#i need to analyze source material

[pillowzilla]

HAPPY YURI DAY

Greyfax frames below!

[fromtheseventhhell]

it's wild to see people say stuff like "sansa is a politician, arya is a warrior" while not being able to point out a single political act sansa has achieved, and not being able point out any of arya's "warrior skills" that isn't the handful of fencing lessons with syrio she received for like five months max lol

Politician!Sansa and Warrior!Arya are two fascinating ends of a fanon ouroboros; Neither concept exists outside of the other and neither concepts are based on the books. This fandom is just so attached to the idea of Sansa being this incredible politician, with intelligence above every other character, that her having nothing in her own chapters to support that idea doesn't stop them. That's why Arya's intelligence, skills, and entire character arc get reduced to her being nothing but a walking, talking weapon. Like you said, her "warrior" capabilities are essentially the handful of lessons she had with Syrio where her most important + relevant lesson was how to observe her surroundings. Her only "combat" training with the FM was her defending herself with a staff when she lost her eyesight. There's nothing to suggest that she's going to be a warrior, in fact we get the exact opposite. We get constant reminders of Arya's small stature and lack of strength that prevent her from fighting/defending herself in certain situations. All her kills rely on sneak attacks/stealth and she's never been in an outright swordfight with anyone. George even refrains from calling her a warrior like Robb and Jon. Brienne and Asha are examples of female characters who are actual fighters and if you compare their chapters, you can see the difference.

But then Arya's entire existence is antithetical to fanon!Sansa's. Her Harrenhal arc is what people pretend Sansa was doing in KL, her relevance to the North gets transferred to Sansa, and her intelligence and political activeness are erased so that Sansa can shine. They'll write essays on how Sansa is the most intelligent, politically savvy character and how Dany/Jon/Tyrion's arcs only exist to highlight her own ruling arc but the second someone asks them for evidence from the books, it's crickets. I don't understand why their enjoyment of her character hinges on her being the most important/intelligent one. No Arya stan is under the illusion that she's going to be the political character or outclass Dany, Jon, or Tyrion. It's just part of her story so we acknowledge it. Arya is going to have her political arc in Braavos and Sansa is going to have her political arc in the Vale, they aren't mutually exclusive. The only issue is that some people want Sansa to be the only one with a political arc and that's not the story that George is telling.

[wttcsms]

horribly short summary of what im trying to accomplish here, but if you were to read a fic featuring character, a soldier honorably discharged and is officially off the battlefield and yet he can’t seem to shake off the war from clinging to his body, and he’s basically a bit of a mess and feels incapable of returning to ordinary life and there’s you, the sweetest thing in the whole world, and he keeps trying to tell you he’s no good and you’re there to help him with everything (and it kills him a bit, to see you wasting your time to help him, and it kills him because he feels like he shouldn’t be the type of person who needs help) and !! just slowburn and falling in love and just read the tags for the vibe ok, who would it be for

[starlooove]

“There is no fanfic on Stephs treatment I have checked” that’s like the whole point.

[shararan]

What's with this sudden uptick in "any fanfic depiction is a deliberate slight against the source material that should be condemned" I'm seeing across fandom in general and how the fuck do I opt out of seeing it

[onlydijah]

જ⁀➴ FAMILIARITY ❪ LES ❫

𝜗𝜚 CATCH IT! fem!reader, mentions of kissing and intimacy (no smut).

𝜗𝜚 WORDS FROM ME! this is NAWT❌ “fluff of the year” material i fear LMFAO i lwk lied thru my teeth srry guys🙂‍↔️🙂‍↔️ wrote this instead of finishing part 2 of “BAD HABIT” but that’s almost done and should be out next week!

𝜗𝜚 :: time was never in KENJI’S favor, however, the very few and far between times it was, he never hesitated to devote it to you.

✧ WORDCOUNT :: 986

“KENJI! STOP!” you giggled, keeping your voice low as you ultimately failed to remove yourselves from Kenji’s firm grip.

“Come on baby, just 5 minutes,” he pleaded, “They won't even notice I'm gone, promise.” Kenji stuck out his pinky, eyes filled with a mix of mischief and devotion, praying his pleas didn’t fall upon deaf ears.

You anxiously looked side-to-side, analyzing the barren hallways for any sound or sign of people approaching. ���2 minutes.”

“Fine.” Kenji conceded in a breath, too shortsighted to realize how little time your compromise left him with. You extended your pinky, to which he hooked his around, yanking you through the wide, changing room doors.

The state of the art equipment, carefully selected decor and pleasant hum of the electronics in the room were all drowned out as soon as Kenji crashed his lips onto yours, his soft breathing fanning your face.

You pushed him into a chair, pressing small, glassy pink proclamations of endearment on his chiseled face, courtesy of the strawberry flavored lip gloss you had applied moments prior.

Kenji dipped his head back in merriment, ghosting your lower back with his hands, leaving just enough space for you to move freely, but still close enough to catch you if you faltered in your straddled position. As he relished in the warmth of your tender affection and the feeling of your muffled giggles against this skin, you focused on other parts of his alluring face. The side of his nose, below his cheekbone— anywhere you might have missed.

“Is this gonna stain?” He remarked lowly, his slender fingers subconsciously pressing shapes into the sides of your hips.

“Shhh— don’t ruin the moment,” you pleaded, continuing. The changing room was pitch black, the only source of light being the measly floor lamp which was in desperate need of lightbulb change. The faint illumination covered Kenji's face like a soft blanket, softening his harsh features.

As the minutes dwindled into seconds, the faint roaring of the crowd began to get progressively louder, now being audible from inside the room you occupied. Your lips nuzzled against his neck, rolling down the skin tight, black compression shirt’s turtleneck and placing more tinted imprints down his neck.

Everything was serene and cozy, until you pulled away quickly when you heard discernible footsteps passing by the suite, the soft noise bringing you back to reality. The boy in front of you let out a small groan, voicing his displeasure with your sudden cut of contact. But looking at it from an outsider’s point of view; you were in an unlocked staff only room, perched on their star player’s lap, with smudged lips matching the exact color of kiss marks that were now littered across his face.

Suddenly, Kenji’s dissatisfaction wasn’t your biggest concern anymore.

You stood up instantly, flattening out your lightly wrinkled jersey and stealing Kenji’s black baseball cap, smoothing out your disheveled hair to the best of your ability and placing it on your head. “Okay, that was waymore than 2 minutes..” You proclaimed, smiling slyly when you glanced at Kenji’s flushed face.

His eyebrows drew in with discontent, “Can I atleast have my hat back?” He grumbled with mock venom. “Nope, you don't need it. I do.” you replied. Grabbing a mini rolled towel from the side table next to you, you began to lightly rub off the reflective marks one by one with the same care you inhibited when began intricately placing them, “You look funny, I should leave you like this.” You giggled, seizing hold of his chin. “Look to the left for me please,” Kenji obliged silently, turning his head.

As you gently wiped his face, his eyes couldn’t help but wander to yours, housing a foreign look of deep affection and devotion. He admired how your hair fell by your side when you looked down, and the soft touch of your manicured fingers on his skin.

Finishing quickly, you left only one by his neck. You adjusted the neckline fabric tediously, hiding the kiss to the best of your ability. You glanced up at him, surprised at the way his eyes had been focused on yours for quite some time now, eyelids glossy and mind deep in thought.

“Ken—“

“Kenji?” a deep voice called, footsteps nearing closer.

“Shit!” He whispered under his breath, “Okay, you should go now,” he gave a breathy laugh, the whites of his teeth peeking out as he smiled feebly.

“Bye Ken, good luck,” you wished him well, stealthy running out the room’s back door. Giggling as you silently passed by his manager.

Cade opened the door slowly, greeted by the ominous darkness and silence of the area. “H-hello? Ken. They need you out there, now!”

“I know, I know, I’m sorry!” Kenji turned around, frantically looking for… something? “I’m.. where did I put it?” Kenji mumbled to himself.

“Your helmet?” Cade blurted out, unsure.

“Yup, that mhm.” Kenji latched onto the premature lie, nodding his head slowly, the movement stiff and constrained in motion.

“Umm..” The elder stared at the player curiously, “Well I’m sure they have extras on the pitch, let’s go!”

SAFE TO SAY YOUR “LUCKY CHARM” WORKED, the giants winning 8-3.

“We should do that again sometime, huh? Before every game would be great.” Kenji smirked in your ear, walking beside you to the exit.

“Nuh-uh No more. 3 more seconds and we would’ve been caught.” You shook your head stubbornly, grabbing his hand and turning a corner.

“And?” Kenji quirked his brow, dumbfounded.

“Let me rephrase that..” you abrubtly freezed, “3 more seconds and I would’ve got caught— me.”

“I’m still not seeing the problem?” Kenji questioned, stopping along with you.

You huffed, “How do I explain this to you— I would look like a groupie.”

“Ohhhh” he smiled, “Yea I see it now, ‘s a shame.”

“Yea.”

© @onlydijah on tumblr. DO NOT copy, translate, or claim any of my works as yours. thank you! 💘

masterlist

[shaunashipman]

i am genuinely a bit scared for my fellow bucktommies because with all the love eyes for bucktommy and tommy, i am not sure if people don't happily-ever-after too close to the sun with their expectations about how the bucktommy relationship will continue. 911 is still very much a drama show that will create drama out of thin air if it has to, oftentimes in ways that feel very dumb and will make the characters look very bad. we have seen in the past that resolutions are usually very lackluster, or sometimes even off screen. i personally really look forward to see buck and tommy, but i hope we all remember that buck AND tommy will fuck up at some point, and maybe even fuck up Bad. please be careful out there with how high you set your expectations, my fellow bucktommies, and don't forget that buck and tommy will have conflict again, with the others or with each other, sooner or later! (i hope it will be compelling and nuanced and interesting conflict that fuels their development, at the very least 🤞 but i also know that i am watching 911 so...)

so nonny, this isn't really directed at you, but i'm gonna use your ask as a springboard cause i'm seeing this sentiment pop up a lot

people need to stop conflating fanon actions with desires for canon

by this i mean, 99% of what i post about bucktommy, are things i never expect to happen in canon, and some of it quite honestly i would not want to happen in canon. i obviously can't speak for everyone, but most of the people i interact with are well aware that the characters on screen are not really the characters we're playing with in our sandbox.

and that's okay. that's how fandom is supposed to work. fandom is separate from the source material. we didn't used to need to post disclaimers about how no, we don't actually think this is going to happen. no, we don't actually think their relationship is going to be sunshine and roses. ppl in fiction act stupid cause sometimes the writer needs stupid to move the plot where they want. I, as a fan, can choose whether to incorporate said stupidity into my existing fanon, whether to analyze it to see how it could fit with my existing fanon, or whether to toss it out, baby and all.

part of the reason fandoms start is because we find the source material lacking. so honestly, when buck or tommy, or any characters, inevitably acts like a dick in a way that seems counter to their previous characterization, it's just more fodder for fandom, a new facet of their character that we then get to analyze and decide why they're doing it. well behaved women rarely make history and well behaved characters rarely make fandoms

so, just so it's clear, at least from me, unless I specifically state that this is what I think will happen in canon, everything I post about bucktommy, and basically all of my fandoms, is not even wishful thinking, it's just me playing with my dolls.

[the-virgoperspective]

Part 1

The Moon in composite is one half of the most important luminaries and one of the most vital sources of energy in a relationship. It complements the Sun and represents the medium through which the Sun’s energy expresses itself. The composite Moon indicates how well the relationship acts as a medium of emotional expression for the two. The house position of the composite Moon shows the area in which you feel, or ought to feel, that you have the most in common.

