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writingquestionsanswered · 7 months ago

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I'm tired of my ideas always being big. It's overwhelming. I like seeing others' WIPs and ideas because they're just so simple... Like, that comic about a mermaid living in the ocean in our modern time and dealing with plastic trash. So simple and my own brain is bursting with ideas. But my own WIPs... they just start huge. I'd like something smaller... but I don't know how.

Stories Always Get Too Big

Stories can get out of hand quickly when they sprout too many independent threads. There are three primary culprits that serve as sparks that create these threads:

1 - Setting 2 - Non-Protagonist Characters/Relationships 3 - Back Story

The thing to remember, though, is that no matter how interesting your setting is, no matter how compelling your other characters are, and how fascinating the back story is, those things are not your plot.

Plot is the sequence of events through which the protagonist (and potentially other main characters) attempt to resolve the story's conflict by overcoming obstacles and setbacks in pursuit of a goal.

In other words, focus on this:

the protagonist > their normal world > the event that introduces a problem they must resolve > the goal they formulate in order to resolve that problem > the events that occur as a result of their pursuit of this goal > their attempts to overcome obstacles and setbacks encountered along the way > their attempt to solve the problem once and for all > failure or success > life in a changed situation/world

Anything else doesn't need to be there unless it is critical in order for one of the above steps to make sense.

So, let's take your mermaid example... though I haven't read that comic so I'm winging it here:

the protagonist = mermaid normal world = doing mermaid stuff inciting incident = finding plastic trash in the water goal = clean up/find the culprit and teach them to do better events = cleaning up, learning about humans, tracking down culprit climax = mermaid appeals to humans to do better finale = mermaid is living in a cleaner ocean

Now, let's say your brain starts to go off on a tangent about a deep oceanic rift and an evil merman wizard who lives there... stop right there. It's a fun idea, but what does it have to do with this story? How does it relate to the trash, clean-up, finding the culprit, or appeal to humans to do better? It doesn't. Theoretically, you could make it make sense... like, maybe the merman wizard likes the trash and wants the ocean to be dirty and gross, so maybe he is opposing the mermaid's attempts to clean up and to appeal to the humans. Okay, that works, so you can keep it. But, let's say you also have this idea about these creatures that live around the hydrothermal vents, and the mermaid meets and falls in love with a scientist who's studying them. Okay, again, interesting idea, but this one is much harder to fit in with the rest of the story. Sure, you could say the scientist is studying marine pollution instead... that brings it back around to the main conflict, but still, what does this relationship add to the story? How does it help or harm the mermaid's mission? How does it help to explore the story's themes or help deliver the message? It doesn't really sound like it does, so this would be an example of a thread you can probably snip.

And the thing is, it would be okay to follow a thread like that while you're plotting or writing your first draft, just to see where it goes and see if you can make it work. Part of why we edit and revise is to snip out the threads and elements that aren't pulling their weight. But learning how to curb them as they occur to you will help save you work later on down the line. Try writing those ideas down in an ideas document, and maybe those can be worked into different stories, a sequel, or a companion story.

One final note: I am very much aware that there are some epic writers out there who let wild tangles of threads sprout as they write, and they follow them all without abandon, relevant or not. That's okay, too. These are writers for whom that works, who don't feel overwhelmed by all of those threads, who want to write something bigger and more unwieldy. Maybe in time as you get accustomed to writing smaller, tidier stories, you embrace the bigger stories your brain wants to tell. Or maybe you don't. Whatever works best for you is all that matters. :)

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loren91 · 2 years ago

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Young Royals and the three act structure, Part one

Seems like there was some potential interest in a full three-act story structure analysis, so I’m taking this opportunity to indulge myself by going full nerd. I’m going to attempt to make the argument that limiting the show to three seasons is actually perfect for Young Royals, by highlighting the pattern the story follows.

A few things to keep in mind before we start.

This analysis is not about the characters deep inner emotional lives. We are not here to pass judgment on their actions. We are simply identifying the beats of the story in a neutral and objective manner, for the purpose of analysing the structure of the story.

As you will notice, the points I have identified are all from Wilhelm’s perspective. That’s because he’s the point-of-view character, the main conflict is shaped by him and his emotional state. He’s the protagonist. Each subplot however, will follow the same pattern and has its own purpose, but I’ll get more into that another time.

I’ll be referring a fair bit to Lindsey Ellis’s video essay on the subject, because I like how she describes the structure pattern in sequences. So I’m gonna borrow some of her language. Also, note that the examples she uses to describe the tree-act structure are all feature films. Since Young Royals is a series, it’s gonna divert slightly from her description. But that’s what is so great about this structure, it’s flexible. It’s not meant to be set rules, but rather guidelines to help keep your story relevant and engaging all the way through. If you find this stuff interesting, I’d highly recommend watching her videos!

The three act structure is absolutely not the only way to tell a story. There’s many different formats that works just as well! It’s really about finding what structure works best to tell your story. The three acts however is the most common format you’ll find in more commercially viable works, such as Disney films for example.

And finally, I’m not a writer, but an animator, and I have studied film theory/structure. I’ll do my best to motivate the plot points I’ve identified, but if you’re a proper story expert and disagree with me, I’m happy to discuss!

Okay, let’s get to it.

A three-act structure is constructed of just that, three acts, and roughly looks like this. Essentially, a beginning, a middle, and an end. Or the set up, the confrontation, and the resolution. These acts may vary in length, act two usually being the longest and act three usually being the shortest. But what truly defines them is the tension of each act, meaning what drives the conflict forward at that point. A story will have a main conflict yes, but that conflict will take on many forms depending on where we are in the story. Lindsey Ellis describes each act as consisting of multiple sequences, and defines each sequence by its individual tension as well. Though all points of tension should always stay related to the main conflict! So the main points we’re looking to identify in the story are the main act tensions and the main sequence tensions.

Let’s go through season one of Young Royals and talk about each story beat.

Act 1

Act tension - Wille has to attend Hillerska.

Sequence 1

We start with the Set up/Hook. The purpose here is to establish the world and the protagonist along with their internal conflict, such as their flaws and/or desire that makes them feel incomplete - The way Wilhelm’s character is introduced informs us that he is royal, but struggling with his role, because royals have set rules to follow.

“Why can’t I decide how the hell I want to live? I want to live a normal life!”

The thing that sets the story in motion is the point of attack. Something happens that is outside of the protagonist's control/knowledge - That would be the royal court deciding to send Wille to Hillerska without his permission. This gives the protagonist something to react to.

Sequence tension is established - Wille does not want to go to Hillerska. The rest of episode one reinforces Wille’s discomfort at the school.

Next, we get to the inciting incident. An event that disrupts the status quo, and our protagonist has to get involved - The initiation party, particularly when Wille and Simon almost kiss at the end. This leads him to acknowledge his attraction toward Simon and become more proactive in his pursuit of the boy.

The sequence tension is resolved. Notice how in episode two, Hillerska is no longer the main focus for Wille, but Simon is. The seeds for what will become the central conflict have now been planted. The conflict is usually driven by character motivation. This is where we can consider the protagonist's Want vs Need. The want drives the main tension - Wille wants to be with Simon. But we’ll find want he needs later on in the story.

Sequence 2

The purpose here is to build up the creation of the main tension of the story. The main antagonist can also be established here - August keeps getting on Wille’s nerves. Especially when he’s trying to hang out with Simon.

That’s our sequence tension - Wille is working to befriend Simon, but August keeps getting in the way.

The end of the sequence sees the first major plot point, the Lock-in. Where our protagonist makes a decision that changes everything. Usually, something they can’t come back from - In Young Royals that would be the first kiss. Wille and Simon’s relationship has fundamentally changed. The main tension is now established.

Act 2

Act tension - Can Wille be with Simon, despite him being a prince?

Sequence 3

At the start of this sequence, the protagonist has most likely achieved some kind of milestone or learned something - He’s definitely like that.

To keep the story interesting, writers will add so-called pinch points in between the bigger plot points. These usually act as reminders of the antagonist or the pressure our protagonist may feel - Wille feels he needs to break it off with Simon because a prince is not supposed to be gay. As we established in the set up, royals have rules.

Sequence tension - Can Wille deny his feelings for Simon? Queer pining ensues.

Sequence 4

The purpose of this sequence is to build up towards the midpoint. We see the protagonist making attempts to achieve their goal - The want never changed, Wille still wants to be with Simon, despite the pressure. Wille invites him to spend the weekend with him.

Sequence tension - Wille is trying to prioritise his new relationship with Simon, but August is still being annoying.

Then the midpoint hits. A major disruption, either from a character action or a force of nature. Can be positive or negative, just something that changes the aim of the quest without resolving the main tension - This time it’s literally halfway through the season. End of episode three, Erik dies and Wille becomes the crown prince. Everything has changed.

Sequence 5

Everybody has to adjust to the new world order after the midpoint disruption. We’ve reached another pinch point - Again we are reminded that royals have rules, and Wille makes another attempt to follow those rules. By embracing his new role, he breaks up with Simon once again, then sort of pursues Felice and joins the society.

Sequence tension - Wille adjusting to his new title while mourning his brother.

It’s common for subplots to advance around this time - Like Simon giving August the drugs to sell.

Sequence 6

Another plot point, where our protagonist may stop and reflect. Maybe have a heart-to-heart with another character, and perhaps make a decision - This is where we see the football field scene and the end of episode four. Wille reaches out to Simon for help, reconnecting with him. This leads them to pursue a relationship once again. They are put in a false sense of security. They are finally together, thinking all is good. BUT, we in the audience know that August has the video of them and the writers keep reminding us of him and the threat he poses. Even if Wille and Simon don't know it yet.

Sequence tension - Can this happiness last?

