#it’s a tragedy of his own making- his fear and desperation birthing manipulative and controlling behaviors

[the-woman-upstairs]

It’s just…so painful to watch Armand readily submit in order to obtain the love he so desperately craves. And while it’s most assuredly a manipulative tactic, it’s still one borne out of fear and desperation. He cannot lose this person he’s come to love and so will become whatever they want, do whatever they want just so they’ll stay with him. But it won’t be enough. No matter how much he acquiesces or seeks to control (himself, others, the environment), he won’t be able to make Louis stay with him in the perfect life, perfect self he built in the hopes of finally being loved. It will all crumble with Armand left alone in the rubble of what he created, the author of his own abandonment.

[linkspooky]

What do you think about Kaneki x Eto?

It’s my favorite Tokyo Ghoul ship? If you want to know my opinion of it, I did write a whole fanfiction on the ship. However, I can also explain my reasons for liking the ship with some character analysis. Basically, Kaneki and Eto are the same person. Kaneki loving Eto is him learning to reconcile the ugliest parts of himself. Falling in love with someone who’s just basically you in the mirror is a good way to learn some self esteem. Kaneki and Eto are the same because they’ve felt ostractized and unloved their entire lives due to having selfish and manipulative mothers, and uncaring or entirely absent fathers. 

Their response to their total sense of isolation and status as outsiders is to write a story. They both have a narrative coping mechanism of the world, that’s why of all the characters they are the most highly associated with reading and books. It’s just they assign themselves different roles in the narrative. Kaneki is the protagonist of the tragedy, and Eto is the author of the tragedy. It doesn’t change the fact they see the whole world as one big tragedy. More under the cut. 

1. The Protagonist of the Tragedy

Kaneki’s coping mechanism has always been to imagine himself as the long suffering protagonist of the tragedy. His statement is twofold. “I’m not a protagonist or anything” and then “However if you were to write a story with me in the lead role it would certainly be a tragedy.” 

This is paradoxical thinking. What Kaneki is saying essentially is that he is not a protagonist, but he is. The difference between a protagonist of say, a heroic epic, and the protagonist of a tragedy is that a tragic protagonist is ultimately helpless before their flaws. 

Kaneki has always been outside of things. He is someone extremely isolated and lonely. He has difficulty connecting even to his lifelong best friend. Hide describes him as thus, he’s always pretending around other people and hiding his true self. Kaneki has this genuine fear of being well... genuine. He avoids emotional intimacy at any cost even though it’s the thing he craves the most. 

Which is why it’s easier for him to cope with things through a fictitious lens. He wants to be important to people, but he doesn’t really know how to be loved, so he always, always, always, chooses fighting for their sake instead. He plays pretend hero, pretend vigilante, and even pretend king depending on the circumstances. He is always, playing roles for the sake of others instead of trying to be his own self. He pretends to be a protagonist. 

However, because of his abuse from his mother Kaneki is also unnaturally fixated on being a good person. He can’t bear to think he’s unkind, or cruel, or even violent like his mother was to him. He has such a strong, nauseous reaction to violence, he can’t even accept it within himself even when circumstances have dirven him to become violent. 

So, rather than the protagonist he also wants to keep playing the victim. The victim is helpless. The victim is sympathetic. The victim isn’t to blame for their actions. Kaneki is afraid of being in control of his own actions, because he finds it hard to face himself and his own flaws and bear that responsibility. Kaneki’s coping mechanism is to feign helpelessness. To never truly make decisions because therefore he’s not responsible when he makes the wrong one. 

It’s not just Kaneki who is coping poorly however. Whether or not he intends to his actions will always affect the people around him. Kaneki isn’t a protagonist, he’s merely pretending to be one. The problem with pretending to be a protagonist is that as a result you assign other people as supporting characters in your story, and forget that they have feelings outside of what you perceive their feelings to be. 

This is specificallly what Touka calls out in 120. She doesn’t want to be the heroine of his tragedy. She didn’t ask for him to protect her. Kaneki does all of these things without thinking or consulting her about her feelings at all and just assumes he knows best. Pretending you’re the protagonist gives you a self-centered view of the world. Kaneki can’t be with Touka at this point, because he can’t accept Touka’s feelings for him. 

The most poweful sign of Eto and Kaneki’s connection ever is the fact that Eto has Kaneki completely read like an open book, without even really meeting him in person. It’s because they are in essence the same person. She understands Kaneki’s total sense of isolation because she’s lived it as well for her entire life. 

Kaneki feels unloved and disconnected from others, and everything he does ultimately is in response to the lack of love he was shown as a child. That’s why Takatsuki’s lines, your parents failed in raising you. Echo so strongly for both of them. 

Now kiss you two. 

2. The Author of the Tragedy

If Kaneki is someone who will feign helplessness, and avoid being in control of his own life then Eto is the opposite. Eto will pretend to be in control of everything because helplessness is what she fears the most. Eto was born outside of any framework or sense of stability for the world she can’t handle any of it. She longs to knock all of the structures down because they will always reject her and never include her, in the same way that Kaneki longs to be accepted by others.

Eto reacts to the whole world like a book too, but she sees herself as the author in control of things. She’s the one writing the scenario. She chooses to bloody her own hands bcause it makes her feel in control of the violence that’s been inflicted upon her, her entire life. The things that Kaneki avoids because he’s afraid of being seen as a monster, Eto embraces willfully and becomes the monster. Eto, just like Kaneki sees everyone else as a fictional character. Whereas, Kaneki assigns them the role of support to his story, Eto sees herself as the author pitting all of the fictional characters against each other. 

Kaneki lets himself be manipulated and Eto manipulates. Eto never sees herself as backed into a corner, or desperate. Everything is a planned move on her part. Everything is an intentional sacrifice. If she’s captured, it’s because she willfully walked into their plan and let herself be captured. She’s here because she wants to be. She pretends at all time that everyone is doing what she wants them to.

