#might be the most painful fight

[megashadowdragon]

yeah I just thought of this but what if isha loses her leg due to this attack

Spoilers for Act 2

It looks like both Vi and Jinx may be fighting Warwick at the same time considering the red smoke in both of their Warwick shots.

Which feels rather fitting considering how they both met Vander together in red smoke as children.

I can only predict a rather painful parallel between this first introductions. But at least, hopefully, both sisters will be on the same side, at least for this fight.

Isha also seems to be in this scene as well.

I wonder if she might have a strong hand in getting Vander to flee. In league it’s hinted he remembers both Vi and Jinx, and has a hard time fighting them. So perhaps a small child dressed like Jinx may remind him of Powder and his humanity and make him run.

[ganondoodle]

so with echoes of wisdom .. i havent watched any of the trailers beyond the very first one and the thumbnails/screenshots and what others have said about it-

but with the world inside the rift being called "Welt des Nichts" aka "world of nothing/void" in german ('still' in english, for some reason) and demises title in french being "avatar of nothing" ... yeah my anxiety is shooting through the roof again

(hopefully you can be a little more forgiving for me being anxious/weird about it bc demise is my blorbo)

i had similar worries with totk, that werent proven true thankfully, but the darn book is making it all worse again with all those weird lore things the game doesnt even so much as hint at AND potential retcons- im in for a really rough time huh, not just stress in real life (more in tags.. its alot) but now about my specific hyperfixation from two things even (AND artblock still..)

weird as it may sound, i dont want demise to get more lore, partly bc i dont believe theyd do anything with him that i would like (given their track record) but much more importantly- the fact that he has this little lore about him is precisely one of the reasons why i fell in love with him, i tend to like characters that are neglected by the narrative, and his story being both so flat and already done meant i can be very creative with what i come up with for him without necessarily contradicting anything in canon (which is ... or was a big point of how i wrote destiny's story and lore, working with canon in a way that reframes it all without straight up ignoring it ... but i suppose i urgently need to let go of that and accept i spend alot of time working things that will go to waste :( ) AND not having to worry that there will be more stuff with him that would massively change not only what im writing but also potentially how i feel about him since the game he was briefly in was the oldest chronologically and ended with his death- i didnt expect them to mess with anything that far back and thought theyd just go forward and leave the timeline behind and wouldnt mess with it again, given how botw seemed to be a sort of 'fresh start' that seemingly regarded the past as the past that needs to rest and that the timeline was finally no longer a discussion if everythings unified through botw and one thing going forward

but i suppose i was very wrong with that .__.

right now the only thing that motivates me still is the left over determination and spite to work on my zelda comic, since i have never gotten this far and really want to get something done for once, but i cant lie that im feeling like i should pause all work on it too to wait and see waht the book and the new game will do .. either to determine if i still have the will to keep working on it after those things are out (my love for tloz has been taking alot of hits lately ..) or if i have to change stuff (mostly bc of my lore problem trying to not ignore it ..)

[rainyraisin]

I have to take two more lots of penicillin today I'm gonna fucking SCREAM (vent in the tags)

[nexus-nebulae]

i love that my physical therapist has told me exactly Why I'm getting so much pain and how to fix it (nerves getting trapped in too tight muscles) but man i hate that fixing the problem (stretches and massaging around the trapped nerve) takes So Long and so much patience

[deva-arts]

She's corrupting him with brushed hair, skincare and head scratches. Soon he might actually be tolerable.

On a side note who gave him that smarmy shirt. Someone, anyone. Go compost it.

Bonus scribble and speedpaint under cut!