Sequence 7

(Here’s where the story leaves the classic structure for a bit, and adds an extra sequence for some more drama, as filler. In theory, they could have skipped this sequence and gone straight to the video being released. This part is mainly here to give motivation for August’s character, making his actions clearer)

So we are essentially given another pinch point, a reminder of antagonist or pressure - August tries to break them apart by telling Wille about the drugs, which leads to the music room fight.

Sequence tension - August is becoming more hostile.

Wille saving Simon from being framed for the drugs is more related to August’s money subplot. And the Lucia hug scene is mainly there for character building purposes. I’ll talk more about that stuff in part two.

The plot has advanced to the culmination of the main tension. The crisis that serves as build-up to act three - August releases the video. At the end of act two, the protagonist faces their biggest challenge yet. They’ve hit their lowest point - The aftermath of the video's release and Wille is totally lost.

Act 3

Act tension - Can they save their relationship after the video?

Sequence 8

Begins with the protagonist making a big decision that creates the new act tension. The tension in act three will be different, but still related to the main conflict - Wille and Simon talk in the locker room, where Wille says he won’t do the statement.

Sequence tension - Can Wille avoid making the statement?

We’ve reached our last major plot point, located at the end of the sequence. Sometimes known as the twist in the third act - And what a twist, Wille does the statement anyway. This narrows down the tension further, to focus on a more character-driven intimate place for the next sequence.

Sequence 9

Sequence tension - Can they be together despite the statement?

Climax, the last big fight - Simon tells Wille off for being selfish and breaks up. Wille also finds out that both August and his mother betrayed him. The protagonist’s need has emerged from this journey and is now clear to us - Wille needs to decide who he wants to be. The want and the need should be different from each other, but still connected. Wille wants Simon, but in order for that to happen, Wille needs to break out of this cycle of self-preservation and stand up for himself against the royal court.

The climax will most likely lead to some kind of character growth - Wille is now pissed because he’s lost everything and realizes how corrupt the royal court is. As Lisa so beautifully put it, “A flame is ignited in him”. Hugging Simon in public is a display of his character growth.

And finally, Resolution. The point where the story is usually wrapped up neatly, but if left ignored, you get a cliffhanger - Which is exactly what happens in this season. Nothing is properly resolved at this point. Resulting in an open ending/cliffhanger.

Oof, that was a lot. How are we all doing? So these are the main beats of the plot. Makes sense? Let me know if you need any further clarification 😅 I was gonna get into how the rest of the show fits this format as well, but that’ll have to be in a separate post. Here’s part two!

#young royals #prince wilhelm #young royals analysis #young royals season 1 #film theory #story structure #story analysis #young royals and the three act structure #wilmon #simon eriksson #august horn #my meta #my analysis

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catboygirljoker · 4 months ago

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fun writing tip: you can justify making your blorbos as good at sex as you want if you also make it depressing

i will try not to be too graphic or horny and keep it mostly to character study analysis themes core motivations plot conflicts etc type discussion. still, id really prefer that folks under 18 do not interact with me on this post or about this topic in general, thanks!

for obvious reasons this post is gonna have a cut

UNLIKE HIS DIIIIICK [EXTREMELY LOUD AIRHORNS]

. sorry i just feel like hed appreciate that joke. uh anyway

Brief discussions of: BDSM, including sadomasochism; edgeplay; derealization/dysphoria; self-destructive recklessness in a sexual context.

ok. so there's this fictional guy. and i kiiiiiiind of have a crush on him. and i'm a basic bitch, so, like, obviously, when i think about him hornystyle, i want to imagine him being good at sex.

the thing is, "good at sex" is not always a particularly interesting trait to give a character! it can often be an eyerolling power fantasy trait. like "this is my oc Chuck Dongburger he has a ten pound cock and can make a babe cum just by lookin at her" yknow. it's a trait that, handled incorrectly, is more likely to flatten conflict than create it—more likely to make stories more boring than to make them more interesting.

also, "being good at sex" isnt a magical blessing that descends upon someone by chance. it is a quality that stems from a set of experiences and traits. it is a skill that one develops, or fails to develop.

so the question is, how do i justify him being good at sex? how do i make it feel believable and interesting?

the answer is simple! make it depressing! (that is, relate it directly to the character's central themes and conflicts, and therefore make it a natural part of/inclusion in their story)

in canon, xigbar has had multiple bodies, lost his heart multiple times, allowed himself to be a vessel for darkness on multiple occasions. he has endured all of this to carry out the will of his masters. every social role we've ever seen him take has been subservient to someone else, even if it has usually also involved social power over others, too.

here are the sex/relationship headcanons i have that expand on this:

related to: gender/sexuality

bisexual. for starters. obviously. his transness i have Deep Headcanons about, but his bisexuality is just "idk im bi so hes bi hee hee"

luxu is a binary trans man who experienced severe dysphoria in his original body and never felt like that body really belonged to him in the first place. to the best of his ability he has only chosen cis male vessels, including braig. in those cases he feels extreme disconnect from his body but not [very noticeable] gender dysphoria. the only thing connecting him to his cis male bodies is his sexual characteristics. theres this great art piece that has never left my brain that conveys the idea im going for. his face his hair his bones none of those are his, none of thise feel real, none of those feel right. but what does feel right is his dick.

related to: him being Good at Sex™

he is Very Experienced. he's tried a lot of shit and had a lot of bodies and largely had nothing better to do than be a horndog and kill time suckin and fuckin. he is down for just about anything with just about anybody. he knows how bodies work and knows how to deal with the exceptions and roll with awkwardness and uncomfortableness.

he is pretty good at reading people—it's a skill he has had to develop over his lifetime. he is sometimes wrong, but usually right, and reading people, understanding them, lets him feel like he has some kind of control or power over them. this is relevant because this is part of what makes him Good at Sex. he is shockingly responsive and attentive; not completely unselfish as a lover, but he won't blindly exert his will onto the other person and expect them to respond just because he has a big dick or is going faster or harder or whatever.

related to: his backstory as luxu

sex for him is a means of exerting control over the world, proving his own competence and worth to himself and another person, gaining some simulacrum of human connection, distracting himself from his derealization, grounding himself in his body, expressing and claiming his masculinity. all things, i headcanon, he also achieves (or seeks/has sought to achieve) from keyblade mastery.

he views his bodies as disposable, and knowing that he can just jump ship if he totals a body means that he processes pain differently than most people. not in a "all pain makes him horny" way*—it's more that pain doesn't make his self-preservation kick in the same way it does for other people. in bdsm/kink settings he is a masochist [as well as a sadist] and more reckless with edgeplay (when it comes to himself) than he really ought to be.

obviously i have specific personal motivation for wanting to headcanon this (he and his body are both Significantly Older Than Me) but i don't think he's too bothered by an age gap. some people it makes sense to me to imagine that they'd really want to date within their age and maturity range, but i think xigbar's chill as long as the person he's dating is a self-posessed adult. considering how long he's been alive, he's gonna have a significant gap in experience with ANYBODY; there isn't that much of a difference between him dating a 25 year old vs a 45 or 85 year old.

he has told close romantic partners about his Whole Deal before. it has never gone well. ("what do you mean youve been moving into random people's bodies in order to stay alive long enough to bring back a guy who intentionally manipulated his students into killing all of their students via senseless war??") they never understand and he doesn't know why they don't understand (i also headcanon him having severe cognitive dissonance vis a vis the MoM but that's a different post). his instinct is to put up a wall and go "well theyre just naive and stupid and haven't seen what i've seen, theyre too sentimental to understand this". he still keeps trying (if with less frequency) because he is desperate for someone to understand.

*i want to make this crystal clear: i do not headcanon xigbar as being automatically turned on by receiving or causing pain in every context, because he is a boss in a video game franchise where he fights teenagers. i am not comfortable sexualizing those fights!

(i do however think there are contexts where he might indulge in some "battle sadomasochism" when fighting another adult—maybe he makes it weird for them on purpose to fuck with them, maybe they're both into it and it's all foreplay, etc)

related to: him being subservient

youd think that when i talked about him being subservient to others, i was building up to a headcanon about him being a sub. however it feels most correct [and fun] to me to imagine him being a dom-leaning switch vers (doesnt get dysphoria from bottoming because. prostate). social role and personal dynamics dont necessarily correspond to sexual dynamics!

the headcanon i was actually building up to was that he craves affirmation in specific ways from specific people. he is desperate for someone else to give him worth. he wants to do a good job serving an authority he deems worthy of respect. he wants to be useful, he wants to serve a purpose and have a role. he hates feeling like he needs something from someone else, and feels much more comfortable if they need something from him.

he doesn't have a praise kink in a traditional sense, but he does really get his rocks off from being Good At Sex and from his lovers clearly and obviously enjoying themselves. he doesn't wanna be told hes done a good job, he wants to know, to tell from experience that he's blown someone's mind.

furthermore, in romance, he becomes a massive simp. if he likes someone enough to fall for them then they hang the fucking moon for him. he is outside in the rain crying throwing up begging for a sniff. absolutely pathetic. its not a total transformation of personality, i think he'd really hide it and really want to hide it. but i think in most situations it'd be subtle but observable. every joke he makes is directed to them and checked against their reaction; he stands at a middle distance outside of conversation kinda watching them, observing every move, memorizing their gestures and tics and quirks. he feels i love you before the first date but won't say it until five years into the relationship.

related to: i couldnt put it in the other sections and i really only made these section headers so it wasnt just big walls of text oops

he's a low empathy emotionally constipated bitch at the best of times, so he substitutes emotional intimacy with physical intimacy. picking up people at bars or dances or what have you for one night stands, satisfying them thoroughly, and then immediately dropping out of their lives.

he actively avoids romance (and any emotional closeness, including the completely platonic kind). but he hasn't always been this way. i think Dark Road was the most recent in a long long string of experiences where he lost people he was close to. he's tired of hurting people and getting hurt.

