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topazadine · 4 months ago

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Avoiding therapy speak in writing

I think we all know by now that therapy speak is irritating and unrealistic, especially if you are writing in a fantasy world that doesn't even have modern psychology.

Part of the reason that it is so annoying is that it is the definition of telling instead of showing: characters are just plainly informing us of their feelings rather than making us work for a better understanding. It's cheap and boring. Instead of making your characters seem like complex individuals with their own hangups and difficulties, they seem like plot points programmed to tell us things.

But obviously, you want to put these people in situations and have them talk about it! How do you do that without sounding maudlin? Here are some options.

Listen to real arguments/conversations

I cannot stress enough how important it is to listen to how actual real human beings talk to each other during heightened emotional states. They don't have to be nasty abusers, and they don't have to be perfect angels, just everyday people doing their normal thing.

Of course, I'd hope you're not seeing people argue all the time, but if you do happen to see it, listen carefully and notice how people actually address their problems. Think back to tough conversations that you have had, even if you wouldn't classify them as arguments. Consider how people acted and reacted to one another. Notice how normal humans talk about issues outside of therapy, even intelligent and emotionally evolved people.

I've had years of therapy, and even I do not talk in therapy ways about my issues when I'm talking to my family or friends. It just feels cheesy and fake outside of that particular setting - plus, it freaks other people out and can seem kind of manipulative. Try talking like that in a real conversation and see how uncomfortable it is. You'll understand why avoiding therapy speak is important.

Consider the character's own hangups

Just as everyone has their own unique speaking style and mindset, so do we all have our own argument styles. These are often informed by our pasts and upbringing; they are as varied as our own histories. However, there are a few different options.

Someone with a happy upbringing may be more assertive and willing to address their problems because they had that demonstrated to them as children.

A spoiled child will grow up to be a demanding adult who refuses to give any quarter.

Those who got yelled at a lot as children may shut down and fawn to avoid getting hurt.

Someone who grew up in a violent household may mimic that behavior and get incredibly aggressive when upset.

Individuals whose parents didn't teach them emotional regulation will lash out and get loud.

Manipulative people may stay very calm and gaslight the other person, or they may get hysterical to garner sympathy and make people focus on comforting them.

Someone who has gone to therapy may revert to their original argument style, or they may imperfectly apply what they have learned in a way that feels a bit unnatural. They may start out with rage, then force themselves to calm down through grounding techniques.

People who have been coached through previous emotional outbursts could demand a time out, then fail to actually calm themselves down.

Some may refuse to acknowledge they are upset and insist, in increasingly forceful terms, that they are fine.

Others may get quiet or crack a joke to ease the tension, but it doesn't really help.

Keep each confrontation short

IRL, emotional confrontations are generally not that long. They don't go on for hours and hours, though it can feel that way. No one is going on and on about their feelings and sharing every little detail of how they feel (at least not that I know of personally, maybe other people are different).

Even the worst arguments I have had, the real nexus of the argument was maybe an hour or two, though the fallout lasted much longer. I'd say there was an hour maximum of real, active confrontation, preceded or followed by hours/days/weeks of simmering frustration.

Why? Because arguments are exhausting. You don't have the energy for that in the heat of the moment. Yes, feuds and fights can last years, but each actual confrontation is short.

For longer, more serious issues, hash it out over a few sessions rather than all at once. It's rare to get everything out of the way immediately unless the characters already have a strong, loving relationship.

Show incongruencies

Especially for more reserved people, they will likely have their emotions leaking all over the place but won't actually say anything. As such, focus on body language while keeping the conversation more focused on the plot. For example, Character A might be crying but still trying to argue their point about whatever is going on.

Address physical complaints instead of emotional ones

In many cases, people will use "I'm tired" or "I didn't sleep well" or "I'm not feeling great" as shorthand for whatever is actually bothering them. It relieves pressure by not making them talk about upsetting matters while still addressing their discomfort in some form.

You should also consider the fact that some people can't connect physical sensations to feelings, so they may genuinely feel ill and not really understand why. This is especially common in people who can't emotionally regulate or have been through trauma.

For myself, I tend to somatize my feelings, so I might not feel upset, but I will feel physically sick. My stomach will hurt, my chest will get tight, or I'll get a headache, but my emotional state will seem calm. This isn't all that unusual, and many people experience this to different degrees.

As such, you can have your character say that their stomach hurts, or that they have a headache and can't discuss this anymore, or that they need to go lie down because they're dizzy. If we know they're relatively healthy, this can be a clue that they're getting overwhelmed but either cannot pinpoint their emotions or don't want to discuss them.

Let characters advance and retreat

A lot of the time, someone will address a scary emotion and then retreat again, sometimes over a period of hours, days, or even weeks. This is normal: most of us don't have the emotional fortitude to forge ahead through something difficult all in one go. Character A may say something vulnerable, then change the topic, laugh it off, say they're done discussing it, or even leave the situation.

Leave emotions partially unaddressed

Again, it's rare for someone to spill out everything they're feeling all in one go. As such, have Character A address the most important thing - or the least important, depending on their level of emotional maturity - and let it be done for then.

They might say their small piece, but when someone tries to probe deeper, they don't have an answer, or they get "stuck" on that one emotional level and cannot go further.

If Character B keeps pushing, then they may get incredibly upset and push back, or retreat.

Have Character B point out the feelings

Works especially well if the other character is a close companion or a parental figure. Often, people who know us really well will have better insight into our emotions than we do. Or, we might have good insight into our emotions but are still too afraid to open up. Having Character B point out the issue gives Character A grace to be more honest.

I can't tell you how many times I've been really upset, so I've distracted from the issue by getting angry about something completely different. Then, my mom will gently point out that I'm not actually crying about my new plastic cup being broken or whatever; I'm actually upset about XYZ. In that moment, I realize I've been caught out and admit that yes, that's what I'm really upset about.

Have Character A address it with a third character

Who among us hasn't gone to someone else to talk about our feelings? Having a third party serve as a sounding board is normal. Sometimes, Character A will feel such catharsis from this conversation that they don't address it as thoroughly with Character B.

Of course, you can use this to your advantage and create more tension if the third character gives bad advice or is biased.

Remember that just because the third party responded well does not mean that Character B does. You also have to avoid omniscience and remember that Character B wasn't privy to that conversation.

Have one confrontation be a stand-in for a larger one

I always think about the "The Iranian Yogurt Is Not the Issue" post when I think about this. Often times, things like not doing the dishes or whatever aren't actually the big deal: it's lack of boundaries, communication, or respect. A minor argument can be shorthand for a larger one that is too challenging for the characters to tackle.

This isn't just creating drama for the hell of it, though; it's about exploring the larger issues without making the characters lay it out on the table. A good reader will be able to see it's not about the Iranian Yogurt as long as you set up the relationship well.

Currently, I am writing a story where Uileac and his sister Cerie go to rescue Uileac's husband, Orrinir. On the way there, Uileac idly comments on how he wonders where a waterfall comes from because he's trying to distract himself from thinking about the fact that his husband is kidnapped and possibly dead.

Cerie, being pretty wound up too, starts arguing with him about it because she's like "why is this relevant? We're kind of too busy to think about geology right now!" Uileac gets annoyed at her for being so aggro, and she gets annoyed at him for being so irreverent. Both of them are upset about something completely different, but they're too scared and panicked to actually address that, so they release their frustrations by complaining about waterfalls.

Those bad vibes have to go somewhere, but neither of them are very good at talking about their feelings (though very good at stuffing them down). As such, they take the pressure off by sniping at one another. You've probably done this too, when you get into a dumb argument about something absolutely pointless because there's something you don't feel strong enough to discuss.

There's also the fact that if you're mad at someone about something but feel it's too stupid or petty to discuss, that frustration will leak out and everything else they do will annoy you, leading to a bunch of irrelevant arguments.

Use "reaffirmation" gestures

I talked about this in a different post, but after an argument, the "make up" stage doesn't always involve going "ohhh I forgive you" and big hugs and kisses, especially when the two characters aren't emotionally mature.

Instead, Character A makes gestures that reaffirm the relationship. This could be offering to do something Character B needs, making plans for later, or changing the topic to discuss something the other character cares about ("how are your cats doing?") etc.

Note that these "reaffirmation" gestures aren't the same as the cycle of abuse. This is more when two characters have had a difficult emotional conversation but aren't really sure how to continue being emotionally open, so they revert to something safer that still shows they care. They're not over-the-top gestures either, but more a special attention to something the other person loves. Knowing what the other person loves also demonstrates the depth of their relationship.

As always, I can't tell you what to do with your writing.

You are the crafter of your own story, and if you want people to talk like therapists for whatever reason, that's your choice. However, we want characters to feel like real people, and most real people don't lay it all out on the table every single time they're upset. If they do, they might be trauma vomiting, which is icky in and of itself.

Healthy communication isn't always perfect communication. People can have strong, loving relationships and still get things wrong - we're human. Having people calmly and rationally and easily talk about their feelings every single time is not only kind of boring, but it also feels weird, because unless we're primed to discuss those difficult topics and know we're perfectly safe, we're not going to do that.

People don't even do that in therapy, where they are paying for the service of talking about their feelings! Therapists also don't always do that IRL!

We're humans, and your characters need to feel like humans as well. That means letting them be imperfect communicators and using context clues rather than making them do all the work for the reader.

If you liked my advice, consider purchasing my book, 9 Years Yearning, for $3!

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plutoswritingplanet · 1 year ago

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could you do a request of Buggy (opla) falling for Luffy’s older sister? (Adopted or blood relation, doesn’t matter) like he takes her hostage but she doesn’t seem to mind. She know she can escape at any time, but keep annoying buggy to a point where… he doesn’t see her as a hostage anymore, more like treasure? And she starts to maybe feel something for the clown?

You Started It (Buggy The Clown x Reader)

a/n: how did i know the first request will be about the clown lmao. i took some liberties when writing this but i hope you still like it <3

Warnings: Buggy Being Kind Of An Asshole, Captivity, Some Suggestive Themes

Summary: Poking the bear isn't the wisest things you could be doing in your particular situation.

Part 2.

You've memorized every nook and cranny of your shoes. The time you've spent in containment has really opened your eyes, when it comes to how little you actually knew about the clothes you were wearing. For example, your right shoe was slightly bigger, molded by your foot. You must be putting more weight onto your right leg, when standing. The hem of your shorts is made with a very close cross stitch, making them slightly sturdier and thicker. Right where the material folds, just above your knee, you've managed to pick out a small hole, the strings of abused material hung sadly and tickled your skin.

There wasn't really much to do, while being kept in a cage, in the backstage of a circus which belonged to the infamous Buggy the Clown. Well, except studying the stains on your shoes and waiting for the Captain to visit you, which he did quite frequently.

"Entertainment purposes" is the reason he declared, when you've asked him why on earth is he keeping you locked up in a hanging cage. But you weren't so easily fooled. You knew from the start, that the role he has envisioned for you to play, was that of a Hostage and Bait. So, inevitably, when your younger brother and his merry band of misfits come to save you, he'd be able to even out the score. Which was a shitty plan, in your opinion.

They've kicked his ass before, they can do it once again.

So, that's why you're here, feet dangling above the floor, as you hum to yourself. Anything to pass the time. That is, until you hear the door to the backstage open, and a familiar tone of voice calls out.

"Hostage!"

Really, how did he even expect you to stay in the dark about his plan, while calling you like this? The man was clearly insane.

Buggy the Clown stands before you, makeup disheveled as always, with his Captain's hat abandoned in favor of a striped bandana. He's excited, which is evident, by the way he can't seem to stop moving, jumping from one leg to the other, hands fidgeting at his sides.

"How are you feeling, my dear Hostage?" he asks with fake concern, and just as your mouth opens to answer, he interrupts "Ah, never mind that, I don't care."

You don't even try to hide the annoyed expression on your face.

"You can sing" he states matter-of-factly, pointing a finger right at you.

"Barely."

"Can you dance though?"

"Barely as well."

He hums in thought, pacing the floor in front of your cage. Finally, he stops, looking at you with his head tilted to the side. His eyes rake over your body, and it brings a sudden wave of discomfort to your bones.

"You'll be performing in our next act."

Again, his tone leaves no space for an argument. Still, you were never an agreeable person, smiles were more of your brother's thing. So, you straighten out as much as the cage allows you and cross your arms in front of your chest.

"Do whatever you like, my brother will get me out of here before you can say Welcome to my big show".

"Welcome to my big show" he says immediately, then, raises his finger, as if he's waiting for the entire crew of Strawhats to fall from the sky.

They don't, obviously, and he gives you a pointed look, to which you respond with a roll of your eyes.

"Besides" he turns around and opens one of the chests laid out on the table "Aren't you a bit old to dote on your younger brother so much?"

The question genuinely offends you, and as he pulls out another bandana, this one red, covered entirely with big white polka dots, your eyes glimmer with venom.

"Aren't you a bit old to play dress up?"

