#the focus would be on like what her tone and intentions are on dialogues. and reading her thought process

[randxmthxughts]

Unrequited - Chapter 4 - Tsu'tey x Omatikaya!Reader

chapter 2 | chapter 3

wc: 4k

contains: one-sided love, angst, birth giving scene

a/n: you see how i'm spoiling you and posting two chapters within the same week? i'd like some appreciation for that 👀 also, i have to state that in no way i am encouraging or implying slutshaming in this chapter. i don't think it is even a thing on pandora. the reason why some dialogues with mo'at can be seen as harsh is bc she is the tsahik and she believes it is wrong to connect physically without spiritual bond

unrequited masterlist | general masterlist

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“I was beginning to think you finally changed your mind about me,” Tsu’tey said playfully, his eyes sparkling with mischief as he saw you.

Your cheeks were flushed from the rushed walk you took to catch him before he left. It was already an hour past the eclipse, and if it weren't for your recent busy evenings, he would have left long ago.

“Now stop trying to pin the things you would do on me,” you rolled your eyes at him, leaning against the entrance.

You were struggling to hide a smile from forming on your lips, relieved that he was still there. Tsu’tey sat on the ground with his back propped against the wall, a small knife in his hand, which he had been using to entertain himself with. The arrows he had sharpened during his waiting were arrayed next to him as a big sign of his boredom.

It wasn’t that Tsu’tey did not have a lot on his mind. The responsibilities of the Olo’eyktan have been taking up his whole days; from the moment the sun rose, he was consumed by the matters that demanded his attention. But when the nights stood still and your bodies were wrapped around each other, he could temporarily forget the weight of his obligations. The warmth of your skin and the softness of your touch have been keeping him distracted, distanced from the things he cared about in the daylight. And the attachment that he started to form to you was like a sudden gust of wind that swept him away, making him long for you more often that he’d like to admit. It scared him.

“You seem drained,” he commented.

“The lessons were harder this week,” you sighed. 

“Ah, I see… I thought you were talented,” his tone was serious, but you could tell that he was only teasing you. Giving you a hard time for making him wait. 

“I am,” you huffed, feeling defensive, “Tsahik thinks that I have a knack for herbals, so she wants me to focus more on the technique… That is where I lack the skill.”

Tsu’tey nodded, listening intently. Recently, the reason why lessons had been draining you was precisely why you and Tsu’tey began spending some time talking about your lives, before pursuing the desires of your bodies. It was strangely comforting to share some of you with Tsu’tey, who had previously known nothing about you. It made him feel cruel sometimes that he was only now getting to know you and discovering your personality, yet he dreaded the feeling of investing in a relationship that wasn’t supposed to last. 

But the ending seemed near when rumors began circulating about you two. It all started out when one of the warriors saw Tsu’tey exiting the training hut early in the morning, and later found your anklet inside. At first, the incident was brushed off as a young trainee's fling, but when Fya’at unintentionally made a comment about your scent during a gathering, the gossip started to spread like a fire. Your attempts to pass it off like a joke were clearly a failure, considering the suspicious gazes following you everywhere, making you feel like a prey in the jungle. 

But the final drop was dramatically worse, when during a communal dinner, a woman named Tse'a'ha suddenly burst into tears. All attention then was turned to her, as she threw a harsh look at Tsu’tey and stomped off. Tsu’tey gulped down and ordered everyone to return to their food, clearly admitting that he had some knowledge of what had happened. The next morning, you found out that Tse’a’ha had brought Tsu’tey gifts in an attempt to court him, but he had turned her down with the words that his heart was already taken. You knew right away that he was referring to Silwanin but the venomous tongues twisted Tsu’tey’s words into gossip, making him out to be a chief who was hiding his mate.

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Tsu’tey stood with his arms crossed over his chest, intently surveying the training warriors in front of him. The clattering of weapons echoed through the air as the Olo'eyktan scrutinized their every movement with a critical eye.

“Tsu’tey, may I speak to you in private?” Takuk’s voice distracted him with a note of urgency.

“Sure,” Tsu’tey nodded, turning his gaze towards his warrior, “I’m headed back to the Home Tree, walk with me?”

Takuk hummed in agreement, falling behind the chief. They walked away from the training camp, and once they were out of earshot, Tsu’tey slowed his step, indicating that he was ready to listen. Despite his usual easy going nature, Takuk seemed to be nervous. He cleared his throat, earning a curious look from Tsu’tey.

“What is it?” 

“I wanted to talk to you about Y/N,” Takuk started out slowly, as if testing the waters. 

“What about her?” Tsu’tey tensed up involuntarily, already sensing the direction in which the conversation was headed.

“Well… I was wondering if the rumors about you courting her are true? I do not wish to cross the Olo’eyktan.” 

Takuk’s words seemed to hang in the air, the tension between them palpable. Tsu’tey couldn’t help but feel irritated that the man wasn’t scared of him, approaching him head-on. But there was really no reason to be mad at him, Takuk had the right to check.

“I am not courting her,” Tsu’tey finally answered after a long pause.

“So, if you are not courting her, then, can I?” Takuk's lips curled into a small smile, “Of course, only if there is nothing between you -”

“Y/N is a free woman,” Tsu’tey cut him off, “If you wish to court her, that is up to her.”

“Right,” Takuk nodded in gratitude, “I had a feeling it was only gossip. Thank you.”

Takuk bowed deeply before excusing himself, leaving Tsu’tey lost in his own thoughts. He realized that he had no right to claim you as his own, as he was the one to set the rules from the start. If you showed interest in someone else, he would have to step away with respect and let you live your life free of any complications.

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Your eyes burned with tears as you watched Saronyu struggle through her labor, surrounded by a few of you. Her mate held her tightly against his chest as she fought for breath under the stern instructions of Tsahik. You and Neytiri sat on the opposite sides, holding Saronyu's hands as she pushed through the pain. Her swollen belly heaved, with each breath, exhaustion and agony etched on her face. Your own muscles ached in sympathy, imagining the incredible pain she was experiencing.

“You’re doing great, Saronyu,” you wiped her forehead with a damp cloth, “Just a little bit more.”

She nodded her head, her eyes locked onto Tsahik, seated between her legs. Under Mo’at’s commanding voice, she took a deep breath to prepare herself before pushing. You felt her grip tighten around you with a grunt, and then you heard it, when the infant took its first breath with a loud cry. 

Mo'at worked quickly, checking the baby's vitals and cleaning it before placing it into Saronyu's outstretched arms. The room filled with compliments and words of congratulations as the new parents gazed down at their child with giddy smiles. You couldn’t help but smile yourself, the miracle of life never ceasing to amaze you. This was the first birth after the battle with the sky people, and it seemed to symbolize something greater for the clan. Saronyu’s firstborn was a reminder for hope and resilience. Life on Pandora would continue no matter the hardships.

Neytiri was the first to leave the hut, while you stayed behind to help Mo’at with cleaning up. She left the flap open, revealing a small window into what was happening inside. A group of Na’vi lingered outside the hut and cheered in excitement and pride, when Neytiri revealed the newborn’s name. Basking in the joyous atmosphere, Jake pulled his mate into a tight embrace. She smiled at him, as he complimented her assistance. 

Tsu’tey stood a little behind them, his eyes locking on your frame inside the hut. He felt a sense of warmth spread through his chest at the way you cradled the baby so gently. You were cooing at it with a small smile, occasionally lifting your gaze to Saronyu and her mate who were beaming at their newfound bundle of joy. As the Olo'eyktan, Tsu’tey felt obligated to be present in a monumental moment like this. He had seen birthgivings before but this one, due to its timing, felt special. A small smile played at the corner of his lips, which did not escape Neytiri’s curious eye. She tugged at his arm playfully.

“Y/N is good with babies, no?” she asked, capturing his attention.

Tsu’tey only hummed in agreement, knowing that she was probably getting at something, but he was too distracted to think about it . Jake’s eyes flickered between his mate and Tsu’tey with a clear skepticism. He was convinced that Mo’at’s theory was baseless: the only time he ever saw you and Tsu’tey interact was when he yelled at you in the healing hut. But Neytiri had grown up with both of you, she could sense that the dynamic had shifted. She just couldn’t figure out the reason for it. 

“She can make an excellent Tsahik one day,” Neytiri pressed, “My mother wouldn’t choose just anyone to give lessons to.”

Tsu’tey knew it had been true. Mo’at had a strong judge of character, knowing immediately if she liked someone or not: it was rare to convince her otherwise. Tsahik picking someone for individual lessons was the highest praise any healer, besides the tsakarem, could get. You were talented, and Mo’at recognized that. 

But Tsu’tey also felt attacked by her choice. It was clear to him that Mo’at had been growing impatient with him and was threatening to choose a tsakarem on her own. Her strong personality didn’t go well with Tsu’tey’s, so she was pushing him into either accepting her choice of future Tsahik, or finding himself a new mate. Despite this knowledge, Tsu’tey decided against revealing it to you when you first told him about taking lessons. You seemed so happy to be given such an opportunity, and he did not wish to minimize your efforts to the mere wish of Mo’at trying to set you up with the chief.

“Neytiri,” Jake pulled her back into him gently, “Leave him alone.”

“No,” she shook her head, like a child, “I am right about this, you will see.”

Jake sighed with a small smirk, watching Neytiri take Tsu’tey by his wrist and lead him away. Tsu’tey was confused but he trailed after her regardless. When she reached a more private setting, she crouched down and encouraged Tsu’tey to do the same. 

“I know that lately my mother has been pushing you to find a mate,” she gave him a knowing look.

“She is too stubborn,” Tsu’tey let out a defeated chuckle. It was beginning to feel like a big joke that was being played on him, “She won’t hear my refusal.” “What is the reason for your refusal?” Neytiri asked softly.

Tsu’tey took a long pause, carefully considering his answer. If there was anyone he could confide in, it would be Neytiri. After all, she understood the toll that Silwanin’s death had taken on him.

“I can’t force myself again,” he answered with a shake of his head, “Eywa knows… I’ve tried very hard. You know it too - we did our best.”

Tsu’tey gestured between the two of them, earning her understanding nod. Neytiri recalled the time when they were first forced into a bond. Back then, she had tried her hardest to feel something more for Tsu’tey. But she could only see him as a brother, and so did he. His heart never stopped belonging to Silwanin, so all they could do was put on a facade to respect the clan. Much to Neytiri’s liking, that quickly crumbled when Jake appeared in her life.

“Tsu’tey, you will always love Silwanin. No one can take that away from you,” she reached out to point to his chest, “She will always be in your heart. Just like she is in mine,” Neytiri then pointed to her own chest, “But life must go on. Dwelling on the past will not leave space for hope.”

“Hope for what? All I got from hoping was loss and disappointment,” Tsu’tey threw harshly.

“If I have learned anything from loss is that there is always a new beginning,” Neytiri’s gaze softened, as she thought back to Jake. 

“Not all of us are destined for new beginnings.”

“I understand your pain, Tsu'tey, but you cannot keep your heart closed off forever,” Neytiri placed a comforting hand on his shoulder, “I am sure that Eywa has something planned for you, but you refuse to accept it…Silwanin would have wanted you to be happy.”

Tsu’tey covered her hand with his, letting the words sink in. Deep down, he knew there was some truth to what she was saying, but he couldn't bring himself to admit it. It was too risky to get his hopes high up again. 

“Tell me what is bothering you,” she asked gently, receiving nothing but silence in return, “A secret for a secret?”

Tsu’tey couldn’t help but smirk at the phrase; it reminded him of the way they used to negotiate as kids. A secret for a secret. What could Neytiri possibly tell him to make him reveal his attachment to you? He felt like she was bluffing, but Neytiri proceeded without getting his approval.

“I am pregnant,” her voice rang softly in his ears.

His eyes widened, as he gazed down at her stomach. There was no visible bump yet, it was far too soon for her to be showing, but the way she cradled her middle was enough to make his heart race.

“Is it true?” he asked. 

“You are one of the first to know,” Neytiri nodded with a smile, “It is still early, but the baby grows stronger with each passing day. My mother wanted me to be present during Saronyu’s labor to be prepared for my own.”

“Does Jake Sully know?” Tsu’tey asked tentatively.

“I will tell him tonight.”

Tsu’tey felt a surge of joy overwhelm him as he pulled her into his arms for a warm embrace. Despite their occasional disagreements, Neytiri was like a sister to him, the only family he had left. The fact that she confided in him about her pregnancy before Jake made Tsu’tey feel incredibly touched.

“May Eywa bless your child,” Tsu’tey murmured, his hand rubbing her back. 

When they pulled apart, there was a twinkle in her eyes. Tsu’tey couldn't help but smile at how happy she seemed. He watched her lose so much in her life, this was the new beginning she deserved. He wondered if he deserved a chance at happiness too.

“Now it is your turn,” Neytiri said. Tsu’tey took a deep breath, mentally preparing himself for the conversation ahead.

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“Wrong,” Mo’at announced with a harsh tone, watching intently as you worked on making a paste.

You winced, applying more force to the pestle but it didn’t make much difference. Her eyes pierced through you with judgment, yet you couldn’t figure out what exactly you were doing wrong.

“The force must come from the shoulders, not the whole body,” she spoke up, her voice stern, as if she had just read your mind.

You felt a pang of embarrassment, as you tried again, this time using your shoulders only to apply the necessary pressure. Mo'at remained silent, seeming more satisfied with your correction. She rarely admitted to you doing something right, but when you slipped up, she would make you stay late and work, until you mastered the technique. It seemed like this lesson was going to stretch out into a longer one too.

“I apologize for my interruption,” a voice broke the quiet concentration of the lesson, catching both you and Mo’at by surprise. 

Takuk stood awkwardly in the entrance, before bowing deeply in greeting. His eyes flickered playfully between you and Tsahik, until his gaze settled on Mo’at. She waited patiently for him to continue.

“I did not wish to disturb the lesson,” he said, “I just wanted to know when I can expect it to end?”

“Why do you need to know that?” Mo’at raised an eyebrow, her eyes sharp and questioning.

“I would like to invite Y/N for a stroll after she is done,” he admitted, throwing a quick glance at you.

You felt a blush creeping up your neck, caught off guard by his boldness. Mo’at looked back at you with slight confusion, urging you to answer.

“I am afraid I already have plans to tend to after my lesson, Takuk,” you answered apologetically.

“It is alright, we can go tomorrow. I just have something important to talk to you about.”

