire time.) Some of them were even brilliant. That long sequence where the Octoboss and the Mortiflyers (yes those are their names) are attacking the War Rig with all kinds of airborne contraptions? Phenomenal. I was like yes okay now we are in a Mad Max movie! Other than that one sequence, though, in which we see Furiosa and Praetorian Jack begin to trust each other, I thought they rarely achieved the kind of wordless advancement of character relationships through action beats that is the lifeblood of Fury Road. So the action was good, but it was just normal-good, not Fury Road transcendent.

I did miss John Seale's cinematography. While I thought the action choreography was great, the shot selection was just not as dynamic and interesting as in Fury Road. I also really did not vibe with so much of the musical themes being recycled from Fury Road. The Fury Road score is SO memorable and the music is such an integral part of the momentum and feeling of every scene in the movie; I can play that score and see every beat of the action unfolding in my brain now. I wanted new score that felt like it was a part of this new action that we were seeing.

I loved all the new worldbuilding details and finally getting to see inside Gastown and the Bullet Farm. Those locations and their unique features were utilized really well for the action that took place in them. Loved the new details we got about the Citadel. The grappling hooks just dipping down to yoink people's vehicles during battle? Fantastic. The hidden Citadel ledge with the little pool of water?? That was such a fanfic-ready location. Pretty sure I already wrote at least one fic set there back in like 2016.

The Green Place! Very different from what I imagined but so much worldbuilding in just a few shots.

In general I thought the new cast rose to the challenge. Alyla Browne who played little kid Furiosa I thought was phenomenal actually. That's a tough role, both emotionally and physically, for a child actor and she slayed it. Casting Indigenous model and actress Charlee Fraser to play Furiosa's mother certainly made the Stolen Generation parallels more obvious. I'll have a lot more to say about Dementus down below, but Chris Hemsworth brought a great combo of bonkers and menacing.

I never doubted that Anya Taylor-Joy could bring the emotional intensity needed to the role--she can do crazy eyes like nobody's business, and with the growl she put in her voice she really did sound like Charlize Theron a bit. I found her physicality convincing for a young Furiosa. But she is not Charlize, through no fault of her own. Charlize is tall and she has broad shoulders and she just takes up so much space when moving and fighting as Furiosa and I think it was always going to be hard to replicate that. As long as they didn't try too hard to bridge the gap between the characters I was fine with it. But that one scene at the end where she's bringing the Wives to the Rig I was very viscerally like that is NOT our Furiosa. (I almost wish they would've used Charlize's stunt double for that scene the way they popped Jacob Tomuri into Max's place.) They could have simply left a time gap--based on the "15 years" she says to Dementus and the 7,000+ days we hear about in Fury Road there should be at least a 4-year gap between the film timelines, although in terms of bridging the look of the two actors it feels like it should be more like 10 years.

If FMMS had been a self-contained movie about a character named Furiosa in the Mad Max universe, I think I would have found it very satisfying. But as a prequel to Fury Road there were a bunch of ways I thought it was lacking on a story level.

I think it's pretty clear that this is not the backstory, or at least not the complete backstory, that Charlize Theron was imagining while playing Furiosa. Which...there's nothing objectively wrong with that; word of God and what actors think about their characters doesn't supersede what's on film for determining what is canon. However, Fury Road positions Joe as Furiosa's main antagonist, and while we don't get the full story behind the incandescent rage she directs at him, we know that rage is there and is a big part of her motivation. In interviews at the time, Charlize talked about the idea that Furiosa had been stolen to be a Wife but then was discovered to be infertile and discarded, how she survived by hiding in the Citadel and eventually rose to a position of power, how she saw her actions not as saving the Wives but as stealing them, and that her motivation at least starts out as more about hurting Joe than helping these women.