Even when captured and imprisoned in the cochlea, Eto intentionally walked in as a part of her big plan. The thing about Eto’s plans, and plans, and plans is that she’s bad at admitting when she’s losing or things are out of her control. Aogiri could never win an all out war against the CCG. Which is why Eto was too quick to burn Aogiri in a deliberate sacrifice to try to weaken the CCG as a part of her plan, rather than try to take her hands off and try a different approach. 

The same way that Kaneki never wants to take control of his own life, Eto never wants to let go of her sense of control. Which is why she’ll pretend to be control even when she isn’t. Eto is just good enough at reading and manipulating people that she can delude herself into thinking that the situation is always in the palm of her hand when it’s not. Which is why things that are genuinely out of her control and impossible to predict have a tendency to explode in her face. 

Even when Eto loses, she always sees it as a controlled lost. She wanted Kaneki to defeat her on the Tsukiyama Tower and devour her Kagune. She gave him that victory. She is still in control. She is always the author writing down the tragedy.

The key difference between both of them is that Eto externalizes, and Kaneki internalizes. Eto is trying to fix the world to make up for the inadequacy she sees inside of herself. Kaneki is trying to fix something in himself so people will find him lovable. 

We see in Takatsuki’s flashback chapter that Eto’s resentment of Kuzen and his cowardice, has just as much to do with her desire to destroy V and as her wish for a better world. Kaneki and Eto’s trauma informs their actions just as much as their genuine desire to improve the world. They are wholly created by the traumatic circumstances that have affected them and been poorly coping all of their lives. 

The best example to show them poorly coping with trauma is to show how they lash out. Kaneki and Eto are both children raised without any love, and they’ve come to two different conclusions. Kaneki sees himself as unlovable. That nobody is capable of loving him so he sees all relationships as a transaction and services rendered. Eto is the opposite, rather than an internal quality she focuses on an external one. She believes actual love doesn’t exist. That all love is selfish, just like her parents’ love for her ultimately was.

It’s shockingly different the way Eto and Kuzen tell the stories of her birth. Kuzen focuses on the love story aspect, as if Eto was genuinely the product of a love that bridged the gap between two different worlds. Eto believes that her mother was only using Kuzen and sleeping with him to get information, and that she was just an unplanned pregnancy. Eto is incapable of understanding her mother’s love for both her, and her father and chooses to believe no love exists at all. Kaneki on the other hand is incapable of understanding his mother’s contradictory love for him, and chooses to believe himself unlovable.

The person I loved so greatly beat me. I loved my mother, didn’t I? 

Kaneki and Eto are hurt not because they don’t love their mothers, but they do. Their mothers are extremely important to both of them. Yet, neither mother seems to love them back. Ukina chose Kuzen over protecting her child. Kaneki’s mother chose her sister, and everyone else in the neighborhood to take care of while neglecting and outright beating her child when he asked for basic care. Eto does everything she does in Ukina’s memory to complete her mission, and Kaneki does everything to try to be the good boy his mother wanted him to be for a good portion of his life but neither of them feel loved by that mother figure. Kaneki and Eto were failed on the most basic level by the parents who were meant to be responsible for them and loved them and as a result they are continually coping with that lack of love. 

The difference in their coping can be seen how they both treat Kanae. Kanae has an incredible amount in common for both of them. She lives seeking love, she has been orphaned and unloved and treated like an outsider in the Tsukiyama household her entire life even though they were supposed to take care of her as her direct family. She always had a close relationship with her mother before she died. She lives by pretending to be something she’s not in order to look stronger.

Eto’s response is to insist that Kanae’s love is selfish. That she’s an ugly, monster for trying to force her feelings upon Tsukiyama. Eto goes out of her way to try to prove that love is a lie. 

However, Kaneki much more passively also resents the hell out of Kanae. Kaneki’s wish to be loved is the same as Kanae. Kaneki will even become violent for the sake of that wish. 

However, this is his response to Kanae at her lowest point. 

Kaneki’s choice to internalize all of his trauma inside of himself is one that also results in destruction. Remember that this is after Tsukiyama begged Kaneki for mercy on Kanae. 

Kaneki’s habits of pretending to be helpless to avoid conflict, lead him into as much conflict as Eto gets into. The coping mechanism is different. The end result is the same. As Haise he spent the entire arc putting off conflict, but he ends up fighting Tsukiyama anyway, ends up brutalizing Kanae in the worst way possible, and even ignores Yoshimura’s wish to save Eto. 

They cope very differently. Kaneki is always trying to change himself to suit the needs of other people. Eto is always trying to change other people to suit her own needs. However, the end result is the same. Kaneki’s seems more selfless. He’s letting himself suffer rather than make others suffer. He’s trying to hold it all in, rather than Eto who pushes all of it out. But, both are unhealthy. Eto wants to destroy the world, Kaneki wants to destroy himself. 

The result is still destruction regardless. Which is why the way Kaneki and Eto both treat Kanae is so important, they’ve both projected themselves onto Kanae, and want to destroy her because of it. They’re coping mechanisms which are meant to preserve them are instead self destructive. Which means ultimately they’re both terribly unhealthy people. The question of which one is good or bad doesn’t really have anything to do with it. 

Kaneki and Eto’s relationship is so interesting because they’ve both been pushed to the point, where they’ve stopped hoping for things, and just want to destroy everything. It’s just what they choose to destroy is different, Kaneki wants to self destruct, and Eto wants to take the whole world down with her. That’s why I think they should work together to smash everything into tiny little pieces, and maybe kiss a little bit. There’s just something to be said about a relationship that’s built around learning to love the unhealthiest parts of yourself. 

[arcadialedger]

Merlin: BBC’S Epic Tragedy

WARNING: EXTREME EMOTIONS LIE BELOW PROCEED WITH CAUTION

_________________________________

Oh, Merlin. How I love you. Where do I even begin to describe just how deeply this show impacted me-- how it reached into my heart and made me feel as though only the great epics can. 

One day in the summer of 2016, I was looking for something to do. I was tired of only ever rewatching Doctor Who, and I wanted to try a new show. MY best friend, @shadowqueendiangelo​, had recommended BBC’s Merlin, so I decided to turn it on. 

