#it's cause it's accurate to the source material and the character I KNOW OK

[aita-blorbos]

FAQs

You've asked, and we've answered! ...a lot! Here's a compilation of (most of) the questions we've been asked, all in one place.

What types of submissions are not allowed? Anything that 1. makes the mods uncomfortable or 2. is inaccessible (... for people using screenreaders, for people with low vision, for people with migraines, etc). There's a list here, but that's just stuff that's come up often enough we feel the need to mention it. A good rule of thumb is that the closer it is to any real-life horrible thing, the less inclined we are to post.

Genocide, especially if your ask can be summed up as "AITA for committing/being the victim of genocide?" (Also, if you explicitly term what the POV character has done as genocide, we immediately stop caring about if that's actually accurate.)

SA of any kind, especially if your ask can be summed up as "AITA for committing/being the victim of SA?"

Incest, especially if it is really central to the submission (Also, we may have a different definition of incest than you, so be warned in advance in case your submission that you thought was fine gets sent back or deleted.)

Abuse of any kind, particularly if your ask can be summed up as "AITA for abusing [x]/being abused?"

Suicide, especially if your ask can be summed up as "AITA for committing suicide/making someone commit suicide?"

Extreme violence towards children, especially from the POV of the person doing the violence.

Anything that could be alternately summed up as "AITA for being a bigot?" Yes, fictional bigotry counts.

Submissions about real people.

Harry Potter submissions.

MCU submissions.

All-caps asks. Depending on what software is being run, this can mess with screen readers.

Small-text asks. These are hard to read for people with low vision.

Leetspeak asks / typing quirks of any kind. Again, screen readers, but this time it's for all of them.

Colored text. It can cause migraines.

... For the last four, if your ask makes minor use of caps, small text, leetspeak, or colored text, it will probably get posted with tags like "small text," "not screenreader friendly," or "colored text."

Excluding, to the best of our ability, Harry Potter, we do not delete submissions based on what the source material depicts. 9 times out of 10, we don't know what the source material even is.

Can I submit something about real people if they've been dead for a long time? We would still prefer that you not. If your media of choice is something like SIX, Hamilton, Our Flag Means Death, or any other fictionalized account of real peoples' lives, we may choose to delete your submission even if we recognize the fandom... or there may not be enough to distinguish it from real life, and delete it because we thought you were submitting something about the real Anne of Cleves.

What about Jesus? Jesus was probably a real person but we'll make an exception.

Are 'sequel' submissions (the same scenario from another point of view, a followup, etc) allowed? Yes! However, it's up to you to figure out a way to tie back to your previous ask. You are welcome to do this in the form of a reblog, but we probably won't see it.

Can I submit an ask about my OCs/fanfic/roleplay/other non-canon thing? Sure! Though if you're submitting something about someone else's fic, we'd prefer if you had the author's permission. Same principle with roleplay--everyone involved should be OK with it going here. (We won't know if you don't have permission, but we'd like to remind you that it's polite to get it.)

Do I have to tell you if I’m submitting something from a fic/roleplay/AU/OC/whatever?

You do not! You can if you want to but it doesn’t make a difference to us.

Can we post stuff that has spoilers for X media? Yes*. * Please don't send in submissions for stuff that's less than a month old, as we can't realistically tag spoilers.** ** The exception to this is remakes/adaptations/remasters/etc, which we don't consider to be "new"*** *** Unless something new actually is added, in which case only that specific thing is considered "new." So, if you have a scenario that utilizes that specific thing, please wait a month. If not, you're good.

Can I ask if you've gotten my submission/if it's been queued? Yes, but only off anon, and we will only tell you if it's in the queue or the askbox. We want to answer asks like this privately instead of clogging up peoples' dashes with them, and we do not want to dig through our blog for a specific post. You do that.

If I submitted something off anon, will you let me know if you decide not to post it? Yes, we will answer your ask privately to tell you why we do not want to post it.

How many times do you post a day? 12 posts are published a day.

Can you post more? No. This is an irritating question. You are encouraged to make your own blog if you don't like the way this one is run--we don't have a monopoly on this idea!

How long is the queue? A few days to a week, usually, including stuff in the askbox that hasn't been properly queued.

What do these acronyms mean? YTA = you're the asshole NTA = not the asshole (this means someone else is) JAH = justified asshole NAH = no assholes here ESH = everyone sucks here INFO = more information is required to make a decision

Some of the characters I want to post about are nonbinary. how should I format my submission? We do not require submissions to include the age or gender of any characters. However, if you want to include this, what we've seen other people do say is 18NB or 18X.

Can I put trigger tags at the top of my submission? Yeah that's fine! We also try to tag common triggers, although we don't tag for murder or human death because so many of these stories involve murder.

Right now we tag: - Unreality (every post) - Animal death - Suicide - Rape/CSA - Child harm/death/endangerment - Abuse - Kidnapping - Stalking - ... And a whole bunch of other stuff

All our trigger tags are just the trigger with no CW/TW

Why do you sometimes post submissions that are basically just a characters name? They're not what this blog should be for.

People think they're funny, so we publish them. It's not the joke format the blog was originally intended for but it's one that people seem to enjoy, so we're happy to post those types of submissions!

[queer-reader-07]

don't mind me i'm just dropping my review of dune part 2 here because i really really really loved this movie and it changed me on a molecular level and i can't stop thinking about it and everyone should watch it it's so good i'm not joking it's literally one of the best films i've ever watched. ok anyway, review:

I remember very clearly the day I finished Dune. I remember how I was sitting at the kitchen table, eating rice & beans with a spoon in one hand, and holding my dad's battered and loved mass market in the other hand. I remember how I read the final words and closed the book slowly. How I got up to go sit in my dad's home office and stare into space in disbelief at what I'd just read. I remember how I looked at my dad and I said "I can see why it's your favorite. I think it's mine too."

I saw Dune Part 2 on opening night, in IMAX, with my dad. And to say it was a night to remember is an understatement. I can say with full confidence that seeing this film is sure to become a core memory.

The sheer power of this film is something to behold. I don't think there was a single moment in those 166 minutes that I wasn't entirely immersed in the film, my eyes were glued to that screen like never before.

There were moments during the movie where I was genuinely frightened, moments that had me on the edge of my seat. I know how this story goes, I know how it ends, I know who lives and who dies. And yet...

Paul Atreides is a scary man by the end of this story. The transformation he undergoes after drinking the Water of Life is unsettling, and Timothee did a fantastic job of portraying it. Paul's speeches about how he is The One- The Lisan Al-Gaib- are damning. You can see how much he believes now that he must be the messiah and how deeply the Fremen believe in him, but you can also see how dangerous he is. The power in his words is scary because I know how much damage the search for one person to save us all can cause. His final speech instills a sense of breath-stealing deep in the audience. It's frightening and disturbing because I know that this kind of religious zealotry is not being played up for the sake of theatrics; it is very, very real.

Jessica's religious indoctrination is scarily accurate to the indoctrination I've witnessed in my own life. The way she talks of "converting the non believers" reminds me a little too much of how I was taught to share the Word of God with those who didn't believe in Christ or God while I was in catholic school. And while her own indoctrination is terrifying to witness, what is worse is watching how she spreads her propaganda amongst the Fremen. By the end, they believe that Paul will save them; rather than being saved by their own people.

Despite knowing that Stilgar's faith is largely due to Bene Gesserit propaganda that speaks of a messiah, I still find him to be an admirable character. His unwavering and unshakeable faith mimics the faith of many religious people I know in real life. I've always envied that kind of faith, the kind that prevails regardless of hardship or pain or loss. I sometimes wish I could have that kind of faith, I wish I could believe in something that strongly. Stilgar is not shaken by anything Paul or Chani or any other Fremen say. He believes with his whole being that Paul is the Lisan Al-Gain, and that he will save them all.

"I don't care what you believe. I believe!"

And it's just such a well crafted movie. Shai-Hulud looks so good in this film (the sand worm riding scenes were breathtaking). The cinematography, the soundtrack, the acting; everything feels so intentional. I'm so grateful this film exists.

This movie will stick with me for a while, if not forever. It so faithfully portrays not only the story but the themes of Dune. This film was clearly made with love, care, and adoration for the source material. I couldn't be more grateful.

As the film came to a close, as Jessica's final words rang in my ears, as I watched Chani prepare to ride Shai-Hulud, I did not know what to do with myself. As the credits began to roll everyone around me stood up while I stayed seated. As I peeled myself out of my seat to leave, the music that played rang throughout the theater. I was breathing heavy, I turned to my dad, and we concluded that this was a truly wonderful film.

in conclusion, i can die happy knowing my favorite novel of all time has been so perfectly adapted.

[paperstarwriters]

*Sigh* Ok, ok, firstly, I just wanna know where the people who don't mind the culture shift, but also still don't really like the show are. Like — I actually really like the casting choice for The Addams They're really cool and I really like them. Personally, I'm particularly fond of Wednesday and Gomez but still.

I just… don’t really like some aspects of this remake. One being that the actors for Gomez and Morticia felt so...uncomfortable while performing. Like the 1991 & 1993 movies, Gomez and Morticia were so clearly and so fondly in love and were very comfortable with expressing that, with their over-dramatic expressions of love feeling very easily expressed and normal for them. Here, I don't think the actors were quite as comfortable in performing that kind of expression of love, which just kinda made their romantic interactions just uncomfortable to watch.

Also, it's disappointing that they kind of just... abandoned the murderous core of the Addams? Like, I understand that there may be more appeal in having the Addams keeping the torture to themselves rather than bestowing it onto unwilling victims, but I think it just feels a lot like... telling us that they enjoy torture and fighting rather than showing it. In all the scenes where we see them, the Addams seem so uncomfortable when it comes to causing or receiving torture or harm. They flinch at needing to kill someone, and yet they say that they revel in it? Gomez takes insult at being told he isn't a person capable for murder and yet as far as we know, he is?

