#and recount the events as they're relevant

[sapphire-weapon]

not having the ability to play vidya until my new D drive comes in on Wednesday has me just sitting here thinking about a whole bunch of my headcanons for Leon.

thinking about how his very religious/spiritual mom doesn’t understand why she hasn’t “felt” the presence of her son since his death. like, when her own father died, she claimed that he visited her in dreams every once in a while and, in quiet moments, just could sense that he was still there with her somehow, watching over her. but not once has Leon’s spirit ever deigned to visit or reach out or make himself known. she wonders, “was I truly so horrible of a mother that he’s abandoned me even in death?”

what she doesn’t know is that ghosts aren’t real in the RE universe and what’s actually going on is that her mother’s intuition knows, on some level, that there’s no way that Leon just went to Raccoon City and died. she may not have truly Gotten Him as a person, but she’s still his mom and she still knows him -- and some very deeply hidden and buried part of her knows that he’s still out there, somewhere. but that’s somehow an even more painful thought to have, so she rationalizes it as “his spirit is trapped” or “his spirit won’t visit.”

until one day, some 20 years after his “death,” Leon’s dad is watching the news and there’s a whole thing about a Congressional committee that was formed to get to the bottom of the link between bioterrorism and corruption at the highest levels of the federal government -- and the new Director of the DSO has been subpoenaed and will be forced to testify in front of Congress. to be more specific -- Director Leon S. Kennedy, a long-time veteran in the fight against bioterrorism and one of the most highly-respected figures across federal law enforcement today.

Leon’s mom is in the kitchen cooking dinner, and his dad says loud enough for her to hear, in a very deadpan tone: “huh. you know, if I didn’t know any better, I’d say that that was your kid, honey. he looks old now, though.”

she just sort of furrows her brow in confusion, puts down what she’s doing, and wanders into the next room to see what the hell her husband is talking about -- because, for all of his terrible sense of humor, this was one thing that he never joked about.

she takes one look at Leon’s photo on the screen and just starts screaming horrible, bloody murder. Leon’s dad just kind of shrugs and turns his attention back to the TV and says nonchalantly and matter-of-factly: “I don’t suppose there’s any way we could get our money back for his tombstone. probably no ‘actually not dead’ clause in the contract. should have read it more closely before signing on the dotted line.”

and that is how his parents learn that their son is, in fact, still alive.

[jesncin]

please do tell about why woman of tomorrow sucks i love reading your takes they’re always so well written

Sure! And thank you for throwing me this bone because WOOF

(btw it's totally fine for people to like Woman of Tomorrow, and I can even see why! This is just my experience with it that I wish was talked about more)

Quick context: Woman of Tomorrow is about a space farmgirl named Ruthye who seeks revenge on Krem, a guy who killed her dad. Supergirl guides her on this journey so they can learn lessons about grief and revenge.

The biggest flaw of the comic is the narrative prose. Ruthye's dialogue is a rambly, over-indulgent, stylized mix of an attempt at medieval Shakespearian speak, but then in the last few issues the writer remembers she's a farmgirl so he decides she should suddenly say "ain't" more often and speak in double negatives to sound a bit more Southern. I can enjoy wordy comics! But Ruthye's dialogue and narration is blatantly excessive purple prose. So many scenes would hit harder with a less-is-more approach while still being stylized and characteristic. Sometimes the narrations pairs nicely with the art to create layered irony, but most of the time it feels like it's disregarding the comics medium altogether.

The other thing about Ruthye's narration is that it holds the story back. I get that the narration is Ruthye writing from the future, but the way it's done gives us a very passive relationship with the events of the story. We don't get to be with the characters in the action heavy moments because we're reading caption boxes of Future Ruthye rambling about poetry recounting The Battle of Capes. I'm not experiencing grief or dread with the characters, I'm being told about it. All of Ruthye's narrative rants boil down to "Supergirl is really badass, sad and kind. I promise this is deep." and "here's how my farm girl experience is relevant to this". Ruthye also speaks in glowing admiration, idealization and worship of Supergirl; it makes it really hard to get to know Kara in a humanizing way. I'm sure the purple prose hits differently for others, but I personally think the story would have more room to breathe without it.

You know how people like saying "Superman is boring because everything is too easy for him, he's too powerful" yeah that's Woman of Tomorrow. The conflict Kara faces are not challenges to her character, they're inconveniences. The resolutions to each story don't feel clever or earned. Kara just knows where to find the murdered purple aliens, Kara just happens to have a silver age-reference magical horse that can outrun the suffering-ball Krem throws at her, Kara just toughs out 10 hours in the green sun. Why be a smart storyteller when you can just give your heroine the upper hand every single time? There could've been a great bonding moment where Ruthye uses her famer-smarts to build shade for Kara, she could've crafted a salve to protect Kara's skin. But I guess having her guard Kara from dinosaurs is ok. Kara helps of course, even though she's dying because she's so cool, badass, sad, kind, etc.

Kara's internal conflict is that she was hoping that taking Ruthye on this journey would teach the farmgirl a lesson about revenge, but has Kara herself learned to move on? She's still thinking about Krypton after all. The problem with how this is presented is that it's not a flaw that we get to see evolve with the story. We see Kara act mopey, get an origin story flashback and then Kara tells us this- in hopes it'll recontextualize everything you've read before. By the time we make it to the end, the characters act like they've learned so much and I'm just standing here wishing I got to see all this growth they're talking about.

At the heart of it, I feel like Woman of Tomorrow represents the side of Super-fandom that wants to see the Kryptonians deified by the narrative. They hate seeing Kara do silly girly rom-com teenager things, she needs to be SERIOUS and EDGY and SAD and ALONE but like a god would be and not how a young woman would be that way. How else will boys take her seriously? Don't forget to remind the reader that she's STRONGER than her boy scout wholesome cousin! There's potential in a short revenge story about young girls finding hope in seeing a role-model woman survive loss, but not like this.

"You don't think I could've solved all those problems? C'mon I'm Supergirl." I sure love seeing female characters be badass girl-god legends who don't get to be humanized by being unflatteringly flawed people. Anyway the better Supergirl grief+revenge story is "Supergirl: Being Super". I don't think it's perfect because it misses the crucial difference between Kal and Kara among other things- but as a story about a teenage heroine learning how grief shapes her and those around her, it's way better.

Woman of Tomorrow's art is stellar though lmao would get a copy just as an artbook to reference.

[nyaagolor]

Umineko Chapter 1 Theory Crafting

I promised I would do this so here we go: a semi-realtime theory crafting post about Umineko! I'll be making one of these for every chapter and possibly updating as we go. I'll be organizing these based on smaller mysteries that I have some ideas about.