I will be using the writings of Robert Hand from his novel “Planets in Composite: Analyzing Human Relations” to describe the meaning and significance of the Moon in each composite house. Please always keep in mind that this is only one vital step to reading an entire composite chart and should not be seriously considered without viewing everything as a whole. This is just one piece. Enjoy!

1H Composite Moon

Composite Moon in the first house makes clear that in this relationship your feelings and emotions are very prominently involved. It is not a cool or distant relationship in which the two of you treat each other as distant objects. You will be in there with all your feelings working.

Obviously, this placement is favorable to any relationship in which you want to relate on a close, intimate level. However, it can create some problems that must be dealt with if you want to derive the greatest benefits from this configuration.

As the planet of emotions, the Moon emphasizes the subjective side of any matter. A prominently placed Moon can, at its best, indicate a very sensitive relationship in which the two of you know intuitively what is going on inside each other. You have a deep emotional understanding of how you get along. But the Moon can also create such a strong emotionalism that you are unable to stand back and look at yourselves clearly in terms of your relationship. In other words, your subjectivity overwhelms your ability to see each other objectively. Be careful to avoid such extreme emotional involvement.

The Moon also rules the past and the contribution each of you makes from your individual experience, so these factors will be very important to you. A first-house Moon is usually a strong indication of an important personal relationship. It should give the two of you a strong sense of emotional compatibility. You will feel that you belong together and that you have much in common, which will indeed be true.

2H Composite Moon

Composite Moon in the second house indicates that this relationship will bring out the needs you both have for emotional and material security. In fact, you may have come together because of those needs.

You will have a strong sense of shared values, which will help to reinforce you as a couple against the undependable and changeable outside world. Because of this shared feeling, your relationship will grow strong even when there are considerable difficulties between you. You will be reluctant to give up the emotional security granted by the Moon in this position, even when things get tense. But the need for security could keep you together even when that is not the best solution for either of you.

One minor problem that this placement can bring about is that your need for emotional security can lead to a compulsive gathering of physical objects. You may try to satisfy your need for emotional security through owning things together. In this case your relationship will come to be symbolized by great quantities of material possessions. Beyond a certain point, possessions can become a millstone around your neck that limits your freedom of movement. Particularly if this is a marital relationship, you might be trapped into staying together because of what you own rather than because the relationship is working well. Like everything else, possessions must be kept in their place.

Nevertheless, the security that this relationship can offer should be one of its strongest points and should help keep you together when the going gets tough.

3H Composite Moon

Moon in the third house implies that this relationship is based largely on feelings. The third house is the house of the mind in its day-to-day functioning, and in a relationship it indicates the normal attitudes and opinions that you share. When you are together, you think about yourselves more subjectively and are more influenced by your emotions. You communicate with each other primarily through feelings rather than through intellect, so communication between you is likely to be mostly nonverbal.

Because you have a strong sense of shared opinions and viewpoints, you may not really need to communicate so much on an intellectual, verbal level. But at the same time, because communication within the relationship is so subjective and emotional, it may be difficult to discuss things rationally and objectively when you have to.

You may talk quite a bit about your collective feelings, which obviously is good in a personal relationship if you keep your sense of perspective and don’t overdo it. Do not let this tendency degenerate into making mountains out of molehills.

In a marriage or love relationship you are likely to be involved to an unusual extent with relatives, who may in some way contribute to the emotional stability of the partnership.

4H Composite Moon

The fourth house is in some ways the most natural position for composite Moon, for there is a strong analogy between this house and Cancer, the Moon’s sign.

With this placement it is extremely important that the two of you share a common background or experience, for it is likely to be a strong force binding you together. You may feel that you are alone together in a crazy world, protected only by your shared attitudes and origins. However, it is not so important that your backgrounds be truly similar as that they have given you similar basic attitudes to the world.

Even more than in a relationship with a second-house Mon, you are together to give each other emotional security. And here again the security is very likely to take the form of sharing real estate or a house. This is an excellent position for a marriage partners or roommates because of the strong sense of sharing it can induce.

However, it is necessary to warn you that your desire for emotional security and the related tendency to seek material security should not become the sole factors binding you together. Also your need for a secure relationship must not lead you to repress the legitimate gripes you may have with each other. Let your partner know how you feel; your relationship is probably strong enough to stand the strain.

A fourth-house Moon is most favorable in a relationship in which you set up housekeeping together. For this reason it is a good position in the chart of a marriage.

5H Composite Moon

Composite Moon in the fifth house suggests that your relationship exists because it makes you both feel good, especially emotionally. Traditionally, the fifth is the house of amusement, love, and children. One could also call this the position of recreational relationships, in which self-expression is a principal aim. Obviously this is a good house position for any kind of personal relationship, especially a love affair. You will enjoy each other’s company immensely, and together you will seek out parties, the theater, nightclubs, and all kinds of good times. These experiences will be important in your feeling of what you share with each other.

The major deficiency of this position is that you may find it difficult to settle down to anything serious. This can be especially difficult in a marriage or long-term love relationship, for you can’t always have fun and games; at some point you have to work at the serious business of building a relationship together.

If this is a marriage, children are likely to assume an important role in your life together. With this position of the Moon, you will probably want to have children, and you will have them.

For the pleasantness in a relationship, this is one of the better Moon placements. It ensures that you will be able to express yourselves emotionally with each other easily and fully.

6H Composite Moon

The sixth house is a rather somber and serious placement for composite Moon. It suggests that you have a sense of having come together for a specific and necessary task or purpose that may not be completely pleasant. One of you may feel subordinated to the other in some way. Therefore, this is a difficult placement for any relationship that requires you to give and take equally, as most relationships do. One person may feel like a doormat for the other; he or she is likely to get tired of that position and revolt against the other.

The only way to make this position work is for the two of you to exchange services equally, thus preventing it from becoming a one-way affair. This may be more difficult than it sounds if one of you is determined to be a martyr, especially since a martyr usually demands some kind of repayment that is very difficult for the other to make.

A related danger is that one of you is giving more to the relationship emotionally than the other, you could become quite resentful about it.

Whatever the costs. You both must strive to be more nearly equal in giving and receiving. Otherwise, this relationship will become quite unpleasant.

Find part 2 here!

���𐭩 ombré divider by @cafekitsune ᡣ𐭩

[beware-of-pity]

I need people who would die on the hill of "Fire and Blood is completely unreliable, therefore we cannot trust anything that's written in it" to open their eyes and read a book that is similar to the structure that Fire and Blood uses to realize how wrong of a statement that is. I know that this will probably be received as a very hot take but I do not believe that everything needs to be analyzed or has to have a deeper meaning behind it. The curtain can be blue and there doesn't have to be a reason for the curtain to be blue other than the fact that it's just blue (hope someone gets the reference). Ryan Condall obviously disagrees with that, because in his quest to recreate his own 'magnum opus' of a 'Shakespearian tragedy', as he always likes to refer to it as, he has instead created the equivalent of a dumpster on fire next to the other bigger dumpster on fire that was Game of thrones.

Bland, whitewashed characters with little to no turmoil or agency going on are revered as complex and nuantical on Twitter. And if you even dare to disagree, you're immediately sentenced to the stake. Characters like Alicent and Rhaenyra could literally not even be in the episode and nothing would change. Rhaenyra was in episode 4 for not even 5 minutes and with everything going on in it you wouldn't even have noticed that. She should have been there, leading the council as Cole marched on rook's rest, her only available connection to the mainland in the crownlands, apart from Claw Isle, after duskendale fell to the greens and instead her only scene in such climactic episode is her walk of shame returning home and her, rightfully, getting scolded by her son for thinking that she could still sue for peace with Alicent, the mother of her son's murderer. The show makes the decision to have Rhaenys volunteer instead of having Rhaenyra send her there so that later when Rhaenys dies Rhaenyra cannot be blamed for it. The fundamental changes of characters like Alicent don't work because the writers are not able to sustain such changes from the source material they are deriving the story from. Going from leading the council that would place Aegon on the throne, to never even being in on the plan to usurp Rhaenyra, that her father created, is such a letdown for such a political savy character like book Alicent.

Aging her down, to Rhaenyra's age, and making these two childhood best friends, was a mistake.

What is very evident is that the showrunners have no clue, so far, what to do with a character like show Alicent. If she's not going to lead the council when Aegon is bedridden and Aemond is off to fight in the Riverlands, why doesn't she just leave?

Going from an active participant in a usurpation from somebody who needs to miss-hear or misunderstand her dying husband for her to get in on the plan, only so there is an excuse to get her on the war council is bad writing.

Making people believe that Rhaenyra was usurped because of a misunderstanding, and not only because she was a woman, is bad writing. And going to the extremes, of having these two 'betray' each other in order to have a reason to make Rhaenyra look bad in the eyes of her rivals is bad writing. Rhaenyra could have been the perfect heir, and even only because she was a woman, Otto and Alicent would have usurped her either way.

Going back to the point of this post; Timelines, ages, events, who got married to who, how many kids they had, things that you can quantify are not something that can be made up, used as rumors or form of propaganda in a history book. What you make up as a rumor is sexual escapades and a young girl seducing her sworn shield who has watched over her since she was seven. Things that can make a person look bad to glorify or uphold the good of someone else alongside all the other stuff that happens behind closed doors and makes you question where the information is coming from.

I find it so odd that the aggressive marketing team for the second season was all about choosing your side. Lol, what is there to even choose? Choose between the overly sanctified Rhaenyra, who god forbid is still searching for the peace that has already been thrown over the cliff long ago, and is not allowed yet to make a mistake. Or, Alicent, the pathetic hypocrite who made her bed and is not willing to admit it. Anything interesting about these two women is completely being cut so that Ryan Condall and Co. can continue to spread the "men are bad and violent, women are the gentle peacemakers that don't want war." which is leaning a little too heavy for my taste into gender essentialism which would make every choice they have ever made about these two characters more misogynistic than any of the action of the actual misogynistic characters in this story. Taking away the very little agency these characters had and constantly making them the perpetual victims of the patriarchy and completely sidelining any sort of character traits that they may actually develop through their actions had they actually been taking any, doesn't work for me.

This show was a mistake.

