#me when i miss the themes and motifs

[scary-white]

"carrie is a horror retelling of cinderella. look it up, it's true"

no its not ???

[demonicnarwhale]

Thank youuuuuu @sundogmaniac !!!!!!!

OAUGHHHH OOOH OH OH HEHEHE OK YES!! ok ok ok so i know i said i'll post it and yadda but! but that'll take for AGES! So quickly!!!

Note, as will be mentioned, I never really thought about religion in depth for Prospit or Derse. So if this comes off as me trying to be a magician and pull shit out of thin air... :) i hope it's entertaining!

Religion, alright, I honestly don't quite know how strong religion is! Like how much of a hold on society does it have? Of course bishops are a thing, but so far, they're a bit like representational figures depending on that individual (1) (a hint of leadership) on either planets (like Prospit and Derse). I've never really managed to really think about Prospit being religious moreso Derse. WhICH i know, I know fucking dumb considering Derse is about skepticism and rebellion (hA! try keep a religious theme or thingy afloat with that)

told myself i wouldn't go off and post these freaks yet but here I go. (1) CC here (while being a Dersite) is noted as a "religious" leader. However he's not really like, "human" religious or strict with it (as in he doesn't follow the same "code" as actual priests/clergymen). He's kind of there to give some words here and there, mainly keep individuals from trying to rebel against the BQ on Derse. (since he's not on Skaia, his ass would fucking leave). Also i only put him here because I haven't started on my Prospit monk/shinshoku whoopsies

There are some individuals that are more, "faithful" to our depictions of priests and religious figures like the whole "Oh love thy neighbor! Biblestuck this! Worship this figure" and etc. But there's no set in stone figure they worship. Like there's no JC that got nailed (cackles) or like mono/polytheistic or animistic practices that MUST be followed. I think the horrorterrors like Feferi's Gigglybob (my ass ain't spelling) are considered not really as gods or demons by Dersites but like creatures that only some carapaces are willing to listen to. Like yes, they are referred to as the "outer gods" but they're not entirely feared or revered as (stated before but i am redundant) not all carapaces on Derse give a shit. Like you're either getting your ass flung to Skaia or you're working to keep your kingdom planet from kinda just crumbling or going stale??? So it's like, they're there, but not all are going to be like "ah yes outer gods!"

So Prospit is a bit the same, but they just really don't have any figure(s) to turn to. They're located closest to Skaia so sometimes some of those future seeing clouds pop up every now and then. And sure, some will go "oh that's uh the God of the Clouds

trying to converse with us!". But like Derse, there's usually a specific set of carapaces that are assigned/bestowed roles or jobs that interact with these. Like HK's role of being able to make sense of what's being shown (since it's like fragments the clouds will reveal, all random moments in time so have fun with that mess". So not entirely religious-religious! but there's something there?

Grm I don't know much about religion in general lol even though my dumbass fucking took religious themed classes (writing and oral inensive credits) but I'll be damned if I get smited. So basically!!!! Religion on both Prospit and Derse (whatever it may be) is very, representational? I don't know the specific word to use, but it's more focused on the individuals (mainly Bishops) that are used as "lesser leaders" for society. They're essentially like the royal family lol, like no serious political power but more power to set an example for/somewhat influence society to follow? Groaugh liKE! There's some hints of animism(?) that influence stuff in society, but it's really being able to see or have an actual living proof/being be the main source of religion? gooaug LIKEEEEE I think! they're both leaning towards folklorism rather than mainly religion-based??? So there's probably some astronomical being/creature??? more mythology/folklore based.

my ass thinking about the whole "Ah yes! Politics vs Religion, when and which should have more power over what. What context and GET OUT OF MY HEAD" sorry im shit at explaining and answering and my mind is trying very hard to think of something that makes sense but isn't too human-society focused.

SO so so more of a wrap-wrap-wrap up with a pretty bow:

I think! (or try to think) that both kingdoms are more folklorism leaning for a form how they worship or practice with a religion-esque feel. Like through performative arts (Prospit = theatrical/plays and Derse = choir/organized like). But goog ol' religion themes, motifs, concepts like gaoaugh architecture (sorry i simply cannot help myself) is like, society's outline? The whole yeah there's the big honcho pope-like mf then the rest, so it really is like a structure based part. Both do influence society in any manner the individual wants it to.

Also! icons, ehhh? (i just have no real ideas on any figures that can serve as religious beings? maybe those astronomical beings/creatures???) but perhaps those icons can be of bishops like how in the Medieval, there's this stained glass in Chartres Cathedral the one showing St. Lubin/Leobinus which is like, not a well-known saint but he was a local favorite, mainly with the wine making guild. (I know, technically isn't an icon but shhh) So like, icons don't need to be big well-known religious(?) context figures. (I will explain more with examples of gargoyles and grotesques for (Derse focused) architecture.)

Also, I do apologize if this comes off as like, Christian or Catholic(?) leaning with the theme of religion, it's mainly due to me taking an Art History Course on the Medieval and of course the Medieval wasn't a "strictly" religious or prude time (as there's a good chunk of uh risqué or bodily humorous art. The Gothics kinda just shunned that aspect in more favor of "Oh they were so pious! With their innocent/pure depictions of love/courtship!") but it's just me going "Oh yeah haha Derse and Prospit have a (Western-European) Medieval theme! And since this was a very off the top of my head thinking explanation/answer, I will think over this some more and probably fix it up here and there.

[dredshirtroberts]

oh shit y'all.

i've done gotten invested in Gurren Lagann. we're like 19 episodes deep in this paint and i have been emotionally compromised by the silly mechs.

believe in the me.

[echotunes]

just wrote like 1k+ in a rambly reply to an ao3 comment ayúdame

[ghostabocky]

thinking about kh3/khux/khdr and wondering if there’s any iconography or characters who have the potential for the same sort of intrigue as lingering will/the mysterious figures/the kh2 secret ending

[truthundressing]

.

[hauntedhowlett-writes]

𝐠𝐫𝐚𝐛 𝐭𝐡𝐞 𝐛𝐮𝐥𝐥 𝐛𝐲 𝐭𝐡𝐞 𝐡𝐨𝐫𝐧𝐬

pairing: pre-outbreak!joel miller x female reader

rating: explicit

word count: 4.1k

summary: joel agrees to go out to tommy’s favorite bar, where he watches you ride a mechanical bull and wishes you would ride him.

warnings: explicit sexual content (18+ minors do not interact), no use of y/n, dual POV, no defined reader age or physical appearance besides outfits, alcohol use, joel getting slapped, tommy is a little shit, first date anxiety, oral (m receiving), dirty talk, praise, pet names, girl on top, couch sex, unprotected p in v, teasing, deep throating, more men whimpering and begging 2k23. let me know if any warnings are missing!

author’s note: look, i know i’m in the middle of my spooky specials but i saw two very specific tik toks that left me with the need to write this 😵‍💫 also this post layout is inspired by @bits-and-babs, whose works and aesthetic are chef’s kiss.

“Why did you pick this place?” Joel grumbles, hand wrapped around a sweating bottle of beer. People keep jostling him as they squeeze past, forcing him to keep his elbow tight to his side to avoid having his beer be collateral damage.

“You’ll see,” Tommy says with a cryptic wink. Joel rolls his eyes.

Tommy has dragged him out to a saloon style bar, complete with swinging wooden doors and longhorn skulls decorating the walls. Everything is shiny dark wood and western motif, down to the saddle style barstools. Most of the patrons have leaned into the theme, too — tassels, leather, cowboys hats, and ostentatious belt buckles.

“Alright, ladies and gentlemen!” A man’s voice calls out over the speakers. “The show is about to begin!”

“Show?” Joel asks dubiously. Tommy only grins at him, dragging him by the arm towards the back of the bar.

He weaves through the crowd until they’re only behind a few rows of people that have gathered around a mechanical bull riding ring, of all things. The floor of the ring is inflatable and in the middle sits the brown bull figure. Joel catches his first glimpse of you, a gorgeous woman in denim cut offs standing beside the bull. Your black leather halter top plunges low to expose your cleavage and stops short of the waist of your shorts, a tantalizing strip of your stomach on display. The black leather of the top matches your black leather boots and the cuffs snapped around your wrists.

“One of Salty Saloon’s very own has stepped up to take the bull by the horns tonight!”

You lift a hand to wave, bright smile on your face as you take in the crowd. Your eyes land on Joel and for a brief moment he swears he stops breathing. He can’t hear anything the emcee is saying, all the noise around him just a dull buzz as he watches you swing yourself up onto the back of the bull.

“Alright, alright, alright! Our rider’s goal is to stay on for one minute using only one hand! If she falls before the buzzer, y’all get nothin’. But if she makes it, shots are half off for the rest of the night!”

A cacophony of cheers erupts around Joel and you straighten your spine, holding your hand out with a thumbs up. The music starts, some pop song he’s heard on the radio in the morning when he’s taking Sarah to school, and the mechanical bull turns in a slow circle. You have one hand twisted in a leather strap, the other raised above your head as the bull bucks and swings, your hips moving smoothly with the machine.

“Goddamn,” someone says from behind Joel. “I ain’t ever wanted to be a bull so bad in my life.”

Me, too, he thinks.

Your thighs press tight against the sides of the bull as it swings around, turning you to face the section of crowd Joel stands in. You release the hand grip, both hands in the air now as you rely solely on your legs and core to keep you up on the machine. When the machine turns again, you manage to lift your body and swing your legs around to reverse your position, now seated facing the back of the bull.

“Alright, ten more seconds!” The emcee calls out. The crowd starts to cheer your name and Joel can’t help but join in, eyes glued to you as you continue to swing and sway like all the movements are nothing but second nature to you.

“Three! Two! One!”

A cowbell goes off, signaling the end of your ride. The bull slows to a stop and you sit there for a moment to catch your breath, waving at the crowd. The bar owner, Johnny, comes out onto the crash pad with a huge grin on his face.

“Great job up there, kid. Now go sell some half priced shots,” he says with a good natured pat on your shoulder.

You return to the bar, where the other two bartenders scheduled tonight field the after-show rush, lining up shot glasses and filling them in quick succession with the requested liquor. When you get behind the bar, a familiar head of curly hair catches your eye.

“Tommy!” You call, excited to see one of you favorite regulars. He shouts your name as you stop in front of him.

“This is my brother, Joel!” He says, slapping the back of the man beside him. You’d seen him in the crowd, a handsome guy with broad shoulders stretching a dark blue t-shirt, warm tan skin, and messy curls that speak to the family resemblance between him and Tommy. You reach a hand across the bar, Joel’s calloused fingers dragging against your palm as you greet the man.

“It’s nice to meet you, Joel. Can I get y’all anything?” You ask. Tommy grins.

“Let me get this man a slap shot!” He yells.

You glance at Joel. “That okay with you?” You ask.

His eyes are comically wide as he nods. You step back to ring the bell behind the bar, your fellow bartenders whooping and cheering, a chant of “SLAP SHOT! SLAP SHOT!” echoing around you.

Haley sets a glass of water on the bar for you and you grab a pint glass, filling it with ice and two ounces of Jim Beam and amaretto. You smack the steel shaker on top, grabbing both glasses and shaking them vigorously over your shoulder.

You strain the contents of the shaker into a shot glass, amber liquid flowing to the brim. When you’ve got everything ready, you leave the back of the bar and squeeze your way through the crowd until you’re in front of the two brothers and can hoist yourself up onto the bar.

“Alright, Joel, are you ready?” You shout. He looks a little confused, brows pinched tight over kind brown eyes, but he nods anyway, holding his hand out for the shot glass. Tommy watches with a shit eating grin. “Three! Two! One!”

Joel takes the shot and you follow it with a glass of water to his face and a slap across his jaw in quick succession. Tommy is howling with laughter and Joel’s face is one of pure shock, red blooming across the skin of his cheek. He turns to his brother.

“Tommy, what the fuck!” Joel shouts. His hand wraps into the neck of Tommy’s shirt. “You little fuckin’ shit!”

You have the sinking realization that Joel wasn’t prepared for what a slap shot entails. You had just assumed this was something Tommy had told him about, having been to the bar so much the last few months.

Joel looks mad as hell, his shoulders tense and you worry he may actually throw a punch at Tommy. You hop from the bar and get between the two men, pressing a hand to their chests and pushing them apart.

"You, come with me," you say, pointing to Joel. "And you," -- you jab a finger into Tommy's chest -- "are on my shit list."

You take Joel by the hand and guide him to the back office, shutting the door and muffling the noises of the bar beyond it. His face is still dripping wet and the water dripping from his chin has gathered into a sizeable spot on the collar of his shirt.

"I am so, so sorry," you start, rifling through the storage cabinet for a bar towel. You hold it out to him, avoiding his gaze. "Tommy comes here so much that I just thought he'd told you about what a slap shot was. I should have told you, oh my god."

"Hey, it's okay. I ain't mad at you," Joel says, running the towel over his damp face. "Tommy, though. I'm gonna kick his fuckin' ass later."

"Still," you mumble, twisting your hands together nervously. "I'm sorry. Is your cheek okay?"

He rubs the towel over his head to dry his hair a bit, the action leaving him adorable mussed, curly strands sticking up in every direction. You're staring at him, maybe a little too much, but who can blame you? The man is hot.

"Yeah, trust me. I've had worse," Joel replies with a laugh.

"You get slapped by women often?" You tease.

"The number of times ain't just one."

"Oh, a bad boy. Mama warned me about guys like you."

He laughs again, long and low, running a hand through his hair. "Well, thank you for the towel."

"Right. And your next drink is on me. As an apology," you tell him.

"I'd rather get your number," he says. "You know, as an apology."

You raise your eyebrows at him before turning to the manager's desk, grabbing a marker and tugging the cap off with your teeth. You slide a hand down his arm, lifting his forearm up so that you can write down your number across the smooth, tan skin.

"I'm off next weekend," you comment when you've recapped the marker.

"I'll keep that in mind," Joel replies with a grin.

Joel's nervous as he waits outside of your apartment building in his truck, fingers tapping a nameless tune against the steering wheel. It's Saturday night and he's here to pick you up for dinner at a restaurant in downtown Austin, one that required he dig out the old black button down he keeps shoved in the back of his closet for parent-teacher conferences and funerals.

The front door to your building opens and you emerge, dressed in a pretty red wrap dress and black heels. Joel gets out of the truck and jogs around to the passenger side to open the door for you and he's surprised when you lean up and kiss him on the cheek.

"Hey," you say in greeting, climbing into the truck and settling into the passenger seat, your purse on your lap. Joel can't help the dopey grin that's surely stretched across his face.

“Hey, yourself. You look nice,” he replies. He shuts the door and jogs around the the driver’s side.

“You don’t look so bad either,” you tell him as he starts the truck up. He can feel his cheeks get warm and he hopes that you can’t see him the proof of his nerves in the dark cab.

At the restaurant, the host leads you both to a small table towards the back of the restaurant, pristine white tablecloth topped with a small vase of flowers and a flickering votive candle. A waiter in a white button down comes by to take your drink orders before disappearing the the kitchen, leaving the two of you regarding each other in silence.

“Look, I gotta be honest about somethin’,” Joel says, leg bouncing beneath the table. “I’ve got a kid. Sarah, she’s thirteen. Light of my life, you know?” He takes a deep breath before finishing with, “And I don’t think I’ve even been on a date since she’s been born, so this is just…a little new to me.”