. im not gonna get into it because im trying not to be like too too horny in this post but hes So fucking brat tamer coded to me. i think you will understand at least the surface level reasons for this. i guess if i wanted to relate it to Themes i'd say something like "there is a specific romantic and sexual fantasy in being an asshole and even hurting someone and them still wanting you and trusting you and loving you and even enjoying it" but. well we dont need to go there do we

these are just the Depressing / Character-Related / Themes-y headcanons. some of my headcanons are just like "i think this would be funny and/or in character and/or hot" but you see how long this list is anyway. if i started in on all of that then we'd be here forever.

also, these are just headcanons! they're informed by analysis but shaped heavily by what appeals to me personally, what i find hot, what i find compelling about his character. if your headcanons for him differ from mine in any way, i don't think you're Wrong, because we're talking about the sexuality of a guy who comes from a video game franchise where characters are barely allowed to hold hands. this is all just toys and playing

anyway thank you for reading this post lmao its so long

JUST LIKE HIS DIIIIIIIIIIII—

#''but thats a different post'' <-my catchphrase recently #i hope it all makes sense!#depending on the content of the ask i might be shy about answering public asks about this sorta stuff but #mutuals can dm me if they wanna chat abt this ^^#i mean mutuals can call upon me to spill my blood in their name but like. yknow #kh #blakeposts #asks #xigbar scholarship tag

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ashenquillalso · 4 months ago

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Did someone ask for me to info dump about my characterization of Grian? No? Well, too bad, you’re getting it anyway

The way I organized this is based on the character study document I made like, a year and a half ago, so some of the details matter and some of them don’t. They’re all gonna be included anyway, though, because I said so :]

His full legal name is Grian H. Dreamslayer. Why? Because Scar said so LMAO. I literally have no clue what the “H” even stands for (Hermit?) but like. Does it really matter? Idk man he’s just some guy so I’m not gonna think about it that much

He is an avian hybrid, with traits specifically derived from crows. He also has “Watcher” traits, which are manifested visually as pink/purple-y feathers & an Evo symbol on his forehead. He also has “void magic”, which is basically the ability to harness the void and bend it to his will. However, he doesn’t like his Watcher traits, so he uses the void to hide them! He can make permanent darkness cover his feathers so all of them look black, and casts his forehead in shadow to hide the symbol. He also tends to hide his headwings, which he does by creating a sort of “rift” around them so they aren’t visible.

Grian is very reactive to his environment. He’s willing to be proactive when the situation calls for it—especially because he’s a natural leader—but, he usually prefers to see how things happen naturally. He’s somewhat complacent out of reflex, but when he’s in his right mind, he hates taking orders & is not fond of authority figures. With small/everyday things, he can be really argumentative against things he disagrees with. In important situations, however, he typically airs on the side of caution. Grian likes to pry for information, but isn’t always the most tactful. He knows knowledge is power, but sometimes he’s too conspicuous about gaining said knowledge, and people can be tipped off by it.

A few other details about him:

Smells like: wind, spring air, clean/fresh

He is street smart: has special knowledge of hunting & foraging, as well as close-quarters combat

Likes: tea, pastries (big sweet tooth)

Dislikes: coffee (he drinks it anyway and whines the whole time)

Passions: flying, studying magic

Habits/”quirks”: his wings are very emotive, he bites his nails & pulls his hair when stressed

Special, plot-relevant skills: gunslinger, knife enthusiast

He has a terrible sleep schedule (night owl)

Idk how to end a post but that’s all for now! I’ll keep posting stuff about other characters to here, I think :]

If you’re interested in reading my fic, it’s This Profession is Not Scar-Safe on AO3! Beware of hermitshipping, as it’s a Scarian-centric fic.

Thanks for listening to my drabbles :]

#hermitblr #hermitcraft #hermitcraft grian #grian #watcher grian #character headcanons

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fwitolei · 4 months ago

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The Dragon Prince Thoughts 6x05 - Moonless Night

Previous Episode // Masterlist // Next Episode

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Spoilers under the cut

“Oh, don’t worry about Viren, everything will be fine.”

Did you notice the way Soren hesitated when addressing Viren by his name? gahhh this poor man deserves happiness why can’t he get a breakkkk—

I wonder if they’re gonna pull some “Father-Lord” shit like Zuko and reference atla

THE WAY HIS FACE FALLS THE MOMENT HE LEAVES THE ROOM 😭😭😭😭

*crying noises*

“Oh, Soren, my son. Is that you?”

Woah Viren’s been in that cell for a while

There’s gonna be so much to unpack here watch

The way Soren absolutely refuses to look at Viren speaks volumes he’s so done taking Viren’s shit

And it’s the one time Viren isn’t giving Soren shit but he’s burned their bridge so badly Soren’s lost all faith and respect

Not to mention Viren took Claudia away from him too in a way

Lmao why was stella trying to steal callum’s book—

I wonder if Rayla learned that lullaby she’s singing from her parents

OOH or even runaan or Ethari—

Nah my bet is her parents

“Maybe I just want to see you suffering.”

Okay the repetition of the scene is totally intentional what are they trying to convey

Why does Soren keep going down there to see Viren when he knows all Viren has done is hurt him? What does he want?

“But with my eyes open, I also see… you.”

NO CUZ it’s the way Soren IMMEDIATELY starts crying when Viren says “you”

Like all he ever wanted was some form of acknowledgement from Viren his WHOLE LIFE but now that he’s got it it’s too late

Soren desperately wants to believe Viren but he’s been hurt so many times he doesn’t allow himself to

“Everything you’re telling me is… is some kind of lie!”

SEE THIS IS WHAT I MEAN

Viren has given Soren some serious trauma and self-worth issues, and even after two years of virtual peace, he’s still keeping it in

Everyone he trusted either didn’t care or isn’t even present in his life (lissa), so he always kept it in, using his “class clown himbo” facade as a coping mechanism

But now that his entire childhood trauma is literally sitting there staring at him he can’t take the idea of working through it all and that’s why he blew up

SEE NOW HE DOESN’T WANNA TALK ANYMORE

I wanna say he’s just not ready to face Viren but at the same time I don’t think he’s ever gonna be ready he just has to take the plunge

Wait is that Fen—

I thought he was with amaya in xadia

Did he get demoted lmao—

Wait does the standing battalion outrank the crownguard or the other way around

“On moonless nights you miss her the most.”

That is so sad omg—

Luna Tenebris disappeared centuries ago too so Esmeray’s been hurting for a really long time

Imagine that i could never 😭

“It’s the Corona of the Heavens.”

WAIT I THOUGHT VIREN’S STAFF HAD A QUASAR DIAMOND—

If all 3 are in the crown wtf is the stone in his staff

OH THE BLINDFOLD DESIGNS ARE LITTLE EYES I SEE IT NOW

OH WOW KOSMO’S CONNECTING TO THE STARS

Just like that huh

WOAH KOSMO PREDICTING FUTURES HERE

“But your path is… darkness.”

Does that mean callum is still on the dark path aaravos was talking about in s4? Or is kosmo just reflecting callum’s soul from his past usage of dark magic like how sol regem sensed it

Oh? Soren’s back

I wonder why he went back

“If you do not accept my words now, Soren, I want you to have them in the future… when you might need them.”

Okay nah this has got to be foreshadowing or something wtf is going to happen to soren—

Omg this was essentially a soren character study sorry lmaooo. I’m not too learned in trauma and all that stuff this is just my take on what’s going on with him I’m just really invested cuz he’s my bbg princess and i need him to be okay 💀

ANYWAYS considering that Rayla really connected with Esmeray in this season i wonder if she’s gonna have some plot relevance later on (i hope so esmeray is fuckin cool) especially cuz even kosmo commented on it and he can see the future. Soren BETTER BE OKAY by the end of this season i can’t take his pain 😭. And also i am SO EXCITED for rayla to see her parents again and for runaan to FINALLY go back to ethari like he DESERVES GAHH—

But yeah good episode good episode 👍

#the dragon prince #tdp #tdp 6x05 #tdp spoilers #fandom #tv review #lei's laments #watch a thon #discussion #thoughts

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misc-obeyme · 1 year ago

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do you think solomon felt guilty for taking so long (season 2) to tell mc he was immortal? the hints were there and no one was subtle about it, so it's easy to assume that mc already knew or guessed the truth, but it takes so long for him to say it clearly. feels like a good source of angst, especially since he finally tells them in the reaper's cave

Okay so I had to go back and re-read this part, which is in Lesson 36-3 for anyone who wishes to play through that part again.

But here is the relevant moment:

He seems so casual about it. In fact, right before this if you choose something like wait how is that possible his response is this:

Now. I think this could be read two different ways. You could see all this as Solomon being like, obviously this is no big deal. If you take it at face value, he seems rather unbothered by the whole thing and doesn’t seem to mind telling you what happened and that he’s immortal.

However. I do think that Solomon does this thing where he acts really casually about stuff when he actually feels something more deeply, especially when everyone else is there. In this moment, all the demon brothers are present and they already know this fact about him. So maybe he was not trying to hide it, but not bringing it up to MC on purpose. But when they’re all there, he can’t exactly deny it, so he decides to act as though it’s no big deal. He almost glosses over this and directly after they have this short revelation, they get back to the task at hand (finding Beel’s candle).

So while I think there probably isn’t anything deeper to this instance in the actual story, I DO think there’s plenty of room for reader interpretation. (To be clear, I don’t think there was anything deeper to this moment in season two of the OG, but there certainly seems to be more about the Solomon immortality piece in general, especially in Nightbringer. I think it might be very relevant to the NB plot.)

And the fact of the matter is, currently MC is NOT immortal.