“Oh,” was all you could say, “Sure?”

“I will see you tomorrow then. I’m sorry again for the interruption,” Takuk said, bowing before taking his leave.

You could sense Mo’at’s disapproval radiating off of her, and you felt ashamed to have negotiated plans in front of her during the middle of the lesson. She clicked her tongue in irritation, gesturing at the pestle and mortar. You quickly resumed pounding the herbs, feeling her eyes on you.

“That boy wants to court you?”

“Oh, I am not sure,” you mumbled, “Maybe.”

“He must either be brave or stupid for going after a promised woman.”

You looked up at her in surprise, pausing in your movements before coming to a stop.

“I am not a promised woman,” you objected.

“Of course you are,” her voice was stern, “You have mated with the Olo'eyktan.”

“What? I am not -” you shook your head in bewilderment.

“Do you think I am stupid?” she tsked, gesturing at you, “I can smell him on you every time you come here. No amount of washing can cover that. Maybe once, but not this often.”

Your heart nearly leapt out of your chest at how accurately she had pinpointed it. Was there even any point in denying it? Mo’at could see right through you.

“You must warn that boy to stay away. He must not disrespect his Olo'eyktan, you and Tsu’tey are now mates,” she ordered.

“We are not mates, Tsahik,” embarrassed, you lowered your gaze.

“Of course, you are, You have performed a tsaheylu and mated before Eywa. You are bonded for life now,” she explained angrily, as if you were dense. Your shoulders slumped involuntarily.

“There was no blessing from Eywa. No tsaheylu,” you admitted quietly. 

Mo’at stared at you in shock, her eyes widening in disbelief. With a deep sigh, she stood up and stormed out of the hut, leaving you alone in your thoughts. Deep in shame, you remained seated on the ground, your eyes still glued to the same spot. Tsahik must think very little of you now and will most likely forbid you from ever visiting her again. You were suddenly jolted back to reality by the sound of heavy footsteps approaching the hut. You quickly scrambled to your feet, when you saw Mo’at enter with Tsu’tey. 

She gestured for him to stand next to you, and he complied, a knowing expression already plastered on his face as he threw you a quick glance. Mo'at looked angrier than you had ever seen her before, her eyes boring into yours with an intensity that made you shrink back in fear.

“What is this that I am hearing?” she demanded loudly, "You have committed a great disrespect to Eywa."

You lowered your ears, feeling the blood rush to your face in embarrassment. Involuntarily, Tsu’tey lowered his ears too. Despite his newfound confidence as the chief, he still felt ashamed in front of Mo’at. He had always considered her to be like a second mother to him. Mo’at spoke again, her voice dripping with disapproval.

“You insulted and ignored the laws of Eywa. You continued to fool around with no bond, no tsaheylu,” she pressed her hand to her forehead, sensing a headache approaching, “How long has this been going on?” 

“Since the last moon,” Tsu’tey answered. Tsahik’s face twisted with a mixture of disappointment and disgust. She had never expected Tsu'tey, a man so proper and dedicated to his duty, to behave like a selfish, reckless child.

“Stupid,” she spat, gesturing between the two of you, “If you want to remain respected clan members, you must fix this… Either you begin to court this girl properly and make a bond with the blessing of Eywa, or you leave her alone to find herself a mate.”

“But Tsahik -” you opened your mouth to protest, but Mo'at hissed at you, cutting you off.

“I do not wish to hear anything else. Do not show your faces to me unless you fix this.”

She dismissed you with a wave of your hand, as you and Tsu’tey rushed to step out of the hut. The darkness outside enveloped you, and you wondered where Mo’at had found Tsu’tey. You cursed him mentally for not being farther away. 

“I’m sorry for telling her, she just…” you trailed off guiltily. 

“I know, it’s not your fault,” Tsu’tey nodded in understanding.

He strode ahead, and you followed behind him in silence, waiting for him to speak. Things were going to change now, and you hoped that the bond that was forming between you and Tsu’tey would help, but his next words quickly shattered it.

“Tsahik is right. We can’t be together,” Tsu'tey said, his voice heavy with resignation, “I am being selfish.”

“What are you saying?” you scrunched up your face.

“From now on, we must stop seeing each other. I promise to respect your space, and there will be no reason to dwell on what has happened between us anymore. I want you to have the freedom to find a mate.”

“No! I don’t want a mate,” you protested,  “I don’t want anyone, I only want you. You know that.”

“It is wrong,” Tsu’tey stepped away from you, “I am grateful for the time we spent together, but Tsahik is right. I have to dedicate myself to my duty and give you a chance to choose a proper mate.”

“This is nonsense,” you huffed, “I thought we had an agreement.”

“Yes,” Tsu’tey agreed, “Which I am following through with right now. I think Takuk and you can make an excellent match.”

“Takuk?” you asked, the hurt evident in your voice.

“He asked for my permission to court you this morning. You should give him a chance.”

You felt your heart shatter into pieces. He had been the one to push you towards someone else, making it clear that he didn't love you. You had clung to the hope that his feelings might change, but now it seemed like he had given up on you completely. Your throat tightened as tears threatened to spill from your eyes.

"You had no right to do that, to give permission on my behalf," you jabbed a finger into his chest, your voice filled with anger, "You are merciless."

“I am sorry, Y/N,” Tsu’tey let out a long sigh, catching your hand in his, “I will not forgive myself if I ruin your chance at happiness.”

His eyes bore into yours, expression softenting. For a fleeting moment it felt like he hated himself for letting you down. He squeezed your hand, bringing it to his chest.

“You have no idea how much I love you, do you?” you asked bitterly, pulling your hand out of his grasp, “I was stupid for thinking you could ever, ever feel the same way. And you warned me from the beginning.”

"It is not true, I -” Tsu’tey interrupted himself, shaking his head, “I care for you deeply but I cannot give you what you want.”

He caught your hand again but you yanked it away from his grip. The pain in your chest was suffocating you.

"Don't touch me," you hissed.

The tears that threatened to fall earlier were now streaming down your face, as you walked away, leaving Tsu’tey standing there alone. By the time you reached home, you couldn’t stop the sobs that wracked your body. You weren't sure if you could ever put your shattered heart back together because Tsu'tey now possessed every single piece of it.

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next chapter

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[ripplestitchskein]

The Real Helluva Boss Pilot

Episode 1: Murder Family

My intent with these essays to analyze the episodes both from an “as the information is presented to the audience perspective” as well as a Meta perspective, taking into account what is revealed later. I will also be analyzing the writing with regards to plot structure, dialogue choices, and characterization, as well as highlighting visuals and effects that are relevant. I will not be taking information that is not presented in the canon episodes, like the Sinstagram posts into account. I am writing as I watch the episode (and think it would be fun to read it as you watch it too but not necessary) so I strive for accuracy and while I do have bias, being human and all, I will try to justify it using the presented text. I will have a masterpost to keep track of these for future reference as I *plan* on doing every episode. I’m AuADHD though (if you couldn’t tell) so it really depends on the brain juice if the focus lasts. These will be long, but hopefully informative and interesting.

So lets get to it:

The episode opens on a flashback, we see a happy schoolhouse, have a heartwarming song and then the sequence of events that leads us to the panning down shot to Hell and our first glimpse of the world we are going to be inhabiting in the course of this show. There is a direct visual contrast between the blue skies, twittering birds, vibrant school house and later, Hell. It is established what sequence of events led the client there and the client is fleshed out a bit as far as who she was immediately preceding these events. It’s a really efficient character backstory presentation, we get who she was, what happened and why she did what she did, and how she felt about it. It’s a good deal of insight for a character we see once, they did a great job making her a bit more rounded in a short amount of time and with limited but pointed visuals. Her clothing. Her demeanor. Her relationship with the children. Their relationship with her. The contrast between what happens. Kudos all around. The song going from happy classroom bop to creepy and discordant with the chalk screech was great.

This initial opening sequence is for the plot of the episode itself not necessarily for the show overall, though it does highlight one of the central running themes of the show: that the human realm and Hell are only different on a surface level. An interesting choice made by the team here was that the horrific events take place entirely in the wholesome school house. Except for a brief cutaway to the cheating husband we stay in the bright cheery environment with the actions taking place - their teacher murdering her cheating husband and then killing herself - contrasting it. It’s really fitting for an episode themed around the human world not being as wholesome as it appears to be. I thought it was a good choice. I also love the pan down through the Earth to Hell and the visuals being very similar to a world we are familiar with, office buildings and cars in a downtown environment, but obviously other in regards to aesthetics.

We then get a large establishing shot of the office building and then a cut to the interior, specifically Blitzø’s door which has I.M.P Headquarters in large text, and “Meeting in Progress” taped to it in a more cartoony one. A visual to show the difference between the intended professionalism versus the actual professionalism.

So we are told where we are, and that the character doing the voiceover is in this office. The tone and mood so far is detective noir, starting with the client’s smoky voice over narration and continuing into the office which is lit and framed with this pastiche in mind.

The first bit of dialogue from one of our actual main characters is Blitzø asking if the mistress was hotter, calling the client “tits” and then giving us a summation of their business and some world building in a really tight character revealing expository dialogue drop. It also contrasts with the noir tone, instead of playing into the trope he breaks that tone and gives us the tone of the show itself. From this initial dialogue we know that they are in Hell, that their business is to take revenge on the living, that Blitzø is vulgar, rather misogynistic, and a bit silly (I.e. “Boop”).

We then jump back to the story of the episode to explain why this is a good case for them to take. The mistress is still alive and based on the scenes probably not a great person but there is still enough ambiguity there to make it seem like they are going to kill a fairly innocuous cheating woman for the sole reason that they were hired to do so by a jealous jilted wife (I’ll point out that this ties back to Striker later, he essentially is doing the same thing IMP does in this episode, for the same reasons, with some class issues thrown in for spice).

The client gets angry and aggressive and Blitzø urgently presses the emergency button under his desk. This button gives us a little insight into the office, Blitzø, and world as well. Or at least situations that require an emergency call.

More Coffee, Soiled My Pants, Horny Client, Deranged Client, Client Giving Birth, Ghost, and Stolas (See my feelings on the Stolas button here). I love that such a simple detail gives us so much information and also leaves us wanting to know more. Are these things that happen frequently, that Blitzø is scared of happening, that got added because of a specific event in the past? The visual story telling with that intercom system is *chef’s kiss* and from a story boarding perspective a great way to transition the scene.

This leads us outside of Blitzø’s office to I.M.P headquarters at large where we have Moxxie shaking as he tries to shoot a family picture. Here is the conflict of the episode introduced. We also meet the three other important characters of the business. Millie has a “if that’s what the client wants” attitude, Loona is dry and sarcastic and points out that we don’t know what the family are hiding (this episode’s prophetic character and the theme stated), and Moxxie is conflicted, only wanting to kill a family if it was a shitty Dad or a Mafia Family (Moxxie backstory and Daddy issues hint). Millie also indicates that Loona is different from them, that she is a Hellhound which is subtle world building via dialogue and I liked it.

We are given a little foreshadowing as to the episode’s “twist” (humans are full of secret nasties) in this exchange.

We also get a little taste of how different Moxxie and Millie are. Millie gives Moxxie the solution to the problem they’ll encounter later right here but he has to learn the hard way. (This comes up multiple times in their relationship, in Happy Campers most explicitly, but is established first here).

“Guilty and innocent ain’t our business Mox, killing who we’re paid to is our business. Shoot the target”.

Moxxie does not agree with this sentiment. This speaks to his personality and to his major character flaws. He wants to do things his way, and often ignores others and suffers consequences for it. Also this speaks to his role as being largely the audience perspective character in this episode (and often to the series as a whole). How Moxxie feels is largely how we as the audience should feel in this situation (hopefully).

Blitzø comes out, announces the new client, Moxxie misfires and the first long running gag of the show of the office being destroyed in some way is established. A gag that reflects the “continuing to keep trying despite it all continually falling apart” journey the character’s are on throughout the show. This misfire foreshadows what Moxxie will do when they go after the client, a missed shot being Moxxie’s fault.

We head downstairs, the firemen are dealing with the situation and Blitzø yells at Moxxie for setting the office on fire. (Foreshadowing what will happen to the house).

We are introduced to the grimoire, the fancy book that is their only ticket to the human realm. Loona sums up its function for us. This interaction also shows us how Blitzø interacts with Moxxie and Loona respectively. Yelling at Moxxie and squeezing him aggressively, vs simpering at Loona and offering her a treat. We also see her reaction to him, largely disgusted and fending him off.

We also see that Loona controls the grimoire, though her being the sole person to control it isn’t revealed until later. Blitzø and Loona’s relationship is not explicitly declared until episode 3. I’ll admit, based on Blitzø’s vulgar dialogue and how he treated Loona, and her reactions I was worried when I watched for the first time that Blitzø was like sexually harrassing her, but after episode 3 it made it more clear. (Yet another reason why you can’t base a character’s entire personality on one episode or a handful of early dialogue, you actually gotta like…watch the show as things are revealed). The billboard in the background is a super fun detail. The book is presented as the tool that lets them go back and forth and it is shown to be Important(TM).

We open a portal and now we’re in the human world. Due to the lighting, unlike the happy schoolhouse, it is not visually contrasting with Hell now, the lighting between Hell and Earth is the same, maybe even a bit brighter in Hell.

When they get to the house Blitzø offers the shot to Moxxie, he is visibly excited but he hesitates, Blitzø goes to take it but Moxxie is still conflicted, he ruins the shot just like in the office. It was a really quick insight into Moxxie still trying to prove himself, at being fairly new to this specific line of work. Because of him though the family is alerted.

We see that they are not the wholesome and innocent family they project, first by the background visuals of bones and weapons (and the wheelchair with the urn with a full meal in front of it which I did not notice until this rewatch, always finding new stuff) the music, and then by their behavior. Their faces resemble more the denizens of hell than humans now.

Outside Blitzø and Moxxie argue, and we get some insight into both of them, Moxxie is softer and more empathetic, he doesn’t want to kill a wholesome family. Blitzø is more jaded and says that there is no such thing. That no one is innocent from Birth. He tells Moxxie to get over himself, speaking to Moxxie’s established character flaw : He is so wrapped up in his own sense of what is right that he causes problems for others.

Blitzø also says something during this exchange: that they are not killing a family, they are killing a mother and ruining a family. Which considering what we find out about his mother is interesting. Mostly because he seems rather gleeful about it, but considering the theme of revenge present throughout the show looking at it now we could interpret it as him wanting to visit some revenge on a ”perfect family” but whether this was a conscious choice by the writers at this point, or one that we can just ascribe meaning to based on later episodes I couldn’t say. He might just like killing folks. It’s interesting tho.