[paraphwrites]

a brief note about charles rowland, bisexuality, & the art of queer interpretation

for most of modern history, queer people have been cast to the shadows. be they jailed at the time for sodomy, or erased from history after the fact by historians downplaying their relationships, history has been notoriously cruel to queer people. this is especially true in media, which often completely ignored the existence of queer people.

from this lack of representation, the 'queer interpretation' was born. this is when a consumer notices subtext in a piece of media and extrapolates that one or more character(s) is queer. this is especially prominent to try and undo historical revisionism, and what authors may not have been able to publish at the time, but were able to imply.

a well-known example is "a picture of dorian gray," an egregiously homosexual novel, written by an egregiously homosexual man. despite dorian not being explicitly gay.....he is. this is widely accepted among modern interpretations, because wilde utilizes queer-coding and allusions to ancient greece to create subtext that the character is homosexual in nature.

however, not everyone is a fan of the queer interpretation. many people cite it as inserting gayness where it does not belong. this, though an understandable argument, both erases the history of queer people and the ways that authors intentionally queer-coded their characters, and misses the point of art all together. art is open for interpretation, whether it be the symbolism of the curtain color, or the character's sexuality.

but the queer interpretation is especially important because it gives voices to those expressly forbidden to share queer thoughts when they were alive. beyond giving a voice to the author, it also reflects the feelings of the person interpreting the text (as all interpretations do). the degree to which one utilizes the queer interpretation illustrates the degree to which one feels the need to do so. for example, someone who is searching for queer rep is more likely to read charles rowland as gay, whereas someone who isn't fond of headcanons is more likely to accept him as straight

now, is charles rowland bisexual? yes. and also no.

charles rowland does exhibit many characteristics which, when you are familiar with queer-coding, may make him seem like a glaringly bisexual man. he wears earrings, he dresses alternatively, he smirks, he is an absolute twink. but, straight men can smirk too, and wear earrings, and dress punk rock. that does not actually mean anything. BUT it DOES. when utilizing the queer interpretations, one analyzes fashion and diction and other pieces of subtext to draw a conclusion. the implied subtext is queerness. so, charles rowland is bisexual, then, right?

limiting bisexuality to stating your attraction to both men & woman is harmful. it reinforces that heterosexuality is the norm, and implies that, if you do not directly state that you are bisexual, then you are straight.

but, there is merit to the 'charles is straight' argument. it isn't homophobic to not use the queer interoperation.

dbda is a show that is clearly not ashamed of highlighting queer characters. so it stands to reason that if charles is queer, it would have been brought up. (of course, if there had been a season two, maybe we would have seen him discuss his sexuality, but i will work with the source material i have.) so, it stands to reason that charles is straight. afterall, despite faint subtext that charles is straight, the show does not go out of its way to queercode him. so, charles is straight

WRONG AGAIN. charles rowland is neither gay nor straight, he is a plot device in this mini essay.

the heart of the queer interpretation is seeing a character and looking beyond what is written. oftentimes, it involves two characters (eg, edwin & charles). in the instances when there are two, the queer interpretation asks that you look at the most important relationship in the story, rather than what may seem to be the love story.

you may ship catwin, or crystalXcharles, or whatever. and that is totally valid. BUT, the show could still exist without the cat king x edwin. and the show could still totally exist without crystal x charles. but the show immediately falls apart without the relationship between charles & edwin. whether romantic or not, their relationship is the heart of the story. it is a story about THOSE TWO and everyone else is add on. i am not saying no one else is important, but i am saying the heart & foundation of the story is derived from edwin & charles.

queer interpretors ask that you look at the most important relationship in a text, rather than the most explicitly romantic one. and, often, queer interpretors then project romantic feelings onto the two characters that the story could not survive without.

crystal & charles cannot end up together because crystal will never be the most important person in the world to charles. the cat king & edwin can never end up together because the cat king will never be the most important person in the world to edwin. ergo, edwin and charles will inevitably end up together, because they are the most important people to each other.

at least, that's what queer theory might argue about it.

another just as valid argument is that charles rowland is a bisexual, and not in love with edwin. and a third valid argument is that charles rowland isn't bisexual and isn't in love with edwin.

because we don't KNOW. this is interpretation. so i can look at charles rowland and say 'he's a bisexual and he loves edwin.' and you can look at charles and say 'he is straight.' and someone else can say 'he is aromantic' and someone else that he's pansexual and someone else that he needs way more therapy before he can even begin contemplating his sexuality. and they are all VALID.

anyway but i think it's important to understand the why behind why so many people think charles' is bi, and why it matters! i'm not saying charles has to be bisexual, but i'm saying the bisexual interpretation does matter.

[skyflyinginaction]

Clamp Art Style Analysis: Part 1: Creation Process and Materials

Introduction

Clamp is a manga artist team of four women. They are a prominent distinguished manga artist team known in the West and in China. The thing they are most recognized for is their highly detailed art style many people may have known and many may not. They did several manga you might have known such as Card Captor Sakura, Chobits, and even Tsubasa.

Clamp is one of the artists whose art style I highly admire and want to imitate in my art. I created this post so I can understand and take apart their art style and better understand it. It is going to be difficult since there are four people with different specialties and years of professional experience in their belt. They are constantly changing and adapting to every genre. 

I am going to analyze Clamps’ art style in this post and this may take a while to crack due to how extensive the Clamp style is. I am going to pile up everything and explain this in this post which is going to take time to explain in this post. I am going to take apart interviews from different sources while explaining their art style in this post.  

I am going to examine their art style and the materials they use. I am going to split into sections talking about the art style and what they use for materials for the manga.

To understand the art style and how it is defined I need to understand Clamp themselves since they created an entirely individual style that is going to talk about other things, not about the art style there is going to be so much I might miss while explaining in this post. I could be wrong while explaining this is an analysis I am going to take my crack at understanding the art style. 

Influences

Though the members of Clamp are largely self-taught they are inspired by many figures that influence their art. The list consists of Reiji Matsumoto, Osamu Tezuka, Go Nagai, Hirohiko Araki, and Moto Hagio. The other works that influenced Clamp are animated cartoons and Galaxy Express 999. Reiji Matsumoto and Osamu Tezuka are major influences in their works Clamp used Osamu Tetsuka’s star system in their works which is seen often in the crossing over of characters from their series into their other works. You can see this prevalently in Tsubasa, X, and Kobato where you would find characters from the different series crossover.

Nekoi's favorite cartoonist was Moto Hagio in high school and Mokona mimics pictures by Reiji Matsumoto when she was younger. 

While working on manga Nekoi started copying Shinji Wada and Rumiko Takahashi, in which She copied her art in drawing legs. She drew them thick and big. She liked the legs Rumiko Takahashi drew since they seemed long until short feet. She took them to make them more delicate and feminine. Clamp used other artists to help them while drawing. 

Go Negai influenced the creation of X, taking inspiration from his work of Devil Man featuring two main male characters, and the murder of the lead's sweetheart triggers the apocalypse. Devil Man is used in creating x The extreme levels of violence depicted in X came from Go Negai's works. Clamp knows about Devil Man. They did a doujinshi of Devil Man in their works as doujinshi artists a while back and even had a doujinshi about the lead character's relationship in their works. 

X was inspired by Go Nagai the heavy violence in x inspired from Go Nageis works and the assembled cast of x is inspired by Kyokutei Bakin's Nansō Satomi Hakkenden, The fight sequences of x were inspired by the manga Dragon Ball specifically Akira Toriyama's use of white backgrounds.

Mokona influences are H.R Giger and gérard di-maccio are used  for the RG veda backgrounds.

Mokona likes Alphonse Mucha who is a considerable influence in drawing XXXHolic art.

Hirohiko Araki is another influence of Clamp with JoJo's Bizarre Adventure fan manga back when they drew doujinshi and starred in Clamp in wonderland animation with Jojo animated.

They drew a doujinshi on Jojo a while back starring Josuke and Kakyon and even they drew Jolynn once.

There is a lot of Kakyoin and Josuke fanart with Yaoi art drawn by these two characters.

Jojo was used in drawing wish with Kohaku and Shuichiro strongly resembling Jotaro Kujo and Noriaki Kakyoin and Kohaku's hairstyle strongly identical to Kakyoin and Shuiichiro resembling Josuke.

Members

Nanase Ohkawa     

The main leader of the group, the main writer of the scenario, is in charge of the original story, script, and design. The other three artists are Mokona, Nekoi, and Satsuki, who are in charge of the art.

Mokona 

Mokona is the artist and designer in charge of drawing. Mokona is in charge of sketching out the construction of the characters by hand. Mokona draws the storyboards and sketches out the characters. Mokona is responsible for drawing female characters.

Tsubaki Nekoi    

Nekoi is in charge of character design, background scenery, finishing touches, and charge of the foundation of the art in their works. Her booth has been painted for design and screens for finishing touches.Nekoi likes to doodle and throw pages. Nekoi is in charge of drawing male characters.

Satsuki Igarashi

Satsuki Igarashi is in charge of design and drawing and is in charge of the finishing touches. She is in charge of designing the cover of the book itself.

Bio 

Three members of Clamp were classmates in high school who took art-focused classes in school; none of them studied at school for manga. Nekoi tried using colored pencils and opaque watercolor in school when she was young. Satsuki and Nekoi were in middle school when they first started drawing manga. Mokona was in an art club in middle school. In high school, she started drawing manga with proper frames and dialogues. Mokona, Nekoi, and Igarashi studied art in high school Nekoi, Mokona, and Igarashi met in high school as a kid She found a friend who loved manga, Satsuki went to an art-type highschool and Mokona high school and college had art-focused classes, Igarashi was at an art department in highschool then to computer graphics vocational school. Clamp started as doujinshi artists who first published doujinshi fanzines Back then they had more people it went down to four in the year of their commercial debut.

The group never worked as assistants with most of the members being self-taught with Tsubaki and Nekoi being more self-taught.  

They never used assistants to help them with their work since they wouldn’t be able to understand the years of jargon they created among themselves They created work for years without any help from assistants since assistants would slow them down and wouldn’t understand when we would tell them to do the same thing as before disrupting the workflow they created for work.

For inspiration, Ohkawa gets her ideas from dreams or inspiration based on events she hears or sees on the news a lot of times its deadlines. Ohkawa doesn’t always take notes and she usually loses ideas.

Clamp’s daily work hours while working on manga is in the morning, get in the studio at about 10 or 11 in the morning and in the afternoon they eat dinner at 6 in the evening then stop working at midnight. 

The members share a single workspace and are separated into three booths while they work.

There are four separate studios and the member's workspace accommodates all four of them. Clamp work requires complete perfection with members having their own space where they have to work to create one of their works 

The art of Clamp is lush layered and amazingly detailed. It has a high-quality art style with extensive details. Due to this, it's almost difficult to adapt to animation.

Each of Clamp’s titles has a different art style depending on the genre or magazine they are running in; their art styles change to suit the work and magazine the manga will appear in. The art style of the work is based on Ohkawa’s decision in charge of the art direction of the work. The art styles and pictures have changed but not their methods.

There is a lot to talk about the Clamp art style which may not be enough to explain one segment

Creation process 

Clamp's work process is similar to an animation production; they work like a small animation studio. if you look closely at the work process for creating works it's more like an animation with the director, playwright, character designer, painter, background artist, creator, and publicist treating the manga or story like a script for a movie or anime, the creative process for creating manga is similar to that of animation and movies.