Making the ratman want to go back to the sewers

Video!!! A video!!! I love ibispaint's niche little features <3

[astral-athame]

What Kind Of "Hot" Are You?

drunk girl in the bathroom hot

you're both wasted, she just somehow does it so much better. you're crying, about something your stupid ex did or said. and suddenly she appears, looking like an angel aside from the slight sway in her step. she's helping you our of your slump on the floor when you grow pale and catastrophy strikes. you're the most disgusting you've ever been, and still, this stranger holds your hair and rubs soothing circles in your back. gives you a breath mint and sits you back against the wall, asking what happened. you tell her, and her glittery, perfectly made face turns sour. with her heels in hand, she loops your arm around her shoulders so she can help you walk to an uber she called for you. your ex says something snarky to you in passing on the way out, and for her it's the final straw. she whirls around, fire in her eyes and a set in her brow and she slaps him hard across the face. calls him a jerk or a dick or something like that, you can't remember, you were busy smiling at the stunned look on his face as she drags you both outside. before you get home, she gives you a hug and kind words in a bubbling voice and you're thankful for her. thankful there are people out there who look out for people like you, who stand up for people even when they might have trouble standing themselves.

Tagged by (stolen from): @southern-belle-outcasts Tagging: Anyone who wants to take it <3

[casual-eumetazoa]

I’m having surgery on Monday (it’s elective and I’m very glad to be having it) which means I will spend all of next week and possibly more laying in bed and doing nothing. 

Therefore I am collecting suggestions for TV shows, YT video essays, YT videos in general, and podcasts (fiction and non-fiction). Sci-fi and horror are my go-to genres for everything fiction. For video essays / podcasts: science and literature are my preferred topics but I am willing to watch 10 hours of someone talking about, idk, competitive dog grooming or 17th century Hungarian folklore if the essayist really cares about it. Though I am kind of tired of super political/depressing/heavy topic video essays tbh. Not in fiction! In horror, I go as hardcore as it gets.

So yeah, if anyone has suggestions, please throw them at me. Not taking recommendations for books cause my TBR is 47 positions long :) And it terms of games I’ve been playing nothing but Hollow Knight for the last 2 months and I don’t see that changing any time soon. 

[ringneckedpheasant]

have to have a rough draft of a 3-5 page literary analysis done by ≈4 tomorrow that rlly was supposed to be done by last thursday and I already asked for an extension and I. do not even have a thesis picked yet

[dimiclaudeblaigan]

how to ruin jugdral characters and make them into shitty modern tropes: have two teenage girls cat fight over their romantic feelings for a grown ass man and make them aggressive rivals

[age-of-moonknight]

“Memory of a Killer,” Moon Knight: City of the Dead (Vol. 1/2023), #1.

Writer: David Pepose; Penciler: Marcelo Ferreira; Inker: Jay Leisten; Colorist: Rachelle Rosenberg; Letterer: Cory Petit

[royalreef]

(( Opinion time? Opinion time.

I feel as though soft power is crucially underrepresented and underdiscussed within the RPC.

An explanation: you can think of power as occurring in two types, hard power and soft power. These terms are primarily used in the context of nations, but I feel it can also work in a narrative sense as well.

Hard power is exactly what you expect when you hear the term. It’s how much physical might there is, how badly getting into a fight would go. If someone goes to fight a muse, or invokes their wrath, hard power is the ability of that muse to fight back, injuring, killing, or humiliating them in the process.

A muse with a lot of hard power is someone you do not want to fight, someone with a lot of capability to physically hurt someone else and a willingness and an ease to doing so.

However, soft power, in contrast, can be thought of as social power. If hard power convinces through physical might, then soft power is primarily deterrence.

You would not want to fight this muse, because they have connections. Other muses like this muse, either because they are receiving a direct benefit from them or because they’re close to them, and if you try to go against the muse’s wishes or provoke them, then other muses in turn will retaliate. This can also mean that the muse might be offering rewards or some other benefit by prospect of complying with their wishes, and if you go against that muse’s wishes, those benefits and rewards suddenly vanish.

Likewise, soft power means that the muse with power might have more indirect methods of control over someone else’s life, and these strings can be readily pulled on if the muse needs to.

Normally when we talk about overpowered muses and muses with power, we refer to muses with hard power. It’s not hard to see why — being grievously injured or even killed can quickly and immediately end interaction entirely, whereas soft power is better for drama and thus manifests as a slower burn.