This is an issue that’s present for all the characters, but it has a really heavy impact for Solomon specifically, imo. This is because he’s HUMAN. He isn’t naturally immortal, he should have died long ago. And not only that, but he’s going to live on indefinitely. And all his fellow humans live short lives and die, leaving him perpetually alone.

It’s painful. Imagine always losing everyone you’ve ever loved. Always being the one still lingering after they’re all gone. Imagine being careful to never get too close to anyone because you don’t want to suffer through the pain of losing them later. Imagine knowing about the Devildom and the Celestial Realm and magic and sorcerers with such a deep understanding, but never being able to share it with anyone. Those that do join you in the study of magic will never be at your level because they die too soon. The only friends you can count on having for any decent length of time are demons or angels - beings that can’t understand your very existence.

Nobody can tell me that all of this isn’t something that Solomon thinks about. That maybe this is one of the things he tries to forget about by throwing himself into research. That this is one of the things that plagues his racing mind when he’s trying to sleep.

Then imagine along comes another human who might almost be on your level. Someone who has the potential to understand you in a way nobody else ever has. Someone you’re inexplicably drawn to, someone you can’t help but fall in love with, someone who’s still mortal. Someone you’ll inevitably lose like you’ve always lost everyone else before.

Do I think he felt guilty? Yes. The game plays it off as a sort of quirk about him, but the implications are so heavy that I just headcanon my own thoughts about it. And I think that Solomon would try to stay in that place of ignorance for as long as possible. He likely felt bad about obscuring this fact from MC - again, not lying about it or even really going out of his way to hide it, but just… not telling them.

However, I think that he felt a lot worse about what that truth means for him and for MC.

Oh dear I may have gotten carried away. Listen, you asked for angst and I have thoughts about this lol.

Lemme leave you with one last thing, though. I completely forgot he said this:

LOOOOOL. I dunno about you guys, but I refer to him as an old man all the time. I’m pretty sure we do that collectively as a fandom, so the fact that he straight up said not to do that way back in season two of the OG made me CACKLE. I’m sorry Solomon, but calling you an old man/grandpa/peepaw/etc is too much fun. It’s okay, Lucifer and Simeon get called those things, too lol. It’s a compliment, I swear.

#just one of the many reasons I’m in love with this guy #he has so many layers #so much potential #and in the end I think he keeps a lot of stuff to himself #because he’s trying to protect MC #from experiencing the level of pain #that he’s experienced #I could talk about it all day #obey me #obey me nightbringer #obey me solomon #anon asks #misc answers

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hiemaldesirae · 6 months ago

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The Hazbin Graduate's Guide to Homicide [4]

ENCLOSED IS AN EXCERPT FROM THE JOURNAL OF ALASTOR HARTFELT. IF YOU ARE NOT THE INTENDED RECIPIENT, DISPOSE OF THIS LETTER IMMEDIATELY LEST YOU BEFALL SEVERE CONSEQUENCES INCLUDING BUT NOT LIMITED TO, LOSS OF FINGERS, LIMBS, AND LIFE. THANK YOU FOR YOUR DISCRETION. SIGNED, DEAN LUCIFER MORNINGSTAR.

To my generous patron X, I'm still not quite sure how I feel about this... impromptu academic journey. Though I thank you dearly (and cannot ever fully repay you) for giving me the opportunity to study such unique and diverse methods of... disposal, shall we say, it is a double edged sword of sorts. I have made a few friends- two of whom I would consider close, though I doubt I have much experience in the lane of 'close' friends- and yet more enemies, one of which is particularly aggravated by me for reasons I simply cannot fathom. I'm choosing to believe right now that it is because she is immune to any form of good comedy (a politer way of saying that the girl simply has no sense of humor whatsoever and should possibly schedule an appointment with Professor Beelzebub to see if there's something to be done in regards to her vehement refusal to let any joy in life into her heart). In any case, X, I will take this chance to reassure you that I am learning more than I ever thought I would have in the hands-on and rigorous academic processes of Hazbin Institute, and that the people I have met during my stay all total to a very enjoyable stay thus far. I will, of course, keep you updated on the various comings-and-goings of my studies and how my thesis is being planned out, as well as the various roadblocks I have no doubt I'll be facing. Once more, thank you for your thoughtful sponsorship. I do hope that my results are to your liking.

Yours sincerely, A.H.

P.S. A note to all the lovely readers, I've made a few updates in the previous installments of this series. Alastor is now rooming with Charlie and throwaway lines have been corrected to not mention the names of plot-relevant characters. Also, as a content warning, there is some slightly transphobic rhetoric used (I tried to limit it as much as I could but there really wasn't a way for me to word it properly while trying to express the idea.) If you don't want to see that, then feel free to skip to the end of Vox and Alastor's conversation in the Jade Forest. Please enjoy this new upload of the Hazbin Institute for Homicide Practitioners!

[ 1 ] / [ 2 ] / [ 3 ] <- more murder academy radiostatic

Though it may come as a surprise to those who knew him in a broader sense, Alastor wouldn't consider himself particularly well versed in the art of cooking (though he knew several people who would immediately jump to say otherwise). In his mind, cooking had always been more of a pasttime for him: a hobby to spend time bonding with his mother during and hide from his father's harsh words and harsher actions.

That was why Alastor's impromptu (not actually impromptu, he simply referred to it as such because he hadn't spent days agonizing over it like he would on other choices) decision to take up work in the Institution's kitchen was so out of character for him.

However- however out of character it seemed on the surface, Alastor was also quite the frugal spender. Though the funds entrusted to him by his sponsor were more than enough to supply him with everything he needed through the academic year and then some, Alastor was a man who had lived his childhood and early pre-teenaged years through the desolation of the Great Depression and the Dust Bowl, barely managing to scrape by thanks to his mother's innovation and resilience.

This upbringing, in turn, translated to a refusal to spend more than what was needed for a modest life, and a need to save every last penny that came his way. Plus, given the current path his thesis looked to be taking, Alastor had decided some weeks ago that it was much better to have excess funds left over than to have to struggle his way through the bayou once more.

Besides, this way, he got to learn more recipes to show to his Maman once he got back home.

The main chef of the kitchen was named Vortex, and from the interactions Alastor had witnessed while coming in and out of the back kitchen, he was involved with Professor Beelzebub in some sort of way. Whether they were courting or married or perhaps engaging in some sort of extra-marital affairs was a question completely beyond him, but either way, they both seemed happy and Alastor didn't quite care enough to ask further.

This was not to say that didn't mean he didn't speak to Vortex at all, of course- in fact, when he found out that the man spoke French (though it wasn't Creole French, he'd take it), the two had started talking on and off during shifts.

He'd also started to play piano at the local on-campus bar, a place that was surprisingly affordable given their one-drink only rule (a precaution to make sure that the undergraduates of Hazbin's didn't turn to alcohol to cope with whatever poor decisions they had made to land themselves here, no doubt).

This was a decision that had led to him making friendly small talk with the bartender, Husk (another student working odd jobs around campus to make up for the money that wasn't going into tuition) and adding another acquaintance to the motley crew of fellows he'd gotten to know in his weeks spent at Hazbin's.

There was his roommate, Charlie- who he'd never actually seen, save for hearing the occasional quiet sobbing from the bathroom at ungodly hours in the night while he was trying to concentrate on studying- a short young woman who introduced herself as Niffty and proudly proclaimed that her major was 'Murdering Your Spouse!', Husk, Rosie; the woman that Vox had told him about, and-

Well. Vox himself, obviously.

When Alastor had figured out why it was that Vox had sounded so familiar, he'd spent days agonizing over how to confront the man.

There was no way in any of Dante's infernos that he would be going straight up to Vox and saying something along the lines of 'I know your true identity and how you're dressing as a man when you were born as a woman' because if Alastor had learnt nothing from his father at all he had at least been engrained with a sense of subtlety and chivlary. And if his intuition served him right, he had a feeling that Vox wouldn't quite appreciate being referred to as a woman anyhow, given how he'd gone to such painstaking lengths to conceal his identity.

In the end, he hadn't even had to broach the topic himself. Vox had brought it up one day, completely out of nowhere while they were sitting under the shade of bamboo stalks in the Jade Forest, a place on campus grounds meant to imitate the serenity of real Chinese bamboo forests. "You know you're not the best at hiding your feelings, right?"

Alastor had immediately shot back with an offended, "And you are?"

This had come after a night spent at the bar, where Vox had somehow managed to get himself drunk after exactly three quarters of a glass of whiskey and ended the night sobbing into Husk's hat. He realized only after the words came out of the mouth that he was doing nothing but proving Vox right, but to the other man's credit, the only reaction he showed was the small upwards tilt of his mouth, a smile that said, I got you.

"Have you seen any of my movies before, or was it something else that gave me away?" Vox asks casually.

So casually, in fact, that the almost flies over Alastor's head, and he has to do a double take at the other man, who throws his head back and laughs, long and hard, howling like a hyena.

When he finally calms down, Alastor is staring at him unimpressed, which just sets him off again.

"Oh- oh my God, your face- oh, dear God, that's the best. If I knew that wasn't genuine I'd try and have you nominated for an award. Jesus, Al, I'm not an idiot, you were looking at me like I'd grown two heads in that one seminar from Professor Beelzebub when I said I had personal experience with chopping off someone's breasts." Vox finally got out, wiping a tear from his eye as he gasped for breath. It was oddly endearing as much as it was absolutely exasperating.

"Can you really blame me?" Alastor frowned. "I mean, even past... your own proclivities- or, I mean, your- ah-"

"Taking matters into my own hands?"

"Right. That. Even past that, it feels like a bit of an odd comment to make in the middle of a lecture."

"She was asking for examples. What was I supposed to do, not say anything?" Vox rolled his eyes, then flopped back onto the picnic blanket he'd brought out.