It makes their whole torture ordeal seem like it's just for show which feels disappointing and sad. It just makes it feel like this show is trying to call the old 1991 Addams family fake. As if they too were only ever really putting on a show to impress or (more accurately) surprise people, which I just really, really hate. Originally, the Addams family felt like a group that cried out that you did not have to conform to the ideals of the people around you to be happy, which speaks a lot to queer communities and neurodivergent people—even people of color. By implying that they're just... faking being strange or odd, it just makes me feel like I'm attempting to exclude myself.

Thing, I think is practically their only indication for being odd or strange and yet he's often set aside, and just acts like a strange yet funny sidekick amidst these Addams. He kinda feels like the token character to remind the audience that these are the Addams who have very strange and murder-y things with them.

I think, largely the issue here is that we don't know these Addams. here, the Addams are an entirely new set of characters separated from the older 1991 and 1993 movies, but because of the opening with Wednesday and Wednesday's typical demeanor amidst the entire thing, I kinda felt like I was led to assume that it would comply with the older movies, only to be unpleasantly surprised.

I know they're trying to set up a huge mystery surrounding who the Addams are and how that's tied into this school and the town, but with the way the story is currently going, I feel like we may never know.

It feels like I'm reading an alternate universe (AU) fanfic where the characters are represented differently than in the original source material, but it is not readily obvious. Like sure, the setting is a little different, and their situation seemed to have changed a bit, but the story implies that it's the same characters who have lived through the same events as they did in the source material. While some people may be interested to witness or understand why this change exists, most people will feel like the characters are being OOC and will quickly abandon the story because they don't understand why their favorite characters are so different.

Because this story is so clearly different from the 1991 Addams family, the show probably should have established not only how and why the family was different but also how they are tied into the original Addams. They should have been introduced as if they were entirely new characters. Show what they're like when they're in their element. When they're killing and murdering or if not that, torturing and being tortured. If they don't kill, establish that. Maybe make a statement along the lines of, "Addams don't Kill, we don't want to cut their torture off short, do we Wednesday?" which would help us to better understand why Gomez and Morticia would react that way to a murder.

Idk, maybe I'm just biased because I liked the 1991 Addams family and the 1993 Addams family values movies, and because I know that version of the Addams family so well, I just can't appreciate this new iteration of them.

[prettypastelpetals]

Rant

I don't understand why everything in fandoms has to be "washed" in some way. Like did we watch the same show/movie or even read the same books?

There's a difference between your own vision of a character from a book that doesn't get much description and a character that has a fully canon description from the author. Like, theres a difference between a fancanon and what is actually canon.

Like, why is completely changing any character to another race/ethinicity/color ok when its a white-skinned character, but if they were anything else its wrong to make them white????

I'm sick of seeing it, especially for Harry Potter fanart, because they all make Harry Indian and super dark skinned and Hermione black. Like did we read the same books??? Almost all other character they draw look like the books or the movie actors but those two????

"Well Hermione has curly hair, so obv she's black!" ......Sooo only black people have curly hair???? Or "Harry's tan from playing quidditch".....did ya'll miss the character description of how he's practically snow white in the first book???? Harry has his mothers pale as hell skin, undoubtedly, from how damned sunburned he says he gets in the summer. (I do also have problems with the movies making Blaize Zabini black when he's Italian.....whats with everyone implying you can only be black if your tanned??? Italians have some beautiful olive tone skin, and sure every country has black people, but being "dark skinned" does not immediatly equate to being either indian or black???)(also, being white doesn't immediatly make you American or smth guys, caucasians are white my guys, they exist literally everywhere too.)

Don't even get me started on The Percy Jackson Tv Show, literally none of the characters are book accurate, its infuriating. "There's not enough diversity or inclusivity..." Then make new characters or bring in background ones and make them important too, don't just completely wipe away the characters many know and like that have important features that were numerously stated in the books.

I think to me, as a blonde haired girl who constantly only see's media where the blondes are dumb and airheaded, not ever get to see annabeth in her glory on the screen is devastating. I'm always the subject of dumb blonde jokes and it gets old really quick. do you know how many ACTUAL blondes are on screen? Not many. Annabeth was THE character for that, that was one of her strong points in the books. It was always referenced how smart she was, and how she fought to get rid of the dumb blonde stereotype. And Apparently that makes me racist, but I was also upset at the movies for making her brunette....... I've had people tell me that black women have terrible stereotypes and I agree, they do! But to completely change a character and rewrite them entirely doesn't help that community, it just makes people more angry and prone to rejecting the media.

There is NOTHING inclsuive about forcing diversity onto already established characters. Grow up and create new ones that can and will become just as loved by people for being a natural addition, not a massive change to an already beloved character.

There are plenty of ways to incorporate new characters into Tv shows and movies, even books! or even just bring in background characters, make them relevant and useful! I think the Percy Jackson TV show was wrong when they said it didn't have any diversity. Maybe it didn't in the first set of books, but thats like saying Piper, Reyna, Leo, Hazel, and Frank aren't good enough representations. It feels to me like they are saying those characters aren't good enough to count. each and everyone of those characters are unique and important, well loved and appreciated.

Please stop changing well known characters to fit political and societal agenda's, all it does is stir the pot and make people angry and it causes what could be good shows/movies to flop because it isn't faithful to the source material. and 9/10 times that piece of media will get dropped and probably never remade because its seen as not being popular enough.

Again, if you got down this far, i'm not hating these characters because their colored. I'm hating them because they have been changed from their source material, and they no longer feel like the character they are supposed to be because they look nothing like the character.

Thanks for coming to my TedTalk.....

[im-no-jedi]

MLWTBB: First Time For Everything

aka the (continued) journey into my self insert nonsense✨

chapter summary: Hunter single-handedly fights off some of Eldya’s droids, including one very unique from the rest...

notes: this is a continuation of my story, “My Life With The Bad Batch”; I highly recommend reading that first before this one! I created a few new planets for this story. I’m also not 100% versed in SW terminology, so forgive me if some things are labeled incorrectly! each chapter will be rated accordingly, as opposed to the overall fic. lastly, there is romance in this story. hope you enjoy! 💙

add. notes: this chapter was edited and proofread by my sis @jam-n-ham! thanks sis!! 😋💙

Chapter 12, 3800+ words, rated T (gun violence, physical violence, and destruction; it’s a Hunter chapter what did you expect 😝)

previous chapters: Prologue - Chapter 1 - Chapter 2 - Chapter 3 - Chapter 4 - Chapter 5 - Chapter 6 - Chapter 7 - Chapter 8 - Chapter 9 - Chapter 10 - Chapter 11

next chapter

✨MLWTBB masterlist✨

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It wasn’t easy being a soldier. Putting your own life at risk for the sake of protecting others was something most people would never willingly choose. But not all soldiers get a choice. The Clones of Jango Fett certainly didn’t. It’s what they were created for, after all. But things were different now. The war was over. Sure, most of the Clones still served under the Empire for the sake of protecting the peace. But not all of them lived that life anymore. The Bad Batch certainly didn’t. They’d chosen to leave and start a new life outside of war and the Empire.

Which made it all the more ironic that Hunter was currently on the run from a group of hostile droids.

He’d been running from them for a while now, having chosen to be the main distraction while everyone else focused on other things. His brief encounter with Hannah had been one of the few moments he’d gotten away from them, thankfully. It was still a wonder he’d been managing so well without any weapons whatsoever. But then again, he was pretty good at dodging any dangers that came his way. Quite literally when it came to the blaster fire he was currently on the receiving end of.

Only three of them were on his tail, which wouldn’t have been a big deal normally. And it probably wouldn’t have been so bad had he still been in the large grand assembly. But he’d taken a venture outside into the surrounding halls to search for the head droid Hannah had told him about, and it didn’t take long for him to encounter the three currently chasing him down.

To call it a chase was a stretch though. The droids moved fairly slow, about as fast as the B2 Super Battle Droids he’d fought many times before during the war. If anything, Hunter was gradually leading them down the hall, using himself as bait. He knew he had a better chance to fight them off in the grand assembly, as there was barely any place to hide in the hall they were currently in.  

Eventually, Hunter made it back to the chamber that led into the grand assembly. The giant doors to the assembly were still open, and he nearly ran straight inside, but an idea crossed his mind. There might be a way to take them all out without them even stepping foot inside the assembly.

With blaster fire still aimed in his direction, Hunter leapt to the side and stayed at the edge of the hall, waiting for the droids to get closer. As soon as the first one stepped into the chamber, Hunter jumped onto it and used his own weight to swing the droid around in the opposite direction, back at the others. The droid was still firing its blasters, and in the process of being swung around, it gunned down one of the other droids before attempting to grab at Hunter. It barely had time to switch its hands out before the other still standing droid began firing, attempting to hit Hunter. But Hunter was too quick and swung off the droid, sliding between its legs as it was gunned down by the last standing droid.

There was just the one left now. Hunter briefly looked back at it to make sure it was still following him, then quickly began making his way for the large doorway. Blaster fire continued to barely graze his armor as he stepped into the grand assembly. The droid advanced towards the doorway, with Hunter staying off to the side to avoid the blaster fire.  

As soon as the droid’s foot was in the doorway, Hunter slammed the panel for the doors, nearly crushing the controls. The massive doors began sliding shut and didn’t stop until the sentry droid was wedged between them, slowly being crushed by the weight of the doors.

“Karkin’ safety hazard,” Hunter huffed as the droid twitched and sparked from in-between the doors.