We get only the tiniest suggestion of Furiosa's backstory in Fury Road ("I was taken as a child, stolen") and the rest we piece together by implication. She is a healthy full-life woman working for a man who keeps healthy full-life women as sex slaves, hoping one of them will produce a viable male heir for him. She is effectively a general in his army, projecting his power on the wasteland, a position no other woman seems to occupy. She tells Max she is seeking "redemption." Redemption for what? She doesn't say. But "whatever she has done to win a position of power within this misogynist death cult" seems like a pretty obvious answer.

And that's interesting! That's an interesting backstory that engages with some of the core themes and moral questions of the Mad Max universe. These movies deal a lot with the tension between self-preservation and human connection. Do you screw someone else over to protect yourself? Even if it means putting them in the terrible position that you yourself have clawed your way out of? Even if it means enforcing your own oppressor's power over them? Or do you take the risk of helping people and caring enough to connect with them, even though this carries an emotional and physical risk?

FMMS doesn't really engage with Furiosa's relationship to Joe like, at all. It's not like Joe comes off looking like a good guy. He's just hardly in the movie. I don't know if this would have been different if Hugh Keays-Byrne were still alive. I don't know if there was pressure from the studio to cast an A-list male lead actor alongside Anya Taylor-Joy (who's a hot commodity now but wasn't what I would call an A-lister when she was originally cast). I don't know if, once Chris Hemsworth was cast, that affected how central his character's role became, since he is certainly the biggest name attached to the film. I would have actually been fine with Chris Hemsworth or another actor of his ilk playing a younger Joe, and us getting to see some of the charisma that attracted followers to him.

But the end result is that we have Dementus, who is a perfectly fine Mad Max villain, and quite entertaining at times! But not the most compelling antagonist you could give Furiosa.

The four Mad Max movies that feature Max go through an interesting evolution. In the first two movies, the villains are people "outside" society--criminals and roving gangs--and the people Max is defending are "civilization." So we have Mad Max where Max is a very fucked-up cop, and Road Warrior where Max is the prototypical western gunslinger, riding in to town to protect the settlement from an outside threat, but ultimately unable to accept any of the comforts of civilization for himself.

Then in Thunderdome and Fury Road, the dynamic switches. Now the antagonists are warlords and dictators. They are civilization. And the people Max ends up helping are trying to escape them.

To me, Dementus feels much more like the earlier kind of Mad Max villain. If there's another Mad Max movie I can most compare FMMS to, it's the first one. Dementus is Furiosa's Toecutter. (Kills her family, gives her her signature disabling injury, movie ends with her seeking revenge on him but it doesn't feel heroic or triumphant.) The whole end of FMMS when Furiosa is implacably hunting down Dementus? Extremely Mad Max 1.

But violent revenge holds a different symbolic place in Furiosa's story than it does in Max's. The end of Mad Max is a tragedy because Max tells us it is. He explicitly states, early in the movie, that he needs to stop being a cop or he'll become no different than the violent criminals he's pursuing. So he leaves his job and goes on an extended weird vacation with his wife and child, trying to get away from the violence of a collapsing society. But that violence finds him anyway, and by the end of the movie, Max has become the exact thing he said he didn't want to be. It's a tragedy not because the people Max kills in revenge for killing his family don't deserve it, but because seeking violent sadistic revenge is damaging to Max. That is not what he needs in order to heal from the loss of his wife and child. What he needs is to take the risk of human connection again. This is what he starts groping toward in the following two movies and fully realizes in Fury Road.

But Furiosa doesn't have the same arc. Her story in Fury Road is about how a few people struggling against their oppressor can be the catalyst that brings down a whole regime. Furiosa getting to rip Joe's face off is fucking satisfying, and it's supposed to be! So it's a bit weird, then, to spend an entire movie giving her a backstory that not only is not about Joe at all, but implies that seeking and getting revenge against Dementus for killing her mother and Jack is what made her into the person we see in Fury Road.

