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literaryvein-reblogs · 2 days ago

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Excuse me, do you have any posts on writing well written female characters/protagonists?

Writing Notes: Female Characters

Conducting research through observation – including self-observation – is the very first step in creating memorable women characters.

We observe the women in our lives. We watch and learn, noticing how they engage relationally with family, friends, colleagues, and strangers.

Creating memorable women characters is much like developing memorable relationships. The only way to have meaningful relationships is to be real:

Be willing to share.

Be honest.

Listen with an open heart.

Love without judgment.

This is all very easy to say and much harder to do.

But it’s what’s necessary if we want to have rewarding and lasting friendships and partnerships. And the same is true if we want our female characters to connect with audiences.

Let your female characters speak to other female characters about something that matters. In doing so, you will make women and girls visible.

Here are a few questions you should ask yourself before writing from a woman’s perspective:

Why are you assigning a female gender to this character?

Are you just doing it to show how cool and hip and progressive you are?

Are you writing a biting, sardonic social commentary?

Do you want to create a realistic portrait of a woman?

Is there an added level of symbolism to your gender choice?

Let the answers to these questions dictate how you assign gender to all of your characters, not just the female ones.

Using men and women to foil each other can create an delightful dynamic in your story, as long as you avoid stereotypes. Here’s a list of stereotypes:

The delicate flower. She barely talks above a whisper, she’s sad, so terribly sad, suffering from the pain of a mysterious past.

The femme fatale. She’s a sexpot, only wears skin-tight clothes, and has a gun with your name on it.

The crazy girlfriend. She’s also got a gun.

The stay at home wife. She’s wholesome, virtuous, and dependant. Her only will for living is to be a wife and a mom.

The career driven. She’s cold-hearted and she wears designer shoes.

The most beautiful girl in the world. She’s so beautiful that she doesn’t even know it, but every other woman around her hates her.

Stereotypes make a character fall flat.

They deflate what could be an interesting character.

Refer to the Bechdel Test. By no means is this “the end all and be all,” however the test is useful in determining whether you story supports two active female characters who aren’t solely wrapped up in a guy and/or his journey. A story passes the Bechdel Test if it has:

two named female characters

who talk to each other

about something other than a man.

The tool is a great reminder that females, even in a love story, can discuss other matters that don’t include a man or romance.

There is no formula for creating complex female characters.

For that matter, there’s no such thing as a step-by-step approach to crafting compelling stories with complicated characters of any gender.

But we can begin to intentionally reflect on how we think about gender representation in film, television, literature, and other media.

We can think about the people we love and consider how the screen stories they see will impact their lives, today and in the years to come. We all want our loved ones to feel confident and empowered and inspired.

We’ve recommended films, television shows, and books to our family and friends not only because we think they’ll enjoy them, but also because we think the stories will in some way be helpful to them. Our stories can help.

They can make viewers/readers laugh when they feel down. They can help them process their feelings and experiences, escape into a fantasy, or visualize possibilities for their future. The benefits of screen storytelling are limitless.

And if we populate our stories with characters that represent all of humanity, in all its complexity … who knows? Maybe someday this conversation will be outdated and unnecessary.

STRONG CHARACTERS. Come in all shapes, sizes, and genders. Every creator has a different idea of how strength is expressed, but there are a few ways to ensure your audience understands the type of character you’ve created when your focus is on writing a strong female character.

Writing Tips: Strong Female Characters

Creating strong female characters is the same process as creating strong characters in general—they need backstory, motivation, and depth in order to cultivate a three-dimensional profile that makes them feel like believable, real people. Here are some ways to write strong female characters:

Give her complex emotions. Vulnerability and emotional depth are important characteristics for good characters of any gender. A strong woman shouldn’t be written as a one-dimensional trope—she can be a stoic warrior who cries when her best friend dies, or a sweet kindergarten teacher who boxes to deal with her rage. People are complicated and often unpredictable, so giving your female character the same complex range of emotions you yourself experience as a human being is a good way to start writing stronger characters.

Give her multiple kinds of strength. Physical strength isn’t everything—even the most hulking adversary can be taken down by smart, tactical fighting—and a female lead doesn’t have to be a bodybuilder or professional athlete in order to be strong. There are different types of strength that female characters exert. They can have confidence, wit, and mental fortitude. They can be brilliant scientists who stand up for themselves when no one else will listen. They can be stay-at-home mothers who won’t tolerate their spouse leaving a mess. Female characters have their own strong opinions and morality and aren’t just generalized for being women.

Give her female allies. Sometimes writers try to make a female character appear stronger by turning her into a “tomboy” who only has male friends. However, your female protagonist can just as easily draw strength from the women who surround her. Giving your female lead character female friends can help her feel more like a real-life person.

Give her more than her looks. Describe the way your female protagonist looks in a way that informs who she is. Does she have a defining physical feature that is integral to the storyline? Does her body language denote a particular personality trait? Brainstorm ways to avoid or subvert clichés (“she was pretty but didn’t know it”), which can weaken an audience’s first impression of your character.

Characteristics of Strong Female Characters

Strong female characters can encompass many different types of women, with varying opinions on what is considered “strong.” In order to write strong female characters, old tropes and stereotypes (like the damsel in distress or the nagging wife) should be avoided, as they can be detrimental to how your female character is viewed as a whole. If you’re looking to write a strong female character, check out some common characteristics below:

She has her own opinions. A strong female lead will listen to her own instincts and make her own decisions based on her own value system (even villains have their reasons for their choices). She’ll make mistakes, but she’ll always try to learn from them. A strong character isn’t immune to influence, but they have their own thoughts and feelings about their world and the things that happen within it.

She is her own person. Strong female characters don’t all have to be single, independent women. They can be in relationships and care about their partners without being weak or codependent. However, a strong female character has her own identity and trajectory that she follows, as well as her own ambitions and goals outside of her relationship with another person.

She has flaws. Strong female characters have struggles and flaws just like everyone else, but what makes them strong is how they deal with their shortcomings. Even the strongest characters have weaknesses, but that’s what humanizes them and makes them relatable to audiences.

She’s tough in her own right. What makes a female “tough?” The term is subjective. Is toughness just a character’s ability to physically bring down foes? Or can it be her ability to think fast under pressure or negotiate with powerful figures? A stay-at-home mother can be just as tough as a soldier—a woman’s role does not necessarily dictate who she is as a person.

Give her conflicting personality traits. Conflicting personality traits make a character interesting. Balance traditionally feminine and masculine character traits, as well as give your characters several flaws and strengths. Conflicting character traits not only make your female character three-dimensional but also provide for interesting internal or interpersonal conflicts in your story. You can imagine characteristics—positive, negative, or neutral—in pairs of opposites, such as:

Bookish & arrogant

Gossipy & trustworthy

Pensive & uninhibited

Kind & tactless

Empathetic & selfish

Examples of Strong Female Characters

Strong female characters are not flawless and unemotional—they’re complicated, just like everyone else. Authors, along with screenwriters for TV shows and film, have portrayed a great number of strong female protagonists in a variety of roles. Here are a few that are especially memorable:

Buffy Summers: Buffy the Vampire Slayer is a powerful heroine with awesome fighting skills who can be both tough—even when chasing a love interest—and empathetic—even towards those who have wronged her. She is a three-dimensional character, and she always tries to do the right thing.

Ellen Ripley: Sigourney Weaver plays alien-fighting heroine Ellen Ripley in the film Alien. Ellen Ripley is straightforward, physically strong, and a smart main character—but she also has strong maternal instincts that sometimes drive her decisions. All of those traits coexist with one another without lessening the strength of her character.

Katniss Everdeen: In Suzanne Collins’ The Hunger Games, Katniss is a young woman living in a dystopian world, who volunteers her own life in order to protect her younger sister. While sometimes impulsive and susceptible to the manipulations of others, Katniss grows throughout her story arc, becoming a skilled warrior who makes sacrifices to keep the ones she loves from harm. Although she has love interests, most of her decisions are based on survival and not romance—because as long as she’s alive, she can keep her family safe.

Sources: 1 2 3 4 5 ⚜ More: References ⚜ Writing Resources PDFs

Here are some notes and tips I compiled from various sources. It's interesting to see where the authors' advice overlap. Choose which ones work best for your specific story. Hope this helps with your writing!

#writing tips #character development #writing reference #writeblr #literature #writers on tumblr #dark academia #spilled ink #writing prompt #creative writing #writing ideas #writing inspiration #writing advice #light academia #writing resources

71 notes · View notes

hobbitkiller · 5 hours ago

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Actually, criticizing you for needing things spelled out is the opposite of saying you need a high IQ to enjoy the show. What I’m saying is this show is very easy to understand; uses very basic storytelling techniques, tropes, and visual cues; and shouldn’t require the characters to engage in lengthy dialogue about every theme and message for you to be able to get it. I don’t think I’m particularly clever for understanding these things; I just think arguments like yours are particularly obtuse.

Your current point about Cait and Vi has nothing to do with your original erroneous claim that “oil and water” was just about them and not the greater conflict—something that you should have understood given it was the literal dialogue of the scene. Even when it was spelled out as clearly as it possibly could be, you seem to have missed the greater point.

You are similarly stubborn in your decision that Heinerdinger’s warnings about magic and hextech were only meant to be isolated to Viktor’s story and not have greater implications. You seem to want to have it both ways where the story is primarily about the class conflict seen through these characters, while simultaneously denying that their conflicts foreshadow or otherwise symbolize the the parts of the story you don’t like. The difference seems to be that you like the class conflict idea but you don’t like the arcane apocalypse or the fighting a common enemy, so you deny that the latter two were set up, even if the show was doing everything but having a flashing sign in the corner.

Yes, obviously Vi and Cait clash. Nowhere did I say they didn’t. That would be the conflict they continue to have to overcome as characters. In that scene, however, they are on the same page. They are as on the same page as they are at about any other time in the show. So, what Vi is saying, in very plain text that requires no understanding of literary devices or ability to understand visual language, is that the problem is topside and bottom not being able to mix and she very clearly sets herself and Caitlyn up as proxies for the two cities. Again, a very common literary device.

Again, you really seem to not understand foreshadowing. Foreshadowing is supposed to be a passing seed of an idea that doesn’t call overt attention to itself, and, while some can spot it in the moment, it is most often something you catch when you rewatch/read the material. Something doesn’t have to repeatedly beat you over the head to be foreshadowing.

That said, the mention of the two cities coming together to fight a common foe was not exactly subtle and certainly screams like it had a bullhorn on a rewatch. Yes, the actual scene wasn’t about coming together against a common enemy. That doesn’t mean that line wasn’t deliberately planting the seed of future events.

The line serves to let the viewer know, “hey, these were the circumstances where these two cities came together before,” the unspoken part being “and that might be how they are able to come together again.” Again, I cannot express enough how basic this is as a storytelling device. It’s practically Chekov’s gun. There is nothing high IQ (also, IQ is a made-up racist concept, so bragging about it would be pointless anyway) about it.