Ohkawa is the storyteller and writes the scripts other three draw drafts and original design, Mokona is the chief character designer, and Tsubaki and Nekoi work for the background Sometimes they they take turns doing different jobs

Ohkawa writes then it goes to Mokona who draws out the outline of the storyboard and sketches the characters

They would normally go to Nekoi for the finishing touches Igarashi and Nekoi work on the final touches the team may shuffle roles. Clamp members do get outside work with computer graphics. For drawing sometimes the members do character backgrounds or may draw everything depending on the story. They have a work where one person designs the character and another draws the actual story. They make storyboards and start drawing. Sometimes they decide who is going to make storyboards and then start drawing.  The art is drawn by Satsuki, Mokona, and Nekoi, Nekoi draws the rough draft and thinks about how the story is going forward to next month's script. The designs are handled by Satsuki and Mokona. Satsuki worked on the design for the cover page. In the beginning, they believed that everything in the comic from front to back was important to the story. They take turns completing the rough sketch depending on the story. They divide the story into frames; they mostly draw it on art board paper after they create characters and scripts. Ohkawa explains what in each frame props and the characters in they have how they turn around and include emotions in the panel. Ohkawa and Igarashi never drew manga with split frames. They Look like frames from a movie 

When Ohkawa comes up with stories Ohkawa drafts the outline of the story and the story setting The ending for each story is determined from the last scene back to the first scene and the end last and deciding the thing and heading into this way makes way for change drags the reader along for the story Ohkawa drafts the outline the other three members formulate characters designs by creating character profile sheets to avoid confusion. Ohkawas style of writing is considered a color woodblock print in the way it conveys and portrays things the manga is close to picture books and elimination of everything unneeded. Ohkawa thinks about the setting of where the story takes place and Ohkawa constructs a visual image at least in their head then splits up panels in their manga. for the writing process, they come up with the story Ohkawa gets together to discuss the story with the members about the purpose of the story and the main characters when writing and drawing After the members get well used to the story they write it down when creating a story for a weekly magazine they first decide on a rough story from beginning to end Ohkawa works backward from the ending for the story to have an ending like this the members don’t always know how the story develops. Ohkawa's style of writing for stories is not telling anyone the progression of the storyline before it happens reason for that is that when the members of Clamp learn of Hokuto's death one of the members couldn’t draw Hokuto's smile the same way this is how badly shaken they were since that the way Ohkawa created her stories changed for most of the works it was until Chobits she could tell them again. Ohkawa kept using memos in the beginning when she wrote the stories where she kept track of the flow of the story.

Before they start drawing they decide the flow of the story up until the end as well as the materials used for color and monochromatic drawing and the direction of the illustration. The members consider the art style during the planning stage and the materials for the manga, for materials Clamp uses color samplers In the order of how they draw. They draw them the same size as manuscripts, they draw rough sketches, and the size of the manuscript is b4 size and genkou size. They seldom use computers to create manga but only to color pictures, sometimes Clamp uses the scanning method when they draw or draw the rough draft using tablets. They don’t use references for their designs except at one time for Ohkawa she drew inspiration from a perfume and drink package she gathered together she drew more influence from the business art and art from Alan Chai's design. 

The amount of lines and the thickness of the lines in the manga depends on the work. When you look at the manga, there are a lot of lines in the characters, Clamps can make the lines, and the thickness of the lines depends on the nature of their work from the thicker lines shows how serious and heavy the story thicker lines match the nature of their work that fits with a heavy theme like works like Tokyo Babylon, which have a heavy atmosphere. Mokona draws with thicker lines and uses pens with strong pressure when drawing. Clamps drawing methods changed with Tsubasa and xxxholic.

In the process of launching a serialization first is to decide on the major storyline work out the details of the characters later and consider the number of chapters needed to tell a story, second Ohkawa has a meeting with Mokona and Nekoi to decide on the design of the main characters Ohkawa asks for designs once they are finished they go over one more time.  They go about creating manga and have two processes,  one creating a manga based on the request from a publisher The second Clamp decides on the story first and then thinks about the magazine to write it for. Clamp comes up with an outline for the story First after they create the outline they discuss who's going to draw pictures or if they all draw together. They turn the project into a movie telling how a story goes and who the main characters are among themselves. They talk about the rough story and how they should do it when they bring a story to the publisher, attach the rough story and characters, attach characters' settings to them and draw the appearance in the manga to the publisher. Then after they show the work to the editor if the editor thinks it's okay they start the story. After receiving approval from an editor, Ohkawa assigns roles to each group member and then chooses the visual styles depending on the factors such as the complexity of the story and chosen art style the artwork depends on the genre and magazine of the story. Ohkawa provides a rough draft for each chapter with things such as dialogue panel size props and movement and characters' emotions. Storyboarding takes 12 hours while the script takes 8 hours to write. To Mokona from rough draft to inking 10 pages per day, the average Mokona puts into how many pages of black and white manuscript draws in a day the number of pages they draw in a month to finish one installment For example if they're in two monthly publications like Tsubasa and xxxholic one is about 19 or 20 pages other takes one day to finish 6 pages for the foundations for the fishing touches and inking takes a couple of days every 2 weeks when it comes to two weekly series its 120 and 130 pages a week. xxxholic takes two days and x took four days 

Ohkawa will specify the proper production for the story and character. After the story, they will choose a person to perform the character design. Clamp switches up who works on character design and the drawing. Igarashi and Ohkawa do it together. One of them directs the work for design and the person in charge of the drawing for that work will draw a rough sketch which is discussed. Mokona is one of the concept artists When the scenario is specified in detail, Mokona listens to the basic story and consults the original concept with Ohkawa Mokona will show what she designed on the spot of the drafting and period.  Mokona and Clamp often decide on the design first, then Mokona draws the illustration from format, paper, and photoshopping specifications to color specification. Mokona does pencil drawing first then ink and color it the pencil stage first so Mokona can fix errors in the pencil stage. Ohkawa as the main scriptwriter Ohkawa determines the story and setting and tells the members about it and the rest give their thoughts on it Ohkawa maps out the location, ideas, and character design Ohkawa gives the character's figures hairstyles, and clothes she envisions to the designers or sometimes Ohkawa draws them herself only sketches the rest get the art close to Ohkawa original version. Ohakwa doesn’t talk about the characters until it's time to create their visual design, Ohkawa decides the design of the character and the group visualizes it She explains their appearance she sometimes brings sketches instead of explaining Ohkawa decides the characters they have long or short hair their style of clothes and complexity. Clamp discusses together and thinks about how to make characters, Ohkawa makes requests and discusses them with the other three Ohkawa gives concrete and specific thoughts on what she wants the main characters to be. Ohkawa is the one who decides on the details of the characters and Clamp crafts their characters. They explain the story in the works that include the drawing of the clothes of what the character wears. Ohkawa takes all the info she gathered and has them design the characters based on the descriptions she gave like body build, hair length, and small details, next decide who is going to design the characters either Nekoi or Mokona design them characters and pick one of them then make a character setting chart and decide on the character's height. After the story they choose a person to perform character design. When that is happening, they use specific proper proportions for the story and character. They come up with a story through a character design phase Clamp and choose different styles and proportions for the characters. When it comes to designing characters they determine the head and body ratios since the person drawing can change the proportions in their sketches without knowing.  They reference the proportions of the characters in case the person drawing it gets it wrong. Igarashi and Ohkawa consult each other and ask for revisions so that the proportions don’t shift, so it can come in tandem when working for 4 people. Mokona had difficulties drawing Yuko's proportions; she considered drawing them constantly a nightmare. Mokona found it reassuring to have partners who can check your work. Sometimes they decide on the colors to get the approval of the publisher to work on the storyboard and then agree on the birthday and height of the characters. The height is important because it's for drawing proportions that are made to keep consistency when drawing characters. The character designs look like character sheets like the ones you would see in anime. When they first set out to draw the members consulted such things as whether or not thin lines mesh well in the manga. what color materials they would be using the members play it by ear as they go along when they draw. Before drawing the portraits of the characters, Nekoi takes special care of the characters by differentiating them with their hairstyles. 

For creating the clothes for the characters, Clamp dresses their character in stuff based on their own or things their acquaintances wear. Clamp reads a lot of informational magazines and fashion magazines on a personal basis which serves as inspiration for characters. Some of the clothes and other items that characters in Clamp wear are inspired by real-life pieces but most of them are done initially by Mokona.

Once the main characters are completed, they decide on the detailed settings for those characters,  The members decide on each character's birthday and height. The height is used for doing the proportions of the characters. for the character settings the group goes into detail about the characters like what food they eat, special skills, how and when they do things, how they grew up, when they were young, their hobbies, the type of house they live in whether its Japanese or western style, if they are sleeping wearing pajamas or negligees and whether they like sweets or not; for example if a character is eating sweets it means that a character grew up in an environment where sweets can be easily eaten and if a character has long hair it can be tied or untied these details reference the characters way of life and polices the reason Clamp focuses on what a character likes to eat is because what a person eats says a lot about a character in personality. There's a lot of thought that goes into making character settings. It's mostly to advance writing their characters or fleshing them out as individuals. The character settings are important when writing the characters in the story These details are important for them to write for the characters the character profile is used so they won’t get confused when writing a character for the story to keep the writing of the character to remain consistent throughout the story. 

Materials 

When drawing manga and illustrations the group often determines the materials they use to draw during the meetings 

Once they set out drawing they first consult things like whether or not thin lines and colors. Clamp used different techniques, art materials, and paper when they did manga and color illustrations Clamp used different materials at their disposal. For drawing Rayearth, the materials they use to draw manga are used include other works as well. The heavy colors are used to suit the tone of the story. This goes to show that you can change the impression by changing the pen you use and the paper used. 

You can change the impression based on the paper you use. The paper makes a great first impression on the manga. Paper is not the only thing that changes the impression of the manga they draw, also the materials they use are used to change the impression. 

Clamp uses different paper sizes for each work, the manga paper is sorted for each one of the members to use. Clamp has strong drawing pressure for their strong drawing pressure they chose thick paper.  They use paper made by Daieidou printing for manga drawings because the members have a strong drawing pressure so they chose a thick paper that's three times thicker than manga paper. For the paper that the members use for illustrations Igarashi, Nekoi, and Mokona use Watson paper, BB Kent back of manga paper of copy paper. Both Ohkawa and Igarashi like acid-free paper, they love the sandy texture and don't like smooth art-coated paper. The reason for that is that if the paper is too smooth the texture will not be the same. Clamp uses many materials for works such as Copic markers and alcohol-based products, They use Kaimei Indian ink, and for color inks, they use Holbein and Holbein special black The screentone they use Brans that Clamp uses is  I.C. 's and Letraset.

When they first used computer equipment,  they were instructed by Takeshi Okazaki and Katsuya Terada. satsuki was into photoshop so Takeshi Yamazaki gave satsuki lessons in photoshop.  

For the materials that Clamp used in their past works, rg veda used color inks, aeroflash, Liquitex, and modeling paste, Rayearth used Copic markers, Mokona used color inks for Mask of 20 faces, Tokyo Babylon used color tones and angelic layer had them use thick fountain pen like liner markers for drawing the manga.

Mokona’s pen uses a Kabura and a Marupen. Depending on the weather she draws a line to see which is better. Her favorite pens are Zebras Maru pen and Kabura pen nibs. with lnks, her favorite is Kaimei Indian Ink and Holbein’s Grey or Nouvel’s Burnt Sienna. What she used to draw backgrounds is Pigma 0.05, Mokona has strong drawing pressure. The G pen is too soft for her. She tried using one but it is hard to adjust and prefers using a harder pen. She uses a magic marker with a pigment ink called Prokey she used to draw letters on paper and uses Pentels water-resistant brush pens for solid areas like hair. She uses a powder board for paper with larger pieces and Baron Kent paper stretched with water. For RG Veda backgrounds Mokona used a lot of airbrush techniques. Mokona draws with thicker lines, and her drawings have been drawn with thicker lines. In the beginning, like in the third volume of Tokyo Babylon, the character's faces are angular and have thicker lines which show that her art is changing. Syaoran was Mokona’s favorite character to draw in Tsubasa.

Nekoi uses different nibs for the maru pen and g pen; she uses the Kabura pen for concentrated and close straight lines, also Pigma 0.5 for backgrounds.

For paper Nekoi uses whatever paper they have at hand to the back of wrapping paper bits of cardboard that have fallen around the back of cosmetics box envelopes from the publisher, the wrapping paper from a cup of tea that is Japanese style. She uses an eraser to reduce the tones in the screentone and sandpaper to reduce the large areas of tone she uses. A fine grit sandpaper will decrease nicely but not allow for fine adjustment which she had to fix with an eraser later. Nekoi loved experimenting with new painting materials; she especially loved painting in color.