However, I feel like this is doing a disservice to muses with soft power, because both muses with a lot of hard power and muses with a lot of soft power have an unfortunate habit of inviting interaction that steps all over them or refuses to acknowledge this power. Both hard and soft power has the potential to seem overpowered or a form of god-modding if people are not fully aware that there might be consequences to their muses’ actions, if they provoke someone with the power to hurt them. Even moreso because while hard power has the benefit of flashy fight scenes and potential retaliation, soft power can turn into a slower and more agonizing series of events, as the muse with power makes their life into a living hell.

I think muns need to be more aware of both types of power a muse might have and expect both types of retaliation if another muse does not respect that power.

[orcelito]

been a bit since ive really looked at vashwood fanfic for reading. since Writing fanfic largely satisfies that desire (& is generally healthier than binge reading is for me lmao)

but out of curiosity i peeked again. & id been sorting by word count bc sorting by kudos just gets pages and pages of one shot smut fics (no hate, just not what i wanna read when i want actual stories lmao)

i thought Surely since it's been a few weeks since i really looked, there would be more longfics around. and like. there Kind of are? but also not really.

top fic is 425k, 2nd is 130k, 3rd is 102k (excluding any plantcest fics, which i do by Default lmfao. even just Looking at those fics gives me brain damage)

as someone whose other main fic is 499k words & who has written 23k in less than 2 weeks. im just like. that's... All? bro im gonna be in the top word count fics for this pairing in a matter of Weeks. kinda crazy.

[sherlock-is-ace]

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[dipplie]

Rant I’ll probably delete later in the tags WUH oh

[hayatheauthor]

The Anatomy of Passing Out: When, Why, and How to Write It

Passing out, or syncope, is a loss of consciousness that can play a pivotal role in storytelling, adding drama, suspense, or emotional weight to a scene. Whether it’s due to injury, fear, or exhaustion, the act of fainting can instantly shift the stakes in your story.

But how do you write it convincingly? How do you ensure it’s not overly dramatic or medically inaccurate? In this guide, I’ll walk you through the causes, stages, and aftermath of passing out. By the end, you’ll be able to craft a vivid, realistic fainting scene that enhances your narrative without feeling clichéd or contrived.

2. Common Causes of Passing Out

Characters faint for a variety of reasons, and understanding the common causes can help you decide when and why your character might lose consciousness. Below are the major categories that can lead to fainting, each with their own narrative implications.

Physical Causes

Blood Loss: A sudden drop in blood volume from a wound can cause fainting as the body struggles to maintain circulation and oxygen delivery to the brain.

Dehydration: When the body doesn’t have enough fluids, blood pressure can plummet, leading to dizziness and fainting.

Low Blood Pressure (Hypotension): Characters with chronic low blood pressure may faint after standing up too quickly, due to insufficient blood reaching the brain.

Intense Pain: The body can shut down in response to severe pain, leading to fainting as a protective mechanism.

Heatstroke: Extreme heat can cause the body to overheat, resulting in dehydration and loss of consciousness.

Psychological Causes

Emotional Trauma or Shock: Intense fear, grief, or surprise can trigger a fainting episode, as the brain becomes overwhelmed.

Panic Attacks: The hyperventilation and increased heart rate associated with anxiety attacks can deprive the brain of oxygen, causing a character to faint.

Fear-Induced Fainting (Vasovagal Syncope): This occurs when a character is so afraid that their body’s fight-or-flight response leads to fainting.

Environmental Causes

Lack of Oxygen: Situations like suffocation, high altitudes, or enclosed spaces with poor ventilation can deprive the brain of oxygen and cause fainting.

Poisoning or Toxins: Certain chemicals or gasses (e.g., carbon monoxide) can interfere with the body’s ability to transport oxygen, leading to unconsciousness.