He turns in a blink of an eye, and with terror mixed with disgust you watch his hands detach from his body, slamming into the cage. The force of impact sends it flying right into the nearby wall, the back of your head smacks against the metal bars. The swinging of the cage coupled with the stars erupting before your eyelids from the impact make you feel dizzy.

Then, Buggy takes a step towards the cage, connecting his hands with the rest of his body, and your prison stops swinging in an instant.

"I should kill you for that" he says lowly, his blue eyes bearing into your face.

"You started it" you choke out an accusation, trying very hard not to vomit.

He stays completely quiet, just watching you for a long while, his hands slowly loose tension. Then, as if his rage has entirely dissolved, he smiles, teeth completely exposed, as his cheeks crease. God, you'd do such a better job at his make-up, given the chance.

"You're funny, Hostage" he shakes his head, and suddenly, for some unknown reason, it downs upon you, just how close to you, he's standing.

"Sing for me some more" he says.

And then, his hands push back with sufficient force to send your cage flying again. You groan at the movement, another wave of nausea almost making you loose your breakfast. When you finally have the perfect, biting comeback, he's already gone, the door slamming after him. You're alone again.

A sigh escapes your lips, as you press your forehead to the cold metal of the cage. You've already memorized all the details of your own clothes, and the room was too dark to see anything more. So, you start observing the cage. The way the light shifts up and down on the bars, the way the brown paint seems to peel away under your thighs. Then, you look up, towards the place where all the bars have been stuck together.

And then your eyebrows furrow. Because just above the ceiling of the cage, you can see something poking out. Something roughly the size of a fist and colored a pale, fleshy color. You raise yourself slightly in your seat, to get a better look, and immediately regret doing so.

It's an ear. His ear. Detached and placed right on top of the cage. That's how he knows about your singing, the bastard.

An idea brews in your brain, mischief spilling out of your growing smirk. You pull yourself up, until you can reach the top of the cage. Your arm is just slender enough to slip past the bars, and your fingers brush against the cold flesh of the ear. Before Buggy, wherever he is, can react, you snatch the ear from the top of the cage, keeping a tight grip, as it starts to jump in your hand.

Then, you take a deep breath, place the ear close to your lips… And give the most blood-curling, shrill scream you could muster.

Immediately, you hear a string of curses coming your way, and a second later Buggy bursts into the room, a murderous expression on his face. You open your hand, and the ear nearly bursts out of your fingers, flying back to it's owner like some sort of deformed beetle. The sight, for some reason, is so incredibly funny, you can't help but choke out a little giggle. Which soon becomes a quite big giggle, which in turn morphs into a full blown laughter.

You can't see the Captain through the tears of laughter forming in your eyes, so when he knocks on the metal bars of your cage, you nearly choke from surprise. He's looking at you strangely. Not quite as angry as before, but there is something else lurking behind his eyes. As if he's enveloped deeply in his thoughts, but at the same time completely present and focused on you. Your laughter dies down in an instantly, and you reach up to wipe your tears, clearing your throat awkwardly.

"I've captured myself a comedian, huh?" the man leans closer to the bars of the cage, placing his forehead against them and looking at you from below "You trying to take my place as the funniest person in the circus? Hm, Hostage?"

You risk a smirk, leaning down towards him. He watches your movements with a curious expression, eyes darting all over your face.

"Yeah" you whisper "So, you better watch your back."

At that, he smiles one of his brilliantly wide smiles. This one however, seems the most honest out of every one you've seen up to this point. You try not to linger too much at the way his eyes seem to shine in the dimly lit room. Or how the stubble on his face makes his features sharper. Or even on the way his arms flex as he leans against the cage. And definitely, without a shadow of a doubt, you're not focusing on the fact, that he's standing nestled right between your dangling legs.

So, before your brain conjures up any unwanted ideas, you clear your throat again and straighten up. Buggy notices the shift in your posture, but doesn't move, instead it seems as if a lightbulb has literally appeared beside his head. Desperate to change the subject, which hasn't been even brought up yet, you wave your hand in the general direction of his ear.

"Your ability is pretty useful" you try to sound as neutral, as humanly possible.

"Oh?" he tilts his head back and gives you a suspicious look.

"Yeah, that eavesdropping thing was really cool… And slightly disgusting" your nose scrunches "But mostly cool."

He hums low in his throat, his hands slowly letting go of your cage. Still, he remains standing between your legs, your knee brushing against his prominent hip bones.

"Are there" you swallow "Any limits to this ability?"

Now, his eyebrows jump straight under his bandana, and you definitely do not like the slow smirk filling his features.

"I mean, like, can you detach your nose? Or um… I don't know, your fingernails?"

Finally he steps back, stretching his arms to the side, as if he's giving you a show, and in a way, he does. There are muscles, hidden under those circus clothes. His exposed forearms are nicely shaped, with thick veins running the length of them. You really don't mean to ogle the man, but fuck, he is handsome. In an "insane-sadistic-clown-who-is-also-a-pirate-for-some-reason" way.

"I can detach every single part of my body with no effort" he says, his smile growing.

Before you could really think about your actions, your gaze falls downward, right to his belt keeping his trousers up. Mortified, that your brain would even go there, you tear your eyes up, and with a horrified expression, look upon a face full of excitement.

Then, Buggy raises his hands to his heart, feigning a scandalized expression, which would've been funny, if you weren't currently blushing in the lovely shade of a ripe beetroot.

"I'm sorry… that's not… I didn't" your words come out a jumbled mess, and Buggy wheezes out a laugh.

"Oh would you look at that" he puts his hands behind his back, as he slowly starts to stalk towards your confinement "You know, with how sheltered your little brother is, I didn't expect you to be such a dirty pervert."

You choke on air, arms flailing inside the cage, as you genuinely are at a loss for words, You can feel your face grow impossibly hot, the heat spreading all the way to the tops of your ears. The Clown still advances, until his face is pushed right between the bars of the cage, a smile on his lips and a glint in his eye. You don't know what to do with yourself, as the man continues to laugh at your outrage.

Finally, his right hand flies from behind his back and stops right above his head. Then, as if making a show specially for you out of his unusual abilities, he lets his pointer finger remove itself from the hand. Involuntarily, you make a face, and try to push yourself as far into the cage, as humanly possible. Which, given the size of your prison, does practically nothing. The finger aims straight at your nose and presses it with slightly more force, than a friendly "boop" would.

"You started it" he throws your own words back at you, and watches your dumbfounded expression with a smile and a giggle.

Finally, he steps back, all his body parts in place, and you can breathe again at last. Then, with a flourish, he bows down before the cage, before giving you a slightly unbalanced twirl. At that, you can't help but smile, almost fondly. He's not so bad, when he isn't actively trying to murder you and your friends.

"Anyways, get ready, your grand performance is in a week" he concludes, and you sigh deeply.

So he hasn't let this one go.

No matter. A week from now, you'll be out of this place. The thought fills you with joy, and strangely, with some sort of melancholy, which you have to jot down as nausea, just to protect your own mental health.

"Hostage" the man says, as a goodbye, bowing once again, this time with fewer theatrics, and begins to walk back towards the door. "Captain" you respond in kind, inclining your head slightly.

He stops in his tracks, back turned to you, before slowly, twisting his body, to look you in the face. He wants to say something, his mouth opens and closes, and anticipation floods your stomach. But then, his lips pull back into one more smile, more reserved, more private. Now, in this rare moment of tranquility, he looks truly handsome, and your heart jumps to your throat at the realization. He gives you one last look, shakes his head at the floor, and exits with a soft click of the door.

You're, once again, left alone with your mismatched shoes and the hole in your shorts. This time, however, your head is filled with tender thoughts, one that could keep you company, until another visit befalls you.

#buggy the clown x reader #buggy x reader #one piece x reader #one piece live action #my writing #answered #requested #thank you for leaving a request <3 <3

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luniviravosshipper · 4 months ago

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Okay, so this is going to be a very low effort post because it’s late where I am and I’m tired, but I honestly really want to talk about this so I’m going to anyways.

So. About Sol Regem eating Pharos.

This is most definitely one of my most favorite scenes and moments in the show for many different reasons. But one of the many aspects I thought was great about it was that it did the opposite of ‘tell no show’.

The show has been hinting for ages how the dragons see the humans and elves as ants for them to stomp on or to toss around. It’s always been implied or explicitly said. There’s several moments in the show where we see the dragons threatening the lives of the main cast whenever they are even slightly displeased with them. All in all, they see them as just small things that they can disregard the lives of whenever.

Although they perhaps have more of a bias against humans, in general they look down upon both humans and elves and view them as less then. They don’t value their lives because they find their lives to be so short and them to be so minuscule in comparison to them.

And yet when we finally get to see a dragon prove this sentiment by literally eating someone, they end up choking. It’s only fitting for a dragon who believes himself to be so powerful and shows absolutely no remorse for harming the lives of others around him to end up dying literally by doing just that. His pride and arrogance, as Aaravos calls it, finally caught up to him. And in a way, as awful as it probably was for Aaravos to basically sacrifice Pharos here, it helped prove a point. It proved Aaravos’s whole argument regarding the dragons, and how selfish and apathetic they are. How they do not care about life. In this situation in particular, Sol Regem did this knowing that Pharos wasn’t the real body of Aaravos and that he was only manifesting himself through him and still ate him rashly and in a fit of rage, not even considering for a moment that he’s hurting this other person and not even remotely doing anything to harm Aaravos. If anything, again, he only helped his argument.

(I can talk about this more in another post, but I just realized that it’s also ironic how much Sol Regem hated humans because he thought they took life and showed no care for it when that’s literally all that he does. And I think that specifically is actually what Aaravos was kind of trying to prove all along. His personal vendetta against him started off with him wanting to get back at him for ratting out his daughter for sharing magic with humans, but I can imagine that after he discovered dark magic it started to shift and became more so about proving to Sol Regem that he simply had no place in general to judge dark magic or humans who use it.)

This works very well thematically and really helps to better shape the viewers understanding of the role the dragons take in the world building of this universe. As these creatures who have been put into positions of power throughout Xadia’s history, not because of what knowledge or wisdom they have or because of some special capabilities that they possess that others don’t, but because they’re so feared. They’re these big, angry, and violent creatures that everyone has just grown too fearful of to actually face.

And when we’re finally shown why they have been so feared, we see one of them face the consequences of his own actions within the very same moment he acts. And it’s great.

#the dragon prince #tdp #tdp season 6 #tdp s6 #the dragon prince s6 #tdp spoilers #tdp s6 spoilers #sol regem #aaravos #I really want to do a more in depth analysis of dragons in tdp in the future #also the fact that this happened in a kids’ show rlly adds to the impact on the audience

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mduluozz · 10 months ago

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The Mandalorian Tarot

Alright! 4 cards done - I’ve already showed you The Fool buuuuut I kinda wanted to put it in here as well. I’m going to include @oonajaeadira’s descriptions from this post here:

0. The Fool:

The story of the tarot is the Fool’s journey, the arc of becoming. So it makes sense to me that Din would be the fool. Fits even better, since he has tremendous Fool energy in his himbo tendencies, just rushing forward into situations without a lot of planning--he’ll deal with it when he’s in it--ready to rely on others to show him the way or guide/help him to the next step.

1. The Magician:

The Magician is someone who is still learning to bend the laws of magic/the Universe, but very adept with their tools. Since Luke is only a few years into his Jedi training at this time, he makes a pretty good Magician.

2. The High Priestess:

High Priestess is further along the path of her magic than Magician, and her knowledge is more intuitive, her skills more effortless. Where the Magician is still learning the balance of light and dark, the High Priestess knows the value and pitfalls of both. It was always going to be Ahsoka.

3. The Empress:

The Empress is the mother figure, the energy in the universe that provides all that is needed and embodies the energy of creation. I can see the argument for Omera being the Empress--mostly because she is a mom and she’s soft and a lot of people see the Empress as a soft female figure, I get it. (And if I were to do a minor arcana, girl would show up as one of the Queens for sure.) But in the end, I gave it to Peli because she’s a recurring character, more relevant in his story, and if Din is the Fool, Peli is more an Empress to him. She’s able to be the provider of his particular needs; services to his ship to get him up flying, contact and location information, and she’s always willing to care for Grogu whenever she gets the chance.

#the mandalorian #star wars #din djarin #grogu #mduluozz #illustration #the Mandalorian tarot #tarot #tarot art #tarot major arcane #luke skywalker #peli motto #ahsoka

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eriexplosion · 9 months ago

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Tech Lives: An Ungodly Long Essay

(AKA: Turns out that my Tech Lives compilation post comment was actually a threat.)

There have been hundreds if not thousands of posts since Plan 99 aired wondering if Tech might have made it after his fall - it's probably been brought up more than any other hanging plot point, even after season 2 scooped up Omega and left us on a massive cliffhanger. Now that season 3 has started, though, Omega and Crosshair are home (for now) but we have received an almost aggressive lack of Tech info. So, I've gathered up some of the stronger Evidence for why Tech might be fashionably late but still on his way back from The Void!