Aside from questions of revenge, what I thought Furiosa's goal was going to be is set up in the beginning of the movie. "No matter what happens, find your way home." Very clear objective there. And then we see her try to get home like, 1.5 times. I thought we were well set up to follow the tried and true film story format of "simple goal, big obstacles, high stakes." I wanted to see her trying over and over again to get home, and being thwarted in different ways every time. I wanted to see grief and guilt over her mother's death turn her mother's last command into a mission for which she would sacrifice anything (and anyone) else. I wanted to see her justify working for Joe and accumulating power in the violent world of the Citadel as what she has to do in order to get home. I wanted to see "Have you done this before?" "Many times." But we didn't really get that either.

Ultimately, I think the least frustrating way to think about the film--which the film itself encourages--is as one of many possible Wasteland legends about a character called Furiosa. Maybe it happened this way. Maybe it didn't. Maybe this is the Furiosa we see in Fury Road. Maybe it isn't. It all depends on how much you believe of the History Man's tales.

[tomorrowandtomorow]

thinking about fma, one of the things i love about it is arakawa's very intentional worldbuilding. she never gave the story more than the plot needed. we don't get a bunch of flashbacks detailing the characters' lives, eveything that we know about them is only in service of the plot.

the xingese characters are there because they need the secret to immortality to gain their father's favor. and despite this being so interesting we don't really know anything else about them lol. how well do mei and ling know each other? how do their clans stand with one another? anything at all about their other siblings? they get like two interactions and other than the clans just generally hating each other we've got nothing. we don't even get anything about how lan fan even became ling's bodyguard.

then xerxes, a personal favorite of mine. ed and al are kind of casually confirmed to be descendants of a dead civilization renowned for alchemy. are we going to explore that civilization at all? ofc not. anything about hohenheim's past, other that the things you really need to know? nope. we're just generally gonna mention how he's known as a sage throughout both the east and west.

the fact that grumman is riza's grandfather? left untouched. the fact that roy studied under riza's father? you get one (1) flashback.

i love this style of worldbuilding tbh.

[shalom-iamcominghome]

I've been doing a lot of reflection as of late, especially after this past class.

This past class was about the Torah and Tanakh in general, and the way the rabbi talked about the commandments (specifically the ten commandments) has made me really reflect on how I interpret them, specifically the fifth commandment, or honoring your mother and father.

This is a commandment I have wrestled with for a long time - in fact, it brought me away from g-d at multiple times. I was severely abused when I was incredibly young by my mother, and I used to feel insulted at the implication that I were to honor her while she got to live a better life. It was hypocritical, in my eyes.

But this rabbi surmised that this particular commandment was because parenthood is an act of creation, something that is like the g-d from which we come from. My realization is this: I don't think we're necessarily meant to take even these commandments literally.

I this particular commandment is more of a call to honor creation - creation is a gift, and like any gift, many people simply will not like it and will discard it. The person who abused me created me, but she did not honor creation. She didn't honor me, but I can still honor it.

I have started to honor creation much more. I'm too young, too unstable, not mature enough to be a father (though I fantasize about it), but I create all the time. I create relationships, I create with my hands through crochet. I create memories, I create my world. And I can honor who I am and where I came from that made me who I am. I've been learning one of the mother tongues of my family (Italian, since part of my family originates there) and it was judaism that inspired me to do this.

I don't think g-d wants me to honor my abuser. I think He wants me to remember the Holy action of creation. When I am a father, that act of creation will be Holy, and indeed, I am already joyful about the thought.

I have seen many people struggle with this particular commandment, but I think this perspective helps me personally. I don't think I ever have to forgive my abusers (plural), and I don't think I am commanded to simply because they happened to be family. I am commanded to recognize the holy, to elevate the mundane. In doing so, I will remember g-d. Through creation, I honor g-d and everything he has done for us, for me, and for our collective people.

[hoofpeet]

add. ideas for the centaur anatomy issues

[physalian]

Can’t figure out why this scene still isn’t working?

You’ve written and rewritten the same scene five times and convinced yourself to move on to fix it later but it’s still there, still broken, and you can’t put a finger on what the problem is.