3. The Stages of Passing Out

To write a realistic fainting scene, it’s important to understand the stages of syncope. Fainting is usually a process, and characters will likely experience several key warning signs before they fully lose consciousness.

Pre-Syncope (The Warning Signs)

Before losing consciousness, a character will typically go through a pre-syncope phase. This period can last anywhere from a few seconds to a couple of minutes, and it’s full of physical indicators that something is wrong.

Light-Headedness and Dizziness: A feeling that the world is spinning, which can be exacerbated by movement.

Blurred or Tunnel Vision: The character may notice their vision narrowing or going dark at the edges.

Ringing in the Ears: Often accompanied by a feeling of pressure or muffled hearing.

Weakness in Limbs: The character may feel unsteady, like their legs can’t support them.

Sweating and Nausea: A sudden onset of cold sweats, clamminess, and nausea is common.

Rapid Heartbeat (Tachycardia): The heart races as it tries to maintain blood flow to the brain.

Syncope (The Loss of Consciousness)

When the character faints, the actual loss of consciousness happens quickly, often within seconds of the pre-syncope signs.

The Body Going Limp: The character will crumple to the ground, usually without the ability to break their fall.

Breathing: Breathing continues, but it may be shallow and rapid.

Pulse: While fainting, the heart rate can either slow down dramatically or remain rapid, depending on the cause.

Duration: Most fainting episodes last from a few seconds to a minute or two. Prolonged unconsciousness may indicate a more serious issue.

Post-Syncope (The Recovery)

After a character regains consciousness, they’ll typically feel groggy and disoriented. This phase can last several minutes.

Disorientation: The character may not immediately remember where they are or what happened.

Lingering Dizziness: Standing up too quickly after fainting can trigger another fainting spell.

Nausea and Headache: After waking up, the character might feel sick or develop a headache.

Weakness: Even after regaining consciousness, the body might feel weak or shaky for several hours.

4. The Physical Effects of Fainting

Fainting isn’t just about losing consciousness—there are physical consequences too. Depending on the circumstances, your character may suffer additional injuries from falling, especially if they hit something on the way down.

Impact on the Body

Falling Injuries: When someone faints, they usually drop straight to the ground, often hitting their head or body in the process. Characters may suffer cuts, bruises, or even broken bones.

Head Injuries: Falling and hitting their head on the floor or a nearby object can lead to concussions or more severe trauma.

Scrapes and Bruises: If your character faints on a rough surface or near furniture, they may sustain scrapes, bruises, or other minor injuries.

Physical Vulnerability

Uncontrolled Fall: The character’s body crumples or falls in a heap. Without the ability to brace themselves, they are at risk for further injuries.

Exposed While Unconscious: While fainted, the character is vulnerable to their surroundings. This could lead to danger in the form of attackers, environmental hazards, or secondary injuries from their immediate environment.

Signs to Look For While Unconscious

Shallow Breathing: The character's breathing will typically become shallow or irregular while they’re unconscious.

Pale or Flushed Skin: Depending on the cause of fainting, a character’s skin may become very pale or flushed.

Twitching or Muscle Spasms: In some cases, fainting can be accompanied by brief muscle spasms or jerking movements.

5. Writing Different Types of Fainting

There are different types of fainting, and each can serve a distinct narrative purpose. The way a character faints can help enhance the scene's tension or emotion.

Sudden Collapse

In this case, the character blacks out without any warning. This type of fainting is often caused by sudden physical trauma or exhaustion.

No Warning: The character simply drops, startling both themselves and those around them.

Used in High-Tension Scenes: For example, a character fighting in a battle may suddenly collapse from blood loss, raising the stakes instantly.

Slow and Gradual Fainting

This happens when a character feels themselves fading, usually due to emotional stress or exhaustion.

Internal Monologue: The character might have time to realize something is wrong and reflect on what’s happening before they lose consciousness.

Adds Suspense: The reader is aware that the character is fading but may not know when they’ll drop.

Dramatic Fainting

Some stories call for a more theatrical faint, especially in genres like historical fiction or period dramas.