How did Kinzo get out of his room / what's the deal with the receipt trick? This might be a bit of a cop-out, and maybe I'm just Higurashi-pilled, but I don't think Natsuhi is a reliable narrator and isn't recounting truthful events. This is mostly based on the "evidence" that He Would Not Fucking Say That, but I think Kinzo was out of the room long before Natsuhi arrived. She just hallucinated him-- there's no mystery because Kinzo never had to escape the room at all. SHE thinks she's being truthful though

What's the deal with the servant switching schedule? This is less a theory and more me wondering what the hell is going on with the group of them. We were told that Krauss switched the schedule, but we see Eva meeting with the servants for unknown reasons despite likely not having been privy to said schedule. So did Eva switch it? Did Gohda do it so he could slack off? Did Genji due it to protect Shannon/Kanon? I don't know, and I'm not entirely sure if it's even relevant, but I've been thinking about it regardless.

Why were only Krauss and Shannon left un-pulverized? Considering both of them have a relation to Natsuhi, specifically some bad associations / reflections of her insecurities, I assume this is related to her in some way at least on a thematic level. Whether this is an attempt to disturb / call out to her specifically or a clue that she's the culprit and has a connection to the mystery I don't know, but I think at least on a narrative level it's supposed to bring her to mind.

Who put the letter on the table / why did Natsuhi leave the parlor? This woman is tripping balls and imagined both of them. She mentions "putting canned food on the table" at the same time we see the letter appear, and shoots once but only hits herself. I am currently under the impression that Natsuhi is delerious-- whether or not she committed any of the murders is questionable, but I do think she's suffering from at least mild hallucinations throughout the night and her POV can't be relied on as an accurate testimony.

Why do the servants genuinely seem to believe that Beatrice was in the room with them when talking to Battler? They don't, and they're not looking at "Beatrice", they're looking at Maria. She's in the room and they don't want to make the situation worse by upsetting her, so they're hoping that Battler will recognize what they're talking about when he realizes Maria is in the room. Unfortunately he's dumb as bricks so this was doomed to fail, but that's what they were going for, I think

What happened in the boiler room? Gas Leak.

I have literally no ideas about the Eva/Hideyoshi murder beyond "smth smth mangets" and nothing for the shed murders beyond "maybe Natsuhi hallucinated and got a little silly with it". I don't think Beatrice was in this loop but maybe she was. I don't know. I don't do mysteries I'd rather talk about Natsuhi's deeply gendered self esteem issues. Also I think this bio is Beatrice speaking to Natsuhi and that the spirit mirror is somehow implicated in that whole duel scene because Beatrice is exacerbating her insecurities to the point of her completely fucking losing it, but that's an issue for another time

[ao3feed-zukka]

Last Friday night

Read now on Ao3 at https://ift.tt/tcqHNr7 by Frog_with_a_phone    Zuko opened his eyes, and screwed them shut immediately after. He woke to a headache nearly splitting his skull in two, and a considerable gap in his memory. No matter how hard he tried he couldn't recount last night's events past the shot he had after doing the macarena, and part of him wished he'd had that shot sooner so he wouldn't have to live with the knowledge that he did that. Or, the morning after Zuko gets shitfaced and gets himself a boyfriend in the bathroom of some club. YOU HAVE TO READ THE FIC THIS IS INSPIRED BY, or it won't make sense, since this is a continuation! Words: 2536, Chapters: 1/1, Language: English Fandoms: Avatar: The Last Airbender (Cartoon 2005) Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Categories: M/M Characters: past Jet/Zuko - Character, Mai/Ty Lee - Character, it's not relevant but they're together, Katara (Avatar) Relationships: Sokka/Zuko (Avatar) Additional Tags: Fluff, Hurt/Comfort, Kissing, Tooth-Rotting Fluff, asshole Jet, Good Sibling Katara (Avatar) Read it on Ao3 at https://ift.tt/tcqHNr7

[electrikworm]

Oversight

Relationships: none

Content Warnings: Abuse, Choking, Burns

Summary:

Rex watches the surveillance footage of the abuse Dogma suffered at the hands of Krell on Umbara.

Written as an addition to Good Soldier and for @whumptober Day 28: CCTV

Word count: 2,116

Read on Ao3

Rex stares at the screen. He's been watching surveillance footage from the umbaran airbase all evening, thankfully already sorted to those relevant to the situation.

Videos showing empty halls and rooms have been picked out, leaving only the ones containing Pong Krell and any action that may prove his guilt. He's dead, so really it shouldn't matter. At least that's what Rex had thought.

But since Krell died without an official investigation, the verdict on him being deemed a traitor is still open. And whilst Rex has heard more and more reports of clones coming forward with recounts of incidents that speak against Krell, apparently many natborns still think very highly of him.

It's all just been one continuous headache, from when they first set foot on Umbara up until now, when they've been pulled out of the field.

Rex only has a few videos left to watch. He's is only supposed to verify that they correspond with his own reports of the events, so he has few notes to take on them. Detailed notes will be made by neutral parties, people with no opinions on all parties involved.

Two of the videos stick out. Rex has been avoiding those. They're from the two instance Krell abused Dogma.

Strictly speaking, Rex has no obligation to watch those, since he can't possibly verify if they've been altered or not. The only one left alive to do so is Dogma. Rex hopes they haven't forced the poor shiny to do so already.

Watching Krell hurt Dogma isn't something Rex wants to do. But it feels wrong to skip them, like he's pretending it never happened. He can't do that. It's a fact that Rex let one of his men be tortured by that shabuire, he has to face the truth.

Placing his cup of caff on the desk, Rex plays the video.

Umbaran technology is advanced, making their surveillance footage contain both high quality pictures and sound. Rex isn't sure that either of those things are going to be a benefit in this case.

The video starts right off with Dogma a good two meters away from Krell, standing rigid. Dogma announces his presence, Krell still not turning to face him. Dogma sounds so confused when he answers Krell's question as to if he knows why he's been summoned with a negative.

"Captain Rex didn't tell you?" Krell ask, making Rex's blood boil. He can just about see the beginnings of a grin on the general's face.

Rex hates that Krell used him against Dogma, used his name to isolate Dogma from his brothers. He also hates the fact that Dogma didn't feel comfortable enough to approach Rex about the issue. That mistake is entirely on Rex's head.

Dogma's face goes blank when he's told that his brother's have volunteered him to be punished. Just the thought of anyone suggesting something like that makes Rex furious. He'd never let a shiny be used as a scapegoat like that, wouldn't let any of his brothers take the fall. If Krell had actually asked for someone to blame, Rex would have took it himself.

“Yes sir! What would you have me do?" Dogma asks, saluting Krell. He doesn't even try to defend himself against the accusation.

Krell has a smile on his lips as he talks about clones being familiar with physical punishment. Dogma may be standing at attention, but Rex can see the way he ever so slightly hunches.

He's ordered to strip his armor, laying it on the floor neatly. He always follows the rules so well and is so terrified of punishment. The amount of times he asked those ranking higher than him if he was in trouble in the first week of his deployment made sure Rex knew his name way before those of any of the other shinies.

Dogma looks awkward, small, standing in the middle of the room in nothing but his blacks. He looks so young.

Krell calls Dogma over, who obeys immediately. The urge to do something, anything, to stop what's happening rises in Rex as Krell grabs Dogma, dragging him close. The only problem is, Rex is far too late to do anything at all to help Dogma.

When Krell spits something nasty about clones and not tolerating disobedience, Dogma is quick to agree. Rex almost has to smile at that. Dogma does that a lot, often agreeing with Rex's words, even if it's something simple like telling the soldiers to take a break.