“You have a kid?” You ask. For a moment Joel worries that he may have ended this before it could even get a chance to begin, but then your face lights up with a sweet smile and you ask, “Will you tell me about her?”

Joel does. In between ordering and eating your delicious meals, you and Joel discuss anything and everything. He tells you about Sarah and his contracting work, while you tell him about your full time job as a pharmacy technician, the gig at the bar a part time thing on some weekends. He nearly makes you snort your water out of your nose with a story about rescuing Tommy from the bathroom of the girl he’d been seeing when her long distance boyfriend, who Tommy didn’t know existed, showed up at her apartment.

“Oh my god,” you exclaim breathlessly. “And he just jumped out of the bathroom window?”

“To be fair, she had a first floor unit,” Joel confirms. “His royal pain in the ass still made me take him to urgent care because he thought he broke his ankle.”

“You’re a good brother,” you say with a smile. Joel feels the warmth of it in his veins.

After dinner, the ride back to your place is quiet, the comfortable silence filled with the low music from the radio. In a moment of bravery, Joel reaches over and lays a hand on your low thigh, just above your knee as he drives. He refuses to look over at you, but from the corner of his eye he sees you look down at his hand before looking back out the window.

He counts that as a win.

He pulls up the curb outside your apartment and kills the engine. You speak before he has a chance to agonize over what to say.

“Will you walk me to my door?” You ask.

He feels relief and anxiety in one fell swoop. He agonizes internally over whether to kiss you goodnight as he follows you up the stairs to your apartment, the buzzing in his brain momentarily silenced while he watches your hips sway as you climb the steps.

You stop on the second floor, guiding him down a long hallway to a door marked with a black metal number three. You turn to face him, looking up at him through your lashes.

“This is me,” you murmur. Joel swallows nervously.

“Right. I, uh…I had a really great time tonight,” he says.

“Would you…want to come inside?”

Joel’s brain short circuits. “Would I—? Yeah.”

You turn to unlock the door, pushing into your apartment and Joel follows you inside. The apartment is dark but you quickly turn on the lights as you move further inside, illuminating an open living room with a dining nook. There’s a door off to the right that he assumes is your bedroom and an open kitchen to the left. It’s small, but it’s cozy, bursting with colors and fabrics and mismatched furniture.

“Well, this is home,” you say with a shrug. You set your purse down on the small circular dining table. “Can I get you anything to drink? I’ve got beer, some liquor on the bar cart over there if you want to have a look.”

“Beer is fine,” Joel says, taking a seat on the comfy looking couch. You return with a bottle of beer, passing it to him before settling in beside him, kicking off your heels and drawing your legs up beneath you.

He takes a sip, fortifying his nerves. He wasn’t lying when he said it’s been a long time since he’s been on a date, but even sex has been a distant thought for the last year or so. He doesn’t want to mess this up.

“So,” you start, your elbow pressed into the back couch cushion while you lean your face into the palm of your hand. “You wanna know what I think?”

“‘Bout what?” Joel asks.

“You.”

“You got a report card ready for me already?”

“I think” — you take the beer bottle from his hand, setting it on the coffee table — “you’ve spent a long time being a caretaker. Right? You’ve got Tommy, who was already a handful. Your daughter, who’s obviously priority number one. You’ve got a business to worry about, workers to care for.” You shuffle closer on your knees, swinging a leg over his and settling yourself onto his lap. “This okay?” You ask.

“Yeah,” he replies, probably a bit too enthusiastically. His fingers curl into the couch cushions and he wants to reach up to wrap his hands around your waist but he’s not sure if he should.

You play with the collar of his shirt. “What do you think about having someone take care of you for a change?”

Joel’s stomach flips, cock jumping in interest as the blood in his brain rushes south and leaves him only capable of responding with a mumbled, “Oh?”

“I just think you deserve someone treating you real nice,” you say with a shrug. Deft fingers work at undoing the buttons of his shirt. “Especially when I was so mean when we met, slapping you across the face like I did.”

“Told you not to worry ‘bout that,” he replies, head dropping against the back cushions. “S’not like I didn’t like it.”

“You like to be roughed up a little, Mr. Miller?”

“Maybe.”

Your grin is wicked as you drag your nails down the now exposed skin of his chest. He hisses at the sting of it.

“Interesting,” you murmur. You lean close, chest pressed against his, hands coming up to frame his face. Your nails scratch through his beard now and he groans his appreciation.

“Can I kiss you?” He asks. “Please?”

You respond by pressing your lips to his, chaste as first. Your mouths move together slowly, feeling each other out. It’s you that takes it deeper, tracing your tongue over his bottom lip and dipping it inside to tangle with his. He wraps his arms around your low back, holding you tightly in his lap as he consumes you, drunk on the feeling of your breath in his lungs.

You drags yours lips away from his with a slick sound, trailing them along his jaw and towards his ear. You nip at his earlobe, teeth gentle and breath hot before whispering, “Can I suck your cock, Joel?”

A whimper claws it’s way up Joel’s throat as he nods, already unable to form words. He’s no stranger to turning into a puddle for a pretty woman but he’s certain this must be a new record.

You slip from his lap and kneel on the floor, pushing his legs apart so that you can settle in between them. Your hands reach for his belt, tugging on the buckle and pulling it loose so that you can pop the button of his jeans and tug the zipper down, the metallic sound loud in the quiet room.

Your fingers curl into the waist of his jeans and Joel lifts his hips a bit to aid you in tugging them halfway down his thighs. His cock tents his boxers in an obscene way, a wet spot already staining the fabric. You run your palms up his thighs before bracketing his member between your hands, lightly running your thumbs up his length.

“Christ,” Joel says, teeth digging into his lip.

“That feel good?” You ask.

“Uh huh.”

You smile beatifically before leaning forward, warm breath on his covered cock as you press gentle kisses through the fabric. Joel’s hips twitch and he lets out a deep groan.

You tug the elastic of his boxers over his length, tucking it beneath his balls. He’s practically vibrating with need but you continue to take your sweet time, pressing more kisses along his shaft, tracing the tip of your tongue over the prominent vein.

“You have a pretty cock, Joel,” you say, wrapping your hand around the base of him to hold him steady. It’s a struggle to keep his eyes open but he doesn’t want to miss the sight of your tongue lapping at the bead of precum gathered on his flushed tip, or the way your own eyes flutter shut as you let out a little moan of appreciation.

You wrap your lips around his cock, taking him inch by agonizing inch into your warm mouth and Joel feels any semblance of sanity disappear from his lust clouded brain. Your eyes stay fixed on him as take him in as far as you can, throat fluttering around the sensitive head when you swallow before pulling up, twirling your tongue around the tip, and plunging back down.

“Christ,” Joel groans, reaching out to cup your cheek. “You look so goddamn good like that.”

You lift off his cock and take it in your hand, moving it across your lips as you ask, “Like what?”

“Chokin’ on my cock, sweetheart,” he growls.

“That was nothing.”

Joel’s about to ask what you mean when you lower your mouth over his length once more. He can feel you flatten your tongue, your throat and jaw relaxing enough to take him to the very base, your nose tickling the wiry curls on his pelvis. He moans as you swallow around him, breathing through your nose and holding yourself there for a moment before coming up with a gasp, tears gathered in the corners of your eyes and spit making your chin shiny in the low light.

“So…I could keep doing this,” you tell him, “or…”

“Or?” He asks.

“Or…you could let me make us both feel good.”

You stand up, your hands untying the knot that holds your dress together so you can push it off your shoulders, letting it fall to the floor in a heap. You push your panties down your legs and unhook your bra, leaving you gloriously naked in front him, every inch of you like a piece of art meant to be admired. Joel’s hands, greedy and unfulfilled up until now, reach up to grip your hips and pull you onto his lap, your pussy hot and wet against his cock. He lets his hands wander over every inch of exposed skin, relishing the way your ass fits in his palms and the way you hiss when his thumb caresses a tight nipple.

“You’re so fuckin’ pretty,” he moans, his lips against your rapid pulse, teeth ghosting the thin skin of your neck. “Need you so bad, baby.”

“Don’t worry, I’ll take care of you,” you whisper, reaching between your bodies to hold his throbbing cock steady, notching it at your soaked entrance and beginning a slow slide down.

Joel is panting against your sweat slick chest, mumbling desperate words into your skin as you take him inside of you as slowly as you can, thighs burning with the effort. When you’ve finally seated yourself on his lap, his head drops back to the cushion, eyes squeezed shut tightly and fingers nearly bruising on your thighs.

“Don’t move, don’t move, don’t move,” he begs. “Oh, fuck, feels so good.”

Where he’s desperate for you to stay still, you’re already desperate to move. His cock is perfect, thick and long with a slight upward curve, pressing up against your g-spot with stunning accuracy. You’re certain this won’t last long for either of you.

You rock slowly, forward and back, little movements of your hips. Joel lifts his head, looking down at where your bodies are connected with dark eyes. You wrap your arms around his shoulders, tangling your fingers in his hair and giving it a sharp tug that has him hissing your name.

You start to move more quickly, rolling your body in smooth waves over his. He’s panting as he looks up at you, sweat gathering at his temple, and his hands grip your ass and follow your movement reverently.

“So fuckin’ good,” he moans, “you’re gonna make me come, baby, goddamn.”

You speed up, bouncing on his lap now. Your couch creaks the slightest bit, protesting your movements, but you don’t care — all you care about is the man beneath you and the desperate little noises spilling from his lips as you make good on your promise to take care of him.

“Touch me,” you command. “I’m so close, Joel, please.”

He’s a good listener, your Joel, his thumb immediately finding your clit and circling it with messy movements that drive you wild, that tension in your muscles coiling tighter. Joel’s hips flex into yours with each drop down his length, the room echoing with the lewd sounds of skin against skin and the chorus of whimpers that spill from both of you.

“Joel, Joel, Joel,” you chant. He wraps his arms around you, really thrusting into you now as your own movements falter and you collapse forward, head buried against his neck as you come, trembling with the strength of it.

It’s not long after that he goes still, cock pulsing inside of you as the aftershocks of your orgasm wash over you. You stay slumped against each other, catching your breaths and waiting for your racing hearts to come back down to earth.

“That was…,” Joel says with a breathless laugh that shakes his chest. His fingers play up and down your back, soothing and gentle. “Goddamn, that was amazin’.”

“Yeah?” You ask, lifting your head. You smooth his messy hair back from his forehead. “You weren’t so bad either.”

He nips at your neck in retaliation, making you laugh and squirm away from him.

“Do you have to get going?” You ask.

“No,” he replies. “Tommy’s watchin’ Sarah for me tonight. He owes me one. Besides, I’m ain’t done with you yet.”

“No?”

“Not even close, darlin’.”

Joel Miller masterlist

All masterlists

[mirai-e-jump]

Animage October 2024 Issue Kamen Rider Gavv ft. Chinen Hidekazu & Sugihara Teruaki (translations below)

Publication: September 10, 2024

The Strange Sweets Kamen Rider

The 6th Reiwa Kamen Rider is the first ever to use a sweets motif! The cast and staff talk about the behind the scenes of the birth of the new hero who fascinates us with a gap between poppin visuals and its heavy filling!!

Having passed out due to hunger, Shouma, who comes from another world, was saved by a human boy named Hiroi Hajime. Shouma was in a difficult situation when he confronts the Granute, a monster who wants to kill Hajime, but when he "sets & eats" the familiar like creatures called Gochizo in the mouth on his stomach, he transforms into Kamen Rider Gavv and crushes the Granute. This was the beginning of Shouma's battle to protect humans.

The latest entry in the Kamen Rider series, "Kamen Rider Gavv" only just started in September. Despite the poppin imagery and visuals of sweets as its motif, this is a hard and serious drama that depicts the lonely battle of a young man named Shouma, who hides a grand past and mystery behind him.

This production features Takebe Naomi-san as the Producer, Sugihara-san as the pilot Director who determines the direction of the work, Komura Junko-san as Screenwriter, and Fujita Satoshi-san as Action Director, all of whom have worked on the Kamen Rider and Super Sentai series. In particular, Sugihara-san and Komura-san are the pair that gained attention for their work in "Kaitou Sentai Lupinranger VS Keisatsu Sentai Patranger" and the fans are expressing their expectations.

The story of a fierce battle between the sweets Kamen Rider and the Granute monsters has only just begun, so don't miss a moment of the birth of a new Kamen Rider legend! _

Chinen Hidekazu (Shouma)

The first transformation born from an extreme situation

-Supported by dependable friends and the Director-

"Please tell us your impression of the Kamen Rider series."

Chinen: For me, I've admired Kamen Riders since I was a child, and I love them so much that they're the first thing that comes to mind when people ask, "Who's your hero?" I've lived my whole life dreaming of becoming a Kamen Rider, so I was really happy when I was chosen to be Shouma.

"Are there any works that you find particularly memorable?"

Chinen: It's hard to pick a single work from my generation since I'm so attached to all of them, but……I think "Kamen Rider OOO" might be the one I was particularly enthusiastic about when watching. The dialogue between Hino Eiji and Ankh was interesting, and even as a child the ending made me think, so including its theme song, it's my favorite work. Lately however, I've been super into "Kamen Rider Den-O" (laughs). I'm watching it from the perspective of learning why it became so popular, but I also like Den-O because of Satoh Takeru's (who plays Nogami Ryotaro) amazing performance in which he plays multiple different personalities.

"What kind of person do you feel Shouma is?"

Chinen: I read the script so much that it felt like I was watching myself, as I thought that Shouma was so similar to me. We're very similar in the way that we're abit out of the loop, but also curious and get into the things that interest us. I was glued to the TV when I was a child, and I'd become so engrossed when watching it, that I couldn't even listen to what my mother was saying. However, I feel like I'm far removed from him in terms of his guts and inner strength, his desire to save people even at the risk of his own life, and his ability to fight the enemy. Playing the role of Shouma gives me energy and makes me aspire to be like him.

"We think another feature of this production is that right now, Shouma doesn't have a fixed place to stay, and that he comes into contact with a variety of people wherever he goes."

Chinen: I think alot of people are curious to see what happens next, as so far in Gavv, the story continues to be dominated by Shouma's easygoingness and the fact that we don't know what he's thinking. He seems to have a connection with Sachika-san, who he met in episode 2, so what happens to them in the future is a big point to watch out for!

"Please tell us your impressions of Sachika and the person who plays her, Miyabe Nozomi-san."

Chinen: Miyabe-san is a very refined person, so when we first met at script reading, I was shocked and said, "This person's gonna be a gyaru?!" (laughs). One of the things I like about Miyabe-san is that her mannerisms show the quality of her upbringing, but the more we talked, she really started to look like a gyaru, and I felt that performing together with her was amazing. Sachika-san leaves a strong impression of being a gyaru, but on the inside, she's a stable girl who's able to understand the feelings of others. Seeing her say with a refreshing smile, "I think it's good for everyone to be happy," Shouma respects her and thinks, "She's such a wonderful person" and "I want to be like her," almost like she's the embodiment of peace. When I read the script, I always feel supported and say, "Sachika-san, thank you."

"Shouma's brother sister like relationship with her is also very interesting."

Chinen: Director Sugihara Teruaki said to me, "It's like a dog and his owner" (laughs). Still, I think that Sachika-san's all encompassing kindness, and Shouma's simple mindedness are a great combination, and we're also playing the roles with confidence.