Exaggerated Swooning: A character might faint from shock or fear, clutching their chest or forehead before collapsing.

Evokes a Specific Tone: This type of fainting works well for dramatic, soap-opera-like scenes where the fainting is part of the tension.

6. Aftermath: How Characters Feel After Waking Up

When your character wakes up from fainting, they’re not going to bounce back immediately. There are often lingering effects that last for minutes—or even hours.

Physical Recovery

Dizziness and Nausea: Characters might feel off-balance or sick to their stomach when they first come around.

Headaches: A headache is a common symptom post-fainting, especially if the character hits their head.

Body Aches: Muscle weakness or stiffness may persist, especially if the character fainted for a long period or in an awkward position.

Emotional and Mental Impact

Confusion: The character may not remember why they fainted or what happened leading up to the event.

Embarrassment: Depending on the situation, fainting can be humiliating, especially if it happened in front of others.

Fear: Characters who faint from emotional shock might be afraid of fainting again or of the situation that caused it.

7. Writing Tips: Making It Believable

Writing a fainting scene can be tricky. If not handled properly, it can come across as melodramatic or unrealistic. Here are some key tips to ensure your fainting scenes are both believable and impactful.

Understand the Cause

First and foremost, ensure that the cause of fainting makes sense in the context of your story. Characters shouldn’t pass out randomly—there should always be a logical reason for it.

Foreshadow the Fainting: If your character is losing blood, suffering from dehydration, or undergoing extreme emotional stress, give subtle clues that they might pass out. Show their discomfort building before they collapse.

Avoid Overuse: Fainting should be reserved for moments of high stakes or significant plot shifts. Using it too often diminishes its impact.

Balance Realism with Drama

While you want your fainting scene to be dramatic, don’t overdo it. Excessively long or theatrical collapses can feel unrealistic.

Keep It Short: Fainting typically happens fast. Avoid dragging the loss of consciousness out for too long, as it can slow down the pacing of your story.

Don’t Always Save the Character in Time: In some cases, let the character hit the ground. This adds realism, especially if they’re fainting due to an injury or traumatic event.

Consider the Aftermath

Make sure to give attention to what happens after the character faints. This part is often overlooked, but it’s important for maintaining realism and continuity.

Lingering Effects: Mention the character’s disorientation, dizziness, or confusion upon waking up. It’s rare for someone to bounce back immediately after fainting.

Reactions of Others: If other characters are present, how do they react? Are they alarmed? Do they rush to help, or are they unsure how to respond?

Avoid Overly Romanticized Fainting

In some genres, fainting is used as a dramatic or romantic plot device, but this can feel outdated and unrealistic. Try to focus on the genuine physical or emotional toll fainting takes on a character.

Stay Away from Clichés: Avoid having your character faint simply to be saved by a love interest. If there’s a romantic element, make sure it’s woven naturally into the plot rather than feeling forced.

8. Common Misconceptions About Fainting

Fainting is often misrepresented in fiction, with exaggerated symptoms or unrealistic recoveries. Here are some common myths about fainting, and the truth behind them.

Myth 1: Fainting Always Comes Without Warning

While some fainting episodes are sudden, most people experience warning signs (lightheadedness, blurred vision) before passing out. This gives the character a chance to notice something is wrong before losing consciousness.

Myth 2: Fainting Is Dramatic and Slow

In reality, fainting happens quickly—usually within a few seconds of the first warning signs. Characters won’t have time for long speeches or dramatic gestures before collapsing.

Myth 3: Characters Instantly Bounce Back

Many stories show characters waking up and being perfectly fine after fainting, but this is rarely the case. Fainting usually leaves people disoriented, weak, or even nauseous for several minutes afterward.

Myth 4: Fainting Is Harmless

In some cases, fainting can indicate a serious medical issue, like heart problems or severe dehydration. If your character is fainting frequently, it should be addressed in the story as a sign of something more severe.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[neverendingford]

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