Krell isn't amused, throwing Dogma to the ground. A pained gasp leaves his mouth as he quickly gets to his feet, flinching as Krell yells at him. Two more times, Dogma speaks without wanting to, clearly distressed by his misstep. Krell grabs Dogma's neck, closing his large hand around it.

Dogma doesn't even struggle.

For far too long, Dogma is left gasping for air. When Krell releases him, just enough to let him breath, he orders Dogma not to speak unless asked to. Dogma nods frantically.

Krell lets go, leaving Dogma to struggle to stand on weak knees. The general distances himself from Dogma, then Dogma is sent flying across the room. The Force, Krell threw him against a wall using the Force. Dogma cries out at the impact, managing to protect his head at least. He slumps on the ground.

Dogma is made to walk across the room, then ordered to kneel. It looks painful, the way Dogma drops to the ground with no regard for how doing so might hurt his knees.

Like a hunting Nexu, Krell walks around Dogma. He starts kicking Dogma, hitting his side, his stomach, then when Dogma falls, anything he can reach. Aside from the face.

Rex scowls. The bastard must have known Dogma's brothers would have done something if he had a bruised face.

Dogma cries out again and again, doing nothing to defend himself against the attack. Once Krell stops, he's up on his knees again fast, only for Krell to kick him in the back. Dogma falls onto his stomach. Not wasting any time, Krell kneels on Dogma's back and grabs his hair.

“Now, there's something I want you to say, and I think you know exactly what, CT-6922.” Krell almost yells, making Dogma flinch. Rex can see Krell digging his claws into Dogma's back.

“Thank you, general.” Dogma's words almost make Rex sick. He's knows of particularly cruel trainers on Kamino forcing their cadets to thank them after punishment, though Rex was lucky enough to never get on the bad side of one of those.

Krell laughs, mocking Dogma and yanking sharply on his hair. When told that Krell expected a different answer, Dogma panics.

He starts rambling. He's complimenting Krell and the way he handles disobedience, he's praising Krell's strength in combat, he's begging. Rex wants to stop watching. He feels terrible for seeing this, seeing Dogma at such a vulnerable point. He cares so much about seeming put together and in control, he'd hate to know that Rex saw this.

But Rex can't get himself to stop watching.

Krell yells at Dogma again, forcing his head back further. When Krell orders Dogma to apologize, another stream of words leave his mouth. Rex can't pick everything out, but Dogma's apologizing for things that certainly aren't his fault.

To Rex's horror, when Krell is done punishing Dogma, he forces him to clean the blood smeared in spots all over the room. In the time Dogma's gone to find cleaning supplies, Rex actually sees Krell flick some of the blood off his claws, spreading it across the floor with his foot.

It's painful to watch Dogma crawling on the floor, trying to wipe the blood away fully. He's breathing heavily, face pinched in pain. He's shaking every time he stands up. The entire time, Krell's watching him, waiting for him to slip up, give him another reason to hurt Dogma.

Krell looks disappointed when Dogma shows him the spotless floor.

Dogma limps slightly as he makes his way out of the room, then the video cuts.

Rex runs his hand across his face. How could he not see that Dogma was hurt? How could he miss something so vital? He doesn't know how he'll ever make this up to Dogma. Rex can't keep his brothers safe from everything, they're soldiers after all, but something like this? He should have noticed.

He downs the rest of his caff, rubbing at his forehead. Rex hesitates before playing the next video. He's seen the pictures of the burns on Dogma's back and legs. This isn't going to be pretty.

The video starts with Krell dragging Dogma into a smaller room, likely an office. He's slammed into the wall with the force again, hitting his head against it hard.

Krell berates Dogma, stepping on his hand as he struggles to get to his knees. Rex isn't sure if he's imagining things because he knows Dogma's hand was broken, but he could swear that he hears a crack.

Dogma is thrown again as the general continues to yell at him. He lays crumpled on his side. Rex is just able to hear a sob that leaves him.

This time, Krell threatens Dogma to make him get his armor off faster. Dogma drops it in a pile. It's wrong to see Dogma doing something so messily. He looks like he's barely standing.

“Tell me, did anyone else know about this plan?” Krell asks.

And then, Dogma lies in response. Rex knows Tup knew as well and that Dogma was aware of this. Even when convinced Tup agreed to let him be hurt by Krell, Dogma is loyal to his brother.

Dogma hits his head a second time when Krell kicks him in the knees. Krell flips him on his front, kneeling on his back again.

Rex feels the overwhelming urge to strangle Krell when he gets one of his lightsabers out.

One after the other, Krell burns lines onto Dogma's back and legs. The way the camera is set up, Rex has the perfect view of Dogma's face as he's tortured. Rex can't help but wonder if that was done on purpose.

Dogma screams like Rex's never hear him do before when the first line is burned, but then moves to bite into his hand, muffling the noise. Tears glint in the light as they stream down Dogma's face.

And despite all that pain, Dogma still holds still for Krell. That's for the best of course, as the general could easily end up killing Dogma with his lightsaber so close to his skin.

When Krell is done, he makes sure to step on Dogma's hand a second time and forces him to apologize.

As soon as Dogma's limped out of the door, the video cuts off.

Sighing deeply, Rex stares at the blank screen. He hadn't had the time to talk to Dogma directly yet, not with the absolute nightmare it's been after Umbara. Rex has to do so eventually, he can't let one of his men think he's indifferent about them being abused.

But the content of the videos, watching the way Krell tortured Dogma, doesn't make the looming conversation seem any less daunting. Rex doesn't know Dogma all that well and he has no experience in navigating a delicate situation like this. It's not something their training ever prepared them for.

Hesitantly, Rex opens the files Kix sent him again. Every bruise and burn is documented there. Somehow, the images manage to look even worse now that Rex has watched the wounds be inflicted on Dogma. His scream echoes in Rex's ears as he passes the pictures of Dogma's burned skin, raw from his armor rubbing against it.

He needed skin grafts for the worst of the burns, Kix told Rex. Dogma also managed to tear the stitches in his back during a nightmare and the internal bleeding, whilst not fatal, has left the shiny in agony.

As Dogma's superior, as his older brother, Rex could have prevented all that. He should have known Krell would try something like this.

Rex groans, eyes flicking to the time in the bottom corner of the screen. It's far too late for having an important talk with Dogma, so he'll have to postpone the conversation again. Dogma's likely asleep anyway. Last think he needs is his superior waking him mid night cycle to discuss the reason he's staying in medbay.

He'll do it tomorrow, Rex tells himself, knowing the likelihood of something getting in the way is high. He really does mean to, he owes Dogma that much at least, especially after how badly he failed him, both as his superior and his ori'vod.

[yeehaw-in-magic-space]

Introduction

Hi! I decided to make a sideblog to recount the events of my new D&D campaign. We just started a few days ago and it's already one of my favorite things I've ever run, and I thought it would be fun to keep an ongoing record of everything that happens to look back on later.