Arcane is brilliant, but it’s not doing anything particularly groundbreaking when it comes to its use of literary devices and tropes. What seems to be tripping you up is the use of them at all. If something isn’t said as explicitly as possible, you deny it. Then again, as with VI’s oil and water speech, you seem to deny things even when they are explicitly stated.

I’m not going to call you a patronizing pet name here. If I did in a previous post I apologize, but I, personally don’t want to do that here. What I will say is that I’m challenging your poor reading of the text, and thus your skills at analysis, not attacking you as a person. I say you don’t seem to understand storytelling conventions because you seem to have trouble with basic ideas like foreshadowing, planting and payoff, and metaphor. It’s either that, or you’re being deliberately obtuse because it doesn’t suit your argument. There are plenty of people on this site who would be more than happy to just call you an idiot. I don’t think you are. I just think you are one of many people who fall into a very common issue with media criticism today where you mistake what you would have liked to happen with what objectively was going to happen or with what can be considered good writing.

My point about Ambessa is that she wasn’t a mustache-twirling villain. What I was saying was you seem to have needed her to be that to understand she was going to be one of the major threats of the second season. The only way you seem like you would be able to accept that is if she showed up with a T-shirt that said “I’m the threat.”

Again, shows that are planning ahead usually plant the next season’s threat in the previous season. Sometimes it’s a passing reference; sometimes it’s a dramatic stinger; and sometimes it’s actually “one of the good guys.” With the exception of the dramatic stinger or a character being the shadowy mastermind that has to come forward and do it themselves Thanos style, most of these future antagonists don’t come into the story with a town crier announcing their future intent.

However, those familiar with common television storytelling are not going to be surprised that the powerful warmongering imperialist that comes in in the third act to start meddling with things ends up being the major threat in the next season. You also see this in book series. Characters who start off as more peripheral when introduced become more relevant and dangerous as the story progresses. Sometimes it’s because events in the story push them that direction. Sometimes it’s was always their plan. Sometimes, as I would argue with Ambessa, it’s a little of both. Our heroes are so caught up in dealing with their current problems that they often don’t realize this is happening until it’s too late.

The place where I think you are somewhat correct is that I don’t think Ambessa planned to be as direct in her actions when she first showed up. I think her plan was to do what she initially did, which is manipulate the conflict so she could get hextech. When Jinx attacked the council, she seized an opportunity. Again, this is how many imperial powers operate. They meddle in the background until an opportunity presents itself to take a much more active hand.

Now, notice I said “Ambessa didn’t plan”—Ambessa is not the semi-omniscient viewer. Ambess is not the show runner. Ambessa is not aware she’s in a fictional story with things like tropes and foreshadowing. So, just because Ambessa doesn’t go into the show thinking or knowing she’s going to take over Piltover doesn’t mean it wasn’t set up or the writers’ plan.

I also hate to break it to you, but Silco was the main antagonist in the first season. Was he well written and nuanced? Absolutely. Most good antagonists are. While there can be fun, interesting antagonists that are just plain evil, many of the best are ones that have a point but their methods, disregard for those caught in their crossfire, and personal entanglements are their downfall.

Good storytellers are very aware of the concept that “every villain is the hero of his own story.”Silco is not absolved because he claims to want independence for Zaun (something he didn’t lift a finger to do after the first act until Jinx forced his hand.) In fact, he was the person causing the most suffering in Zaun in acts two and three, including the actions of the enforcers whom he paid and controlled through Marcus.

Jayce trying to make a deal with him doesn’t make him not the antagonist. That was just the best way Jayce could see to end the conflict. This point doesn’t at all argue against Ambessa becoming the antagonist in season two nor the idea that the two sides would team up to fight her. Shows are allowed to approach treating their different antagonists in different ways. Usually, the early season’s villain is a more localized threat, and they can often be sympathetic, which is why it’s not uncommon for an early villain to become a friend or ally. Also, two sides that were previously at odds joining forces to fight a greater threat to them all is, again, a very classic trope. You may find it cheap, but that doesn’t make it something that came out of nowhere. If anything, it makes it more predictable.

Regarding hextech, you can’t call it contrived when the characters in the show with the most understanding of magic immediately said, “hey, this stuff is dangerous,” and it turns out they were right. Like, there cannot be more straightforward unambiguous storytelling than that.

Now, I’m not going to pretend I was able to predict the end form it would take, but the threat posed by rushing through and overusing hextech was established from the moment it was introduced and reinforced by Heimerdinger’s horror at the hex core—which was about much more than just Viktor’s story. Jayce also understood this initially in act two, but his desires to save Viktor and protect Piltover won out over his initial instinct to listen to Heimerdinger.

No, the anomaly and the hex core aren’t the same thing, but there are two things to keep in mind about the hex core: 1) Even if Jayce hadn’t shot Viktor, there was something deliberately unsettling about the cult. Yes, it seemed nice, but the overexposed, unsettling lighting, personality changes, and Viktor’s ability to take over his followers’ bodies were pretty bright red flags that something wasn’t quite right. We don’t know how each time loop played out. We don’t know if, in an earlier version, Jayce hadn’t shot Viktor, and the commune still went terribly wrong. Even in its most utopian state, the question of how much free will these people have was tingling in the background. 2) Arguably, the hex core showing how the arcane can adapt and become alive was yet more set up that this could happen on a greater scale—again setting up the potential for something like the anomaly.

(A side note: something I did wonder was whether Viktor’s blood dropping into the shaft at the Hex Gates had something to do with it. That’s what I thought when I first saw that oddly colored blob before the anomaly was revealed. It was never established in the text to my satisfaction, though, so it’s just a headcanon. If that was the intent, I will say that was a case where it wasn’t well executed. Even if someone like Amanda decided to use “word of god” to say so, it doesn’t really count, though that certainly would answer your question “why now?” question. Another answer could be the fact that the experiments with the hex core are what woke it up. Given the arcane is shown to be somewhat sentient, maybe it sensed the growing conflict, but I digress.

I think the blood being the catalyst would have pros or cons. Pros being a really nice case of planting and payoff; cons being that it sort of makes it seem like a freak accident—which still could go to the point. Many technological advancements have been prone to terrible accidents before we properly understood their risks and put in safe guards. It also would have been a bit of nice consequences in action that the illness Piltover inflicted on Zaun is what brought their hextech empire down. See? it’s not like I don’t have a version of the story that I would prefer in some ways. I’m just not going to act like the version we got wasn’t set up.)

On the civil war idea, I was responding to the ending you said you wanted, and I phrased my response as such, so please don’t act like I was putting words in your mouth. Also, based on what we know of the Black Rose in the show, while that’s an interesting idea, it’s seems unlikely they would openly or even covertly support Zaun. There was nothing stopping them from doing that in the story we got. I think they preferred to keep their exposure as limited as possible, and it made sense to focus their efforts on Mel who had a much more direct line to Ambessa.

Also, I will admit that plot line seemed much more about setting up the next LoL season/next show than this one. I will give you that. There was the little bit of set up with Mel’s magic shining when the bomb hit, and Ambessa’s vague references to her problems at home, but I won’t deny that story had the least relevance to the first season.

Didn’t make me enjoy Mel taking out Maddie any less, (doesn’t make me look forward to whatever future appearances we get of Mel the Mage any less), but it did give off some weird “natural abilities are better than using technology” vibes reminiscent of the somewhat problematic theme of The Incredibles. I don’t necessarily think they meant to do that, but it certainly can be read into the text. I never said Arcane is above criticism, just pointing out the common flaws I see in the criticism.

I think, in a civil war, with all bets off and hextech at their disposal, Piltover would win. Yes, the chem tanks were a threat, but the Noxians took them out with spears. Spears. Vi plowed through several of them with just the gauntlets and took one out with her bare hands with a little help from Cait and a normal rifle. Also, Piltover literally has the high ground. The reason they wanted to invade was to get Jinx. If the mission is changed to war, there’s no need to send people down there. They could just drop bombs, flood the streets, and cut off supply lines. Potentially, the tide could be turned with some of the Piltover folks we love supporting Zaun, but now we’ve lost track of the arcane threat that they would not shut up about in the first season.

You know you admitted that the problem is you didn’t like the ending, right? You not liking it doesn’t mean it wasn’t set up. I have outlined again and again that it was set up. Does that mean the ending exactly beat for beat was explicitly laid out? No.

When I say the ending was set up, that doesn’t mean every single interaction or moment could have been predicted. What could be predicted is that hextech would end up becoming a major problem—something we were explicitly warned about multiple times—Ambessa would become a major problem—something we should have picked up on given her meddling and Mel’s backstory and interactions with her—and that there would be either a détente or form of reconciliation between the two cities—because, that’s how stories about groups in conflict with each other in shows that go out of their way to show the humanity and good and bad on both sides usually end unless they want to be a complete downer, which, given Arcane pulled that move in the first season, was unlikely to happen in the second.

None of your points about the dark future invalidate anything I said. First, we don’t know what Viktor would be capable of if Jayce hadn’t shot him. Maybe Singed would have succeeded with his plan—they did have a whole army. As I said earlier, we also don’t know what happened in every loop. Yes, the one Jayce saw was almost exactly like the one he returns to, but maybe that one was actually closer to success than any of the others. We don’t know, and I’m fine with that.

That said, none of your ramblings here have anything to do with whether or not the plan was to have the cities team up against a common enemy. You can argue the plan wasn’t executed well, and that’s your choice. You can argue you didn’t like that this was the plan. That is also your choice. But not executing a plan well or having a plan you don’t like and not having a plan are different things.

Honestly, sometimes sticking to the plan is a bad idea for storytelling—that’s what really leads to contrived writing. So, arguably, your problem is much less that they betrayed their plan, but rather that you felt they had to contort the narrative to fit their original plan and goals because they wanted a certain ending. That’s definitely something that happens a lot in narratives. The author goes in having an ending in mind, and they rigidly stick to it, even if the way they develop the story might mean there are better possible endings. I honestly think your arguments much better support that idea than the idea that there was no set up. i wouldn’t necessarily agree with you on all points, but it would be a much stronger case.

You should not need a scene of exposition explaining Sevika’s council seat. I refuse to believe any intellectually honest person would be confused by what was going on. When people get annoyed that some viewers seem to not get “show don’t tell.”

And look, I get wanting certain scenes. I will always argue I wish Ekko or Jinx had really put into words why VI’s their hero at some point, because, even though the show arguably showed that, I think that would have really helped solidly her arc. But I think you still get the gist of that from context.

That said, we do get Caitlyn’s whole monologue about suffering the consequences of their actions but there still being hope and light worth fighting for in the epilogue that should help with interpretation that things are bad but they can get better and here are the first tentative steps in that direction. She literally says the story isn’t over.

Arcane is not a political drama. Not sure why I need to say that about the League of Legends cartoon, but it’s not. Class and politics inform the story. They are not what the story is about. The writers didn’t go in with the intention of writing about class warfare and then develop the characters to match like a movie like Crash did. They went in wanting to tell the stories of these characters and further developed the existing background themes to help create conflict and character arcs.