Little did I know the emotional experience I would go through over the next five days as I marathoned the shows five seasons. Little did I know what this story would come to mean to me as a melancholic catharsis. 

So why did I react so strongly to Merlin emotionally? Well, I’m an INFJ, and I have always said that Merlin is THE show of the INFJ-- both the character himself and the feel of the show in its entirety. It’s deep, contemplative, introspective. IT, UNLIKE MOST FANTASY TELEVISION-- IS CENTERED ON EMOTION. 

But most importantly? The story is a giant tragedy-- to almost Shakespearean levels. One could even argue that, with five seasons, the structure of the show was inspired by Shakespearean tragedies. 

So what makes Merlin a tragedy? 

Even before he was bound to fate, Merlin is the story of a boy who was forced to hide who he was from everyone around him-- even his loved ones. He grew up without a father, his mother viewed his powers as a danger to be hidden and concealed. 

*Merlin totally needs to talk to Elsa but that’s a discussion for another day

The point is, from the moment he was born-- MERLIN WAS TRAINED AND MENTALLY PERSUADED TO BE AFRAID OF WHO HE WAS. Merlin’s life before he leaves Ealdor is a tragedy in itself. He is a boy who is forced to live his life as a life against his will, and due to things out of his control. THIS  ITSELF IS ENOUGH TO MAKE HIM ASHAMED OF HOW HE WAS BORN, AND EMOTIONALLY DRAIN HIM. This facade has overtaken his entire life. 

Then he comes to Camelot, and the real tragedy of his life begins. 

From the moment he steps foot in Camelot’s walls, Merlin is not only in constant fear of his safety, forced to work for a king who he knows would persecute him if he knew the truth of his identity, and continuously forced to lie to all of those around him-- ALL CONTROL AND AGENCY OVER HIS OWN LIFE IS IMMEDIATELY TAKEN OUT OF HIS HANDS BECAUSE HE IS BOUND TO FATE. 

Further, Merlin goes on the form the strongest bonds he has ever made in his life. He meets Arthur, his other half, the other side to his same coin.

And for years he has to live with the fact that the foundation of that friendship is built on a lie.

That he must always hide who he truly is from his best friend who he loves. 

For years he has to live with the fact that if his greatest friend knew the truth about him, he would have him killed.

Close as they are, this will always get in the way of their friendship, until Merlin tells Arthur the truth in 5x13-- shaking, sobbing, and terrified of what his friend will think of the true him. 

BECAUSE WHEN YOU LOVE SOMEONE, IT’S SO HARD TO HIDE YOUR FULL SELF FROM THEM. AND MERLIN IS FORCED TO DO THIS DUE TO A GENERATIONAL PREJUDICE WHICH HE KNOWS, DEEP DOWN, THAT ARTHUR IS GOOD ENOUGH TO SEE THROUGH. 

The thread of that hope is what keeps Merlin going. 

Being forced to lie to, manipulate, and hide your true identity from a loved one is enough of an emotional burden as it is. However, Merlin is not only just forced to live this sad reality. He is forced to do it WHILE SERVING A KING WHO WOULD HAVE HIM KILLED.

Yet, despite knowing that Uther would have him executed, Merlin finds a place in his heart for Uther. Why? Because Uther means so much to Arthur. And that, alone, is enough for Merlin to not only find faith in the king, but the strength to emotionally support Arthur when he loses him, when they fight after learning the truth of Arthur’s birth, etc. That’s incredible. 

Merlin is carrying such a heavy emotional burden already, yet he gladly takes on the weight of all of those he cares about. Because, like the INFJ he is, Merlin will always look our for others while neglecting to take care of himself. Thank goodness for Gaius for providing some support when it comes to his-- not that Gaius’s own insisting on keeping Merlin’s magic a secret and following his destiny doesn’t take its own emotional toll. 

The first moment of the show that I cried, and perhaps my personal favorite episode of the show, is season 2′s The Last Dragonlord. Here, we not only start to see the full depth of Merlin and Arthur’s relationship, as well as Merlin’s undying loyalty to Arthur, but WE WATCH MERLIN BRIEFLY MEET THE FATHER HE ALWAYS LONGED TO KNOW, ONLY TO LOSE HIM MOMENTS AFTER.

To have that thread of hope-- that promise-- snatched out from underneath you-- is nothing short of devastating. Merlin never got the chance to know the man who not only loved his mother but gave him the magic which has for so long ruled over his life. 

Make no mistake, Balinor gave Merlin is a sense of being, an identity. For once, Merlin wasn’t alone. He had a source, a place, a home. He had someone who could know his true and full self and was also like him. 

Then he is forced to watch his father-- that promise, that hope, that newfound sense of identity and reassurance-- die before him, having sacrificed himself to save his life. And even worse-- MERLIN IS NOT EVEN ALLOWED TO GRIEVE, BECAUSE ARTHUR CANNOT KNOW BALINOR WAS HIS FATHER.

The sense of loneliness at this moment is astounding. Merlin is left alone, forced to internalize overwhelming grief and sorrow. He has to hide the suffering of one of the greatest losses a person can endure. 

Yet Merlin continues on-- keeping faith in a king and a kingdom which despises the truth of who he is. He continues on FEELING WORTHLESS AND NOT BEING RECOGNIZED FOR ALL OF THE GOOD THAT HE DOES BECAUSE NOBODY CAN KNOW THE TRUTH.

The fact Merlin still does so much, despite getting no reward for what he does outside of Gaius, is astounding. It’s part of the human condition to need proper acknowledgment of the things we do. It’s against our nature to give and give and give, and get nothing in return. 

Yet, that is exactly what Merlin does. He gives and gives everything for Arthur, for his destiny, and expects nothing in return. Only his own moral soundness. 

It’s because Merlin is so selfless, he does nothing for himself. He works for Arthur. But more importantly, everything he does is for the purpose of his destiny. As stated before, MERLIN HAS LITTLE TO NO COUNTENANCE OVER HIS OWN LIFE. His purpose, and the actions he must take, have been predetermined, as they are a remarkably heavy burden to carry.  