I'm just gonna do a brief intro, but it's basically the same as my main blog. Minors DNI, I'd prefer for this to be an adult space because it's a campaign full of adults doing adult things. I love stories, some favorites of mine are: The Locked Tomb, Darkest Dungeon, Star Wars, and Cowboy Bebop (those are particularly relevant because those are the kind of things that inspired this game) and of course, tabletop roleplaying games. The campaign itself is a spooky space western: lots of fantasy, lots of cowboy stuff, some light horror. It is borrowing a setting and a handful of characters I came up with a few years ago and didn’t do anything with. I may still want to write in it more traditionally one day, but I just have stronger concepts for it as a D&D campaign and I have other writing projects on my plate. 

I'm basically just going to recap each individual session, give a rundown of the player characters, and then maybe do some lore drops occasionally. I've never posted recaps of D&D before, so I'm not sure at what pace to dump lore, but I'll probably just mention things as they become relevant to the narrative? We're gonna play it by ear. But I'll put every post in the tag "yeehaw in magic space" so they're easy to find later. I'm mostly just doing this so I have a record other than my 500 pages of campaign notes because I’ve realized gaps in my memory of past campaigns are starting to appear.

I'm planning to post a very basic setting rundown and some details and brief player character bios shortly after this cause I've already been writing that stuff down.

[tayfabe75]

Okay, this is probably a bit of a weird question, but do you think Matty and Taylor are in a real relationship with their current partners? If this is all a game they're playing, does that mean they're still together in secret? (Based on your theory).

If that's the case, it's just weird to me that it lasts for such a long time and they involved their friends and families for this, and moreover the families of their partners. And these are not only photos, videos, pap walks, but also visiting events and everything like that. I remember that you once said that the point of all this is to play to the last, but is their desire to prove something so huge that they are ready to sacrifice everything for it? I just... I don't know, it's like I don't quite see it. And I get that all this can be easily staged, but again, are they ready to go that far? And for what?

I’m just genuinely curious about your thoughts on this topic since you really did your research and, I’m sure, during it noticed much more than others.

Hi anon! My thoughts on what is currently going on with Taylor and Matty are controversial, to say the least. So, let me use a cut…

Ah, that's better! Before I answer, allow me to throw out a few disclaimers:

I mean no disrespect to Taylor, Matty, or anyone in their lives. I have an immeasurable amount of admiration for both of them, as artists and as people. Regardless of which direction their love lives go in, I will remain a fan. I have no entitlement, no expectation, and no ill will towards anyone they are perceived to be dating, both past and present. But I love a good story and solving a good mystery, so here I am.

That said, I do believe that Taylor and Matty are engaging in "kayfabe" which is defined as:

"the fact or convention of presenting staged performances as genuine or authentic"

I would like to clarify that it's not done as a "game". I believe they're using it for self-preservation and as a means to protect both their privacy and sanity in the face of what is a really very unfortunate consequence of their job description as confessional songwriters: celebrity (and thus, tabloid and gossip culture).

Since he was a kid, Matty has been disillusioned by his mother's fame in particular, recounting stories about how he'd see tabloids just straight-up lying about his mother for profit, saying things he knew damned well weren't true because he actually lived with her day to day. Taylor, too, has made many disparaging comments about tabloid culture, here's a quote I love:

"The reason most of the things in the media that are written about me aren't true is because none of my real friends would ever talk to the press."

Anon, also please understand that paparazzi photos are not candid, most celebrities call them to be photographed to remain a relevant topic of conversation. Social media, too, has long since turned into a curated form of self-marketing.

So, would their friends and family help them? Absolutely! Especially since for most, all it involves is just… keeping quiet. Not talking to the press. Others are likely happy to help out in performative ways, such as their parents - Denise, who dealt with all the same invasions of privacy, and Scott, who had always seemed to have a hand in controlling Taylor's public narrative.

But why would anyone pretend to be their partners? Anon… have you not noticed the opportunities just pouring into their laps? A hosting gig, various modelling gigs, an incredible amount of clout for both of them. The sheer amount of merch Taylor wears is… suspicious.

Why is it taking so long? Well...

"People often greatly underestimate how much I will inconvenience myself to prove a point."

I've said this several times now, but Taylor is a storyteller. Her favorite stories are ones with moral lessons. She's teaching one right now. And if people are following the clues in TTPD, they'll realize the album reflects an earlier time in Taylor's life.

Lastly, I believe their Love Story (or "Story of Us" if you prefer) is wrapped up in Eras and the re-releases (especially the vault tracks). TTPD is just another chapter, not the conclusion. The backstory will progress when Reputation is released (or if the stars align and we get music from Matty before that… clownin' hard for June 1st!)

So, in summation, here's what I think is happening:

1) Indulge in "kayfabe" to protect privacy and sanity at all costs 2) Develop a healthy relationship in secret, away from public scrutiny 3) Take care of those who help them along the way (opportunities) 4) Dismantle pre-established fan lore 5) Break the media's favorite toy (her love life) 6) Reset boundaries and fan entitlement/expectation 7) Make fools of the media when the time comes 8) Tell their love story on their own terms 9) Emerge as the ultimate, untouchable power couple

Trust me, I get it, I'm probably wrong and "delusional" and blah blah blah - except, I've been right a few times now by just following the storytelling techniques I see at play, so I'm gonna go ahead and keep on clownin'! Thanks for the ask! 🖤

[knight-of-moths]

Howdy what's up, here's Bethany Esda's cool hit indie game Skyrim. Some things are a WIP don't mind me

This is a sideblog for skyrim stuff, but primarily for posting my adventures in game! I use a journal mod called Take Notes! and wanted to share them with more people than just my partner, and figured that a tumblr blog would work best for the format I wanted! Nicer images are at the head of the post, journal entry afterwards, with more 'informal' images [ones with the UI in them] that are relevant placed throughout the writing, if any.

Notes are taken in character, when things happen or when resting, recounting a lot all at once. They're a bit sloppy, informal, sometimes oddly written, and cover a broad range of thoughts and events. There will be holes and missing elements everywhere. I'm not the most familiar with TES lore and patterns of speech, so it will probably read a bit more modern, but I tried my best to keep it as lore friendly as I can. He does say Fuck though, like a lot. I don't know skyrim curses sorry.

Also I download mods every time I think about the game, so lots of things visually will probably change from time to time. Sorry!

Content warnings and links to tags will be below the cut.

Because tumblr is annoying, the first journal entry won't show up in the Moth's Journal tag [at least on my end]. You can find it Here.

art

gameplay

Moth's Extras

Moth's Journal

Mothuk Luzim

notice board

the elder scrolls

queries [asks]

whispers [anon]

I use This Site to generate these lists.

---------------

Given that it's Skyrim, there's plenty to warn for. Most importantly: descriptions and mentions of homo/transphobia, physical and sexual assault, mentions of sex/masturbation, violence, swearing, depression, panic, paranoia, body dysmorphia, and other things I'm absolutely forgetting. There will be no imagery of any of these things, aside from the obvious violence. Posts will be tagged appropriately, tagged with "cw THING", except violence. If I forget something please let me know.