They scatter and the chase sequence begins. Moxxie is grabbed immediately, Millie is shown to be a bit more dangerous and skilled at combat but she falls fairly quickly. Blitzø yells scatter and takes off. They have all three gone in different directions which is a running issue with their relationship and the business as a whole throughout, it is not a good strategy. They need to work together but it’s episode 1, so.

Moxxie wakes up and he’s in the creepy Ed Gein room with the kids. Loona, Millie and Blitzø were right, humans are full of secret nasties.

Now we follow Blitzø running from Martha. Stolas calls, and Blitzø answers and tells him it’s a really bad time.

We see Stolas for the first time. He’s in a fancy bubble bath with a fancy phone having a much different time than Blitzø. These characters are in two very different places from a variety of perspectives. There is a very deliberate theming for Stolas, a lot of effort went into the background and aesthetics, and his musical motif (Owl in a Cage) is heard for the first time. This indicates Stolas is an important character, inhabiting his own world within this world and with his own established designs and music. Even though he is largely only expository in this episode, to establish the grimoire as the reason they can get to the human world, it is indicated its use comes with additional backstory we don’t know yet, and forward story that will come up later and that Stolas will be central to those stories. It is, in fact, the ONLY explicit thing we are given to explore in future outside of IMP itself.

It also shows us how Stolas feels about Blitzø, he calls him Blitzy from the very beginning. His voice is simpering, cooing and sexual. Blitzø is colder, obviously he’s used the excuse of it being a bad time more than once to avoid this conversation. Stolas seems to be able to see him in a bubble but it’s not clear if that’s just a visual choice like a split screen or an actual ability he possesses, but based on D.H.O.R.K.S and the caller ID on his rotary phone I think it’s the latter. It is also not clear at this point if Blitzø is avoiding the issue of the book, Stolas himself, or both. At this point it’s probably safe to say both.

It is revealed that Stolas has been allowing Blitzø to access the human realm using the book illegally for an unspecified amount of time. He needs it back to do his job but suggests working out an exchange, favors for favors. He breaks down the deal for Blitzø, Blitzø returns the book on the Full Moon, they have a night of passionate fornication each month and Blitzø can keep it the rest of the time. Blitzø says “Okay, Whatever” and then Stolas starts in with the dirty talk.

The takeaway here is they have a sexual relationship that one party is more invested in, Blitzø is more worried about not dying at the moment.

I’d like to digress for a moment and have it noted that in no way does Stolas threaten Blitzø, he just offers the deal and takes Blitzo’s acceptance of it at face value. We do know it’s important to the business and that Blitzø has been avoiding discussing it. We also know what he’s doing with it is illegal. So I do understand early interpretations of it being predatory or coercive based on this exchange alone, but this is cleared up fairly quickly in Season 1, as we’ll see in later analysis. To me this exchange was as ambiguous as the Blitzø/Loona situation in terms of how these characters were related, a little odd at first because we didn’t know the full context and leaning towards creepy at face value, but later cleared up unequivocally and explained further.

I think the difference for people here comes down to foreknowledge, either watching the original Pilot (not canon) or following the creator. For me, as a brand new viewer who had no background or knowledge of VivziePop other than the presented text I was MORE initially eeked by the Blitzø and Loona dialogue in this episode than the Stolas dialogue because her reaction was so viscerally disgusted and the conversation with Stolas seemed to be an established “thing”. Blitzø picked up even though he was running for his life, something I wouldn’t expect a character to do if they were repulsed or avoiding someone. He also KEEPS TALKING TO HIM, even though his life in danger from doing so. Also not something a character does if they are repulsed. Man could have sent it to voicemail because he was being chased by a psychopath but still answers and chats. This leads to an important point, when looking at a piece of media you can’t really take in what is initially shown, as it can change as early as the next episode and character reactions to dialogue matter as much as what is said. Which is the case with both Loona and Blitzø and Blitzø and Stolas, and the audience should only be expected to know what’s shown on screen.

Additional outside the channel content is fun, like the Sinstagram posts, but a general viewer doesn’t have that unless they go looking for it so it shouldn’t be integral to understanding.

Blitzø is under duress because of the situation with Martha, not the conversation Stolas, so we cannot extrapolate much as far as his true willingness based on the first episode and this dialogue alone, though people sure do try. If the conversation were taking place when Blitzø was not running through the woods for his life it would give us more insight, but we have to wait for further episodes to get that. But we do get it.

Anyway, Blitzø gets caught by Martha and drops his phone. Stolas does not notice, he’s too wrapped up in the sexual dirty talk and cannot help him. A running theme for them.

Moxxie is struggling to escape inside, sees the flames and realizes Millie is in trouble. His primary concern is for her. He uses a chair to overpower the girl child and grabs a gun and runs to save Millie. This speaks to his priorities and his relationship with Millie which, up until this point was hinted at but not overly explicit. He also has no issue hurting a child now, up until this point he was trying to get away by straining at the ropes, when he sees Millie is in trouble his reservations about hurting children are gone for that moment.

Millie and Blitzø are tied to a stake, Martha gives a lil speech, they burn but it doesn’t hurt them. Blitzø reveals shooting them would. Millie is annoyed he revealed that. I thought it was interesting that we establish Imps can be killed by being shot, and then later that Stolas can as well, albeit with a different kind of gun. I don’t know if it’s necessarily relevant but you should always take note of ways characters can die and ways they can come back in my experience, and such dialogue is rarely for nothing. Stakes have to be introduced otherwise we won’t have the suspense they are in actual danger. This exchange puts Millie and Blitzø back in danger while still giving them a demonic flavor in the world building in that the fire wouldn’t hurt them. It’s a good, subtle, writing choice. Taking away stakes to establish a trait like fire immunity but then bringing them back with gunshot vulnerability.

Moxxie kills Martha by shooting her through the eye, overcoming his issue at the beginning of the episode to save his wife and also, incidentally, his boss. It’s a great shot from a visual perspective (pun not intended but appreciated) with Moxxie framed through the bullet wound.

Moxxie and Millie cuddle making their relationship more defined.

Blitzø is annoyed with Moxxie for causing the situation in the first place. Moxxie apologizes, Blitzø hugs him and forgives him and makes the first sexual threat joke about Moxxie and Millie of the series and confirms for the audience they are married. I appreciated this from a writing perspective, it gives us the info without Moxxie and Millie having to say it, which is always weird and unnatural in early episodes. “MY WIFE” kinda stuff, but having Blitzø do it casually in a very Blitzø way was just good dialogue. You always want dialogue to be revealing about both situation and character if you can and they nailed it with that line.

Blitzø calls for Loona, he calls her dear, another subtle hint at their relationship. It is not revealed they are father and daughter at this point but he treats her more affectionately than he does anyone else so far with his tone and dialogue so we know she’s different in some way.

Moxxie runs off to take care of something. He passes the phone where Stolas is still going on and we get the jelly sandwiches line. Freaky, oblivious bird. This is either a continuity error or Blitzø carries multiple phones as he just pulled a phone out to call Loona. I kind of assume he has the yellow one as a personal phone and the red one for business? I just noticed it so I’m going to keep an eye on it.

Moxxie tells the Dad Ralphie that Moxxie should have killed them because they are monsters, but they deserve a chance at a life and a purpose. He thinks mostly of the children. “I’m handling this my way” to show he is still holding to his principles and that he believes in justice prevailing and they have a slightly humanizing moment with the universal remote.

Moxxie joins Blitzø and Millie at the portal. Blitzø says some pervy Blitzø stuff. Millie asks if Mox is okay and says he has a good heart but a fussy head. Millie goes through the portal, Moxxie looks back and the Earth police blow up the house and everything he tried to do with his good intentions. Sad teddy bear shows us even the kids died. Blitzø yanks him back through to Hell.

The office is having celebratory cake. Millie is proud of Moxxie while he looks miserable. They sum up the “lessons of the episode” via dialogue.

Moxxie finally learned not to fuck up

Killin people is okay if they try to kill you back

That is messed up, but I paid for it!

Everyone laughs. Moxxie looks miserable.

We the audience are shown that this world has a very different moral code than our own, Moxxie is the most like us and the people proven right in the episode were the characters with no moral issue killing a family from the beginning. The lesson learned is Moxxie’s, and kind of echos the “road to hell is paved with good intentions” aphorism in that we assume the whole family ended up there by the end because of Moxxie’s. The family is revealed to be rather evil, but Moxxie still wanted to try to save the most innocent of them and still failed.

This episode serves as the entire series opening image in a sense. Here are who we are dealing with, here are some tastes of their personalities and hints at their relationships, the world has a much different moral code than our own.

This is the true pilot episode in terms of structure and content. We have a cohesive three act structure. In the first act we setup the characters (Blitzø, Moxxie, Millie, Loona. The client and the family), the setting (both Earth and Hell), the theme can vary based on your interpretation but there are several to pick from revenge being central, humans being as bad as hell residents, etc and we have the main conflict of the episode: Moxxie is not comfortable killing an innocent family but has been tasked with doing so.

In the second act, Moxxie attempts to solve the main conflict by ruining the shot, which leads to everyone being in danger from the family, and everyone gets captured.

And in the third act, Moxxie is able to resolve this conflict by killing Martha to save Millie and he attempts to give the remaining family a chance but is thwarted by Earthly law enforcement. It’s still a resolution, even if doesn’t align with human based ethics or end happily for Moxxie, the naive audience surrogate who has to learn along with the audience that it’s not that simple in this world, and it doesn’t always end in rainbows and happiness.

We have accomplished all Pilot goals. We have been placed in the world, introduced to the major characters and given hints as to their relationships and personalities. The major overarching plot devices for further exploration in the season are introduced: the business itself and the grimoire, both will continue to be relevant and are linked together.

The major questions we are left with to continue onward are the results of the Blitzo/Stolas conversation, the exact nature of Blitzø’s relationship with Loona, and how IMP will handle other clients in the future.

I thought it was interesting is the three main character perspectives, other than the client who is a throwaway character, are Moxxie, Blitzø and Stolas. Millie is a supportive role and mirror for Moxxie she doesn’t actually affect the plot in any way other than being the catalyst for Moxxie to make his choices and to highlight his flaw. Loona is largely there for an expository purpose to explain the grimoire and state the theme, she has no plot relevance. As far as character reveals and relationship reveals go the central focus of the episode is those three in that order of importance. We don’t even find out Millie is Moxxie’s wife explicitly until the end and we do so because she is why he made the choices he makes at the end, we don’t find out Loona is Blitzo’s daughter at all until episode 3, but we have the beginnings of Stolas and Blitzø, we have brush strokes of the team’s relationship to each other, and the beginnings of Moxxie and Blitzø’s dynamic as well.

In terms of the overarching plot structure of the show this episode serves as the perfect Opening Image. There are lots of things dropped we’ll pick up throughout this season and the next. A lot of stuff you don’t realize was established so early on is there.

The writer’s did an incredible job with the dialogue, the foreshadowing, and everything is so efficient and tight for a 13 minute runtime. Every scene, every line, every visual serves a purpose and it’s extremely well done. While I don’t consider it a masterclass in writing or anything, it is one of the best “by the book” Pilots I’ve ever seen.

[storyofmychoices]

How to Distract a Rogue

[Mal Volari x Daenarya Masterlist] [Mal’s Orphanage]

Pairings: Mal Volari x Daenarya (F!OC) Book: Blades of Light and Shadow Word Count: ~800 Rating: Teen (just to be safe) Prompts: @choicesprompts Rewrite Challenge: Psych "Ferry Tales" / dialogue exchange as requested by @promptnonny [Scene (first 28 seconds)]

Synopsis: Daenarya devises a new way to keep Mal distracted.

Daenarya and Mal found themselves at the bustling docks of Port Parnassus. The air was alive with the sounds of merchants haggling their goods and seafarers preparing their vessels for their next adventure. The pungent aroma of freshly caught fish filled their senses, mingling with the comforting salty breeze that gently caressed their faces. 

Daenarya took his hand, dragging Mal forward through the throngs toward the small ship waiting just ahead. She had timed it perfectly, but they didn't have any time to waste. They were heading toward a remote island community off the coast to lend a hand in the cleanup efforts after a violent storm had ravaged the community.

"Where are we going?" Mal asked, a hint of curiosity in his voice.

Tempering her smile, Daenarya led him onto the ship's deck where other volunteers prepared for the task ahead. "We're heading to Ambermoor."

"Why would we go there?"

"To help them clean up after the storm," her voice filled with determination, as she pulled him further onboard.

"If you had told me we were boarding a boat to the Ambermoor Islands to clean up, obviously, I would have said no," Mal replied, a hint of reluctance in his tone.

"That's exactly what I told you," Daenarya nodded in amusement.

"And what did I say?" Mal protested, placing his hands on his hips, certain he had protested this once already.

"You said no," Daenarya agreed, a knowing smile on her lips.

"Then why am I here?" he whined, scanning the surroundings for an escape route.

"Because you're easily distracted," Daenarya answered, her eyes sparkling mischievously.

"What? When it comes to mental focus, I'm sharper..." Mal's protest came to an abrupt halt when Daenarya presented him with another fresh, juicy Purple Parnassian. "Ooh! Thanks! I was starved." He eagerly took a bite, savoring the fiery flavor as it burned down his throat. The snack's tell-tale purple liquid stained his lips. "You know, when Alfonso says these things really satisfy, he's not lying. So packed with flavor..."

As they settled on the weathered deck among the crowd of volunteers, the sounds of the bustling dock faded into a distant murmur. The wooden planks beneath their feet creaked softly with each step. The call of seagulls sang above them, hoping for just a taste of the tempting treat Mal held in his hand. The cool, salty breeze caressed their faces, welcoming them on their journey. The ship began to rock with the lapping waves as it began its slow departure from the dock.

Mal's pout returned, noticing his exit window had closed. "Oh, man."

Daenarya smiled, pleased with her successful diversion. "And, done."

"How could you trick me like that?" Mal whined. His shoulders slumped as he stamped his feet in playful frustration. 

"We agreed that if we borrowed things without permission and without the intention of bringing them back, we would do one thing to make up for it," she reminded him.

"That doesn't sound like me." His right brow arched questioningly. "Was I drunk?"