Chest heaving from exhaustion, Hunter slowly slid down the wall and practically plopped onto the floor. Finally, he could take a moment to catch his breath. Even while wearing his bandana, he had beads of sweat dripping down the sides of his face and lifted his helmet to wipe them off. A slight taste of blood was in his mouth, and he realized he’d accidentally bitten his own lip during that scuffle with the droids. He was used to the taste of blood and didn’t even give it another thought.

He knew he probably didn’t have long to rest. But in that moment of respite, Hunter reminded himself of why he was doing what he was doing. It was the same reason he did anything, really. He’d realized long ago, even before the war was over, that his motivation and loyalty belonged to his family. Of course he’d had loyalty to the Republic before too. But it was secondary to those closest to him. If anything, the creation of the Empire had only further proved that fact.

He may have been created for war, but Hunter knew his life meant nothing if he couldn’t take care of and protect his family. They were his life.

Hannah’s words from earlier suddenly crossed his mind, and he let out a small sigh. “I want you to be safe too.” At the time, he couldn’t fully express his feelings. But it had genuinely touched him to hear that from her, as unusual as it was. He knew she blamed herself for what had happened on Volruna. But it wasn’t her fault. If anything, it was his fault for letting her get to that point in the first place.

He’d nearly lost her that day too, after all. The memory was foggy, but he could remember seeing Hannah at the edge of that scaffolding with a blaster pointed at her face by Vin Drazundr. Through sheer willpower, Hunter had powered through his life-threatening injury and delivered a killing shot to that devilish man, the fool who’d tried to kill the woman he cared for so deeply. And he’d do it again if that’s what it took to protect her.

Perhaps that’s what Hannah had meant earlier as well. But... why?

Suddenly, something caught Hunter’s attention. He’d been tracking the droids and could identify them immediately by that point, and it sounded like there were a couple of them nearby. One was somewhere behind the stage and another somewhere in the highest balconies. Even though it would be easier to deal with the one behind the stage, it would be more trouble dealing with the one from the balconies from his position. He decided to take care of that one first.

By then, Hunter knew several ways of getting up to the balconies. He started by parkouring off a table to get to the closest balcony, then took one of the connecting stairways to get up one level higher. The droid was one more level up from what he could gather, although he hadn’t seen it yet. He decided to go the parkour route again and leapt off a table, this time grabbing onto a large wall sconce before leaping up onto the balcony.

There was still no droid to be seen. He could hear it though. And it was close.

As still as a statue, Hunter maintained his position and waited until the droid came into sight. To anyone else, the room would’ve sounded deathly silent. But the sound of approaching metallic footfalls was clearly hitting Hunter’s ears.

Like earlier, the large form of a sentry droid entered into the room, unaware of the man standing directly off to the side. And like before, Hunter leapt like a frog onto the droid’s back in an attempt to confuse it. Which he easily succeeded in doing. The droid began spinning around, trying to grab at Hunter, but its hands never found purchase. In the process, the droid stumbled over one of the nearby chairs and an entire table, with Hunter still stuck on its back. It was quickly headed for the edge of the balcony, just like Hunter had hoped. The droid flailed around a bit more before eventually flopping over the balcony, the weight of its massive upper torso quickly sending it over the edge without resistance. Hunter managed to grab the edge of the balcony before the droid toppled over and watched as it fell to the floor with a massive thud, instantly shutting down.  

The edge of the balcony was less stable than Hunter had thought though. The weight of the droid had crushed part of it, and the rest was on the verge of breaking from Hunter’s own weight now hanging off of it. It might’ve still been possible for him to swing up over the edge like he’d planned, but it was risky.

Then something else entirely suddenly caught the corner of Hunter’s eye. Movement from the stage. Another large figure stepping into view. The second droid had now emerged, probably from hearing the ruckus. It hadn’t noticed Hunter yet, but there was no doubt it would soon.

Hunter’s grip on the balcony edge was firm, but the edge itself was continuing to bend. He was running out of time and low on options. The only things he could see from where he was were the balcony he was hanging from, the floor far below him, the stage where the droid stood, and... the large chandelier hanging directly across from the balcony.

Oh boy. It was a stupid idea, but definitely not the stupidest one he’d ever had. Maybe.

Almost like it had heard how foolish the idea was, the droid finally noticed the man hanging off the balcony and began aiming at him. Hunter swung his legs back and forth to gain momentum, the balcony edge creaking the entire time. And just as the droid started firing, Hunter used the momentum to swing off the balcony and fly towards the chandelier.

Without issue, Hunter was able to grab one of the low hanging crystals of the chandelier and clung to it, wrapping his legs around the long crystal so he wouldn’t slip. He only had a moment to relish in his success before the droid continued its barrage of blaster fire. Like a primate swinging between branches, Hunter started making his way from crystal to crystal in an attempt to get to the other side. It was a hard enough feat to accomplish, but the blaster fire from the droid was also ricocheting off the crystals in all directions. A few of the crystals were blasted off entirely, falling to the floor below and shattering spectacularly.

Only one of the shots managed to hit Hunter, leaving a searing hole in one of his shoulder pads. Thankfully, his actual shoulder avoided any injury, but he knew he couldn’t risk another hit like that. The other side of the chandelier was getting close, which was going to bring about another problem. It was too far to any of the other balconies, and it would take a pretty decent swing to get to the other nearest chandelier.  

Then the problem began to worsen. The combined weight of Hunter hanging from it and the blaster fire from the droid were causing one of the chandelier’s supports to loosen.  

“Oh kriffin’ hell,” Hunter cursed to himself, still clinging to one of the crystals.

One more shot from the droid was all it took to break the support. Hunter was suddenly bombarded by a barrage of the large crystals as the chandelier fell to one side. It took all of Hunter’s strength to stay clung to the one crystal as he was continually smacked around due to the now sideways swinging chandelier.

The other support wasn’t going to last long. Hunter had to act quickly. He got another stupid idea, but at that point, anything would’ve been better than falling to the ground.

Using the momentum of the already swinging chandelier, Hunter swung his own body back as hard as he could. Then as the chandelier swung forward and broke from its last support, Hunter released his grip and went flying through the air. Both he and the chandelier crashed simultaneously, with him hitting the side of one of the balconies while the chandelier spectacularly crashed onto the floor below, sending shards of crystals flying in all directions.

Hunter had latched onto the balcony at the last second and had gotten the wind knocked out of him. He took a moment to let his vision clear before pulling himself up onto the balcony. “Stupid idea, still alive,” he huffed, leaning against the edge for support.

Unfortunately, he had completely forgotten about the droid still shooting at him. The droid’s aim still wasn’t perfect, but it was good enough to land a few blows right at the section of the balcony where Hunter was leaning against. Hunter reacted quick enough to avoid any injury, but not enough to avoid losing his balance. He cursed loudly as he once again found himself hanging off the edge of a balcony, only this time there was nowhere to go but down.  

In an effort to avoid the blaster fire, Hunter released his grip and fell to the floor, crashing onto one of the large tables.

The blaster fire stopped. Thinking its prey was now dead, the droid went back to patrolling the stage.

“Dumb droid,” Hunter grumbled to himself as he quietly rolled off the remains of the table. There was a throbbing pain now in his side from the impact, but not bad enough to hinder him.

Still keeping quiet, Hunter peeked around the table’s remains to get a better look at the single droid causing so many problems. It turned out that it was doing more damage than he initially thought. Shimmery gold stripes decorated the droid’s massive shoulders, and Hunter’s eyes went wide with realization. It was highly, highly likely that this was the head droid.

Time to finally end this, Hunter thought to himself, and he began carefully and quietly making his way over to the stage. Along the way, he picked up a small, sharp piece of metal that had broken off the chandelier to use as a makeshift weapon.

Without issue, Hunter made it up onto the stage, with the droid completely oblivious to his presence. Hunter kept the piece of metal clutched in his hand, ready to strike as soon as he got close enough.

A shattering noise suddenly caught both of their attentions. A crystal from one of the other chandeliers had fallen, most likely from getting blasted earlier. Hunter used that opportunity to go for the droid while it was distracted.

The droid lurched forward as Hunter jammed the makeshift weapon into its back. Its armor was tough, but the metal still pierced it. If someone like Wrecker had done it, the droid would’ve malfunctioned from the impact, easily. But it seemed that Hunter had managed to just wedge the metal into its back without much damage done. Not only that, but the metal seemed to be stuck as Hunter struggled to pull the piece out while the droid did its best to try and grab at him.

Eventually, Hunter was able to yank the metal piece back out, just as the droid swung around, knocking Hunter over with one of its long arms. The droid began advancing on him, hands now switched out to blasters. Before it could take a single shot, Hunter grabbed a nearby light projector in the floor and turned it around in an attempt to blind the droid. It worked, and the droid began randomly firing at the floor, missing Hunter completely.

The piece of metal wasn’t as sharp as his vibroblade, but Hunter was still able to take a good swipe at the droid’s left blaster and damaged it enough to render it unusable. As the droid turned to shoot at him, Hunter parkoured off the back wall to get to the other side of the droid. But he nearly slipped on a broken piece of crystal as he landed and was knocked down by the droid’s arm again.  

Now the droid was trying to smash him, having given up on using its blasters. Hunter rolled around to avoid getting hit, eventually sliding himself between the droid’s legs to get behind it. But as he came to his feet, Hunter felt one of his legs get grabbed by the droid. He tried to break free, but the droid’s grip was too tight. With a hefty hurl, the droid chucked Hunter into the back wall, knocking him for a loop.  

Everything was spinning. Hunter just saw a big gray blur reaching down for him and could do nothing to stop it. Now held up by an arm, Hunter tried to focus on what was happening. By the time his vision was restored, he realized the droid had its other blaster pointed straight at him.  

There was no way for him to break free from the droid’s grasp. But he didn’t need to.