"He's yet to interact with Shouma, but we think the role Hanto plays will also be another highlight to look forward to."

Chinen: In some ways, Hanto is also easygoing, but he's the compassionate, hot blooded type, and he too lives by carrying something on his back. I hope you'll look forward to seeing how Shouma and Hanto, who are completely different types of people, interact with each other and what they'll think of each other in their first meeting. Hino Yusuke-kun, who plays Hanto, is the mood maker who makes the set feel relaxed, which is a gap between him and Hanto, but I feel that we're similar in our passion for the production and performance, and the way we put our all into something. To me, Hino-kun is a rival but also like a reliable big brother, and we often consult with each other and visit each other's houses (laughs).

"What were your impressions of Director Sugihara, who also directed the first two episodes as the pilot Director?"

Chinen: As I had no experience in acting, Director Sugihara is a respected teacher who taught me how to perform from the ground up, including how to read the script, and he's like a father figure from Tokyo. He understands each actor's personality and gives them advice accordingly, and he's an amazing person who draws out our potential, so every time I'm on set, I feel happy to film under Director Sugihara. He's a Director I really love.

"Before filming, it seems that you and the Director practiced vocalization together."

Chinen: Yes, even before I could act, my voice wouldn't come out (laughs). I'm really grateful that he took time out of his busy schedule to watch me one on one, and it was an important turning point that led to something changing in me. I want to grow so that people will feel that I'll have changed over the coming year, and one of my goals is to give an inspiring performance that'll be recognized by Director Sugihara with, "You gave it your all."

-Aiming to be as cool as Nawata-san-

"Kamen Rider Gavv, who Shouma transforms into, has a motif based on gummies and other sweets."

Chinen: When I saw the illustration depicted in the proposal, I thought it was incredibly simple, however, my opinion changed when I saw it in person. The armor on the chest and shoulders have a gradient so that it shines beautifully when light hits it, and there's a playful gimmick where a squishy dent will form when it's pressed, so a bunch of detail has been carefully put into it. I'm now so attached to it, that I can't think of anyone else but Gavv. Personally, what I want you to pay attention to the most are the feet. The feet are actually clawed, and this slightly animal like aspect is an important element of the show, so I'd be happy if you make sure to pay attention to the feet as well.

"What's your impression of Nawata Yuya-san, Gavv's Suit Actor?"

Chinen: Nawata-san is an actor who I shape Shouma together with, and he's an indispensable person to me, as I'm able to talk to him about problems that I can't talk about with the other cast members or the Director. He also taught me about acting, like how to create the mood and how to read the script. I'm grateful to Nawata-san's action, as I think Gavv's appeal has tripled, and I feel like the show itself has also become more brilliant.

"Does that also get you enthusiastic about the post transformation dub recording?"

Chinen: That's right. The recording process is more difficult than normal acting because you have to use only your voice to express your emotions and fight scenes in accordance with the footage. In episodes 1 and 2, I had to rerecord so many times that I lost the strength in my voice, and it took twice as long as the planned time (bitter smile). As well as the performances of my seniors in the Kamen Rider series, I also studied the game "Street Fighter" based on the advice of Director Sugihara, and now I feel like I'm getting by. I'll work more diligently to make Nawata-san's performance 120% more appealing with my voice performance, and to become a Shouma who's just as cool after his transformation into Gavv.

"One of the real thrills of the Kamen Rider series are the transformation scenes, but how did you create the pose?"

Chinen: The transformation pose was decided through a discussion between myself, Action Director Fujita Satoshi, Director Sugihara, and Nawata-san. It's a movement that involves rotating your arm, but the final version, which we created after discussing the angles and timing with everyone to make sure it looked cool and appealing, is the transformation pose used in episode 2. Depending on the story, he could transform quickly, so I hope people watch the way he changes based on the situation.

"In the episodes up to this point, the action leading up to the first transformation in the first episode is a scene that can't be ignored when talking about Shouma. There was some action involving wires, and we were also impressed by his performance as he was gradually being cornered by the Granute."

Chinen: That scene was prepared weeks before the shoot, as Director Sugihara and Action Director Fujita came up with a really cool direction. The scene where Shouma is beaten was especially important to give depth to the reason for his transformation, as it took two days to film. In the end, it was in the most extreme situation I had ever experienced in my life, my performance came out unconsciously, and I was complemented with, "Your facial expressions were very good." I could've never done it on my own, the scene was made possible by the advice of Director Sugihara and Nawata-san, who worked beside me, and by all the staff members who created an environment that allowed me to concentrate on my performance.

"It makes us want to go back and pay attention to the expressions on your face. Finally, please tell us your goals throughout filming of Kamen Rider Gavv."

Chinen: I'd like to learn alot about action from Action Director Fujita, Nawata-san and everyone else on the Action Team, and I'd like to improve my acting skills. I've never been in an environment where I could spend an entire year with people who are so good at captivating others, and I don't think it'll ever happen again in the future. I hope to make full use of this experience so that in the next year, I can be an actor who can do it all, from acting to action and recording, so I'll do my best to do what's in front me!

Director Sugihara Teruaki

The vibrant world Shouma comes across

-A dark story with colorful visuals-

"When did you first hear that you'd be the pilot Director?"

Sugihara: I'm pretty sure it was around last Fall, when I was working on the drama, "Tokyo MPD: From Zero to Hero," I received a phone call from Producer Takebe Naomi-san who said, "I'd like to meet and talk with you at once." I heard from a separate matter that Takebe-san would be in charge of the next Kamen Rider, and at the time, I thought I was going to be the second Director, but when I met her, she said, "You're the pilot Director." (laughs).

"At the stage when Director Sugihara joined, how much of the content in the show was decided on?"

Sugihara: Aside from the sweets and monsters motif, we'd yet to decide on the content of the story and the personalities and relationships of the characters. In the beginning, we were a small group consisting of the Producer team's Takebe-san and Takishima Minami-san, Screenwriter Komura Junko-san, and myself. Our three parties worked out the content by sharing ideas from our respective perspectives.

"What specific ideas did Director Sugihara have in mind? Personally, we felt that the visuals of the characters, including their costumes, incorporated the Director's ideas."

Sugihara: You can assume that I'm basically in charge of visual aspects like the impression and fashion. For Shouma's fashion in particular, during the rather early stages, I'd draw an illustration and say, "How about something like this?," and I'd have them look at it while I created his character.

"Not just Shouma's clothes, but also the interior of Hapipare is rich in color, so much so that it's unusual for the Kamen Rider series."

Sugihara: I told artist Fukuzawa Katsuhiro that I wanted to make the visuals as bright and pop as much as possible. Kamen Rider Gavv itself isn't meant to be a continuation of the "ism" seen in the first generation of Kamen Rider, but it includes themes like family conflict and Shouma's sad separation from his mother, so the content is heavy. Because of this, we made the impression of the colors vivid, and were careful to not make them too dark. Moreover, being in the human world for the first time, Shouma's a kid who's impressed by everything he sees, so I was conscious of the world captured from Shouma's point of view and to use rather flashy colors. Conversely, the Granute World and Stomach Family use muted colors, or to just say it outright, they have dirty colors.

"What do you value in your expression of Shouma, the main character?"

Sugihara: I wanted to depict Shouma as a pure kid, someone who suddenly comes to the human world and finds everything he sees as fresh. On the inside, he's not much different from Hajime, who he first meets in the human world, in fact, he's much more of a child than that kid. So he ponders over what he's been told, hurt by the casual mention of "monster" and afraid of hurting others, he's unable to be together with someone else, so he leaves Hajime and Sachika and goes elsewhere. However, I didn't want to make it too dark, so it was hard to depict (laughs). While he carries a dark side, I want him to be a kid who's always smiling when he's with someone, even if he has to force himself to smile.

"This Shouma is beautifully embodied by Chinen Hidekazu-san."

Sugihara: The best thing about Chinen-kun is that he looks great on camera. That's the kind of talent an actor has. Also, the expressions on his face when he eats are really good. Even though he's eating food he usually sees all the time, he eats it like it's a delicacy, looking as if he's eating something he's never seen before and is impressed. In that sense, I think he was the right choice to play Shouma. Still, since this is roughly his first performance, he had to start from a place where he couldn't express his emotions properly, and to begin with, he couldn't even vocalize. I had Chinen-kun stand on one end of Toei's rooftop, and I stood on the opposite end and had him deliver his lines. I gave him relentless acting instruction from the very beginning (laughs). Filming started earlier than usual, so we've already shot several episodes, and I feel that he can now stand proudly in front of the camera as Shouma. With each episode his performance and facial expressions are getting better and better. I have high expectations for his growth over the next year.

-Dedicated action that make the most of the motif-

"We felt that the vibes of Gavv's everyday scenes were different from that of previous Kamen Rider series, but was there anything you were conscious of in your direction?"

Sugihara: In my mind, I had a bright, pop like feeling, but during filming, Chinen-kun……it was important to me how to capture Shouma and the human world from his point of view. I may have only been thinking, "How can I get a good shot of him?"

"In that sense, it's interesting to think that the entire production is being pulled along by Shouma and Chinen-san."

Sugihara: That's right. This is especially true for the first episode, as the story unfolds from Shouma's point of view, so I was conscious of the fact that I wanted to bring the viewers perspective as close as possible to Shouma's.

"Despite the battle scenes also having a fancy sweets motif, from the very first episode, we were taken back by the intense physical battle depicted between Gavv and the Granute."

Sugihara: I'm pretty sure it was Action Director Fujita Satoshi who put out the idea of a serious fistfight at a container warehouse, and with sword fighting in a narrow space. We specified the colors and placement of the containers, and asked the people on location to arrange them accordingly. From there, Fujita and I talked in detail about the composition of the action, and we put it together by discussing the angles while adding in our own ideas as we filmed on site.

"We heard that you and Fujita-san worked closely together to create this."

Sugihara: I also like action quite abit, so I tell Fujita various things like, "Do this sort of thing." Naturally, Fujita has alot of things he wants to do as well, so the two of us are working together to come up with ideas for action sequences and angles.

"Including Gavv's own actions, the way he fights while "eating" the Gochizo is unique."

Sugihara: It was decided in advance that the transformation items Gochizo would appear alot like that of "Pikmin" and "Minions," so I thought it'd be better to use alot of them. Because of that, when Gavv takes damage, his armor breaks and he'll eat the Gochizo one after another……we're calling it "follow up sweets," and I think it'd be interesting to keep changing sweets and repair them as he fights.

"The standard Poppingummy Form has flexible armor, while Zakuzakuchips Form's sword weapon can easily break depending on how it's used, and the use of sweets as a motif was also visually enjoyable."

Sugihara: Inspiration for the action comes from discussions that are almost like casual conversations. I thought about how things like thin baked snacks such as potato chips might be weak to side attacks (laughs). Also, unlike other Kamen Riders, we don't use bullet impacts on Gavv when we depict him being hit (mechanism that detonates gunpowder that's attached to the performer). In his setup, the armor is derived from sweets generated by his own body, so we tried to create the effect of small bead like things flying around him. During filming, we've been throwing beads into the air from the side of the camera. In that sense, it may have a new visual feel.

"What scenes from episodes 1 and 2 were particularly powerful?"

Sugihara: In terms of taking the most time, I'd say it was before the transformation in the first episode. When I was thinking about Shouma's human image, Takebe-san said, "I don't want him to be a hero who fights just because he has powers." You don't fight just because you have the power to become a Kamen Rider, there's a will to fight, and that's where the power comes in. I wanted to create an image of a hero who's able to transform into Gavv because it's Shouma. Since the time of the script meeting, we had talked about how we wanted to portray a different kind of strength from that of the everyday Shouma, who keeps going despite being beaten up by someone he can't even stand up to. On set, Chinen-kun and I worked together to find out why Shouma was feeling that way, and we worked on his facial expressions and gestures one by one, and I was quite persistent throughout filming. We were supposed to film the transformation scene in one day, but we took too long and didn't get to the transformation, so I had to apologize to the staff (laughs).

"Finally, please tell us your enthusiasm for the future."

Sugihara: Honestly, I have no idea how Kamen Rider Gavv will conclude a year from now, but I want to make a show that'll make people who watched it think, "Gavv was interesting." For this reason, I'd also like to delve deeper into Shouma and Hanto, and Sachika and the others characters, and to make each of them appealing. I'm sure that Komura-san will come up with some great developments (laughs), and for my part, I hope that I can take advantage of that, and as the pilot Director for the first time in a long time, to create images that people watching in their living rooms have never seen before.

[a-star-that-burns-brightly]

So uh. Maybe I'm just really stupid, but despite being in this fandom for a year now I for some reason was convinced that Killcheroy killing herself was like, canon, because of how widely accepted that theory is in the fandom and spoken of as if it's fact. But after looking through all of Fuuta's stuff again (voice dramas, music videos, the like,) I've come to realize that not only is Killcheroy's actual cause of death never actually confirmed, but I've also realized something else: Y'all I really do not think this girl killed herself lmao. In fact, I am very confident that she didn't kill herself, mainly due to the fact that, as we know, Milgram has a very specific motif when it comes to characters who have committed suicide or have themes of suicide in their character

Mahiru and Kazui's victims both have a shoe off, because both of them died via suicide

Muu is often presented with only one shoe, because she is implied to be suicidal

Fuuta's victim also has a shoe off, because as we know she died of-- ...Huh? Oh shit. Both shoes are intact. Now I've seen people, though often briefly, point that out before What I don't see pointed out however is that Backdraft has three perfect opportunities to follow up on the shoes motif, and just doesn't.

These are the first two I wanna talk about. Killcheroy's shoes are perfectly in view, yet both of them are still in tact. Since this whole scene is basically a creative reenactment of Killcheroy's death, wouldn't it make sense for one shoe to be off if suicide was what took her out? But at the same time, these scenes are still depicting her when she is 'alive,' so maybe it wouldn't make that much sense for a shoe to be off in this particular scene. But what about after she burns up? That's where the third scene comes in

Even after she dies, her shoes are not there. Milgram is a series that loves including small, blink-and-you'll-miss-it details. If Killcheroy really killed herself, there's no way her shoes wouldn't be visible in these shots as Fuuta's running away, right? And this shoe motif, coupled with the fact that when looking at what we have, there's no actual evidence that Killcheroy killed herself (to my knowledge) makes me doubt this theory a lot more than I had when I originally assumed it was canon. So what do I think took Killcheroy out? Well, though we have no evidence that she killed herself, we do have evidence that Fuuta doxxed her.

(x) Storm Pazuzu Should we destroy her?＾＾Just because you’re a middle school girl doesn’t mean you can act like this lmaooooo don’t go easy on her just because she’s cute  QRT Miss Magic I got permission from the store owner, it’s allowed as long as I’m only replicating it for personal use. Storm Pazuzu Yeah, yeah, thanks for the late excuses QRT Storm Pazuzu I think I’ve got all her details now. Based on her previous tweets I’ve worked out her school. The fact she lives so close is hilarious lol Judgement☨Onizuka You’re the worst offender of all

And the fact that this scene transitions

to this one, where Fuuta is reacting to the news of Killcheroy's death, leads me to believe that this doxxing was the final bridge that caused Killcheroy's death. Now, a lot of life-threatening events can result from doxxing, for a while I was even pondering the possibility that Killcheroy was swatted and killed that way. But I think someone in Fuuta's group killed her, because the text in the MV makes it a note to specify that Killcheroy "lives close" to Fuuta and presumably the rest of his friend group since they all go to the same university and live in the same area. I can see people arguing that that would remove a bit of Fuuta's agency and responsibility from his murder, but I don't think I would agree with that. Regardless of what truly happened to Killcheroy after the doxxing, whether she was killed by someone in the group, or swatted (which I think is less likely, but is still a possibility), this presumed culprit was only able to do the things they did because Fuuta gave them the tools to. He gave them a target, Killcheroy, who he demonized and dehumanized into the role of Petulant Witch, and enough details of her location for anyone in the area to find her and enact punishment in the most direct way they can. Fuuta's story, to me anyway, isn't just about the consequences of cyberbullying and cancel culture, but also the cult-mentality of it and how others are influenced into it.