"Yes." Daenarya brushed her fingers against his, her touch relaxing him. "That changes the outcome, how?"

Mal's mouth began to open in protest, but Daenarya swiftly interrupted. "And before you answer with something like I can't trust your words when you're drunk, let me remind you of some other activities you mentioned that were very, very enjoyable for the both of us that night."

Mal sighed, groaning in reluctant defeat. "Fine."

"Cheer up—" She pressed a fleeting kiss on his cheek as she laced her fingers with his. "If you're a good boy and help out with the cleanup, I'll show you another more hands-on distraction technique I've perfected."

"What did you have in mind?" His mood lifted at the prospect of her proposal.

"Well, I was thinking.—" She chewed her lower lip, her gaze hungrily raking down his body. Her fingers danced up his chest, pulling on his collar slightly. "—we could sneak away and find a more secluded spot where I could give you a nice reward for all your hard work."

A roguish grin filled his face, but it faltered a moment later as his gaze narrowed on her suspiciously. "Are you just saying that to get me to go along with this plan?"

"Maybe..." She teased, leaning in, her voice a whisper against his ear, sending shivers down his spine. "Or, maybe... I like the thought of you all hot and sweaty from working, your shirt tightening around your muscles. Mmm!" She hummed; the thought alone lit a fire burning within her. Her fingers traced teasing patterns along his arms, relishing in how he responded to her touch. She playfully nipped his ear. Her hot breath lingered, "I guess you'll have to wait and find out, Mr. Magnificent."

The pair drifted through the crowd, settling against the side of the ship.

Mal's hand brushed against the smooth railing, the coolness of the polished wood offering a comforting spot to rest against. His gaze fixed on the growing expanse of ocean surrounding them. The now calm waters gave little clues to the storm that had passed. Daenarya wrapped her arms around him, resting her head on his shoulder as he pulled her closer. Maybe it wouldn't be so bad after all.

I hope you enjoyed this silly little rewrite. @promptnonny sent me this scene a few months ago and I never got around to writing it, but I figured since @choicesprompts is hosting a rewrite event, now might be the best time to finally fill the request. Thanks for the inspiration @promptnonny! I absolutely adore Psych so this request made me smile so much!

[mandalorianchronicles]

Thoughts on "The Convert"

Spoilers below the cut

Well, that was...different. I'll admit, it was probably the first time I was actually a bit disappointed by an episode of The Mandalorian. It wasn't that Dr. Pershing's story was badly written (though it could have been pared down), but I just didn't care to spend so much time setting up the next plot element when we were right in the middle of resolving the first one. I would have been okay with him getting his own bottle episode, rather than sandwiching it in between Din and Bo's moments. It was very jarring as a viewer, but I suppose that was the intent of the writers in the first place. Din and Cara had both commented that they didn't have much faith in the New Republic and now we see why. There is still a massive disconnect between the citizens of the core worlds and the Outer Rim, and it doesn't really matter who's in power, there always will be.

Concerning Pershing's plotline - I would be interested to know what he was working on specifically with Grogu and how it ties into Palatine's comeback. Between this episode and The Bad Batch, there is a LOT of focus on the Empire's cloning experiments, but I feel like we just keep scratching the surface without ever getting any real answers. But I'll be patient. This chapter seemed to be focusing on the fact that the Rebels defeated the Empire and established the New Republic, and it took all of 5-10 years for it become nearly as corrupt as the Empire. Okay, that's an exaggeration. The people on Coruscant looked happy and free (which is different from the mood in the capital planet in Andor). But there's a lot to be desired with this new government. No wonder Leia didn't last long as a Senator again, she'd have no patience for the BS. I liked how they casually mentioned in this episode how they had so many resources tied up in mothballing their fleet. And now you know how The First Order rose up less than 30 years later (if you didn't read the books).

I believe the "convert" is actually Pershing, not Bo-Katan. He genuinely wanted to help the people of the New Republic. It could also be referring to Elia Kane, but she wasn't really a convert, she was just making it look like she was so she could feed information back to Gideon or the Emperor, or whoever she is actually working for, because it clearly isn't the New Republic. I wonder if we'll ever see Pershing again after he got mind flayed (Count Rugen: NOT TO 50!). And yes, sweetie, it *was* a trap, baited with Star Wars Biscoff cookies. I can't believe that worked. Honestly, after he hijacked 40 minutes of this episode, they better be setting up a continuation of this story.

Which leads me to...the 20 minutes of this episode featuring people I actually care about.

First question: *who* sent those TIE interceptors? Is Moff Gideon pulling strings from prison? Or is this someone else? Bo said that was a lot of ships for an Imperial warlord and I'm inclined to agree. Gideon didn't seem to have anywhere near that kind of firepower. My guess is this is Thrawn. Why would Thrawn bomb Bo's castle on Kalevala, you ask? I assume that Sabine and Ashoka are putting pressure on him, and he's trying to draw them out by targeting someone with strong ties to both of them. Ahsoka has been all over the galaxy hunting for Thrawn, but Bo knew exactly where to send Din to go find her. Which means they are still in contact. Sabine gave her the Darksaber and endorsed her as Mand'alor, pledging allegiance to her. Assuming she's still with Ahsoka looking for Ezra, she also has maintained ties. Thrawn won't like being hunted, he'll want to meet them on his terms when he's ready. If those were his ships, I'd say he's ready.

I recently re-watched the Rebels episodes with Bo-Katan just to refresh myself on the tone and dialogue of those scenes. In summary, After Sabine found the Darksaber in Maul's lair and trainied herself to use it, she entrusted it to her mother to help mend their broken family, who in turn gave it to Gar Saxon as a bribe to keep her family safe. Gar claimed the Darksaber as his own, and interestingly enough, had no issues wielding it immediately. But Ezra gave Sabine his lightsaber and she defeated Saxon, earning the Darksaber by creed, which her mother and others from Clan Wren witnessed. In 4.1 and 4.2, we see Sabine wielding the saber to save her father from the Empire, and Bo-Katan gives aide at Ursa Wren's request. Sabine immediately offers the Darksaber to Bo-Katan, but she refuses, saying she had her chance to lead and failed, referring to immediately after the Siege of Mandalore when the Republic made her regent. When the Empire. took over, she refused to bend the knee and was betrayed by the Saxon clan. "I am not my sister," she told Sabine, the pain of that loss brought the surface by the weapon that murdered her. Obviously, Bo's feelings for her sister had changed drastically. Later, when Sabine is torturing Tiber Saxon, Bo stops her and says "this is not our way". After that battle, Sabine once more asks Bo-Katan to take the Darksaber, and though she is reluctant, she accepts it with the support of clans Kryze, Rook, Eldar, Vizsla, and Wren and the Protectors. Contrary to the Armorer's very skewed narrative, Bo did not take the Darksaber because she believed it was her family's right to rule. She took it, because the most powerful clans on Mandalore were begging her to lead them against the Empire. They had already gathered to follow her before she even accepted the Darksaber. It was a symbol, nothing more. It was her actions and her steadfast devotion to her people that earned their loyalty, not the heirloom of House Vizsla.

History recap concluded, my next question is this: Did the Children of the Watch refuse to join Bo-Katan and the other clans in their fight against Empire because she didn't win the Darksaber in ritual combat with Sabine...or simply because they had another reason not to like her? The Darksaber was passed down through the Vizsla family line for years. Pre Vizsla didn't kill Tor Vizsla for it. It doesn't have to be won to change owners. That particular tradition only applied if the current Mand'alor was wielding it. When we see Bo and Din approaching the covert, Paz comes out to meet them. He's immediately surly toward Din (big surprise) and he doesn't believe him when he says he bathed in the waters. When Bo-Katan says she witnessed it, he replies with "Who are you, Nite Owl?" Are we really to believe he knows who the Nite Owls are but he can't recognize their leader? He knew damn well who she was. If Paz is closely related to Pre (and I believe he is, given the writer's choice to have Favreau voice him), might he be harboring lingering feelings of jealousy or resentment of Pre's former right hand woman? The Armorer certainly knew her on sight. We know she had no love for Bo when last she spoke to Din. And yet, she welcomed her with open arms.

Hence, question three: What does The Way actually mean to the Covert? Heretofore, I had assumed that the Mandalorians from Din's tribe were deeply religious and held a deep-seated faith in their doctrines. But even when Bo flat out tells them she does not follow The Way (not to be confused with the Mandalorian creed, which Bo-Katan has sworn herself to), The Armorer only cares about two things: which are actually one thing...the helmet.

Did you baptize yourself in the Living Waters to redeem yourself for not wearing the helmet? Yes? Okay. Have you removed your helmet since? No? Okay, you're in.

That's it. It doesn't matter if Bo-Katan actually follows The Way or has any faith in whatever else it teaches...the one (1) factor that determines if you are in or out is whether you cover your face at all times. Does anyone else find that incredibly odd? The Armorer never even asked Din why or for whom he removed his helmet when he admitted that he had done so. The circumstances and the who are apparently irrelevant. If you follow The Way, you can't even remove your helmet before your own clanmate, your own family. Ever.

I really hope that in the next episode, Bo-Katan starts asking these important questions. When it was known that Din removed his helmet, he was ostracized and shunned. No one touched him. No one acknowledged him. The Armorer didn't even thank him for saving them all from that giant croc - she just told him he wasn't welcome. But as soon as he was ritually cleansed of that most dire of infractions, everyone reaffirming him and welcoming him with physical touch and kind gestures. The contrasting behavior gave me whiplash. But seeing them touch Din and Bo's shoulders and being so welcoming is so psychologically powerful, it almost had me second guessing my reservations about the Covert. But then I had to remind myself, wait...real family doesn't shun their own loved ones for giving into the very basic human need to see and be seen by someone you love. The mandate to always keep their face covered is pure psychological abuse. It reminded me of that recent episode of The Bad Batch, "The Retrieval", when the corrupt mine owner had all those kids convinced he was being good to them, when really he was manipulating them with food and praise.

Question four: Did Bo-Katan just join a cult? This one we can answer, and it's most definitely not. It may not matter to the Armorer what Bo believes, but it matters to us. She is not a follower of the way, but so long as keeping her helmet on provides her with food, shelter, and some much needed companionship, she will cooperate...at least until it gets to be too much for her. I suspect she'll find ways around the rules before too long. But what of the Mythosaur? Does she now believe the legend? Right now, Bo-Katan isn't even sure she actually saw the Mythosaur. Katee's interview confirmed as much, addressing the concerns of fans that she was hiding it for nefarious purposes. Honestly, I thought it was obvious that she was uncertain - that's why she asked Din twice. She is second-guessing what she saw, and who wouldn't? I mentioned this in another post, but imagine if you were snorkeling at night and dove down in murky waters and thought you saw a plesiosaur...a creature thought to be extinct for millennia. Would you be telling everyone right away or would you second guess yourself? She was in a very dark place mentally, she had just visited her ruined home planet for the first time in years, she was remembering her dead father, and she had just read the plaque talking about how legend told that the mines were once the lair of the Mythosaur...she probably figured that all these things together might have triggered a hallucination. She doesn't know what to believe. And this sets her up for some amazing character development over the rest of the season.

There was a lot to unpack in this episode, and I am so very excited for whatever comes next.

[trainingdummyrabbit]

ok. limbusspoilers im still not over it <3 track rambling, yay

so listening to compass over and over in a half manic state Does Things To Your Brain <3 this isnt an analysis so much as a Talking About It Because Otherwise Ill Just Keep Being Haunted

the think that really really Gets me about the track is, specifically, its instrumental and mixing. ive spoken a lot about its distance, its murkiness-- but what i really wanna exemplify is the guitar. not an angry screeching, but this almost solemn, melodic pulsing like ripples across the water. it never comes to the foreground, it simply stays back, a constant, repeating chant. i dont know how to describe that execution (im not a formal music guy) but it uses a soundfont that sounds like Reminiscing does. and when it does do those stings, quiet as they are, it conveys this silent intensity that i cant describe so much as Feel. nails digging into any purchase it could find, straining, deeper and deeper, sinking, and sinking In. and then the second accompanying guitar layer kicks in at the "hold on tight--" still harrowing in tone, but bringing forth the imagery of climbing, clawing your way up rather than digging in and sinking down. again, something to be said about the expectation of the track being loud and bombastic and angry, only to be this cold, distant simmering. having those guitars-- those Specific guitars-- act in such a way is what truly pulls the entire thing together. even at its height, even at its most desperate, the track retains this surface tension-- this barely held-together image of calm. if not calm, then steadiness. the main crack in that facade is in fact mili's voice-- how it cracks and strains as it reaches for a resolution, the desperate attempt to stay steady, stay firm, against everything rushing past. the repeated "my compass is curiosity" takes on less of a revelation intent (solely,) but something of a mantra, a dont forget, dont forget, this is what we are holding on for. dont let go. something she-- ishmael-- had held onto so long ago, briefly smothered into obscurity, now becoming the very star she reaches for. that tether that keeps her grounded.

And another thing to be said about it is the way it is mixed in-game. even through everything, that heartbeat, a main driving force of the track, is still muffled. it gives the sensation that everything falls away except one thing-- the voices. sounds of combat overlap and mix into sludge, but the one thing that stands clear is the Dialogue. you cant hear anything else But it, no matter how hard you try. the music falls to a lull, and that piercing, grating taunting and laughter is all that you can focus on. and speaking of, the way that the encounter fades between its lyrical buildup and the simmer of the backing instrumental is also deeply striking. it doesnt feel like a boss track. not like one usually would. it feels like a trial. the way it fades in and out with ishmael's focus, every flashback-- its not standing in the present moment. its like watching from the background, as everything falls to pieces, watching, watching. this isnt a call forward, this isnt anything like that. its a test. almost as if casting the present moment in a flashback itself. it's seeing what ishmael can make of herself. if she can make something of herself. she is the focus, the subject, rather than the one calling it forward. the music doesnt come from her, it comes from around her. it is to say, "here is the truth of everything. now what will you do?" somehow it manages to call in the feeling of both dissociation and unwavering focus. as if moving on instinct, on strings; this is it, this is it. as if to truly call into question just how hardy she is-- just how much she can take. and once she truly conquers it, once she steps past and reaches forward, then and only then does that grating noise fall away-- only then does quiet fall-- the distant calls of what she left behind fading away.

anyway i remembered what the guitar reminded me of. black sun - death cab for cutie. have fun

[cranberrytart451]

Opinion:

The fnaf movie actually upset me in a way that bayverse transformers couldn't: I was never once convinced of character motivation.