One of the saddest little moments in the show is when Arthur states “You can’t hide anything from me, Merlin, and Merlin responds with four simple words

Merlin is so sad in this moment-- his smile and ton so bittersweet-- because his friend has such faith in him. And Merlin wants to be better-- he wants to be able to live up to Arthur’s word and tell him the truth like they both deserve. But due to preconceived circumstances he just can’t. All of Merlin’s pain, loneliness, and suffering are written by history and prejudices from before he was born, and that he is taking the weight of every day. 

Merlin suffers from emotional trauma because he is forced to lie to his loved ones-- make no mistake. He beats himself up due to something out of his control. 

And time and time again? Merlin loses the few people who knew the truth about him. That he didn’t have to lie to. 

Balinor. 

Lancelot. 

Freya.

The only people Merlin doesn’t have to be ashamed in front of, with whom he is not in a constant moral crisis of identity and honesty, ARE TAKEN FROM HIM BY THE CRUEL HANDS OF FATE. Repeatedly, Merlin’s destiny seems determined for him to be alone outside of Gaius. 

Now, outside of the tragedy of Merlin’s entire existence and emotional turmoil, we move to the tragedy of Arthur’s death. 

Merlin is a servant to both fate and Arthur. He would give anything-- anything-- for Arthur Pendragon. And, in season 5, we see Merlin TRY AND FAIL TO WORK AGAINST FATE AND SAVE HIS FRIENDS LIFE. Yet, destiny seems determined for Merlin to lose the one thing he still truly cares about, the person he loves most and who has driven his purpose most of his life. 

The friend he was done everything he can to save, and he can’t even let him know. He can’t tell him how much he cares. 

The idea of this working against fate first arrives in season3, in one of my favorite episodes-- The Crystal Cave. Here’s we see the entire overarching concepts and themes of destiny in the show, as well as the final season and descent to Arthur’s death-- presented and condensed into an episode-long concept, in which Merlin tries to stop Morgana from killing Uther-- FOR ARTHUR’S SAKE.

Merlin could have easily let Morgana kill Uther, and life would have been so much easier for him. MY God, life would have been so much easier. Arthur would be king, as Merlin has always wanted, and Merlin.

Yet Merlin is once again, selfless, and doesn’t allow either Uther or Morgana to die BECAUSE HE CANNOT STAND THE SIGHT OF ARTHUR’S GRIEF. ONCE AGAIN, EVERYTHING HE DOES IS FOR ARTHUR’S BENEFIT AND NOT HIS OWN. 

We see Merlin, one last desperate time, try to get Arthur to see the good in magic with his decision to heal Uther in The Wicked Day. This is thwarted, however, by Morgana, and Arthur’s hatred of magic is solidified. 

Then we hit season 5, which is just a swan song and spiral of depression, as Merlin is just so, so desperate to save his friend. 

This entire season is, indeed, a swan song to Arthur’s death, but more importantly, a testament to the power of fate, as everything Merlin does ONLY LEADS CLOSER TO ARTHUR’S DEATH.

His choice to not tell Morgana about his magic in season 2, which might have saved her from evil and therefore spared Arthur

His choice to save Morgana, which could have stopped his death in battle had he let her die in season 3.

His choice to not trust Mordred, which Merlin thought was protecting Arthur, but only assured Mordred’s turning and Arthur’s death at the tip of his blade.

As in all tragedies, all roads lead to one inevitable fate, which Merlin is so desperate to stop. The destiny in stone, however,  cannot be rewritten. Every decision Merlin makes ultimately leads them closer to the inevitable fate of Arthur’s death. And thus, Merlin is trapped into a corner of loss. 

And thus, after his best friend-- the man he loves most-- is finally able to know who he truly is, Merlin loses him too. And the tragedy of Merlin’s life is complete. Fate asked him to endure an impossible burden and gave him little in return. 

So why do I love Merlin? It’s poetic, emotional, and yes, beautifully tragic. It delves deep into the heart, mind, morality, and relationships. It warns against the overbearing power of fate.

And I guess I have always been one for the melancholy, dark, and sad. In that regard, I’m a bit of a masochist. I love to linger in the deepest, darkest emotions I can find. 

Depth, nuance, and pure, unfiltered sadness. That is what makes Merlin an epic tragedy. That is why my heart feels heavy and bursts with an ocean of bittersweet love and nostalgia whenever I think about it. 

That is what makes Merlin special. 

[atomkrp-blog]

WELCOME TO XAVIER’S, RYU EUNYOUNG !

… loading statistics. currently aged twenty, entering first semester of xavier’s in seoul, south korea. decrypting files… mutant has the following records: strength +5,durability +5, agility +5, dexterity +5, intelligence +5. currently, she is classified under tier omega.

BACKGROUND.

i. prologue — the beginning of the end

nobody likes a hero. despite what the media force feeds down your throat with the endless throngs of superhero movies and advertisements, no one likes a hero. at least, not in the real world they don’t. when a shrill shriek echoed in her ears, the lost child didn’t even bother to bat an eyelash — the sound was sadly all too familiar to her, anyways, in more ways than one. the muffled sounds of talking followed the screech, accompanied with some distant begs of mercy and the like. laughter arose from the pleas, with the eery tones of the chuckles sending even goosebumps down her own spine. now, she usually didn’t pride herself in being a coward, but with the threat of flashbacks plaguing her mind just from the sheer sound of screams inching closer and closer to her emotional well-being, she couldn’t find the willpower inside of her to unshroud herself from the shadows after she turned the corner. the goal was to avoid eye contact at all costs. nothing screams empathy more than staring into the eyes of someone sobbing for you to spare their life. help me, they would say. save me.

ii. eclipse — surrendering to the darkness

witching hour continues to hang over her and a nightmare, in which seems to be a tragedy forgotten continues to reset, replay, and repeat. a grim reminder of her past sins, in which was a heavy debt that she needed pay for, but did not remember. many questions were left unanswered and no living witness remained in the world to answer them. while ill-fated and filled with misfortune, she had to work harder than most to overcome the daily obstacles society has set stacked against her will.