“A lot of people joined the fight” is an interesting way to interpret a handful before Jinx came in to save the day—you know in that dramatic scene that drastically turned the tide of the fight because, while we as the audience knew it was going to happen, the characters didn’t? Again, we have the benefit of knowing this is a fictional story with a plot. They don’t. There have been plenty of people who refuse to fight with an enemy, even if it’s in their own self interest.

And, yes, season two is the find out to season one’s fuck around. Viktor and Jayce chose to ignore the warnings about Hextech. They then proceeded to overuse it, weaponize it, and do dangerous experiments with it, partially at the behest of unrepentant capitalism—there’s some class and politics for you. As stated earlier, the anomaly can very much be a stand in for the unforeseen consequences of certain technologies. How often do we find out years later what harm we’ve caused? Given that the first obvious victim is a tree, one could make an easy connection to global warming. Jayce would never be able to give Viktor’s the hex core if Viktor hadn’t made it in the first place. So yes, what happened with the arcane was indeed, their chickens coming home to roost and, no, you don’t need it explicitly stated what form the consequences are going to take—just that there will be consequences.

Likewise, as I alluded to earlier, Ambessa was most likely not planning to take over Piltover from the start. Jinx blowing up the council gave her the in to essentially have a bloodless coup. (Bloodless meaning she didn’t have to kill the leaders herself). Even prior to that, though, the reason she was able to meddle at all were the tensions between topside and bottom. If those hadn’t been ramping up, thanks mostly to the actions of our characters, she wouldn’t have been able to push for the creation of weapons. Internal conflict is a breeding ground for outside bad actors.

As for a common enemy making the story no longer nuanced, (which, again, has nothing to do with whether it was planned or not) in life there always comes a time when there is no room for moral ambiguity. Some things are a matter of survival. There are times where people do, in fact, have to set aside their differences or everyone will suffer. And in a show that is going out of its way to show the humanity of both sides in a conflict, this is where the story goes more often than not. Because, in a moment of true crisis, there is can be more that unites us than not (though, even in the moment, decision can still tear its head).

The tragedy, of course, is that it doesn’t last. I can say that as someone who remembers 9/11 (yes, I’m old). That’s why we had Cait’s ending monologue and the “dirt under your nails” discussion. Because they have to keep fighting.

I’m not going to go through every point because this has taken me hours and I’m going to just broadly say most of your issues have nothing to do with whether or not this was the plan for the sorry and your personal qualms about execution, and I really have no desire to go through any more of that right now as I have both a job and a life.

What I will address is your inability to understand the point I was making in my prior post. First—many people do, indeed want the show to have been a black and white poor beats rich story. (Honestly, understandable given the current hellscape. I don’t begrudge wanting more stories where rich people get the comeuppance—this just wasn’t the one). I know because they refuse to acknowledge or accept any nuance, motive, or understanding of why Cait did what she did and frequently use her wealth as an excuse for Jinx to have been allowed to kidnap, abuse, and almost murder her and murder her mother without consequence. They further decide Silco’s actions are all justified because he’s from the oppressed side. So yes, actually, a lot of people want rich=bad, poor=good.

Further, all of those themes I mentioned in that post can certainly be tied to class. They can also be tied to race. Or sexuality. Or gender. Or disability. As an obese neurodivergent queer cis woman, I can confirm. You could have easily exchanged the class themes for any of those and not had to change much. And while class is tied up in all of those divisions, I reject the argument that it is the sole cause. Rather economic oppression and other forms of oppression feed each other. That’s why leftist groups that only want to talk about economics tend to not be great at intersectionality.

Now, I’m going to guess right now you’re saying something like “but, in Arcane those themes were related to class, not those other things, except for disability, which was also tied to class!” And you’re right! Arcane decided to explore those themes through the lens of a class conflict. That does not make it what the show is about. It makes it a major theme, of course. It makes it the lens through which we understand our characters and the events of the plot. It does not mean the show was written in service of resolving the class conflict, nor that it should take time out of the character moments to exposit about treaties, nor does it make a fantasy action show where one of the characters punches people with giant gloves and another has a giant hammer that shoots things into a political drama.

I think one question the show is trying to answer in a lot of ways (though, again, not the only one) is, if class breaks is apart , what brings us together? Why would Piltover want to give Zaun rights? Because they were forced to at the end of a gun? Because of a crisis of conscience? To avoid a bigger conflict? Because Zaun was there for them in a time of need? Because the power of 24 year-old star-crossed lovers compels them? All of the above?

As I said, this is definitely a big question, but not the only question. “What does ‘progress’ mean?” “Do people change who they are for good?” “How do you leave the cycles you were born into and raised in?” “How does one find themselves losing their ideals?” “Who decides who gets a second chance anyway?” “What happened to Heimerdinger’s dog?” “Imperialism sure sucks, doesn’t it?” “Were we too hard on Maddie?”

All questions certainly viewed through the lens of class conflict. But the lens, though necessary to see the picture, is not the subject.

“What happened to rebel Vi? Season 2 destroyed her character!”

“What happened to rebel Vi” is that Vander took her to the bridge where her parents died in his revolution and asked her what she was willing to lose. Then she meets Cait who is gentle and kind while still being tough and it makes her rethink how she sees topside. When Jinx tells her she changed too, that’s what she’s talking about.

I’m sorry if you thought Vi was going to be a topside-hating revolutionary in Season 2, but that’s clearly not where her character arc was going. Remember how she forced her way between Ekko and Cait? It seemed very straightforward that was the role her character was taking on.

I feel similar about people who act like the show was betraying its premise because it ended with reconciliation/Zaun and Piltover working together. Again, the fact that two of the most important relationships were between characters from both sides and that they made a point of talking about Zaun and Piltover first coming together against a common enemy was a pretty clear indicator that was the plan.

Now, I get being annoyed that that was what they chose to do. You don’t have to love the creative decisions of media, just like media doesn’t have to compromise its creative direction to satisfy you. But not liking that they went that direction is not the same as the show having bad writing or engaging in character assassination.

Everything Vi did in season 2 was very much in character with how she changed and who she became throughout Season 1. Hell, she used enforcers and Hextech to raid Shimmer facilities before Commander Kiramman ever threw on a beret. So, yes, actually wearing the uniform was a huge and complicated decision that she was definitely not happy about, but it also fell in line with what she had been doing.

There’s meat for another post at some point about the three different Zaun/enforcer partnerships we see in the show: Vander/Greyson, Silco/Marcus, and Cait/Vi; but I’m not going to go into that now.

TLDR: “Rebel Vi” who wants to fight all of topside hasn’t existed since the end of the second episode of the show.

Editing to add that Vi doesn’t see attacking Chem Barons as attacking Zaun; she’s taking down the people who are destroying Zaun.

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cherryredz · 21 hours ago

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Ink & Heart

Harry Styles one-shot

Summary: Harry gets a new tattoo dedicated to you after years of being together and it's more meaningful than you thought

Warnings: none

Word count: 573

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It was an ordinary afternoon when Harry came home, his sleeve rolled up slightly higher than usual, a faint glint in his eyes that suggested he was up to something. You were curled up on the couch, flipping through a book, not suspecting a thing—until he stood in front of you, a boyish grin tugging at the corners of his mouth.

“What’s with the smirk?” you asked, raising an eyebrow.

He shifted his weight from one foot to the other, his fingers casually tugging at the edge of his sleeve like he wasn’t sure whether to play it cool or just spill. “Went out today. Got a new tattoo.”

You sat up instantly, book forgotten. “Another one? Show me!”

Harry chuckled softly, shaking his head. “Wait. Lemme explain first.” He sat beside you, his knee brushing against yours. His gaze softened, that glint turning into something warmer, deeper. “I’ve been thinking about it for a while. Wanted something small, but… meaningful.”

Your heart skipped, a mixture of curiosity and anticipation bubbling inside you.

He slowly rolled up his sleeve, revealing fresh ink—simple yet beautiful. It was a delicate outline of a small paper plane, its path drawn with a fine, looping line that subtly shaped into an infinity symbol. Right at the end of the trail was a tiny heart.

You blinked, taking it in. “A paper plane?” you whispered, tracing the air above his skin, careful not to touch the fresh ink.

Harry nodded, his voice softer now. “Remember when we first met? You were sitting in that café, doodling little paper planes in your notebook. You told me they reminded you of freedom, of not being tied down, of going wherever your heart wanted.”

You swallowed the lump forming in your throat. That was such a small detail from years ago—something you’d probably mentioned in passing. But he remembered.

“I guess,” he continued, his thumb brushing over your knuckles, “you’re my paper plane. You changed the way I see life, love… everything. You made it feel like an adventure. And the little heart?” He smiled sheepishly. “Well, that’s where you landed. Right here.” He tapped his chest gently.

You couldn’t stop the tears that welled up, blurring the tattoo in front of you.

“Harry,” you breathed, your voice thick with emotion.

He cupped your face, his thumb brushing away the tear that escaped. “Didn’t mean to make you cry, love.”

“They’re good tears,” you whispered, leaning into his touch.

You pulled him into a soft kiss, one filled with gratitude, love, and all the unspoken words you couldn’t seem to find. When you pulled back, your forehead rested against his.

“It’s perfect,” you whispered. “Just like you.”

Harry smiled, his eyes crinkling at the corners. “Nah. Just a man hopelessly in love with his paper plane.”

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Something small. Hope you like it <3

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ballroomblitzzzz · 19 hours ago

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So I've been doing a lot of thinking recently, about wicked, because of course it's about wicked.

Specifically Glinda and her relationship to sorcery. (Hold tight this one's gonna be a whole ass essay) I find it interesting that the film really tries to make it clear that she has, not just little power, but none at all.

Because in the book she does have magic! Like there's this great scene where her, Nessa and Elphaba are talking about sorcery and she explodes a sandwich in their faces to prove a point.

This isn't relevant at all I just really like the scene. Point is, book Glinda's magic ain't too shabby. And in the musical (unfortunately I've only seen it once so apologies if I've read this wrong) I kinda saw it as she did have magic, but just didn't really get good at it before act 2. But in the film it's clear she doesn't have any. Like in NOMTW she pushes a pedal to make the bubble instead of using her wand, similar to how the wizard uses mechanics to fake sorcery. So why is it different? I hear you ask.

Well my curious child, I'll come to that in a minute (promise) right NOW I wanna talk about why Glinda wants magic in the first place.

And this is something that's had me stumped for a while, I mean it's not like she needs it. She can easily get whatever she wants from social manipulation, and yet it's still her heart's desire to become a sorceress.

And it's SUCH a big part of her character that couldn't just go around not being able to answer that question now could I?? And guys I think I figured it out.

So she's always been jealous of Elphaba, right? Right. And the thing about Elphaba that she envies, is that she's powerful without having to rely on other people. Glinda doesn't have that. She gets to the top because people like her. She said it herself, 'its not about aptitude it's the way you're viewed'. She knows the way to truly succeed is to make sure that you're liked. And she's very good at that, so she doesn't need sorcery, and YET she wants it. And to me this proves that Glinda hates the reason that she's liked. She wants people to love her for what she can do, not for the shallow persona she presents. She wants to have a power all to herself. She doesn't want to need people. She wants to be the kind of person who hops on a broom and overthrows the government at the drop of a hat (pun intended) but that's not who she is.