I see a lot of people liking this movie, and that's valid. You can like something that is objectively bad, but you can't disregard criticism either.

If you want the next fnaf movie to be better, you need to separate your feelings from objective facts. Not in a "facts don't care about your feelings" way, but in a healthy way. By both recognizing bias and confirming emotions.

I also hate posts saying things like "if you didn't like the movie, fuck you. If you thought this scene was bad, you are stupid and wrong."

Shocker. It seems like it's the first time you've met a person with a different opinion.

Objectively, as someone who is not a filmmaker but knows a lot about how films are made, this movie took a lot of effort to even reach the screen. People poured their souls and passion into it, and that should be admired and respected.

But high effort doesn't always equal effective product.

Spoiler below:

First off, the camera work in this film was sloppy. This was not shot like a horror film. It was shot almost like a comedy.

There were too many close-up shots (reaction) and not enough wide. We never get the real scale of the animatronics in the film as the angles of the camera were parallel with them.

The lighting is too bright. Darkness should have been this movie's best friend as it would have made the puppets look more realistic and creepy. I work at Chuck E Cheese, and it becomes a liminal space the moment the lights are off. They should have used that.

The score is bland except for opening and closing credits.(I think the only thing the movie hits on the head is the opening credits with the arcade pixel art showing Springtrap leading the kids away.)

There are shots that are either too long or too short, messing with the pacing.

Do not get me started on the writing. This movie thought it was really clever, but no dialogue stood out except for "I always come back." (Which they should have left for the end credits scene)

Vanessa. Do I even have to start? She should have been the main character.

Do you understand the horror of living with a serial killer? A CHILD SERIAL KILLER!? Her entire life would be on edge. What if she didn't know her dad was killing and only found out through the course of the movie? This could have been a mystery horror movie.

They wasted what they had. That's the problem with this movie. It didn't focus on the right things and put too much emphasis on nothing subplots.

(Getting a little emotional because-)

(Are we gonna talk about how the aunt was killed in Mike's house and is never brought up?!)

Mike also AGREED TO GIVE HIS SISTER AWAY FOR DREAMS OF HIS DEAD FAMILY. Let me repeat. DREAMS. NOT EVEN HIS DEAD BROTHER'S GHOST.JUST FUCKING DREAMS.

... you might say he changes his mind. But the fact that he so readily does it in the first place pisses me off.

The aunt might be a karen, but she is right. Get Mike away from that kid. He doesn't prove to me in this movie that he is a good fit to raise her ONCE. He clearly loves her, but not as much as his dead brother or his own selfish guilt.

Characters can have flaws, but he doesn't redeem himself in my eyes by the end of the film.

Kid actors were kids actors. Nothing special. Not too annoying though.

The tone is inconsistent. Not even in an intentional way. It's just a roller coaster. One second, they build a fort the next Vanessa threatens to shoot Mike.

3/10

I wanted to like this movie. I had such a low bar for it. I can not believe it reached the depths of the ocean.

Fuck this movie hurt. I can't even say I liked it subjectively, cause it was so boring.

[superfluouskeys]

i wave my wand & command u to speak on hopeless, a fic that has lived in my bookmarks for time immemorial.

ohhhhh thank youuu!!!  hopeless was my first wolgraha fic!  It was based on 10 kiss prompts that I decided to make loosely related and kind of flesh out a story for my WoL.  I was just going along cheerfully enjoying FFXIV until Shadowbringers but idk man several things about that part of the story just have my number on speed dial you know!  I was like okay I’m gonna have to write for this to get the rocks out of my brain, ergo I’m gonna have to actually develop an OC.

I pretty much made Adrienne specifically to ship her w/ G’raha so I find it extremely funny a. how quickly I became attached to her for her own sake and b. how I feel her chemistry w/ other characters developed since she was initially conceptualized to complement G’raha specifically LOL.  I previously had a hard time “bonding” with my own OCs and I feel this really marked a turning point in that regard where I was able to focus in on character ideas that really appealed to me enough to form that connection, if that makes sense.

There’s also like a huge gap in my AO3 works from March 2020 until January 2021 when I started writing for FFXIV.  I remember I kept wanting to say something about what I was going through at the time and how I was feeling about my writing and about writing generally, but anything I tried to say barely made any sense because I think I didn’t even know what was going on with me.  There was a period of time where I felt like maybe I just wouldn’t write anymore because I didn’t have it in me.  Nothing inspired me, and nothing I had been working on pre-pandemic even remotely appealed to me anymore.  I felt like it had been written by someone else.

In retrospect, it makes perfect sense, right?  But it was hard to understand the feeling from the middle of it.  And I didn’t want to be cold or disrespectful to the people who have loved my work over the years, but I also couldn’t find a good way of venting my frustration about how I was feeling, so I think I often ended up coming off that way despite my best intentions.

So my main goal in doing the kiss prompts was to not angst about them too much, to just get them done without much editing, and to write something fairly different from what I usually wrote in the past.  I felt like it would be a good challenge for me because as I mentioned I really love unresolved tension and agonizing slow burn, but I think maybe I love it too much LOL, so sometimes when it finally came time for the culmination of the tension I would freeze up because I had built it up so much that I was afraid the payoff wouldn’t be good enough!  Ten shortish prompts where they literally had to kiss felt like a perfect low-stress challenge to help shake my brain loose on this very specific issue, and for that reason I think it’s very sweet and pleasant to read where a lot of my other work is more fraught and angsty LOL.

I really don’t even know if this dialogue feels particularly in character, I was straight up just calling myself out for a laugh:

A dull terror is beginning to take root in her heart, the one that has borne the loss of countless others, the one that has already lost him twice over, and she searches her mind frantically for something to say, something that will keep her from spoiling the moment with things she can’t do anything about. “Is that your idea of a proper courtship?” she wonders, instead, trying at a teasing tone. G’raha looks up.  “Is it not to your liking?” he counters.  “If you’d prefer, I could go and sit across the room.” “You’ll do no such thing!”  Adrienne tightens her grip on him instinctively. G’raha’s grin widens, and his tone turns dramatic.  “Perhaps in a few months, our hands will brush, and I’ll write you a sad letter about it.” “I hate you so much.”  Adrienne laughs weakly, but she cannot bring herself to loosen her grip on him, lest he slip away from her yet again in her negligence. “I don’t think that’s true,” says G’raha pleasantly.

It’s funny, now that my life is like pretty normal and okay again, I’m back to mostly liking fraught and angsty things, but at the time I feel my personal life was so bad that I really needed sweet and pleasant in my escapism!

Fanfic Writer Director's Cut Ask Game!

[fictitioustale]

PUNCTUATION

Having perfect punctuation is difficult. No one gets it right, and that’s okay. However, that doesn’t mean you shouldn’t learn how to use proper punctuation. Afterall, punctuation is what makes or breaks a book.

You won’t believe the several books I have come across that make you want to start reading from their description, layout, and aesthetic and then you read the first chapter and a huge bucket of cringe is dumped on you.

The sentences would be rough, have the wrong your or you’re, which is a huge pet peeve of mine, and the punctuation... it’s a hot mess. It makes the writer in me want to edit the whole book; I kid you not.

punctuation you should know.

& - Ampersand. Used to represent the word ‘and’.

‘ – Apostrophe. Used to show possession, to construct contractions and to make odd plurals.

: - Colon. Used after a complete statement to introduce a series of items.

, - Comma. Used mainly to indicate a brief pause.

- - Dash. Used to emphasize words or phrases and to summarize ideas.

… - Ellipsis. Used to indicate a pause or a trail of thought

! – Exclamation Mark. Used after an interjection or to indicate strong feelings.

. – Period. Used at the end of a complete declarative sentence.

( ) – Parenthesis. Used to set off additional info.

? – Question Mark. Used to indicate a direct query.

“ “ – Quotation Marks. Used to set off speech, a quotation, a phrase, or a word.

; - Semicolon. Used to link two independent clause that are closely related.

– - Em-dashes. Used to indicate a switch in focus.

why should you use punctuation?

You are probably wondering, why should I use punctuation when a lot of people couldn't care less about it? Well, Punctuation fills our writing and lets the reader know how the sentence should be read.

commas

Adding a comma is an intentional choice, a moment where you are asking the read to stop, sit up and notice – calling attention to the first part of a sentence or to make them feel an emotion like pausing awkwardly to show the awkwardness in the scene. Read your work out loud as you have written it, and then read it as you intent it to sound. Ask yourself: are they different? If so, add or subtract the commas where desired.

fullstop

Think about any moment in life where you were overcome by emotion that it was quite near impossible to form a complete thought. Using periods to end a sentence, to bring it to a ‘’full stop’’, can indicate that inability to process, like you’ve gone numb.

quotation marks

Consistency, quotation marks and dialogue.

The perfect combo.

Using or not using quotes, identing, breaking paragraphs and all the other rules surrounding dialogue affect style as much as tone does and, in this case, you need to ask yourself how you want the words to look like on the page. One line, no quotation marks at all? Or do you want to achieve an at-a-loss feeling.

It must be done with intention, like the commas, you can read your work aloud as it is written then again with how you intend it to be read.

em-dashes, colons & parentheses

These three have a similar goal to achieve when it comes to creative writing. As long as you don’t overuse them, its very difficult to misuse them.

Do you want your narrator to remark his or her thoughts all the time? Em-dash!

Do you want to distinctively expand a thought and make it seem like an awaited reveal and important detail? Use a colon!

Do you want to pull your readers aside, add an alternative viewpoint or let the readers in on something special that only they know and no one else and tell a story within a story? Parentheses!

These three will bring out the voice of a particular character or narrator and make your writing lively. Playing around with them and adding a few em-dashes there and here might bring out a new side to your story that you were unaware it was even there.

save a life, use punctuation

Now that I've shown you how to break some rules; I'm going to show you some rules to follow because, quite literally, correct punctuation saves lives.

all punctuations must be parallel.

When a main clause is interrupted with a comma or dash, you have to use the same punctuation marks at the end as well. Example: the five of them, known to partake in illegal activities, were spotted around the scene earlier that day.

at the end of a clause, you have to include a colon.

When a main clause is interrupted with a comma or dash, you have to use the same punctuation marks at the end as well. Example: the five of them, known to partake in illegal activities, were spotted around the scene earlier that day.

semicolons are used to equal emphasis.

To connection two related independent clause in a compound sentence, you can use a semicolon as a sub to a coordinating conjunction. Example: lucy answered the question hurriedly; she was busy.

Punctuation can be exhausting; its true but, in the end, it will impact your story for the better and now that you’ve got the basics in your toolbox, you can begin to play around, alter them, and intentionally manipulate punctuation for the better in your writing. Remember to always research when in doubt and sometimes, go with the flow and it will work out for the better. Although its easier said and almost never done, understanding the important of punctuation and perfecting your punctuation game will make your reader at ease and not have to read more than once to understand what you meant.

we did our research, be sure to do yours! here's our links for reference to get you started.

Punctuation for Writers | Jericho Writers (2021). Available at: https://jerichowriters.com/punctuation-writers/ [Accessed: September 2023].

MasterClass, 2022. How to Use Punctuation: 14 Rules Every Writer Must Know. [Online] Available at: https://www.masterclass.com/articles/how-to-use-punctuation [Accessed September 2023].

Punctuation: The writers full guide! (2023). Available at: https://www.linkedin.com/pulse/punctuation-writers-full-guide-learnlaughspeak/ [Accessed: September 2023].

[arandomnerd810]

Why i predict Ragatha will be the character ep 2 focuses on

at the end of the day it can really be anyone (aside from zooble and AI characters) and this is just me asking my best educated guess i’ll use periods but it’s just so this massive paragraph isn’t a complete headache to read and i don’t want it to be taken with a super serious no other solution tone would be open to disagreements and stuff 👍👍👍

Gooseworx said there will be 8 episodes in all and each character will get their own episode.first episode was an intro without being what I would consider a focus episode because it didn't get much into Pomni but was more focused on introducing the show. I don’t think there will be a Caine-centered episode, and the 8th will be a warping things up episode, but we will still learn more about him as the series progresses. It’s been confirmed that episode 3 will be Zooble (so obviously, episode 2 won’t be Zooble), and episode 2 won’t have much Zooble dialogue, so I don’t think it will be Gangle either. I feel like the Gangle and Zooble episodes will go more into their friendship, and now we already get into more iffy territory! I'm not thinking it will be Kinger or Jax since they are the most mysterious and intriguing characters, and idk if they would instantly solve them right off the bat since it would take some intrigue out of the show. It has been said that Jax will do worse things than he did in the pilot, but I also feel like he will chill out with the bullying a bit after his episode. Pomni, well, it's possible (her catchphrase), but I kind of feel like she will be the last focus ep or in a big show-changing episode as she's kinda the face of the series, and I don't get the feeling that it will be ep 2. The most likely is the last one left, Ragatha. There's a plot point to go off of from episode one where she's upset at Pomni for leaving her to exit, she's not too hard to read if you look too hard, so it wouldn't be a huge disinterest causer right off the bat (not to hate on her i love her a lot she’s just a fairly open book yk?) there’s no obvious friendship with Zooble so it would make sence for them to not have many lines. But that's- that's just *sobbing* a theory, a game theory. Thanks for reading this huge paragraph. 

uh anyways

was not my original intention before the final matpat game theory tbh, but ended up being kinda a little tribute to matpat, so thanks matpat! my special interests would all not be over analyzing and theories for characters i like and i wouldn’t wana do a stem career without him and his channels

[agent-cupcake]

hellooo! i admire your writing so much and would love to hear more about your ~process~. how much do you plan, what do you like to know before diving in, that kinda thing <3

Oh I love talking about myself you really shouldn't have opened up the floodgates

(but since you did...)

I don't really have a process I follow. Even if I do plan things out, I can't ever stick to it so mostly it's not worth the effort. For the most part, everything begins by taking story concept and character and writing down little scene snippets in an empty doc, or on my phone. Usually this is dialogue or sensory stuff, and a lot of times it doesn't make it into the final draft because my obsession with keeping to what I feel is more character accurate. The point is to set the tone, I guess.

Not that its relevant, but some of my favorites of these starting snippets that were in the final product is Junpei showing reader her own funeral and Emet-Selch dunking on reader's hopes and dreams at the end of Devil's Bouquet.