Neither of them had actually brought out any foods that day- it was clam chowder soup day in the dining hall, and Alastor had simply elected to skip out and bake a loave of bread for himself later, whereas Vox... honestly, given what he knew about the man, probably didn't eat anything at all. It was almost concerning how skinny the other was, considering between the two of them it had been Alastor who'd lived through the worst economic decline of the century.

In any case, the picnic blanket had mostly been decoration, but Vox had also cited not wanting to get his uniform dirty when he laid down.

Now, looking at the other man lying down on the picnic blanket, Alastor was reminded of a motion picture that Mimzy had dragged him to after several hours of painstaking bargaining- one that had featured Vox (well, the name he'd went by outside of Hazbin, anyway. Alastor still had no idea which of the names Vox considered his 'real' name and he frankly had no intentions of asking) in the same position, but in a great deal less clothes (thankfully, not none or else he wagers he would've picked up a rock and started bashing his skull in), and he looked away once more, willing himself to stop the flush spreading over his face.

"So..." Vox spoke again, breaking the relative peace of their silence. "Have you wrapped your head around the whole thing?"

Alastor paused, then nodded, still resolutely not looking in Vox's direction. "I assume this is... who you would rather be?"

"Well, obviously," Vox confirmed, though not without a bit of snark that Alastor had come to know was standard for the man over the weeks they'd spent together. "Being Vox Vanhal is... a great deal better than being Aussen Vesper, I'll tell you that much."

"Okay," Alastor said. And then, "That's quite the relief, then, because I was not prepared to start treating you like a lady."

Thankfully, despite Alastor's un-characteristic slip of the tongue, Vox only barked out another hyena-like laugh at that comment, and they spent the rest of the day trading murder tactics.

So that was one of Alastor's problems resolved. Another one, though, happened to lie with another one of his housemates in Pride House, a woman who had been there for a year or so by the time of his arrival. For whatever reason, Vaggie Mariposa had taken it upon herself to try and upstage Alastor in every class they'd shared together- which was a lot, considering they were both undertaking the same major of Murder Your Enemies.

It wasn't as though she was succeeding very well, though, besides a prank she had pulled on his radio that had- embarrassingly- caught him off guard and ended up earning him a demerit. Of course, not even a week later, he'd gotten her back with much the same setup, and earned her that same demerit. So in all, it wasn't as much a concern to him as it was a very petty move done by a woman who really should know better, considering she was taking a course to murder her enemies.

(Of course, there was also the times he'd caught her waiting outside the hallway to his room, but that was of as much concern as a stray mouse would be to an eagle.)

In truth, the only real thing that actually concerned him was the girl he shared a room with. He had confided in the matter with Rosie, who, as Vox had told him before, was really quite the counselor when it came to giving advice. He was glad to have met her here- the woman, of course, being a student taking the major of 'Murder Your Spouse' had nothing but an endless patience for Alastor's troubles, the same way he imagined that she had had to have cultivated for dealing with the absolutely useless man she was married to.

"...anyway, I don't understand there is to do about her. She's weeping every night and keeping me up, but it's not as if I can breach the topic with her when she's someone I hardly know," Alastor shrugged. "I'm no good with weepy overgrown children. Whatever it is she's discovered about herself, I wish she'd simply keep it to herself."

"Alastor," Rosie chided him. "That's no way to speak about your roommate. She's likely under a lot of pressure, poor girl- some students are on the verge of flunking out, you know, and as I'm sure the Dean has told you, there are very severe rules for failing at Hazbin's. At least show her some sympathy. Talk to the girl, lecture her if you must, but don't disparage her."

Vox had said much the same thing when Alastor had gone to him to complain instead, so, in the end, he'd given in. The next time he'd found himself poring over one of the large textbooks Professor Mammon had insisted on them buying and heard the stifled sobbing coming from the bathroom, Alastor sucked in a sigh and left his seat.

He knocked on the door hesitantly. "Hello? Are you alright in there, dear?"

The sobbing stopped near instantly, though Alastor could still hear quiet sniffling. "I'll need an answer, if you don't mind. I'd rather not have it on my conscience for causing you to hit your head on the bathtub edge and drown- though I suppose that may earn me a few more points."

"I'm fine," came the firm but quiet response on the other side. "I just- I need a bit."

"I'll be here, then, if you wish to talk," Alastor said. With that hand of invitation extended, Alastor went back to sit down at his desk, feeling a little prouder of himself for managing a show of compassion instead of harming the girl's esteem further.

What he didn't expect, though, was for that hand to be taken- weeks later, during a pre-Track warmup.

"Is... Is this a good time?"

Charlie Magne, the girl who Alastor had been roomed with stares at him with eyes so wide she looks like a caricature more than a person, and when Vox and Rosie let out twin gasps, Alastor feels a part of him shrivel up inside, knowing both of them will make him talk to her.

"I... I'm sorry, but I think... I might need your help."

#aussen is from german 'äußern' which google tells me means a multitude of synonyms for speak #vesper just sounded like a cool last name to me. and also it sounded a bit like whisper so i jumped on that #ran rambles #chai writes #hazbin hotel #radiostatic #the hazbin institution for homicide practitioners

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tyrannuspitch · 1 day ago

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One of the biggest flaws in Sherlock's writing is the basic lack of integration of character and plot. In the kind of show Sherlock is trying to be - murder mystery as character study - all the mysteries we see should have clear thematic or emotional relevance to the main cast. In fact, even when we're not dealing with full-on character studies, this is a fairly basic competence level you can generally expect from any murder/monster/etc-of-the-week show with a recurring main cast. Sure, this can sometimes feel laboured and unsubtle - but that's the result of following a good rule badly, not of a bad rule. Even if you feel patronised by how hard an episode was trying to be meaningful, that's better than coming away feeling like the episode didn't mean anything at all.

Our story consists of a series of unconnected mysteries, so the ongoing story should be the emotional journey of the characters who solve those mysteries, and the mysteries should enable that. This is all the more important when you're doing three mysteries per season rather than twelve or more. We know they take on many more cases than we actually see, so there should always be a very good reason why we're seeing these ones.

Sherlock does make a few gestures in this direction. A Scandal in Belgravia, for all its flaws, does actually pose a question about a main character and spend the majority of its runtime exploring it: "Is Sherlock capable of falling in love with a woman?" But in this case, the mystery and the character arc are so integrated that they're literally the same thing. Non-literal character relevance, the bread and butter of most shows like this, is basically absent. The Blind Banker circles vaguely around the ideas of Money and Class, but John's financial troubles and Soo Lin's past as an orphaned smuggler don't connect into any coherent whole.

Instead, for the most part, the mysteries are treated like pure plot. They're just Stuff Happening. When the writers want to do a wedding episode, they make up a murder to happen at John and Mary's wedding, but the story doesn't centre on anything to do with John, or Mary, or Sherlock, or even, say, Lestrade - it's about a brand-new character we'll never see again, who we're supposed to believe is a dear friend of John's. We don't learn anything about our main cast that we didn't already know.

And because the mysteries themselves do so little for the characters, the writers feel the need to keep inserting irrelevant comedy segments to remind us what their characterisation is meant to be. And because so much of their characterisation is happening in bullshit interludes rather than during the main events, it's hard for us to get to know them deeply, or for anyone to meaningfully change.

An excellent rule of thumb for storytelling is that any given scene should be doing more than one thing at once, and Sherlock practically makes a rule of failing to do this. Of course things devolve into self-parody and farce.

#consulting detective tag #compels me though.

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stupidlittlespirit · 16 days ago

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Hello glorious writer! Between your amazing works and my deep need to make young Stanley's timeline a little less tragic, I've been inspired to write a mullet!stan fanfic myself

Admittedly it's indulgent, and the love interest will be an OC, but I still want to make it as quality and coherent as possible. There's a chance that i won't end up posting it at all, but regardless of that, my starting intentions are to write something worthy of public eyes.

That being said, fitting simple timeline details together and figuring out a plot line that flows right is making me want to claw my eyes out before I've even started the first chapter. Do you have any advice on keeping things organized/era accurate and well paced?

Heyyyyy!

First of all dude fuck yeah that's awesome, I wish you the best with it! Second of all: indulge away! Make everything for yourself first and foremost, whether you intend to publish or not. You're your most important reader.

Putting all the stuff below here as per:

Is there a specific 'main event' that happens in the fic? Or are you writing it without the intention of having anything really happen, like as character study or similar? Figure out your main event if you want one: it could just be be sex or a get together, or it might be a trauma, a simple conversation, whatever. Whatever it is, identify it and keep it at the heart of what you're creating. Build outwards from it.

Or, watch a movie that has a vibe you'd like to replicate. To stress: you're not going to copy the events of the movie. You're going to study how it unfolds and apply that pacing to your own, original stuff.

Once you look for the scaffolding of a movie, it's obvious. The more you do it, the more you'll just start ticking things off in your head automatically.

I do it so much that I ruin a lot of movies for myself now because I can guesstimate where each reveal is going to happen by how character's are acting and how it'll be used later on LMAOOOOO it's annoying as fuck and I'm always pleased when a director dupes me. Find directors that trick you and toy with you, but that do it well. Those are the ones you learn from.

Plan your plot and flesh it out in a flow-chart kind of style, and add as much detail as you can. Start with the bare bones and go from start to finish on the most basic of information. Then write it out again and this time, add more information. Keep doing that again and again. I find sometimes that when I'm writing, I'll inspire myself for another scene with the bit that I'm already working on, and it connects plot points as I work. I can try and draw a diagram of what I mean if you think that would help more.