With a loud grunt of effort, Hunter used his free hand to jab the piece of metal he still held straight into the barrel of the blaster. The droid’s arm sparked and shivered, and it released its grip on Hunter. Hunter began scooting away from the droid as it aimed its blaster at him, but it backfired and blew the entire arm off.

An audible thud resounded through the large room as the head droid hit the floor of the stage, unmoving.

Hunter practically collapsed on the floor in relief. “I... hate... droids,” he griped as he tried to catch his breath.

He only rested for a few minutes before going over to inspect the now dead droid. It didn’t appear to be much different aside from the golden stripes on its shoulders, but there was no doubt in Hunter’s mind that it was the head droid. Instinctually, Hunter attempted to contact the others to let them know what had happened, but he’d forgotten his helmet was still busted and let out a sigh. He needed to find them, but by the stars was he tired.

For the first time since he’d gotten there, Hunter let out a chuckle. The scolding voice of Hannah telling him to “take it easy” and “don’t work yourself so hard” came to mind, and he couldn’t help but smile. He’d told her the same things before, of course, and she’d given him a similar nonchalant response. It had always fascinated him how different the two of them were, but more so how similar they were. And because of that, he thought she was a perfect match for him.

If only his thoughts from earlier didn’t continue to plague his mind...

Suddenly, Hunter heard something at one of the doors. It sounded like something, or someone, trying to get the door open. He couldn’t one hundred percent pinpoint who or what it was though, so he took a defensive position behind the body of the head droid. Hopefully it wasn’t another threat of some kind...

***************************

“Go, go!! Keep running!!”

Things had taken a turn for the worse after Hannah took it upon herself to lead Sneech and his small group of other servants to safety. At first, it seemed as though all the droids had stayed further in the building. But they’d accidentally come across several of them in the main hall and were now on the defensive. Hannah was still the only one with a weapon and was focused on drawing the droids’ fire while the others ran for their lives.

“You’ll never be able to take on all of these droids by yourself!” Sneech protested, hiding behind a large decorative pot.

“And you don’t stand a chance at all!” Hannah shouted back before firing a few shots back at the droids. “Just go and make sure the others get out of here!”

Whether it was fear or genuine concern that was keeping Sneech from listening to her, Hannah didn’t know. All she knew was that Sneech was probably right. But it didn’t matter. If this is what it took to protect the others, then she would do it. Even if she was constantly lamenting past decisions in the back of her mind.

“Next time the boys offer me blaster lessons, I’m saying yes,” she thought to herself as she let off a few more shots.

Then all of a sudden, the firing stopped. All at once, the droids went slack, the glowing red of their eyes now dimmed. They had shut down.

“It appears one of your friends has succeeded in destroying the head droid!” Sneech exclaimed.

Hannah practically collapsed against the wall. Her vision blurred for a moment as she felt like she could finally relax in what felt like forever.

One of the nearby doors suddenly opened, spooking Hannah enough that she nearly shot whatever was about to emerge. A large gray figure appeared in the hall... but it wasn’t a droid.

“Hannah!!” The loud, boisterous voice of Wrecker exclaimed as he threw his hands in the air excitedly.  

Immediately, he rushed over to her and scooped her up in his arms, swinging her around as he hugged her. She went into a joyful fit of laughter and practically squeezed the life out of him from how hard she hugged his neck.

“Looks like you managed to help after all,” came the voice of Echo, who walked up beside them. As soon as Wrecker set Hannah down, she rushed over to Echo and flung her arms around him in a tight hug, much to his surprise.

“Echo, you’re my best friend in the entire galaxy,” Hannah breathlessly stated, clutching the sides of Echo’s helmet. “Sorry, I just wanted to tell you that.”

Hannah couldn’t see it, but Echo was both blushing and smiling happily.

“So which one of these was the head one?” Wrecker said, poking at one of the dead droids.

“None of them,” Sneech answered. “I assumed one of you was responsible for offing it.”

Echo immediately contacted Omega and Tech to see what their situation was. Apparently, they were in a similar place, fending off some droids who randomly stopped operating. “We assumed it was one of you who had done the deed,” Tech stated.  

“It must’ve been Hunter!” Omega added. “Wherever he is...”

“Wait, he’s not with you?” Hannah worriedly questioned into her own comlink.

“No...” Omega solemnly replied. “We never got to him before running into those droids...”

That was all Hannah needed to hear. Immediately, she broke into a run down the hall, ignoring whatever was being shouted at her from the others. They would be fine. But she had to find Hunter.  

[cha0ticr0b0tic]

GDT Hyperfixation Vibes :)

OK so what with the Pinocchio news/interviews coming out this is just a super friendly reminder that Del Toro has ALWAYS been this sincere, this earnest, and this anti-authoritarian!! Even his more lighthearted films, like the Hellboy movies and Pacific Rim, feature rebellious protagonists who aren’t rebellious just cause it’s fun and edgy, but because the systems holding them back are corrupt and not really meant to be trusted. 

In the case of Hellboy, the BPRD did keep him safe and away from those who might want to hurt him, but they’re also having him hunt down those of his own kind. At the end of The Golden Army, he, Abe, and Liz straight up leave the organization – they’re polite about it, but they’re also firm: this is no way to live and work. Their monsterhood (i.e. their authenticity) cannot truly exist within the confines of an organization that hunts monsters. 

Pacific Rim is a little different, Raleigh is naturally cocksure in a Han Solo type way, he’s a maverick, etc, but he and Mako both know that they’re drift compatible and yeah, that’s going against Pentecost’s wishes, but they stick to their guns because that’s how they know they’re going to win!! (Side note, I really appreciate Mako telling Raleigh that she doesn’t actually want to disobey her father, that she wants to be respectful of him, because he’s a reasonable authority figure who has her best interests at heart. PacRim definitely goes less on the “disobedience” theme and is more about teamwork, cooperation, community, etc, but Raleigh and Newt both have a stubborn streak, and when they trust their respective guts, things Happen. Risks are taken and they pay off.)

Nightmare Alley is also a bit of a variant here because it’s noir and Stan Carlisle is probably the most anti-heroic del Toro protagonist we’ve seen thus far, in keeping with the genre and is also true to the original novel. Stan’s disobedience (in doing “spook shows” when specifically told not to, for the sake of the audience) is not heroic, it’s all because he’s greedy and insecure and wants to see how high he can climb. Whereas other GDT characters have their disobedience shown as brave, Stan’s is decidedly dishonest and motivated by ego and it gets him in the end (capitalist commentary, perhaps?). Again, that’s all keeping in line with the genre and the OG source material, GDT’s take on Nightmare Alley is pretty damn accurate to the book. 

All of this is to say – all his work has an anti-authority stance, even the more kid-friendly stuff. I’m really excited to see what his take on Pinocchio is going to look like, I miss the Devil’s Backbone/Pan’s Labyrinth/Shape of Water days of anti-fascist fairytales. 

[popurikat]

Trying to make sense of parts of Future (Mystery Skulls)

Since my last analysis went so well I thought I’d make this post as well, especially because Future really did confuse me and I know others might be lost as well; so lets discuss this together! It will be lengthy as I am basically spewing my thoughts out right on the videos immediate release date (there will be a read more option after my first thought to avoid long positng). Well first things first, I wanna address that I've been curious about what kind of spirit Arthur's arm could be (since I am not too well acquainted with any canon on its background part at least) and I think I have concluded that the closest thing to it could be is a Tenome; which is a Yochai that possesses a man's body and moves the eyes to the palms. "found lurking in cemeteries, hands outstretched, as if he has only recently lost his vision and is searching for something. Get close enough, and you’ll find out in quick succession that a) he’s not blind, but looking with eyes embedded in his hands, and b) what he’s looking for is a snack." (fyi, most of my mythos information is coming from Wiki just as a heads up)

And sure enough he found a great source for his hunger. Something he has been EYEING since the start. Which now leads me to my next points on the video...

At first watch I was convinced that each strand found on Mystery’s heart represented a singular soul bond, I thought that blue was for Vivi, Green was for the hand, pink for Lewis, purple for Shiro, Yellow for Lance, Orange for Arthur, and black and white were unknown. Which, didn’t settle right for me. SO I went in and re-watched the clip a couple more times and saw this:

Vivi’s (blue created after she got hurt) and Shiro’s (white created after she died) strands were connected to the strands located next to them. A start and an end. Mystery’s promise to Vivi to stay at her side for generations as he was spared upon prior defeat of Mushi. And then of course we have the promise of power and sustenance for Shrio as they held a symbiotic relationship for most of their lives that was only severed due to an interference. These double strands of fate are especially clearer in the scene with Shiro in Future. As the black strand gets clearer the more she gets injured or emotionally hurt, it eventually leads to the leak of the white strand on her death. Meaning; Black/white=Shiro; Purple/Pink=Lewis; Blue/Green: Vivi; and Orange/Yellow: Arthur. And why am I inclined to believe Lewis and Arthur are apart of Mystery’s heart? Well that's because those two were the only ones fully streaming before Vivi’s and Shiro’s appeared. We know that Arthur lost an arm to Mystery and discovered his identity (ergo losing most of his trust in him) insinuating both strands to arise early on of his color scheme, as well as with Lewis’ death occurring under the protection of Mystery when they were grouped and having his soul go restless/ in pain. It wouldn’t make sense to add family members or side characters not included in the mainline story to this grouping unless they would play an important role in the finale, which isn’t likely since we have only one more video left as Ben stated it was going to be a 5 video series. I am also inclined to believe each person has two strands because of Kitsune lore: “ Kitsune keep their promises and strive to repay any favor. Occasionally a kitsune attaches itself to a person or household. They follow their word of honor. They become self-destructive if they break a promise, and when someone else breaks a promise, they become deadly enemies.” Plus, It would make sense as to why in this short battle Mystery sprouted his last 3 tails when it came to Vivi and Shiro and how their connections affect his power. (more on this in a bit) But, furthermore; if anyone else notices, the Band-Aids on the heart are also remotely located on the sections of Vivi’s and Shiro’s strands specifically because for both, Mystery has vowed to protect them and has failed. 