she has no memory of her own birth parents; she only knows that she was abandoned. as a child after the incident that became a reminding nightmare, her well-being was put under a self-claimed uncle, who was nothing else other than a hard driven alcoholic who loved gambling and only cared for his own selfish needs. whenever he gambles, he always made extravagant bets and, if he loses, he never pays. instead, he leaves her or someone else to do so. often desperate or life threatening, these situations had left her to become an independent individual who only believed that she needed to rely on her own abilities ( awakened and harnessed at an early stage during her adolescence ) and experiences to survive and make ends meet.

she was an inconspicuous and unobtrusive student, often deemed as a misfit, an outcast, and/or an enigma by other students. sometimes, barely existing. so much was happening on her plate unrelated to school, even she herself would have been surprised if she had anyone to mention those accomplishments she made relating to school. however, she was labeled as a delinquent as the witnesses had rumors that she was the leader of a gang with intimidating all-female followers. in addition, she was also suspended for going against a teacher’s requests, causing physical injury to a male student that had made misogynistic remarks against another student, and had rude behavior in front of the student’s parents that belittled her socioeconomic status.

in the end, if she had not attempted to even try or even excel in her grades, the result would have meant the end of her education. once enrollment opened, she applied to hangang academy based on her uncle’s close acquaintance’s recommendation.

MUTATION.

her ability is based on vector conversion, that allows her to control vectors (magnitude and direction) and influence objects that have vectors, such as bullets. she can use the ability to be defensive or offensive. this ability requires a great amount of calculating power. she needs to take into account the several vectors that she wants to redirect, and when activated, the several variables that are present when controlling the vectors.

STRENGTHS.

redirection ( def. )  to reverse any oncoming vector coming towards the field that protects her entire body  —  for defensive use, her subconscious establishes a filter that analyzes everything as harmful or not, and uses her reflect to push away anything that could harm her

tactile telekinesis ( def. ) by touching an object, she can use her ability to change the magnitude of vectors she comes in contact with  —  allows her to change the vectors of objects in such a way that she can turn them to projectiles

acceleration ( def. ) controlling the vectors around her body she can achieve inhuman speed

WEAKNESSES.

an automatic reflection field  — so far, only wired to her intuition ( instinct or subconscious awareness ).

she is unable to control this ability by her own will and is also often activated to become the absolute defence when her emotions are engulfed with fear and the thoughts of death.

the barrier for her redirection is not an absolute defense —  it only reverses the vectors that are coming towards her, any vector that comes towards her barrier and pulls away at the exact moment before hitting its field will go towards her, inflicting physical damage

distraction may put her at risk  —  is ( often ) required to perform calculations to use this ability

only be able to affect vectors related to physical objects  — vulnerable to any harmful effect that is unrelated to vectors ( ex. mental abilities )

only be able to manipulate a certain number of vectors at a time ( max : 2 )  — her focus & control can only last the longest by manipulating up to 2 vectors

acceleration speed is 80 mph ( max : 15 min ) — other than being able to increase her speed, she is unable to multi-task and manipulate other vectors during her run

[morsmordrehasbeensaved]

CONGRATULATIONS ANGELA, YOU HAVE BEEN ACCEPTED AS ROSALIND YAXLEY WITH THE FACECLAIM OF ANYA TAYLOR-JOY!

OMG Angela, we are so glad that you applied! I really enjoyed reading your application, specifically the line in Rosalind’s description about her being a wolf in sheep’s clothing and vice-versa! I love the care you put into her backstory and I really liked that her interest in the Order is from self-preservation. How very Slytherin of her! We can’t wait to see Rosalind on the dash, Angela! Welcome to Morsmordre!

Check out our acceptance checklist right here on what to do next!