Moth himself is a transgender gay man as well, and deals with a combination of internalized homo/transphobia and a lack of proper vocabulary to describe his feelings. Specifically he occasionally describes himself as a "fake/false man" among other things. I myself am trans, I feel the need to note. He will deal with this in due time, but it's worth mentioning.

Gore is also a frequent member of his story, as I made Moth to explore his story, romance, and play VIGILANT with him. You can find his specific content warning at the bottom of his Mod Page.

[sydmarch]

today i feel like recounting probably my favorite story from my first sales job back in the day so first some relevant background to set the scene: tech startup with a typical tech startup vibe so the party culture was insane. new sales reps were hired on in groups of about 10 at a time bcus they would be trained in a classroom setting all at once. every summer there was boat party where the whole company would get taken on this cruise around the hudson & at the time of my first one there was a new class who had only started at the beginning of the same week as the cruise so of course they're all like blown away going to this event the end of their first week.

so after the cruise we all head to a really popular rooftop bar to keep the party going & most of the higher ups dip out but a few of the ones who are real partiers stay including a couple sales managers & our director of sales. a bunch of us end up sitting around this table together including a bunch of longtime sales reps, our director, and one newbie. all of us who'd been there for a while knew that our director was a party animal & outside of work didn't give a shit about what we did (& by virtue of one of my work besties being a LONG time veteran at the company (insane sadomasochist friend from some of my other stories) i also knew that the two of them used to do coke together in the office bathrooms so yeah) but since the newbie had no idea one guy decided to tease him while everyone was passing around a weed pen & was like "yo who's brave enough to hit the pen in front of [director]?" & the guy really hesitantly hits the pen & our director with this obvious shit eating grin is like "steven? you're fucking fired!" & we all start laughing but the poor guy looks like he shit himself LMAO

[rpmemesbyarat]

hello! i was wondering if you could share any tips on how to avoid info dumping and what to do instead?

Hello! Firstly, I'm terribly sorry if you were kept waiting long on this, I don't log in that often. Secondly, I'm honored you want my opinion! Thirdly, I couldn't articulate anything off the top of my head so I found some articles and added my own commentary. THIS by Limyaael, whose points I always admire even when I don't completely agree. She is a lot more Spartan in this department than I would be. For instance, I think describing how the ocean curls around a kingdom is lovely, and I think that “Trellion remembered how her ghostly pale face shone in the light of the moon,” is just fine even if “Trellion remembered how pale her face looked in the moonlight.” works just as well, and I certainly don't consider the former sentence to be a " festering sores of details". But I do absolutely agree that it's better to convey who a character is through their words and actions rather than just INFORMING us about how kind or wicked or smart they are (good old "show don't tell") and that if there's no story-relevant reason to recount the entire history of a city, or genealogy of a character, or so on, don't do it. This wasn't mentioned in her rant, but if the info you're worried about dumping is a character's personal history, I would suggest revealing it bit by bit in ways relevant to what's going on in the present. For instance, if someone is unusually good at hunting for a city slicker, have someone else comment on it, and they can say "yeah, my dad used to take me out to the woods to hunt with him a lot" and that tells us that they had a father in their lives and their relationship was probably at least partially a good one. THIS Reddit advice thread has some stuff I really like, including : "For me, my judge for whether or not something is an info dump is to ask "did my characters grow or change with this information?"

If the answer is no, it's likely an infodump and I cut it if I can.

If I can't, but I still get the feeling it'ss an info dump, I highlight the offending section, ctrl-X the bad boy, paste it in a new document and rewrite the scene over, with the idea of keeping it as short as possible." "Avoid a dump of proper nouns. Too many people places and things will drown your reader.

Also, if you write in Word, do a quick Ctrl+F and find all instances of the word "was" (same goes for "were"). If you see a lot of yellow highlights, you're telling more than you're showing.

Don't do this:

Pantsiawasa beautiful city. It's towersweretall, its peoplewerepretty.Jordashwasa pickpocket who worked the markets by the docks. Hewasin love with a princess. Shewaslovely, and had red hair. Her namewasChanel #5. Theywereforbidden to be together by her father,High King Poopypants.Jordashwassad, even sadder than his brotherPatagonia, whowasalso sad about a girl,Petunia Mae. Shewaspretty, butwaslikely to look like her mom,Gertrudhildawhen shewasolder." "Know when each piece of information will be important, so you can space them out and still introduce them before they're needed.

Use the info dumps to tell something about the characters or the story, not just the history or the setting. What does a character notice when they get to a new place? Make every line do multiple things, e.g. both share some historical backstory, and show the character's attitude to the events." " if you already have an info dump or maybe you have some stuff written somewhere in a separate doc, that you know needs to happen somewhere soon. I'd keep it next to me as I write, and when I hit moments when it needs some description or transition, I'll glance down to see if there's any information I can drop quickly and interesting through description." "One of the better ways I see authors handle this kind of thing is to start by writing a situation or a scene. Say you have a world which is aesthetically like someone mashed together cyberpunk and the roaring 20's... you wouldn't start writing with that. You would start with the characters, who just so happen to be stuck in a shoot out at a local bar. You drop in information after the point when it becomes important or when it comes up. In my example, you could explain the aesthetic of your world (city) when the characters have escaped certain death and are now free to catch their breath and look for a route away.

Its really just a balancing game. You just write, and while its your first draft, you can dump as much info as you want. Later when you're editing, you can take it out, and use it possibly later when it might feel more appropriate." As with Limyaael, some of this comes down to taste. For instance, one Reddit comment says "There should be a reason for everything being introduced when they are introduced. Never mention a king or a nation or some lore as an off-hand remark - have it be something that is important right now, not something that you just have to get in there because it will be important later." and I don't agree with that. Not only do I think there's nothing wrong with mentioning the odd superfuous detail, I think it makes for more realistic dialogue (how many people do you know that ONLY mention things that are relevant precisely to the present matter?) and it can also help with worldbuilding. We may never find out anything about this random king or country or monster, but it remind us there's a wider world beyond what the protagonists are seeing. Also bringing it back to taste, I could never get through Tolkien because of his infodumping, but some people love that abundance of lore and worldbuilding he dropped in. I'm frequently frustrated with the overly purpose prose of Anne Rice, but I don't deny it's beautiful, and being florid is exactly how Gothic fiction is SUPPOSED to be. But it also should be noted that Tolkien and Rice are masterful at their respective fields, so I would err more on the side of caution and not presume that what works for them will work for you. But I don't think you need to be Hemingway levels of bare bones either. A few more: Novel Bootcamp Lecture #3 How Much Is Too Much Backstory?

How To Dump Info Without Info Dumping

Description Vs Infodumping

Get On With It! How To Avoid Info Dumps in Your Fiction

I hope these are helpful for you!

[greenycrimson]

People lie. (Whatever your opinions on the TV show House, they got that very right - people lie.) People lie because - they forget. They weren't listening. They can't quite remember, but it's something like this. They're recounting what they felt rather than what was said. They lie because the lie is easier to explain that the truth and it's nearly the same. They're tired. They're busy. They're not good at explaining things, or putting events in the relevant sequence. They're worried about your repsonse. They're worried about looking bad. They have a self image and the truth doesn't match it. They think they're telling the truth, but they aren't. Emotions are a bit like truth, but even worse, because we're emotional creatures, and we will have emotions about our emotions.