THE LEAD UP

So to start, let's go back to what came before the whole Incident. This will focus mostly on season 2, seeing as that was definitely Tech's season to shine, but with bits about plotlines in season 1. Which brings us to our first bit, that's not really evidence so much as some gentle push-back on a common argument.

Doomed By Character Development?

We've all seen this particular situation before - a character is slated for a tragic death, so just before it happens the writers gives them a little extra relevance to the plot to make sure the audience really feels it when the time comes. The Clone Wars was especially good at this, giving characters like Fives an arc of his own that ended in his tragic death. Season 7 gave us a better look at Jesse, first in the Bad Batch's intro arc and then again through the Siege of Mandalore, all to bring us to the chip activation that led to his ultimate death.

When season 2 started off with one of the two intro episodes spotlighting Tech and our first breather episode of the season also spotlighting him, people started to get worried. So is it fair to say that his spotlight in season 2 was setting him up for a permadeath?

Looking at it, I don't think so, for multiple reasons. For one, Tech didn't just get a spotlight episode, his development dominated a good chunk of the whole damned season, often taking priority over the other characters that wouldn't be dropped into the mists. While giving a little bit of character development to a doomed character can be a good move, giving ALL your development to a doomed character ends up feeling like a good portion of your season was actively pointless.

The Bad Batch is not an open ended show. It seems to have been planned for the three seasons it got, and they would have gone into it knowing they had a set amount of time to work with. Dedicating so much time to developing Tech in preparation for a character death takes away all of their opportunity to develop, well, anything else.

But, along with the amount of time that was dedicated to Tech as a character through season 2, they also didn't develop him in the ways that most often get used for a doomed character. Namely...

That Sure Is A Lot Of Open Plot Lines

And not one of them got tied up. Currently, Tech has two open plot lines to himself, both started in season 2, as well as a key place in the overall show narrative arc. As the overall show narrative arc takes precedence, we'll start with that.

The Bad Batch sets up a few different narrative arcs very early. One is if clones can be more than soldiers - this is the central thing that we see them struggling against from the start, they've been created to be soldiers and don't know much else about how to function in the world. Theoretically this arc can be fulfilled with one or two of them still dying as soldiers, as long as a few of them make it to find a new life for themselves.

The arc that can't be fulfilled without everyone though is the ongoing thread of reuniting the batch. Much of the show is geared towards making the viewer want this specific end result, as soon as they talk about Crosshair, Omega says they'll just have to get him back and complete their family. The end of season 1 teases us with this only to pull it away at the last moment, then season 2 teases us with it again only to yet again pull it away, this time seemingly permanently.

Ending one of your key narrative threads you've been using to draw audiences in only 2/3rds of the way into the show and without ever resolving it... well it would be a choice. If Tech is gone for good then the last time we saw everyone together would be the end of season 1. Rewatches would lack impact because something that was made to seem so vital ended up going nowhere, and the series finale would never quite reach the height that hearing the full batch theme kick in over the team fighting droids together did. It absolutely destroys the central narrative to leave him gone without ever having reunited the family.

And then there's his personal plots.

Let's start with the obvious one. Tech got a whole potential love interest this season and they absolutely did not resolve a damn thing about it.

Again, this takes a trope that we all know - the young army man that's going to go home and finally marry his girl, who has his whole life ahead of him, but dies tragically in his final mission - and seemingly intentionally subverts the beats. Because what makes the trope work is that the plot line is resolved as soon as that young man decides how he's going to move forward. He can't die uncertain of if he's going to marry his girl, he has to make a decision, and the longer we spend on the relationship to his girl the stronger the decision has to be to consider the narrative line resolved and free him up for some tragedy.

Tech/Phee is a tentative little 'will they or won't they' romance. They're flirting, they're feeling each other out, they're seeing if they're compatible. To tie up this narrative line we would have to find out if they are or not, get a yes or a no on the question. Will they or won't they? We simply don't know because the writers didn't put a resolution in.

We do get the traditional pre-mission scene with them, which would normally be when we get the first kiss or perhaps the promise of a date, either of which would have had me digging Tech's grave for him to fall into from the second it happened. Or even a 'we can't do this right now, but maybe some day it will be the right time' which would have been a kind of lukewarm resolution but would have at least represented a decision.

Instead we get a scene that almost aggressively refuses to resolve anything. They have an awkward interaction, but not one that says they won't get together, no promises are made for the future, no decision point is reached, and the plot line is still dangling wide open when Tech falls to his supposed death. If we truly leave it off here, well, what was the Tech/Phee subplot for? Why did we spend precious time on it when it could have been spent on something else, if it was meant to make Tech's death hit harder why did it not go further?

A second subplot with Tech is that he certainly made the most progress on seeing options outside of the Empire - it starts early on in Ruins of War when he meets Romar and gets his eyes opened to the idea of cultures that existed unconnected to the war. Serenno existed before the war and before the separatists, and Romar introduces Tech to that idea of an ongoing culture. He gets a taste of racing in front of a cheering crowd, leans further into his teaching of Omega and gets new insights from her regarding their lives as soldiers, his relationship with Phee picks up right when he finds out that she is interested in the preservation of cultures. It's a quiet little subplot, but Tech was seeing the full scope of what the galaxy contained beyond being a soldier in a war.

But, like the Tech/Phee, it never resolves. He never decides to settle down, he never chooses to stop being a soldier or even openly discusses the idea of what life will look like after. Rescuing Crosshair isn't positioned as a final mission that they have to complete in order to give up their lives as soldiers. Without that decision point being reached, the plot stays open, we never find out what he Would Have Done so we don't get a sense of the future that he would lose by dying, which is what the purpose of these types of plots is for a planned permadeath.

The Kaminoans don't create without purpose and writers working on a three season timeline don't typically write without it either. So if we spent the time on Tech/Phee but Tech is dead before it ever went anywhere, if we spent time on Tech's relationship with being something other than a soldier but he never really pursues it, what is the payoff?

Too Much of a Survivor To Die?

There's also the matter of how they chose to build Tech's character this season. Namely they beefed that man's skills up incredibly high making it intensely unbelievable that he's dead without seeing some sort of concrete proof. Things we know about Tech as of the end of season 2 include:

Incredible pain tolerance - Tech fractures his femur in Ruins of War and seems shockingly unbothered by it. The femur is frequently listed as one of the most painful bones to break. This is not a broken toe the man is hobbling around on, he fractured the strongest bone in the body and kept going through the woods. He physically fought and killed a man with that busted femur.

Lightning fast mental processing - this is of course on display nowhere so much as Faster where he's put up against droids and wins by taking calculated risks that no one else is willing to try.

A cool head in stressful circumstances - this one is hilarious because he outright says it, but Tech does demonstrate time and time again that when it comes down to it, he's able to keep calm no matter the circumstances.

Essentially, we spend the entirety of season 2 setting up why Tech is the perfect person to drop out of the sky and have him survive. He has the ability to keep calm and come up with a plan in seconds and he has the grit to keep moving even if he's grievously injured once he hits the ground. When you set a character up like this, you can still kill them, but you have to work harder to do it convincingly. Leaving Tech not at the moment of death but with probably at least a minute to act in and then not showing us the body is the exact opposite.

We have a moment in The Crossing showing us Tech's precise aim, and it comes up again to brutal effect when he shoots out the connection on the rail car. If moments through the season were used to set up that particular instant of the finale, then we can't discount the numerous scenes demonstrating his survival skills as being irrelevant to his chances.

Plus, looking back at Ruins of War - one of the big moments in the episode is towards the end, where Romar tells Tech, "I'm a survivor. Remember?" The camera then lingers on Tech for a long moment. It's not the kind of action that demonstrates his capabilities as above, but it works to associate the words with Tech in the viewers mind. Romar is a survivor, and Tech is a survivor too. And when you intend to kill someone off, it's kind of an odd choice to spend that whole season setting them up as a survivor.

THE FALL

Which brings us to the scene itself. Plan 99, implied to be one of the last ditch plans that they have. It's absolutely a heartbreaking scene, and one that can be tough to analyze when it's so well done, because it's rough to watch repeatedly. But, it's worth doing, because the scene itself is FULL of questions, some structural others more based in the visual presentation.

What is Plan 99?

Well, that's just it, we don't actually know.

We know what it's implied to be, a self sacrifice plan where one of the batch gives their life for the others to get away. But in show it's never actually defined, leaving the full meaning of Plan 99 up to interpretation. It could be as simple as what it's implied to be, but that brings up questions like 'why not provide any lead up or foreshadowing for it?' and 'does killing yourself actually count as a plan?'

Removing the assumptions from it gives us room to speculate. Is the plan actually that they leave him behind, dead or alive? Hunter ordered them to do so without a plan number in season 1, but he is the sergeant, so plan 99 could easily be something that bypasses his authority - if a batcher calls a plan 99, you go and you don't question his decision. It's certainly closer to a plan if there's something they are supposed to be doing from their end rather than just an announcement of intent.

It's not strictly evidence one way or another, but it is something of note when Tech's entire sacrifice is based around a plan that we're not privy to the details of. TBB has hidden its twists in ambiguity before, so it would not be the first time that it let us assume something only to pull the rug out later. But ambiguity is not the only thing that makes this scene stand out in the raising questions department.

Pacing Goes Out The Window

Generally speaking, a self sacrifice is the climax of an episode. Think Kanan, Hardcase, Gregor, Hevy, etc - Even a minor character sacrificing their life tends to make up the most climactic portion of any given episode, let alone one of the characters from the title squad. It gets to be the big central moment, the big rush of music and feeling, the pinnacle of the viewers attention.

Tech's sacrifice is not. It happens around 5 minutes into the episode, is rapidly moved past with barely a moment to think, and then the actual climax is Omega's capture on Ord Mantell. They even repeat the music when Omega is captured, except much stronger this time, making it clear that this is the emotional crux of the episode, this is the scene that is supposed to stick with you.

The opportunity to make it the climax of an episode was certainly there. The storyline could have been adjusted to put Tech's fall at the end of The Summit, allowing more time in Plan 99 for processing his loss and making it feel final. The pacing choice is one that doesn't allow the viewer to process the loss, only giving us maybe a couple minutes of time with actual emotional reactions before we're barreling off to the next plot point. Why was Tech's death de-emphasized within the episode if it is indeed our last moment with this central character?

Tarkin, Eriadu, & Saw Gerrera

A lot goes into the set-up for Plan 99. We have Tarkin's base on Eriadu as the setting they're working within, going up against Tarkin for the first time since early season 1. This is the big leagues, and something that's come up in multiple interviews is that when going into the den of one of the franchise's big bads we have to have consequences, something to demonstrate that Tarkin is not to be trifled with.

Sounds reasonable enough. Except Tarkin doesn't actually do anything in either of these episodes. The thing that actually threw them off was Saw's planning mixing in with their own.

All Tarkin does upon finding out that the batch is stuck on the rail is order an air strike and ignore that this would kill many of his own men. This is certainly evil, but it's standard Imperial evil. Rampart would have given that order. Hemlock would have given that order. The guy in Tipping Point that we know for 5 minutes before he fried himself would have given that order.

So if the point of this finale was to demonstrate Tarkin's power, then bringing Saw in both complicates the plot and devalues what they're claiming they are trying to show. So is the point to get them to Tantiss? No, because they fail in that. They don't plant the tracker, they're no closer to finding Crosshair than they were before.

By all accounts the point of the whole endeavor is in fact just to drop Tech off a sky rail for reasons unknown and injure Omega to force them to go back to Ord Mantell. These two things could have happened anywhere in any way of course, so why choose Eriadu and why choose to complicate the plot by introducing Saw rather than letting Tarkin handle the job?

They're questions we don't have answers to yet, but they're very hard to get answers to if Tech is dead and completely out of the picture. Having a dead body on Eriadu is fairly useless to the plot, having a living Tech on Eriadu though? That has potential to move them huge leaps forward in a very short amount of time once we bring him back in. Especially given his conversation with Saw prior to everything going downhill - Tech was in favor of gathering intel from the facility rather than destroying it.

And what about Saw, anyway? If he was genuinely there to cause problems and fly away, again, that's a plot wrinkle that isn't needed and took time away from everything else. If he's there because they needed someone to pick Tech up though? There's potential there.

Did Tech's Sacrifice Mean Anything?

In universe, Tech's sacrifice means everything, of course. It's a decision made in the moment to risk everything to save his family. It's a noble deed and one he does without hesitation. But pulling away from that narrow scope of an in universe perspective, what did we accomplish narratively with his fall?

Well... not much actually! They got over the bump in the road that they encountered all of five seconds ago and promptly crashed headfirst into another, different bump in the road. Tech's dramatic sacrifice didn't allow them to escape unharmed, it didn't allow them to find Crosshair, it just allowed them to move a few steps forward, after which Omega is almost killed and then captured, which is a fairly weak reason to sacrifice a whole major character.