In terms of era accurate, I would assume if you're writing for Stan then you'll be aiming for 70s-80's? Whatever scene you're setting your thing in google '[insert thing] in 1975' or whatever relevant year. 'Dive bars in 1979' or 'what kind of music did people dance to in 1981?'. I know it sounds super obvious but having a reference for writing is the same as it is for drawing: Super useful. Look up photos from the era on Pinterest or whatever, like outfits or interior design. All your answers are out there.

Does that make sense? Hope so!

#asks #should i have a writing advice tag?#probably #writing advice #there you go

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femmefatalevibe · 1 year ago

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Not exactly femme fatale stuff, but do you have any tips for note taking and essay writing in A levels? I'm taking Sociology and English lit in college and honestly am struggling rn. Just general studying tips - how do I study, make notes and revise etc. Plus how can I be more vocal in class?

Thankyou!!

Hi love! I didn't go through the British schooling system but have experience excelling in high-level English courses/essay writing back in the day, so I hope these tips can be helpful:

For studying:

Keep a high-level itemized list of the overarching topics/chapters, etc. you need to cover in your study session

Create a plan with a schedule to tackle each item on your agenda in 30-60-minute chunks (throughout the day/week). While reviewing, create outlines of the key themes/takeaways/character profiles, timelines, with relevant examples, etc., you need to remember (factual information) and then a list of concepts/general lessons or insights you take away from your learnings (applied knowledge/analysis)

Devise acronyms or relevant analogies to help you memorize key information, concepts, and events. Perceive each subject as a storyline where you're filling in the gaps with the plot, characters, metaphors, derived conclusions, etc.

For essay writing:

Develop a multi-layered thesis that offers a new perspective to the work(s) you're discussing. Back in secondary school, I had a lot of success with connecting the dots between a theme running through the text(s) and a juxtaposing literary concept to frame my fresh perspective. Consider how drawing parallels between different characters/literary works, historical events, cultural movements, etc. allows you to offer a new interpretation/way to understand the text

Use this multi-layered thesis as a framework to structure your essay. Make sure to clearly distinguish your arguments from each other (new paragraphs) with logical transitions. Ensure each point concludes with a new way to interpret the characters/themes, etc. you're describing

Write your thesis, then the body paragraphs, then your conclusion/introduction (these two can depend on the particular essay I believe)

Always cite your sources, and check for proper grammar, syntax, etc. Varying your sentence length, syntax, and structure. Consider your word choice carefully

Show don't tell; Don't be repetitive with your arguments. Consider including a counterargument and use its fragility as a way to strengthen your multi-faceted thesis

For speaking up in class:

Keep a bullet point list in your notebook of insights/meaningful contributions you can offer to a certain discussion. Don't be afraid to raise your hand to confidently share this point after giving it some thought (helps eliminate nerves and garners positive attention from teachers/peers alike)

Think of meaningful questions to ask about a given lesson or as a follow-up to a point made during a discussion. By offering a question instead of a statement, you don't have to worry about offering a "wrong answer" and invite more intellectual thinking to the overall classroom dynamic

Hope this helps xx

#study tips #essay writing #student tips #student life #studyinspo #study session #studyblr #study aesthetic #creative writing #writing tips #a levels #femmefatalevibe #q/a

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lord-aldhelm · 2 months ago

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Fanfic writer interview

Thank you for the tags @thelettersfromnoone @errruvande and @paula-in-dreamland!! I did this once before a few months ago but I have more fics now so it is nice to give it an update.

My AO3

1. How many works do u have on AO3?

4! Have not been writing for very long...

2. What's your total AO3 word count?

141,169

3. Your top 5 stories by kudos/likes

I only have four fics right now, so I guess I will just list them all here in descending order by kudos: 1. Springtime in Saltwic (57) 2. Darkest Before the Dawn (7) 3. Calm Before The Storm (7) 4. Loyal Guardian (6)

4. Do you respond to comments? Why or why not?

Always!! If someone takes the time to comment I will always at least leave a thank you. If they have a lot to say I will engage with them in discussion (which I LOVE BTW)

5. What's the fic you've written with the angstiest ending?

I don't have any fics with angsty endings.

6. What's the fic you've written with the happiest ending?

Springtime in Saltwic for sure! Of the other three, one is a WIP and the other two are more or less character studies.

7. Do you write crossovers?

I haven't yet. Not sure if I will, but I am open to it if someone gives me an idea.

8. Have you ever received hate on a fic?

Not yet, and I hope I never do!

9. Do you write smut? If so, what kind?

Not really? I mean I will include intimate scenes if they are relevant to the plot, but I don't write exclusively smut.

10. Have you ever had a fic stolen?

Not that I am aware of.

11. Have you ever had a fic translated?

Again, not that I am aware of. Although I do have some readers who English is not their first language and I am sure they translated it for themselves.

12. Have you ever co-written a fic before?

Not yet, although I am open to the idea!

13. What's your all-time favorite ship?

Aldflaed (Aldhelm x Aethelflaed)

14. What's a WIP that you want to finish but don't think you ever will?

None currently. I have the Darkest before the Dawn that I am working on, then I have The Wolf and the Wild Boar which is planned next, and maybe a few after that. I always finish what I start lol.

15. What are your writing strengths?

I suppose introspection and dialogue. I am getting better at including sensory descriptions and setting descriptions.

16. What are your writing weaknesses?

I am not so good at writing flowery poetic sentences like some people do, and I am trying to improve that.

17. What are your thoughts on writing dialogue in other languages in a fic?

I don't really like this as I feel it breaks immersion, especially if you have to translate it afterward. If it is a single word or a few phrases that is fine, but if it is a whole paragraph, no.

18. What's a fandom/ship you haven't written for yet but want to?

None, really. I only write for TLK and Aldhelm, so I have no desire at this time to write for other fandoms.

19. What's your favorite fic you've written?

Springtime in Saltwic again! My very first and longest fic.

No pressure tags:

@gemini-mama @thelettersfromnoone @synintheraven @garunsdottir @thenameswinter99

@bagheerita @solinarimoon @errruvande @paula-in-dreamland @aneurins-barnard

@waterfallsilverberrywrites @holy3cake @hexenheim @whitedarkmoonflower @bilbotargaryen

@thedarknone @grinningkatz @ladyinred2248 @hikaruchen @st-eve-barnes

@king-alfred @alexagirlie @thedarknone @soulhollow

#tag games #fanfic writer interview #fanfic stuff #a03

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misscammiedawn · 7 months ago

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Intentional, Accidental and Allegorical representation in media

CW: Suicide, stigmatizing language, homophobia/transphobia mentions.

Spoiler warnings: Mr. Robot, Deadly Premonition 1 & 2, The Missing: JJ Macfield & The Island of Memories, Star Trek DS9, Crazy Ex-Girlfriend.

So... today's essay is going to focus on less ideal bits of media representation. Some of the discussed media may have insensitive depictions of vulnerable groups. Please read with care.

One of the things I've focused on since starting Media, Myself and I was finding overt pieces of representation that I felt did a good job of taking issues of chronic dissociative disorders and putting them to screen or page.

I've covered memoirs, I've covered stories written by former social workers about generational trauma, I've covered games that explain the concept of derealization and characters diagnosed with DID.

Every entry so far has been clear and overt in their presentation of mental illness and in telling I've tried to explain the ups and downs of how the material was presented and what they got right vs wrong.

Our latest entry in the series was a memoir, written by a person diagnosed with DID. Though I cannot speak to the personal lives of the authors for Night in the Woods, The Incredible Hulk, Mr. Robot and Umineko; it is not apparent that they experience the conditions that they write about.

And that's okay. Not all fiction must be written from a personal perspective of lived experience.

The issue comes in when even well meaning creatives want to write overt representation without the proper level of experience and sensitivity reading.

As I covered in my Mr. Robot write-up, Sam Esmail wrote Elliot's DID to fit the split personality trope (in way of copying Fight Club) and needed to apply the real world condition to the plot. For the most part it is successful and deserves praise for being that rare piece of mainstream media that overtly explains part roles with the correct terms "protector" and "persecutor" and how these functions relate to the system's origins.

Then it finishes with the discussion of "The Real Elliot" and includes a heartbreaking scene where the Elliot we have known the entire show tells his sister "I love you" and that sister, Darlene, wanting her 'real' brother back, leaves the room without a word.

Many people, myself included, felt hurt and alienated by this complete misrepresentation of our condition and did not appreciate a hurtful piece of stigma being launched into the public psyche for further misunderstandings. If you hate the show because of this mishandling of the topic then I would not blame you.

On a recent rewatch, though, I saw this moment from the final episode of season 1:

When I first saw this scene I felt a deep well of comfort in seeing something true to my experience displayed in a way no fiction had ever attempted to display before. Every part is equal. We are all part of the same system. There's no part more valid than the rest. One part acting against the system will breed dysregulation.

The child part of Elliot even says that Rami Malek's character is "hurting the family" by forcing the rest of them away and denying them.

It is clear now that the show is over that this was not intended to be a piece of representation but instead a way of obfuscating the final episode twist that the Elliot we follow is actually an alter and not 'the real Elliot'. He was "hurting the family" by sealing away 'the real Elliot' not by rejecting the system.

It hurt to see a moment that resonated so strongly be overturned at a later point.

It is presently believed, though study is always ongoing, that children who experience CPTSD in their formative years do not develop the stability to create an integrated sense of self. This truth is relevant in the formation of chronic dissociative disorders and personality disorders such as Borderline Personality Disorder and Narcissistic Personality Disorder. The root of all of these symptoms being tied up in CPTSD. There is debate in the psychological field on if personality disorders are worth diagnosing as they tend to lead to stigmatization and self-pathologizing in ways that distract from treating the root trauma, but that is a topic beyond the scope of this essay.