(x) Storm Pazuzu The people in charge here are shit. I could do a much better job

Fuuta did not come out of the womb cancelling people, but due to the injustice he saw around him and his desire to Do Something About It, he was influenced into this cesspool of online toxicity and cancel culture.

Now, it's his turn to influence justice. And boy, did he.

[physalian]

Humanizing Your Characters (And Why You Should)

To humanize a character is not to contort an irredeemable villain into the warped funhouse mirror reflection of a hero in the last 30 seconds to gain “narrative subversion” points. To humanize is not to give said villain a tragic backstory that validates every bad choice they make in attempt to provide nuance where it does not deserve to be.

To humanize a character, villain or otherwise, is to make them flawed. Scuff them up, give them narrative birthmarks and scars and imperfections. Whether it’s your hero, their love interest, the comic relief, the mentor, the villain, the rival, these little narrative details serve to make all your literary babies better.

Why should you humanize your characters?

To do this means to write in details beyond those that service the plot, or the themes, or the motifs, morals, foreshadowing, or story. These might be (and usually are) entirely unimportant in the grand scheme of things. So, if I wrote lengthy diatribes on pacing and why every detail must matter, and character descriptions and thematic importance, why am I now suggesting go free-for-all on the fluff?

Just like real people have quirks and tics and beliefs and pet peeves that serve our no greater purpose, so should fictional people. Your average reader doesn’t have the foggiest idea what literary devices are beyond metaphor, simile foreshadowing, and anecdote, but they can tell when the author is using motif and theme and all the syntactical marvels because it reads that much richer, even if they can’t pinpoint why.

And, for shipping fodder, these tiny little details are what help your audience fall in love with the character. It doesn’t even have to be in a book – Taylor Swift (whether you like her or not) never fills her music with sexual innuendo or going clubbing. She tells stories filled with human details like dancing in the refrigerator light. People can simultaneously relate to these very specific and vivid experiences, and say “not that exactly, but man this reminds me of…” and that’s (part of) the reason her music is so popular.

What kinds of narratives need these details?

All of them. Visual media, audio, written, stage play. Now, to what degree and excess you apply these details depends on your tone, intended audience, and writing style. If your style of writing is introspection heavy, noir character drama, you might go pretty heavy on the character design.

But even if you’re writing a kids book with a scant few paragraphs of setting descriptors and internal narration, or you’re drawing a comic book – if you have characters you want people to care about, do this.

Animators, particularly, are very adept at humanizing non-human characters, because, unlike live acting, every single stroke of the pen is there with intent. They use their own reflections for facial references, record their own movements to draw a dance, and insert little bits of themselves into signature character poses so you know that *that* animator did this one.

How to humanize your characters.

I’m going to break this down into a couple sections: Costume/wardrobe, personality, beliefs/behavior/superstitions, haptics/proxemics/kinesics, and voice. They will all overlap and the sheer variety and possibilities are way too broad for me to capture every facet.

Costumes and Wardrobe

In the film Fellowship of the Ring, there’s a blink-and-you’ll-miss-it moment where, after Boromir is slain by the Uruk-Hai, Aragorn takes Boromir’s Gondorian vambraces to wear in his honor, and in honor of their shared country. He wears them the rest of the trilogy. The editing pays no extra attention to them beyond a split second of Aragorn tightening the straps, it never lingers on them, never reminds you that they’re there, but they kept it in nonetheless. His actor also included a hunting bow that didn't exist in the book because he's a roamer, a ranger, and needs to be able to feed himself, along with a couple other survival tools.

Aragorn wears plenty of other symbolic bits of costume – the light of the Evenstar we see constantly from Arwen, the Lothlorien green cloaks shared by the entire Fellowship, his re-forged sword and eventual full Gondorian regalia, but all those are Epic Movie Moments that serve a thematic purpose.

Taking the vambraces is just a small, otherwise insignificant character moment, a choice made for no other reason than that’s what this character would do. That’s what makes him human, not an archetype.

When you’re writing these details and can’t rely on sneaking them into films, you have to work a little harder to remind your audience that they exist, but not too often. A detail shifts from “human” to “plot point” when it starts to serve a purpose to the themes and story.

Inconsequentiality might be how a character ties, or doesn’t tie their shoelaces, because they just can’t be bothered so they remain permanent knots and tripping hazards. It might be a throw-away line about how they refuse to wear shorts and strictly stick to long pants because they don’t like showing off their legs. It might be perpetually greasy hair from constantly running their fingers through it with stress, or self-soothing. A necklace they fidget with, or a ring, a belt they never bother to replace even though they should, a pair of lucky socks.

Resist the urge to make it more meaningful than “this is just how they are”. If I’m using the untied shoelaces example – in Spiderverse, this became a part of the story’s themes, motifs, and foreshadowing, and doesn’t count. Which isn’t bad! It’s just not what I’m talking about.

Personality

In How to Train Your Dragon, Toothless does not speak. All his personality comes from how he moves, the noises he makes, and the expressions on his face. There’s moments, like in the finale, when his prosthetic has burned off and Hiccup tells him to hold on for a little bit longer, and you can clearly see on his face that he’s deeply uncertain about his ability to do so. It’s almost off the screen, another blink-and-you’ll-miss-it moment. Or the beat of hesitation before he lets Hiccup touch him in the Forbidden Friendship scene. Or the irritated noise he makes when he’s impatiently waiting for Hiccup to stop chatting with his dad because they have a giant dragon to murder. Or when he slaps Hiccup with his ear fin for flying them into a rock spire.

None of those details *needed* to exist to endear you to his character or to serve the scenes they’re in. The scenes would carry on just fine without them. He’s a fictional dragon, yes, but these details make him real.

Other personality tics you could include might be a character who gets frustrated with tedious things very quickly and starts making little inteligible curses under their breath. Or how they giggle when they’re excited and start bouncing on their toes. Maybe they have a tic where they snap their fingers when they’re concentrating, trying to will an idea into existence. Or they stick their tongue out while they work and get embarrassed when another character calls them on it. They roll around in their sleep, steal blankets, drool, leave dishes in the sink or are neurotic with how things must be organized. They have one CD in their car, and actually use that CD player instead of the phone jack or Bluetooth. They sing in the shower, while they cook, or while they do homework, no matter how grating their voice.

They like the smell of new shoes or Sharpies. They hate the texture of suede or velvet or sticky residues. They never pick their socks up. They hate the overhead light in their room and use 50 lamps instead. They hate turning into oncoming traffic or don’t trust their backup camera. They collect Funko Pops and insist there’s always room for more.

And about a million others.

Beliefs, Behaviors, and Superstitions

*If you happen to be writing a story where superstitions have merit, maybe skip this one.* Usually, inevitably, these evolve into character centerpieces and I can’t actually think of one off the top of my head that doesn’t become this beyond the ones we all know. A few comedic examples do come to mind:

The Magic Conch in “Club Spongebob” and the sea-bear-proof dirt circle in “The Camping Episode”

Dean Winchester’s fear and panic-driven actions in “Yellow Fever” and “Sam, Interrupted”

The references to the trolls that steal left-foot socks in How to Train Your Dragon

I’m not a fan of wasting time writing a religious character doing their religious thing when Plot Is Happening, but smaller things are what I’m talking about. Like them wearing a cross/rosary and touching it when they’re nervous. Having a specific off-beat prayer, saying, or expression because they don’t believe in cursing.

The classic ones like black cats, ladders, broken mirrors, salt, sidewalk cracks can all be funny. Athletes have plenty, too, and some of them, particularly in baseball culture, are a bit ridiculous. Not washing socks or uniforms, having a team idol they donate Double Bubble to and also rub their toes. A specific workout routine, diet, team morale dance.

Other things, too. A character who’s afraid to go back downstairs once the lights are off, or fear the basement or the backyard shed. Or they’re really put-off by this old family photo for no reason other than how glassy their eyes look and it’s creepy. They like crystals, dreamcatchers, star signs, tarot, or they absolutely do not under any circumstances.

They believe in all the tried and true ways of predicting the weather like a grizzled old sailor. They believe in ghosts, vampires, werewolves, witches, skinwalkers, doppelgangers, fairies. They talk to the cat statue in their kitchen and named it Fudge Pop. They whisper to the spirit that possessed the fridge so it stops making all that racket, and half the time, it works every time. They wear yellow for good luck or carry a rabbit’s foot. They’re not religious at all but still throw prayers out to whoever’s listening because, you know, just in case. They sit by their window sill and talk to the moon and the stars and pretend like they’re in a music video when they’re driving through the city in the rain.

Haptics, Proxemics, and Kinesics

These are, for all you non-communication and psych majors out there, touch and physical contact, how they move, and how they move around other people.

Behold, your shipping fodder.

Two shining examples of proxemics in action are the famous “close talker” episode of Seinfeld (of which every communication major has been subjected to) and Castiel’s not understanding of personal space (and human chronemic habits) in Supernatural.

These are how a character walks, if they’re flat-footed, clumsy, or tip-toers. If they make a racket or constantly spook the other characters. If they fidget or can’t sit still in a seat for five seconds, if they like to sit backwards or upside down. How they touch themselves, if they do a lot of self-soothing maneuvers (hugging themselves, rubbing their arms, touching their face, drawing their knees up, holding their neck, etc) or if they don’t do any self-soothing at all.

This is how they shake hands, if they dance while they cook or work. It’s how much space they let themselves take up, if they man-spread or keep their limbs in closer. How close they stand to others or how far. If they let themselves be touched at all, or if they always have their skin covered. If they always have their back to a wall,  or are always making sure they know where the nearest exit is. If they make grand gestures when they talk and give directions. If they flinch from pats on the back or raised hands. If they lean away from loud voices or project their own. If they use their height to their advantage when arguing, puff their chest, square their shoulders, put their hands on their hips, or point fingers in accusation.

If they touch other characters as they pass by. If they’re huggers or victims of falling asleep on or near their comrades. If they must sleep facing the door, or with something solid behind them. If they can sleep in the middle of a party wholly uncaring. If they sleepwalk, sleeptalk, migrate across the bed to cuddle whoever’s nearest with no idea they’re doing it.

If they like to be held or like to hold others. If they hate being picked up and slung around or are touch-starved for it. If they like their space and stick to it or are more than happy to share.

Do they walk with grace, head held high and back straight? Or are they hunched over, head hung, watching their feet? Are they meanderers or speed-walkers? Do they cross their arms in front or lace their hands behind them? Do they bow to authority or meet that gaze head on?

I have heard that Prince Zuko, in Last Airbender, is usually drawn sleeping with his bad ear down when he doesn’t feel safe, like on his warship or anywhere in the Fire Nation, or on the road. He’s drawn on his other side once he joins the Gaang. In Dead Man’s Chest, just before Davy Jones drives the Flying Dutchman under the waves, two tentacles curl up and around the brim of his hat to keep it from blowing off in the water.

When they fight, do they attack first, or defend first? Do they touch other characters’ hair? Share makeup, share clothes? Touch their faces with boops or bonks or nuzzles and eskimo kisses? Do they crack their knuckles and necks and knees?

Do they stare in baffled curiosity at all the other characters wholly comfortable in each other's spaces because they can’t, won’t, or don’t see the point in all this nonsense? Do they say they’re happy on the outside, but are betrayed by their body language?

Voice

Whether or not to write an accent is entirely up to you. Books like Their Eyes Were Watching God writes dialogue in a vernacular specific to its characters. Westerners and southerners tend to be written with the southern drawl or dialect, ripe with stereotypical contractions. Be advised, however, that in attempt to write an accent to give your character depth, you could be instead turning off your audience who doesn’t have energy to decipher what they’re saying, or you went and wrote a racist stereotype.

Voice isn’t just accent and dialect, nor is it how it sounds, which falls more solidly under useful character descriptions. Voice for the sake of humanizing your characters concerns how they talk, how they convey their thoughts, and how they become distinct from other characters in dialogue and narration.

If you’re writing a narrative that hops heads and don’t want to include a big banner to indicate who’s talking at any given time, this is where voice matters. It is, I think, the least appreciated of all the possible traits to pay attention to.

First person narrators have the most flexibility here because the audience is zero degrees removed from their first-hand experiences. Their personality comes through sharply in how they describe things and what they pay attention to.

But it’s also in what similes and metaphors they use. I read a book that had an average (allegedly straight) male narrator going off and describing colors with types of flowers, some I had to look up because I just don’t know those off the top of my head. My immediate thought was either this character is a poorly written gay, or he’s a florist. Neither (allegedly), the writer was just being too specific.

Do they have crutch words they use? like, um, actually, so…, uh

Or repeat exclamations specific to them? yikes, yowzers, jeepers, jinkies, zoinks, balls, beans, d’oh!

Or idioms they’re fond of? Like a bat out of hell. Snowball’s chance.

Do they stutter when they’re nervous? Do they lose their train of thought and bounce around, losing other characters in the process? Do they have a non-Christian god they pray to and say something other than “thank God”? Are they from another country, culture, time period, realm, or planet with their own gods, beliefs, and idioms?

When they describe settings, how flowery is the language? Would this grizzled war hero use flowery language? How would he or she describe the color pink, versus a PTA mom? Do they use only a generic “blue, green, red” or do they really pay attention with “aquamarine, teal, emerald, viridian, vermillion, rose, ruby”?

How do this character’s hobbies affect how well they can describe dance moves, painting styles, car models, music genres?

This mostly matters when you’re head-hopping and the voice of the narrator serves to be more distinct, otherwise, what’s the point of head-hopping? Just use third-person omniscient.

If you really want to go wild, give a specific narrator unique syntax. Maybe one character is the ghost of Oscar Wild with never-ending run-on sentences. Just be sure to not go too overboard and compromise the integrity of your story.

In the book A Lesson Before Dying, a somewhat illiterate, underprivileged and undereducated minor has been given a mentor, a teacher, before they face the death penalty. At the end of the book, you read all of the letters they wrote to their teacher. There’s misspellings everywhere, almost no punctuation, and long, rambling sentences.

It’s heartbreaking. The subject matter is heavy and horrible, yes, but it’s the choice to write with such poor English that has a much bigger impact than perfect MLA format.

How to implement these details

Most of these, in the written medium, need only show up once or twice before your audience notices and wonders why they’re there. Most fall squarely under character design, which falls under exposition, and should follow all the exposition guidelines.

These details exist to be random and fluffy, but they can’t exist randomly within the narrative. If you want to have your character be superstitious, pick a relevant time to include that superstition.