But not every character death is exclusively about narrative, sometimes it's about the character arc itself. So does this close out anything for Tech's character development? Again, not really. Tech has always been completely loyal to the squad and would have risked anything for his family. He never had a choice not to fall, it was either just him or the whole team, and he is an endlessly logical actor. The action would have played out the same had it happened in the series premier or the season 1 finale, or any other time in the show. If anything it's a backtrack on his character by putting him solidly back into the soldier box that the show is trying to let the clones grow out of.

Maybe it's not about Tech's character though, maybe it's about everyone else's! Does his death change anyone's trajectory? Again... no, not really. We'll get into season 3's lack of mentioning Tech later, but in the immediate aftermath of his fall, no one's course or actions is majorly changed because of his loss. Hunter wants to go back to Pabu where it's safe, the same thing he wanted to do before they ever left for this mission. Omega puts herself in danger to save her brothers, which has been one of her defining traits since season one. Wrecker is following Hunter's lead, same as he always did. (We get very little of what Echo hopes to do, but the opening of season 3 reveals that they went back to work with Rex, exactly like they were doing before.)

So narratively nothing required him to die, the character's arc isn't completed, and the other characters aren't motivated to change. If Tech dies here, it's the picture of a shock value death. It doesn't complete or inform his character, it doesn't need to narratively happen in order to put Omega on the path to being captured, and thematically it exists just to give the viewer an unnecessary gut-punch when just the failure to rescue Crosshair and the loss of Omega would have been enough.

Framing is Everything

In a death scene there's nothing more powerful than our final shot of a character. The very last we'll ever see of them, the image that will linger in our minds when we think of that character from then on. This is especially important in animation where everything has to go through several iterations before deciding on what that final look will be. You want it to be impactful, you want the audience to have one final connection to the character before they're gone for good.

So why does Tech die with his helmet on?

If there's one thing TBB is good at, it's their expression work, and a death scene is a perfect place to show off their full range, which is why most deaths meant to have a heavy impact occur with faces unobscured. Crosshair loses his helmet and takes Mayday's off so we can see both of their faces as Mayday dies, Slip, Cade, even Clone X and Wilco, all die helmetless. Looking into older series you have Kanan dying without his mask, Fives, Hardcase, Waxer all dying helmetless with one last good look at their faces and expressions.

And while Tech's helmet gives us a good look at his eyes, the rest of his face goes unseen, and Wrecker's face as he watches this happen is completely obscured. We're denied a look at a lot of their expressions as the decision is made and Plan 99 is executed, rendering it less personal than it otherwise could have been. Tech could have lost his helmet in the blast that knocked him from the rail, Wrecker could have had his helmet knocked off at some point to give us a good look at his expression. TBB isn't known for pulling its punches, so why leave our final look at Tech's face back in The Summit and not here?

Then there's the framing choices. We get some absolutely amazing shots of Tech during the fall, from taking the shot to falling backwards towards the cloudy cover - but here's where some interesting choices are made. Rather than letting our last shot of him be a face up shot that keeps eye contact with the camera as he falls, they make the choice to have him flip over, and we hold the shot as the rail car goes down after him, partially obscuring him.

Which means instead of our last glimpse of Tech being something like this.

We end up with something closer to this.

Which, while we all love those Tech crotch shots is somewhat less impactful emotionally. These frames go through multiple departments and get multiple eyes on them before going through final animation, and no one thought that leaving him face up and unobscured until he disappears into the fog would stick more firmly in the viewer's memory?

The Flip Might be Intentional

And I don't just mean out of universe, as every detail of animation is often intentional, but in universe as well. If you look closely at Tech as he falls, he seems to roll his shoulders back in order to begin flipping over. It was a specific enough detail to send me searching for a reason and I found it in instructions on how to survive a long fall - the first thing that you're supposed to do? Get into the arch position like a skydiver to slow and control your fall.

The flip was important enough to not only include but to include the small detail of Tech intentionally flipping himself over into said position. It's not a confirmation but it's an interesting detail, and one that has very few other reasons to exist.

THE AFTERMATH

Image chosen because even thinking he's alive I didn't want to pull from Omega reacting to the fall on Ord Mantell. Looking at her makes me Sad. So the fall has happened, the rail car has rushed forward and crashed, and Omega fades in and out of consciousness until finally waking up on Ord Mantell to the bad news.

"What if he's hurt?"

Omega is our POV character for the show. We may sometimes see things she doesn't, but emotionally she remains the center of the narrative, the character that the target audience will see themselves in. Her ultimate thoughts on a situation are the closest we have to a clear indicator of our intended takeaway.

So it's interesting that the first thing we hear out of her, having heard that Tech 'didn't make it,' is a firm denial. He can't be gone, he might be hurt, he needs them and they need to go back for him. And, despite Hunter continuing to talk with her about it for a bit, we never actually hear Omega explicitly take it back or verbally acknowledge Tech as dead. The closest we get is 'lost' which she also uses for Echo in The Crossing.

Now, here's where the interpretation between the adult and child audience will likely differ. From an adult perspective, this is a reasonable reaction for a child her age. It comes off as very natural that she doesn't want to accept it and that she doesn't have time to really process that it's true before the scene moves on. It makes sense from an in universe perspective.

However, the main audience is still children who actually are Omega's age and who are being presented with her as their window into this world. And their takeaway, seeing that same scene, is likely to be that Omega is correct. They don't know that Tech's dead, just because an adult says it doesn't make it true and just because Hemlock says it DEFINITELY doesn't mean it's true, they have to go back and check.

If they wanted the main audience to think that Tech is dead for sure, they could have had Omega be the one to say that he's gone, with Hunter simply confirming it for her. Alternatively, Omega accepting it when Hunter tells her would also function in the same way - ultimately, as the POV character, if Omega doesn't accept it there's a strong possibility much of the audience won't accept it either, especially without other evidence.

No Body?

And, as we all know, we simply don't have other concrete evidence. Not only are the batch given no time to look for Tech's body or any confirmation that he died, but we get a whole scene with Hemlock and the goggles where he also confirms verbally that he doesn't have a body either. There's very little reason to have him say this outside of putting a bug in the viewer's ear that he might not be gone for good.

Not only do we have that verbal confirmation, but we have multiple places where a body could have been included or implied without adding much to the runtime.

Easiest place would probably be when Omega passes out - there's a trooper's corpse right there in front of her, and it would have been very easy to make that identifiable as Tech. Have one of the boys check his pulse like Crosshair did with Mayday and then be forced to leave after confirming he's dead. Would it require a little bit of fudging the details of how he landed so close to them, sure, but it would have been narratively streamlined and easy.

Have Hemlock bring his helmet rather than his goggles (and damage it in a way clearly incompatible with survival) or confirm that he did find a body but has no use for the goggles.

Put the body in Hemlock's lab when Omega is brought there at the end of the episode. Have a sheet covering him even if you want and just one of his hands hanging out, especially the one with the distinctive light on the back of it. Give us her reaction to that.

These are just the ones that don't involve adding scenes or making major changes - instead, in a franchise known for bringing back everyone and their grandmother especially if there's no body, they chose to leave it extremely vague.

Reused Score

The soundtrack for Tech's sacrifice is fantastic, I don't think anyone can argue that. In fact it's so good that it's used occasionally used as a reason for why he's dead for real. If it's a fakeout, why go so hard on the music?

It almost sounds like a reasonable argument, except that the music isn't even unique to Tech's fall. We get the same motif later in the episode with Omega's capture, and it actually comes in even harder and more impactful there than it did with Tech falling.

Reusing bits of the music has two results. It lessens the impact of hearing it with Tech if it is in fact his Death music, because it makes it clear that he is not the central feeling of the episode but rather, Omega's capture is. As mentioned before, deaths are usually the climax of their own episodes partially to avoid them being upstaged by any other plot points, but here Omega's capture is fully prioritized over the loss of one of our central characters.

The second result is that it changes the meaning of the music. It's no longer meant specifically to underscore a tragic death, but rather a more general one of loss and separation. And if it's simply about that separation, then it no longer requires Tech to be dead to have that same impact. They're apart from each other, and that's painful enough.

SEASON 3 SO FAR

Which of course finally brings us to season 3! We're five episodes in as of the posting of this, so a full 1/3rd of the season down, which gives us a good idea of how they're handling the whole grief aspect of this scenario.

They Aren't!

That's right, we simply have not directly acknowledged or dealt with the whole 'watching your squadmate fall to a presumed horrible death' thing even once in five episodes. Tech has been mentioned by name twice, we've seen his goggles once, and Wrecker makes one sideways reference to him having not made it back.

In universe, there is a several month timeskip and it seems to be implied that the majority of the grief milestones happened in that gap. For example, we don't see Crosshair finding out from Omega, we don't see Omega grieving her brother, we don't see Phee finding out (more on her in a bit) despite her fledgling romance. Months of grieving and processing skipped over and what comes out the other side is single line mentions that go by in seconds.

This is especially apparent after episode 5, where we got something to compare it to. Crosshair has a long, painful moment of grieving with Mayday's helmet when they return to Barton IV. It's deep, personal, and intimate and we take a minute with him gathering up the helmets of Mayday and his men to set them up on the crates the same way that Mayday had honored them.

Mayday is a one episode character that was important to only a single character, Crosshair - Tech is a core member of the team present through two full seasons and shown as close to every member of the squad. Yet the single scene grieving Mayday is longer and more emotionally gripping than every short mention of Tech so far in season 3.

Narrative Grief

Seeing characters grieve their loved ones onscreen is about more than just the characters themselves. It's also part of the viewer experience - through the characters' grief, we're able to process our own grief at the loss. It makes it feel real, it makes it feel personal, and the amount of grieving needs to be proportionate to the character's importance in the story.

This is especially true in a show written for children like The Bad Batch. Kids don't typically have the same experience with death as adults, and a well written main character death within a children's show will need more time and energy spent towards making the loss feel real. We see this with deaths like Kanan's; it wasn't Jedi Night that told the viewer that Kanan was really, truly dead, it was Dume, where the characters mourned him and dealt with the aftermath.

Currently, with Tech, we do see holes in the team that make us miss Tech but they remain completely unaddressed by the characters. We see Tech's goggles, but Hunter isn't looking at them, he's looking at Lula. Omega mentions Tech having taught her all the plans, but without any real sadness on her or Crosshair's part. The closest we get to actually bringing it up are Wrecker saying 'not everyone came back' and Echo mentioning the datapad would be difficult without Tech, and both of those are only seconds long before moving on. They don't serve as any kind of catharsis for the viewer, relying more on gut punch impact and keeping the wound open rather than allowing it to heal. The difference between the treatment of Tech's death and Mayday's just makes it more stark.

How Do You Like Yearning?

Interestingly, though, it strongly resembles the writing team's handling of another situation: Crosshair's departure from the team in season 1 vs Echo's in season 2. The show even drew a lot of flack for the lack of discussion on Crosshair's betrayal, as outside of a couple conversations the matter often went unremarked on. Echo leaving, on the other hand, got a whole episode dedicated to processing the loss immediately after it happened.

So what was the difference? Crosshair's departure is part of a long term plot point. We're supposed to want him back, we're supposed to want the team to talk about him, anything that would ease the tension. The writers on the other hand want that tension to remain until it's time to actually resolve the plot. So we get those slow drips in between bigger encounters, we get opportunities for Crosshair to come home that he doesn't take, and we don't get the catharsis of the team actually talking about any of it. We're left to want and imagine it, using the yearning to keep it on people's minds more than anything.

If Crosshair had been discussed on screen long enough for the characters to actually come to terms with his absence, though, that would have made the plot feel more settled and resolved early on. It might be conversations we want to see, but it doesn't keep the viewer on edge and craving a resolution. Best case scenario we're just not as desperate for Crosshair to come home - worst case scenario we accept that he won't be returning and find the fact that he eventually does to be unrealistic.

Echo on the other hand gets their absence processed immediately, because their absence from the team is not meant to be a huge plot point. It's something the team has to deal with, yes, and the viewer wants to see them again just like Omega does, but Echo returning isn't meant to be a maybe, and it's not supposed to keep the viewer wondering and worrying. It's a when, not an if.

Similarly to Crosshair, Tech has never felt like a resolved plot point. We don't get confirmation on his death, we don't get any long term grieving, and we get drip fed acknowledgements that pry the wound back open. If we actually see the team discuss and come to terms with their grief and loss, the plot point closes, the wound closes and we begin to fully accept a team without Tech in it, which makes it harder to reinsert him into the storyline if he is in fact alive.

If he's truly gone for good, what is the point of denying closure to the audience? We know that they are capable of writing an intense mourning moment that feels completely in character for otherwise emotionally repressed men such as Crosshair, so why not give us that with the team mourning for Tech? A memorial, an intimate moment with the goggles, a short scene of Crosshair finding out about the loss, or anything at all really? Once again it's something that makes sense if he's alive and we're simply not being shown yet, but makes very little sense to not capitalize on if he's dead.