Now then lets talk about a few things on Mystery’s ultimate form shall we? The final form of a Kitsune, its celestial form as shown here is called a Tenko. (yes I am aware of the Kumiho, but that is a fully evil, flesh eating, 9 tailed fox that specialize in illusions and well Mystery has never been portrayed as human). The Tenko makes even more sense when taken into consideration that Mystery’s third eye (typically a form of wisdom connected to overpowering the mortality of ones self) opens. So how was this done in such a short amount of time? “Kitsune do not accept aid from those who are not willing. they do not ask for help, and as such, most aid must come from another's initiative. Kitsune are emotional and very vengeful. Kitsune will lose their temper at the slightest provocation. Once someone has earned a kitsune's enmity, the kitsune will begin enacting revenge that can become quite extreme. On the other hand, those who have earned a kitsune's trust and loyalty will see a friendship that can last through many trials. Freedom is very important to the kitsune. They do not accept being forced into something they do not wish, and do not like being bound or trapped. Doing so weakens the kitsune.” Mystery as we know is very much controlled by his emotions, going head first into things constantly based on reaction and his inability to control his power under distress. His tails arose in the fight sequence every time he fulfilled his oath AND used 100% of his form/power. Therefore, his tails grew because he wasn’t holding back anymore, not his grievances, not his appearance, nor his hesitance in his evident distress of being bound to two entities that both required his aid.  My last note on these images comes from a tumblr user’s reverse audio clipping (https://nebulous-rain.tumblr.com/post/633555549749952512/ok-so-yknow-that-one-reversed-part-of-future). The rewind of the clip of Mystery’s transformation plays “When I’m With You”, which yes, cool a possible Easter egg to the next song! BUT what is this song about? Let me just bring up the first line of the song: “You got me hanging by a THREAD...I wish I could turn back time...I wish I could rewind life...” and before the chorus “I’m gonna make it right”. We know that this can refer to rectifying the wrongs of Lewis’ death, but more accurately to do so we need to defeat the evil inside this mutt that is pulling the strings of this whole fiasco. And this might just be the intro portion of the next mystery skulls mind you as we’ve also gotten many false starts with the previous two videos where hellbent used “every note” and future used “enemies” alongside the main song. BUT WE HAVE TWO YEARS ANYWAY, WHY BABBLE ON ABOUT THIS. LETS MOVE ON!

Hearts in this series have not been just for identifying the dead or for aesthetic purposes, they are the life force of each powerful legend. I am actually surprised to see Shiro have a heart as she started off as a creation from Mystery and therefore her lifeforce is just his blood and without it she is nothing. I am curious about her color pallet though, her heart is purple and pink. Lewis’ is gold/yellow with touches of orange. And Mystery’s is just red, but it has a mix of everyone’s essence within it to keep it tied and whole. Shiro’s could be colored this way in reference to Lewis’ aid to help find her creator; which would explain why Mystery surrounds himself by color as he required outside help and how Lewis’ heart is yellow in reference to how recently Arthur helped him remember his friends/hidden memories. One thing we have learned about hearts is that they can be broken repeatedly and can be ripped apart from the body, but they can be repaired too through resolution/hope. Lewis restored his heart in hellbent by using Vivi’s flower petals and finding hope that he will get revenge, only for his heart to be repaired again through Arthur’s touch. Shiro may have withered away, but her heart is essentially not broken, she’d need Mystery to restore it as it was flung into space (and that again relies on Mystery finding his sanity and finding it in himself to even bring her back). And as for Mystery himself, he’s gonna need the whole gang to reach out to him to extract the parasite within and restore balance. I really want to know more about the heart properties and how they give their users their powers as well Vivi is able to summon her strength through a material connection (bat) that function in its own way as the vessel a heart does since its connecting her to her ancestry.

NOW to finalize, I offer you two queries:

WHO IS ARTHURS HAND REACHING FOR!? I know it seems like Mystery, but that would be counter productive for the hand demon if he has Arthur interfering with his control. Is it still after Lewis as we’ve seen previous times where his arm acts up only in Lewis’ presence and when specifically other “magic” is at play? If so, is the goal to ward off Lewis and Vivi from defeating Mystery? Is Arthur gonna use the arm to find his own power as we’ve seen when he is able to momentarily cease control of it he kinda ruins anything electrical he touches and well, electricity is currently running rampant in there.

and lastly, I am really curious how touch sensitive hearts are, We know that even the smallest of brushes can detect memory/links to the person holding it (as seen with how Shiro managed to get soul flowers in hellbent), but the fact that Lewis was so in touch with the feeling of Arthur EVEN THOUGH ARTHUR GRABBED HIS HEART THROUGH HIS METAL HAND MIND YOU!, that he still managed to feel the disturbance instantly. So my question is, is the touch sensitivity reliant on how close someone is to someone? I would like to say yes cause when Shiro touched his heart he didn’t react instantly, he felt her rummaging his memories and was awoken, but he didn’t kick her butt by fully reforming until after she had long since stepped on his heart and then forced the memory of Mystery to arise. But yeah, its a nice little detail.

Either way, thanks for reading! Feel free to add on, comment, or even dm me about more Mystery Skulls information and theories! Love to hear them!

[scripttorture]

What’s your opinion on using torture as a vehicle for “whump” (i.e. including torture in your fiction because you enjoy seeing a particular character hurt)? Do you think it’s possible to reconcile using it for that purpose in fiction while still telling a responsible torture narrative?

I absolutely think it’s possible.

 I don’t think torture apologia is a problem that’s about one genre or type of fiction. It effects every genre to some degree and they each have their offending tropes.

 That raises the question of how whump can be handled sensitively and I think that’s a trickier question.

 I can’t give you a perfect formula or road map to the ‘best’ version of any genre. Honestly I despise that kind of writing advice, I think it’s unhelpful, sometimes even harmful. And with any complex, sensitive topic, like torture, a lot depends on execution and the individual story.

 If this was a genre I was more familiar with I’d talk about the common tropes that support torture and ways to avoid them.

 But I’m not particularly familiar with whump. I’m aware it exists, but I’ve never really read it. It’s not my thing. And that’s OK, we all have different tastes and we’re all moved by different stories.

 I don’t run this blog in the hope of stopping particular genres. There’s catharsis in ‘bad’ endings as well as happy ones. Stories that focus on pain and suffering can reach and help a lot of people. Tragedy has meaning and so does comedy.

 I think a lot of the problems I see in fictional portrayals of torture come from authors not knowing when they’re breaking with reality.

 They don’t know what the typical time frame before death/serious injury is, so they write something completely unsurvivable. They don’t know how torture survivors typically respond to their torturers, so they write something unrealistic based on the tropes they’ve seen in fiction before.

 We don’t talk about what violence is actually like. We talk about imaginary, sanitised, glorified versions of it and then wonder why we struggle to deal with it in reality.

 I believe that needs to change. And for me, part of that means tackling the prevalence of torture apologia in fiction. That’s where the majority of these tropes (which get treated as fact) come from. Our stories.

 Whatever the genre I think writing torture responsibly boils down to two things: understanding the reality and being prepared to think critically about what a story implies.

 The blog is primarily about trying to help people understand the reality. Sure, I write the occasional review and I give feed back on ideas people ask me about. I talk about the implications of narratives-

 But this is primarily my attempt to collect an accessible source of accurate information on torture.

 The Masterposts are now collectively the size of a small novel. The individual asks cover a lot more topics. I’ve got a page of sources to help people who want to do their own reading or just make up their own minds.

 I wouldn’t say that I’ve got the information ‘out there’ yet. But I’ve reached 5,000 more people then there were before and that’s a start. I’ve given anyone who finds the blog a place to start reading.

 It isn’t easy. This is difficult, confronting material. It’s hard to read. It’s hard to find. It’s hard to fact check. (Which is why I try to put sources on the Masterposts).

 Thinking through the implications can be even harder. It takes practice. It takes commitment; striving to capture a little of the reality and trying to get closer to that with each story.

 But the thing is- those two basic points apply to all writing.

 It’s just that with a lot of stories we can rely on our own experience or the experience of people close to us. With torture the vast majority of us are writing about some one else, some one we’ve never met or spoken to.

 Writing torture because you want to see a character hurt shouldn’t make a difference to how realistically torture is portrayed. It may sound obvious but torture does hurt. It causes profound and lasting damage.

 That doesn’t mean that torture survivors are ‘broken’, incapable or forever defined/controlled by their torturer. People do get better. They do move on and rebuild their lives. They start families, they make art.

 The reality isn’t some- binary of people being unaffected or ‘broken’. It’s complex, messy and wonderfully human.

 I’m fascinated by the process of rebuilding. By how survivors rebuild their lives and their sense of self. And by how their friends, their descendants, their communities process these experiences.

 I’m fascinated by the way we move on individually and collectively from atrocities.

 But just because that’s what I’m interested in doesn’t mean there’s no reason to focus on pain. There’s value in talking about the fact we can survive awful things, in pain and changed, but alive nonetheless.

 Sometimes reading about a character going through something that we arbitrarily judge as ‘worse’ helps people deal with what they’re going through by telling them they can survive too. It can help put the past in perspective.

 Unless we ask none of us really know why someone likes writing or reading a particular motif.

 If you want to write whump and you’re worried take a look through the Masterposts. Start here. Read about the common symptoms. Take a look at what I’ve said about the most common memory problems.

 And then? Think about what you’re writing and what it might state or imply. Imagine that your audience are survivors. And do the work you need to in order to treat their experience with respect.