Anyway, from there, I flesh out that starting line, add more little snippets or even ideas for other scenes, and almost always write the ending, or at least write out the portion of the ending that I see as "the point" of the fic. This can be a segment of dialogue, a paragraph of emotional language, or even just a sentence to remind myself of the moment that every word I write is building up to support. That's the break of tension between the characters which, in my case, is usually the part right before or around the smut (but usually not the smut itself, as I see that as the tension builder or tension release rather than the "climax" ((haha)) itself). I didn't used to do it this way, but it's so much easier to write when you have a working knowledge of the core of your story.

You know, like your basic moral lessons: Make sure your mother doesn't marry into a family with a stepbrother who is a bully and pervert. Don't engage in a power struggle with Claude. Think twice before being too friendly with old British men.

Obviously this is a joke but yeah, I definitely could come up with single sentence explanations for any of my fics. No matter how far along in a story I am, before I decide on "the point", it's kinda a mess. Often times when I am cutting scenes, it's because it doesn't fit this specific vision. In cry foul, Sylvain and reader originally met at the wedding and he was a lot more honest about his intentions throughout, but rewatching scenes with him made me realize that my starting premise was flawed and so it all got cut and my focus shifted more onto the games he was playing with her. In Asteria, I have the scheme between Yuri and Aelfric set, but reader was going to be more of a sleuth about it (the original plot of this fic was unhinged ngl) but then I changed to make her a lot more of a charming country bumpkin sort of character so it could be smaller scale and more self contained, more focused on how reader feels about Yuri. I want to account for as much of the world and setup as I possibly can to make the payoff more satisfying. Somnambulant exists as it does because I kept adding little notes for scenes I thought were necessary which then saw a lot of elaboration to justify itself. Also characters have a tendency to run away from me. I'll add scenes or segments simply because the characters demand it. Sylvain wasn't supposed to take reader's panties but then it happened and I had to deal with it. There are a lot of small things too. In heavensent, I added in that she was sitting in a chair last minute because I felt like it smoothed out their movements and the DP thing just happened because I thought it was... Not funny, but contextually... Yeah. Forever ago when I wrote Welcome to Dead House, I straight up retconned reader's personality entirely because she was too well adjusted, so I added the therapy scene and mental breakdown.

Um. Yeah. I think the point of me saying all of this was just to say that I don't really go in with much of a plan or anything as I maybe should, I just live my bliss and see what happens. The stuff that I love the most in anything I post is usually the unintended things that spring up when I'm "in the zone" because that's when I feel like I get the best banter/dialogue and most intense scenes.

Anyway thank you for coming to my TED talk

[mainsindo]

Crossbow tripod

Crossbow tripod how to#

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Crossbow tripod professional#

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Crossbow tripod how to#

Audio ear training involves learning how to listen to a music production and w hat to listen for. According to Michael White, "Most people do this naturally by listening to loads of music, but fail to study as deep as what is necessary. Try This at Home: An Exercise in Critical ListeningĮveryone agrees that training your ears by studying music production and engineering is an important part of becoming a better engineer, producer or artist. Good quality headphones like Shure SRH440 retail at about $100.

Crossbow tripod tv#

If a TV show had long gaps of just background between dialogue and action everyone would get bored and change the channel. If the characters leave the stage, other characters must enter right away to keep the viewer's interest. The second, and less thought-about consideration is this: What pulls the listener through the song? When the lead instrument stops playing, what takes over as the focus of the song? The analogy I like to use is a TV show or play. First is the hook - is there something memorable about the mix? This could be a melodic hook, or a memorable tonality (think Cher's "Do You Believe" or Smashmouth's "Walking On The Sun"). There are two important sides to interest. Again this should be a conscious decision.)ĭo some instruments sound closer or farther away than others? Is there a sense of movement in the mix?ĭoes the song change over its duration? Most often in recording we use the term dynamics to refer to changes in volume, but we need to consider other dynamic changes such as tempo, time signature, key, or major/minor tonality. When teaching mixing, Mark likes to use a variation on the elements Bobby Owsinski outlined in The Mixing Engineer's Handbook.ĭo all instruments feel like they have appropriate weight in the mix? Are any instruments lost in the mix because they're overpowered? Are some instruments more prominent then others? (The answer may often be 'yes' to the last one, but that should be a deliberate decision and not an accident.)ĭo instruments sit at various points in stereo field (left to right speakers)? Does the point of interest shift within this field?Īre all frequencies represented somewhat equally? Is there something happening in all frequency ranges? (There are times when we deliberately have little happening in a specific frequency range – a violin concerto would sound ridiculous with pounding bass. For this, we've turned to Canadian neighbor, writer and recording whiz Mark Garrison who starts us off by deconstructing the elements of a mix and challenges you to tackle a critical listening exercise.īefore we start, though, let's look at the components that make a great mix. We'll trust your heart to decode the meaning of the music and concentrate, for now, on a few fundamentals and exercises that will help you boost your critical listening confidence. It's important to understand that the emotional intention of a musical performance is reflected in the sound." " Analytical listening is all about feeling and meaning.

Crossbow tripod professional#

Now, let's contrast that with analytical thinking, also a factor in creating a professional mix: You're listening to the physical details of the music – frequency response, dynamic range, tone, imaging, and how instruments are blended together." " Critical listening primarily comes from the engineer's point of view. Let's start with a simple definition, courtesy of recording engineer/producer and instructor Michael White, whose credits include everything from redesigning Whitney Houston's studio (he was also her chief engineer for 15 years) to 'behind the glass' mixing for David Byrne, The Rolling Stones and dozens of others:

Crossbow tripod pro#

Hearing and listening is not the same thing, as any parent of teenagers will tell you.Ĭan you detect the difference between a Telecaster and a Les Paul? A Vox Continental and a Nord Electro? Tremolo versus vibrato? Fact is whether you're a seasoned pro or a beginner, there's a wide range of resources available to help you develop and fine-tune your critical listening skills. But if you're going to rely on your ears to hear and identify the essential features of a well-balanced and professional sounding mix, you may need to train them first. "Trust your ears." "It's what sounds right to you." These are popular refrains that you've read in just about every article (many of them right here) about choosing microphones, positioning them and mixing sound. Contributors: Recording Engineers Mark Garrison, Michael White

[asocial-inkblot]

Post Ideas, #3

Headcanon: Neither Zuko nor Azula were trying to backstab each other in the last turtleduck pond scene.

So after looking over the answers I got, I came to the conclusion that #3 would be a good idea to write about first. This one’s been on my mind for some time.

One of the never-ending debates within this fandom appears to be about which sibling tried to double-cross the other first, after returning home to the Fire Nation. On one side we have people claiming Azula had to have gone out of her way to bring Zuko home and reinstated as crown prince, for the sole nefarious purpose of destroying him...somehow? (I think for someone to come to this conclusion, he/she would have to focus more on facial expressions and sound effects than dialogue and plot. Intentional on the part of the series crew I’m sure.) On the other side, we have a much smaller but still note-worthy crowd that believes it was actually Zuko that was out for sibling’s blood while the two of them were in front of the pond, due to his response to Azula’s questioning. 

Both point-of-views didn’t come from nowhere and I can sympathize with either. However, I now believe that neither fire sibling was trying to harm the other (what happened before and afterward doesn’t matter much to that scene in question). 

My reasoning is as follows:

In The Awakening Zuko and Azula have finally made it back home (as have Mai and Ty Lee). Lo and Li present them to the people as their returning Princess and Prince.

Now the heroes have returned home!

Your princess, Azula... [Crowd cheers.]

And after three long years, your prince has returned...

Zuko!

Zuko reacts to the praise, but not with scorn, anger, apathy or even regret.

He reacts to it with anxiety.

Zuko approaches with a worried expression. [Crowd cheers.]

We next see them while Zuko is doing his favorite pastime at the pond, and Azula walks up to him.

Why does Azula walk up to Zuko? Why does she come to the garden that we have little reason to believe she has a strong attachment to? Well, in Azula’s own words:

You seem so downcast. Has Mai gotten to you already? Though actually, Mai has been in a strangely good mood lately.

She notices his mood. She knows he’s gloomy about something but doesn’t want him to be. Especially not when things are (from her pov) going so well for him. The Mai line has been interpreted by some people from the fandom as a sex joke. I think the takeaway is the same regardless, but I’m pretty sure Azula is just trying to cheer Zuko up by (dryly) joking about the general disposition of her friend (who at this point is also his girlfriend) and by hinting to him (Azula’s not a very straightforward person like Zuko tends to be) that his presence is making a hard-to-please Mai, very happy. I think her saying Mai’s name twice was deliberate too.

I don’t sense any malicious intent on her part here.

Zuko responds to Azula’s prodding. She replies back casually, and then he states what he’s most worried about:

I haven't seen Dad yet. I haven't seen him in three years, since I was banished.

So what?

So, I didn't capture the Avatar.

Up to this point, their words and even tone-of-voice are calm and unassuming. Then the mood changes when Azula asks what the problem is again.

Who cares? The Avatar is dead. [Zuko looks away.] Unless you think he somehow miraculously survived.

This moment kills me because Zuko does something right away that I noticed he actually does more than once with Azula.

He looks away! It’s brief but it’s there. Everyone’s different, but when I look away after someone confronts me on something, it usually means that I’m 1. afraid of something or 2. ashamed of something. Zuko has reason to feel both here. He’s being confronted by Azula on a gravely important matter.

So after he looks away, Zuko remembers how Katara told him about the spirit water while they were in the Crystal Catacombs, before Azula arrived.

[During flashback.] This is water from the Spirit Oasis at the North Pole. It has special properties, so I've been saving it for something important.

Wait, hold on a second. Did Katara just...not mention anything about the water being able to bring people back from the dead (aka help them survive as we saw Katara do for Aang)? Nope, she didn’t. She doesn’t imply that it can do that in the previous episode either. Here’s her saying the same thing but with another line and extra bit of info at the end:

[Holds up a vial.] This is water from the Spirit Oasis at the North Pole. It has special properties, so I've been saving it for something important. [Moves in front of Zuko.] I don't know if it would work, but...

Even Katara doesn’t know what it would do. So why would Zuko? I think it’s obvious by this point that Azula wouldn’t know about it either.

After Zuko’s done having his probably-would-have-been-good-to-know-about flashback, he responds in a way that actually makes sense when you think about it.

No. There's no way he could have survived. [They glare at each other.]

Of course he’d respond that way. Why should he think anything else or assume he should tell her any differently? Who ever heard of someone coming back from the dead anyway? (Don’t answer that.) They glare at each other sure, but is that really evidence that either of them at this point had it out for each other? Sometimes people glare when someone proves them wrong. Sometimes people glare as a response to someone else’s glare. An angry expression isn’t synonymous with “watch your back”. 

Now I’ll admit, Azula looking immediately displeased implies that she’s caught on and will bite back (though not necessarily try and horribly harm him, which she doesn’t do), but that’s only after Zuko lied to her (remember, we’re focusing on this scene only). She may not objectively know that he lied, but in her heart she knows, because he’s her brother. And he likely has failed to fool her in the past. I also don’t think Azula is the type to care all that much about reasons, only outcomes. Ends over means. So even if she knew for a fact that Zuko wasn’t trying to hurt her here, she’d still be livid and would still probably want to teach him a lesson about lying in such a way that multiple people could get screwed over.

Now to those still unconvinced about Azula’s innocence: What reason do you think she would have to want to harm Zuko for no reason?

To those sure that Zuko was being the crappiest sibling ever here: What do you think Zuko was trying to accomplish exactly? 

Honest questions btw. Why would either sibling want to hurt each other in this scene? They’re not “good” people (and Zuko’s especially bad at being a sibling at this point) but...why? 

I also think another argument to be had is whether Zuko is even cruel/conniving/smart enough to suddenly want to “throw Azula under the bus”. That would mean knowingly feeding her to the man that burnt him. Would he want her to be burned? Would he do that, and at that exact moment? We can only hope he’d never try to do something so low.

With that said, one of these days I’ll make a post about Zuko’s overall intelligence and intentions towards others (including those he has some bad blood with). It’s a number on that post somewhere.

Next up in important-ish discussion topics: #5

[justmypartner]

Still Breathing: Chapter 10

Summary: AU | When a case goes sideways, Hailey wakes up in the hospital with a revelation that leaves her evaluating her life. While she recovers at Med, she meets Jay, an aloof, yet intriguing patient that catches her by surprise. The two get to know one another as they take on the task of rediscovering what it’s like to truly live, and eventually learn their lives intersect in more ways than one.

Writer’s Note: Greetings!! I just want to say the reception of this fic on here/AO3 truly makes my heart patter. I’m so happy to see how much you all are enjoying it because I’m absolutely having a blast writing it. This is a bit of a tamer chapter, but it includes some really fun dialogue/interactions I loved developing. Happy reading, and I hope you enjoy!!

Read on AO3 or below

Hailey’s fingers tapped against her knee as she focused her attention outside the window. Her eyes tracked the leaves floating around in the air. She watched as dozens at a time would pull away from the tree branches and fall to the ground with every wind gust that blew through. It distracted her for a moment, keeping her from allowing the session to weigh down on her in the way she knew it would if she let it.

“Detective?” 

The word echoed in her ears and brought her focus back to the woman across from her. She cleared her throat as she wrapped her other hand over her fingers to stop them from fidgeting. 

“Sorry, what did you ask?” 

“I asked why you think it is that you haven’t felt ready to tell Jay that you love him. You previously told me you were prepared to before he found out you were in Intelligence, what changed?”

If it weren’t for the loaded nature of the question, she would have smirked at the woman’s tone. It was something she and Jay had lovingly deemed the therapist voice. It’s that voice therapists use when they want you to be introspective. It’s curious, yet knowing, and it has a sort of even-keeled pitch to it. It makes their intentions predictable, seemingly making them easy to avoid, and still it magically works to pull things out of even the deepest parts of you.

Hailey took a breath, tugging the inside of her lip between her teeth as she processed the question. It was something she’d recognized for days but hadn’t been prepared to face. At first, she told herself it was because she felt there would be a better time to tell him. A time when he wasn’t in the hospital, and they’d had the chance to properly process the rockiness that briefly pushed them apart. Then with every day that passed, that feeling lingered. It’s not the right time, a voice in her head kept saying. 

“I don’t know. Part of me wants to say timing, but the other part wonders if it’s something else.”

“Something else?” 

She huffed out a sigh before readjusting on the couch. She propped a hand up so that she could pull her legs onto the cushions, folding her legs into a crisscross position as the young therapist eyed her patiently. 