Like. Maybe a character is angry. Maybe they don't know why they're angry, but they are angry. They don't assess where the anger came from, or even if the target is remotely the same as the cause, but they're vibrating with it, angry angry angry, trembling and snarling at everyone - now too angry to listen to what's being said. If asked later they say they think they're angry because someone cut them up on the way home. If they reflected, which they never do, maybe they'd know they're angry because they've been feeling bad all afternoon, and maybe trace it to the person they're intimidated by at work saying something snippy this morning, and then work out the bad feeling is insecurity - but now they're home and shouting, and their SO's shouting back, and they haven't had any practice unpicking emotions - and not a single clue about deescalation of conflict - and their pride is already stinging from this morning so no, they are not going to apologise or be able to articulate any of this.

That post that's like "stop writing characters who talk like they're trying to get a good grade in therapy" really blew the door wide open for me about how common it's become for a character's emotional intelligence to not be taken into consideration when writing conflict. I remember the first time I went to therapy I had such a hard time even identifying what I was feeling, let alone had the language to explain it to someone else. Of course there are plenty of people who've never been to therapy a day in their life who are in tune to their emotions. But even they would have some trouble expressing themselves sometimes. You have to take into account there are plenty of people who are uncomfortable expressing themselves and people who think they're not allowed to feel certain ways. It also makes for more interesting conflict to have characters with different levels of understanding.

[vignanworldoneschool]

How Can Thinking-Based Learning Techniques Boost Student Success?

Thinking-Based Learning (TBL) focuses on promoting critical thinking skills and problem-solving abilities in students. Unlike learning techniques, where facts and figures might take center stage, TBL facilitates learners to explore, analyze, and synthesize information.

What is Thinking-Based Learning?

At its core, TBL is about more than just remembering information. It allows students to engage with the information in a way that develops their ability to think independently and creatively. For example, instead of simply recounting the events in a historical timeline, TBL might encourage students to think about the reasons behind those circumstances and their importance in today’s world.

Why is TBL Important?

In today's fast-paced, ever-changing world, the capacity to think critically is important. The job market increasingly appreciates skills like problem-solving, creativity, and adaptability over rote memorization. TBL equips students with these important skills, helping them to become lifelong learners who are prepared for whatever challenges they may face.

The Benefits of Thinking-Based Learning

Improved Critical Thinking Skills

Students who engage in TBL often develop stronger critical thinking skills. They learn to evaluate situations, identify preferences, and discuss their points effectively. For example, during a classroom debate, students might be asked to argue both sides of an issue, which challenges them to think deeply about the topic at hand and understand multiple viewpoints.

Enhanced Engagement and Motivation

When students take an active role in their learning, they tend to be more engaged. TBL often includes hands-on activities, discussions, and cooperative projects that make learning fun. Imagine a classroom where students are examining a problem and collaborating to find solutions, they will likely feel more supported in the outcome.

Better Retention of Information

Research shows that students remember more when they actively engage with the material. TBL encourages them to use new information in real-world contexts, helping to solidify their understanding. For example, in a science class, instead of just reading about ecosystems, students might create virtual models or go on field trips to local habitats.

Strategies to Implement Thinking-Based Learning

Implementing TBL doesn’t have to be troubling. Here are some straightforward techniques for educators, parents, and even students themselves to promote a thinking-based learning environment:

Encourage Questions

Boosting a questioning culture is key. Encourage students to ask ‘why’ and ‘how’ instead of just ‘what.’ This can be done through open discussions where students feel safe to share their ideas. For example, after a lesson, teachers can facilitate a Q&A session to delve deeper into the subject matter.

Promote Collaborative Learning

Group projects and discussions are fantastic ways to promote TBL. When students work together, they learn to communicate their thoughts and consider other perspectives. Think about a book club format; discussing a book's themes with counterparts often helps students understand the material on a deeper level.

Incorporate Real-World Applications

Linking learning to real-world scenarios helps students see the relevance of what they're learning. For example, math lessons can involve budgeting for a party or planning a trip, making the subject much more relatable and engaging.

Conclusion

Thinking-based learning is truly a game-changer for students, facilitating critical skills that will help them in all areas of life. By adopting TBL, the best CBSE schools can create learners who are not just knowledgeable but also curious, engaged, and ready to tackle the world with open minds.

[bbq-hawks-wings]

The narrative is not saying Hawks should feel guilty for his parents not wanting a relationship with him.

A concern that started back in 299 but really came to light in 303 is that the story may be trying to infer Hawks should feel bad for not pursuing a relationship with his parents. I completely understand where this concern comes from, but I also don't think that's what's happening here; and once again, I have the perfect disaster that is the Todoroki family to help me explain it.

Horikoshi's writing has been praised for the Todoroki plotline in particular for its portrayals of abuse, neglect, trauma, and broken family dynamics - and in particular how each member of the family has a different response to the traumatic events in their history. May I posit the idea that Hawks and his family is just an extension of that same concept?

While the Todoroki Family is able on some level to put itself back together, even if not completely, and move on in a positive direction. The Takami family is one that didn't mend, didn't heal, will never come back together.

Where Enji, even if decades later, is able to face what his self-centered behavior has done to his family; Thief Takami met the end of his relevance to the story as he tried to run away for good.

Rei owns her responsibility for the nightmare of the household and the scars she inflicted on her children without hesitation - giving validation to the feelings of her children and credit to them for being the ones who allow her to remain in their lives; Tomie was never able to own up to her actions and how she abandoned her son - even refusing to look him in the eye and literally ran away rather than face anything he might have to say about the way she treated him and how she was absent.

Each of the Todoroki children get to choose their response to a parent who's repentant of their behavior and allows them to be in control of the relationship moving forward - Dabi seeks to hurt them back, Fuyumi seeks to forgive and forget, Natsuo wants nothing to do with his father and put the past behind him, and Shouto won't let his father forget what he's done but will let him start over and prove himself with time. Hawks doesn't get parents that want a relationship with him, and he just has to accept that he won't ever get that healthy family dynamic from them, even if he wanted it, and move on with his life.

Natsuo is the important linchpin in this reasoning for me, because if there's one person who is single-handedly proving Endeavor's redemption is about atonement and not forgiveness - it's Natsuo.

Not every panel and stylistic imagery choice in the manga is meant to be taken as objective reality. We saw this in the confrontation between Hawks and Twice. The scary, shadowy way that Hawks was drawn was not objective reality but the way Twice was seeing him.

Some imagery and themes surrounding Natuso and Endeavor have been consistent, no matter who's perspective we're seeing.

In order, these depictions of Endeavor's abuse are from Rei's perspective, the entire Family's perspective, and finally his own as he recounts what he did. Absolutely nothing about what he did is meant to be taken as subjective. Horikoshi will not let us get away with thinking what he did was anything less that the horror that is was.

Which is why as everyone recounts their memories in that hospital room in chapter 302, Natsuo's is the only one not accompanied by supplemental imagery when even Fuyumi has some in her panel. Natsuo's statement doesn't need expounding; he's just right.