You’re in the wrong POV (if applicable)

Your narrator isn’t the best choice here, maybe they’re overshadowing a more important character or their commentary on what’s happening isn’t compelling enough by nature of their relationship with the story.

Your refuse to kill your darlings

You’ve worked so damn hard trying to fit a square peg of this really cool idea in isolation into the round hole that your narrative became. No matter how hard you shove or how many angles you try, it’s not going to work. Delete it, or move it.

This scene occurs at the wrong time

Maybe it’s a revelation that hits too early or too late, either in the physical timeline or within a character’s arc. Maybe it messes up the pacing, leaving characters either rushing or waiting around for the next scene to hit because the placement of your story beats has left clumps and gaps of action.

This scene throws somebody OOC

It might be a darling that needs sacrifice. Maybe it’s the wrong character to have that monologue or to say that cool quip you thought of, or they’re weirdly passionate about a thing that shouldn’t matter to them/nonplussed about something that should be very important to them. It’s something X would never do but you wrote anyway for the sake of the plot.

—

Or some combination of these. My deleted scenes for ENNS’s sequel is officially longer than the existing manuscript purely due to trial and error with my plot.

[dcxdpdabbles]

I don’t know if you’ve done something like this before, but I always see Danny as the bigger brother and Damian as the younger brother. What if it was swapped and Damian was the older brother? I feel like there’s so many ways this could go.

Maybe Damian was a really good big brother and loved Danny, but it was seen as a weakness and Danny was taken away from him by Talia or Ra’s? And when he arrives at Gotham, he’s used to being the big brother not the baby brother, and doesn’t know how to react.

Or maybe Damian was a bad older brother and now that he’s a part of the batfam he can see how older brothers are meant to treat their siblings, and regrets his and Danny’s relationship?

Or maybe, he didn’t even know about Danny and feels he’s been replaced as the Demon’s heir. (Especially with Danny’s powers – I feel like Damian would just think that he’d been replaced by a better model)

I hope this makes sense. Idk I just feel there’s so many possibilities.

Ten years old: Damian

Damian bursts and slams the door of his room, fuming. It makes a nasty crack appear on the door frame, which he knows will get him another scold once Pennyworths spots it.

As if that servant has any right to speak to him, let alone reprimand him. Pennyworth seems to be under the impression that his impish wit is appropriate behavior when addressing the masters of the house.

Why does Father tolerate such behavior? Damian will never know. If it were his grandfather or Mother Pennyworth's entire bloodline, it would have been erased for even thinking about it.

Perhaps it is due to Father's modest way of living.

Damian had been shocked to find that his esteemed father, the one he had spent his entire life proving he was worthy to meet, lived in such a tiny manor. Damian was raised in castles upon private islands with an army of servants. He at first thought it was due to Father wanting to live without many earthly possessions, to appreciate the green of the world, and to live honorably.

He had no idea his Father simply couldn't afford the lifestyle Damian grew up in.

If that wasn't bad enough, Father seemed attached to his idiotic and weak adoptive brood. He acted as if they were blood children! What's worse is that he expected Damian to do the same. Then, when Damian treated them like blood siblings and took them as a real threat to his inheritance and tried to eliminate them, his father grew upset with him!

That is not how you treat your brother. Father had sneered at him once he threw Drake over the railing of the cave. He thought the man would have been proud he had been able to catch the smartest one off guard, had been clever enough to lure him to the edge.

Damian had been sent to his room, forbidden from training and going out on patrol while the rest of the brood had gone out. He had been punished like a child.

He throws himself onto his bed, muffling his outrage screams into his pillow—a terrible habit he only allowed himself to partake in when alone.

"Not how you treat a brother," he scoffs, his lips moving in his native tongue but his voice muffled against his pillowcase. Suddenly, a flash of bright blue eyes that used to stare up at him in trusted awe crosses his mind. His scowl deepens as he squishes the image, just as he had tramped on that foolish trust years ago.