“I mean, I’ve already told you about my track record with those words. It isn’t all that great. Also, our relationship is far from anything orthodox. This thing between us has been tactful and spontaneous and careful, yet no matter how much we’ve tried to slow it down it just still feels rushed…” her words trailed off, and the doctor waited in a tolerant silence, giving her room to continue.

“I don’t know. I guess I haven’t admitted it yet, but there’s just something in me that wants to hold back. I know I love him, I know what I feel for him is real, but telling him somehow makes it more real…”

“And that scares you?”

“Yes? And no? I’m not scared in the sense that I don’t want that with him or that I think he doesn’t feel the same. I just- that day, I thought I lost him. Twice. It tore me apart. Though it didn’t change the way I felt, it changed the way I wanted to express it. I just couldn’t bring myself to say it to him,” she paused.

“Part of me thinks that if I tell him those words, if I make them real for the both of us and I have to face even the idea of losing him again… I worry that I won’t be able to come back from it.”

“Can I remind you of something?”

Hailey nodded slightly. 

“There was once a point in time when you weren’t sure you’d be able to come back from the shooting. Yet here you are. You’re healed up, you’re back in the field, you’re facing everything from that day head on… in a very healthy way. You’re strong and resilient, so I need you to hold onto that when those ideas of ‘I can’t come back from this’ fill your mind.”

The breath Hailey released was sharp, and though she knew she was right, her expression remained unconvinced.

“As for everything you just shared, those are valid fears. The fear of losing the people we love is natural, it’s a part of life. In your case, there’s a heavier burden there because the person you love is dealing with something that exacerbates those fears. Now, I’m never going to tell you what to do and I’m certainly never going to tell you what to feel. So, the only thing I can offer you is this, prioritize what is most important to you. Think about what bothers you more, the fear of telling him versus the fear of not telling him and allow that to determine what you do.”

Hailey looked down at the ground as she thought that over. One fear was certainly heavier than the other, and she let herself smile as she realized how helpful such a simple statement could be.

“And, for what you said about your relationship feeling unorthodox and rushed, why not try and slow things down a bit? There’s clearly no blueprint or calendar to guide or define our relationships, but if you’re looking to add some sort of normalcy, maybe try what some of us like to call a date. I know it sounds stupid but bringing that bit of mundanity to your relationship may prove more beneficial than you think.”

Hailey smiled at the young woman. Never would she have ever imagined her therapy sessions to include prescribed dates. Though, she felt as though the doctor made a great point. They’d been on what could be called dates, but they were either before they were officially together or part of their lists. She liked the idea of something that was more defined and structured.

“Hm a date? Never heard of it,” she said sarcastically. “I might just have to try that out.”

— — — — 

Home, work, Med, repeat. That had become Hailey’s routine during Jay’s stint in the hospital. Though that day, therapy was thrown into the mix. She’d dreaded it, knowing it meant less time with him, but also knowing it meant she’d have to deal with everything from that day. Plus, Jay was always there before and after. He made it easier. It was weird walking out of the lobby and not climbing into his truck, greeted with a brightened smile and the predictable, “how’d it go?”. She’d gotten so used to him being there after that it felt like part of the therapy itself. 

After only proved that the session was just what she needed. She and Jay had been okay since they were able to patch things up. In fact, they’d been closer than ever. Even though bouncing between work, home, and the hospital wasn’t ideal, she made sure she was there every night to fall asleep in his arms. She did this to make sure he was okay, to help him manage the ill-feelings he had about hospitals and everything they included, but she also did it for herself. After that first time falling asleep and waking up in his presence, she was sure it was a habit that would be hard to break. Yet, there was still that part of her that felt unsettled. The part of her that fought whether or not to fully broadcast the feelings beating in her heart. Therapy was just what she needed to settle that.

She entered the hospital with an extra pep in her step. His labs had finally come back clean, and the doctors had cleared him to go home. She was there to drive him home, or as he had put it, break him out. She was glad he was infection free, but she knew nobody was happier than him.

Halfway up the stairs, a voice calling her name stopped her in her tracks. 

“Hailey?”

She whipped her head around to meet the friendly eyes of her former doctor. 

“Doctor James? Hi, how are you?” Hailey greeted. Seeing the woman brought her back to her own time spent in the hospital. She certainly didn’t miss those early morning wake up calls, but she did miss the teasing and light conversations that came with them. 

“I’m well. How are you? You look great. How’s the mobility?” she asked, gesturing to her shoulder. 

“Thank you. I uh, actually was cleared for duty last week. Full mobility, I’m good as new,” Hailey smiled, resting her arm against the railing.

“Amazing. So, what brings you here? A case?” 

“No, I’m actually here to pick someone up,” she beamed. 

It was clear the young doctor had picked up on the fact that it wasn’t just someone, but a special someone. The way her eyes widened and a sneaky grin crept across her face almost made Hailey’s eyes roll into the back of her head.

“Someone, huh? Would it happen to be, um how did you describe him?” she looked up to recall. “Tall, muscular, and the most beautiful eyes-“

“Okay, enough,” Hailey interrupted, heat rushing to her face. “Yes, it may be him,” she said sheepishly.

“I knew it! How did you guys connect? It was because of me, wasn’t it?”

She hadn’t thought about it since that day, but she did have Doctor James to thank. As mortifying as it was to have him find out she was asking around about him, she was glad the woman had gone against her wishes and did. Otherwise they may not have become what they were. 

“I do suppose I have you to thank.”

“You’re welcome,” the young woman smirked. “So, details? Is he as amazing as he is good looking?”

Hailey laughed, barely able to contain the large smile that erupted at the question. 

“He’s pretty great. I really don’t think I’ve ever met anyone like him. I also just found out he’s part of Intelligence too, so one day if-“ she cut herself off. “When he goes into remission, we’ll actually be coworkers… among other things.”

She laughed at the way the young girl’s eyebrows danced at the statement. 

“Oh gosh, I’m so happy for you. That’s really great.”

It suddenly hit her how nice it was talking about Jay and not having to hold things back. With the team, she’d had to tread the topic carefully to protect his secret. She had been able to avoid the idea of them meeting him, and she eventually had to breakdown and give a fake name. The namelessness wasn’t helping to prevent the questions, so Jay told her to use his uc name, Ryan. It was working for the time being, but lying to her closet friends wasn’t her favorite thing. That moment with the doctor, it was really the first time she was able to talk about him openly with anyone other than Will. It was nice.

“I really appreciate that,” Hailey replied warmly.

“I would say I’ll see you around, but I kinda hope I don’t because if you’re here, it usually means bad news. You are welcome, however, to come see me anytime. Feel free to bring that yummy man of yours too,” she joked.

“You’re crazy,” Hailey said. “Thanks though, Doc. It was good to see you.”

“Yeah, you too. Stay safe.”

The smile on Hailey’s face lingered from when they parted until she made it up to Jay’s room. Jay was quick to notice.

“What are you so smiley for?” 

She was barely in the room before he asked the question, and it only made her smile even more. He was packing the few items Will had brought for him into his bag, and he stopped the process as she entered.

“You’re breaking free today, why wouldn’t I be smiling?” she teased, sauntering over and wrapping her arms around his neck. 

“Fair point,” he told her, leaning down to leave a peck on her lips. “How was therapy?”

“Good. I missed walking out to you, but I suppose this will do,” she said, pulling his chain out from under the collar of his shirt so that she could play with it.

“Mhm,” he hummed, his brows raising up as she stroked a finger across his skin. Her eyes flickered down to notice a book on the bed next to his clothes. A moment of Deja Vu overcame her as she recalled the last time they were in the hospital, when she was being discharged. He’d picked up her book, leaving her his number, initiating the relationship that led to that very moment. 

She pulled away from him, picking up the book and the pen from his chart to write a note in the back. He looked at her quizzically, curious by her silent yet motivated actions. Once she’d finished writing, she closed the book and pressed it into his chest. 

“Don’t forget this. I’ll meet you in the car,” she told him quietly before swiftly exiting the room.

— — — — 

Hailey leaned herself against her car as she waited for him. It wasn’t long before he was approaching her with a large and confused grin on his face. 

“A date, huh?” he called out when he was close enough for her to hear.

“Yeah, what do you think?”

In the book she wrote, Can I take you out for a date sometime? She knew it was a cheesy gesture, but his smile told her he was just as charmed by it as she was proud of it.

“I think, I want to choose where we go and what we do,” he said confidently. 

Her head twisted as she eyed him from the side uncertainly. 

“When’s your next day off?”

“Next weekend I think.”

He smiled, moving to open the door for her. She climbed in and her eyes fluttered closed as she smiled up at him, his arm propped on the top of her door.

“Perfect, it’s a date.”

“Wait, did you just commandeer my idea?”

“Maybe.”

“And you’re not going to tell me what we’re doing?”

He shook his head with a smile as he pushed the door closed. Through the glass she could see him mouthing three words, three words that immediately had her pursing her lips into a childish frown. 

“It’s a surprise.”

[cheapthrillsbeca]

Hejyy long time listener first time caller here! Do you have writing Advice for someone just getting into fanfic writing? With no Creative Writing background at all

hi! haha love the radio lingo

oh gosh, let's see i'll rattle off some thoughts stream-of-consciousness

consider getting a beta reader. i feel like this isn't done much anymore, but for new writers a beta can be super helpful. i had several amazing betas at the start of my fic writing career!

focus on the basics. vary your sentence structure and length (creates better flow). keep an eye on tense (pick one and stick with it). watch out for run-on or incomplete sentences (unless it's a stylistic choice). don't use multiple words to say something you could say in one (e.g. "ran really fast" instead of "sprinted"). eventually all of this will become second nature, but at first it's a conscious process.

show, don't tell. avoid exposition in favor of showing a character's feelings/motivation through their actions. e.g. instead of writing "beca was angry" you could say she gritted her teeth or crossed her arms or glared at someone. show her being angry rather than telling the reader how she feels. writing this way is more engaging and helps the reader envision your scenes.

take the time to think about characterization. how would each character react in the situation you're putting them in? what motivates them? how would they express their feelings? this is another one of those things that will become easier over time, but at first will take some intention as you're crafting your story.

have fun with dialogue! i love writing and reading dialogue. it's a great way to keep a story moving and infuse it with personality. i think they key from a writing perspective is to make sure you have an understanding of each character's manner of speaking. if you're not sure, watch some clips from the movies to listen to their cadence, word choice, tone, etc. then try to replicate it.

remember that 'said' is not dead. as a rule of thumb, attribute quotes with said/says unless there's a strong reason not to. said/says fades into the background, while other quote attributions (muttered, stated, exclaimed, shouted, etc.) stand out. overusing them can be distracting to the reader.

stay consistent with perspective. who's point of view are you telling the story from? pick a character and stick with it. if your story is from beca's pov keep in mind that she doesn't know the inner workings of other characters' minds -- that's where showing (not telling) comes in. if you do want to include multiple perspectives in a fic just make sure to stick to one per scene -- otherwise it's too confusing.

epithets... it's common for newer writers to use epithets (the brunette, the younger woman, etc) but it's definitely avoidable, if you'd like to avoid using them. wait i totally answered an ask ab this! read that :)

plot your story before you start. lol i'm clearly not a plot-centric writer bc this is the last thing on my list (bc omg i have to get back to work). but have a plan of the main points you want to hit before getting started -- it'll save you a headache!

okay hope this was helpful! also like, just have fun. if you hate using "said" and you love epithets, then go nuts and do what makes you happy. this is all based on my preferences. writing fanfic should be fun, above all else. good luck!

[bbq-hawks-wings]

Chapter 316: BBQ is capable of critiquing BNHA and… Oh boy.

Let's start this off properly, Horikoshi's typical quality of writing has been diminishing in recent chapters, but this week it was so different that it didn't even feel like Horikoshi was the one who wrote it.

To be clear, I'm not blaming Horikoshi for the issues I'm about to bring up. The man is criminally overworked, usually doesn't even get the final say in what makes it in the final drafts, and even in his other rough patches he's still produced decent chapters that hold up amongst the grand scheme of things. This feels like something else is going on behind the scenes, and while I have my suspicions on who/what might be the culprit behind it, I choose not to share it at this time because if I name names some people might go off on a crusade, and that's not what I want.

I just want to be clear that I'm not blindly firing off shots in the dark, but despite my frustrations I want to wait to see if this gets resolved down the line, and while I do I can complain about the specific reasons this chapter left such a bitter taste in my mouth.

Buckle up, buttercups, because we got a lot of points to cover.

Where's the Gun?

Not a literal gun, but I mean Chekhov's Gun. It has always been a staple of Horikoshi's writing and the reason so many of his long-standing plot lines have paid off so well.

Chekhov's Gun is a writing principal that if you see a gun on the table in the first act of a play, it will be used in the murder that happens in act 2. Basically, the author should include details that are relevant to the story and not betray the audience by leading them in one direction and at the last minute pull the rug out from underneath them to go in another direction.

Horikoshi has done this to phenomenal success in the past. Just as one example, he dropped hints about Nomu being human experiments early in the series but held off explicitly stating it for a while. He hinted at the loss of Shirakumo in the main narrative and that he was important to Aizawa and Mic as well as approved it for Vigilantes so when it was revealed that Kurogiri was Shirakumo's body, not only did it narratively make sense but it also pulled in Eraserhead and Present Mic's emotional stakes into the battle with the Doctor, and then when Ujiko reveals he was after Aizawa's quirk the whole time it made the payoff for Mic punching him in the face all that much better and brings the weight of his crimes and the impact they have on the victims full circle.

That's 3 different guns paying off in the long run: the Nomu, Shirakumo, and both Mic and Eraserheads' personal arcs past the loss of their childhood friend and that they could finally finish processing their grief and avenge him in full righteous fury instead of chalking it all up to cruel chance.

He has left details, some particularly innocuously, in plot lines like the Touya Todoroki reveal, Hawks' backstory, Shigaraki's blood connection to Nana Shimura, even with Mr. Compress's backstory, and more. When re-read, these details become more obvious and usually leaves us with a greater sense of satisfaction in the plot knowing that twists and turns were not only planned, but built up to and hinted at for us to find so the payoff is that much better and it feels purposeful instead of just shock factor.

None of that happened this chapter.

Lady Nagant has zero business being in this plotline. She was never hinted about before this arc, and her existence does nothing to tell us about the plot moving forward or the world that they're trying to change. Nothing her existence provides actually has any bearing on the universe or tells us anything we don't already know. But that's not how she was presented.