 There aren’t easy straightforward answers. There aren’t road maps to perfect plots. And this is a learning experience, we make mistakes and we (hopefully) improve with time. It is just- trying, making the commitment to learn and improve.

 That applies whatever your favoured genre is.

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Disclaimer

[josieandthepussycatsofficial]

i have done my classic thing: i have started pride and prejudice 2005, i am 7 minutes in, and i am disgusting with this bastardization of the text

my liveblogs below the cut

elizabeth is a man-hating love-hater? not according to any book jane austen wrote!

elizabeth is too silly and improper, mrs bennet, kitty, and lydia are not at all silly enough

this sucks

lizzy is upset that mr darcy didnt find her attractive? that is a devastating mischaracterization and sets the whole plot and their relationship off on terrible and incorrect footing.

also wtf are they sitting under some benches at a dance?

hate that darcy immediately looks at elizabeth (in a way we’re meant to assume means he finds her attractive) as if his attraction to her comes from her initially from her appearance. he really was not interested in her until he began observing her behavior and interacting with he

when mrs bennet says, “it’s a shame [charlotte lucas] isn’t more handsome,” a terribly improper and humiliating thing to say, mr bingley snorts a laugh. mr bingley is not supposed to be improper at all. he has good breeding, he’s rich, he’s just also very nice and friendly. he would never laugh at that

i do not know enough about the regency era to comment, but it seems to me that there are certain liberties with historical accuracy wrt clothing and such in this film that you don’t see in the bbc miniseries. for instance, elizabeth coming to netherfield with her hair down? i don’t believe women ever wore their hair down at this time (*edit* the bbc series and this movie take place in different periods. bbc series: 1813, movie: 1797)

why is mr bingley so awkward? i mean i know why, it’s to make him seem charming and unthreatening and cute and relatable or whatever, but it’s just inconsistent. his character is extremely warm, friendly, polite, not terribly intellectual, but not a bumbling mess who can’t execute a thought without backtracking because he’s so nervous around his lady love

the book has comedy to spare, you don’t have to cheaply manufacture it in this way just because the director’s scared that his audience won’t understand the original humor/scared that he won’t have the ability to make the original humor understood/doesn’t understand the original humor himself because he doesn’t understand the source material!!

i also hate the sharpness and vitriol that this darcy puts in his language. he’s supposed to be uber-polite but cold and haughty. propriety doesn’t permit active hostility (such as when he’s bemoaning the liberal use of the word “accomplished” when applied to women) in regular conversation. that’s intense and insane 

why does he speak so quickly? also they really should not have cut the whole netherfield drawing room scene, at least not the conversation between darcy and elizabeth about teasing and pride. they actually now that i think about it cut his whole thing on how a great man can never be too prideful. that’s really fuckin important character stuff! for both of them!

the comedy in this mr collins scene is not landing. they’re like laughing at him before he’s gotten too outrageous. and the actor is such a quiet, mild-mannered dude that he’s not really grating as he should be. this is supposed to be an extraordinarily annoying character, so annoying that the bennets can’t stand him for literally one meal.

ugh they have mrs bennet suggest to mr collins that he should pursue lizzy instead of jane. that’s not out of character for her at all but it misses the opportunity to show how scuzzy mr collins is, and also how fucking little he cares about who his wife is, assuming she meets the criteria of lady catherine de bourgh

ew mr wickham is so skeevy! lizzy’s into him because he’s hot and picked up her handkerchief? that’s it? is she an idiot? he’s not charming or good-natured or fun or funny at all. lydia: he’s a lieutenant! wickham: an enchanted lieutenant (referring to being enchanted to meet lizzy). like scream! what a gross pick up line!!!!)

and their flirtation is based on banter (no!) and him being self-deprecating (maybe, but not in such an obvious way “ignore me i’m next to nothing” what a fucking weird thing to say)

he literally charms her by pulling a quarter out of her sister’s ear. are you kidding? is she 8?

this dance scene btw elizabeth and darcy is all wrong. she immediately jumps on him with “it’s your turn to say something” after it’s been .1 seconds since he last spoke, and he spoke way more amiably (”indeed, most invigorating”) than would be his wont.

oh my god they’ve stopped dancing to angrily talk to each other in the middle of the dance floor? this is so incoherent with the characters (so improper!) and the time period. just cultivating more drama. this scene’s already juicy, they don’t have to be spitting angrily into each other’s mouths for it to come across

so silly and melodramatic that twice in this movie the entirety of a loud crowded drunken ballroom has screeched to a halting silence immediately for some minor drama. the first being the bingleys and mr darcy simply entering the room. the second being mr collins introducing himself to mr darcy (that one is especially ridiculous)

oh god why are they portraying mr collins as so sympathetic and sweet? he’s a fucking asshole! he’s not just annoying he’s a dick! that’s important, otherwise elizabeth is really unjustly mean to him, especially while she’s rejecting his proposal

oh i disagree with the way they play charlotte’s reasons for marrying mr collins. instead of her just not being romantic and marrying for practical reasons because that’s her nature, they make it a biiig thing like she has to marry because she’s old and ugly and otherwise she’ll go to the poorhouse

it’s not surprising that a lot of my critiques have to do with them pumping drama that doesn’t make sense into the story. making characters shout or spit words etc, because of course that’s what a hollywood film was going to do with a 19th century novel of manners

i guess i should say some good things about this movie. the cinematography is very lovely, obviously. i think it’s well cast, especially judi dench, with the exception of kiera knightley and the actor who plays mr collins. i think matthew mcfayden could’ve been a great darcy had he actually known anything about the character beyond the script

actually i take it back, judi dench isn’t quite amping up the ridiculous nature of this character like she should. they keep a lot of her silly lines but she doesn’t hit them to emphasize just how silly they are. she’s almost too stately to play this woman who, despite her great rank, enjoys spending her time being condescending to lower rank people

here comes my agreement with the grand critique of this movie: they make darcy out to be socially awkward rather than a haughty ass. he’s leaning in and whispering that he has trouble conversing with people, as if he means he has social anxiety and doesn’t mean, “small talk with simpletons bores me”

oh no they cut the delicious piano practice scene! they rewrote it and lizzy just says, “you should practice,” and we don’t get to have this famous, witty misunderstanding that elucidates darcy’s character so well!!!

oh no no no in this scene where colonel fitzwilliam tells lizzy that darcy split up bingleys attachment he tells her that the problem wasn’t the lack of fortune but the family! why?????? that’s half of the big reveal of darcy’s letter????? it’s when she realizes that oh his intentions weren’t so bad

i know i already said it but fuck darcy speaks fast. it sounds like shit. why doesn’t he just shut the fuck up and slow down? it’s weirdly inconsistent with his character. though i guess if they’re trying to rewrite him as socially awkward this could be part of that. but they shouldnt be! because it invalidates the whole premise of the story, their romance, and his character arc!

whoa whoa whoa and in the proposal scene when she says “why did you propose by telling me you’re doing this against your better judgement” he interrupted apologetically, trying to explain. what!!! no!!! he is an asshole! he’s insulted that this low rank woman would dare reject him. he didn’t suspect for one instant that she would. he’s fucking fuming from her first word

wow they’re chopping up this iconic proposal scene huh. i guess to make darcy still seem like a Nice Guy. he didn’t get to accuse her of only rejecting him because she was insulted by his proposal, she had to say that line. this movie is like, let’s make lizzy seem as insane as possible, and darcy as sweet as can be.

you’re not supposed to realize how wrong lizzy is, it’s supposed to creep up on you very slowly. youre supposed to feel like she’s been very reasonable up to this point, and you’re as shocked as she is when she reads the letter.

even his face! so shocked and sad like a kicked puppy standing there in the rain (we won’t even touch why the fuck they’re standing outside in the pouring rain). he’s angry right now! he’s so mad! he’s supposed to be fucking mad, because he’s a proud, arrogant, asshole!

oh my god and look he’s saying the lack of fortune of the bennets had nothing to do with it, and lizzy wow she’s sooo crazy for suggesting it, even though 20 seconds ago he just said it sucks that i’m in love with you ‘cause you’re so low class. god this scene sucks

there’s a reason this is all written in a letter in the book, it works much better that way. this is not a back and forth, lizzy doesn’t get to ask questions and poke holes. he offers his defenses and is still kind of a dick, and lizzy has to read it all without responding or rejecting it, really has to sit with it, the way you can’t do in a fight

oh and he just apologized for accurately noting that elizabeth’s family is often really disgustingly improper! how fucking out of character! both in general and in the scene because, and i can’t stress this enough, HE IS SUPPOSED TO BE ANGRY

oh ok i have to redact some of my former criticism. he finally gets mad at the very end here, and makes the comment about “did you expect me to rejoice in your low birth?” though he still didnt say the crucial “perhaps you would have accepted had not the manner of proposal offended you”

wait what the fuck??? did they just lean in for a kiss and lean away?? like a whole, i’m angry at you i’m hot for you let’s fuck thing? what the fuck? not only is that cheap romance melodrama but also lizzy HATES this man. not like oops i love-i mean hate you but really hates him

why do they choose to have elizabeth not tell jane about the proposal? i can’t imagine there being any reason? except of course that’s she’s secretly already in love with him and doesn’t want to admit it! gag

this scene between elizabeth and mr bennet about lydia going off with the forsters is well done imo

ugh god but they’ve given lizzy’s “what are young men to rocks and mountains?” line to mary, making it seem stupid and platitudinal, because that’s mary’s character

oh good, elizabeth is going on another “all men are trash” rant that is a thinly veiled reference to darcy. they’re just fucking taking a wrecking ball to this character’s credibility and intelligence huh?