Everyone knew that blood siblings were the only competition that needed to be eliminated. He may have allowed himself the passing fancy of caring for his younger brother back in his youth, but Damian had outgrown such attachments.

He had no time for them.

He was disadvantaged in the Wayne household since now he was the youngest and not the eldest. Damian would not allow himself to be dealt with as Dann- as his younger brother had.

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Fourteen years old: Damian

Damian took a deep breath, allowing Gotham's crisp, foggy air to rush into his lungs, bringing peace alongside it. He sat with his legs crossed and his arms resting comfortably upon his knees, palms facing the sun, on top of the large boulder his father had installed inside of Damian's meditational garden.

The meditational garden had been his eleventh birthday present.

Back then, Damian had still been getting used to living with the man, and it had taken only a tiny argument where Damian may have let it slip that even the gardens were wrong and he hated living here.

It hadn't meant anything to Damian, just a show of his lack of control over his emotions, but Father had taken it rather seriously. He felt he needed to help Damian find comfort in his new surroundings.

His father had rearranged the entire west garden to reflect the Chinese-inspired gardens where he used to sit with his mother. The first time Damian saw the revealed landscaped project, he felt his breath hitched at how accurate everything was.

He hadn't known tears had fallen from his eyes until Richard had wiped them off for him.

Damian often found himself retreating to his garden- for it was his. Father had allowed him to fence it off, keeping all his other Waynes Siblings out of Damian's space- whenever life got too complicated at the manor.

He would go. He found that all his life lessons on how to handle blood siblings, killing, and basically everything Damian was got him yelled at and regarded as a monster rather than a prodigy.

He went here when it became apparent that he was not making friends with others his age in or out of the Robin suit. When Drake, Todd, and Richard laugh, they reference stories or experiences foreign to Damian.

He came to this garden the day he realized that his mother loved him, but only under certain conditions. He no longer fit those conditions, so she threw him away.

He had been eleven, then twelve, then thirteen, yet the pain of her betrayal had never lessened. The directionlessness that haunted his ever-waking hour threatened to drown him most days, especially as he found it harder and harder to be content with his peers.

Damian may not fit in places, but he did here in his meditational garden. He felt himself pulled to the large, smooth boulder right by the pavilion, for its shape reminded him of long days past.

Damian had survived all the changes in his life because of this boulder. It was tall, smooth, and a good two heads taller than he, even after hitting a growth spurt on his thirteenth birthday.

He remembers hopping on three nearby rocks to reach the top, just as his younger brother used to do in Mother's garden. Had the boy also used the tallest boulder to escape the dread of his uselessness? Did he, too, used to sit in the same pose, breathing slowly and evenly, attempting to tame the unease that rested underneath his skin?

Had he gone back to Mother's garden if Damian had failed in removing him from the line of succession?

The brief reminder of the boy makes Damian stomach roll.

The reason why he chose this boulder for meditation didn't matter. Damian had made his choice all those years ago. He had not regretted his actions back then.

Now, he had to live with what he had done.

He takes another deep breath, trying to suppress the impish laughter of his younger brother, who used to smile at him like he hung the stars and the moon.

When he breathes out, the laughter turns to screams. The echo of mother's dark laughter and Father's weeps.

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Nineteen years old: Damian

Damian is hard at work within his WE office. He has been recently placed in charge of the Meta-Youth Outreach community, and he wants to show Tim and Father that he can be trusted with such an important role.

Every day, more Metas were popping up in younger generations. Unlike when Damian was a boy, the kids seemed unafraid to show off their powers. Their peers rallied around them loudly, demanding tolerance just as the generations before them demanded for the LGBT and POC communities.

Of course, not all of them, but enough that Damian felt there was real hope for future metas. It wasn't taboo to carry the gene anymore. That was leaps and bounds ahead when he had been running around as Robin.

He now worked under a new title, Crow, and had passed placed Robin in retirement. Now, the title and role sit in the cave, waiting for someone new to take up its call.