What's to Come

We have ten episodes of season 3 to go, and a lot to cover. Reviews have indicated that Tech is not explicitly brought up in the first eight, so the earliest we could possibly have a survival reveal is in episode 9. Will it actually happen? Maybe, maybe not. Though interestingly episode 9, The Harbinger, is almost exactly one year after Plan 99, just like The Return aired almost one year after The Outpost. Could mean nothing, but they do enjoy their anniversary dates.

One thing we do know for sure is coming up is Phee's inclusion - she's seen in the official trailer, as well as briefly in a recent twitter spot. This is interesting as Phee is, of course, Tech's teased love interest, and her connection to Tech has been emphasized multiple times, including on her Databank entry and the official 'what you need to know about season 3' guide. When she comes onto the scene, it's very likely that more information about Tech will too.

MARKETING, INTERVIEWS, & SOCIAL MEDIA

I wanted to keep this mostly focused on what can be seen within the show itself, but it's impossible to talk about whether or not Tech is alive without pointing to the absolutely bizarre messaging from the cast and crew, as well as the marketing choices surrounding his sacrifice. (Example: the Instagram Mourning Filter they layered over him in the official trailer, as seen above) I won't get quite as detailed here as in the above, but it does have to be mentioned.

Constant Focus

In between the end of season 2 and the posting of the season 3 trailer in late January, there were several posts on various official Star Wars media. The majority of them were about Tech and Plan 99. In fact, I don't think I ever saw anything mentioning the giant 'Omega's been captured' cliffhanger, just Tech. Over and over again.

Once a character is dead, marketing generally stops caring about them. They're forward focused after all, they want you coming back for what's to come not lingering on what won't be relevant again. So why the constant focus on Tech?

And it wasn't just the social media either - a huge portion of the trailers and reels included old footage of him too. For the most part this was from Plan 99 and bringing up his fall again to rip open those old wounds, but in one case they included action footage from The Summit. This was an interesting case, because the majority of people watching wouldn't have recognized it immediately. Fittingly, the entire comment section was full of nothing but 'Was that Tech?' style comments, which they would have known was going to be the case to start with.

So why are we so focused on a man that's supposedly dead? If he's genuinely never going to show up again why keep putting him in? Everything? While not even bringing him up all that often in the show? If he's dead, this is a truly bizarre marketing decision.

Never Say Die

In interviews or in official material. For several months the word 'dead' was never used for Tech anywhere, not in interviews, not in official material, nowhere. It took until January 23rd for all of the databank entries to be updated, and among all of the main cast he's only referred to as 'killed' once, and it's on Hunter's page not even his own. Then, the Friday before the premier, an interview came out referring to him as dead - on the part of the interviewer, not the creators themselves.

Everything else seems to use a variety of euphemisms. His sacrifice, his absence, his loss, he 'plummeted out of sight', he 'fell from a tram car', he did absolutely anything it's possible to do except outright die apparently.

It's an odd choice when there's known controversy over if he's dead or not. The standard operating protocol of course, in a planned comeback, is to refer to them as dead anyway and allow fandom to fuel its own speculation, but with a fandom as devastated as TBB's was, it's quite possible that the odd behavior had to be introduced just to keep speculation going. The only interviews that sound remotely final came out right before the episodes started coming out - if they had done that from the beginning, the chances of people outright refusing to come back to the show likely would have been higher.

Much like the marketing, this is not necessarily proof of anything - but in combination with the multiple odd things in the show itself, it's certainly suspicious. Speaking of suspicious...

What an Odd Thing to Say

The cast and crew themselves have not been skimping on making strange comments when it comes to the Tech situation.

There is of course the well known Joel Aron (lighting director for the series) tweet that came out the day of the Celebrations panel (AKA when the Tech trauma was at an all time high) and in direct reply to a fan that was having a hard time with Tech's death. It's hard to take it as anything but a reference to Tech given the timing, and it was certainly taken as being about Tech in the quote tweets. If it's not about Tech, why tease the fandom with it? And the specification for it being a mid s3 episode as well...

Also from the day of Celebrations, and from the panel itself, we have Michelle Ang saying in front of God and everybody, that Tech "doesn't come back... in this episode, at least." At the time there was a possibility she didn't know and was just leaving it open, but with that only being ten months ago and the extremely long timeframe of animation, it's almost certain that she would have been done with all primary recording by that point. If you know he's not coming back, how do you accidentally imply that he is with no one correcting it?

Dee Bradley Baker, when asked for a farewell message from Tech at a con, came out with "the life of a soldier is fulfilled by fulfilling his mission and supporting his brothers. And this was the end of mine. And that's a good thing." Which was a perfectly serviceable goodbye right up until he said that the end of Tech's (life? soldier's life? mission?) was a good thing.

During an instagram interview we have Deana Kiner, one of the composers, in response to the interviewer talking about the final episode containing a major loss, saying, "It's kind of a loss... It's complicated." The claim on twitter was that this was about Omega, because everyone knows that when someone mentions the major loss in Plan 99 they're definitely talking about Omega.

So is Tech alive? Is Tech dead? We still don't know. But while one or two of the above might be a coincidence, having all of them at once coalesce around this single character death is a lot to chew over. The Bad Batch team has shown willingness to address grief and loss prior, as well as a willingness to show us death onscreen and front and center. So why, with such an important character, sidestep it all in order to keep it vague? Why keep it from sounding final for so long, if the intent the entire time was for him to be dead for good?

We won't know until he either shows back up or the show ends. If Tech's alive, all of the above starts to make sense. If he's dead... well a lot of things will just never quite add up. I feel that this team has shown enough willingness to follow up on their trailing plotlines that they've earned my trust. Fingers crossed for a satisfying resolution for all of us, and for our boy Tech, whatever that resolution may be.

#the bad batch #tbb #tbb tech #the bad batch spoilers #tbb spoilers #the bad batch speculation #this thing is some 7500 words i might have an obsession problem

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jeonscatalyst · 2 months ago

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https://www.tumblr.com/jeonscatalyst/763367269242929152/oh-to-have-a-lover-that-runs-through-the-airport?source=share

Gonna be a little party poper here ig but isn't having sleepover at ur friend before a trip quite usual? Or even just a sleepover?

And if we talk about meeting before one goes overseas and then again comes from overseas and then again meeting then hasn't it happened with taekook too? I remember we got a taekook bowling pic from one of the wooga guy's brother and it was before jk left for Qarar then after coming back from there they were at hotel Paradise where they filmed the run BTS challenge? So like if all these hangouts taekook did are seen as friendly what makes jikook's hangouts romantic or something lovers would do? Now if anyone thinks I'm saying TK has anything romantic going on then nope that's never a question or option in my mind because i know they're good friends/besties/close friends nothing more nothing less so it's not about that but as i have also seen those hangouts as something friends do because they actually are so if we see jkk doing sleepover one time then how is it "Oh to have a lover...." ??? Idk if I'm making sense to you as what i wanna tell but I'm just trying to make sense of some ppl suddenly making a big deal out of it 😅

Sleepovers at your friends place is pretty normal and infact not something that is exclusive to romantic relationships….that is an argument you can make but comparing this situation to taekook is definitely not an argument you should be making about this situation for many reasons.

1: It is not a competition about which sleepover or hangou before or after a trip was superior.

2: We don’t know that Taekook ever had a sleepover before or after a trip like Jikook so what are you even talking about?

3: Jkkrs should be able to gush over or celebrate the things Jikook do without people having to try to make it about other members

4: Context matters!!

You see anon, i’m pretty sure it isn’t uncommon for the members to have sleepovers at each others place because they are friends and they care about each other. I’m pretty sure they even let other friends have sleepovers but do you know why we particularly celebrate this moment? It is because we got to find out about it at a moment where the subgroup had made it a point of duty to repeat over and over how Jikook never meet up behind cameras so finding out that not only do they meet up but meet up right after a trip, Jungkook cooks for Jimin, Jimin sleeps over and then they travel together the next day, felt like the sweetest Karma.

The examples you gave about taekook are not even the same thing. So Jk hung out with Tae and friends before a trip, how is that the same thing? Jk and Tae did a challenge for “Run BTS” at a hotel after he returned from Qatar, how is that the same thing? These are completely different scenarios you are using as an example to dampen our joy about Jikook being together before their trip.

Nobody is saying that jikook spending the night together before a trip is inherently romantic but you cannot compare that to whatever is it you think taekook did because they are not the same thing and we are not in a competition here. What excites me the most is not the single particular moment but the patterns or other moments we have gotten through the years which show how Jikook prioritize being with each other at certain moments over anyone like Jk going straight to Jimin after a tedious 3 day concert, cooking for him, spending time together that night, possibly sleeping over at Jimin’s and being seen with him again the next day at a restaurant with friends, Jikook being together at moments or times when most lovers would prioritize being with each other over anyone else like nights, birthdays, couple holidays, national and international holidays, Jimin coming back to the country on valentines day and being seen out and about with Jk and friend the day after, and being with each other after a trip and us actually knowing that there was a sleepover. Tae and Hobi have been with Jk before a trip too, u know when Jk sent a message to the GC asking for anyone who wanted to come over to do so and that was right before he travelled to the US to record “Seven” and Tae and Hobi were there with him the night before he left but they both left to their respective houses after they were done hanging out, around 4am or so.

So anon, no one is saying sleepovers are exclusive to romantic relationships but comparing this to whatever you think taekook did is just a no in my opinion and sometimes it is ok to let people have their fun with a moment without feeling the need to say “but he also did it with this person”. Let us make a big deal about it because it IS a big deal.

#jikook #jungkook #jimin

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wellofdean · 4 months ago

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Sorry ,for me personally, it has to be out loud acknowledge to even remotely make up for how badly they treated fans over the years, the out loud queerbaiting in one breath and mocking in the next. The in text gay jokes, sexism and homophobia. The digs at their own fans.

They want the credit without having to do it. Again. They want the pat on the back they need to earn it this time.

Years of baiting for views and profit needs a payoff imo. Sorry people downplaying how important the canonization of this ship in particular is just hurts to see over and over. Stop letting them off the hook please. You deserve more. We all do.

It’s important. It does matter.

The cas/destiel hope baiting continued with the Winchesters and that’s why I’m at a put up or shut up moment with Jensen and the writers. He and Danneel kept the hype up every week that the show was airing all the while knowing cas doesn’t even get a name drop. He’s not even hinted at. Mary/john paralleled destiel so many times yet refused to call it want it was.

They could have shut it down week one, they interacted on tweeter a lot during airing and knew what fans thought there was going to be an acknowledgment or hint that never happened. They are smart people, they saw the speculation and hype but didn’t step in with a gentle ‘sorry guys this is about the new crew’ they fanned the hope instead with ‘something big happens’ that was just dean meeting the new team.

Loved the Winchesters as a show, sad it got dropped cause I loved the new cast so much. That said the baiting hurt and wasn’t necessary, the show was good.

Everyone is looking back with rose colored glasses and rewriting history. But things were ugly with the spn team/cast/writers at times. The homophobia was pretty out loud in a way it was allowed to be in the early 00s. They’ve grown and that’s wonderful but it still happened.

They need to earn the praise they want imo. No hate! Glad you are happy! just feels a little unfair to say we should all let them off the hook again and be happy with nothing while praising the benevolent straights. Just my two cents 😅💚💙

I want to answer this sympathetically, because I know it's disappointing that no one has been willing to just say "Dean and Cas are gay for each other" out loud, and I don't think there are many people in this fandom who picked up what the narrative was putting down, and were not disappointed in the finale for LOADS of reasons, only one of them being that Dean never had the chance to acknowledge what Cas said to him. I understand your feelings, my anonymous friend, I really do. I too found the end of Supernatural deeply frustrating, because they managed to erase the meaningful journeys of every single character, not just Dean, though what they did with Dean was the worst. I completely understand wanting them to JUST FUCKING SAY IT. I do. I get you. I simply do not agree.

My argument, which I have made many, many times, is that what you want is THERE in the narrative. They made Cas Dean's ride or die, they made it obvious that Dean can't carry on without Cas -- that the loss of Cas means Dean loses his will to live. That was explicit. They made it clear that more than anyone else, EVEN Sam, Cas is essential to him. They structured the narrative around Dean and Cas's emotional beats. They let Cas say the obvious thing out loud, and then showed us Dean behaving exactly as Dean would in a situation like that -- in the midst of his existential crisis about who he is and whether he has ever had free will, and with the world falling around them -- they showed us Dean unable to speak, unable to respond but overwhelmed with emotion. Like, remember that when Mary died when Dean was four, he was unable to speak? Is it really so hard to imagine that he loves Cas with all his heart? To read love in Dean's watery eyes, and the way he chokes down his heart and begs Cas not to do this? Not to being saying goodbye? I mean... I CAN DO THAT MATH. Literally everything about the story supports it. IT IS THERE.

Fandom always argues: if Cas were a woman, we wouldn't have any questions, so what I am just wondering is, why do we have questions again? Is it because we (homophobically) can't just see it for what it is because it's gay? Because, when it's gay we lose our ability to interpret narrative, and we need to be told, like we are 5 years old, what's happening in a perfectly obvious story? Or, is it a skill issue? Is it because we need the creators of the story to affirm our interpretation? We need the actors to just TELL US what they meant when they did that thing with their faces? Do we need their permission to understand it for what it is?