this is really devastating actually because at this point the movie is telling us that lizzy is fighting through the anger and hate and realizing she loves darcy, after their sexy confrontation and his letter. in reality, she’s realized she was wrong and is doing some deep self-reflection.

she feels a little sheepish about how she boldly she accused darcy of things she was so wrong about but she still isn’t in love with him because he’s still a fucking proud ass! he just happened to be right about some shit that she was too prejudiced to realize

it doesn’t make sense if she falls in love with him before he grows and becomes a good person. it shows a weakness of character on her part and makes his eventual character growth just a cherry on top. oh that’s nice, they’re in love *and* he’s not gonna treat her like shit. totally invalidates the whole point of the story, overcoming personal defaults and finding healthy love that way

wow they make lizzy so stupid! she objects so stupidly to visiting pemberly! oh let’s not. he’s so…. he’s so… he’s so rich! wtf are you talking about? in the book she’s just kind of like eh idk…. do you really want to go? i guess if you think we should go… oh he won’t be there? oh cool let’s do it

ok so i’m 1:21:54 into the movie. i have 45 minutes left. i’m stopping. i’m angry and getting no joy from this so. this was a humiliating project for me, thinking i could enjoy this movie. never again

[gontagokuhara]

um hi! i dont mean to bother you but,,i was wondering if you could give some tips for writing connor/evan/jared? your fanfic is good at staying away from being ooc and like..how do u .. do it;..."?? are you god??

dndnddns hi!! ok so if im misunderstanding this ask im sorr but i think it means how i write each individual character as opposed to sincerely three so! i’ll do that

(also Disclaimer™ this is not thr One Tru Way to write them,, this is just how i characterize them nd ofc their fharacters are open to interpretation!)

ok so evan,, a fallacy some writers have when writing evan is that they make his whole personality Stutter Boy. like, yes, evan talks w a stutter at times, but there are also times when he gains a fair bit of confidence and can speak unimpeded. he also sometimes goes off on tangents (a good example: in the beginning of the show when he’s writing his letter to himself, and veers into talkin about his sweaty hands, etc) which showcases an aspect of his anxiety without being overbearing!

what i’d say is most important about evan is to give him a personality outside of his anxiety (and the tree thing, for the love of god, blease dont overkill the tree thing) because his mental illness isnt all that he is!

ive made a few posts about connor so ill keep it fairly brief. connor is a very complex character, and he can be tricky to portray accurately. big things to avoid would be reducing him to his mental illness(es), and writing him as being explosive and angry without cause, which we know from canon he isnt.

i personally see connor as fairly open and eager to make friends, but peoples idea of him gives him trouble with that. he tries to be kind, and makes an effort not to be awful, but something always seems to get in the way of him making a genuine connection.

something to be aware of is the fact that connor is not the person evan made up! actual connor is paranoid, distant from his family and has his guard up most of the time, and while underneath that hes fairly open, its important to recognize the fact that he is totally different from the connor that evan created.

and jared, my favorite!! ive seen some really good characterization of jared (highlighting his arrogant and crude persona that he uses to cover up some pretty big insecurities) and some really bad (showing him as an abusive, heartless ass for the sake of it and making him pretty one dimensional.)

jared makes a lot of jokes (not all of them in good taste), and overcompensates a /lot/ when he feels his confidence is threatened. hes a pretty closed off person when it comes down to it (its canon he lies a lot), and id bet that thats a cover for a lot of hidden issues on his part.

jared is a complex character, just like everyone else, and making him one dimensional is a disservice to his character. yes, hes nasty at times, but hes also insecure and willing to help evan through a lot, even if he masks his true intentions.

to write all of them, i’d say whats most important is to not gloss over their negative + ugly features and simply focus on only the “good” aspects of them. evan will lie about a lot of serious things if it benefits him, connor is reckless and absolutely awful at times, and jared is rude and obnoxious.

but at the same time, dont focus just on the ugly! a huge point of the show is that every person has good and bad in them, and we shouldnt take things at face value. all of these characters have immense potential to be great, and if you can work well with the source material, you can produce some pretty incredible content!

i hope this helped you!! 💜💜

[shelawmsluderym09insurance-blog]

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[scripttorture]

I perused your solitary tag but didn't get the answers I needed so sorry in advance if this is something you've answered or way too long and specific! Thanks so much for doing this! So I have an MC who was kept in solitary for about 10-11 months when she was seventeen after her father was executed for treason and she tried to complete his goal. She failed but has a plan for how to kill the person who executed him. She is kept on a regular schedule, given any art materials and books she wants 1/?

2/2 and allowed to see her mother for an hour for one hour everyday. She knows her isolation will end in a year, knows shell probably be executed, and she has a cause like you mentioned being important. Immediately following her lock up she was thrust into a variety of stressful but social situations but about two and a half years later it's slowing down. She lives with her gf, but is far away from her mother and not close with many of her friends. What long type of term effects would she have?

Iknow this is no one’s favourite answer but- it really is hugelyindividual and impossible to accurately predict.

Fromthe details you’ve given me I get the impression you’ve thoughtabout this scenario and this character a lot. That’s will help youdecide on the symptoms you want her to have. But those symptoms areyour decision.

Ican tell you what the common symptoms are. What I can’t do ispredict symptoms, no one can. I also can’t tell you definitelywhich symptoms will be the ‘best’ pick for your story. You knowthe story and the character far better then I do. That means you’rebest places to judge what adds to the story and what doesn’t.

Ithink it would be best to start by picking the character’s symptomsand go from there.

Mostpapers put either depression or anxiety (or both) as the most commonmental illnesses solitary confinement causes. From what I can tellpolitical prisoners also report these conditions very frequently.However I get the impression (anecdotal rather than based onstatistical analysis) that political prisoners are less likely toself harm or attempt suicide then the average solitary prisoner.

Difficultyinteracting with people is probablymore common in younger solitary survivors. The brain is still growingand we arestill learning social interaction throughout our teenage years. Sonot being able to interact with others during that time is reallydamaging to someone’s social development.

I’msaying ‘probably’ because I don’t have good statisticalanalysis focused solely on teenagers in solitary.

But-well based on what I do know about normal social development andbrain growth, I think it’s highly likely she’d struggle withsocial interaction. That doesn’t necessarily mean that she’d beanxious around people, although that would be a common way for thisto show up. It’s often a…. feeling of isolation, disconnectionfrom others and being unable to engage in ways that are seen associally acceptable.

Itcould mean social interaction is draining or often unrewarding. Itcould mean ‘always’ doing or saying the ‘wrong’ thing ineveryday situations. It could mean a feeling of constant pressurearound others and misinterpreting their social responses.

Ithink irrational impulses and mood swings can be really narrativelyuseful symptoms. They fit well in a lot of different kinds of plotsand they can easily be used to make life more difficult forcharacters in interesting ways.

Psychosisand hallucinations are rarer symptoms generally. They also mightbe less likely if cell conditions are better (theevidence is unclear on this point).Which sounds like it’s the case for your character.

Thisalso seems to apply to some of the physical symptoms, particularlyeye problems. Insomnia and lethargy seem to show up however ‘good’cell conditions are. And I’d suggest considering the other physicalsymptoms for the period the character is confined.

Thetime frames you have don’t seem unreasonable to me. Neither do thegeneral conditions.

Themain thing that’s standing out is the set up after she’sreleased. Being suddenly thrown into intense social situations wouldbe incredibly stressful. For some people just out of solitary itmight be impossible to deal with and trigger an obvious breakdown.

Nowthat doesn’t seem like a fit for your story and there are otherpossibilities.

Theone that’s coming to mind is- Sometimes people with mentalillnesses can… for want of a better term ‘push through it’ fora short time. This is incredibly unhealthy. It’s a little likeignoring a fracture in the foot to keep walking. It can be done butit makes the problem worse.

I’m-not entirely sure how to describe this which is somewhat hampering myability to explain it. I’m thinking of things like- the number ofpeople I knew with severe depression and suicidal ideation whocompleted competitive, high-pressure degrees, without medication orprofessional help.

Itis possible, sometimes, for people to just… keep going, ignoretheir mental health problems and try to ‘act normal’. If they’revery good at what they’redoing then there may not even be a noticeable drop in performance,whether it’s academic or social. People do this, it happens. It’snot unrealistic.

But-this is incredibly badfor someone. Having a character with severe mental health problemstry to bottle them away or hide them or power through them- it isn’ta bad thing to write. Just be aware that if that’s the route youwant to take it will be damaging for the character. She’ll bepushing herself too far too fast and sooner or later she willcollapse.

Fora lot of the people I knew that happened at the end of their degree.If your character knows roughly how long she’ll have to keep upthis mad social schedule then- it is possiblethat she could keep going right until the end.

Ifyour character is doing something like that over several years then Ithink she’d need some kind of outlet and the ability to retreatfrom social situations at least some times.

Thisdoesn’t have to be dramatic or seem strange in the setting. It canbe things like- establishing a daily routine that involves getting upearly and walking alone in the woods for an hour before having to doanything or taking time to herself at night after her obligations areover. Little things like this and small outlets for unpleasantemotions can keep someone with a mental health problem alive in astressful situation.

Oncethese social obligations are over- Honestly I think it sounds likelythat someone in this situation would have an obvious breakdown. Thatsort of bottling, avoiding behaviour often ends up… bringing thingsto a point when all the problems seem to explode at once.

Essentiallysurvivors need to make adjustments in order to live their lives.They’re generally not able to just pick everything up again asnormal. Their limits, physical, mental and emotional are oftendifferent. (It’s also pretty normal for survivors and people withmental health problems generally to blame themselves to a degree fortheir limits changing. To feel bad about no longer being able to do aparticular things, as if it’s somehow their fault.)

Yourcharacter could put off those adjustments and live in denial for awhile. A lot of people with mental health problems do. But shecouldn’t put off those adjustments forever.