Of course she doesn't go with Elphaba. Elphaba can be strong on her own but without the public on her side Glinda is powerless.

And just think it's soooo fucking interesting how Elphaba and Glinda's different kinds of power can be seen as just another metaphor for their sense of self. Because Elphaba has had to trust herself, to have a strong enough identity to know that she's better than what people say. But Glinda's entire identity and self worth are tied to what people think of her, she's only as good as people say.

So of course she doesn't go with her.

But here's where she changes (for good hehe). And of course, it's down to Elphaba. Because Elphaba has always believed that Glinda is powerful outside of other people. And, back to sorcery now because yes that is what I started talking about, it's Elphaba who invites her to sorcery class, it's Elphaba who asks Glinda to come and meet the wizard with her, it's Elphaba who asks her to come with her in defying gravity and (SPOILERS FOR PART TWO!!) its Elphaba who gives her the Grimerie. Because Elphaba has always believed Glinda was strong even when she wasn't.

Glinda always wanted to be a sorceress but it was only Elphaba who had faith that she could do it. And this is what makes Elphaba giving her the Grimerie so symbolic and so, so fucking sad. Because Elphaba's showing her that she's better she thinks, she just going like 'hey, you got this'. And srhstjdyfkvhlvukflyyc. And so the way Glinda's viewed doesn't change at all, but the way she sees herself does, and so don't mind me while I go cry in a corner.

And you know maybe all this was obvious to literally everybody who watched the film and I've just mansplained lesbianism to everyone but I just really needed to write this down because I've been going insane about the power dynamics and I can't shut up about it.

But dude these characters are all so complex I just wanna peel them all like onions, but oh boy does it make my eyes water.

#wicked film #AAAAAAAAAHHHHHHHHHHHHHH #galinda upland #glinda the good #glinda upland #gelphie #elphaba thropp #wicked

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novlr · 2 days ago

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Weird question here: do I need to describe my character's clothes? Obviously I need to if it's important to the story or setting (if they're wearing a beautiful ruby gown at a ball, or maybe dirty and torn to indicate a fight) but just on a normal day? Do readers need to know what characters are wearing?

As writers, we often get caught up in the details of our characters. We describe everything from their eye colour to their favourite breakfast cereal, and it can be so easy to go overboard with unnecessary description. Describing a character’s clothes is a danger zone for too much description. It’s incredibly easy to get lost in the minutiae and forget the most important element when writing for readers; will they find this interesting?

The short answer

No, you don’t need to describe every piece of clothing your characters wear throughout your story. Like all elements of writing, clothing descriptions should serve a purpose.

Just like clothing in real life, descriptions of a character’s clothes serve a function. This means that your chose in when to describe things should be intentional; usually for the purposes of character development, world-building, setting a mood, social commentary, plot advancement, or symbolic representation.

When should you describe clothing?

Every plot is different, but there are some key moments in a story when knowing what a character is wearing or how they are dressed could be important:

When it reveals a character’s personality or status (e.g. do they favour muted tones or bright, bold colours? Do their clothing choices signify wealth?).

During important story moments or turning points if it highlights that moment’s significance (e.g. wearing black at a funeral, or an academic gown at graduation).

If the clothing affects the plot or action (e.g. Cinderella losing her glass slipper).

When establishing the time period or setting (e.g. historically appropriate clothing descriptions to put readers into the right headspace to appreciate your setting).

If it shows a significant change in the character (e.g. a shy character who likes to blend in suddenly switching to bright colours to display their newfound confidence).

When it symbolises something deeper in the narrative (e.g. a meaningful piece of jewellery, or a bride wearing her mother’s dress for her wedding).

When should you skip clothing descriptions?

Readers don’t need to know what your character is wearing at every moment of every day. The best way to think about it is, if it’s not important to the story, don’t describe it in detail. Usually it’s enough to know that someone is wearing a jumper on an overcast day, and it won’t actually enhance the scene to know it’s a plain black one. Here are some moments when it’s probably not all that important to go into too much detail:

During routine daily activities.

When the outfit doesn’t add meaning to the scene.

If it interrupts the flow of important action.

When it feels like “outfit cataloging” rather than storytelling.

If you’re describing clothes just to fill space.

Tips for how to effectively describe a characters’ clothes

Make it matter: Make sure your descriptions reveal something about the character, whether that be a personality trade, social or economic status, or their cultural background.

Illustrate change: Highlight a change in your character, whether that be something external or a internal, emotional change.

Create uniqueness: In the case of a protagonist, especially, the way they dress can make them unique. It can contrast them with other characters.

Set something up: Describing a character’s clothes can be used for foreshadowing a future plot point.

Be selective: You don’t need to describe a whole outfit. Instead, you can focus on one or two distinct pieces, items that have significance, clothing that affects movement or action, or elements that reflect the character’s state of mind.

Don’t info-dump: You should try to seamlessly weave descriptions into the narrative. Describe actions and interactions, use sensory language, have other characters react, or let clothing be a part of a scene’s atmosphere.

Common pitfalls to avoid

There is a fine line to tow when describing a character’s clothes in a way that is effective. And essentially, the pitfalls happen on either side of that line. You will either over-describe or under-describe. So what does that mean?

Over-description

Listing every item of clothing, regardless or relevance or usefulness.

Describing outfits for every scene. We rarely need to know what all characters are wearing at all times.

Including brand names unless relevant. Sometimes, a character’s brand loyalty might be important to the plot, but if it’s not, it’s unnecessary, and potentially alienating to readers.

Getting too technical with fashion terminology. Most readers won’t be au fait with the specifics, so make sure you write in a way that most readers can follow.

Focusing on clothes at the expense of action. Nothing will bring an action scene to a screeching halt faster than a detail dump.

Under-description

Don’t ignore clothing when it would be significant. If a character has undergone a significant personal change, then it would make sense to describe how that might also affect how they look on the outside.

Don’t miss opportunities for characterisation. A lot of a character’s personality can shine through their clothes, so if you’re telling the kind of story where that could be relevant, make sure you don’t miss those opportunities.

Don’t forget period-appropriate details in historical fiction. Research and authenticity are essential in certain genres, and clothing can go a long way to setting the scene.

Don’t overlook clothing that affects movement or action. The clothing a character wears can hugely affect the believability of a scene. If a character has just stepped out of a coronation and is dripping with heavy jewellery, it wouldn’t make sense for them to go for a leisurely swim.

Don’t skip descriptions that could build atmosphere. If it’s cold and dark, make sure your characters fit into that setting. Or you can use it to contrast your character and invert expectations (like a character who only ever wears shorts, even in winter).

When in doubt, ask these questions:

Does this detail reveal character?

Will it matter later in the story?

Does it help readers understand the world?

Is it necessary for visualisation?

Could the scene work without it?

Like all descriptions, clothing is a tool that you can use. Describe clothing when it serves your story and skip it when it doesn’t. The key is to make every detail count, whether you’re describing a ball gown or a worn-out pair of sneakers.

The bottom line is that you must trust your instincts and your readers. They don’t need a detailed inventory of every character’s wardrobe, but they do appreciate thoughtful details that enhance their understanding of your characters and story. When in doubt, less is often more, but make the descriptions you do include count.

#writeblr #writing tips #writing resources #writers #writing community #writers of tumblr #writerblr #writing #creative writing #creative writers #writing inspiration #writing help #writing advice #how to write #writing reference #writer #writers on tumblr #ask novlr

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katuschka · 21 hours ago

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Stargazers

Jake Kiszka x f!reader 1.560 words

/#gvfvalentines2025 – watching the stars/

Disclaimer: This is a work of fiction, intended for adult readers. Any resemblance to real persons is purely coincidental. Also, if you're under 18, go find some other entertainment elsewhere.

Warnings (are spoilers): disappointment, Valentine's dinner gone wrong, tension, tooth-rotting fluff, kissing, tears, descriptions of vast spaces, comfort

“Please, just stop it already. I’m here. We’re here. It’s a date. Could you at least stop making those faces?” Jake downed his glass of wine and huffed through his nose. Now it was him making faces.

I tried, but I couldn’t help it. No matter how much I tried to rationalize it and just enjoy myself, I felt disappointed. And – seeing his annoyed face and seeming lack of understanding – almost miserable. He took me to a fancy restaurant – something which I never insisted on. What I really wanted was to spend the day with him. One whole day. Just once! I made the plans, I bought the tickets! All he had to do was to show up. And he did not.

And thus we ended up eyeing each other sourly over a candlelit dinner. The food was delicious, but we lost our appetite.

“You know, I even took a day off,” I mumbled reproachfully, while trying to murder the caramelized pear with my fork.

Jake leaned back on his chair and started tapping his fingers on the table. Clearly, I was making him uneasy. Well, good…

“I already apologized. It was an emergency meeting.”

“Jake, you’re a rock musician, not a member of a war committee. And the planetarium was much more important than this.” I should have gone alone. If he can prioritize his own obsessions and hobbies, so should I. I had been making compromises all the time.

“I’m sorry, Y/N. I know I screwed up. I tried to leave, but they wouldn’t let me. And you know I’m not really into this kind of stuff.”

By ‘this kind of stuff’ he meant conventional romantic gestures, no doubt. The problem is that I never demanded it in the first place.

My eyes fell on the bouquet of blood red roses that lay on the table on my right. They were pretty, but I could do without them. What’s the point, anyway? What is it supposed to symbolize… to kill a flower? I already mourned how they would inevitably fade under my watch. Jake knew this about me, and therefore I knew it was a last minute, panicked purchase. “But that’s the point Jake. Me neither. I don’t need expensive wine, and I don’t need you to dress up like that… you look fantastic, by the way.” It made him smirk, but he refused to look at me, and my heart sank. I definitely didn’t want to make him feel like nothing was good enough for me. I just wanted him to understand. “All I wanted was to watch the stars with you,” I added mournfully.

The sentimental confession contained in that last sentence was like opening the door to all the feelings I had been trying to suppress all day or maybe even longer. I felt suddenly overwhelmed. “Excuse me, I need to use the bathroom.” I felt the table perhaps too quickly, but I didn’t want him to see me like that, on the verge of tears. I still wasn’t completely sure they were justified, because Jake DID try to make it right. He DID apologize, and made amends. I just still felt that way.

When I came back, composed enough to at least try to save the rest of the evening, I found our table already cleared and him standing next to it. I internally braced myself for another round of this passive-aggressive emotional fight, but he just smiled and offered me his hand.

We drove for nearly an hour, leaving the city far behind, spending the whole time pretty much in silence. It was a pleasant kind of quiet, though. Jake was humming something that sounded a bit like Bowie and I just got lost in my thoughts. It was a clear, cloudless night and the muffled sound of the engine almost lulled me to sleep. I barely noticed that we exited the highway…

“Are we leaving? What is this?”