Others, like ongoing speech habits or movements, still don’t overuse, especially if they’re unique. A character might like to sit backwards in a chair, but if you mention that they’re doing it every single time they sit down, your audience will wonder what’s so important and if the character is unwell.

And, of course, you can let these traits become thematically important, like a superstition being central to their personality or backstory or motivation. These all serve the same purpose of making your character feel like a real person instead of just a “character”.

Just think about tossing in a few random details every now and then and see what happens. One tiny sentence can take a background character and make them candidates for the eventual fandom’s fan favorite. Details like these turn your work from “This a story, and these are the characters who tell it” into “these are my characters, and this is their story.”

[sundrop-writes]

From Your Lips

Jennifer Jareau x Gender Neutral Reader

Summary:

After JJ is attacked by dogs on the Hankle farm, everyone else is busy worrying about Reid’s missing status, but you take the time to check on JJ and try your best to calm her flustered mind.

Jennifer Jareau x Gender Neutral Reader. Established Relationship. Smut, Hurt and Comfort. Set during Season 2, Episode 15.

Word Count: 3,000

Criminal Minds Masterlist | AO3 Link

THIS IS A RE-POST. This is a fic from my old blog (a blog that was shadowbanned, forcing me to move). This fic is not stolen, it is completely mine, and I am just re-posting it to help people find my new blog, and to make my masterlist complete when I post new fics for this fandom.

Detailed warnings and author’s notes below the cut.

Warnings: this is set during Season 2, Episode 15 (“Revelations”); warnings for themes/plot points from the canon episode - rabid dogs, mentions of JJ being attacked by dogs, mentions of dogs eating/killing a woman (a random woman who is not named here), animal death - mentions of JJ having to shoot the dogs (killing them) in self defence, gun violence, mentions of Reid being kidnapped (no details of that are discussed in this fic), religious themes (in this fic, religious motifs are used to encourage sexual behaviour - spoken about as though God made us to have sex with each other, not to discourage it as the Christian religion does); symptoms of shock/PTSD - JJ waves a gun in the reader’s face because she’s scared; general emotional angst, mentions of JJ blaming herself for Reid being kidnapped; mentions of blood (from JJ’s injuries); the reader is completely gender neutral - there are no identifying pronouns used for the reader (other than the ‘you’ I generally use for fics) and the reader’s genitals are not described in any specific way; use of Y/N, mentions of a pre-established sexual relationship between JJ and the reader - it could be a friends with benefits situation, it could be secret lovers, it’s never quite specified; JJ is more submissive and the reader is more dominant, but there is no outright dom/sub relationship; the reader calls JJ 'Jay’, 'sweet girl’, 'sweets’, and 'good girl’; using sex to distract from one’s emotional problems; (technically) semi-public sex because they’re in the bathroom where anyone could walk in on them (but they’re not caught by anyone); kissing/heated making-out; the reader fingers JJ; neck biting/marking (JJ receiving); hair-pulling(JJ receiving); praise kink; clothed/mostly clothed sex; I believe that’s everything.

A/N: This was primarily inspired by the picture of JJ on the right. I saw it and I was like 'damn she fine’ but I knew it was from Revelations so I was like 'damn she fine but I know she’s havin a real bad time rn’ - so I did the thing I do best: smut based off emotional trauma. This is basically the scene where Emily comes to talk to her in the bathroom, but replacing Emily with a reader character and then they fuck. Also the title comes from the phrase 'from your lips to God’s ears’ because religious imagery. I had so much fun with this lmao. I hope you enjoy it!

...

You couldn’t help but to feel bad for JJ. 

You knew that everyone was concerned about Reid - rightfully so. Worried about where he was, if he was alive or not. But you were the type of person who preferred to focus on the things you could control - the things right in front of you. JJ was someone you had known for long enough that you knew how to comfort her, and you pushed the ‘what-ifs’ about Reid to the back of your mind in favor of focusing on her. 

You knew that she was intensely shaken up by the entire situation. Not only the fact that she had been nearly mauled by a couple of dogs, pieces of her skin torn up and marred. But it was the fact that the team knew for certain that those same dogs had ripped a woman apart only a few days ago. You knew that JJ hated being forced to shoot those dogs. She was someone with a tender heart. You knew that all of this was affecting her. 

On top of all that, she was likely blaming herself for Reid being put in danger, even though there was nothing she could have done to save him. 

While everyone was gathered in the main room, looking through Hankle’s things for any hint as to where he had taken Reid, you moved toward the back of the house, knowing that JJ had gone to the bathroom to ‘freshen up’. You knew her well enough to easily pick up that it was code for her needing a moment to escape from everyone else in some attempt to calm down. 

The door to the bathroom was open just a crack, so you took a peek, not wanting to startle her by knocking. 

You could see her hunched over the sink, stress knit through her muscles as she gripped the sides of the porcelain. You felt a twinge of guilt flow through you as the thought occurred to you - even in such a state of duress, she was so beautiful. Painted in agony or pleasure, she was gorgeous.

She looked almost angelic like this, and you hated to believe that torture looked good on someone like her. (Perhaps it was the fact that you had seen her ‘tortured’ before - sweaty and begging, half on the brink of madness as she pleaded to get your tongue between her thighs once again.) 

You found your eyes admiring the sliver of skin that peeked out between her white button up and the low waist of her simple black dress pants. You found yourself wanting to actually smack yourself as a form of scolding when you couldn’t help but to admire the gentle dip of her waist and the curve of her ass. 

You felt sinful for thinking such carnal thoughts, even when she was so wrought with stress, clearly so wrecked from the night’s events. 

Perhaps it was the fact that you had come so close to losing her, and now that urge to possess her bubbled closer to the surface than ever. But you pushed it down as you gently nudged open the bathroom door. 

When the creak of the hinges echoed through the room, you certainly did not expect to be greeted with a gun in your face. 

JJ had whipped around much faster than you expected, and pointed her Bureau issued glock right at you. Clearly, she expected you to be a threat. The look in her eyes was positively wild - like a frightened animal being cornered by a fierce predator. Which of course, was something that had happened to her only a few hours before. 

“JJ.” You called out her name, keeping your voice firm, trying to ground her in this reality. 

Her eyes continued darting around, glancing into the hallway behind you as though she was expecting another rabid dog to suddenly appear there. 

“JJ, it’s just me.” You told her, reaching up and gently easing the gun down. 

She was still incredibly tense, so you reached up with your other hand and massaged along the inner part of her wrist with two fingers, getting her muscles to relax enough that she let go of the gun, dropping it into your hand. You made sure the safety was turned on before you placed the gun on the closed toilet lid. Then you turned and closed the bathroom door behind you, sealing the two of you into a quiet bubble to hopefully give her time to calm down. 

JJ let out a harsh breath - a sound that was mostly a sob strangled inside of her chest. She ran her hands through her already wild hair, tears gathering in her eyes once again. She turned to face the wall and you instinctively reached out, running your hands gently across her shoulders. 

One of your hands stayed as a comforting grip on her upper arm and the other rubbed an open palm up and down her back. You hoped you could soothe her in some way. You truly hated how she quivered under your touch, how you could feel those sobs trapped inside of her lungs; the echoes of cries she refused to release because she felt that she needed to put up a strong front. 

“It’s so stupid.” JJ complained. 

Her voice was wet with the unreleased tears as she held her head in her hands, still facing away from you. Her long blonde hair easily created a curtain around her face so that couldn’t properly see her. 

“I grew up with dogs! I had dogs! I love dogs, I would never-” 

“It’s not your fault, Jay.” You pressed, using your affectionate nickname for her. “When people train animals to attack like that, there’s nothing you can do.” You leaned in, gently resting your cheek on her shoulder, assuring her that you were there before you whispered the next words. “You had to shoot them.” 

JJ let out a harsh whimper, clearly struggling even more now with holding back her sobs. You wanted to tell her that it would be okay to cry, but you knew that it would be useless. She was raised as the strong brick wall of a daughter in her family, and she was not used to showing weakness - especially not used to crying. 

“I should have stayed with Spencer.” She announced quietly. “I shouldn’t have let him go off without backup. I should have-” 

“Jay, that’s not your fault either.” You told her firmly, cutting off whatever self blaming rant she was about to go on. 

She muddled in a bitter silence, her arms shaking lightly as she rocked her head back and forth - shaking her head in the negative in response to what you had said. 

She had to believe it was her fault. If Spencer didn’t come back from this, her self blame would only be worse. 

“JJ, look at me.” You demanded gently. She didn’t move, and you reached over and put a hand on her wrist, attempting to pull her hands away from her face. “JJ, please look at me.” 

When your voice warbled out the plea, she finally wavered to your touch, and let you turn her around to face you. You caught a glimpse of the bright red stains soaked into the sleeve of her shirt, splattered up across her front, and you tried to ignore the sickly curl in your gut because of it. 

You had the urge to lift her bandaged forearm up and lay a few kisses on it, like you would have kissed a child’s scraped knee - more so for the emotional comfort than any possible health benefits. But you knew that would have been more for you than for her. 

So instead, you reached out, brushing past that tangled curtain of blonde to gently cup her face with both your hands. You handled her with an intensely delicate touch as you tilted her gaze up from the ground. 

A few tears had managed to escape, and you brushed them away with your thumbs. JJ sniffled quietly, sounding quite small and defeated as she did so. For the first time that night, she felt a slight calm wash over her as the comfort of your presence truly settled in. 

She was eternally grateful to have you there with her. She reached up and gripped onto your wrists, keeping you anchored there. She skimmed her thumbs along the top of your hands, enjoying the smooth feeling of your skin as you stared at her broken face - a tearful angel that made your heart ache for her. 

You were called by the higher purpose to worship that angel - to turn her pain into pleasure.

Before you could stop yourself, you found yourself drifting toward her, leaning in and planting your lips on hers. It certainly wasn’t the first time you had kissed JJ, but it most definitely wasn’t the most opportune. 

She easily returned the kiss, pressing her mouth into yours with a soft neediness. It was when she let out a small moan, the sound vibrating against your lips that you felt that sting of guilty panging at you once again. The fact that lustful heat and your grief for her were colliding so heavily inside of you made you feel like just as much of a monster as the man who had taken Reid and sicked dogs on her. 

You pulled away from the kiss sharply, putting only an inch of distance between the two of you, not letting go of her cheeks. She didn’t let go of the hold she had on your wrists either - you wanted to keep her assured of your presence because she did need the comfort during this hard time. 

“I’m sorry-” You gasped out an apology for kissing her so inappropriately, but JJ, ever the woman to know exactly what she wanted, didn’t let you finish. 

“Don’t apologize.” She ordered sharply. “I need you.” 

She kept her eyes closed, her brows tight with anguish as you gently laid your forehead against hers. 

You couldn’t help but to question it. 

“Now, Jay?” You asked quietly. “Right now?” 

“I need to forget.” She whispered, her words so timid that her breath barely ghosted your lips, even with you so close to her. 

Your heart ached at her tone, and when you didn’t reply or didn’t move to kiss her again, she continued. 

“Every time I close my eyes, I just see… I just see those eyes glowing in the dark. I just hear growling.” She admitted, a few more tears escaping that you rushed to thumb away. “I need to forget it. Please, help me forget.” 

“Anything for you, sweets.” You whispered, using another affectionate nickname for her. 

You leaned in for another kiss, firmer this time. 

You let your instincts take over then - all the lust you had been pushing down rushing to the surface and servicing you well. If she needed to forget, then you would certainly make her. You would make her feel so good that all she would be able to focus on would be the hot blood thrumming through her ears. The medicine that God intended. 

You pushed her up against the edge of the sink, keeping one hand on the side of her face and moving the other to her hip. You skimmed your fingers along that tempting strip of skin right above the waistband of her low-rise pants, causing her to shiver at the teasing touch touch. 

In a moment, your forceful dominance, the way you handled her easily had her moaning into your mouth again, much louder this time. You moved the hand on her cheek around to comb your fingers through her hair. You dug your knuckles in, setting a powerful grip at the base of her skull that held her exactly where you wanted her. It was a tender pain that had her gasping for you as you shoved your tongue past her lips, now on a very determined mission to fuck every last dreadful thought out of her head. 

Your fingertips continued to dance along the waistband of her pants, gently teasing her skin in a great contrast to the forceful movement of your lips. Every single movement was cleverly calculated to make her mind numb. Right down to the way you tugged at her hair and yanked on her bottom lip with your teeth as you pulled away from the kiss, leaving her panting wildly. 

Her eyes were closed much more gently this time, her eyelids fluttering lightly, and you hoped that you had already reduced those nightmarish visions to dust as she relaxed into your touch, buttery under your fingers as always. 

“Thank you,” JJ breathed out, her voice sweet as ever as you bit a path down her neck. You wanted to leave noticeable marks that would stand out among the scratches and bumps she had acquired that night. 

You truly didn’t care if anyone else on the team spotted one of those marks and knew what it was. You were paying tribute to her, leaving your own kind of thank you on her neck as you sucked the soft skin between your teeth. Your fingers finally found the button of her pants and easily popped it open blind, pulling the zipper down in a moment. Without a second of hesitation, you shoved your fingers past the barrier of her simple cotton underwear. 

With one last sharp bite, you moved your head back up from the crevice of her neck then, pressing your forehead against hers once again. You kept that tight grip on the back of her hair, a small hinge of pain that grounded her, that assured her you were there. 

Your fingers easily found her clit, and you made the bold choice to begin rubbing her without wetting your fingers first. You knew that it would be a pleasurable sting that would certainly push any other thoughts from her mind. 

“Oh, fuck, Y/N-” 

JJ gasped, arching her hips away from the edge of the sink to meet your touch, her lips falling open beautifully and her eyes still so gently fallen shut. She looked so fucking angelic like this. 

More tears kissed her lashes as you pressed harder on her clit, moving your fingers in hard, slow circles. You could assure yourself that these were tears from pleasure, not from anguish or pain. You had rewritten the stony hurt inside her muscles, rethreading the cords tight with the need for an orgasm where they were previously pulled tight with stress. 

“Please!” She begged so beautifully when she wanted to. 

It felt like its own unique reward to know that you were one of the only people that all powerful Jennifer Jareau ever begged to. 

You felt her becoming wetter around your fingers, flooding her underwear in response to your simple touches, and there was only one thing you wanted before you would make her cum. 

“Look at me.” You told her, the words quiet on your lips but so utterly full of confident power. 

JJ whimpered in response, not yet opening her eyes, and you stopped the movement of your hand altogether. She let out a very displeased sound and you began slowly pulling back, threatening to leave her hanging (which was a very empty threat in this context - not that she had to know that). It was something that immediately caused her eyes to shoot open as she reached out and grabbed your wrist, holding you in place. She canted her hips up, desperately trying to get your touch back where she needed you most. 

“Please,” She pleaded again, all hot breath and desperation - all for you. 

Staring into those blue eyes, lit with a desperate blaze of lust as she panted out humid breaths across your chin, you were only reminded of the fact that everything you did was for her. Everything in your life was a worship in her name, no act too small to dedicate to such a perfect Goddess. 

“Good girl.” 

You praised her, knowing it was exactly what she needed as you angled your fingers back between her wet folds. You gathered up that wetness, slicking up your fingers before you placed your determined touch right on her throbbing clit. This time, rather than being slow and calculated, you were quick and determined. You made speedy movements that you knew would draw her to the quick finish that would perfectly empty her mind. 

“Always so good for me, Jay.” 