Step to Step in Creating Manga

When it comes to drawing manga there are steps taken to create manga. these are the materials they use for drawing manga The list of materials and things they use in the steps to create manga are listed as this

1.) plastic eraser, mechanical pencil 0.5 HB

2.) Pigma 0.5, magic marker

3.) brush pen

4.) screen tone, tone cutters round sand eraser 

5.) pen white, liquid paper ink, Mython

lastly, for writing the script, they use a pc

For the steps they use to create manga Rayearth I think it might be the same steps they use to draw other manga that come after it might be the same steps they did for Tsubasa,xxxholic, and other manga that come after it, and the materials they use. I bet it's the same materials used for Tsubasa, Card Captor Sakura and xxxholic.

1.) The plot is written by Ohkawa on a personal computer with manuscript paper, For the rough they draw frames with a pencil and roughly insert characters and other elements, they draw the rough while paying attention to the composition and balance the draw the panel as to what you want to show most when you are doing a specific scene. The rough is a lot of lines and its way is less detailed. The rough is used for the placement to know the place of things to ink. You can see the same rough stage with Tsubasa and xxxholic. 

Clamp pays attention to the distribution of lines in the panels, the reason why Clamp pays attention to the number of lines is because it's a manga and they are going to ink over and over again. The reason they pay attention to the number of lines in the rough is to calculate how much you ink while you draw. the number of lines you use while you ink is important because you are going to use it over again

the rough is drawn with a pencil, they used a regular pencil for the rough rather than a mechanical pencil since the mechanical pencil has fine lines 

2.)  Next is the sketching phase, in the sketching phase the characters are drawn with a mechanical pencil they check the drawing by looking through the rough manuscript and back. Once the sketch is finished the member will fix it until they are satisfied The background is only included briefly in the sketch.

3.)  The inking stages for the steps of Magic Knight Rayearth are inked mainly using a Pigma 0.05 or Kaimuji marker or brush. When Mokona was drawing Rayearth Mokona had strong drawing pressure so her lines became thicker She changed pens as soon as she noticed it her strong drawing pressure caused Mokonas tip of her pen to break quickly they often used 4 to 5 bottles a day for inking. 

4.)  Next up the beta stage, after they are done with inking they erase and check it again After that the members add solids the tool used is a brush pen to fill in areas like hair and stuff. They use ink that is resistant to water because if it is water resistant the area will become thin when the eraser is applied. 

The steps for rough and sketch are used in their other works only the materials that are used for inking change consistently Depending on the series 

5.)  Next is the toning stage when they add screentone traditionally to a manga page, when it comes to screen tone they make sure that no more appears in the overlapped areas Clamp use a circular blade type cut when they apply screentone traditionally to a manga and small areas might be scrapped with a sand eraser scrapping the tone can change the texture of the object. They consider the effect and carefully cut it and their grain to the tone and know in which its neatly scrapped directions are not scrapped. 

In Rayearth tint and gradation tones are used, and a little gala for the screen tone of the manga. 

6.) This is the last stage of Clamp creation in drawing manga. The last stage is to express light and create glamorous images white is used for it. when applying white fluid to the image which is done by flicking the brush on the correction fluid with the rim of the container the effect changes depending on the concentration of the liquid. You can add white to the toothbrush or flick it with your finger. It changes the effect of the image. If you add fine white dilute it with water to adjust for the white. Clamp uses quirk drawing because the pen can be put on the white later.

This technique was applied in other manga like Tsubasa, Card Captor Sakura, and their other works. They used the same white ink to make a beautiful panel.  

Next

[spiribia]

i dont think something needs to be 'that deep' for people to analyze it is the thing. obviously there will be people who assert things that are a bit sillay, & not all attempts to interpret something will seem founded by what the source material actually appears to be giving. but its a bit of a downer the perception that trying to find symbols in things or piece together non explicitly stated meaning is solely a pretentious intellectual authoritative exercise only befitting certain deservedly intellectual pieces when really i think its something humans do because its fun. i dont think someone writing a longish post like 'whoa did you guys notice this thing recurring across episodes, heres why i think it's relevant' needs to be seen as op's assertion that the source material is the deepest thing ever. i think sometimes people just connect some dots because its fun. and i bet a lot of even seemingly grounded analysis slides off what the creator meant to convey all the time, but that doesnt mean it cant still be something interesting.

[ivorydragoness44]

Van Helsing x Reader: Up To The Task

Word Count: tba

Warnings/Notes: mentions of an injury (not graphic), snarky banter. Gender neutral reader.

Summary: The Reader finds an injured Van Helsing. But does he want help?

The night was cold, more so when a eerily gentle breeze brushed across your exposed skin. You adjusted the scarf around your neck. The temperature usually did not bother you, but there was just something particularly odd that night.

As you walked along the cobbled streets, you scarcely passed by anyone. It was late. Why would anyone be wandering around at such an hour? But you were.

Heavy labored breathing caught your attention. Whoever it was sounded tired as you approached a gap between two buildings. You slowed your pace to one of caution.

There on the ground sat a man, leaning against the sturdy wall. His head was reclined, as if looking up to the sky in a time of need. But when he heard your shoe make contact with a particularly loud spot on the ground, he noticed you.

Looking over his shoulder, you could just make out the face under the rim of his hat. The most wanted man in all of Europe. What were the odds? Though, as the situation may be, hopefully the odds were in your favor.

His eyes shifted over, catching yours. "You never saw me." Giving you a stern once over as you stepped between the buildings, he huffed to himself.

Initially, you were not going to engage, but something told you otherwise. "You're hard to miss, Mister Van Helsing." Not moving for a moment, you watched him. Analyzing. However, he made no move toward you. It went against everything you had ever heard about the man. But then again, what was the word of other people? People who had only witnessed him at a distance or not at all.

Stepping around him, you looked for the source of his visible discomfort. You followed up the length of his arm. At his shoulder, you noticed the wound. Cut through his coat and sweater, it was a nasty little gash by the redness soaked into the ripped fabric. His gloved hand pressed against it. "You're hurt."

He gave a dry laugh. "I've had worse." Smile faltering with a quiet snarl of pain.

"I'm sure you have."

Inching closer to him, you knelt down to his level. You reached out, but he made no move to stop you. Not even a glance, until he was within their reach. You moved aside his dark hair. The wavy locks distracting you momentarily. "For a terrible wanted man, you have such kitten soft hair."

Thick brows knitting together, he frowned at you. "And what do you think you're doing?"

"Helping an injured person," you said. You stilled your hand to try to get a better look at his injury. "Who...or...what caused this?"

A weak smile pulled up the corner of his mouth. "Heh...I think it's best if you didn't know."

You nodded. "Fair enough. But for now, I'm going to at least tend to those wounds. Let someone help you for a change, Mister Van Helsing."

"That would be a change... Wouldn't it?"

With his strange excuse for consent, you continued. Pushing his coat off, you tried your best to be gentle. At least he helped with meagerly shaking his arm out of the sleeve. You needed better access to reach and look at his shoulder.

Slowly, you pinched at the soft fabric. Managing to lift it out of the way, you finally got a better view of his injury. With scarce moonlight and street lamps to aid you, you peeked underneath at his skin. "It doesn't look to bad."

"It sure feels like it." He grumbled, trying to get a look at it for himself.

"I thought you said you'd had worse?." You eyed him with playful skepticism.

"That was before you touched it."

"My apologies." You said, releasing the material from the grasp.

He sucked in a breath and gave a smile. "I don't think anyone's ever apologied to me. Not that they had any reason to."

Your brows furrowed at his words. "Never?"

"No," he replied quietly.

"Hmm, well, there's always a first time for everything." Straightening up, you uncoiled your scarf from around your neck.

"I guess that's true." He eyed you then with soft confusion. "What are you--?"

Grabbing ahold of his arm, you pulled it away from his body. "Small injury or not, we can't have you with an open wound in this night air." Gingerly, you wrapped your scarf around his shoulder. Only a small muffled groan or two was kept restrained from him as you did so.

"There," you said, tucking the fabric into itself. "Now, being that it was your shoulder, I can safely assume that you can stand. Unless there's another wound that you have failed to mention."

Though he pursed his lips together, his brown eyes held no harshness. Without a word, grounded his boots and pushed himself up from the wall, taking his coat with him.

As you stood as well, you took into account his confident stature. It must have been like second nature to him. But what could have ever happened to make him as such a man?

"Satisfied?" He asked, his features becoming strikingly more playful despite his ordeal.

You gave a small smile. Fearing him did not seem possible, but there was one thing you did not think to be worried about before. The fear of being captivated by him.

"Come, Mister Van Helsing," you beckoned as you stepped around him. "Your wound needs to be cleaned and dressed."

"You're going to trust a stranger into your home?"

"You trusted a stranger to check your injury," you countered.

"Touché."

[rosinkreutz]

How do you think Asuka's and Aria's friendship was like when she was alive?

This is a really hard question. I keep sitting down to write this and deleting everything because I'm not satisfied with the answer I can provide. The problem is me because I've realized I'm not sure how to describe any friendship, let alone one so vaguely developed in the source material... However. I will try. This is all kind of speculation based on what I've interpreted from the characters. - First, I think when you analyze Asuka's actions it seems that he feels a certain sense of ownership toward the world. Not in an entitled sense, but moreso a guardian. Which makes sense, really, as a disciple of the Original, savior of humanity. Especially considering the other disciples were explicitly uninterested in humanity's advancement, so he's the only one interesting in following in their teacher's footsteps. The problem is that he completely defines himself by it (which is kinda why I think Asuka was very young when he was taken in to be a disciple, because it's like it's all he knows). - So with that in mind, and knowing that before Aria met the other two, she was extremely isolated from her family and other people in general, I think the power dynamic in the relationship would end up being rather skewed. Literally, yes, since he's a sorcerer, but also psychologically. Aria's someone whose not used to having any support, and that's all Asuka wants to do. He never thinks of himself first, and the only sense of self he has is this self-appointed guardian role. He would go so far out of the way to make her happy, because he loves her very much. But he also thinks that he knows what's right for her and may have been controlling at times- which I think is why Frederick works so well in this dynamic because he's so anti-authority and free-thinking. His influence and just overall presence would keep the two of them from being too overly dependent on each other. After all, they love him as much as they love each other, as best friend, boyfriend, whatever. Obviously there's more to him in the dynamic but this is about the other two. - (As kind of a side-note, keeping Aria happy is one of the few ways he himself can feel fulfilled in his role as a guardian. The Original kind of had it easy, as world-saving goes, because he knew exactly what was going to burst (black tech) and had the exact solution to the problem (magic). The world Asuka's "inherited" has a million different facets and problems all piled together in one big powderkeg with an invisible fuse. He really can't just go out and fix everything alone as a socially inept 20-something, good at magic as he is. Which he understands, as an objective thinker, but given that guardianship is the only thing he defines himself with as a person, he's inevitably going to feel worthless and hate himself for not being able to do anything. Hence, why when the Gear Project gets picked up by the military, he goes crazy trying to fix it because just imagine what it would feel like that the whole world could be destroyed by something you made while trying to fix it.... But... If he could get what people need for advancement (gear cells) safe and unweaponized and if he could have someone else powerful to help and support him (Justice, maybe Sol?), he could use that to REALLY save the world AND Aria in the process. Win-win, right?)