I've said many times that calling what happened on Supernatural 'queerbaiting' because no one ever made out or fucked on the maps table is really offensive to me actually. Don't you know that there are queer people in this world who never get to live their truths? Who just ache and yearn and want, and never get to have? Like, that there are in fact queer people who are afraid to say what they feel, or who don't understand or embrace who they really are and what they really need until it's too late? Are those not QUEER EXPERIENCES? I love Dean and I love that story because it's queer as hell and it makes ME feel seen, because I am like him! I am a queer person of his age who didn't ask myself those questions seriously enough in time! My own queerness is very fucking real, and it is UNLIVED. That HAPPENS to actual queer humans, and like, it's not queerbaiting when it's just queer, but didn't tell you the queer story YOU wanted it to tell. You saw years of tease? I saw years of choices, and love, and accretion of deep wells of emotion. I saw a clear romance, and a character becoming. It was a story I needed, AS A QUEER PERSON.

And the Winchesters was just joyful if you went in with that understanding of the previous story. It was like getting an A+ in Supernatural week after week from Dean himself. I can accept that the stars didn't align for Cas/Misha to come back in the first season, accept that if he were coming back, it needed to be more than a cameo to make it right, and that it didn't work out. I am so sad it was cancelled, but I can accept that it was leading someplace it didn't get to go. That's not queerbaiting, either! It's telling a story that was aborted, and I think if you don't see that, then that is DEFINITELY a skill issue.

I'm not looking back with rose coloured glasses; Supernatural is fresh in my mind. I watched it again without the internal pressure of expectations that aren't going to be met, and let it tell me what it was really doing all along. I am happy. It's a really compelling, deeply romantic, deeply queer story. I don't need permission from anyone involved to think that, and I don't need it explained to me. I understand wanting it to just be fully explicit, but I would not trade the story it did tell for a simpler, less engaging one, that asked less of me. I love it very much AS IT IS.

And, please: point me to this fabled abuse of fans. I have never really seen an example of it that is not easily debunked with a little bit of context.

#anti-trashnatural agenda #spn #supernatural was good actually #it's not queerbaiting when it's just queer #destiel

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stardustedreams222 · 3 months ago

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Pick a Pile Collective Love Reading ✨

What’s something your Significant Other wants to tell you but they are too afraid to say it?

🦢These are hard truths to hear, please take a deep breath to open your heart space then choose the pile, crystal or emoji you’re most drawn to. As always, Take what resonates and leave what doesn’t. You are always in control of your life. ☁️✨

𐐪𐑂 𐐪𐑂 𐐪𐑂 𐐪𐑂

☁️Pile 1: Redline Marble

7 of Wands, Hermit Reversed, King of Cups

They wanna tell you that you’re doing more harm than good by standing your ground and putting up boundaries. That right now, you’re really just isolating yourself from the world. They don’t think it’s healthy but they don’t want to tell you bc they don’t want you to push them away too.

Here’s your advice: Boundaries are a good thing but you have to set those boundaries with compassion and a balanced mind and heart. Are the people you’re cutting off from your life people who are really bad or are they just telling you truths you’re not ready to hear? You need to have Compassion and Patience with yourself first so that you can feel your emotions and have compassion and patience for others who might not have the right words to say the right things.

Signs this is for you: Seagulls, 1989 Taylor’s version, Out of the Woods song in particular, Beach, Pier, Malibu, Sand, White, Blue, 999 777 1111

🦢Pile 2: Selenite

4 of swords, 7 of swords, Chariot, Six of cups Reversed

They want to tell you that they think you need to stand up for yourself. Right now they think you’re taking things too lightly, and justifying it as “I’m staying out of it for my own peace”— but they really think this is just letting other people get away with being mean to you. They want you to start standing your ground and sticking up for yourself even if this means getting into an argument with someone or taking the conflict to HR. They think it’s necessary and the faster you do this the better it’ll be for you. They also want to say that if you need help doing this they’re here for you. You don’t have to face your bullies alone. 🩷

Conflict can be really difficult to face but you deserve to feel safe and if someone is causing you trouble, talking it through and fixing it is better than putting on a mask and convincing yourself it doesn’t hurt.

Signs this is for you: Napping a lot, Feeling restless, Anxiety, Shaking, Mirrors, Mirror magic, Cats, White, Black, Orange cats, Golden retriever, Pitbull 323 333 444 777

🤍Pile 3: Rose Quartz

Knight of Cups Reversed, Knight of Pentacles Reversed, 4 of Wands

This is in regard to a wedding or a marriage. Some of you are planning a wedding and others are already married. There’s conflict with the parents in law or with your parents. Your significant other thought this would be like a fairytale wedding/marriage. But it’s turning out to be either a nightmare or they’re realizing their ideas of this were unrealistic. They thought you were going to be their knight in shining armor to defend them against all troubles with your parents {this is giving Rapunzel, where the prince saves her from mother gothel except you didn’t do this. But they thought and wished you would.} They don’t want to bring this up because they’re worried that when push comes to shove you’ll choose your parents{in law} over them. They’re used to being neglected or chosen last for everything and as much as this is hurting them right now, they’re choosing to suffer in silence. I can see this isn’t your intention at all, but instead you just wanted to keep the peace. Unfortunately, this isnt a situation where keeping the peace is a good thing.

Your advice is to think about what you want and what you are willing to do to show your love. This will require you to stand your ground with your parents{in law} to be the protector your significant other needs you to be. First, create a safe space for your significant other where you can sit down and talk. Let them know they are loved and cherished. Work on making them feel that they don’t have to worry about you choosing someone else over them including your parents{in law.}

Be prepared for healing tears and be open to collaborating on how to fix this moving forward not only with your parents{in law} but with each other. Work on rebuilding a foundation of trust with open, honest communication. It can be difficult at first to get the words out but be patient and compassionate with each other and everything will be all right 🩷✨

Step Two is implementing this by talking to your parents{in laws} and putting up boundaries necessary to protect you and your significant other’s peace.

Signs this is for you: Fighting over tablecloths, Theme wedding, Elven or Fantasy theme wedding, Destination wedding, The Witcher, Game of Thrones, ACOTAR, Estranged parents, Mother/Father in law visiting, Crowded guest bedroom/house, Family gathering, Reunion, Red, White, Black, Silver and Bronze, 353 333 555 444 1111

𐐪𐑂 𐐪𐑂 𐐪𐑂 𐐪𐑂

Just a friendly reminder, this reading is for everyone! So think of it as a cozy chat under the stars! You know your story best so, take what resonates and feel free to leave the rest.

If you’re curious about what the Universe has in store just for you, I’m hosting a super deal on my Etsy shop! 40% OFF all readings and Dream interpretations, bringing each reading down to $1.20 to $4.80!

The sale vanishes like Cinderella’s carriage at 11:59pm EST on September 2, 2024! Returning prices to $2 to $8.

Book a Personal Reading | Follow on Instagram

A quick legal note: I must say the services I provide are for entertainment and reflection purposes only. I cannot guarantee specific results or events as the future is always changing. You are always responsible for your actions and any decisions made following the reading. I am not liable for any outcomes based on the insights and advice provided with my services. My services are not to be used in place of professional medical, financial, or psychological advice.

With Love, Astrid 🩷✨

#pac tarot #pick a card #pick a pile #pick a pile reading #tarot reading #collective reading #lucid dreams tarot deck #tarotblr #love reading #loa tumblr #loassumption #law of attraction #divination services #divinationshop #stardustedreams222

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shantechni · 1 year ago

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I can't find the post right now because I never bothered to save it like an idiot💀but I came across someone talking about one of Splinter's scenes in New Girl in Town when Leo lets the others handle a mission without him and I wanted to add my two cents.

Yeah, it seems wrong on the surface for Splinter to say Leo wasn't in a position to decide whether or not he should lead the guys, and it also seems unfair for Splinter to say he should bear the responsibility of leadership instead of shirking it off on Raph out of frustration with his brothers and their lack of appreciation or understanding. It especially may make one think Leo should be allowed to throw a tantrum because leading isn't going how he wants it to, and his brothers should see how it feels to function without him.

But that wasn't the point.

The point was that Leo allowed his brothers to walk off into a dangerous situation without guidance simply because he was tired of going back and forth with Raph and his criticisms.

Mikey and Donnie have their moments too, but in this particular episode, they're in the background as they witness another falling out between their leader and the resident hothead of the family. They didn't ask for Raph to take over, and no sooner than later do they realize Raph didn't know what and all he was signing up for when he freezes up in the middle of the fight. Donnie is the one to formulate a quick plan of action as he snaps Raph back to reality and incapacitates Snakeweed long enough for them to make a swift exit from the hideout, while Mikey remains unconscious for nearly the remainder of the episode due to Raph's poor planning.

And I seriously need to stress what exactly Splinter tells Leo: "Leadership is not about being appreciated. It is about responsibility. It doesn't matter that the burden is heavy. It matters that you carry it. Now go find your brothers."

He never said Leo was wrong for seeking appreciation; in fact, his future words and actions support the guys learning to show appreciation to Leo, and Splinter is understanding everytime Leo expresses his distress over being responsible for his brothers when they love making his job more difficult than it needs to be. But he needed Leo to understand that when it came to completing a mission effectively without unnecessarily endangering each other, appreciation holds little importance in the moment. You can't use appreciation as a deciding factor for whether or not you should let the team fall apart because your younger brother stomped his foot at you for the umpteenth time.

Splinter emphasizes that leadership isn't something to be taken lightly, and Leo needs to realize it's not something you can just pass on when you aren't in the mood to hold it.

Now, one can argue that it does matter to some extent that the burden of leadership is heavy and their argument would be valid; they're still kids after all and the burden may gain some pounds depending on the situation. That's why a leader leads a team though, so that the weight of that burden can be shared by the members and their efforts when the leader starts to buckle.

But, once again, Splinter is right. It does matter more that Leo carries that burden, or at least the most weight, because he's the leader. Not only are they at a point where Leo is permanently cemented in place as the leader, and things would undoubtedly be shaken up in an undesired manner should he thrust someone else into that position this far in, but his brothers aren't entirely cut out for leadership. Planning ahead doesn't come easy to Raph, Donnie gets tunnel vision and misses details that would be obvious otherwise, and Mikey doesn't always think his actions through before doing them (a bit of blind faith if you will). That's not to say they can't defy the odds at times, but in the grand scheme of things, they function much better as a team with a leader, and Leo functions much better as a leader with a team.

Team building exercises aside, the way Splinter speaks and phrases things gives the same vibes as a parent telling their child not to make a habit out of something they shouldn't be doing. He was evidently upset with Leo for allowing his frustrations to do the decision making for him, but he specifically wanted Leo to not make this a recurring thing because they won't just fall apart as a team by that point: they'll fall apart as brothers. Giving someone what they want because they irked you into doing it can establish a pattern of behavior that no one wants to deal with the consequences of, and irking someone into giving you what you want isn't something you should do either. It sucks, believe me I know, but Leo shouldn't just let his brothers get their way because he's fed up with them, and Raph shouldn't always get his way because he doesn't agree with Leo's way of doing things.

Doing that creates the opportunity for something bad to happen that could've easily been avoided, similar to letting a child do something you know they should be broken out of before that something becomes a problem in the future.

And Splinter doesn't seem mad when the guys come rushing back to the lair without Leo in tow, he sounds more disappointed than anything. As I mentioned earlier, he knows the others give Leo a hard time and he's aware that leadership is no easy role to be sworn into, but he was hopeful that his earlier lecturing would bring Leo to his senses and his son would prioritize responsibility over running off to only God knows where. He doesn't linger on his earlier conversation with Leo though, he spends a few seconds to scold Raph for instigating this entire mess in the first place. He makes sure Raph is aware of the pressure Leo has on his shoulders, with an underlying warning to not take leadership so lightly again, and orders him to find Leo.

Splinter's 15 second lecture leaves much to be desired and explained (that goes without saying), but the curt ending to it, "Now go find your brothers," says it all: leader or not, the bottom line is that your brothers are out there fighting an enemy without your help. Go find them and ensure their safety.

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cosmicjoke · 1 year ago

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How Attack on Titan Speaks to Nature over Nurture

I think one of the themes of AoT is this idea of how our nature's are the things that really drive us to be who we are, and to do the things we do, rather than the circumstances of our lives. Not in all cases, but in general.

Nature versus nurture is a long standing conversation, of course, a constant argument when trying to understand what motivates us and what shapes us. Is it our nature, who we're born as, or is it our experiences and the environment we're born into? This can be asked of humanity in general, and this idea is demonstrated by the end of the story, that humanity as a whole is, by nature, a warring, tribal, violent species. That humans cannot, ultimately, overcome their own natures.

AoT takes the stance, by and large, that it's our natures that define us, over whatever experiences nurtured us, and I think that particular theme is most clearly embodied by Levi and Eren. We can understand it best by contrasting them, and their lives, and seeing where it is they end up.