Without a stable sense of self the child grows up with an "disintegrated core" that shifts and changes to help gain the needs for safety and comfort based on what will work in any given environment. In DID there is a layer of shielding from PTSD triggers involved that makes it so ego/personality states can form dissociative barriers between one another which leads to the parts forming. With Borderline these fluctuations tend to be less stable and lead to Identity Disturbance, where a person feels alienated from their own identity.

BPD and DID have a lot in common and it leads to debate in the psychological field that they may be different presentations of the same condition. In my experience labels are only as effective as they serve the person who holds them and anything that can forge connection and understanding should be cherished.

But going back to the original point, Mr. Robot had accidentally provided me solid representation that I latched onto. It was not intended to be a representation of what the creators understood DID to be but it did hit something which matches the lived experience of at least one person watching.

It can be powerful when you see a piece of media reflect parts of your experience back at you. Even if it was never meant to in the first place.

Before we continue with this essay I wish to state firmly that everyone is entitled to every single message and emotion that they have ever gleaned from fiction. No one should be told that their sense of comfort and warmth is wrong to have just because it was not authorial intent. I never want my words to ever strip something that is a positive from anyone's lives. I hope that never happens.

But that's the topic of this essay. Accidental representation and Intentional representation and what the benefits and detriments are.

As we see above, intentional representation that is made by creators who does not have lived experience can lead to misinformation, misunderstanding and harm. Even the most well meaning creatives are prone to this.

In way of example, let's talk about a creator who clearly means well and has included topics of gender and sexuality in the heavy majority of his works.

SWERY 65 (Hidetaka Suehiro) is the creator of Deadly Premonition and head of White Owls studios. In 2018 SWERY's team developed The Missing: J.J Macfield and the Island of Memories. It's a short game that displays the following message each time it is booted up:

The game starts with a pair of women, JJ and Emily, on a camping trip on an island and Emily attempts to engage intimacy with JJ before being rejected. The next morning Emily is missing and JJ must find their childhood best friend and potential love interest while memories from their past appear in the way of text messages. Towards the climax of the game we understand that Emily had left clothes in JJ's room and her mother had found them and had sent her to conversion therapy. The game is fairly vague about the circumstances and it's easy to read this as JJ's mother finding out that JJ is a lesbian.

In the final chapter of the story we find out that JJ is transgender. That the entire game is a dream sequence after she attempted to take her own life during a university lecture. The game makes it clear that the JJ we play as is who she wishes she were and that in reality she has not yet begun transitioning. In the reality section of the game she speaks with her developmental voice and is not wearing a wig. We still identify her as JJ and the game even includes a New Game + mode where you can play as the JJ from the reality segment complete with every voice line read in her developmental voice.

It is a fairly good piece of representation particularly as the game and the development are Japanese and Hidetaka Suehiro does not apparently have lived experience with transition. Albeit it heavily fetishizes the suffering inherent to transition with the body mutilation gameplay mechanic feeding into the nature of the subtext.

Unfortunately, like the Mr. Robot example above, it can be easy to focus on the negative aspects of the representation and feel hurt/betrayed by the good that The Missing does when compared with other projects by the same creator.

In 2020 the same creative team released Deadly Premonition 2, a sequel to the cult classic game that itself had some slightly problematic depictions of gender and sexuality. Both games the culprit is explicitly LGBT and their motives are rooted in the abuse they received for living as their chosen identity. A topic included in The Missing also.

It's makes it difficult to accept the good representation experienced when the very next game involves a sequence that had to be patched out of the game with an apology from the creator for insensitivity.

It's up to a member of the audience to take what they like and leave what they don't but it's a good example of how overt representation can lead to missteps by even the most well meaning creator.

But let's step into accidental representation because the Deadly Premonition games can easily be read as representing CDD, even if it is not intentional. The main character of the game is Francis York Morgan. Throughout the game he seeks guidance from "Zach" who he speaks to constantly both when he is alone and when around other characters, though when people ask he informs them that it is a private matter which he does not discuss.

It is easy for those playing the game to think of Zach as the player themselves. Especially as York entrusts Zach to handle all of the combat segments of the game and we are prompted to answer questions when York asks for Zach's opinions on the investigation. It's also easy to ignore all of the comments the NPCs make about Francis Morgan's huge scar. York has a scar on his face and an odd patch of missing hair after all.

The final chapter of the game reveals that when he was young Zach witnessed the horrific death of his parents and was so traumatized that he was sheltered by an inhabitant of an extra-dimensional plane of existence who protects him from all the dangers in the world. Which sounds a lot like the formation of a protector alter to me. York fronts pretty much all of the time but keeps in constant communication with Zach and does his best to live their shared life in a way that will one day let Zach take control, which happens at the end and we get to see the protagonist as all of the NPCs saw him up until that point.

(York on left, Zach on right)

The epilogue sequence for Deadly Prem 2 even gives a heartwarming depiction of plurality in having literal IM messages from York appearing on Zach's desktop during a video call.

It's arguable over whether or not this is accidental representation or not. The circumstances of Zach and York's partnership do meet the typical standards of overt CDD depictions but there is no pathology involved in the depiction whatsoever.

Which is a big difference between Overt Representation and less overt kinds.

When Mr. Robot discusses dissociative identity disorder or Night in the Woods discusses derealization the story needs to take time to have characters explain the concepts to characters within the fiction and the audience. At the heart of all things, this form of representation is aimed at people who are not in the know about these conditions.

When it vibes with our experiences and makes us feel seen it is doing that as a side effect of presenting the experience to an audience. Generally the expectation would be that the majority of the audience do not happen to share these experiences and need help in being able to relate, particularly when the creators do not experience the condition for themselves.

In intentional representation cases where the creative team do have lived experience then the art of making an emotional connection with the audience is a matter of someone trying to convey that which they feel and experience, which makes those who resonate to have a higher chance of being and feeling seen.

Even that doesn't always seem to work out as expected though.

Crazy Ex-Girlfriend is a musical romantic comedy TV Show which holds the interesting record of managing to complete its full TV run of 4 seasons despite being consistently drawing abysmally low ratings. It is arguably one of the best intentional representations of BPD in all of media, even sitting higher than works adapted from biographies such as Girl, Interrupted.

Well... part of the argument is that it was never intended to be.

The main character, Rebecca Bunch, is a Jewish woman with a highly religious family who makes rash and impulsive decisions that lead her to live in LA County restarting a highly successful law degree so she can chase an ex-boyfriend. She is played by the show's creator, Rachel Bloom, who is a Jewish woman with a highly religious family (her cousin, a rabbi, peformed the ceremony for her wedding). She was born and raised in LA County and she has an outspoken history with mental illness including OCD, Anxiety and Depression.

Rebecca Bunch is not Rachel Bloom even if they share many elements and initials. Rachel Bloom once said she is 80% autobiographical

(2 examples that showed up when I searched the topic, top from TheWrap and bottom from Chubstr)

But Rachel Bloom does not have BPD. Rebecca Bunch didn't until Season 3. But... she always had BPD. It just... wasn't intentional.

When starting work on season 3 the creative team spoke with therapists to determine the direction of the show and it was decided that Rebecca's diagnosis based on her actions in the show and her behaviors would best fit BPD and the final 2 seasons of the show were tailored around this to show effective therapy can help benefit a person in need. It leads to a positive ending for the show.

But even when Bloom was autobiographically placing her own symptoms on the page, enough that the story about Harvey Guillen having to play a person based on himself, the narrative and drama of the story required the character take actions that lead to a depiction of BPD rather than OCD/Anxiety.

Even though the intention did not kick in to the 3rd season, which only exists via miracles and CW refusing to give up on the show, Bunch is often listed as one of the best fictional depictions of BPD in TV/Movies, alongside Anakin Skywalker, Catra and Clementine Kruczynski. None of whom are diagnosed with BPD or seen to be struggling with mental illness. But they all fit the bill remarkably well. Enough that should a therapist be introduced into the plot of Star Wars, She-Ra or Eternal Sunshine they could easily take their existing characters and make the diagnosis intentional by giving it the label.

The same can even happen with gender and sexuality. Whether it is asexual representation from Jughead and Todd Sanchez from Archie Comics and Bojack Horseman respectively; Morph being genderfluid and using they/them pronouns in X-Men '97 or Halo/Violet in Young Justice coming out non-binary having a discussion about their preferred pronouns; or Korra and Asami's bisexuality in the Avatar universe.

All of these were not part of the blueprint when the character was brought to the stage, they just seemed a natural evolution of the character as the story progressed or, with situations like Umbrella Academy's 3rd season adapting Elliot Page's real life transition into the plot, it was necessary for the fiction to meet reality.

And this is of course ignoring the more important factor.

We live in a day and an age where we can have Viktor Hargreeves as a leading man in an ensemble superhero show. We can dedicate storylines to people discovering and exploring their non-binary identities and preferred pronouns.

That wasn't always the case. Which brings us to our final type of representation.

Allegorical.

When I say "this wasn't always the case", I do not intend to imply that allegorical representation has gone anywhere. It still remains with us and is as effective today as it ever was. But in the past, particularly the 90s, it was necessary.

Where intentional representation (and accidental that becomes intentional) has the luxury of using the correct language and educating an audience, allegorical representation speaks directly to the group in question without regard for the mainstream audience.

This can also happen in intentional and accidental forms. The quintessential example for trans people is The Matrix, a story where people who reject the reality that we are sold by the dominant culture and seek to find community of those who exist outside of that system and to wake up to their true reality and their chosen names after taking a pill. To those who know the feelings that Trinity and Neo discuss in the first 20 minutes of the movie, who see the forms of intimacy displayed in their romance and acknowledge the villain deadnaming as an insult; there is no question that it is superb representation of a lived reality. To a cis individual who has never had to ask those questions and do not know the violence of being denied a name, they would not even approach the questions the movie constantly asks to anyone who can listen.