OUT OF CHARACTER INFO NAME/ALIAS: Angela AGE: 05-19, 26 years old PREFERRED PRONOUNS: She/her TIMEZONE & ACTIVITY: EST, very active. TRIGGERS: None ANYTHING ELSE: I included a little canon character in here by making her brother Corban Yaxley, hope that’s okay! IN CHARACTER INFO FULL NAME: Rosalind Margaret Yaxley (Rosie, only by her brother/very close friends) FACECLAIM: Anya Taylor-Joy BIRTHDAY AND AGE: 05-12, 16 years old HOUSE AND YEAR: Slytherin, 6th year AFFILIATION: Order of the Phoenix BLOODSTATUS: Pureblood PRONOUNS: She/her SEXUALITY/ROMANTIC ORIENTATION: Heterosexual/heteroromantic EXTRACURRICULARS: Duelling club, slug club. DESCRIPTION: You are the wolf in sheep’s clothing. Or maybe, you are the sheep in wolf’s clothing? What you definitely know is, you are a fraud, a liar, a faker. You appear to be everything that a good, pureblooded, little rich girl should but on the inside you know it’s all a lie. You hold your tongue while your peers talk down on others, quietly playing your part. Some would call you a coward but what you are is strategic. This world is all about appearances and you are doing your best to keep them up. You have no one to depend on but yourself and you are doing your best to bide your time until you can finally free yourself of this world’s cruelty. You are so self-assured in your plans to flee, you don’t notice your conscience slowly eating you alive. PERSONALITY TRAITS: [+] Observant: Rosalind has always been an observant girl. Having to survive in Slytherin house, she usually listens before she opens her mouth. Her observant nature usually helps her make decisions about the right way to behave in a certain sticky situations. [+] Empathetic: Deep down, through her mask of disinterest, Rosalind feels other’s pain. Definitely a quality she inherited from her mother. When she was younger she often wished she didn’t care about other’s pain but as she’s grown older she can see the benefits of empathy. It helps her understand other’s emotions and motivations. It is also one of the qualities that have turned her towards wanting to work with the order instead of joining the death eaters. [+] Ambitious: Rosalind is very ambitious, a self-starter when it comes to school work. She began learning magic from a very early age with her mother and older brother. Her father does not expect much from her but to become a wife and continue the family line but she has bigger dreams than that. Eventually she would like to become a herbologist, maybe start her own supply business for potion shops. [-] Reticent: Rosalind likes to hide behind a facade of calm and disinterest. Usually rolling her eyes at any rude comments that may come her way. The only way she knows how to deal with her feelings is to bottle them up inside and keep moving. Occasionally she has her moments of weakness but these are usually private moments with friends or in the sanctuary of her own dorm room when she’s all alone. [-] Recalcitrant: Rosalind does not appreciate being ruled over with an iron fist. In school she is able to hold her tongue but she does not appreciate being told how to feel or what to do. These feelings stem from her father’s behavior. She also feels this way about Lord Voldemort and his followers. [-] Sentimental: Rosalind misses her mother deeply, it is a scar that will never heal. She is quick to look to the past for comfort. Actions also speak louder than words to Rosalind, so the smallest of actions can speak volumes to her. It often causes her to develop feelings of tenderness for those who might not deserve it. BIOGRAPHY: Rosalind Margaret Yaxley was born on a rainy day in May of 1961 to Corban Avery Yaxley and Florencia Margaret Yaxley née Agnew. Rosalind was the second child of the couple, a planned child, that Florencia had struggled to conceive for her overbearing husband who had been hoping for another boy. Florencia’s pregnancy with Rosalind was not easy. During the home birth, she had lost a lot of blood. Rosalind had arrived three weeks early and though small, she was an overall healthy child. Florencia and Corban Sr. had to wed after Margaret became pregnant with Rosalind’s older brother, Corban Victor Yaxley, through an elicit fling. She was only seventeen years old at the time of her pregnancy, while Corban Sr. was eight years her senior. Florencia was a wonderful woman, a bright witch who loved her children more than herself. Florencia did her best to please her husband but he was a difficult man who loved to talk down to his wife. The early years of Rosalind’s childhood were somewhat peaceful. Corban Sr. worked a traveling job for the ministry and was often out of the house. That left Corban and Rosalind alone with their mother to learn magic. Rosalind was a precocious and good-tempered child, very sweet and empathetic to the world around her. Florencia began teaching both children as soon as they could walk about the magical world. Rosalind and Corban both would hang on her every word when she discussed life in Argentina. Florencia had grown up there, her father Scottish and her mother Argentinian. The stories about mysterious South American witches were intoxicating to both children. Corban and Rosalind became especially close, even through their distinct ten year age gap. Corban has always been Rosalind’s protector, her closest confidant. She feels him pulling away as her father puts more pressure on Corban to live up to his expectations. While Rosalind has always been the one to fight her father, Corban was always the one to bend to his will. There was another child, a boy, that Florencia had been pregnant with when Rosalind was six. Florencia’s third and final pregnancy turned out to be her most difficult. Due to complications and once again an attempt at a home birth, Florencia and her child-to-be both passed away. Rosalind was so young at the time that Corban Sr. refused to let his daughter attend their funerals. This decision was the ultimately the nail in the coffin of their relationship. The thought that she never had a chance to kiss her mother goodbye lingers in the back of her mind when everything is quiet and Rosalind is alone in her thoughts. Rosalind also spends a lot of time thinking about the brother she would have had. What would he look like, what would be sound like? The child was never named so when Rosalind grew older, she picked her own. She keeps this name to herself and has never spoken it aloud. After the death of her mother, Corban Sr. had become even more controlling. Florencia was the one to shield the children from Corban Sr.’s physical violence, usually taking it on herself. Now that Florencia was gone, he would take his anger out on Rosalind as her brother was already attending Hogwarts at the time. Now that Rosalind is older, it isn’t often that he actually raises his hand towards her. His weapons are now manipulation and blackmail. On the outside, he is a doting father. He drags his children around to parties, only socializing with other pureblood families. He treats his children as mere accessories in his life, praising their accomplishments to others while berating them while they are in private. The systematic abuse has caused Rosalind to shut herself off emotionally. It is much easier in her mind to try to feel nothing than confronting her own emotions. She does not share her feelings easily and the only emotion she is not ashamed of in public is usually anger. Her behavior has often caused her peers to question if she feels at all. Rosalind’s father is a supporter of Voldemort’s. The authorities have no concrete proof he is a death eater but it is well-known in a lot of social circles. Corban Sr. now uses his position at the ministry to collect information. Rosalind fears the most for her older brother. Corban denies being apart of it all but Rosalind knows he is lying to her. Last summer she was home, she caught a glimpse of the dark mark on his forearm. Rosalind knows, in all eventuality, she will be forced to join as well in some way. If she isn’t forced to be a soldier, she will be forced to marry one and become a death eater’s wife. She knows that her father is already shopping her around to his friend’s sons. Her worst fear is that her parents history will repeat itself and she will be stuck in a miserable marriage. Her father’s lack of faith in her abilities as a witch and willingness to force her into a betrothal have made her desperate. Rosalind is beginning to consider seeking out the order to join as a preemptive strike of self-preservation. Being sorted into Slytherin was no surprise for Rosalind at the age of eleven. Most of the Yaxleys, historically, have either been sorted into Slytherin or Ravenclaw. Her older brother had been a member of the house when he attended Hogwarts. After six years of school she finds being a Slytherin rather exhausting. A lot of pretentiousness and pretending to care about whether someone’s mother or father is a muggle or not. It is something Rosalind has always had a distinct distaste for. Hogwarts has become her respite from home and the tragedy and ugly that lives in that old country estate. Rosalind dreads when she must return home for holidays and summer breaks. After she finishes her education and finds a job, she plans to leave home and never speak to her father again. She worries how this will effect her relationship with Corban, as he has not been strong enough to crawl out from under her father’s thumb. Her reputation within school is respectable. At face value, a beautiful girl who may be just a little too aloof. The Yaxleys are one of the sacred twenty-eight so Rosalind would be a respectable choice for a wife. She has had a few suitors already but romance has always held very little interest for her. Although, deep down, she does ache to be loved. At sixteen, she has never had a boyfriend. Many have tried but she is quick rebuff any unwanted advances. This has earned her many nasty nicknames from the boys she has turned away. Only few have the pleasure of knowing that, deep down, she is a fearsome thing to behold. Rosalind is passionate and recalcitrant and those who cross her usually end up regretting it deeply. Her emotions are usually masked by a facade of calm and disinterest to shield herself from disappointment or further emotional strife. Despite all this she does enjoy a laugh now and again, she especially enjoys gallows humor and sarcasm. CONNECTIONS: Narcissa Black/Piper Parkinson/Dolores Umbridge: Dormmates/possible friends. Bellatrix Black: Secretly hates. ADDITIONAL INFO: Patronus: Kestrel. Boggart: Her brother’s dead body. Wand: Cypress wood, selkie hair, slightly yielding, 9 ¼ inches. Pet: Black cat, Hecate. Desired Career: Herbologist Academic Strengths: Herbology, charms. Academic Weaknesses: Divination. Likes: Feminism, Emily Brontë, Greek mythology, Nina Simone, muggle bicycles, cigarettes. Dislikes: Bad table manners, pumpkin juice, socks with holes, people who don’t like cats, excessive noise.