If one was to take the stance that it's nurture which defines us, then by logic, we would see Levi becoming a monster, and Eren becoming a hero.

Levi had a devastatingly hard life. Born into extreme poverty and deprivation. He watched his mother die in front of him from an illness likely contracted from her life as a sex worker, and he nearly followed her from starvation. The only person who came to help him, in the end, was a serial killer who did his best to instill his own lack of empathy for human life into Levi, before abandoning him on the streets of the most dangerous and desperate place behind the walls, a place where Levi would have had to engage in morally dubious behavior simply to stay alive.

And then there's Eren, born on the surface, into a loving family, a doctor for a father and a doting mother, two parents who cared and provided for him, and a sister in Mikasa who followed him like a shadow and protected him, the only danger he ever encountered being the fights he himself would start with other children.

And yet, despite the circumstances of each of their respective lives, it's Levi who became a hero, and Eren who became a monster.

In the end, Eren isn't able to overcome his monstrous nature. He cares for and loves his friends, genuinely, but his childish nature, his selfish nature, is ultimately what dictates his course and actions and who and what he becomes. His life was privileged, but it wasn't enough to turn him away from his destructive and violent inclinations. We see Eren for the last time, truly, sitting in a pool of human blood, hair and teeth, amidst the victims of his selfishness and monstrosity.

And in the end, for Levi, his nature wins out over the desperate and violent circumstances of his birth, childhood and young adulthood. Levi's nature wins out over the legacy of violence and cruelty he was born into to become a selfless and caring man. His life was impoverished and deprived, filled with brutiality, but it wasn't enough to turn him away from his naturally gentle compassion and kindness. We see Levi for the last time sitting amongst a group of children, handing them candy out of a box, amidst their smiles and laughter.

Each case highlights nature over nurture.

Both Eren's and Levi's natures win out over their circumstances. Through these two characters especially we see how our natures, not our upbringings, are what decide for us how we'll turn out. We don't become good or bad people based solely on our experiences. We may do bad things, we may have to commit bad acts in response to otherwise unwinnable situations, engage in violence in order to survive, but those acts in and of themselves don't determine who we are, and those circumstances don't act as an excuse for what sort of people we are in our hearts.

Essentially, Attack on Titan shows us how each person is, ultimately, responsible for their own choices, their own actions, their own being. Whether you're the type of person to do the right thing when the time comes, or the type of person to do the wrong thing, isn't decided by how you were treated, but by who you are.

#Levi Ackerman #Eren Yeager #Attack on Titan #shingkei no kyojin

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bucked-it-up · 6 months ago

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long post but my current thoughts on the bob situation

I think that some of the wilder takes and bigger BOB takes that we are seeing are highly based in getting attention and validation. Validation and attention can cause you do to a lot of things that maybe you wouldn't do otherwise, particulary the hate towards tommy (and lou) and the constant theorising of how something means bucktommy breakup or bvddie romantic relationship.

I particularly feel this is true for some of the bigger twt/tiktok accounts as I know of at least two that didn't start watching the show till after the bucktommy kiss and then primarily watched it because to them it meant that bvddie could happen, so they start making posts with theories against bucktommy and theories for bvddie as it gets them views and followers.

With these interviews coming out with Ryan saying multiple times that Eddie is straight and both Oliver and Ryan saying they want to not fall into stereotypes. This further goes against what the bobs think which means once again they will scramble for reasons for romantic bvddie in despite of what both actors have said as it is what their followers expcet of them.

I also in particular want to point out that Ryan sounds very passionate about the current friendship with Buck and Eddie and wants to advocate for men (especially the macho, traditional masculinity male) to be vulnerable in frienships and feel comfortable with say a friend coming out or just be able to talk about feelings with one another. I feel like this gets missed by bobs to push the romantic bvddie narrative.

To go back to the validation I don't think even if these accounts start to doubt romantic bvddie, they can't say anything nor do they want to because they would lose followers from it so they double down and sound more and more delusional. I hope that even with this possibly feeding their actions they realise that its not healthy to hang onto something this much and maybe not like bucktommy but be neutral or quiet about their dislike of it publicly.

I want to finish this on that their arguments are becoming/already are homophobic and they are being racist to some bucktommy fans. They also should not being speaking about lou in the way that they are. I get why they love fanon bvddie is has the romantic chemistry they think canon has but right now bvddie is not and will not be canon anytime soon nor do I believe it ever will be.

#pls read it all #bucktommy #anti buddie #911 discourse #winnie thoughts #911 abc

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sparkanonymous · 21 days ago

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Let's get one thing out of the way; I messed up.

If you want to go more in-depth, read this post. If you don't want to, here's the jist of the situation: For the last year - I think - I have been coloring Raj's skin tone lighter. This is completely and utterly my fault.

I'm not going to make any excuses, in fear that it will give others an excuse for their own deplorable actions. Though I don't see myself as a racist person, this is still an example of colorism, and I can't stand by it.

Total Drama is something I hold dear in my heart, and Raj is one of my favorite characters in the entire series. The fact I did him this dirty makes me never want to draw him again.

I'm so sorry. All I can do is apologize, and that's definitely not good enough. I will do better in the future. I don't want anything like this to happen again, and I won't let it happen again.

There is nothing I can say that'll fix this situation. I have disappointed myself and hurt an entire community of people. I hope I can eventually make up for my mistakes, but I know that isn't possible in a short amount of time.

I don't expect this to be taken lightly; it shouldn't be. If this is the last I see of some of you, I hope you take care.

The rest of this post directly responds to parts of thesicklycowboy's post.

○■○■○

For this portion, I have also edited Raj's hair to be the correct color. (I didn't know where else to put this part, sorry.)

I won't be responding to everything, as I do think the post was well-spoken and something that certainly needs to be said, just parts that I felt I should respond to.

Blue is for them, and red is for me.

"So when you were addressing this and saying "it's color theory" excuse why did you not show your earlier pieces of Raj as well? The ones with far darker hair and deeper skin tones? You only referenced all the ones after after the lightening had begun."

As mentioned before, I don't know when the lightening began. The pieces I grabbed for comparisons were the ones that I could actively get the flats for. A lot of my previous pieces have been deleted from my iPad after being moved to my laptop for storage reasons. While you can tell that Raj is darker in my oldest TDI posts, I wouldn't have been able to color grab the original skin color to compare it to the others, which is why I added ones that I could find the flats of directly off of my page. I do wish I had gotten the flats for the oldest ones, but I can't really do anything about that now.

"The beginning of your ask responses is blatantly false and you contradict yourself at the end? So why keep that whole schpiel at all?"

Here is the part that they are referring to: "I didn't? I think he just looks lighter because of the filters I used on top of it."

I left this in for transparency because I genuinely thought that that was actually the case. But it wasn't. This is why I added, "Looking into the color issue..." I wanted to double check the claim because it very well could have been an issue. And it was.

... "And not yet another piece that is still super light."

Okay. I think I might know what the problem is here in particular. I add texture overlays (the layers with the filter of 'Sl' - Soft Light) to give my pieces... y'know, texture. The layer color I use is usually an off-white. I do this in all of my pieces because I thought it might help with keeping my work safe from AI, and because I like the paper-like look that it gives my art. I didn't put it over the entire piece because the background already has a ton of texture.

The one above is at 50%, and the one below it is at 30% for both Raj and Bowie.

Here is the same piece with the texture overlays turned off:

(Left is w/o the overlays, Right is w/ the overlays)

I don't want this argument to seem like I'm lessening my actions. This is the only thing that I think I have the right to stand up for. Texture is something I most likely won't take out of my work, though I may replace the texture overlays with something that is more full proof against AI, like those AI-disturbance layers that Ibis Paint has.

None of my actions were excusable, but I felt this needed to be explained.

Other than that, though, I don't know what else I could possibly do to fix the piece, considering I have fixed Raj's skin tone in this piece.

○■○■○

The rest of the post is not something I feel the need to respond directly to. I do think you should go and read the original post criticizing me and decide what you want to do in this matter.

This was not a "silly mistake." What I have done is genuinely messed up. I'm not going to run from this situation and say that I was ever justified in my actions. Because I never was.

I can only hope to be given the chance to amend this situation with future works, whenever that might be. I will most likely not continue to talk about this unless asked to. Idk what else I could possibly say that wouldn't make this situation worse. I am the guilty party, and the only thing I can do is learn from this and do better in the future, which I will.

Again, I am so sorry. I have fucked up, and I am prepared to take the consquences of my actions.

#total drama #total drama reboot #rajbow #tdi raj #td raj #spark arts #spark speaks

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storycraftcafe · 2 months ago

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My gods this is overdue. So the first one some Plot Structures that Aren't The Heroes Journey, we're starting with:

7 Point Plot Structure

This one's created by Dan Wells, an American Horror writer that gives us a fairly streamlined structure that's focused on every beat flowing from the previous and into the next. This can lend itself very well to novellas, shorter narratives, and can easily be bulked out for a fuller story with sub-plots. If you're interested here's a link to his lecture on this particular bit of structure that I found pretty interesting.

The Seven Point Plot Structure breaks a story into three familiar acts, separated further by Seven Plot Points or beats. These are the major turning points of the story, the moments that change the direction the narrative is going in.

One of the things I like about this structure is that it has the flexibility to work for planners and pansters and those in-between. It can be as sparse or as detailed as you like, the Seven Points themselves serving as narrative landmarks to help keep your writing oriented.

I'd suggest pairing this with solid character arcs to help better inform some of these points.

So lets break it down, and I'll be using Captain America: The First Avenger to give examples of the Plot Points in action.

Act One:

Plot Point 1

Hook: Status Quo

Introduces the story, establishing the world, characters, any themes and ideas at play, and most importantly, the Status Quo, the normal world that gets left behind. Here we meet the protagonist and see how they fit in and engage with the world around them.

Example: During WW2, Steve Rogers is a sickly, small man that wants to be a solder, and he attempts to enlist for military service repeatedly and is pushed back due to his health conditions. His best friend Bucky is a soldier and going to war and is there on his last night in New York. Here their friendship is established as is key elements of both characters, Steve's stubborn determination, his belief that he has no right to do less than others, his keen dislike for bullies and his friendship with Bucky.

Plot Point 2

Plot Turn 1: Inciting Incident

The inciting incident changes the ordinary world and breaks Status Quo, throwing the protagonist into the world of adventure and conflict. Usually via an outside force forcing them to react. Usually, the protagonist is somewhat on the back foot at this stage, acting reactively.

Example: Steve's latest attempt to enlist is successful, as a Dr Erskine (a German scientist) having overheard Steve's arguments for signing up is impressed by his character. He probes Steve's further and decides to offer him a chance at an experimental program.

Act Two: The pinch signals the end of act one and the start of act two.

Plot Point 3

Pinch 1: Situation escalates

The pinch point signals an escalation of the conflict, and a raising of stakes. Villains and antagonistic forces make an appearance, placing obstacles in the protagonist's path. Establish challenges and dangers for our characters and reveal some of their nature in turn. They are still reactive,

Example: Steve successfully passes Erskine's tests, proves himself further as a brave, smart, and tenacious man, and is chosen for Project Rebirth. He undergoes transformation from little guy to Big Buff Hero. The Pinch occurs when a HYDRA assassin shoots Dr Erskine and steals a vial of the Super Soldier Serum. Steve with his newly enhanced body chases him down, showing off feats of athleticism and strength beyond the ordinary man. Alas the assassin kills himself and Steve is rejected from military service by Colonel Phillips.

Plot Point 4

Midpoint: Protagonist shifts from reactive to proactive

The midpoint, the centre of your story should be where your protagonist shifts from reactive to proactive, from responding to events to driving them with their choices. They take charge, make moves, all informed by a revelation of some kind, either new information or understanding that changes things for them.

Example: Italy, Steve, having been acting as a propaganda mascot to sell war bonds, learns that Bucky's division and hundreds of others has been captured. Despite orders, Steve, with the help of Peggy Carter and Howard Stark, parachutes behind enemy lines and successfully rescues the captive soldiers and Bucky. During this he comes face to face with the Antagonist, Johann Schmidt, the head of HYDRA, aka, the Red Skull. Upon return, Steve is given command and successfully leads his commando unit into battle against HYDRA.

Plot Point 5

Pinch 2: Major setback

Usually in response to the protagonist's proactive actions, things go from bad to worse. There's a second brush with the antagonist in a way that hurts and sets them back. Usually a defeat at great cost, heartbreak or some kind of devastating loss. A death, team splitting up, villain obtaining the Mcguffin. If there's success it comes at great cost and might not be worth it.

Example: After a successful series of events, The Howling Commandos board a moving train to capture a HYDRA scientist. Tragically, they are prepared, and Bucky, Steve's best friend and second in command, falls to his death. Steve mourns alone.

Act 3: The pinch signals the end of act two and the start of act three.