“Thank you, oh! Oh, fuck!” 

She started singing your praises in her own way as your touches sped up, the sound of her wetness just barely muffled by the fabric of her pants and underwear, becoming delightfully sloppy under your fingers. With the way she was unconsciously canting her hips toward you, humping against your hand, you knew she was so close. 

You leaned in, and while looking her in the eyes the whole time, you bit down on her bottom lip and roughly pulled it out, letting the skin snap back in a rough possession of her as she panted and moaned the whole time. 

“Cum for me.” You demanded in a rough growl, finding yourself comparable to one of those rabid dogs. Though you were consuming her in a way that renewed her life, rather than trying to end it. “Cum for me, sweet girl.” 

“Fuck!” JJ cried out, an epic prayer as she spiraled into the all consuming pleasure of her orgasm. 

Though you wanted nothing more than to listen to those beautiful sounds, you had to silence her most pitiful orgasmic cries by clasping your lips over hers. You didn’t want the others hearing - you wanted to keep those sounds all to yourself. You muffled her noises with a tight suction of your mouth as you continued to work her right through the orgasm, keeping a tight grip on her hair the whole time to show her exactly who she belonged to. 

With the crucifix mounted on the bathroom wall, the knowledge of Hankle’s God staring right at you as you did all this - you couldn’t find an ounce of shame inside you. Not now. You could find no better way to honor God than to lovingly dedicate your life to the embodiment of his best work.

...

A/N: Please keep in mind - this is a oneshot, so there will not be a continuation of it or a sequel to it. If you are going to comment, please comment about the body of work that has been written. I have not written any other fics about JJ at the time of this being posted, but if you like my writing style, definitely feel free to check out my Criminal Minds Masterlist or my other Masterlists.

[jchorsky]

Main theme of ISAT music analysis yaaayyyy yippieeee

big thanks to @ asterythm on discord for the music sheets i am forever endebted to you. here's their post with their stuff! GO GIVE THEM SOME LOVE DICTATION IS HORRIFIC. https://www.tumblr.com/starsalive/755820156323774464/isat-title-theme-piano-sheet-music-for-solo [somebody who actually knows what they're doing @cocoisindecisive responded with corrections, so the edits are gonna be in these brackets!! i couldn't leave this unedited because it felt wrong] Since they've only done the main theme, i'm just gonna pick apart that. Big fuckin text post + absolute raving and ranting!! please tell me there is a functional line break here PLEA

ISAT's OST is very economical in that it constantly reuses one central motif. I want to go on a very brief tangent to cover this motif because I feel like that's worth doing. ---What the fuck is a motif?--- i want you to repeat something with me, okay? deep breaths. A MOTIF AND A LIETMOTIF ARE NOT THE SAME. A MOTIF AND A LIETMOTIF ARE NOT THE SAME !!! PLEASE DONT USE THEM INTERCHANGEABLY MY HEART HURTS EVERY TIME !!!!!! thank you. so, a motif is a little piece of music information - usually a melody, but not always, i think? - that is reused and changed. It doesn't represent anything, really. That's the difference between it and a lietmotif - a lietmotif represents a person place or thing, and a motif just doesn't. ---Great, So what's the motif?--- it has two parts, this first part:

(this is repeated with the last 3 notes moved down a tone.) *[this is a LIE how did i think this, i literally just had to LOOK]*

this is the second part:

(which has the last part change a little bit when repeated in order to resolve.) There's some nice rythmn made with the dotted crotchet and the quaver, but nothing crazy like syncopation. It's mostly conjunct, but there's one or two little leaps in the melody. It's a fairly basic melody -- perfect for changing and adjusting to the needs of each piece.

this is used in every single track in the game! I'm not kidding, it's in every single one, try and listen for it! it's a very smart use of a motif. Onto the actual piece of music!

[to quote directly - "you dont mention that the "second part" of the motif is very similar to the first statement but with it's first measure having it's intervals being inverted (and the final eighth note keeping the pitch of the dotted quarter note). or that the second measure is again similar just that the missing C from the first measure is now the downbeat of this measure, and the B that used to be the downbeat is now and 8th note preceding the new downbeat. (plus the first statement of this second iteration changing the final three pitches so that its a stepwise walkdown from G to E)" - i knew something was different, just not what exactly, thank you for correcting me] --Main Theme--

It uses the motif as it's melody (see above), and while I won't cover that again, I will cover the harmony! The instruments are fairly simple, there's a chiptune piano and some kind of strings (?) helping with the harmony in the background. The two play together throughout.

While the key will obviously change between pieces and songs, harmony is a very important and sneaky way to hide meaning in a piece. Harmonies are also very hard and hurt my brain, so if i'm wrong feel free to tell me. (Also i hate reading bass clef)

[Dsus -> Esus4 -> G (kindanotreally) -> A sus4 -> A // ii -> iii -> V -> VI] A lot of suspended chords - suspended chords don't really hold on major or minor, so this leaves it feeling a bit unstable + airy. But, each suspended chord eventually resolves onto the major of each chord, so it still feels major. The thing that decides if a chord is major or minor is generally the second note in that chord - 3 semitones away from the first note on a major chord, and 2 on a minor chord. Suspended chords have the second note be either 1 (BUT IT'S NAMED SUS2????) or 4 semitones away (sus2 / sus4). This lets it dance around either, and it keeps tension until it resolves into either one. [ to quote directly again - "and then the chord progression you outline seems like gobbeldygook to me. measure 1's downbeat is not a Dsus chord, it's pretty clearly a power chord, and it leads into an F not an Esus4. measure 2 is mostly fine though, only think is that it is definitelly a G chord! if you wanted to be pedantic you could say it's a Gomit5 but i really wouldnt bother specifiying that and whoops your roman numerals are wrong! the big issue is that this 2 bar phrase DOES contain a tonic chord. in fact its the first of the measure! this is pretty clearly in D dorian, but i think you've confused it for C major since they share a key signature. but nope! given that correction and the ones above the roman numerals looks more like a [I -> III -> IV -> V]." YEAH IM REALLY BAD AT THIS I DON'T HAVE ANYTHING ELSE TO SAY 😭😭]

[Dsus -> F -> G -> Gsus -> Asus4 (kind of???????) // ii -> IV -> V -> ii -> ii] this little countermelody continues (i'm not sure if it's because i'm looking at the piano version and OOPS it's too late now, or because there is just a countermelody. what am i saying this would be countermelody either way????) and layers quavers over a crochet and minim harmony. The harmony itself mirrors the same as before - loads of sus chords with occasional, brief resolutions to major chords. But, what's weird is that I haven't seen a single I / Tonic chord yet? there's not a single chord that's just the first note of the key. That's kinda weird - most pieces even start with that. There's something there - technically, we're not at the start of the journey, we're at the very end of it, the very end of this year-long journey that all of the character's have been taking. [ corrections: "closer with measures 3-4 its just that measure 4 is an an Asus4 to A and that adjusting for you being in the wrong key the chord progression is still that same [I -> III -> IV -> V]" ]

[Esus -> Gsus2 -> C -> Esus -> Gsus2 -> C // iii -> V -> I -> iii -> V -> I] WHOOPS I LIED. there's the tonic chord! there's C! There's a good reason for a tonic to appear here, though - we have a perfect cadence, and that is very interesting. Those roman numerals are about the placement of a chord within a key. kind of - it's important for stuff. A cadence is the harmonic ending to a phrase - in this case, a perfect cadence, from V -> I. This sounds "complete" to our ears, it feels like the piece could end there. what's weird is that it repeats twice, and keeps going on the second one. Furthermore, the melodic phrase is ending here, the motif is ending. This would be a far more "complete" ending if it stopped here. But it doesn't.

It changes from block chords to ostinatos (MIGHT BE THE WRONG NAME.), but each of these semi quaver / demi semi quaver progressions return back to one note while playing out a countermelody at the same time, still allowing for some kind of harmony. This change also builds up the pace in the piece, letting it build to the ending - this is the only thing that really drives the piece beyond this point, this building rythmn. Even then, it stops on this little crotchet chord! And then keeps going, into what is probably the most interesting part. [corrections - "a couple of things wrong with this one. first of all i analyzed the chords for measures 5-8 as [Fmaj7 -> Gadd9 -> Amin7 -> Cmaj7-> Fmaj7 -> Gadd9 -> E -> A] with roman numerals: [III-> IV -> V -> V/III -> III -> IV -> V/V -> V]. no PAC here! also, even if this was actually in the key of C major there is no V -> I in the bass and none of the soprano movement need to be an actual PAC. just a bunch of movements by fifth :]. you say the rythym is the only thing pushing the piece forward, and while it sure is definitely a fun effect that's building some nice tension the constant movement by fifth's is definitely also contributing to the tone. be wary of blaming an entire piece's success on one element!"]

[Asus -> Gsus -> G -> Esus4 // VI -> V -> V -> iii] In terms of intrumentation, something weird happens here - the chiptune piano falls away into a far more real-sounding one, while the strings stay the same within this section. in terms of harmony, again! tons of suspended chords, with one or two resolutions that keeps the piece feeling major. This cadence is. Weird. [V -> iii] isn't really a resolution at all, and as far as i could find it doesn't have a formal name the way some others do. some parts resolve (the E notes) but others don't, (the A notes), so it ends up feeling only half-satisfying. This makes sense - the music is gonna loop, because this is game music, so it does make sense to have it not resolve. But. It resolved perfectly eariler - we did have a perfect cadence. So then, why break into this tiny little two bar ending, that doesn't even resolve? That can smoothly go back onto itself, and also back into the beginning of the piece? This part is quieter, the demi semi quavers have rested back into minims, and it feels a little bit like an anti-climax to the build from earlier - it doesn't feel like a dramatic ending that the build was maybe working towards, more like a quiet moment. Despite that, the texture in this two bar section never thins - the piano is never left behind by the strings - the strings don't get quieter either, just the piano. Why is this two bar section here, then? Why end on this, and not on the part before? Two bars, huh. What a strange number to choose. [corrections - "chord progession is: [A -> G -> E -> A]. i'd argue that the previous secondary dominant to the A tonicized the A, placing us in the key of the domimant (A minor). so because of that i''d say the roman numerals are [I -> VII -> V -> I].

maybe pedantic but i dont think its actually that weird or bizzare of a choice for the chiptune melody to be replaced by an acoustic(-sounding) piano. the isat soundtrack consistently uses both acoustic and virtual instruments! this is just establishing that and letting the listener know to expect more of this specific element of the soundtrack. as title themes tend to do!

and the piece is quite resolved by the end actually. if i believed what you believed about the sheet music and never listened to the track i could see how i could think that, but giving the track a listen and using your ear to sus out details reveals how resolved it actually is!" thank you for the corrections im real bad at this]

[hazshit-hotel-hater]

Velvette Redesign! (2/3)

Prev: Vox Redesign (1/3)

Im madly in love with her, I am so happy with her design🩷🩷

I cannot take all the credit for the outfit though, my friend helped me pick out the style and accessories, I just did her hair and picked the colours! It was really hard to actually settle on one thing to show Velvette, I never draw her in the same outfit or with the same hair, so picking a singular outfit and hairstyle as her main was a big commitment, felt like I was buying my first house

Anyone that just flattens and straightens Velvette’s hair is seriously missing out on so many fun hairstyles I have literally never drawn her with the same hairstyle ever. Textured hair is so fun I will die before I stop playing with her hair!! She is a fashion doll it’s the whole point !!!!

I wanted her to be a sharper contrast to Vox’s harsh-ish symmetry he has going on. The Vee’s are still not good people in this rewrite obviously. They’re not as dogshit as they are in the show but they still actively do terrible things. Velvette still verbally abuses her employees and enjoys seeing other people’s downfall or seeing them scared and under her control; she just doesn’t make a fucking date rape drug. I still have no idea why Vivzie is so set on making all of them connected to rape in some way it’s fucking disgusting to me. Anyway, I want Velvette to look very fun and unassuming in comparison to the other two where you can kind of tell there’s something up with both of them. Vox is very stern looking and Valentino is… like that. You’ll see. She is arguably the most approachable out of the Vee’s but is still just as manipulative as the other two when she wants to be.

Her hair is very cute and the theme of hearts around her style unintentionally makes Vox the only one out of them that doesn’t have a heart motif. I mean— unless you count his medical alert bracelet, but that’s not really… a fashion statement.

I love studded belts and all that and purses and bedazzled jeans and platforms so this design really has it all for me. The playboy bunny thing is supposed to be painted on btw, she’s not just super tanned I promise. The same ideas for her colours with her clothes still remain from my last post about Velvettes design.

Onto her backstory! This was all graciously written by my friend so please give him a big thank you for it or I probably would’ve died🩷

March 2nd 1974, Velvette grew up in a mostly stable household. She went to school, got what she wanted, made friends, grew up, passed her GCSE’s and so forth. She did a course in design and beauty, and eventually made her way up to be a fashion designer. That being said, Velvette was always someone with an attitude. She didn't enjoy the amount of fights she got in, but it naturally occurred. Her grades were fairly good enough though— B’s and C’s. Each day of her life she enjoyed what she did, and heavily adored the attention she got for her beauty. Her creative side was what she preferred, much rather than showing off her looks. She was deemed to be the best employee and got multiple raises in payment as she worked her way up the power—pyramid in the company she worked for.

But that being said, what she received was unfair to other workers. Nepotism was a huge part of her promotions and rise in payment. Her friend who she knew was the owner, and that only paved routes for short-cuts. As long as she was able to keep everybody hush-quiet, she’d always have her way. She always would benefit, and she’d always be the best.

Velvette was aware of her misdeeds. At one point, illegal means crossed her mind, like stealing other people’s work and accusing them of serious things that got them fired. The owner would never bat an eye, and everyone was conscious of how nobody was truly safe. It was like her friend was obsessed with her to be the one who came out victorious, and by even the slightest chance she was in any way suspicious, it was blatantly ignored. There were also reports of people dying if they spoke out about the company, however those were only confirmed as rumours.

Never did she plan to stop. She’d come so far, and had become successful in what she dreamed of. Her care amounted to nothing if there was something to gain. All throughout her life, she was a troubled person with a great intelligence— which is why she was able to exploit so many people and get away with it. People called her the ‘vile jasmine’ of the world. People were afraid to step into work and see her, because one day, they were certain they’d be her next target.

July 25th 2005. Her final few minutes of her life. Velvette was a fashion designer, and could sew pretty well. It’s not like she had TERRIBLE ideas, she just took pleasure in stealing and having other’s wince at their misfortune. But alas, Velvette was known for her interest in dolls. She could design outfits for them, without having an audience to watch and judge. A display stood behind her desk of many different dolls, and she had just ordered some materials that were waiting for her to come pick them up. It was at that moment, when she closed her front door, that fate was sealed.

A serial killer had been roaming the streets of her city. No one knew who, or where, but he had definitely not left. With flip phones being the new way to communicate easier, Velvette had been texting with the buyer and talking about the perfect dates to meet up. As she was waiting in her room that Monday, the confirmation to go had excited her. She drove to the destination, and knocked on the door with a falsified smile. If only she had stepped a couple steps back after knocking— perhaps she would’ve survived.

Appearing in hell was overwhelming, as much as it was satisfying. She was dead, yet somehow alive. As she looked at her hands, she discovered skin was not present. Pure silicone… and tattered clothing. From there, she decided she’d start again… and work her way up within four years until she was noticed and recruited by two other sinners whose name coincidentally began with the letter V.