And his feelings have been acknowledged and validated in being that the only reason Natsuo even comes to these family meetings is to support his family. His father is the bad guy - the villain - in his story, but he's willing to acknowledge that he isn't the bad guy in everyone's story. For this he's praised as being selfless and kind - not to Endeavor, but to his loved ones. This happens not once:

But twice! Natsuo is acknowledged in the narrative as having major objections to having anything to do with his old man, but is also acknowledged that in choosing enduring it even in the face of the anger and distress it causes him makes him selfless and caring of his his loved ones who have chosen to stand by Endeavor - and even in this second instance it's acknowledged that he's supporting his dad only because people need the Hero Endeavor and his family behind him.

While the issue was still just their family, Natsuo's boundaries were respected by Endeavor, the rest of the family, and ultimately the narrative; and these boundaries will once again be reinforced when the situation blows over.

So riddle me this: if Natsuo is allowed to hate and abandon his father who is repentant and does want a relationship with him, I don't understand how the same story is turning around and condemning Hawks for simply letting them go when he acknowledges he didn't even get the same opportunity?

I really think the order of his thoughts matter.

"I didn't get to confront my parents. They're gone."

"So I left them there behind me and moved on."

More than likely Hawks has some choice words for his genetic donors if he got the chance considering he praises Shouto for taking steps that are tremendously difficult for a child in those circumstances to do - especially towards his father who Hawks now knows is guilty of some major sins of which his family has zero obligation to forgive. He recognizes that Shouto's parents placed the power to redeem or destroy their relationships with him into his hands, and instead of cutting them off as was his right, he reached back out and met them halfway.

Yeah, man, that makes you a pretty cool dude.

In conclusion: I think Hawks is just another example of how this kind of family dynamic could go wrong and how sometimes the child just has accept what they can't control and move on, even if he wishes he could get closure. We can't always get that, and so in another way he's painted as being strong for doing that emotional heavy lifting alone without the promise of closure and not let it consume his life.

[dearest-k16]

He looks.. okay, I guess. Definitely not historically accurate, but it still kinda resembles the real thing :P

(A portrait of Claus Chasterell, A. Vilhelm, 1822)

Claus Chasterell (1783-1852) was a poet, playwright, and actor. Born to a working-class household, he found his luck on winter 1803, having Duchess Isabel of Ellster as his patron. (He later became independent with no patronage)

In Ellster, he met a lot of people who ended up being relevant to his life, such as Norabella Oakley, an actress that he married, only for them to divorce on 1818 (although they still had a good relationship, it just wasn't romantic anymore), and Alois Vilhelm, an artist who used to work as Duchess Isabel's guard, who was also his lifelong friend.

He gained popularity from his play, "Snowstorm", a tragedy, and his wonderful acting only adds to his fame. Although it wasn't the only reason..

Claus was also a very handsome man himself. Lots of people would storm the backroom before his play (where he starred) began, or after it ends, just to see him, or get a strand of his hair, if they're lucky. Percival Chasterell, his son, recounts an event similar to what was described in the previous sentences:

"Those people, they were rushing to the backroom to meet my father. I still can hear their footsteps, until this very day. It turned to such a terrible situation that Mr. Vilhelm, who was accompanying me in the theatre, had to come out and calm down the crowd."

There were some speculations about Claus, such as a theory of him being attracted to men. It originated from a play of him, "The Knight and The Elven Bard", that subtly hinted at romance between two men, and the discovery of some letters to a male recipient which seems to match his handwriting only strengthened the theory.

Claus Chasterell passed away in his birth town, Ferncliff, in 21 March 1852.

[pin-a-pin]

@fantastic-nonsense

Oh yeah I know them, I've read my fair share of those, my personal favorites are Shadow of the Batgirl and the Oracle Code, they're pretty great but that's not what I want. Sure they're a good read but they're not what I had in mind at all. "Starter Graphic Novels" was probably very misleading, sorry.

Now, if you scroll past all the complaining (sorry about that) you'll see my idea. For starters the YA Graphic novels aren't canon. They're pretty great and have pretty art and are a nice place to get attached to the overall general personality and struggles of the protagonist.

But it's not canon, it doesn't untangle the whole tangled mess some characters have with their backstories and important parts of their history.

It's more of a guide than it is a graphic novel this crazy idea of mine.

The YA graphic novels aren't canon and thus they can't put a footnote (the most important part of this way too big idea that I don't expect at all to come true but still think it would be amazing) of which issue of which comic run it's telling the story about. Like citing a source in a school presentation.

They don't tell you; "Liked this character? These issues of these comics are EXACTLY where you can keep reading about them!" Like I said, more of guide (a very entertaining one).

Shadow of the Batgirl is great for getting attached to Cass and her whole personality and her whole thing, it has her backstory, yeah, but it doesn't have the footnotes of every issue that addresses her past like the idea I had. She didn't meet Babs that way and when she learnt language it didn't go the way it went in canon, so if you read that first then when you figure where to go to find more content of Cass (in a more complicated way that if you follow the footnote where to start with her like I daydreamed) you'll think "so it didn't go like that" (in a maybe bad way).

The only part of my idea that I could compare to the dc ya graphic novels is the short story at the end I guess, but like I said, canon (or canon compliant at least).

The YA graphic novels aren't the canon backstory (and don't have all the relevant footnotes of every issue that tells us about it) with the canon events from the comics (with footnotes of the issues where they happen) and recount the important interactions and all the relevant moments that shaped the protagonist's relationships with other characters (with footnotes of the issues where they happened).

I would want it to mention their main comic run(s) at the end too, so they can devour it

It's meant to be one place where you discover a character's history (or you know, re read it) of themselves and with the ones that surround them. And get a new story at the end).

It's for getting into the main canon storyline without so much trial and error and difficulty and not just see the very intimidating amount of comics and go nope.

Listen up DC Comics!

You are a very convoluted franchise that seems (and it is!) way too intimidating and monumental and complicated to get into.

So hear my pitch, bitch.

Starter graphic novels on characters.

And stop fucking changing so much the origins and canon and, like, everything (just why?).

Like the Batfam! Batman, Robin and Batgirl are very famous, like I think that 95% has heard of them. My 75 yo gramps knows Batman and Robin (and probably Batgirl, though he probably refers to her as Batichica). Who doesn't know Batman? Anyone who does probably has heard of Robin and Batgirl too.

People ask who are the characters in batfam posts, get discouraged because it's comics, it's big and characters don't all start in their own solos explaining where the hell they came from.

Lot of things require a context. Like why this character hates this other one so much or why are they mad at each other? These ones love each other aw! Why? Where was all this bonding? What? It's sprawled around 30 or more different comic runs? Each comic run having two issues each of them appearing? (If you're lucky and the character you want to read about appears plenty of times).

I didn't know that whole comic runs existed with characters that could interest me! I still think I missed a few.

So... Starter graphic novels! A whole event where they make whole bunch of these things. Something fans can direct people to when recommending it without seeming absolutely batshit and like we are telling them to read the equivalent of 50 years worth of a university's mandated reading on every subject they have.