[valy-gc]

TWST Fanfics ideas - Classes exercices

I was wondering... what are the clases exactly? What do they learn in it? So here are my guess:

In the « normal » class (music, math, art….) the exercices listed here would be in addition of the « normal » exercices. Also I give a list of 10 potential exercices per class, but you can imagine others

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In a "Practical Magic" class they would focus on everyday magic for chores. The exercises could include: 1. Cleaning Charms: Students practice spells to clean objects or spaces without manual labor. 2. Cooking Spells: Learning to prepare meals with a wave of a wand, including chopping, stirring, and temperature control. 3. Repairing Enchantments: Casting spells to mend broken items, from clothing to furniture. 4. Gardening Magic: Using magic to tend to plants, making them grow faster or shaping them into artistic forms. 5. Laundry Spells: Enchanting clothes to wash, dry, and fold themselves. 6. Organization Charms: Spells that sort and organize personal belongings, books, or tools. 7. Protective Wards: Setting up magical barriers to keep homes clean and safe from pests or intruders. 8. Weatherproofing Spells: Enchantments to protect against weather, like waterproofing or temperature regulation. 9. Light Charms: Magical ways to illuminate spaces efficiently. 10. Summoning Spells: Conjuring objects to hand, saving time on searching for misplaced items.

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In a "Conjuration" class, the focus would be on summoning objects, creatures, or elements from thin air or from distant places. Here are some exercises: 1. Basic Summoning: Students learn to summon simple objects like feathers or stones to their hands. 2. Targeted Conjuration: Practicing conjuring items from specific locations, such as retrieving a book from a shelf. 3. Creature Summoning: Safely summoning small magical creatures and learning to interact with them. 4. Food Conjuration: Conjuring edible items, focusing on getting the taste and temperature right. 5. Elemental Conjuration: Bringing forth elements like water or fire, controlling their shape and intensity. 6. Conjuring Clothes: Instantly outfitting oneself with appropriate attire for different occasions. 7. Multiplication: Learning to duplicate objects, which is a complex form of conjuration. 8. Conjuring from Nature: Drawing materials directly from natural sources, like summoning water from a lake or leaves from a tree. 9. Advanced Conjuration: Summoning complex mechanisms or devices, understanding their assembly and function. 10. Emergency Conjuration: Quick conjuration drills for situations requiring immediate access to tools or aids.

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In a "Magical Potion" class, students would learn the delicate art of brewing magical concoctions with various effects. Here are some potential exercises: 1. Ingredient Identification: Recognizing and categorizing potion ingredients by their magical properties. 2. Mixing Methods: Mastering the techniques of stirring, shaking, and combining potion ingredients. 3. Temperature Control: Learning the precise temperatures needed for different stages of potion brewing. 4. Timing Practice: Developing a sense of timing for adding ingredients and the duration of brews. 5. Safety Protocols: Understanding the importance of safety when handling dangerous or volatile substances. 6. Potion Analysis: Testing and analyzing the effects of potions on inanimate objects or consenting magical creatures. 7. Remedy Brewing: Creating potions that heal ailments or counteract poisons. 8. Enhancement Elixirs: Concocting brews that temporarily enhance abilities or senses. 9. Transformation Potions: Experimenting with potions that can change one's appearance or species for a short time. 10. Invisibility Mixtures: Perfecting the tricky art of brewing potions that render the drinker invisible.

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In an "Alchemy" class, the curriculum would likely explore the mystical side of transforming substances into new forms, Alchemy would also be a form of magical chemistry class. Here are some exercises: 1. Metal Transmutation: Practicing turning base metals into gold or silver, starting with small quantities. 2. Elixir Crafting: Brewing elixirs that promote longevity or enhance physical abilities. 3. Philosopher's Stone Theories: Studying the legendary Philosopher's Stone and attempting to replicate its properties. 4. Substance Purification : Learning to purify and refine substances to increase their magical potency. 5. Gemstone Synthesis: Creating precious gemstones from common minerals through alchemical processes. 6. Liquid to Solid Transmutation: Transforming liquids into solid forms, such as water into crystal. 7. Herbal Alchemy: Using plants and herbs to create powerful extracts and essences. 8. Magical Ink and Paper Making: Producing materials that can hold enchantments or spells. 9. Alchemical Symbols: Understanding and using runes to enhance alchemical reactions. 10. Advanced Alchemy: Attempting more complex transmutations and understanding the ethical implications of alchemy.

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In a “Digital Engineering” class, students would likely explore the intersection of magic and technology. Here are some exercises:

1. Magical Circuit Design: Learning to create circuits that are powered by magical energy. 2. Enchanted Programming: Writing code that interacts with magical objects or creatures. 3. Rune-Based Computing: Using ancient runes to perform computations and process magical data. 4. Golem Programming: Crafting and programming magical automatons for various tasks. 5. Magical Interface Development: Designing interfaces that allow wizards to interact with digital devices. 6. Virtual Spell Simulation: Using virtual reality to practice spells in a controlled digital environment. 7. Enchanted Object Fabrication: 3D printing objects with embedded magical properties. 8. Magical Network Security: Protecting magical databases and networks from unauthorized access or curses. 9. Spellware Development: Creating software that enhances or channels magical abilities. 10. Technomancy Projects: Integrating technology and magic to create innovative solutions to common magical problems.

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In a “Magic Analysis” class, students would delve into the theoretical aspects of magic and its practical implications, to understand them and maybe creating your own. Here are some exercises:

1. Spell Structure Decomposition: Breaking down spells into their basic components to understand how they work. 2. Magical Flow Charting: Mapping out the flow of magical energy in spells and enchantments. 3. Ritual Analysis: Studying the steps of magical rituals to determine their purpose and effectiveness. 4. Magical Artifact Examination: Investigating the history and magical properties of various artifacts. 5. Potion Formula Deconstruction: Analyzing potion recipes to understand the chemical and magical reactions involved. 6. Enchantment Efficiency Testing: Measuring the strength and duration of enchantments to optimize them. 7. Magical Language Syntax: Exploring the grammar and syntax of magical languages and their impact on spellcasting. 8. Magical Ethics Debate: Discussing the moral implications of different magical practices. 9. Historical Magic Research: Examining historical texts to understand the evolution of magical practices. 10. Magical Theory Papers: Writing and peer-reviewing academic papers on various topics in magical theory.

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In an “Ancient Curses” class, students would explore the history, creation, and counteraction of curses from ancient times. Here are some exercises that might be included:

1. Curse Identification: Learning to recognize different types of curses and their symptoms. 2. Historical Curse Study: Examining ancient texts and artifacts to understand the origins of famous curses. 3. Curse Crafting: Understanding the components and ethics of creating curses (theoretical exercises only, magic analysis basics needed). 4. Protection Amulets: Designing and creating amulets that protect against curses. 5. Counter-Curse Development: Practicing spells and rituals that can counteract or break curses. 6. Curse Simulation: Role-playing scenarios to understand the impact of curses and practice countermeasures. 7. Language of Cursing: Studying ancient languages and scripts that were traditionally used to cast curses. 8. Ethical Implications: Discussing the moral considerations and consequences of curse usage. 9. Curse Removal Techniques: Learning various methods to cleanse objects, places, or individuals of curses. 10. Field Research: Visiting historical sites believed to be cursed and conducting investigations.

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In a “Defense Magic” class, students would learn how to protect themselves and others from various magical threats. Here are some exercises:

Shield Spells: Casting protective barriers to deflect or absorb magical attacks.

Counter-Spells: Learning spells that can negate or reverse the effects of incoming spells.

Disarming Techniques: Practicing spells and maneuvers to disarm opponents without causing harm.

Magical First Aid: Applying spells and potions to treat injuries caused by magical means.

Dark Arts Defense: Understanding and defending against dark magic, including curses and hexes.

Stealth and Concealment: Using magic to hide one’s presence or escape detection.

Anti-Poison Spells: Identifying and neutralizing magical poisons and toxins.

Magical Combat: Engaging in controlled duels to practice defensive and offensive spells.

Mind Protection: Strengthening mental defenses against magical intrusion and manipulation.

Environmental Defense: Using magic to manipulate the surroundings for protection, such as creating barriers or camouflage.

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In a class dedicated to “Poison Making,” which would be a highly controlled and ethically sensitive subject, students might engage in the following theoretical exercises:

Toxicology Basics: Understanding the properties of various toxins and their effects on living organisms.

Antidote Formulation: Learning to create antidotes for common poisons.

Safe Handling Procedures: Training in the safe handling, storage, and disposal of toxic substances.

Poison Detection: Practicing spells and techniques to detect the presence of poison in food and drink.

Historical Poisons Study: Researching historical uses of poison and the evolution of toxicology.

Simulated Poison Brewing: Theoretical exercises in brewing poisons with harmless substitutes.

Ethical Debates: Discussing the moral implications of poison use and the responsibilities of a poison maker.

Magical Containment: Learning to magically contain and neutralize poisons to prevent accidents.

Field Identification: Recognizing poisonous plants and creatures in their natural habitats.

Legal Knowledge: Gaining an understanding of the legal restrictions and regulations surrounding poisons.