“It’s a surprise. Just please, come with me.” He simply led me to his car, opened the door for me and soon we were on our way to god know where. I asked him, but he wouldn’t tell me, just mumbled something about Josh ‘mentioning it once and then he remembered’… It didn't make much sense.

Jake suddenly stopped in the middle of some field road pretty much in the middle of nowhere. Confused, I watched him turn off the lights, unfasten his seatbelt and get out of the car. He obviously expected me to do the same, because when I didn’t move, he walked around the vehicle and once again opened the door for me.

“Jake…? You know, if you wanted to get rid of me, you could have just dumped me,” I tried to joke, but I think I must have looked and sounded alarmed, because he took and kissed my hand with a wicked smirk before he motioned to me to follow him outside the car.

“Nothing like that baby, I’m simply fulfilling your wish.”

I understood what he meant the moment I straightened and looked around… or looked up, to be more precise, since there was nothing around to look at anyway. The sight took my breath away. We were far away from the city lights, so light pollution was significantly lower here. There were almost no trees around. Above us only sky, as the wise man once sang.

Have you ever really looked at the night sky? I mean REALLY looked at it, as in trying to understand what you’re actually seeing… I’m pretty much a city girl, so my new and growing fascination with the Universe was based mostly on books and documentaries so far. I had seen the stars before, of course, but that was mostly just a few shiny dots on black nothing. The sea of wonders that was now extending above me took my breath away completely.

All those feelings I had had while learning about planets and supernovas, quasars and different galaxies, it was all multiplied now as I watched the indescribable vastness of space with mixed feelings of awe and happiness and dread…

“Jake…,” I whispered, “this is so beautiful.” My eyes were slowly adjusting to the darkness around us, so when I looked at him, I could make out the outline of his profile, illuminated only by the tiny lights above.

“I knew you’d like it… oh! Wait a minute.” He let go of my hand and disappeared behind the car, only to return a moment later with binoculars and a blanket that he kept folded up under his right arm.

“It’s not much, but better than nothing. I tried it once…,” he tried to explain as he handed me the binoculars. “See the Pleiades there? We can see just seven of them with the naked eye, but try this.”

I did… and gasped. It felt almost like discovering a brand new reality. I must have spent a few whole minutes staring just at that one “tiny” spot.

We were not dressed for an outdoor trip like that and I felt my heels sinking into the half frozen, muddy road. I started shivering too. Jake unbuttoned his coat and wrapped us both in it before he spread out the blanket with one swish of his arm and threw it over us.

I leaned against him and rested my tilted head on his shoulder. It gave Jake an easy access to my exposed neck and he planted a soft kiss on my jugular, making me shiver again.

“It’s funny how many cute names those coincidental star clusters have… Seven Sisters. They’re so far away from one another and yet they truly look so close from here. Some people call them ‘Chickens’, did you know that?”

“No…” was all I managed to whisper back.

“Yeah, I think it’s all about making it less frightening and more familiar. When you name something ‘a flock of chicks’, you can forget that in reality, it’s a huge mass of deadly gasses in an inexplicably vast space… It somehow puts it on the same level with our daily reality, making it less irrelevant and mundane.”

It was exactly how I felt, and he was putting it to words. We were so tiny, so insignificant, and yet he meant EVERYTHING to me, simply because he was Jake. My Jake.

“I think it’s the same with love,” he continued. “Love and hate are complex, abstract ideas, hard to understand sometimes, and often scary. Yet the names we gave them, respectively, make the difference. Pronouncing ‘love’ feels like getting ready for a kiss. But hate? You huff the word through your nose with disgust. We embraced love. We write poems and songs about it, all of it only to disguise the fact that it's a frightening concept...”

“Do I frighten you, Jake?” I asked tentatively.

He kissed my hair and then pressed his lips on my earlobe. “No, not you. You’re real. I can feel your heartbeat. You have a face. And a name. Your mind is a home, and your soul the hearth.”

I didn’t even realize I started crying, not until I could taste the salty tear on my upper lip. Jake held me tight, with his arms wrapped firmly around my shivering body. I was no longer trembling because of the cold. “I love you, too.”

@thewritingbeforesunrise @fleet-of-fiction @writingcold @lvnterninthenight @its-interesting-van-kleep @takenbythemadness @edgingthedarkness @myownparadise96 @gvfstuddedmajesty @jazzyfigz @sanguinebats @josh-iamyour-mama @lyndz2names @wetkleenex-gvf @peaceloveunitygvf @cheersdannyx2 @fleetingjake @lizzys-sunflower @emojakekiszka @gvfmarge @Dayumclarizzel @lipstickitty @clownstarr @gretasfallingsky @musicislove3389 @i-love-gvf @psychedelectable @allof--mylove @sacredsparrow @scarabsinthestardust @ironlotus90 @seenoversundown

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just-my-latest-hyperfixation · 2 hours ago

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Passion and Strength

Written for the February 2025 round of the @steddiemicrofic challenge

Prompt: rose, 367 words

Rated: T

Tags: Canon-divergence; Post s4; Tattoo artist Eddie; First meeting; Scars

Eddie's first thought is that an angel just walked through his door. The guy looks ethereal - all soft fabrics and bright colors against the black and red of Eddie’s tattoo shop.

“Coffee shops's next door,” Eddie says, then winces. Way to look like an asshole.

“Huh?” Large, hazel eyes blink at him. “Oh no, I'm Steve. I called earlier?”

“Oh?” Eddie says intelligently. “Oh, yeah. About the cover-up?”

“Exactly,” Steve nods. “I- ... Look, I'll be honest, I've never gotten a tattoo, but I'm tired of looking at those scars, and I thought- … I'm not even sure you can work with them, they're pretty nasty.”

“I can work with anything,” Eddie claims. It's a bold statement, but Steve’s face lights up with hope. “Show me?”

“What, right now?” Steve says. “Um … okay.”

And then he strips out of his sweater.

Eddie catches a glimpse of a toned chest and bites his tongue. He's a professional. He can't afford to do stupid things like ogle customers or run his fingers through their chest hair to see if it's as soft as it looks.

Then, Steve turns.

“Shit, what happened to you?”

Steve shrugs. The gnarly scar tissue covering his shoulder blades moves with it.

“I was in an earthquake. You know Hawkins?”

Eddie nods. Of course he does. Everyone in the Midwest knows.

“Would have to be one massive tattoo,” he mutters, and this time, he does reach out and touch. “You got any ideas?”

“A baseball bat with nails over my spine.” If Steve catches Eddie’s bewildered look, he ignores it. “And some sort of flowers around it? To symbolize life and growth?”

“Roses,” Eddie mutters. He can see them before his mind's eye, vibrant and beautiful like the man who'll carry them. “For passion and strength.”

Steve turns, and he withdraws his hand.

“Perfect. When can we get started?”

Eddie barks a laugh. “Easy, big boy. I'll need to design something first, and you'll wanna sleep on it. It'll take a long time, and it'll be painful.”

“That's okay,” Steve says. “I like pain.”

Eddie thinks that his professionalism is hanging by a thin thread.

He still tells Steve to come back tomorrow.

Something something, Eddie grew up outside of Hawkins, the UD shit still happened, Steve commissions him to cover up his scars.

#steddie #steve x eddie #steve harrington x eddie munson #steddie fanfic #steddie brainrot #fanfiction writer #fanfiction #fanfic #my writing #steddiemicrofic #hype's microfics #steddiemicroficfebruary

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asthedeathoflight · 2 days ago

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Category five lighting designer moment incoming but I have Still Breathin' thoughts. Still Breathin' is way less anchored to physical space than the others. Like Luther's interludes and the DJ, it's disconnected from the Warriors' physical journey home. However it's too big and physical of a moment to put it on a platform so you need to disconnect the main area of the set from normal space and time. The easiest way to do this is by putting it mostly in the dark.

Call Me Mercy fades out. We're in the dark. We stay in the dark for longer than has been established as the rhythm of the scene changes in this show so far. The audience feels that this scene is More Different than the others have been. Masai flicks open his lighter (real lighter) (dont worry about it fire marshal) and we see just a little bit of his face for a second or two before a dim orange glow picks up the space around him, pretending to be the light from that little flame. He chuckles to himself and says "you lucky you still alive."

This is where we cheat and call in a universally recognized symbol to establish if not /where/ this scene is, then /what/ it is. Big round pool of light directly from overhead, hard focus. This is the Interrogation Room spotlight. The light will bounce off the floor to illuminate the other Riffs standing around the edges of this pool of light (probably in a neat little half-circle formation) but they should never actually step into it because that's Masai's place as leader.

Masai monologues in the pool of light for a minute just to be cool before he gestures for the Riffs to bring Cleon - beat to hell, hands bound behind her back - forward into the light. From here it's very classic stage composition. We start with Masai in the center of the light, holding all the power, asking all the questions. But he falters on "calm down." He leans back a little bit. He's no longer in control of the narrative, he's no longer sure what happened tonight. Cleon takes advantage of that moment of uncertainty and gets right up in his face. Shes asking the questions now, she's the one who knows what happened and what needs to happen next. She forces him backwards little by little with her barrage of questions, with her proof that he doesn't know what he's doing, and he knows he's lost when the Riffs get excited on "you get him" because they've found someone who is promising them justice, who actually seems to be able to deliver.

When Masai asks "what do you do when they kill everything you believe in?" after that, its not rhetorical. He doesn't know. He's standing on the edges now, pacing back and forth like a caged animal, but Cleon doesn't need to move to keep her eyes on him because she's right there in the center and she's got him. His anger and desperation doesn't frighten her. He wears out that last bit of fear and fury and then accepts that he needs to follow her at least for tonight. He says cut her free. One of the Riffs moves forward to untie her. The light goes down.

#at work i always want to do my design work in this much detail and ppl are like youre overthinking it youre getting ahead of urself #pull back have more flexibility #so as a treat to myself you all get to bear witness to my fucking novelizations of scenes as they exist in my mind #warriors musical

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boiling-with-rage · 2 days ago

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PUBLIC SERVICE ANNOUNCEMENT TO THE GRAVITY FALLS FANDOM

ALL OF YOU ARE FUCKING WRONG ABOUT THE DAMN CODES

THIS IS FORDESE. COMMONLY WRONGLY ATTRIBUTED TO ME.

SIXER HIMSELF CLAIMS THE NAME IN HIS JOURNAL. THIS IS THE CLOSEST YOU MORONS HAVE TO AN OFFICIAL NAME. THIS IS FORDESE.