Plot Point 6

Plot Turn 2: Key to Victory is discovered

By whatever means, the pyrrhic victory of the last plot point, a new discovery, a turn coat, a lesson learned, the key to victory is found and decided upon. Whatever the character needs, they now have, and it just might be enough to win. Could be a magical item, the magic within, a driving need for vengeance, the decision to sacrifice, or simply a desperate gamble.

Example: After Zola's interrogation and learning about the Schmidt's plan to take over the world through conquest and highly advanced weaponry, Steve, driven by loss and a need to protect, makes the choice for a full frontal attack at the heart of HYDRA itself.

Plot Point 7

Resolution: Conflict resolved

Through sacrifice, trial, blood, sweat and tears, the protagonist achieves victory whether complete, partial, pyrrhic or otherwise, and the immediate conflict is resolved. Evil is defeated, if that's your ending of choice. The lessons have been learned and the now changed protagonist can return to the new Status Quo in a changed world.

Example: Schmidt is defeated, and Steve valiantly sacrifices his life to destroy the HYDRA Valkyrie craft and it's weapons. The war is over and those that knew him mourn. The down turn is uplifted by an epilogue showing Steve alive and well in the 21st century.

If you were to visualise this plot you could imagine it as a horizontal zigzagging line, rising and falling with victory and loss, or rising and falling action, whatever works best for you.

For me I like to view things vertically like bullet points on a list, and once you have those main 7 Plot Points in place, you can fill out the events of the story with events either leading to or coming from these Plot Points.

Variations

Such a sparse structure has plenty of room for additional points like prologues and epilogues.

For example:

The Ice Monster Prologue, named for GRR Martin's A Game of Thrones prologue, where a member of the Night's Watch witnesses icy undead and a White Walker killing off his compatriots and driving him to abandon his post.

We have such a prologue with our film example:

After a scene showing modern military men entering the frozen plan and finding Captain America's shield, we go back in time to a Norwegian Church. Here we see Schmidt stealing the Tessaract, "Odin's treasure". He kills off it's keeper and sends his men to destroy the town of innocents. This establishes a Mcguffin (the Tesseract) and the Antagonist, his intelligence, drive and ruthlessness.

Another variation is the Try-Fail Cycle.

Here the plot revolves around attempting to overcome obstacles and setbacks before making progress towards the resolution. I think a good example of this would be the first Despicable Me where Gru faces a considerable number of failures and setbacks in his attempts to get what he needs to steal the moon.

Structurally, a lot of these occur after the First Pinch, which feeds into the big shift at the Midpoint.

This structure can serve for Romance as well.

Hook: Status quo

Plot Turn 1: Lover interests meet or their current relationship status changes

Pinch 1: Love interests enter a conflict that stands in the way of romance

Midpoint: One or both of the Love interests decide to resolve the conflict and pursue the romance

Pinch 2: Something goes wrong, and all seems hopeless

Plot Turn 2: One of the love interests discovers the key to winning the other's heart

Resolution: Conflict is resolved, love interests live happily ever after

How to use the 7 Point Plot Structure

With any outline or plan, it's important to have a few Good Ideas about the direction and nature of your story before you begin, one of the most important being the Resolution. How do you want things to end? What changes occur and how do they reshape the world? Then figure out where you start, what the status quo is, what your character is like before they go through everything. What are their flaws and fears? What do they want and need?

I have my own method, Road-mapping, which I'm still figuring out.

But, knowing where you start, knowing where you'd like to end can help you pint down these points and then all you have to do is fill in the blanks.

Good Writing.

P.s. Hey if you want more stuff like this, consider supporting me at my Patreon

#writeblr #writers on tumblr #writing advice #writing #creative writing #story structure #plotting #outlining #pantsing

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scaredcrab · 9 months ago

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Macaque x Reader - Silly Vallentine

Promotional Disclaimer: This chapter is being posted here to promote the whole work on AO3! To read more chapters, go to the AO3 link, in fact, the new chapters will be posted there first!

✐ 1 Chapter summary: Overcome by boredom, Macaque goes for a walk on Valentine's Day and finds you. An event that turns out to be more amusing than expected.

✐ Category: Fluff; Hurt/Comfort; Cute; Slow Burn; Slow Romance; Alternate Universe - Canon Divergence; Reader-Insert; Touch-Starved; Cuddling & Snuggling; Foreign Reader; Gender-Neutral Pronouns; Humor; Mythology References; Not Beta Read.

Trigger Warning (for the whole work, not this chapter in particular): Angst; Blood and Violence; Trust Issues; Self-Esteem Issues; Self-Worth Issues; lots of issues; Xenophobia; Trauma; Swearing; Emotional Baggage; Emotional Hurt.

-✐-☾-✐-☾-✐-☾-✐-☾-✐-☾-✐-☾-✐-☾-

Chapter 1 - Valentine

This kind of celebration usually doesn't matter much to warriors dedicated only to fighting and revenge, there's no time to meet new people and to love if you're busy going after a hated acquaintance.

But that doesn't mean boredom can't knock on these people's doors.

A powerful monkey demon walks through a large city disguised as an ordinary human. The monotony of his hiding place had ended up irritating him, resulting in a stroll during "lovers day".

The tedium was enormous to make someone so reclusive go out on a day like this. Streets are full of commemorative decorations, mainly pink heart-shaped ornaments, and serenades with sweet music can be heard everywhere, even the sky looked rosier than usual, however what occupies the surroundings more than the color pink are couples laughing.

Couples that make you want to throw up for being so clingy, many of them look like exaggerated caricatures of what a happy pair would look like. The demon even rolled his eyes when he heard some phrases from the loose lovebirds, sometimes having a good hearing is a nightmare.

"I'm scared, honey, what if I don't like the people at the party?" - A short girl passes by the monkey.

"Calm down, if you get nervous, we'll just get out of there. Trust me, we're in this together." - The other girl takes one of her partner's shoulders and speaks in a sweet, calm voice.

He stops in place, for a brief moment.

... Yeah, even though the concept of clingy couples was a little annoying, there was a part of him that held a certain... Interest.

The idea of having someone who cares about your emotional and physical state, the idea of being appreciated, someone to give you attention and affection, someone to trust, all of this was somehow pleasant to imagine. A part of him really craved someone he could actually count on, someone that would actually choose to stay with him.

The warrior shook his head to get that unimportant feeling out of there. Is the holiday making him emotional? This is so pathetic. Like, come on, he had more fun things to do than that!

The biggest fun of being on the streets today is watching couples break up. Or to see people rejecting each other. Dramatic love situations filled with people with broken hearts, looking like over-the-top soap operas in real life. That was pure entertainment.

A rattling bell and the sound of hard material hitting the wall shows that someone has opened a door not far away with incredible brute force, the door in question being the door of a luxuriant restaurant.

"Wait! Come back! What did I do wrong, my little pudding?!" - A man cried while trying to reach a woman in a fancy dress.

"I've already made it clear to you that I hate it when you call me that. What were you thinking, showing up dressed like that in front of my entire family?" - She pointed with her index finger at the clown nose the man had on his face.

"I-I wanted to make your family have fun."

"You made everyone laugh at me! Laugh at us. You made me look like an idiot!"

Ooh, this was a good drama, an argument for a ridiculous reason. This gives a bunch of inspiration to an artist, stupid story scenarios becomes the perfect reference to fun scenes. The beauty and the clown, yeah, this could be the theme of a shadow play, a funny one. A few laughs escaped the demon's lips, so much suffering for such a stupid reason was a special comedy to watch.

Unfortunately for him, the pairing didn't take long to reconcile, returning to the restaurant's interior happily and holding hands.

He rolled his eyes at the scene, boredom returned and, so did his quest for entertainment. Maybe looking for fun outside the hideout wasn't such a good idea at all.

He looked at the restaurant through the front window, taking off his hood of his head, so it wouldn't get in the way of the view, inside there were several couples eating fancy dishes that looked delicious...

Ah yes, the second reason to go out today, the food.

The dishes had too many heart decorations for the Six Eared Macaque's taste, however, that didn't change how tasty they looked. Main courses full of meats and spices, a big variety of drinks and sugary desserts filled the space in every busy table.

If he sneaks into the shadows the right way, it won't be hard to get some good meals.

His belly growled.

"AaaAh! That was loud!" - He looked to the side and saw... You. - "Gosh, you scared me!"

Macaque jumped startled, he hadn't seen that a human had approached to look in the window too. A loud noise came from your belly almost as if it was competing with his stomach.

"Oh... You must be hungry. You also don't have a partner to eat a Valentine's Day food?" - Your hunger had reminded you of that scary noise that came from his tummy.

Macaque was starting to consider fleeing away from there, all he needs less now is boring small talk in the midst of invasion plans.

"Today there are various places offering special dishes for couples, but only for couples." - You keep talking even without hearing an answer from him. - "I'm alone too, so I understand the feeling of walking around without a partner, it makes us think about all the good food we're missing. I only left my house today to see everything decorated and pink, you know. I wanted to see the city transformed."

/ Does this human get chatty when hungry, or are they just naturally annoying? /

After that thought, the belly of the two rumbled together, a synchronized noise, it sounded like a were a rehearsed trick.

"Argh! Those foods look so delicious! I would even pay someone to accompany me, pretending to be my partner."

/ Wait a minute, what did they just say? /

"Would you really pay someone to do something like that?" - An interest appeared behind the question.

"Of course, I really want the couples discounts and stuff." - You answered honestly without even thinking twice, it's a habit of yours that ends up putting you in complicated situations all the time.

A mischievous grin broke out on his face.

He turned around and put a hand on your shoulder to have your attention just for him, you look into the eyes of the man who was holding you. - "Well, today is your lucky day! I am completely willing to cooperate with you in exchange for a good payment."

Now the human eyes stared at the man, the owner of those eyes carrying a certain nervousness within them. We all know that you shouldn't make deals with strangers, you know that very well yourself, but this is an opportunity to eat the exclusive foods that will only be available for today...

You took a good look at his figure to study his details, checking out the sparkle in his eyes, the charming smile, the beard that added the final touch to his attractive face. He wears clothes in nice colors that match each other, specifically dark red and black, his dark hair wasn't super tidy but wasn't tossed around either. The strands look very soft too, a strange urge to stroke the locks of hair haunted your head, but you held back. A man full of charisma stood before you.

You had to admit, he is hot. He is really hot, and he probably knows that (right?), so how expensive would that service be?

"... And how much would be a good payment in your opinion?"

He moved closer to your ear (a thing that made your whole body heat up and shiver) and using a seductive, soft voice, he whispered the value. Your brain melted hearing the voice while collapsed, listening to the number being said. God. The company of pretty men really was expensive.

He seemed to be delighted to see you shudder, to see you making such a shocked expression at the answer, a smug and satisfied smile graced his face. And honestly, this attitude only made you feel more silly feelings in your chest.

"My lord! This much just because you're handsome?!"

"Nice try, but flattering me isn't going to make me change the price I set."

"W-Wait! Let's talk a few things before accepting any price! Like, what places do you allow us to go? What couple things I can do with you? What are your personal boundaries? It wouldn't be fair to charge a specific amount without considering certain things."

The man stares at you intently for a few seconds like someone trying to see through dark glass, arms crossed defensively as he "scans" you up and down. He seemed to be searching for lies through the aura of your soul, or something like this.

"... Like a spoken contract? A kind of sacred agreement between us?" - You nodded with your head.

After thinking some more, Macaque started to say his limitations: No kisses. No hugs. No pet names. You're only allowed to walk holding hands (so you don't end up getting lost).

On your turn to speak, you negotiate the places to visit: an elegant restaurant, a chocolate fondue stand and a cute cafe. These places had great deals for couples and unique Valentine's Day dishes.

/ Isn't that too much food for just one person? /

He had no idea how much food would fit in your stomach, but he could eat a lot himself, so he was getting a big prize. Caring for you was the least of his worries, so your final state at the end of the tour doesn't matter as long as he's well paid and well-fed.

Being so demanding and limiting turned out to affect the final price of the deal, you would have to pay less to the fake boyfriend, but it was still a hefty price.

With everything settled, it was time to pay.

You looked in your wallet with a sad expression. - "Goodbye sweet money, I will never forget you."

When you were about to hand over the payment, you remembered a basic socialization step.

"Wait a minute! I don't know your name." - You held your money close to your chest, hesitating.

The monkey blinked in disbelief, processing the moment, of all suspicious things was it the lack of name that made you hesitate?

A light chuckle escaped from him. - "You can call me Mac. What about you?"

After revealing your name, you glared at the man as you slowly handed over the money, taking your time to say goodbye to the lost fortune. When he took the money from your hands, you made a thin little noise of suffering. Honestly, you're so exaggerated.

We can say that you're dumb too! Knowing each other's names isn't going to stop one from running off with the payment. Lucky for you, Macaque was starting to be entertained by the human innocence. Or would it be better to say stupidity instead of innocence?

Well, it doesn't matter, a fake date has begun.

#lmk #lego monkie kid #monkie kid #lmk x reader #lego monkie kid x reader #lmk macaque x reader #macaque x reader #lmk fanfiction

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