[angrycollectordaze-me-blog]

Paper代写：American thriller movie

本篇paper代写- American thriller movie讨论了美国惊悚电影。惊悚电影是美国经久不衰的类型片之一，其诞生和兴盛与人们内心的欲望息息相关。惊悚电影通过种种将人类置于绝境的叙事展现着人类的担忧、紧张与无助，吸引观众与剧中角色一起感到惊悚，将观众人性之中深藏的恶尽量地释放出来。同时，因审美距离的存在而使观众感到某种安全感，这有利于观众在日益紧张的快节奏生活重压之下进行排解。本篇paper代写由51due代写平台整理，供大家参考阅读。

Thriller is one of Hollywood's enduring genre films. Its birth and prosperity are closely related to people's inner desire. People have long had the aesthetic experience and aesthetic habit of releasing emotions in art works that evoke human fears. The popularity of gothic novels is a typical example of this demand. The birth of the film is the product of the industrial and scientific and technological progress, but it was also associated with industry and the expanding of science and technology, its negative effect also increasingly prominent, the human is becoming more and more to the outside world have an uncontrollable fear and helplessness, Nietzsche's "god is dead" is the 20th century people fear mentality as well as to produce the feeling of helpless on behalf of his own fate. In such cases, the emergence of thriller genre films has played a similar role to gothic novels, and at the same time, it has a role beyond words. Thriller movie through a variety of puts human despair of narrative show the human concern, tension and helpless, to attract the audience feel thriller with the characters and the audience hidden evil of human nature as far as possible to release. At the same time, the existence of aesthetic distance makes the audience feel a sense of security, which is conducive to the audience under the pressure of increasingly tense and fast-paced life. In terms of thriller movie, Hollywood is undoubtedly occupy a leading position in the world film, in a long period of time to explore, Hollywood has formed a set of relatively stable narrative mode and business practices, and the former has a direct impact on the latter, so for Hollywood thriller movie narrative modes is brief analysis helps us to grasp the thread of the genre.

In general, the narrative logic of the film is in pursuit of rationality, and the creator must provide the audience with a complete, reasonable and fluent narrative in the film. The reason why human beings need scary movies is precisely because they have witnessed the limitations of reason in real life. Human beings cannot control their destiny and manipulate the world by their own reason. Such as Americans in the contemporary suffered the biggest trauma "9.11" incident, and the resulting violent terrorist attacks, etc. These things are both evasive and attractive to humans. Therefore, thrillers must show the audience a world in which the order is completely destroyed and the reason in daily life is not applicable here. In this world, there is an unknown and enormous destructive force, and the problems it provides to human beings are difficult for ordinary people to solve under the existing conditions. Only when the audience is placed in such a narrative context can the plot be pushed forward smoothly, and the thriller effect of the narration can be brought into full play.

To the "museum of terror" as an example, the movie is a classic Hollywood thriller movie, there were 1953 by ender? DE? toth directed by version, and with m ? hill new version released in 2005. In the original, Gerald? professor Henry had indulged in sculpture art, built a wonderful museum, but poor earnings. Business partners and Matthew? burke to defrauds insurance money and set fire to the whole museum, professor Henry also missing in the fire, people thought that Henry had killed in the fire, he was miraculously resurrected and began a cruel revenge behavior. In his revenge, he not only kill the burke and burke's lover, even also plans to kill lover's roommate? Sue Ellen. After the attempted murder, Henry opened a new wax museum featuring death and violence, attracting Alan to watch. Henry was about to imprison Alan to make a wax statue of Joan of arc. After Allen escaped, Henry fell into hot wax in the scuffle with the police. Irrational logic of the story is that burke insurance fraud behavior is shocking enough, Henry after surviving without taking legal means to expose the crimes of burke, but revenge on their own, and would hate to burke's lover and entirely innocent Allen. In the process of designing to kill Alan, Henry was determined to make a wax figure of Alan. In the film, Henry's behavior is absurd and irrational.

The new horror waxworks has completely changed the story. In the movie, a couple living in a small town in the conjoined twins, when will they separate, elder brother was disfigured, and the younger brother's head also lost a large piece of leather, adult brothers suffered discrimination of people in the town because of the crazy revenge, will the whole town are made into lifelike wax. The crime of the town was exposed by a group of young tourists, and the desperate brothers began killing the young. Movie narrative also lost the rationality in normal story here, first of all, conjoined twins don't usually show face connection back before such a state, second, the two brothers keep such a small town near no man's land there is no such thing as the basis of the normal operation. But under such conditions set, small town, quiet, seemingly calm and orderly, in fact all made of wax, and the brothers with wax in the movie will be alive seal of terror, was enough to make the audience's heart seized by fear, ignore the unreasonable place of the narrative.