I CAN SEE WHERE THE MISUNDERSTANDING COMES FROM, BUT THE FUCKING “GUIDE TO MYSTERY AND NONSTOP FUN” SHOULDN’T BE REGARDED AS A HIGHER SOURCE THAN THE GODDAMN “AUTHOR OF THE JOURNALS” HIMSELF

THIS ONE’S MINE! THIS IS YOUR SO-CALLED “BILL’S CIPHER”. GREAT NAME BY THE WAY I REALLY DO LOVE IT

THIS IS THE ONLY CODE I ACTUALLY USED IN HIS JOURNAL. ALSO YOUR IDIOCY IS REALLY SHOWING WITH THE “TRANSLATES TO NUMBERS THEN USE A1Z26”. THE NUMBERS ARE THERE TO TELL YOU THE ORDER YOU MORONS

THIS ONE IS CORRECT. THE ONLY CORRECT ONE. THIS IS INDEED FORDSY’S SYMBOL CIPHER! THIS VERSION IS OCCASIONALLY USED IN THE SHOW FOR JOURNAL PAGES AND IS STILL USED TODAY FOR OCCASIONAL MESSAGES THAT ARE MEANT TO BE HARDER TO DECODE. GOOD EXAMPLES INCLUDE THE “LIAR, MONSTER, SNAPPY DRESSER” FROM MY PAGE OF THE JOURNAL AND “AD ASTRA PER ASPERA” FROM FORDSY’S LITTLE NOTE ON THE NOT-WEBSITE.

HOPEFULLY THIS MANAGES TO CLEAR SOME SHIT UP!!! MAYBE YOU BRAINDEAD SACKS OF FLESH WILL GET SOMETHING RIGHT FOR ONCE IN YOUR ENTIRE PATHETIC EXISTENCE NOW THAT I’VE CORRECTED YOU

TLDR: EVERYONE GETS THE DAMN CIPHER NAMES MIXED UP AND IT PISSES ME OFF

#bill cipher #gravity falls #gravity falls bill #gravity falls bill cipher #bill cypher #book of bill #gravity falls stanford #stanford pines #gravity falls codes #cipherspeak

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king571 · 3 days ago

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Arcane Analysis: Season 2 Episode 8

The Symbolism behind the famous Jail Cell and how Jinx, Caitlyn and Vi “break the cycle."

Hi all, this is a long post, so thank you everyone in advance for taking the time to read this. Over the past few weeks, I have seen many well done analyses for the love scene between Caitlyn and Vi. I am not here to break down that again, but I would like to focus on the events that lead up to that and the symbolism behind Silco’s speech and the famous jail cell.

Before I get into my humble analysis, I would like to emphasize that Arcane is an artistic piece of media that constantly makes these bold and unexpected creative decisions to communicate something deeper in its story, whether this is through character designs, their actions, animation, or the music. And symbolism is part of that. It is a storytelling device that connects characters and plot points for us to see a larger theme. Not everything in Arcane is meant to “make sense” to you in the way you expect; it’s meant to “intrigue” you, to push you to ask questions and find the answers yourself. That’s part of the process of analyzing and understanding the media. Therefore, most of the “criticisms” made for this episode do not seem constructive to me, as it destroys the essence of the artistic storytelling of this show by applying some personal logic, morals, and expectations on these characters. The love scene between Caitlyn and Vi did not “come out of nowhere.” It was thought through for the story the writers wanted to tell and well-animated. Whatever you felt about this scene personally simply does not change these facts from the professional media perspective. After that little rambling, let’s get into the real deal:

Recap:

Although I believe the symbolisms that I am going to explore in this post may apply to the other characters of Arcane since they are the main themes of the show, I will solely focus on what they mean to Jinx, Caitlyn, and Vi. Therefore, I will only focus on the set of events that happen around these characters.

Episode 8 kicks off with Vi waking up from her recovery and going straight to Caitlyn to confront her about Jinx. Their argument is centered around their lack of trust in each other, something that they built in season 1 and lost in the following events. Those of you who think Vi does not hold Caitlyn accountable simply need to rewatch, I do not know what to tell you. Vi lets her anger out on Caitlyn in this scene and corners her because of her alliance with Ambessa. She gets a powerful reaction from her: “I KNOW!”.

This delivery portrays Caitlyn’s anger with herself. She continues by explaining that Jinx was the one who surrendered, and Caitlyn didn’t know what to do. She was simply waiting for Vi to recover. These are the footsteps that show her growing willingness to listen and allow Vi to take the lead. Caitlyn’s response calms Vi down, and Vi shares that Jinx has changed. Caitlyn’s reply essentially says that even though Vi might be right, it doesn’t matter. What's done is done: "We can't erase our mistakes, none of us,". She includes herself in this, aware of her own faults. In contrast, Vi responds by asking, “Who decides who gets a second chance?”

This exchange is important because it illustrates their different perspectives on forgiveness. Caitlyn thinks that no matter what they do, they cannot fix their mistakes. Vi, on the other hand, believes in second chances and believes that Jinx has changed. Yes, this is such a Vi thing to believe and say. We leave the scene with Caitlyn contemplating that. Vi’s insistence on seeing the good in people she loves is important for Caitlyn to move forward.

After her conversation with Vi, Caitlyn makes her way down to face another confrontation. At this point, it's important to remember that both Jinx's and Caitlyn’s perspective on each other has shifted after episode 6. Jinx saw how Caitlyn betrayed Ambessa to help save Vander and Vi. Caitlyn saw how Jinx acted around Isha and her family. Their small reunion before the chaos ensued humanized Jinx in Caitlyn’s eyes. This is why instead of taking actions against her, she decides to wait for Vi to recover.

The way Caitlyn and Jinx address each other in this conversation shows that they see each other as equals now ("Both you and I know…") and they are aware of the destructive paths they took (No amount of good deeds can undo our crimes). They are both honest with each other. The scene ends with Caitlyn admitting to the person she has been desperately trying to catch that she hated herself for everything she did, showcasing her vulnerability, remorse, and regret. Jinx replies with the only thing she knows, that she did not know her mother was there when she attacked the council. It was not personal; it was not her intention. It is not a "sorry", but the only thing that she can share with her to make her understand the situation. The zoomed frame on Caitlyn’s ear shows me that Caitlyn does not only hear her but also listens to her with attention. This exchange is not for them to build any kind of relationship, but it is enough for them to let each other go. Caitlyn walks away and starts the process of breaking the cycle for all of them.

Now let’s get to the real stuff.

Jinx and Silco:

There are two important monologues in this season that really summarize the whole concept of Arcane for me. The first one is Viktor’s speech about humanity and human emotions being two sides of the same coin. And the second one will be this scene. Silco reminds us about 'the cycle of violence.' It is so interesting that there is an element of hallucination in this scene but Jinx is not manic or fully psychotic here. In fact, she is more aware than ever, which makes her suicidal thoughts more dangerous and real than ever as well. The speech that Silco gives her is both symbolic to her and symbolic to the viewers. After Caitlyn’s visit, she is stuck in her head about what is next, and it's so normal that her thoughts come to her in the shape of Silco, her adoptive father. The only person that guided her as Jinx and supported her during her path to destruction. Let’s remind ourselves of the conversation and break it down:

Silco: Oh, it's a hell of a place. It says something about the late Marcus that he found imprisoning your sister to be a greater mercy than killing her.

Jinx: Killing isn't mercy.

For Silco, killing and violence were always justified as long as it had a “good” cause and purpose, they were necessary for him. Jinx finally goes against that mindset that says no killing is not a merciful act. Nothing “good” comes out of it.

Silco chuckles: A spark of rebellion still burns inside that husk, I see. No. Killing is a cycle. One that started long before Vander and me. And it will continue long after the two of you.

Jinx: I'm done running in circles.

Just like Caitlyn, Jinx does not have the will or energy to keep contributing to this cycle anymore. Once again in this conversation she is turning her back to it.

We build our own prisons. Bars forged of oaths, codes, commitments. Walls of self-doubt and accepted limitations. We inhabit these cells, these identities, and call them "us." I thought I could break free by eliminating those I deemed my jailors. But... Jinx... I think the cycle only ends when you find the will to walk away.

This is the symbolism that I will be paying attention to later. But for now, let’s look at it for Jinx. Similar to Silco, Jinx’s method of coping with her walls of trauma and self-doubt was unleashing violence on the ones who she deemed as her jailors. Vi, Caitlyn, the topside.. And after all that destruction, she gained nothing from it and all of that violence just contributed to more violence. She finally comes to the realization that in order to make a change, she has to break the cycle and walk away.

Unfortunately, in this state of mind Jinx sees herself and her existence equal to “violence” and “destruction”. I don't think Jinx wants to die particularly, but she has been ready to die this season because she thinks she needs to.. to stop the violence and suffering, to break the cycle. There is a difference between her wanting to die and simply thinking she needs to. It is a very difficult mindset to get out of on your own. That’s why I believe Ekko’s role will be important for her later. I know that it is not confirmed whether she is alive or not at the end of the show, but if she is, this also explains why she fakes her death. She still has a will to live but she wants to remove her existence from Piltover, break the cycle, and also let Vi be happy.

Jinx’s dialogue with Silco ends with Vi’s entrance to the scene. I love Vi, but she has never been good with connecting and understanding Jinx’s mental state (not her fault obviously). Her point about Jinx using all her potential to be good, makes Jinx realize that no matter what she does, Vi will continue to love her and see the “good” in her.

Except.. Jinx does not think there is any good in her, she knows that letting Vi stick with her will only lead her to unhappiness. Knowing that Vi cannot give up on her by herself, she locks her in the cell and tells her explicitly that she deserves to be with Caitlyn. The sisters' dynamic has been shifting this season ever since Vi saw her with Isha. Remember what Vi said to her in the mines: 'Why did you come get me? You actually don’t need my help. You haven’t for a long time.' Vi knows that Jinx is a grown up now and can take care of herself. During their time in Viktor's commute, Vi has started to see Jinx as more like an equal and asked for her input from time to time. Jinx simply knows that Vi would never leave her if she does not lock her up.

Their dynamic flips this season from Vi being the protector of her to Jinx being the protector of Vi and her happiness (as we see and compare the intros of both seasons as well.) And that's change and growth, people. Therefore, anybody saying that Vi should have followed Jinx, they just want to continue Vi’s role as a sacrificial sister and have everything continue to revolve around Jinx. It is a bad faith comment for this story and ruins their character arcs. Jinx does break the cycle here, removes herself from Vi’s life to pave the way for her happiness.

Although this scene between the sisters is important for us viewers, what it really does to Vi is put her back into a spiral. No, she does not know Jinx is going to try to take her life (another bad faith comment), she thinks Jinx left her again, that she made the wrong choice, and now she is going to lose Caitlyn again, too. She deals with her frustration of being trapped again (both mentally and physically) with her punches. And that is the state Caitlyn finds her.

Caitlyn and Vi and the Jail Cell:

Let’s rewind back to understand the symbolism of what Silco said and what that means to our characters.

“ We build our own prisons. Bars forged of oaths, codes, commitments. Walls of self-doubt and accepted limitations. We inhabit these cells, these identities, and call them ‘us.’ ”

So what is Caitlyn’s prison?

We see the cycle of violence taking shape in the context of the two cities, but we also see it in character dynamics with Jinx and Caitlyn. Jinx spent the entirety of season 1 suffering from attacks on her, ended up losing her mom to this violence, and then took a similar path down and contributed to the cycle of violence herself. Caitlyn’s prison is her hate and vengeance. Her identity as a Kiramman, the expectations and responsibilities she carries by that name. Her sense of justice.