It’s important to note that such a class would emphasize the importance of using this knowledge for educational purposes only, with a strong focus on safety, ethics, and legal compliance.

~~~~~~~~

In a class focused on “Changes and Comparisons of Abbreviated Spells in Ancient and Modern Magic History,” students would likely explore the evolution of spellcasting techniques and the efficiency of spell abbreviations over time. Here are some exercises that could be part of this class:

Spell Evolution Timeline: Creating a timeline to visualize the changes in spellcasting from ancient to modern times.

Abbreviation Analysis: Comparing the original long-form spells with their modern abbreviated versions to understand the changes in language and technique.

Efficiency Studies: Measuring the effectiveness and speed of casting abbreviated spells versus their full-length counterparts.

Historical Context: Studying the historical events that led to the development of abbreviated spells.

Cultural Impact: Examining how different magical cultures influenced the abbreviation of spells.

Language Shifts: Exploring how changes in magical languages have affected spell abbreviations.

Spell Adaptation: Practicing the adaptation of ancient spells into modern abbreviated forms.

Magical Linguistics: Understanding the linguistic principles that govern the creation of effective spell abbreviations.

Ancient Scripts: Learning to read and interpret ancient magical scripts where original spells were recorded.

Modern Usage: Discussing the role of abbreviated spells in contemporary magical society and how they fit into everyday magical use.

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The “History of Magic” class would be about exploring the origins and development of magical practices. Here’s how the class might be:

Ancient Civilizations: Studying the role of magic in ancient exctinct societies.

Magical Artifacts: Examining historical artifacts and their uses in various cultures.

Famous Magicians: Learning about prominent figures in magical history and their contributions.

Evolution of Spells: Tracing the development of spells from ancient incantations to modern-day practices.

Magical Creatures: Investigating the historical accounts of magical creatures and their interactions with humans.

Witch Trials: Analyzing the social and political factors behind witch trials and their impact on magical practices. (assuming there was witch trials at some point in their history, and a time where mages weren't common)

Renaissance Magic: Exploring the resurgence of magical interests during certain times.

Magical Literature: Reading and discussing key texts that have shaped magical theory and practice.

Modern Magic: Understanding the transition from traditional to contemporary magic in the context of technological advancements.

Field Trips: Visiting historical sites and museums to see firsthand the remnants of magical history.

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In “Animal Languages,” students would learn about the communication methods used by various magical and non-magical creatures. Here are some exercises that might be included:

Basic Animal Sounds: Starting with the sounds made by common creatures (like cats) and understanding their meanings.

Magical Linguistics: Studying the structure of animal languages and how they differ from human speech.

Non-Verbal Communication: Observing and interpreting body language and other non-verbal cues used by animals.

Spell-Assisted Communication: Using spells to facilitate understanding between humans and animals.

Creature Vocalization Practice: Mimicking creature sounds to communicate directly with them.

Field Studies: Conducting fieldwork to observe and interact with animals in their natural habitats.

Magical Translation: Learning spells or using magical devices that translate animal languages.

Historical Animal Speech: Researching ancient texts for references to legendary creatures and their languages.

Interspecies Diplomacy: Role-playing scenarios that require negotiation and communication with magical creatures.

Conservation Ethics: Discussing the importance of preserving magical creatures and their languages.

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In “Astrology”, students would explore the celestial bodies from a scientific perspective while also delving into the mystical aspects that have influenced human culture. Here are some exercises that might be part of this class:

Stargazing Sessions: Using telescopes to observe planets, stars, and other celestial phenomena.

Celestial Navigation: Learning to navigate using the stars and understanding the historical importance of this skill.

Astrological Chart Creation: Drawing and interpreting astrological charts based on the positions of celestial bodies.

Mythology and Constellations: Studying the myths associated with constellations and their origins.

Planetary Influence: Discussing the believed influences of planets and stars on human behavior and events.

Astronomical Calculations: Performing calculations to predict celestial events like eclipses and planet transits.

Space-Time Magic: Exploring theoretical magic that could be influenced by astronomical phenomena.

Astrological Predictions: Practicing the art of making predictions based on astrological signs and movements.

Cosmic Spellwork: Investigating spells and rituals that draw power from celestial events.

Scientific Debates: Engaging in discussions about the intersection of astronomy, astrology, and magic.

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In “Biology” class, students would study the life processes and organisms. Here are some exercises:

Magical Microscopy: Using enchanted microscopes to observe the cellular structure of magical plants and creatures.

Potion Ingredients Study: Examining the biological properties of common potion ingredients.

Genetics: Learning about the hereditary traits of common and magical creatures.

Ecosystems: Studying the interactions between magical creatures and their environments.

Plant Cultivation: Growing and studying plants with or without magical properties in a controlled setting.

Creature Dissection: Dissecting magical or common creatures (ethically sourced) to understand their anatomy and/or magical organ functions.

Field Trips: Visiting various habitats to study magical and common creatures and plants in their natural settings.

Conservation Magic: Learning spells and techniques for the conservation and protection of species.

Disease Research: Investigating diseases that affect creatures and how to cure them.

Biological Spell Development: Creating spells that can influence biological processes in plants and animals.

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In “Physical Education” class, the focus would be on maintaining physical health and learning how to incorporate magic into enhancing physical abilities. Here are some exercises that might be included:

Magical Warm-Ups: Starting each class with stretches and light exercises enhanced by warming spells.

Enchanted Obstacle Courses: Navigating obstacle courses that change magically, requiring quick reflexes and agility.

Broomstick Aerobics: Engaging in flying exercises that improve balance and coordination while on a broomstick.

Strength Spells: Learning spells that temporarily increase strength for lifting or moving heavy objects.

Magical Sports: Playing magical versions of traditional sports.

Endurance Charms: Using charms to boost endurance during long-distance running or swimming.

Flexibility Enchantments: Applying enchantments that enhance flexibility and prevent injuries.

Dance Magic: Incorporating magical elements into dance routines for a fun and active workout.

Meditation and Focus: Using meditation techniques to improve concentration and mental stamina.

Magical First Aid: Learning basic first aid spells for treating minor sports injuries.

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In “Flying” class, students would learn the art of flying, whether it be on broomsticks, magical board, or through levitation spells. Here are some exercises that might be part of the curriculum:

Broomstick Basics: Learning how to mount, dismount, and handle a broomstick properly.

Levitation Spells: Practicing spells that allow one to float or fly without the aid of objects.

Flight Safety: Understanding the safety protocols for flying, including protective spells and charms.

Aerial Maneuvers: Mastering basic flying techniques such as turns, stops, and speed control.

Magical board Handling: If applicable, learning to control and fly on magical board.

Group Flights: Participating in synchronized flying exercises to build teamwork and coordination.

Altitude Adaptation: Acclimating to higher altitudes and learning how to adjust for air pressure changes.

Racing Techniques: Engaging in friendly races to improve agility and speed.

Emergency Landings: Practicing how to land safely in case of an emergency or spell failure.

Weather Spells: Using spells to navigate and adapt to different weather conditions while flying.

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In “Swimming” class, students would learn not only traditional swimming techniques but also how to incorporate magic into their aquatic activities. Here are some exercises:

Water Adaptation Spells: Casting spells that allow students to breathe underwater and withstand pressure changes.

Aquatic Mobility Charms: Learning charms to enhance swimming speed and agility in the water.

Merfolk Communication: Studying the language and customs of merfolk to interact with them during underwater excursions.

Underwater Navigation: Using magical means to navigate through murky or enchanted waters.

Magical Marine Life: Identifying and studying the behaviors of magical creatures that live in water.

Water Safety Enchantments: Applying protective enchantments to prevent drowning and other water-related accidents.

Diving Techniques: Practicing diving spells that allow for smooth entry into the water from great heights.

Temperature Control Charms: Learning to regulate body temperature to comfortably swim in cold waters.

Underwater Spellcasting: Mastering the art of casting spells while submerged and dealing with the resistance of water.

Rescue and Recovery Spells: Training in spells and procedures for rescuing others from aquatic dangers.

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In “Music” class, students would explore musical arts, with and without magic. Here are some exercises that might be included:

Instrumental Enchantment: Learning to play and enchant instruments so they can be played magically without physical touch.

Magical Music Theory: Studying the theory behind music and how it interacts with magical frequencies.

Enchanted Choir: Singing in a choir where voices are magically harmonized.

Rhythmic Spellcasting: Combining spellcasting with rhythm to enhance the potency of spells.

Musical Creature Communication: Using music to communicate with creatures that respond to magical melodies.

Historical Magical Composers: Learning about famous magical composers and their contributions to the musical world.

Sound Manipulation: Practicing spells that manipulate sound waves to create music or silence.

Magical Performance: Preparing and performing in magical concerts or recitals.

Music and Emotion: Exploring how music can influence emotions and states of mind magically.

Instrument Crafting: Building magical instruments with unique properties and sounds.

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In “Art” class, students would likely explore various forms of creative expression, possibly incorporating magical elements into their artwork. Here are some exercises:

Enchanted Drawing: Practicing drawing techniques with enchanted pencils that bring sketches to life.

Potion Paints: Creating paints from magical potions that change color or have other unique properties.

Sculpting with Magic: Using transfiguration spells to sculpt materials like clay or stone without physical tools.

Illusionary Art: Crafting art that moves or changes, creating illusions that trick the eye.

Magical Photography: Taking and developing photographs that capture magical auras or movements.

Wearable Art: Designing clothing or jewelry with enchantments that alter their appearance.

Art History: Studying the works of famous magical artists and their impact on magical society.

Artistic Spellwork: Learning spells that enhance artistic abilities or inspire creativity.

Magical Murals: Painting murals with spells that make them interact with the environment.

Restoration Techniques: Using magic to restore and preserve ancient artworks and artifacts.

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In “Mathematics” class... well students would likely explore both the theoretical and practical applications of math, but may use magic too. Here are some exercises other than the "common" ones:

Arithmancy: Studying the magical properties of numbers and their use in spell-crafting and divination.

Geometric Spell Patterns: Drawing geometric shapes that form the basis of complex spell structures.

Potion Measurements: Precisely measuring and calculating potion ingredients for perfect brews.

Magical Algebra: Solving equations that predict magical phenomena or outcomes.

Astronomical Calculations: Using mathematics to predict celestial alignments and their magical effects.

Transfiguration Geometry: Applying geometric principles to accurately transfigure objects into different shapes.

Probability and Chance: Calculating probabilities to predict the outcomes of magical experiments.

Magical Graph Theory: Mapping out the connections between magical nodes or ley lines.

Temporal Equations: Understanding the mathematical principles behind time-related spells.

Mathematical Proofs: Proving theorems that underpin magical laws and principles.

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In “Health” class that would be held twice a year by the nurse(s), students would likely focus on both physical and magical well-being. Here are some exercises:

Magical Nutrition: Learning about magical foods and their effects on health and magical abilities.

Body Enhancement Charms: Understanding the ethical use of charms that temporarily enhance physical abilities.

Magical Hygiene: Learning spells and practices for maintaining personal and environmental cleanliness.

Disease Awareness: Studying magical and non-magical diseases, their symptoms, and prevention methods.

First Aid Training: Gaining practical skills in magical and non-magical first aid techniques.

[tempobaekh]

Between Realms

Pairings: Ga Motak x Scarlet Witch!reader

Warnings: angst, tiny bit fluff maybe?? idk? I think my shitty story writing should be a warning as well

A/N: I’m having a Motak brainstorm right now. Like the amount of ideas I have to merge marvel and tuc bc why tf not? So this is fic number one of my idea and I have another one in the works. I kind of hate this one but also like it idk this gotta be my worst work. Also an idea from my babe @slytherinshua made me come up with this<3

The Counters' new place buzzed with activity as they analyzed, in their eyes, a new threat that had emerged.

Y/N, considered an evil spirit, had become an enigma even they couldn't comprehend.

Possessing abilities beyond their comprehension of just how strong she was, she was a force to be reckoned with.

But she wasn't using her immense abilities to harm others; she had become an anti-hero, despite having powers that can cause utter destruction, she chose to use them to  protect those around her.

You see she was an innocent victim that was unfortunate enough to be targeted as the host to the evil spirit.

When Y/N was conducting study in a lonely library that not many people visited, that is how she got into this strange situation.

This library contained a strange collection of mystical artifacts, scrolls, and books, many of which had been untouched buried deep inside the library.