But there are numerous examples of allegorical representation that are there to allow the content to exist in spite of censors and editors.

Garnet from Steven Universe is intended to be a wlw couple but their romance could not be overtly displayed in a children's show. Famously the show creator had to trade in all of their good will and bargaining power for the show they created in order to depict the wedding of Sapphire and Ruby on the show. Until then the concept of Fusion was introduced to show soulmates intertwined and working in unison. Itself a little bit of accidental plurality representation.

Of course, symbiosis appears to be a common point for such depictions.

Anyone who lived through the 90s would know it was the wild west for representation where the allegories could be paper thin but could never be confirmed. We were simultaneously accepting as a culture and absolutely terrified to commit to the retaliation that would come from actually using the words and being positive. The 90s was a time of cowardice and cruelty. Punching down was always allowed. Friends, the most popular show of the era, included a main character whose ex-wife left for another woman as a show long punchline and they included more transphobic jokes in some episodes than BIPOC characters in the entire run of the show.

We could laugh at the gays in Will & Grace but we couldn't celebrate them by allowing Xena and Gabrielle to be overtly gay. Just heavily implied.

And transphobia was the worst at the time.

Star Trek Deep Space 9 stepped around the stigma when they introduced Jadzia Dax. Dax may not actually be trans.

But she is a trans allegory.

Dax is a trill, a symbiotic entity that needs to bond with a host to live. Up until the events of the show it had been bonded with a male host, Curzon, who was Cisco, the main character's, mentor. The show often depicts the familiarity Cisco has with Dax despite Jadzia Dax (and Ezri Dax) being different incarnations of the same entity. As shown above, Jadzia is her name now.

The people of the era certainly were aware of the allegory at play and starved of any positive depictions in media they firmly latched on. Here's a 1997 magazine with Dax on the cover, celebrating Gene Roddenbury's show going "where no trans had gone before"

Allegorical representation is important. Especially as many pieces of media are shared globally and overt representation is often banned from territories where people are still starving to see themselves reflected in media.

So... with that said. Let me sum up my beliefs on the topic.

Intentional Representation often is in dialogue with the whole audience. It often intends to speak directly to those who are not part of the populations being represented, assuming a lack of familiarity. This is not always the case but is the assumed.

Accidental Representation begins a dialogue with the populations being represented and typically do not become aware of the fact that this dialogue has begun but can come to take it and make it part of the fiction's DNA.

Allegorical Representation is in constant and meaningful discussion with the populations represented and those sympathetic to them. It knows exactly what it is doing and does not need to conform to the expectations or understandings of the broader audience.

It's why I love allegories so damned much.

For more essays like this please check out our Media, Myself and I tag, we typically focus on dissociative disorders there.

#camden posting #media myself and i #domo arigato mr alderson #mr robot #bpd #did #watch me post my trauma in public #media essays #star stuff #crisp spring morning

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tamamorikun · 6 months ago

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I wanted to talk a bit more about the general banter and things that Moe points out in the DLC, especially in Mashita and Daimon's offices, so I took some screenshots of the background cgs ! My other writeup was long enough and I tried to focus on the plot itself so I'm doing these on a separate post. Also any other tidbits that Moe mentions I found were fun or interactions, since I love learning little things about the characters when they're not spirit hunting.

Spoilers under the cut, I suppose, not much about the actual plot of the DLC though!

At the Kujou Mansion:

She mentions that his bed is big enough to fit 3 of her. Also, when she comes in, she mentions the sheets are messy and still warm and she thinks he must have been sleeping there recently... but later you learn that he's been missing for about a week... and that Banshee was in the mansion and had gone to the bathroom when Moe came in so... uh, Banshee was sleeping in Yashiki's bed? yeah.

Not even that relevant but the lightbulb in Yashiki's room is dead and it has been for a while, Banshee says it's because all the furniture and such in the mansion is very old, so it's harder to find replacements. I wonder how long he's just been living in a dark room 😭

Yashiki also just leaves the door of the mansion unlocked all the damn time, apparently. Banshee says that he always forgets to lock it and that's how he comes and goes all the time.

At the park with Tsukasa:

Tsukasa mentions that he's never been to an amusement park in his life before or gone on any sort of rides. Poor kid... all he ever does is study.

Moe doesn't like mint!

No one questions or scolds Moe at home even though she comes back so late. She mentions that it may be because she has many siblings (doesn't specify how many, though) that her family isn't overprotective at all, and also that they probably don't expect much from her in the first place since she has bad grades. She prefers it this way though.

At Mashita's office:

It's in the basement of a building in front of the station.

When checking the rack, Moe does point out the red shirt is kind of flashy for what Mashita usually wears, so she's surprised to see he'd wear something like that too.

Moe is curious about the shelf full of alcohol. Shou tells her that Mashita seems to really enjoy drinking, and that at night he often drinks expensive looking brandy served neat. Moe is still surprised he'd keep alcohol out in the open in his workplace like that.

When checking the table, Shou mentions it's rarely used because customers don't usually come to the office. He explains that since most of his clients come from Yasuoka referring them, they often meet outside instead. Moe wonders if he really needs to have an office then.

Moe asks him what kind of shows Mashita watches when checking the TV, and she's disappointed to learn he only really uses it to check case related tapes. She was hoping he'd be really into something like reality tv or animal shows, something that wouldn't fit his image.

The kamidana on top of the shelf, a mini household shrine, was something Moe insisted he put in his office. Since he works with spirt cases and all, the shrine is meant to protect him and ward them off so they don't curse him. It's cute that Mashita listened to her and actually did...

There's a massive pile of cigarettes and cigarette boxes on his desk. We knew he smoked but it really seems like smokes A LOT.

I did mention the picture of him and his senpai he keeps in the drawer with the alarm, it was taken 5 years ago and he's smiling in it. Moe points out he's wearing a police uniform, the kind that police box officers in small neighborhoods do. So this was way before he became a police detective, he really was just a rookie then (He's 27 now, so he was only 22...)

Shou seems to still feel really guilty about what happened in the Red Riding Hood case, when he was possessed and attacked them, so he also sees this as a chance to help them and repay them for that. He also really wants for Mashita to acknowledge him and make him a proper assistant instead of just having him clean around.

At the park with Shou:

Shou mentions that he started to work part time at an Izakaya because he wants to get his dream motorcycle, a 750 cc one. (I looked that up but I don't know much about motorcycles in any language so I'm not sure what that means lol...). Moe asks him to give her a ride along the Shuto expressway one day since there's a rumor that a giant horse shows up, but he of course tells her no.

They find a rusted battery in the field and Shou mentions that the grass around it isn't growing due to soil contamination, and Moe immediately teases him about it since she didn't expect him to know about that. He explains that the type of battery they picked up is an old kind that would have mercury in it, and he tells her to not lick it. She gets mad but guesses it's payback for trying to tease him.

At Daimon's clinic:

We get a BG for this one too!

According to Moe, Daimon's specialization is surgery. So he's a surgeon! I don't remember if that had ever been mentioned before.

When checking the record player, Moe says that most of them have foreigners on the covers so it's most likely all old western music, though she doesn't know much about it.

When checking the guitar she says that Daimon has mentioned he was in a band before, and she wonders if he ever plays for his patients.

At the park with Daimon:

I did mention this in my summary, but Moe thinks about why Daimon dresses like that, with his shirt unbuttoned and part of his chest exposed, despite him having frail health. She wonders if that's the rockstar style.

Moe is not very good with snakes and freaks out when Daimon seems to pick one up, but it turns out to be just a snake shedding, and she remembers it's apparently good for luck with money and excitedly takes it when Daimon offers it to her.

Daimon is really smart and knows a lot about different subjects but he sure seems to go on tangents about it at the worst moments. He brings up the Monty Hall problem and the first time he just tells Moe to trust him, but later when Moe refers back to it and calls it Monkey Hall problem he proceeds to try to explain the whole thing... while they're still in a dire situation. At least Moe cuts him off before he can.

He also translated the archaic Japanese for Moe because she had no idea what most of it meant and just turned to him for help. Very cute. (And also helpful, because I wasn't familiar with most of it either lol...)

Moe and Daimon overall were such a fun combo! He takes her seriously enough that they openly discuss theories and he's willing to listen to her, but he's very gentle and knows she's a kid and scolds her sometimes. And even though Moe says she feels he's treating her like a child, he's really reasonable. It was great! I just love Daimon in general and I'd love to see him interacting more with the other mark bearers as well...

Also at the end, when she goes to visit the Kujou mansion to see Yashiki after he's recovered, Mashita is also there. Gee. How strange. I wonder why.

Moe getting nervous when Mashita clears his throat and stares directly at her, pausing for a bit... only for him to actually thank her. In a roundabout way. And still being condescending. But that's just how he is.

Also after Yashiki praises her, Mashita says something like 'Don't praise her too much, it'll get to her head and she'll get into something dangerous again." and one of the reply options is for Moe to be like "who was it that saved you again?" and he just clicks his tongue. Moe wins this round! That's about it! This ended up also being long as hell again but... if I had added it to my 'summary'... would've gotten even longer. I hope we get more DLC with little character tidbits like this!

#death mark #this was going to be short i told myself. and then it wasnt. im sorry im very passionate because i have brainrot :)#i just loooove learning any small details about their lives and hobbies and likes outside of the whole. spirit thing !!!#Might translate the spirit files about Kaerazu-sama later if I have time... if I could I'm insane enough to translate the whole DLC #but not having a transcript makes it really annoying to do so + all the choices of course.#But i've done worse due to brainrot so who knows. but also I have the novel that I wanted to finish reading first !!!#especially since early in I already noticed some details that are slightly different.................#death mark spoilers #maybe? it doesn't mention much about the plot itself more like little side things but just in case. its also under a cut anyway but #ok im done spamming the tag im sorry

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