Jason joked that two years was far too long, and Father was due to arrive soon with another blue-eyed, dark-haired child ready to take on the world. Damian can hardly wait. He is ready to train and inspire the new Robin.

Maybe it will even be a meta child. Duke and Jarro were tired of being the only ones with powers in the family.

I might even find the next Robin on this list. Damian thinks with a chuckle, reading over the children's names his program would be housing this coming summer. He designed the camp to help teens learn to control their powers in a safe environment but also let them meet others like them and help them build meaningful relationships.

It was mostly kids who just unlocked their meta genes—most facing a traumatic event, but others waking up one day with the power no longer dormant.

He did not want the kids to feel like they were being sent to a lab to be studied. Damian knew something about being angry, confused about the change, and wanting to help them find their way.

He also had some experience with meta children. After all, his younger brother had been a meta. Damian's mother had convinced him that Danyal's powers made him a better heir and, thus, a bigger threat.

He had befriended his brother to lure him to his death, but he had taken time to help him learn of his ice powers, and for a while, he had made Danyal truly happy.

Damian could never make it up to him, could never wash away the blood on his hands, and even though he had told his family long ago, even though Father had wept, his father and brothers had forgiven him.

Damian is grateful, but he has not forgiven himself.

He hadn't been the one to land the killing blow on Danyal; it had been his mother who took the dark honor. Danyal hadn't looked like the perfect blend of his parents but rather a closer copy of his Father and she hated him for it.

Damian knew he played the most important role in her plan.

He wanted to dedicate his life to bettering the lives of children like Danyal, born with powers in a world that was cruel to his kind. He tried to help create a world where children like him could find resources for help and learn to run around and laugh without a care.

Damian signs on the last acceptance letter—one Danny Fenton, whose parents discovered he became a meta only a few months ago. He wants to come to camp to learn how to use his energy blasts, and he takes a deep breath.

Fifty new children for the Danyal Memorial Movement. Hopefully, he can help them all.

14 years old: Danny

Meanwhile, Danny's adoptive parents know he isn't a meta, as Danny had already told them about Phantom, but Maddie wants to surprise her boy with the meta camp anyway. She knows Danny still looks up to his big brother even after all these years.

The older one did help smuggle him out of the League of Assiasngs the day Ra ordered his death. Talia had loved her sons to the bitter end, and she called upon her two old college friends to raise her youngest in her place.

Jack couldn't agree more with her idea, knowing Danny had followed all the news about Damian. His boy hadn't been able to get closer to his dear elder brother, for doing so would have earned all the hard work his birth mother and elder brother did to get him to safety, but now that Ra and his army have perished, he thinks it's time to reunite the two.

In Talia's memory, they will ensure Danny and Damian meet again.

[triona-tribblescore]

AHSHAHAHDHD I ALREADY LOVE THIS NEW AU

but my one question is: what exactly are each of the brothers? mikey is clearly some kind of wanderer and raph a stone giant, donnie some kind of scholar/inventor, but leo is the one im most confused about. is he a nymph? a witch?

ty also @cococakeyum for the ask :D <3

(AND SPECIAL MENTION TO @scatterbrainedbot BECAUSE ILY YOUR TAGS ARE KILLING ME, GETTING ME SO HYPED FR :'D <3333)

[bookshelf-in-progress]

I love how a well-written romance is so often structured as a mystery. A person starts with a certain idea about another person, and over the course of the story, they uncover more evidence that gives them a fuller picture of who the other person truly is. They learn about layers to the personality and backstory that give the other person more depth. They learn how the other person's personality meshes with theirs. Even the third-act misunderstanding fits the mystery structure--it looks like they've uncovered the final secret to the other person's identity, which is that they're not the worthy person they seemed to be, but then discover that they misinterpreted that evidence, or the other person takes steps to apologize and repair the level of trust. When the mystery is resolved, they've reached a full understanding of each other and know they've found a partner they can trust their whole future to.