In her quest for knowledge and understanding of the mystical arts, Y/N stumbled upon a seemingly harmless amulet. This amulet was decorated in complex runes and symbols from several spiritual traditions, exquisitely covered. Unknown to Y/N, the amulet was more than just an artifact; it was a prison.

The amulet had been crafted centuries ago by a powerful sorcerer who sought to imprison an evil spirit of chaos and destruction, a spirit even Yung wasn’t aware of.

The evil spirit was known for its ability to corrupt and consume the souls of those it possessed, granting them immense power in exchange for their humanity.

Y/N, driven by her insatiable curiosity and the desire to harness the amulet's hidden potential, decided to wear it. In doing so, she unknowingly triggered the amulet's ancient enchantment. The evil spirit, dormant for ages, sensed a new host and seized the opportunity, merging its essence with Y/N's consciousness.

The fusion was not without its struggles. Y/N fought to maintain control over her own mind and body, while the evil spirit sought to dominate her.

It was during this internal struggle that Y/N's powers began to manifest, Y/N's powers allowed her to manipulate and harness a mysterious energy source that appeared as scarlet-colored manifestations when she wielded her abilities.

This scarlet energy was a visual representation of her power and became closely associated with her. 

Which earned her the name Scarlet Witch.

The Scarlet Witch attire is a manifestation of her powers and her connection to the evil spirit within the amulet. It's a distinctive outfit that combines elements of traditional mysticism with a touch of modernity. 

Her attire doesn't materialize automatically. She can summon it at will when she chooses to engage in combat or tap into her Scarlet Witch powers.

This allows her to blend in with regular clothing when she doesn't want to draw attention to her abilities.

The attire consists of a flowing crimson robe adorned with arcane symbols, it also includes a headpiece with a red gem that helps channel and focus her powers.

While wearing the Scarlet Witch attire, Y/N's powers are enhanced and more focused. It allows her to harness the full extent of her reality-warping abilities, manipulating the environment and creating illusions or defensive barriers as needed.

Y/N can control when the attire appears and disappears, giving her flexibility in choosing when to use her powers discreetly or to engage in battles against the Counters or other threats.

The attire serves as a symbol of her unique situation, a reminder of the evil spirit within her, and her ongoing struggle to keep it in check. It's a visual representation of the duality within her, embodying both her heroic and potentially destructive capabilities.

As she grappled with this newfound power, Y/N realized that she could control the evil spirit within her to some extent.

She used her abilities to keep it in check, preventing it from causing harm to others, or taking control over her and using her as an extension to do its evil deeds.

However, she also understood the danger she posed, should the malevolent spirit gain the upper hand.

So she started to distance herself from everything, from the world.

Y/N's life took an unexpected turn from that moment onward. She became a reluctant anti-hero, determined to protect both herself and those around her from the evil spirit's influence, even though her using the powers was seen as evil.

This intricate dance between good and evil formed the foundation of her struggle in keeping everything at bay, despite being physically and mentally tormented by the evil spirit within her.

Y/N's first encounter with the Counters was entirely unexpected. She had been living a relatively solitary life after merging with the evil spirit and gaining her Scarlet Witch powers.

Her primary focus was on controlling the evil entity within her and using her abilities for personal defense rather than offense.

One fateful evening, as she was attempting to contain the evil spirit's influence in a deserted part of the city, her powers inadvertently drew the attention of the Counters, as she unknowingly stepped in their territory.

The Counters, always vigilant for signs of supernatural disturbances, sensed a powerful and unusual energy source in the vicinity.

They were going in this mission blind, not knowing the full extent of powers Y/N had as she was so powerful that Hana couldn’t even tell which level evil spirit this was.

As Y/N struggled to maintain control over the malevolent spirit, her powers caused a rift in the fabric of reality, which the Counters detected. They rushed to the scene, expecting to confront a malevolent spirit wreaking havoc.

Hana, being the vigilant and pragmatic member of the Counters, initially believed that Y/N was just another evil spirit posing a potential threat to innocent people.

She saw Y/N's powers as a potential risk to the balance between the realms, and her skepticism made her determined to follow the standard protocol.

During the initial confrontation with the Counters, Y/N found herself overwhelmed and facing a team of skilled individuals who were determined to subdue what they believed to be a evil spirit.

She had the power to defend herself, but her moral compass guided her to avoid causing harm.

As the Counters closed in on her, their combined abilities proved too much for her to handle without revealing her full potential.

She decided to surrender peacefully, knowing that it would be the quickest way to show them that she wasn't a threat, and that she just craved help, she wanted to separate herself from the torture that was the evil spirit.

Once captured, Y/N was taken to a specially prepared containment chamber within the Counters' headquarters. The chamber was designed to neutralize supernatural entities and prevent them from using their powers to escape or cause harm.

The chamber was a dimly lit, translucent enclosure with intricate protective runes etched into the walls and floor, personally made by the people in Yung. The runes acted as a barrier, preventing Y/N from using her powers to manipulate the environment or escape.

The room had a cold, sterile feel to it, amplifying her sense of isolation and confinement.

When the Counters confronted Y/N during that initial encounter, she was faced with a difficult decision. Her life since merging with the evil spirit, against her will, had been one of isolation and struggle.

Controlling the evil entity within her had taken a toll on her both physically and mentally. She had experienced moments of chaos and danger as she tried to grapple with her newfound powers.

Before merging with the evil spirit, Y/N had led a relatively normal life. However, the traumatic experience of the evil spirit's possession had left her scarred. She had seen the damage it could do, not only to others but also to her own sense of self. The spirit's relentless attempts to take control had caused her unimaginable pain and suffering.

Y/N had made a vow never to harm innocent people, driven by a deep-seated fear of becoming the monster she had seen within the evil spirit. Her powers were both a blessing and a curse, and she carried the weight of that burden every day.

Y/N's emotions during her containment were complex and conflicted. She felt a mix of fear, frustration, and a deep sense of injustice. She knew that her intentions were not malicious, and she had hoped to live a quiet life, free from the evil spirit's influence.

However, being confined and treated as a threat by the Counters stirred feelings of anger and helplessness. She also felt a sense of isolation, as she couldn't fully explain her situation to anyone without risking further misunderstanding.

It was during her capture by the Counters that Y/N's connection with Motak began to form. Motak, who often kind of acted like the leader of the Counters, was known for his calm and compassionate demeanor, even in the face of supernatural threats.

He was the first among the Counters to sense that Y/N was not the typical evil spirit they had encountered.

As Y/N was contained within the Counters' headquarters, Motak spent time observing her.

He sensed her inner turmoil, her struggle to control the evil spirit, and her genuine desire not to harm others. Something about her vulnerability and the conflict within her resonated with him on a profound level.

Over time, Y/N began to open up to Motak. She shared the story of how she had come into contact with the evil spirit and the traumatic experiences she had endured since. Motak, in turn, shared stories of the Counters' mission and the moral dilemmas they faced.

Their conversations deepened their understanding of each other, and an unspoken connection formed between them.

Motak was drawn to Y/N's strength and resilience in the face of adversity, as well as her determination to use her powers for good, and he could not deny that Y/N was utterly beautiful, a sight for sore eyes.

Y/N, on the other hand, found in Motak a kindred spirit, someone who saw the potential for good within her despite the darkness that loomed.

His unwavering belief in her goodness and his compassion touched her heart in a way she had not expected.

Ga Motak was conflicted. He stood by the glass doors, peering into the room where Y/N was contained. Her powers radiated like a cosmic storm, but she held them in check.

She was not the menace they had expected.

In the midst of the chaos, Hana, the fierce and determined member of the team, was resolute about their mission. She argued vehemently, "We can't let this continue, Motak! Y/N is dangerous, just like any other evil spirit. We must summon it and put an end to this!"

Motak remained silent, his eyes fixed on Y/N. He couldn't bring himself to treat her like a typical evil spirit. Something about her drew him in, an unexplainable connection that transcended their roles.

Y/N, once she had established a degree of trust with the Counters, thanks to Motak being a big help, attempted to explain her unique predicament.

She told them about how she had unwittingly merged with the evil spirit through the ancient amulet. She described the trauma and pain she had endured in controlling the spirit's influence and how she had developed her powers as a result.

However, even with her heartfelt explanations, there remained a degree of skepticism among some of the Counters, particularly Hana.

She was still wary of Y/N's powers and the potential threat they posed.

The Counters knew that to fully address the situation, they needed to deal with the evil spirit trapped within Y/N.

So they formed a plan.

Their plan involved summoning the spirit and finding a way to separate it from her without causing harm.

Y/N, having a deeper understanding of the evil spirit's nature, offered her assistance in this process.

She believed that she could use her powers to create a controlled environment, a kind of pocket dimension where the spirit could be safely contained during the separation and summoned back to Yung.

Y/N's powers were intertwined with the evil spirit due to the amulet's fusion. The Counters recognized that her abilities could be a valuable asset in their mission to protect the balance between realms.

Therefore, the plan was not to completely strip her of these powers but to separate them from the malevolent spirit.

To achieve this separation, the Counters devised a plan to use a combination of their supernatural abilities and Y/N's powers.

They would create a ritual that temporarily weakened the connection between the amulet and the evil spirit, allowing Y/N to use her reality-warping abilities to draw the spirit out.

Once the evil spirit was drawn out and contained in the pocket dimension Y/N had prepared, the Counters would focus on separating it from the amulet. This was a delicate and dangerous process, but Y/N's control over the spirit gave them the best chance of success.

The ultimate goal was to leave Y/N with her powers intact but free from the evil spirit's influence.

It was a complex and risky plan, but Y/N and the Counters believed it was the only way to ensure that she could use her unique abilities for good without harming anyone or being consumed by darkness.

Later, the night before the dangerous ritual, as the headquarters grew quiet, Motak found himself alone with Y/N.

She was still in the translucent barrier, her eyes reflecting both power, and vulnerability but also showing fear for what was about to happen.

"Y/N," Motak spoke softly, "You are going to be okay, we can do this" he tried reassuring her in his deep voice, almost sounding like he was telling himself that.

She met his gaze with an intensity that sent shivers down his spine. "Motak, there's a reason I control the spirit within me. I don't want to hurt anyone. I've seen what absolute power can do, and I refuse to become a monster. I want to be free.”

He stepped closer to the barrier, his hand reaching out, longing to touch her. "We can do this, I will free you from this shitty spirit.” he paused letting out a small chuckle as Y/N also let out a watery laugh. “This plan must work, we can do it together."

Y/N's eyes softened, and she nodded. "We can rewrite our own destinies, Motak, but we must be careful. The line between good and evil is thin, and we walk it every day."

As the ritual to separate the evil spirit from Y/N's amulet reached its climax, the room filled with an otherworldly energy. Y/N's Scarlet Witch attire shimmered, and her powers surged to their peak.

Beads of sweat formed on her forehead as she concentrated, aided by the collective strength of the Counters.

In the center of the room, a swirling vortex of crimson energy emerged, drawing the evil spirit out of Y/N's body.

The spirit fought and resisted, but Y/N's unyielding determination, combined with the Counters' supernatural prowess, proved stronger. With a final surge of power, the spirit was captured within the pocket dimension Y/N had created.

A collective sigh of relief filled the room as the evil spirit was successfully separated from Y/N.

She collapsed to her knees, drained from the intense effort, but her powers remained intact, her amulet now free of the evil influence.

“Y/N!” Motak rushed to her side, offering his support as she regained her strength, cradling her delicately to his chest.

He pressed light kisses to her forehead, whispering praises with his lips pressed to her skin.

The other Counters observed in awe, realizing that Y/N's abilities could be a valuable asset in their mission to protect the balance between realms.

Hana, who had been the most skeptical of Y/N, watched the proceedings with a newfound respect. She understood that Y/N's intentions were pure, and her powers could be a force for good.

With the evil spirit contained and neutralized in the pocket dimension, the Counters turned their attention to sending the evil spirit back to the darkest depths of Yung where it belonged.

While Y/N, for the first time in what felt like a long time, felt free, relaxed, and safe in the arms of the man she fell deeply for.

The man that vows to protect her and love her no matter what.

In the days that followed, Y/N and Motak's connection deepened further.

They had faced the darkness within and emerged stronger together. Their forbidden love had defied all odds, just as Y/N had defied the evil spirit's attempts to consume her.

As they looked toward an uncertain future, Y/N, Motak, and the Counters had rewritten their destinies.

They were no longer just hunters of evil spirits; they were protectors of the balance between worlds, guided by the belief that even in the darkest of circumstances, love and understanding could prevail.

And so, in the quiet moments between battling supernatural threats, Y/N and Motak found solace in each other's arms, knowing that their love was as powerful as the abilities that had brought them together—a love that could conquer any challenge that lay ahead.

Note: gifs, pictures, and header DOES NOT belong to me. CREDITS TO THE RIGHTFUL OWNERS!! Feedback is appreciated.