Or people want to start and they don't know where.

And they say what issue(s) or run(s) they're talking about.

Like there's basically no right starting point! It's just a mishmash of stuff that you don't even know if it's even canon anymore. Because sure as hell no one in DC headquarters is going to reference it again, or some don't even read something that it's like obligatory to keep characters somewhat constant or don't want to. It's frustrating and I haven't even explained my idea and I would say that I need to stay on track but I haven't even started talking about it, sorry.

Starter graphic novels!

Canon ones that explain in detail the backstory (but not being solely about that), show important moments for this character, their relationships with other characters and a new story of them.

For example: First the backstory, right? New illustrations of how they started to be heroes (or villains or anti heroes or heroes to villains or villains to heroes or heroes to anti heroes or villains to anti heroes or hero to villain to anti hero...y'all get it). The writer telling alongside brand new illustrations their origin. And they have a footnote of every issue they're basing the whole thing on, where they can go to see every piece of the whole backstory (like: to see the originals, which have more, you can go to these issues on these comic runs).

Then the important events that happen in comics and the parts that give you an idea of their personality, beliefs, character development, etc. All this with footnotes telling you where to go if you want to see the whole story.

After that the stories of how are their relationships. The family, friends, main enemies, love interests. Telling the events that transpired and led to bonding, having falling outs, just hating someone in the first encounter, "whoops I guess I adopted someone", romantic feelings, frustrated murder attempts, successful murder attempts and how one of those led to the other or maybe just not. With footnotes of where the fuck that happened in like 80 years of comics.

And then a brand new story! With all the research the poor writer had to do they probably know the character more that they know themselves it's probably gonna be the most in character story in the last ten years in the whole franchise.

That would probably shed a little light on who is the character, what is canon and traits that can't be lost. A little handy guide for writers too, hopefully. And most importantly something less confusing that all retcons, the million comics in existence and conflicting... everything (characterizations, backstory, events). More accessible, and more fun that scouring the wikis and getting confused about the 8 versions of one character.

It would make it easier to get into the main canon.

[lawsuitsettlementnews-blog]

Why Witnesses are vital to a Personal Injury Cases

Witnesses are usually known as to the exchange personal injury cases. They’re utilized so as to produce clarity once aspects of the accident are opposed. As an example, witness to the automobile wreck will recount their read of the accident's incidence from an objective position. Expert witnesses play a distinct role than associate degree witness. Consultants have in depth knowledge or expertise in matters associated with the accident, like technical data in automotive mechanics. For a case associated with an automobile accident, such experience makes that witness a useful resource relating to details that has got to be established to possess occurred within the accident. Expert witnesses have seldom been on the scene once accident occurred. However they're ready to offer testimony with reference to important aspects of the claim. The skilled witness' role is vital to determinations associated with the case as a result of he or she has expert data that different parties within the case don't. This information is required to prove claims created based mostly upon the findings of accident investigations. Experts are in no means associated with the parties within the case, thus their testimony is objective and impartial, based mostly solely upon factual info and theories associated with their space of information. --- Varieties of Personal Injury Case skilled Witnesses --- Expert witnesses vary in sort for private injury cases. Such varieties of skilled witnesses are the consulting witness and testifying expert. Consulting witness’s use their knowledge to assist parties within the case perceives key problems and facts on that the case is predicated. Consulting witnesses don't seem in court or testify on the stand. However their role is extremely vital as a result to modify attorneys to obviously perceive and relay complicated and technical problems as a part of the non-public injury case. Testifying consultants do seem in court and testify on the exchange order to effectively communicate pertinent problems to the jury; this is often the first distinction between consulting and testifying consultants. A skilled could also be categorized as each consulting and testifying. However the skilled is selected plays a job in discovery and applicable rules. A consulting expert's info utilized in proceedings doesn't need to be discovered by the opposing parties, whereas a testifying expert's info to be shared is in a position to be discovered. Specializations of non-public Injury Case skilled Witnesses In personal injury cases, there are common varieties of skilled witnesses accustomed prove a case. Specialists from the care and medical fields are usually engaged as skilled witnesses to testify concerning problems like the injuries suffered by the victims, choices for his or her recovery and knowledge concerning needed treatments. Medical malpractice-related cases nearly always necessitate doctors. Such consultants should offer testimony concerning care customarys and the way the suspect failed to meet this standard of care in relevancy the claim. The medical expert's testimony plays a big role in an exceedingly medical malpractice case. Engineering consultants are usually utilized to testify in personal injury cases based mostly upon premises liability. Engineering consultants offer testimony in relevancy building construction, structural problems or different topics like improper route maintenance. Common to motorcar accident claims are producing consultants. These consultants offer testimony in relevancy defective automotive components or merchandise. They’ll illustrate however the defective components diode to accident connected injuries. When accident financially impacts an accident victim, economic consultants will offer testimony concerning however the wreck has negatively affected the victim's ability to earn a financial gain. They will conjointly offer experience in money valuation of losses associated with the claim. Expert analysis of non-public injury case info will clarify details of the case with nonpartisanship. Victimization their special data, coaching and education, these witnesses usually shed light-weight on problems moving chooses or jury selections. Victims are permissible to use consultants for case investigation and review. These witnesses are priceless in proving claim credibleness and rationalization of inauspicious subject material in ways in which laymen will perceive the problems. Victim case outcome is commonly associated with witness testimony and the way those consultants relayed info to choose and jury. If you select to rent a private injury attorney, your agreement can possibly offer for compensation for the particular prices and expenses advanced by your professional in affiliation from your claim. Though these proceedings prices are comparatively manageable, some expenses will get quite high thereby affecting your web recovery within the event of a settlement. The proceedings prices spent in any given case will vary betting on several factors as well as the quality of the case, the requirement for skilled testimony, and still because the volume of documentation and records that has got to be obtained. For example, a straightforward automobile accident case will most likely be resolved by getting a police report and some medical records. However, a case involving long-run, serious injuries could need the utilization of skilled witnesses that sometimes cause the case expenses to rise dramatically. Here may be an outline of a number of the expenses that a victim of a private injury case would possibly expect their professional to pay in reference to any given claim. Public records: These documents are sometimes requested through some town or governmental agency like a local department, town department, or the department of public safety. They typically enclosed things just like the prices of getting police reports, driving records, codification violations, and so on. These expenses are comparatively tiny. As an example, the price for getting a licensed accident report from the Department of Public Safety is around however is typically necessary in any automobile accident case. Medical Records: Naturally, if you concerned in an exceedingly personal injury case, you most likely has medical treatment at some hospital or medical facility. Though you have got to absolute right to get your medical records, you will be needed to get them. 

If a personal injury cases should be filed in your case, then there are inescapable prices in filing the suit with the court and getting service of the cause on the suspect.  In most cases, the attorneys can need to require depositions of the parties through a licensed court newsman. Sometimes the lawyer can take the deposition of the battle-scarred litigant, whereas your professional would possibly commit to take the deposition of the suspect. Whoever requests the deposition should pay the associated expenses for the court reporter's fees.