As mentioned earlier, the thriller genre narratives are closely related to its business operations at the box office, which is more obvious mda is a thriller movie, follow certain routine thriller movie seemingly conformism, but also in the film preparation is made at the beginning of production has a group of relatively stable potential audience. In other words, the audience who is tired and fussy about thrillers is not in the consideration of the movie's box office. The audience chooses the audience as well as the movie. Because the movie thriller pursuit is amplify the horror effect in a short time, not long time viewers retrospect and reflection on the movie narrative, therefore the characters image how deep or not, rich is not a thriller movie to pay attention to. And patterned film shots can guarantee in the shortest possible time from the screenwriter, taken to post-production and a series of process, entered the stage of theatrical release as soon as possible, to ensure the rapid withdrawal of funds. In this fixed mode, the typology of role building is one of the characteristics. Role is the key to movie narrative, the plot of the film is mainly composed of the characters and the relationship between the organization and promote characters, once the characters on the character, function setting is fixed, the film on the narrative basic coordinate are identified, creators have to do is plump the narrative on the coordinates. Especially when also entered the postmodernism film arts, people are more inclined to shape a face is not clear, the role of abstraction, to reflect the nothingness of the world, chaos and refractory.

The first is the mutant monster. Like the space monster in alien, it appears in an egg in the remains of an alien spaceship, a creature that does not exist on earth. The creature is able to attach to human bodies and emit deadly acid, which is a great threat to the crew of a spaceship. Such images can also be found in movies like jaws and godzilla. These creatures or from outer space, or from the inaccessible depths of the sea, or the product of the nuclear disaster on earth, although they vary in shape and capability, but for the audience, the meaning of them is a terrible, looks strange, can kill people. Because such characters exist in the image of "non-human", no matter the creator or receiver of the film, they can avoid the process of exploring their inner world. The second is the distorted image of abnormal characters. For example, John, the mysterious and cruel judge in the chainsaw movies, seems to know everything about people's privacy. "Hannibal" has a wealth of psychological knowledge, eating human flesh Dr. Hannibal, and so on. These people may look like ordinary people, but they all hate society for various reasons and are keen to torture others for pleasure. As in zc m? hill directed "the orphan hatred," the protagonist Easter is actually a appearance of adult women with children, due to the shape and manic diseases, she could not lead a normal life, but with the identity of the orphans to be in an orphanage. Once she was adopted, she would try to seduce the adoptive family and the male owner. Because of the size of her young child, all her attempts to seduce her ended in failure. In the movie, east to collapse adoptive families as soon as possible, even cruel killing orphanage mammy, then try to burn the adopter's son, had made against the adopter deaf daughter car accident. What's more, the discovery that the woman in the east is in trouble is not trusted by the man's owner, leading the audience to see the family sink into tragedy. Although these characters are part of the human race, they are remembered not for their mental journey, but for the great harm they can do to others.

Open narrative structure is at the end of the film does not give the audience a happy ending, the development of the plot to can have a variety of possibility, the fate of the characters exist or happy or sad. The audience can participate in the narration of the film in the open narrative structure, and make up the ending of the film according to their own understanding and subjective intention. This kind of narrative structure is constantly emerging in Hollywood thrillers. Unlike domestic thriller movie, have a grading system of Hollywood horror movies have more freedom in the expression, so it does not need to provide an explanation to the audience in at the end of the movie or replacement. Creators of thrillers tend to prefer to wrap up the film with an open ending with a wide variety of theories. First of all, this approach can continue to reflect the disorder and absurdity of the world in the drama, increase the mystery of the narrative, and even make the film a labyrinth without exit. Secondly, this approach can also increase the topical nature of the film, so that the film can maintain a certain degree of heat during the theatrical release. From a psychological point of view, the audience in the process of viewing experience some kind of danger, but the end does not represent the next risk will not come, that a maze in the audience left the cinema still likely will trap the audience; Finally, this kind of ending also creates the possibility for the film to make a sequel. It can be said that whether based on artistic or commercial considerations, an open narrative structure is more beneficial than harmful to thriller movies.

For example, in the "aliens" directed by ridley Scott ?, protagonist ripley led the members on the "shi mo" with alien spacecraft wreckage on life and death phase, although human beings already have very advanced technology, but for abnormity such silicon-based alien creatures human is very weak. When humans very not easy to destroy all living alien monster is exhausted, in addition to ripley, all other crew members have been killed, while the other is on the surface of a planet left a complete alien egg, whether it can be hatched become film of an open question. In "aliens", the first of the special-shaped indeed as expected and produce a large number of monsters, the last time in the sole survivor of the battle of ripley, led by the earth's people and special-shaped launched after a fight a bloody, seemingly has been a costly victory, bud glidden on spacecraft into the safety, can smoothly to return to earth. Is at the end of the film, however, almost into the darkness, came the voice of a rapid climb, and that is what alien pups can sound, although this sounds very brief, but ? director James Cameron is suggested that the audience in the voice, survivors of the spaceship, there are special. Away from the first in the audience know, special-shaped evolve rapidly, and it has strong ability to learn, at a time when the ripley did not grow up to be a take up arms and insistence on alien extermination of the hero, just a very fear to aliens, weak woman wanted to live. Alien and ripley, among others, are also likely to fight each other to the death, leaving the stage for the third film alien. Although the two films were made by different directors, they were remarkably consistent in their treatment of the ending.

It can be said that from the choice of subject matter field, or the various techniques of expression aided by high-tech means, the attempts of American Hollywood thriller genre films are diversified. But in narrative mode, Hollywood thrillers are conservative and follow a certain pattern. Precisely because thriller movie itself plays a role in psychology, according to the movie audience psychology, people have formed a relatively fixed the fear of germinal, response mechanism, and horror movies have to do is to suit the remedy to the case. Therefore, in mature thrillers, it is not hard to find that they generally have a narrative logic that is out of rationality, a familiar character setting and an open ending. Instead of criticizing it as a sign of Hollywood's indolence in artistic creation, consider it a model of Hollywood's success in running certain genres. , of course, these three points as the summary of Hollywood thriller movie narrative art, could be exhaustive, the hearts of men at the same time the world is developing along with the outside world, to be sure, the future of Hollywood thriller movie in the breakthrough of narrative mode is welcome by the audience.

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