How does she break the cycle:

Caitlyn’s will to break free from her entrapment is both Vi and herself. She abandons her strict sense of justice she had built in her mind, choosing to see the bigger picture and her mistakes. She finally finds the strength to forgive Jinx and shifts all the guards to the Hexgates, clearing the path for Vi to free her. Aware that she may never see Vi again, she lets them go. Like Jinx, this is a selfless act, driven by the belief that it is the right thing to do and that it will make Vi happy. In the final episode, I believe Caitlyn stops being the Kiramman that everyone expected her to be and becomes the person she truly wants to be. Caitlyn and Jinx’s breaking the cycle moment mirror each other. While Jinx locks Vi up to stop it, Caitlyn frees her both physically and mentally.

What is Vi’s prison?

It's her responsibility to her family. She is stuck between her loved ones, Jinx and Caitlyn, and failing to choose one over the other. Her self-blame for making the wrong choice all the time. Her lack of self-love and always prioritizing what others need from her.

How does she break the cycle:

Vi breaks the cycle by doing the opposite of what she has been doing and makes a choice for herself. She has had enough. I LOVE how Caitlyn walks into the cell and literally joins her in her spiral, revealing that she let all of this happen because she sees her now, she knows her heart, and accepts her for who she is (“sorry to say, you have grown a bit predictable”). For the first time, someone joins Vi in this fight and stands by her unconditionally. She feels unburdened, free, and encouraged. She is overwhelmed by her emotions that she kisses Caitlyn and decides to be with her. I don't care what everybody else thinks, but this act from Caitlyn and what it means to Vi is much better than a cheap “sorry”. After holding back for such a long time, this is an impulsive “screw this” moment for Vi. She wants to leave the past behind, her imprisonment, and move on. She says it herself with the “I don't f*cking care” line. And Caitlyn, being receptive, gently lets Vi take the lead and have whatever she wants.

Making love in that cell, their joy, happiness, and giggles create a juxtaposition to all the messed up stuff that they had been through and reflect their state of mind. They are rewriting their story. From a psychological perspective, it still makes sense as there are techniques similar to that to work on your traumas. But Arcane is an art piece, the creators are not here to scientifically prove something or break down how to overcome trauma with realistic therapy sessions. They are here to tell us a story, and they are doing exactly that.

This is why this scene shows and symbolizes the culmination of Caitlyn and Vi character arcs. They are coming full circle at the place they met. This scene shows two lovers “breaking free” from their prisons and running to each other. Finally choosing each other although they don't add up on paper. Running away from their personal worlds and commitments to be together. I do not know what is more romantic than that. This is a story that I will cherish forever.

If you have read this far, thanks again. It means a lot. If you have any questions, drop down below. I am happy to discuss it. (Excluding haters and antis, I don't tolerate them anymore.) Also, thanks to my best friend who helped me co-write this. She is a psychologist working in the field. Her specialty is forensic psychology, and her experience really makes her a great source to analyze a complex character like Jinx. A lot of you and your analyses encouraged me to put this out here, so thanks for that too. Arcane means a lot to me, especially season 2. And I will never, ever stop loving or talking about it.

#arcane #caitvi #vi #caitlyn kiramman #vi arcane #arcane caitlyn #piltover's finest #arcane jinx #arcane silco

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lu-is-not-ok · 2 days ago

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Sorry if you've already analyzed this recently but it would be neat if I could possibly get your thoughts about this.

I'm currently trying to theory craft for The Surrendered Witnessing (Canto 8), so I was looking at the Limbus TGS Teaser for more hints. Cuz the background art has been quite accurate so far.

When you look up Hong Lu on Google one of the first pictures you get is that art of him in the white outfit with the dandelion.(Which is also briefly shown on the TGS Teaser) At first I thought he was blowing the dandelion as a symbolism of being carefree and whimsical, similar to how children blow on dandelions to make wishes.

But then I noticed a few things. First, he doesn't necessarily seem happy, or really showcasing any kind of 'whimsy'. Also, the dandelion isn't up to his mouth. It's not positioned in a way where he can blow. It seems more likely that he is watching a common weed blow off in the wind with more freedom than he would ever get while he's with his family. Dandelions in general are also a symbol of hope, which means this could be a representation of him feeling hopeless.

But then, the screen briefly shows a zoomed out version before jumpscaring you with Heathcliff.

At first I thought this was a rebellion with the sheer amount of grey bodies seeming desperate. But then I realized they are reaching. Are they possibly reaching for Hong Lu? Do they just wish to be in his shoes-- desperately wanting just a sliver of his family's influence and wealth? Or is their desperation more focused on the red paper?

Hong Lu also doesn't seem that pleased, the zoomed out version seems way more bored than the zoomed in version.

The dandelion seeds turn into something red. It could be red envelopes used to gift money, but I don't know why Hong Lu or his family would even bother using something so formal on people with such low status. A very unlikely theory is that it could also be related to Hong Lu's previous mention of a 'red passport'. Though I'm just assuming it has significance specifically where Hong Lu's family resides, either something important within his house or something that has to do with how the district works.

Another interesting thing that pops up is a speech bubble. I'm not fluent in any other languages so I had to Google translate it, so it may very likely be wrong, but it says "it's almost like filming a play". I don't have a clue if that has been a previous line from Hong Lu, but the outline is in Hong Lu's color. So maybe he's referencing an event after the sinners return to his residence.

The other thing to note is the positioning of this picture directly over the dandelion picture. The only other person that really has that happen in the teaser is Sinclair, but that is because the Sinclair images happen within the same cutscene in-game. I have zero clue if the positioning in the video is that purposeful to make an entire theory on it, but I think the lineup is interesting. The image used is from The Unloving.

The last glimpse I'll talk about is the lil angy/displeased Hong Lu.

That looks like Outis' hand grabbing him by the shirt. I was trying to find any other pictures of sinners grabbing each other by the shirt-- but the only shirt threatening content we've gotten are both in The Unconfronting. One by Virgillius (not a sinner) and one by Don Quixote.

So my assumption is that this displeased Hong Lu could either happen during The Nocturnal Sleeping or The Surrendered Witnessing. Likely The Surrendered Witnessing because no intervallo art seems to have been out in the teaser. (All of the characters that already have cantos have art in the TGS that doesn't surpass their focus cantos, though that also could be due to Project Moon not wanting to spoil too much from the initial 3 release cantos)

Anyways! That's my thoughts! I kinda wanna hear yours if possible, no pressure though. :3

(Also, sorry if the formatting is weird I have zero clue how Tumblr's ask formatting works)

Oh boy that's a lot. Ok. Let's see how I wanna get into this.

Let's start with the bits I know I can explain for sure.

First, the dialogue lines. Last time I checked, every single dialogue line shown in the TGS teaser comes from the first three Cantos. Which, if you think about it, makes sense, as those were likely the only Cantos actually fully written by that point.

The line you pointed out specifically comes from Canto 2, it being the second half of this dialogue line that happens after the Sinners beat the Tingtang Gang.

I think its purpose in the teaser is mainly to reinforce the idea that Hong Lu's understanding of reality is very strange compared to other people in the City, him comparing whatever's happening to something as benign as a movie set.

You could probably also make a case for it being used to highlight the theme of the blurred line between Fiction and Reality, what with him comparing a Real situation to that of a Fictional scene one would be filming for a movie.

Second. The angry Hong Lu CG.

I've already discussed that CG at length in this post, but to summarize: this is a scrapped Canto 1 CG, from what I believe to be the original version of the scene where Yuri reveals her backstory, which in the original draft took place outside of the dungeon with all of the Sinners around and thus available to respond. The person grabbing onto Hong Lu's shirt is Gregor, and the reason his skin looks like that in the video is because of the heavy color overlay effects over the teaser itself. I included the clearest picture we have of the full CG in the post I mentioned.

We don't know whether this CG was scrapped before or after the TGS Teaser was made, so it's much harder to ascertain the purpose behind its inclusion here. Regardless of which it is though, it's clear that Project Moon deemed it important to show Hong Lu's capacity for anger in such an early teaser, meaning it was something they were focusing on as a point for his character even back then.

Now. Onto the things I get to actually speculate about.

Let's just first establish this - we have no way of knowing how similar Canto 8 will be to what Project Moon may have initially planned it to be. I'm not one of those people who claims that PM are serial retconners, but I'm also realistic in that I doubt they have more prepared future Cantos than maybe some rough outlines at most. As such, the scene shown in the TGS Teaser might not end up being framed in the exact same way as it was initially planned to be.

This is especially important to note as Vellmori CGs, aka the ones shown in the Teaser itself, are not being used beyond the ones already in the game. We can tell from Canto 6 and 7 that there's no guarantee that we'll get any exactly equivalent CGs from the current artist either. After all, we did get two whole scenes of a Heathcliff arriving to Cathy's funeral, but neither was framed in any way similar to the teased CG.

Here's some of my own observations though.

First - according to recollections from multiple DOTRC readers, the outfit Hong Lu is wearing in both CGs might be a reference to the mourning robes Baoyu wears after Daiyu's death. Considering how sensitive Hong Lu is about things that seem to remind him of an event that is very likely Limbus's equivalent of Daiyu's death (as I discuss in this post), it's likely that Canto 8 will put a notable amount of focus on that event and its aftermath.

Second - in higher quality versions of that first CG, it's possible to see that the shadow cast by the dandelion is a different color to the rest of the shadows being cast - it's notably more red in hue.

This could be another nod to Daiyu, as their Land of Illusion counterpart was the Crimson Pearl Flower. I think you're onto something here with Hong Lu not actively blowing at the dandelion, but rather merely watching it blow away in the wind by itself. It could be a representation of how fragile Daiyu's life ended up being, swept away as if by a gust of wind.

It makes me think of the Flower Burial Song from DOTRC (as do many things around Hong Lu in all fairness), which in itself also represents Daiyu's own mortality. Flowers fall, people perish, and neither of them know.

Third - A few notes about that second CG.

For one, I don't believe that the dandelion seeds are being turned into the red papers (for a lack of a more specific term to call them). You can see that the seeds are actually floating Among the papers, implying they're both falling at the same time rather than one turning into the other.

For two, while it's a bit hard to see in the particular screenshot you took, you can see that Hong Lu has his other arm thrust forward, while still holding the dandelion with the one he held it in the previous CG. This I believe implies he's not just watching the people below, but is actively throwing whatever the red papers are down towards them.

Now.

Here's my own unhinged theory as to what those (now unused) Canto 8 CGs might be showing.

Obviously, I already made it clear that I believe this is taking place after Daiyu's death ,what with both Hong Lu's robes and flower symbolism.

However, I believe the specific event that is happening here is Hong Lu creating a distraction for his Family so that he can escape.

I've made it no secret that I believe Hong Lu is in fact a runaway, and that the "sent out to experience the world" thing he mentions as his reason for leaving his home is in fact a blatant lie. After all, if it were true, why would his Family be searching for him? Why would they want to prematurely cut him off from experiencing more of the world? Add the Lasso Hong Lu corrosion voice line to this, where he's clearly acting out what his Family might sound like once they catch up to him, and you can see why I think this might be the case.