She met Vox and Valentino in 2009, and from there, they grouped together and planned to dominate hell itself.

Key facts

Velvette is biologically still 31, however if you were to count hell, she’d be 49.

She hasn't gone through any abuse, she is no victim, she’s just a morally wrong character.

Does not care for her employees health or anything, and will only be nice if she is able to benefit.

Could be considered a sadist in some form.

HURRAY!!!!! This is the last enjoyable one of the Vee’s you’re getting considering he’s next. Also the last guaranteed redesign at the moment! I love joint efforts like this and I hope you all can enjoy it as well🩷

[thesublemon]

best picture

For the first time in a long time, I watched all of the movies nominated for Best Picture at the Oscars this year. Partly on a whim, partly for a piece I’ve been working on for a while about what is going wrong in contemporary artmarking. I cannot say that the experience made me feel any better or worse about contemporary movies than I already felt, which was pretty bad. But sometimes to write about a hot stove, you gotta put your hand on one. So. The nominees for coldest stove are:

Poor Things. Did not like enough to finish. I always want to like something that is making an effort at originality, strangeness, or style. Unfortunately, the execution of those things in this movie felt somehow dull and thin. Hard to explain how. Maybe the movie’s motif of things mashed together (baby-woman, duck-dog, etc) is representative. People have been mashing things together since griffins, medleys, Avatar the Last Airbender’s animals, Nickelodeon’s Catdog, etc. Thing + thing is elementary-level weird. And while there’s nothing wrong with a simple, or well-worn premise, there is a greater burden on an artist to do something interesting with it, if they go that route. And Poor Things does not. Its themes are obvious and belabored (the difficulty of self-actualization in a world that violently infantilizes you) and do not elevate the premise. There’s a fine line between the archetypal and the hackish, and this movie falls on the wrong side of it. It made me miss Crimes of the Future (2022), a recent Cronenberg that was authentically original and strange, with the execution to match.

Anatomy of a Fall. Solid, but not stunning. The baseline level of what a ‘good’ movie should be. It was written coherently and economically, despite its length. It told a story that drew you along. I wanted to know what happened, which is the least you can ask from storytelling. It had some compelling scenes that required a command of character and drama to write—particularly the big argument scene. The cinematography was not interesting, but it was not annoying either. It did its job. This was not, however, a transcendent movie.

Oppenheimer. Did not like enough to finish. But later forced myself to, just so no one could accuse me of not knowing what I was talking about when I said I disliked it. I felt like I was being pranked. The Marvel idea of what a prestige biopic should be. Like Poor Things, it telegraphed its artsiness and themes and has raked in accolades for its trouble. But obviousness is not the same as goodness and this movie is not good. The imagery is painfully literal. A character mentions something? Cut to a shot of it! No irony or nuance added by such images—just the artistry of a book report. The dialogue pathologically tells instead of shows. It constantly, cutely references things you might have heard of, the kind of desperate audience fellation you see in soulless franchise movies. Which is a particularly jarring choice given the movie’s subject matter. ‘Why didn’t you get Einstein for the Manhattan project’ Strauss asks, as if he’s saying ‘Why didn’t you get Superman for the Avengers?’ If any of this referentiality was an attempt to say something about mythologization, it failed—badly. The movie is stuffed with famous and talented actors, but it might as well not have been, given how fake every word out of their mouths sounded. Every scene felt like it had been written to sound good in a trailer, rather than to tell a damn story. All climax and no cattle.

Barbie. Did not like enough to finish. It had slightly more solidity in its execution than I was afraid it would have, so I will give it that. If people want this to be their entertainment I will let them have it. But if they want this to be their high cinema I will have to kill myself. Barbie being on this list reminds me of the midcentury decades of annual movie musical nominations for Best Picture. Sometimes deservingly. Other times, less so. The Music Man is great, but it’s not better than 8 1/2  or The Great Escape, neither of which were nominated in 1963. Musicals tend to appeal to more popular emotions, which ticket-buyers and award-givers tend to like, and critics tend to dislike. I remember how much Pauline Kael and Joan Didion hated The Sound of Music (which won in 1966), and have to ask myself if in twenty years I’ll think of my reaction to Barbie the same way that I think of those reviews: justified, but perhaps beside the point of other merits. Thing is. Say what you want about musicals, but that genre was alive back then. It was vital. Bursting with creativity. For all Kael’s bile, even she acknowledged that The Sound of Music was “well done for what it is.” [1] Contemporary cinema lacks such vitality, and Barbie is laden with symptoms of the malaise. It repeatedly falls back on references to past aesthetic successes (2001: A Space Odyssey, Singin’ in the Rain, etc) in order to have aesthetic heft. It has a car commercial in the middle. It’s about a toy from 60 years ago and politics from 10 years ago. It tries to wring some energy and meaning from all of that but not enough to cover the stench of death. I’d prefer an old musical any day.

American Fiction. Was okay. It tried to be clever about politics, but ended up being clomping about politics. At the end of the day, it just wasn’t any more interesting than any other ‘intellectual has a mid-life crisis’ story, even with the ‘twist’ of it being from a black American perspective. Even with it being somewhat self-aware of this. But it could have been a worse mid-life crisis story. The cinematography was terrible. It was shot like a sitcom. Much of the dialogue was sitcom-y too. I liked the soundtrack, what I could hear of it. The attempts at style and meta (the characters coming to life, the multiple endings) felt underdeveloped. Mostly because they were only used a couple times. In all, it felt like a first draft of a potentially more interesting movie. 

The Zone of Interest.Wanted to like it more than I did. Unfortunately, you get the point within about five minutes. If you’ve seen the promotional image of the people in the garden, backgrounded by the walls of Auschwitz, then you’ve already seen the movie. Which means that all the rest of the movie ends up feeling like pretentious excess instead of moving elaboration. It seemed very aware of itself as an Important Movie and rested on those laurels, cinematically speaking, in a frustrating way. It reminded me of video art. I felt like I had stepped through a black velvet drape into the side room of a gallery, wondering at what point the video started over. And video art has its place, but it is a different medium. Moreover video art at its best, like a movie at its best, takes only the time it needs to say what it needs to say. 

Past Lives. I’m a human being, and I respond to romance. I appreciate the pathos of sweet yearning and missed chances. And I understand how the romance in this movie is a synecdoche for ambivalent feelings about many kinds of life choices, particularly the choice to be an immigrant and choose one culture over another. The immigrant experience framing literalizes the way any choice can make one foreign to a past version of oneself, or the people one used to know, even if in another sense one is still the same person. So, I appreciate the emotional core of what (I believe) this movie was going for, and do think it succeeded in some respects. And yet…I was very irritated by most of its artistic choices. I found the three principal characters bland and therefore difficult to care about, sketched with only basic traits besides things like Striving and Being In Love. Why care who they’d be in another life if they have no personalities in this one? It’s fine to make characters symbols instead of humans if the symbolic tapestry of a movie is interesting and rich, but the symbolic tapestry of this movie was quite simple and straightforward. Not that that last sentence even matters much, since the movie clearly wanted you to feel for the characters as human beings, not just symbols. Visually, the cinematography was dull and diffuse, with composition that was either boring or as subtle as a hammer to the head.

Maestro. Did not like enough to finish. Something strange and wrong about this movie. It attempts to perform aesthetic mimicry with impressive precision—age makeup, accents, period cinematography—but this does not make the movie a better movie. At most it creates spectacle, at worst it creates uncanny valleys. It puts one on the lookout for irregularities, instead of allowing one to disappear into whatever the movie is doing. Something amateurishly pretentious in the execution. And not in the fun, respectable way, like a good student film. (My go-to example for a movie that has an art-school vibe in a pleasant way is The Reflecting Skin). There’s something desperate about it instead. It has the same disease as Oppenheimer, of attempting to do a biopic in a ‘stylish’ way without working on the basics first. Fat Man and Little Boy is a less overtly stylish rendition of the same subject as Oppenheimer, but far more cinematically successful to me, because it understands those basics. I would prefer to see the Fat Man and Little Boy of Leonard Bernstein’s life unless a filmmaker proves that they can do something with style beyond mimicry and flash.

The Holdovers. Did not like enough to finish. It tries to be vintage, but outside of a few moments, it does not succeed either at capturing what was good about the aesthetic it references, or at using the aesthetic in some other interesting way. The cinematography apes the tropes of movies and TV from the story’s time period, but doesn't have interesting composition in its own right. It lacks the solidity that comes from original seeing. (Contrast with something like Planet Terror, in which joyous pastiche complements the original elements.) The acting is badly directed. Too much actorliness is permitted. Much fakeness in general between the acting, writing, and visual language. If a movie with this same premise was made in the UK in the 60’s or 70's it would probably be good. As-is the movie just serves to make me sad that the ability to make such movies is apparently lost and can only be hollowly gestured at. That said, the woman who won best supporting actress did a good job. She was the only one who seemed to be actually acting.

Killers of the Flower Moon. The only possible winner. It is not my favorite of Scorsese’s movies, but compared to the rest of the lineup it wins simply by virtue of being a movie at all. How to define ‘being a movie’? Lots of things I could say that Killers of the Flower Moon has and does would also be superficially true of other movies in this cohort. Things like: it tells a story, with developed characters who drive that story. Or: it uses its medium (visuals, sound) to support its story and its themes. The difference comes down to richness, specificity, control, and a je ne sais quois that is beyond me to describe at the moment. Compare the way Killers of the Flower Moon uses a bygone cinematic style (the silent movie) to the way that Maestro and The Holdovers do. Killers of the Flower Moon uses a newsreel in its opening briefly and specifically. The sequence sets the scene historically, and gives you the necessary background with the added panache of confident cuts and music. It’s useful to the story and it’s satisfying to watch. Basics. But the movie doesn’t limit itself to that, because it’s a good movie. The sequence also sets up ideas that will be continuously developed over the course of the movie.* And here’s the kicker—the movie doesn’t linger on this sequence. You get the idea, and it moves on to even more ideas. Also compare this kind of ideating to American Fiction’s. When I said that American Fiction’s moments of style felt underdeveloped, I was thinking of movies like Killers of the Flower Moon, which weave and evolve their stylistic ideas throughout the entire runtime.

*(Visually, it places the Osage within a historical medium that the audience probably does not associate with Native Americans, or the Osage in particular. Which has a couple of different effects. First, it acts as a continuation of the gushing oil from the previous scene. It’s an interruption. A false promise. Seeming belonging and power, but framed all the while by a foreign culture. Meanwhile potentially from the perspective of that culture, it’s an intrusion on ‘their’ medium. And of course, this promise quickly decays into tragedy and death. The energy of the sequence isn’t just for its own sake—it sets up a contrast. But on a second, meta level it establishes the movie’s complicated relationship to media and storytelling. Newsreels, photos, myths, histories, police interviews, and a radio play all occur over the course of the movie. And there’s the movie Killers of the Flower Moon itself. Other people’s frames are contrasted with Mollie’s narration. There’s a repeated tension between communication as a method of knowing others and a method of controlling them—or the narrative of them—which plays out in both history and personal relationships.)

Or here’s another example: When Mollie and Ernest meet and he drives her home for the first time, we see their conversation via the car’s rearview mirrors. This is a bit of cinematic language that has its origins in mystery and paranoia. You see it in things like Hitchcock or The X-Files or film noir. By framing the scene with this convention, the movie turns what is superficially a romantic meet-cute (to quote a friend) into something bubbling with uneasiness and dread. This is not nostalgia—this is just using visuals to create effects. It doesn’t matter if you’ve seen anything that uses the convention before, although knowing the pedigree might add to your enjoyment. The watchfulness suggested by the mirrors and Ernest’s cut-off face will still add an ominous effect. It works for the same reason it works in those other things. Like the newsreel, it is a specific and concise stylistic choice, and it results in a scene that is doing more than just one thing.

In general, the common thread I noticed as I watched these nominees, was the tendency to have the ‘idea’ of theme or style, and then stop there. It’s not that the movies had nothing in them. There were ideas, there was use of the medium, there was meaning to extract. There were lots of individually good moments. But they tended to feel singular, or repetitive, or tacked on. Meanwhile contemporary viewers are apparently so impressed by the mere existence of theme or style, that being able to identify it in a movie is enough to convince many that the movie is also good at those things. The problem with this tendency—in both artists and audiences—is that theme and style are not actually some extra, remarkable, inherently rarifying property of art. Theme emerges naturally from a story with any kind of coherence or perspective. And style emerges naturally from any kind of artistic attitude. They are as native as script, or narrative, or character. A movie’s theme and style might not be interesting, just like its story or dialogue might not be interesting, but if the movie is at all decent, they should exist. What makes a movie good or bad, then, is how it executes its component parts—including theme and style—in service of the whole. When theme is well-executed it is well-developed. Contemporary movies, unfortunately, seem to have confused ‘well-developed’ with ‘screamingly obvious.’ A theme does not become well-developed by repetition. It becomes well-developed by iterationand integration. Theme is like a melody. Simply repeating a single melody over and over does not result in the song becoming more interesting or entertaining. It becomes tedious. However, if you modify the melody each time you play it, or diverge from the melody and then return to it, that can get exciting. It results in different angles on the same idea, such that the idea becomes more complex over time, instead of simply louder.

Oppenheimer wasprobably the worst offender in this regard. Just repeat your water drops, crescendoing noise, or a line about ‘destroying the world’, and that’s the same as nuance, right? Split scenes into color and black and white and that’s the same as structure, right? That’s the same as actually conveying a difference between objectivity and interiority (or another dichotomy) via the drama or visual composition contained in the scenes, right? When I watched many of these movies, I kept thinking of a behind-the-scenes story from Buffy the Vampire Slayer. The story goes that Joss Whedon was directing Sarah Michelle Gellar in some scene, and when the take was over he told her how great she was, and that he could see right where the music would come in. And Gellar replied that if he was thinking about the music, he clearly wasn’t getting enough from her acting alone. This conversation then supposedly informed Whedon’s approach to “The Body,” a depiction of the immediate aftermath of death that is considered one of the best episodes of television ever made, and which has no non-diegetic music whatsoever. Not to imply that music is necessarily a crutch, or to pretend that “The Body” is lacking in other forms of stylization (it is a very style-ish episode). But more to illustrate the way that it is easy to forget to make the most of all aspects of a medium, particularly the most fundamental ones, once one has gotten used to what a final product is supposed to feel like. 

And that’s why most of these movies don’t feel like movies. They create the gestalt of a movie or a ‘cinematic’ moment—often literally through direct vintage imitation—without a sense of the first principles. Or demonstrating a sense of them, anyway. Who needs AI when the supposedly highest level of human filmmakers are already cannibalistically cargo-culting the medium just fine.

[1] “The Sound of Money (The Sound of Music and The Singing Nun).” The Pauline Kael Reader. (This book contains the full text of the original review, rather than the abbreviated review that I linked earlier.) 

[mikkeneko]

What we miss when we don't talk about friendship (in MDZS)

I'd like to open with the statement that this is not about shipping -- none of my thesis is to say "don't ship this" or "this ship isn't real." People can and have shipped whatever the hell they want and should continue to do so for as long as it makes you happy. It's not even a question of "sure you can ship it but it's not CANON," because the MXTX canon is wonderfully good at being ambiguous and supporting multiple interpretations.