Thissort of scenario would probably end up putting a lot of pressure onher girlfriend to act as a carer. Whether her girlfriend is willingto or not that’s a lot of work. It’s difficult to do alone. @scripttraumasurvivors has posts on characters helping traumasurvivors in a non-professional context, take a look through theirtag because I think you’d find them helpful.

Ifyou don’t want thecharacter to be bottling everything up and powering through likethis- Then you’d have a healthier, better adjusted character at theend of the two and a half years. You’d also need a world that’smore supportive of mental health problems.

Soa- non exhaustive list of things that I think this society would needto normalise would be things like- letting her drop out of socialengagements suddenly with no warning and no negative repercussions.Greater understanding of different peoples differing needs forpersonal space. Physical adjustments to spaces to make them moreaccessible. Social acceptance of expressing negative emotions andemotional pain. Open, honest discussion of mental health.

Alot of this would be possible in a culture that’s in roughly thesame place the West is now about mental health- if the character’smother was managing this sort of thing for her. Making sure she’sdoing OK, encouraging her to stop if she isn’t. Insisting on anyadjustments or consideration she needs. Standing up for her.

Thatkind of role for her mother would require a very close relationshipbetween the characters. The daughter would need to feel that shecould tell her mother anything and share details about her mentalhealth.

Thecommon symptoms are here. But what those look like in the longterm for your character are really dependant on the story, thecharacter, her relationships with the people close to her and theworld.

Givenher age and the time she’s confined this character would probablyhave mental health problems for the rest of her life. That doesn’tmean she’d never learn to manage her symptoms. Part of that isusually a process of trial and error, trying to find out what helps.Sometimes the only answer is waiting until the mood passes.

Takea look at the Masterpost and have a look at the sources I link tothere. I think reading what people who’ve come out of solitary sayabout the experience will help you feel more confident about handlingthis. Shalev’s Sourcebook on Solitary Confinement and SolitaryWatch will be particularly useful to you, I think.

Thereisn’t a formula. There isn’t a standard set of symptoms or waypeople heal. Which means that we should be working it out anew foreach character, making the process feel unique to each individual.

Ihope that helps. :)

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[scripttorture]

So, I’m writing a fanfic and in the show, people with powers are forced to join a Mafia. One character talks about helping to torture enemies. Eventually, they stop torturing and do see what they did as wrong (among other crimes they committed before defecting from crime). How might someone differ if they’d been forced to harm others as opposed to starting it on their own? And eventually they see violence as necessary in the Mafia but don’t thrive on it. How would I make this realistic?

I’ll help as much as I can, but I think sometimes source materials canleave fans in a pretty awkward position.

 Ifeel like that review of the use of torture in Captain America: The WinterSoldier is relevant here.

 By which I mean that sometimes, if we’re choosing to write fanfiction orcreate fanworks, we need to engage with and deal with problematic elements inthe source material. I can cover that in more depth if I know the sourcematerial (it’s worth mentioning a name but also giving details of the situationin case it’s something I haven’t seen).

 There are elements of this canon that seem…if not unrealistic then‘dubious’. I guess what I’m trying to say here is that there might not be a wayto make this totally realistic because of the canon you’re working within. Butthat’s really not on you. How you engage with it in your own work is.

 I don’t think there’s necessarily one ‘right’ way to approachproblematic canons. As with any writing it depends on the story.

 Some people just ignore or rewrite the canon for their story. Somepeople stick to it and change their story around the canon. Some peopletechnically stick to it but twist it as much as possible to support the storythey want to tell.

 None of those are ‘bad’ approaches in and of themselves though I thinkthey can be ‘bad’ for particular stories.

 The thing that’s standing out for me is the idea of someone being forcedto torture. Because from the details you’ve given……..it sounds like a narrativecop out. It gives me the impression that the creators wanted people tosympathise with this character andhave them do horrible things so they wrote a very lazy abuse narrative where thecharacter doesn’t have moral responsibility because they ‘had to’.

 I don’t think attempting a cheap sympathy grab for a torturer is ever a good idea.

 No ever has to.

 The idea that this character needed to be forced but at the same time didn’t regard tortureas wrong seems especially off kilter to me. It seems to come with theimplication that participating in torture ‘made them’ think it was OK. Andthat’s not how torture works.

 You really can’t force someone to change their mind. We can’t be forcedto think that something we find abhorrent is ‘alright’.

 People can be pressured but ultimately they make a choice. That choicetells you something about what they value. Some of those choices might be moreunderstandable to society at large: a great many would probably empathise witha character who choose to do something horrible because their own life or thelife of someone they loved was threatened.

 Do attacks like that happen? Yesbut they’re usually one off incidents within a larger context of torture, abuseand genocide.

 That’s because this is a really badway to have an organisation operate. If you need to threaten or torture yourtorturer every single time you want them to do something you may as well lockthem up and just employ the person you usedto threaten them.

 There’s leeway here, though it partly depends on the character andhow…wedded you are to the idea that they’re a good person ‘really’.

 The first thing that comes to mind is removing the element of force.This doesn’t necessarily mean the character decided they wanted to torturepeople. They were put in an environment where torture occurred regularly. Theysaw this and they realised that theythought they were less likely to end up as a victim if they became a torturertoo. (In reality this isn’t really the case but that’s another subject-)

 The character then managed to escape from that environment- defectingfrom crime. They’re no longer in such a threatening situation and suddenlytheir past actions might be a problem. What previously kept them ‘safe’ nowputs them in danger. So they twist the truth and say they ‘had to’, they wereforced.

 It’s not their fault ‘because’ they were afraid too.

 You could also probably write it as them making a conscious choice, notout of fear but because they thought joining the torturers would allow them toescape more quickly. That’s a smart and ruthless decision which, if it fits thecharacter, could also easily be tied into them outright lying about their rolein this ‘Mafia’.

 Another possibility is using the idea that they were threatened or hurtthemselves before attacking others. That they chose to torture to avoid beingtortured. But I think then you should stress just how useless that would be.The character would be less physically capable of torturing because of theirown injuries. Other character would have to ‘waste time’ doing this repeatedly.It would take a massive toll on the character’s physical and mental health-

 I wish I could come up with more scenarios but I feel as if the canonhas hobbled you in that regard.

 As for the effects- well this does come back to issue of ‘force’.Because realistically the more likely scenario isn’t ‘forced’ but ‘pressured’.

 There’s less scientific study of torturers generally. And torturersaren’t, as a rule, ‘forced’ to do what they do.

 If there are differences I don’t have any sources that cover them.

 I suspect that there wouldn’t be a lot of differences though. Theunderlying mechanism that we think causes symptoms in torturers would act regardlessof whether the torturer wanted to torture. It would act on someone who wasn’ttorturing but had to stand in the same room while the torturers were there.

 We think that torturers areaffected for the same reasons that people who witness traumatic eventssometimes are. Witnessing violence against human beings repeatedly istraumatic. It creates an automatic response in our brains that we can neithercontrol nor reduce. And no amount of belief changes the way we’re wired.

 So- perhaps predictably- the effects are going to be exactlythe same ones discussed in the Masterpost here.

 And looking at the Masterpost again has actually given me one finalidea.

 Memory problems are incredibly common in torture victims. They’re rarelyportrayed in fiction and when they are portrayed they’re not usually used accurately.

 Victims often have trouble remembering new information in an everydaycontext (forgetting appointments, keys, tasks at work etc). They sometimes havememory loss surrounding their torture (this is not commonly of the tortureitself but events immediately before and after though forgetting the tortureitself can happen). They often have intrusive memories, very vivid memories ofbeing tortured that are triggered by everyday things causing great distress.

 But the last major category of memory problems they experience is false memories.

 One of the experiments I’ve read on pain and memory really highlightedthis. They had a ‘high stress’ interrogation group who were asked to identifytheir interrogator the next day. Between 51-68% of them identified the wrongperson (the variation is down to which methods was used to id the interrogator).

 They were pointing to the wrong person and completely convinced theywere correct.

 In a torture context this effect can cause a lot of problems forprosecutors. Victims are oftenconfused about timings and about who exactly did what. They might also givecontradictory accounts of things like the rooms they were held in or really anydetails surrounding torture.

 So my suggestion is this- if this character chose to torture and was thenabused by someone within this organisation it’s perfectly possible that theymight come away believing their abuser ‘forced’ them to do it.

 It would be unusual, but this sort of memory problem can operate in thisway.

 You could suggest it in your writing by having the character giveinconsistent accounts of what happened to them, or by having what they saycontradicted by other people who were there.

 Discovering that they have false memories would be incrediblydistressing and the character might insist that their memories are all accurateand that other people are lying, or that video evidence etc ‘didn’t happen’.

 Whichever option you chose to go with (including just accepting thecanon, which is not particularly realistic but is a valid choice for fan fiction) the character would havesymptoms associated with being a torturer.

 Pick somewhere between 3-5 from the Masterpost and try to show themconsistently throughout the story. The character would probably learn to copewith and navigate their symptoms over time but that’s not the same thing as thesymptoms vanishing.

 For a fanfic I’d look to the canon to see if there’s any suggestion ofparticular trauma symptoms, however poorly handled. For instance if I waswriting a Marvel fanfic I’d probably choose to give Tony Stark addictionproblems because multiple canons have him struggling with alcoholism. If I waswriting Voltron I might choose to give Keith mood swings and show Shirodissociating, because again that seems to fit what the canon shows of thecharacter’s reactions.

 Beyond that my advice is the same as for any other fiction: choosesymptoms that you feel add something to the story or character. Things thatfurther the narrative and provide interesting challenges.

 I hope that helps. And if you’d like to discuss this story in moredetail feel free to send in more questions when the ask box reopens. :)

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