It's also not that hard to imagine why Daiyu's death would be the catalyst to Hong Lu deciding to take a chance and attempt an escape. Daiyu's death has been implied to be an event that not only deeply hurt him, but is also alluded to being the one thing capable of rousing Hong Lu's anger enough to actually lash out. If there was one thing that could make the otherwise docile and obedient Hong Lu act out in such a way, it would be crossing a certain line he believed should never be crossed.

What I believe we're seeing is Hong Lu drawing a group of desperate people towards a likely otherwise very secure household (if his musings about defense systems in Canto 6 are anything to go by). Perhaps, the things he's giving out are specifically invitations, as in Canto 6 Hong Lu mentions (in a way that almost feels like he's speaking from experience mind you) that having an invitation protects one from a mansion's security measures.

So, by "inviting" in as many disruptive people as he can, Hong Lu could be creating the perfect distraction for the Jia Family to deal with while he himself assumedly slips away unnoticed.

At least, that's my theory.

Hope this helps, or is in any way coherent WHEEZE.

#ask #pennpenn #lu speaketh #limbus company #hong lu #hong lu lcb #lcb speculation #i'm so sorry for all the long posts except i'm not #i fucking love yapping

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butchisrevolution · 2 days ago

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dolly dog man readthrough #8

grime and punishment

THERE'S SOME INSANE SYMBOLISM IN THIS ONE

also yes i skipped a readthrough and yes it is in my drafts, im publishing it later bc i had problems with the image files

this is a metaphor for life and having the autonomy to choose your own path and this is probably gonna be the theme for the rest of the book

im guessing

all of grampa's experiences with others in life have been transactional, likely since childhood, to the point that he is unable to see others in any way other than a means to an end

while his son, petey, fits an NPD diagnosis almost exactly, grampa seems to fit an ASPD diagnosis almost exactly.

anddd

andddd

this is the most open he has been about his feelings. and its in an altered state

this is a metaphor for people who avoid therapy and medication, instead opting into dependence on recreational drugs to regulate and process their emotions

petey hangs onto the hate towards his father because it's the only thing he has left with him in relation to his father. giving up the hate would mean giving up his father, and deep down he still just wants to be loved, so he settles for what he's given

being a witness to abuse is really hard, especially when you're trying to explain it to someone who wasn't around to see it, someone younger. you want to protect them from the harsh knowledge, but you want them to understand your pain. it's even harder when you have to watch your other parent simply take it, settle with the abuse, because they feel like there's no escape. it makes you lose hope and really shapes your expectations for what life will look like for the worse.

OH FUCK. SHIT

side note: the composition of these frames is really nice... in the second frame, his son's speech bubble comes from behind him, as if it's sneaking up on him. the sizzling of the pan goes off the page to the right, continuing as his son talks, but it abruptly stops once he finishes the sentence. it literally shows the room going quiet.

in the last frame, petey is super far behind him. there's a divide between him. it's as if li'l petey is fading into the background and an invisible barrier, petey's memories, is brought to the foreground. a divide between them, really showing how different their experiences of life are.

i also appreciate how the color changes of the background went through these panels, starting a deep angry color, fading to a more neutral, some tension with the yellow, and then desaturating as the question is asked.

silhouette comes in clutch every time. this entire scene is genuinely a cinematic masterpiece

i appreciate that they took the time to show that even when there's tension between them he still makes sure to take care of li'l petey

sickening page

this was created so beautifully.

the third panel is absolutely stunning, the symbolism managed in the imagery in such a simplistic comic is incredible. the bottled weeds from earlier in the book on the counter, the weeds that li'l petey specifically referred to as dying, which ended up symbolizing resistance in struggle... in this scene, it means both of those things at the same time. there's a duality.

also, the buds of the weeds being white i assume symbolizes grief and loss. outside, it's dark, the world is a dark place, but they've made a loving home together, which is why the walls are still multicolored. petey is struggling with issues from the past, but this time he's not alone and he can't give up. it's a lot of mixed feelings, just like the mixed colors on the wall.

he has a point, the little anarchist has a point

ACAB chief my beloved

he just does it for the fun of the game

i feel like im witnessing a Socratic seminar in comic form

to hate or not to hate

or smth

YEAH TELL EM LI'L PETEY SET THOSE BOUNDARIES

bro needs to stop parentifying his child !!

I KNEW THAT WAS GONNA COME BACK.

shitt bro...

let go of your baggage or it will only weigh you down

also i rlly liked the artistic decision to make petey's outline glow more when hugging his son so cute

fun fact this is actually a DBT crisis skill called "Pushing Away"

when there's nothing else you can do to make a situation better, you're allowed to give yourself the benefit of retiring from it. you're not required to stick it out for every problem in your life. you are allowed to have peace of mind

and now grampa has no choice to accept the situation for how it is. it's settled and boundaries are set. he can't wriggle out of them. it was a direct, neutral statement with no judgement. when you're in the wrong, sometimes that's the hardest thing to sit with. if someone tells you something you did with no judgement and you feel ashamed because of it, you can't blame it on the way they said it, you can only blame it on what you did.

PERFECT DBT SKILLS. PERFECT BOUNDARIES SETTING.

yeah this is essentially what people are saying when they try to make you explain your boundaries

if you fight enough with someone they may forget their footing and adjust their boundaries, but you don't have to fight, you don't have to explain your boundaries, you can just set them and leave it.

real shit bro real shit

IM FUCKING TWEAKING HOLY SHIT

that bottle again,,,,

after years of struggle he lets his inner child finally feel and see. he travelled his path and now he's ready to share his resilience with the rest of the people in his life, ready to reconnect in a new way, instead of hiding his resilience in private, ashamed, as if it's a show of weakness. he's learnt the strength of being open

YOU CAN COLOR IT ANY WAY YOU WANT......

FIEND! FIEND! FIEND! FIEND!

so THISSS is the sauce they put in this book...

EACH BOOK KEEPS GETTING BETTER AND ALSO MORE HEARTBREAKING

IM GONNA GENUINELY START TWEAKING

DAV PILKEY WHAT ARE YOU

#dogman comic #dog man comics #dogman #dog man #media analysis #literary analysis #art analysis

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noihavenosanitythanksforasking · 3 days ago

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so this is based on my ramble in the byler discord but im gonna try and compress it into something readable n shit

So in the recent panel with my king Finn Wolfhard, my boy dropped a hint. A very important hint.

"The differences? Mike's a lot more brave than me. I don't think I'd be out there in a different dimension trying to save my friend and be in gunfights and stuff like that. Yeah he's way more brave than I could ever be."

A different dimension??

So Mike is going to the UD in S5. Im very unsurprised and im sure you are as well but lets fuckin talk about it bc holy fuck.

So I know this is the byler community but listen to me when i say, hold my hand and look me in the eyes when i say, I highly doubt that this friend Finn is talking about is Will. ESPECIALLY if byler is canon. Finn is very media trained and you can read legit anything he has ever said about the show and know how good he is about keeping secrets. If this friend was will we wouldn't have mentioned it. It's too close to the danger zone. He would have said something like 'i dont think i'd be out there fighting monsters and risking my life' or something like that. Which is much more vague and can apply to all seasons.

My theory is that this friend is max. CALL ME CRAZY. it could be anyone and I dont have exact reasoning on why its Max other than the fact that shes the only friend actively in danger rn and i adore madwheeler friendship with my heart and soul. But imo its def not Will and its not El.

Now if you go through the main characters there are only (if my memory is correct) 3 characters who havent been to the UD yet.

Lucas, Jonathan and Mike.

Other Characters:

El- Season 1 during the school battle (possibly sooner in the lab idk)

Will- all of s1 duh

dustin- season 4 with eddie

max - season 4 when she was vecna'd

nancy- season 1 in the forest or in s4 with robin and steve to kill vecna

steve- watergate and with nancy and robin

robin - season 4 with nancy and steve

hopper- im p sure hes been more than once but season 1 to find will

joyce- same thing i think shes been more than once but to find will in s1

So Lucas, Jonathan and Mike.

What do these 3 characters all have in common.

They are all a part of one of the main relationships that had issues in season 4. And what are these problems? Lets assess.

Jonathan is stressed because he doesnt want to go to the same school as nancy. He wants to tell her but he knows that she'll give up what she wants to be with him. He doesnt want to hold her back. Nancy feels shut out and afraid that Jonathan doesnt love her anymore. She wants to be together but she doesnt want to put Jonathan in a situation where he has to choose something over something else. They are having issues communicating.

Lucas is stressed about max because he wants to be there for her. Max is shutting him out due to the fact that she feels unworthy of his love or because she is scared of getting hurt and attached to someone. Lucas is hurt because he feels max doesn't trust him. They are having issues communicating.

Mike is stressed about about two people. El and Will. And for this brief moment we're going to look at this in a non byler pov. Mike is stressed about El because he doesn't know what she wants. He wants them to be happy but they aren't and he's not sure how to fix that. He also doesnt ask. Communication issue. Mike is stressed about Will because they aren't talking the way they used too. They dont tell each other anything anymore. They've drifted and Mike doesn't know what's going on anymore. Communication issue.

Interesting.

Thoughout the series the UD has been used as a symbol of all the hard things. Depending on what theories you believe (*cough* lonnie *cough*) this can have more or less meaning but lets assess how going to the UD has affected two of these relationships so far.

Jancy-

Jancy in season one was very tense. they were not friends for a good part of the season. They had constant issues with each other and fought a lot. Then barb goes missing. Will goes missing. They go to the forest in an attempt to figure it out. And Nancy ends up in the UD. Her going into the UD and making it out alive is the catalyst for her and Jonathan to get past their differences, to see each other for who they are and to put their pride aside enough to work together and appreciate the other as a fellow person.

Lumax-

Lumax had a lot of issues with communication and not being able to understand each other in the beginning of s4. They couldn't see eye to eye no matter what lucas did and max was very shut out. Then Max get's vecna'd and comes back. And then lumax finds the strength to communicate for the first time in the season, to see where the other is coming from and allow the other to be there for them.

So what does this mean for Mike. Well, both nancy and max had something that they we're struggling to overcome. A fear that they couldn't escape. Nancy's was barb and Max's was billy. Jonathan and lucas both have something they are afraid to express. Jonathan's is that he wants something diff than nancy and Lucas is that he wants to be there for her but doesnt want to intrude. All of these characters were pushed to solving these issues because of the Upside down (well jancy's recent issue hasn't been solved yet but ykwim).

Mike is going to go to the UD. Which is going to push him into a state of giving in on holding back his feelings. He's going to have to overcome something

El wants to be together, to be happy.

Will is afraid of his feelings, afraid of letting himself want what he wants and being hurt. He feels unworthy of love.

And Mike doesnt want what El wants. Mike loves Will but he is afraid of intruding.

So anyways thats why mike going to the UD means internalized homophobia thanks for coming to my ted talk i'd love to hear yalls ideas :D

#byler #stranger things #stranger things 5 #st5 #stranger things 5 speculation #st5 speculation #st5 theory #finn wolfhard

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