What this thesis is to say is that some of these themes and motifs to explore are about friendship, and they don't tend to get talked about much, because people are mostly focused on the romantic and sexual dimensions of a dynamic. Romantic and sexual dimensions are great, but they don't annihilate or even subsume platonic dimensions -- yes, sometimes you can be a lover and a friend, but sometimes you can just be a friend and not a lover and that's no less important. As a post I saw recently said which stuck with me -- don't remember the poster, alas, but it was something in the vein of -- "it's not about the intensity of the relationship, but the flavor of it." Platonic character dynamics can be just as obsessive and consuming as romantic dynamics, they can be discussed and analyzed separately without needing to invalidate romantic and sexual dynamics.

So! That disclaimer aside, let's talk about: FRIENDSHIP IN MDZS, and what we miss when we don't talk about friendship as a dynamic in this story separate from romantic and sexual interest. Friendship shows up repeatedly in this story with its own sub-plots and arcs and undercurrents and hazards separate from the romance that's going on, and it's mostly going on with the Lans.

Part 1: Lan Xichen and friendship

A cornerstone of this analysis has to do with a meta post I read very early on in the fandom about the Lans when viewed through a Confucian lens. Lan Qiren in particular is a very, very Confucian character, and he raised his nephews to those traditions and values. The pertinent one here is the topic of the "Five relationships" which outline the relationships that a man of authority can expect to have throughout his lifetime: self to ancestors, self to descendents, self to authorities and subordinates, self to marriage partners, and self to friends. Each one comes with a set of strictures and requirements which when added up combine to a world that is very, very emotionally taxing and extremely short on interpersonal and emotional support. He is expected to obey and submit to guidance from his seniors, but he can't ask them for help. He is expected to lead and govern his subjects, but he can never be wrong or show weakness or doubt. It's especially important, I think, that Lan Xichen is raised to expect that even any romantic relationship he might have (read: marriage to a woman) would not actually be emotionally supportive to him in any meaningful way; it would be another set of obligations to uphold, another place he would be expected to be remote and poised and never show weakness or ask for help.

The exception is friendship. Friendship is the only relationship structure Lan Xichen can have in his life that has any hope of actually being nurturing and emotionally supporting to him, a place he can let down his guard and ask for help with the expectation of receiving it. It becomes very clear from very early on that friendship means everything to Lan Xichen as a character. He enters the story with a strong, supportive friendship with one of the only true peers a man of station can have (Nie Mingjue) and it's clear that this has formatively set his expectation of what a friendship can and should be. Lan Xichen really wants to be the Friendship Is Magic guy. He believes that friendship is the best way to solve problems, and that everybody would be able to solve their problems if only they had a friendship like his, and that belief is a lot of what runs him into a meat grinder later in the story. He thinks that Nie Mingjue and Jin Guangyao are capable of maintaining a friendship post-war, and does not understand why they cannot, and his attempts to friend-matchmake the two of them ultimately lead both to disaster.

Part 2: Lan Wangji and friendship

The header says Lan Wangji, but this is actually about Lan Xichen again, and about Wei Wuxian. A pretty common joke in the fandom is that Lan Xichen is "the #1 WangXian shipper," that he recognizes Lan Wangji's sexual and romantic attraction to Wei Wuxian from very early on and supports him in pursuing such a relationship. It's a nice joke, but I think it misses the mark, because the looming specter of their parents' disastrous and traumatic marriage means that Lan Xichen would never approach the idea of his brother entering into a romantic relationship so cavalierly. (Lan Qiren, in some ways, had a clearer notion of what shape Lan Wangji's interest in Wei Wuxian had the potential to be than Lan Xichen did, perhaps because he doesn't have the same obsession with friendship; if he has any close friendships of his own, we're not shown them.)

Lan Xichen is not encouraging Lan Wangji to have a romantic summer fling. Lan Xichen encourages his association with Wei Wuxian specifically because he thinks Lan Wangji needs friends. Not just in the sense of any parent or adult wanting their child to make friends, but specifically in the context of these restrictive hierarchical relationships that hem in their world. Lan Xichen is afraid that Lan Wangji will be alone, and emotionally starved, and have no one he can ask for help or rely on, because that is his experience of a world without friendship. (Lan Wangji, of course, is not in the same position as Lan Xichen because he has Lan Xichen to rely on.) Lan Xichen wants Lan Wangji to have the same kind of friendship that he himself has with Nie Mingjue, and he thinks that Wei Wuxian has the potential to be that kind of friend. That is the context in which he encourages their association, and tries to arrange for them to have time together, and to become closer; not as a potential romantic partner but as a steadfast emotional and logistical support through Lan Wangji's adult life.

If Lan Xichen knew that Lan Wangji would fall in love with Wei Wuxian (had already started to,) I'm not at all sure that he would have encouraged that. In pretty much any arc past the Lan Lectures, he doesn't, both because Wei Wuxian stopped being a good candidate for supportive friendship (he's clearly got too much of his own shit going on) and because he realizes that what is developing in Lan Wangji bears very little resemblence to his own relationships. He might not outright try to sabotage the relationship but he's clearly worried about its potential to bring disaster on Wangji -- and he's very correct to be worried, as it turns out.

Part 3: Lan Sizhui and friendship

So, All Of That Happens; Wei Wuxian dies, Lan Wangji is laid low for years and seems poised to grieve for the rest of his life; Nie Mingjue dies and takes Lan Xichen's support with him. Now we come to the present day, and the present day has Lan Sizhui and Lan Jingyi.

Let's take a moment to step back and ask from an analytical perspective: Why is Lan Jingyi, as a character, in the story? Assuming that in a novel as polished as MDZS, each element is included for good reasons. Why is Lan Jingyi in the story and why is he Lan Sizhui's best friend? In the new world we're introduced to, the Lan are already represented, and very positively represented by Lan Sizhui. Lan Jingyi provides a convenient avenue for both exposition-dumping and sass -- saying the things that everyone else is too polite to say -- but we could have gotten that through another character (Jin Ling also plays this role) or introduced another Junior who isn't Lan, like Ouyang Zizhen. Why is it important to the story that Lan Sizhui and Lan Jingyi are friends?

The Juniors in general represent hope for the world to change, hope for the new generation. In Lan Sizhui and Lan Jingyi, we see that the terrible loneliness that drove their seniors to disaster in the previous generation, is averted. Lan Sizhui and Lan Jingyi have a friendship that is close and true, and we are never given reason to doubt it. Their priorities are aligned; it's unlikely that Sect politics or personality conflicts will ever drive them apart. They have what Lan Xichen craved: a friendship that will support them through tragedy and disaster. Their friendship stands to demonstrate that in the new generation, things will get better.

[randomfandomblabdom]

Fallen Order & Survivor Musical Themes

Has anyone done this yet? Here is a comprehensive list of all of the character themes/motifs found in the Jedi: Fallen Order and Survivor video games for anyone interested. I tried to give several examples of each and also included some of my own thoughts. You can listen to many or as few links as you want. If I missed anything please feel free to add on or let me know.

FALLEN ORDER CAL KESTIS - I'm giving Cal two separate sections because I'm pretty positive he now has two separate themes and in attempts to make it less confusing, I've decided to very creatively refer to them as Fallen Order Cal and Survivor Cal. I'm a genius, I know. Fallen Order Cal is consistently heard all over both games. It's his primary theme. It feels young and heroic and wide-eyed... Remember feeling like nothing could touch you when you were young? That's the sort of feeling I get from Fallen Order Cal. It's not happy per se but it's hope and optimism sprinkled with naive youthfulness and an undertone of solemnity. He's been through some serious shit but he's a kid, he's young. The grief and trauma are there for sure but they haven't encompassed him completely. There's still some hope behind those eyes, there's a healing journey to go on, and there's a chance to take on this Empire. It's only until Survivor that the theme starts feeling a little more grounded just like the transition from childhood to adulthood. Fallen Order Cal in Survivor feels a bit less magical, that youthful spirit has diminished, that hope has dwindled.

CAL KESTIS

THE PATH OF THE THREE SAGES

PEACEKEEPERS

A FRONTIER WELCOME

ABOVE THE CLOUDS

A STEP TOO FAR

SURVIVOR CAL KESTIS - So, I originally thought this was a minor key variation of a section of Cal's theme but I've since realized that it technically is a completely separate theme. That being said, thanks to @foxykatie425 in this insanely detailed reply to my frustrations regarding this theme that put what I was hearing into musical terms way out of my element in terms of explaining, I've realized that I may have been somewhat correct. I don't know if the two themes are actually connected, that would be a question for the composers but at the very least, it's definitely a secondary darker theme for Cal as it only ever plays in reference to him and I'd wager a guess that it's the main theme of Survivor as a whole. Compared to Fallen Order Cal, Survivor Cal feels drained, heavy, tired, burdened, and above all else, dark and foreboding. There is a genuine weight to this theme that just feels sinister. There is a hint of Fallen Order Cal there but as that post says, it almost feels like it's on the verge of falling apart. He's not the same man he was five years ago and the fact that this theme is the first thing you hear music-wise in the game and accompanies your very first view of him is an incredible way of subconsciously telling that to your audience right off the bat.

DARK TIMES

ABOVE THE CLOUDS - note: this theme and Fallen Order Cal switch back and forth constantly in this track and I find that so interesting.

NOVA GARON

NIGHTSISTER MERRIN - Merrin's theme is interesting to me because it doesn't sound anything like the type of music you might use to accompany a witch or magic user. It's not necessarily fantastical or whimsical or anything of the sort. In fact, it sounds more like something you might use for a superhero. It's a little bit timid or unsure or even afraid in Fallen Order but god damn has it built in confidence and strength once Survivor rolls around. The only time you hear that sort of timidness to it again is during the first kiss on Jedha which has such interesting implications for her being a nervous wreck in that moment. I also adore how it sounds as an action cue which you hear several times throughout Survivor. It sounds like it comes straight from the best MCU movies and yes, I do mean that as a compliment.

TO DATHOMIR

PEACEKEEPERS

MERRIN

THE WILL OF THE FORCE

TRIDENT

FLIGHT

CAL & MERRIN'S LOVE THEME - Look, I genuinely did not think they would actually go through with making Cal and Merrin canon, I honestly thought they'd chicken-shit out and I was certainly not expecting them to get any sort of love theme if they did but here we are... and we somehow got both. Cal and Merrin are canon and they got a love theme. Holy fucking shit. It just has all that warmth and sweetness of a friend-to-lovers romance too.

FIELDS OF DUSK - ORCHESTRAL VERSION

CAMPFIRE

A STEP TOO FAR

THE ABYSS

BD-1 - I said in my post regarding my thoughts on the Survivor score that these two video game scores are quite possibly the closest we've ever gotten to a John Williams sound from a composer(s) who is in fact, not John Williams. Not that every piece of Star Wars music has to sound like the big man himself, part of the reason The Mandalorian theme was so positively received was that it was such a different sound for Star Wars but I stand by what I said: this is the closest a composer has gotten to a John Williams sound and they have clearly done their research. Some people might not know this but R2 and 3PO have a very small motif heard throughout the films. It's not played very often and is sometimes not very noticeable but it's there and BD-1's motif is not only similar but definitely sounds like it exists within the same universe. I also love that droids are so often musically presented as very childlike, innocent, and mischievous. BD in particular has a very playful energy.

BD-1 AND THE BOGLINGS

MERRIN

THE WILL OF THE FORCE

TRILLA SUNDURI/SECOND SISTER - Trilla's theme legitimately activates my fight or flight response and when I say that, I mean mostly my flight response cause you won't find me messing with this shit. It's very much in lieu of the famous Psycho violins which were written to heighten your senses by emulating screams. I wish we got more of it cause it's intimidating as fuck and a piece of dark side art.

FIGHT AND FLIGHT

TRILLA

THE WILL OF THE FORCE

CERE JUNDA - Don't hate me but I haven't quite fallen in love with Cere's theme yet. That's not to say it's bad by any means, it's absolutely beautiful. It has such a deep melancholy vibe to it, like an inescapable sadness. It almost has a feeling of failure to me weirdly enough.

THE PATH OF THE THREE SAGES

DESERT RUINS

SIEGE

THE VISITOR

ENO CORDOVA - I've mentioned this before but again, for people who might not know: the music that is widely considered to be the main theme of Fallen Order - so much so it was primarily used during the recap at the beginning of Survivor - is Cordova's theme. It's such an interesting artistic choice because I think many people would've made it either Cal's theme or given the entire game its own theme in general. I listen to this one a lot honestly. It's so calming and safe feeling.

THE PATH OF THE THREE SAGES

FAILURE IS NOT THE END

ENO CORDOVA'S THEME

THE NARKIS ANCHORITES

BODE AKUNA - Yes, Bode does have a theme and you know what? It slaps. I really like it. It's very adventurous and feels quite friendly which is ironic as hell. It does get some heart-wrenching renditions nearer to the end of the game. It's the music that swells when he force-pushes Cal and everyone collectively shits themselves. Oh, it also has some dark renditions as well.

ABOVE THE CLOUDS

A STEP TOO FAR

BROTHERS

THROUGH DARKNESS

RAYVIS - As far as I can tell, Rayvis does not have a set theme but he is usually accompanied by high-playing strings and his boss fight music is the best example of that. I actually don't think a lot of Rayvis moments ended up on the score soundtrack which... how dare they.

WARRIORS CODE

DAGAN GERA - I thought Dagan didn't have a theme for the longest time but it turns out he actually does have a tiny motif that I do wish had been more thoroughly realized in the score because it's so menacing and I absolutely love it. It's most prominently heard during his last confrontation with Cal. He is also usually accompanied by low-playing horns. Not always but usually.

RELEASE ME

TO THE RESCUE

GRAND OCULUS

KATA AKUNA - I'm going to rant about this one for a second, okay? I have spent the last few weeks wondering what the hell the melody that plays throughout the track Through Darkness is. I was sitting here plucking out melodies on a piano app (cause I don't own a keyboard) and was like, "Okay, it's not Cal's theme, it's not Bode's theme, it's not Merrin's theme... what the hell is that series of notes??" Yes, I'm aware that not every note has to mean something but these just felt like they did. It's played at such an emotional point in the game and for two scores that already work heavily around themes and motifs and musical ideas, it didn't make sense to me that this little series of notes would mean nothing, especially at such a poignant moment. Funnily enough, it only just occurred to me while making this post that it's fucking Kata's theme. At least I think it is. Well, motif. It's not a fully developed theme but it definitely has the makings of one. That's not even me making a wild guess either, these notes appear in other places in the story that feature Kata.

NOVA GARON

THE ABYSS

THROUGH DARKNESS

GHOST STAR - I'm adding this for fun because I think it's gorgeous and I love it but it leads me to ask: why has there been no official release of Ghost Star? With or without vocals? This is a genuine question. It does not appear on the Cantina album nor is there even a snippet of its melody on the score album. It makes me wonder if the song was maybe added later into production? Trust me, I love the orchestral cover that has been going around and people are obviously seeking it out cause the track has gained thousands of streams in the months since the game was released. It was at 10k the last time I looked on Spotify and it's currently at 24k as of writing this. I'm just genuinely surprised EA/Respawn or hell, even Lucasfilm hasn't capitalized off that.

GHOST STAR

GHOST STAR W/ VOCALS

Thank you most sincerely if you made it all the way here :)

I liked this. I should do this for more scores lol.