In the beginning we're given a glimpse of her helping Overhaul escape from Tartarus. The focus on her was odd enough to begin with as a new character, and the fact that she didn't look like she fit the profile of someone who belonged in Tartarus was like a flashing neon sign saying, "Pay attention! This new character is important!!!" She then shows up later with Overhaul in hand to attack Deku out of the blue. We get her talking about how she thought Overhaul might be useful and her disillusions with Hero Society. We catch her mannerisms with eery similarity to Hawks only to find out immediately after she was a senior colleague in the HPSC. Never once to my knowledge has Hawks referred to any of his senior colleagues as a "senpai" - not even his fellow heroes - and when he catches her in midair, he uses the words, "Don't die on me, senpai!" as if she's near and dear to his heart.

The entire character arc is set up for her to have known about Hawks and grapple with her desire to help people and her fear of re-creating what she hated, and this also set up Hawks to be the successor who succeeded where she failed and helped bring her to a place where she could be a hero without guilt again. What actually happened?

They're strangers.

They have never actually met before, and while he seems to know a lot about her, she doesn't even seem to have any idea of who he was - at least as far as being another hero under the thumb of the HPSC. So ALLLL that setup, all that gesturing, and all of the potential themes that would be right at home in an arc like this goes completely out the window.

Her story doesn't tell us anything new. The HPSC bad. We knew that. They're not above throwing innocents under the bus to achieve that goal. We knew that. They preyed upon young hopefuls with powerful quirks with the intent to maintain the status quo. We knew that even if the fact that Hawks isn't the only one now makes more questions than answers. We know that these young heroes can never say no under threat of steep, life-shattering consequences. We knew that already.

So what does Lady Nagant even bring to the table?! The entire "you're just a puppet doing what you've been told" angle is a little tired and out of place in this point and time with actual anarchy in the streets (not to mention hypocritical considering she was a blind puppet following orders and offers zero actual solutions that supposedly fall in line with her heroic nature), and it could have been left to any number of other villain characters who could have executed on the theme better - you know, like Shigaraki who's justification this entire time has been, "hero society doesn't make people safe, it just makes them feel safe" from the moment of his inception.

So from that angle she's unnecessary.

Her presence messes with the continuity of the series as well. If Hawks is supposed to explicitly replace her, that would mean that he wasn't just a fluke find on the commission's part and grabbed to mold into their own special superweapon; and that also would mean that her killing of the former president was before he was discovered which should put her at least in her forties. If this isn't the case, and he was meant to simply replace her in a "special agent" case, that still begs the question of how many more gifted children the commission preyed upon and are still out there.

And maybe the worst kicker for me is that something stinks. The way the art in this chapter is presented, if you completely blanked out the speech bubbles, is the same setup I had before - Hawks reaches out to his former mentor and pulls her from the brink of despair with a moving message about why he never gave up hope in being a hero who could actually make a difference.

Again, this is not what we got. He claims he knows her, and it's implied to have been a deep, personal character witness; but at best he only knows about her from secondhand sources. Even his reasoning as to how he never lost hope doesn't vibe with his character.

We have gotten so many cool one-liners for Hawks, but there has always been a consistent tone and imagery with them.

"Those who can fly, should."

"I don't belong in a cage."

"I'm free of my shackles."

"Can I be a shining light, just like him?"

What we got was, "I'm an optimist to a fault" which was the wording the official release went with and was by far the best iteration I have seen, but even this falls short of being truly in character for him and answering her question properly.

@mikeana made an edit of the titular panels for us Hawks stans this week with dialogue we and a few other friends felt was more fitting not only with the imagery of the chapter itself but internally consistent with the specific expressions Hawks uses in his heartfelt, personal dialogue. I just tweaked it a little bit more to fit what I was going for in our original conversation.

Which brings me to another concern.

2. What's the point?

There was no use for Nagant in the series as she's been presented so far. But more than that, Hawks has no business in this fight to begin with. He literally did nothing to earn this emotional moment, and this should have been Deku's moment.

We were teased in an interview with Horikoshi that Hawks was going to get a special moment as an important end-game character as a "shining light" of hope for others to follow as well as promises for Ochako to have another moment in the spotlight to make a difference.

If this was Hawks' shining light moment, it wasn't necessary, and it does nothing to move the plot forward or develop characters in any true or believable way. It just happened because plot. This should have been Deku's victory through and through, and even he is the reason BOTH Hawks and Nagant made it out alive instead of painting the street below them.

Deku's victory was stolen from him, too. It sours the other promises made to us about other characters moving forward, as well, if this really was Hawks' "Shining Light" moment.

By the way, did you forget about Overhaul? Me too!!! What was the point of getting our hopes up about reintroducing this beloved character with the implications this was a major arc setup to have him scream about pops and then get detained with no clues about what's going to happen to him besides, "Say you're sorry to Eri, and you get to see pops"?!

All this posturing and clumsy narrative flailing only actually succeeded in getting Deku in front of AFO again for plot when we already know Mr. Potato Head could summon, show himself to, or find Deku at any time he wanted. But instead we get this time skip with a bunch of heroes completely mended walking into a big, spooky mansion for AFO to evil monologue at Deku for… *counts*

FOUR PAGES!!!

Only to then give him the "I want YOU!" point over a pre-recorded message and the final nail in the coffin to me that something is off.

3. Ex-pu-LOOOO-SHUN!

It's become almost a game among friends to count how many explosions have happened since the end of the war arc - and specifically fake-out explosions. In the end of 311 we get All Might's car attacked via explosion and Deku cornered by Nagant only for All Might to be fine in the next chapter. In 315 Lady Nagant herself explodes in a blaze of glory to once again not be dead.

Gee! I wOnDeR if aLl the heroes were AcTuAlLy cornered and KiLlEd in that explosion in the mansion!

None of us do. They're fine. We're going to see it first thing next week. The shock has worn off, and it's repetitive and annoying at this point. There is no cliffhanger despite how the framing might try to tell you otherwise.

It's BAD WRITING.

The writing has been moving far too quickly and clumsily with no explanation in sight, and even character interactions are being cut short to the point of them being meaningless and empty.

This doesn't even feel like Horikoshi's bad writing. It feels like someone else is trying to call the shots and rushing him through these final bits of the series, and he's run out of things he's previously set up for months and months to reappear so someone is trying to get Dabi-reveal levels of attention with arcs and storylines that don't have the build-up to result in a satisfactory payoff.

4. At least it can get better... I hope.

Maybe those who share my suspicions or know what particular suspicions I have are with me in believing that this is a temporary disappointment and we haven't seen the last of the writing that's captivated me for years. I don't blame Horikoshi for these glaring faults that all came to a head in this chapter.

It CAN get better later, and I think it WILL- we just probably are going to have to wait for it. Until then, I'm going to enjoy the Hawks panels we got, maybe edit the last few chapters to be more in line with something more like the BNHA I know in a "fix it fic" fashion so I don't groan in anticipation of how long it might take us to get there.

See you all next week, hopefully on a much brighter note.

[wecantseeyou]

a note on color - how line of duty series 6 uses wardrobe to frame narrative (pt 1)

author’s note: this began as a personal observation on the use of cool tones for AC-12 and warm tones in opposition to AC-12, and evolved into a spreadsheet tracking most every outfit 3 of the 4 leads wear in every episode (through 6). 

Why Jo, Kate, and Steve? 

Jo: This is ultimately a rumination on Jo and her character, and the non-textual ways the show indicates Jo’s feelings, actions, and allegiances.

Kate: Jo’s major emotional connection in the series. Kate’s wardrobe often mirrors Jo’s in both style and color, and Kate’s wardrobe also gives hints to Jo’s true identity, while also reminding the audience of her allegiance with AC-12 (in both principles and action)

Steve: As the face of AC-12 in many ways (especially in this season, whereas past seasons that would’ve been Kate), Steve’s wardrobe is the control. He is firmly planted as an anti-corruption officer, is an ally of Kate, and he acts as Jo’s foil.

Why not Hastings?: Lord knows I love Ted, but the man really only ever wears his uniform (which is an entirely different essay about his views of the police force, ‘bent coppers’, and the ‘bad apples’ view of addressing police misconduct)

Some of the colors folks wear are difficult to quantify - I note circumstances where a shirt or sweater could be interpreted as multiple colors, and some instances where I believe that open interpretation is intentional. To be incredibly simplistic for how I coded the colors, cool tones are the good guys, and warm tones are the bad guys. Where possible, I have included reference images for the outfits I’m discussing (low quality screencaps ahead). 

It took me some time to choose the organization of this essay, but ultimately there’s only one way to really do it - scene to scene. So buckle in, cause this is a doozy. I’m posting just episode 1 today, and then plan to post analyses breaking down the other episodes through Saturday. Essay under the cut.

DISCLAIMER: I’m American, so there’s likely something about the UK that I miss here. Alas, we’ll persevere. I barely edited this because I’m no longer a student and don’t have that kind of time. Also, I already wrote one dissertation and I refused to admit I wrote another one. 

METHODOLOGY

To kick off, I went through and looked at every outfit worn by Jo Davidson and Kate Fleming, and most worn by Steve Arnott, in series 6. Steve acts as my control because he begins and ends my sample as a working member of AC-12, which for the purposes of this narrative represents police who are not corrupt. He is exclusively shown in cool tones in every scene I discuss here. Kate serves to bridge that gap in analysis between Jo and Steve - she is anti-corruption through and through, but she is no longer a member of AC-12, and she also has a close relationship with Jo, which is clearly romantic in tone. Kate often wears cool tones and white, but the occasional brown, orange, and green pop up (hold that thought on green). Jo is my main focus of my analysis, because I believe her wardrobe is most clearly impacted by the struggle between internal desires and external pressures. She wears a range of colors, but most frequently it is a combination of warm and cool tones. For the purpose of this analysis, black is considered a warm tone, white is both cool and absent allegiance, and grey is considered a cool tone.

THESIS

Since the first episode of series 6, Line of Duty has used color to indicate that Jo Davidson is not bent by aligning her with the tone of AC-12 as a whole and Kate Fleming specifically. TL;DR: The show has used wardrobe to tell us that Jo is not (intentionally) bent from the beginning.

Jo isn’t ‘bent’ in that she doesn’t want to be corrupt, but she’s forced to be. Surrounded on all sides by the OCG because of her uncle/father, Tommy Hunter, Jo therefore has no choice but to follow OCG orders for fear for her life. The show works to show us this visually in a few ways. Cool tones, representing ‘justice’ through AC-12, are seen throughout her screen time, but they are often peppered with warm tones, representing corruption and the OCG. This is true of her wardrobe overall, but is perhaps most succinctly demonstrated in her apartment. Keep these thoughts in mind as I break down each outfit. 

EPISODE 1

There are points where the wardrobe informs us of things that the text directly contradicts. For instance, in the opening scene of episode 1, Jo arrives at the Hill wearing a black coat over a dark grey turtleneck, and is shown talking to Lomax about a new lead in the Gail Vella murder investigation. She is then shown talking to Buckells about this lead, an unknown CHIS who claims to have spoken with a man named Ross Turner who claimed to have killed Gail. The interaction seems innocuous, and Buckells denies permission for a raid on Turner’s home, but look more carefully at the dialogue here. Jo is manipulating Buckells by presenting him with information about the source, including that he was a sex worker and speculating on his potential drug use. These two factors are what makes Buckells hesitate, and he ultimately stops the raid from being carried out that night. 

While Jo in this scene seems to push Buckells to give permission for the operation, Jo’s dark wardrobe is telling the audience that something else is happening on another level here. We learn later that Jo would take advantage of Buckells baser instincts and desire for upward advancement in order to manipulate him, which is what she does in this scene. She specifically mentions the CHIS’s sex work and the potential drug use because she knows Buckells will worry about the reliability of the witness and want more to go off of, hence cancelling the operation. Jo’s dark clothes hint at her manipulation of Buckells while the audience is not yet clued in.

The next time we see Jo during the team briefing about Ross Turner is also the first time we get a hint at the fliration between her and Kate. Jo’s “dirty stop-out” line and Kate’s “glass houses, boss” response, coupled with Jo’s smile that she hides by looking down show a clear shift in tone. The black jacket is removed, and she’s wearing a grey turtleneck. Jo is slightly more at ease here, enjoying the easy banter. Meanwhile, Kate is wearing a cream/light brown sweater, our first visual clue of her separation from AC-12 and her connection to Jo. 

Note here that Jo’s black jacket was on top of her grey turtleneck, and could be removed. The turtleneck, a very modest and in some ways restrictive top, also serves as an armor Jo wears to brace herself against her own actions. 

When the operation to arrest Ross Turner is approved, Jo again dons a black jacket under her body armor, while Kate wears a green coat under her body armor. Jo putting on the black jacket is symbolic of how she is about to waylay the team with the staged armed robbery at the bookie, allowing time for the OCG to replace Owen Banks with Terry Boyle. Kate’s green coat is symbolic of her mixed allegiances between AC-12’s blue and Jo’s yellow.

Later, when debriefing the operation with Lomax and discussing the importance of learning the CHIS’s identity, Jo and Kate are back to the grey and cream sweaters they were wearing earlier. Their banter is also back with Kate’s “great minds” line, demonstrating their comfort and also telling the audience these two women are in sync with one another. 

Immediately after this series of scenes, we see Steve for the first time. His first scene is at AC-12, wearing a grey suit, white shirt, and red tie, when he is notified that Farida Jatri is there to see him. We learn in the next scene, where Steve is in a blue suit with a blue shirt and blue tie, that Farida brought her concerns about Jo to AC-12, particularly about the odd armed robbery that Jo spotted. He asks Hastings for permission to look into it further, which is granted. The all blue outfit on Steve represents his desire to root out potential corruption in this complaint. He continues to wear this outfit for most of the episode when dealing with the investigation and MIT.

(Note: there’s an interlude scene here of the MIT crew in crime scene suits at Terry’s, but I’m not including that here.)

We next see Jo with Lomax, interrogating a frightened Terry Boyle, while Kate watches the video feed of the interview. Jo is wearing another grey turtleneck, but this time is wearing a grey jacket, while Kate watches on with a cream oversized sweater. The interview with Terry goes nowhere for the most part, as he refuses to comment, which seems to be to Jo’s relief. Kate, however, clearly isn’t done.

Donned in a green mockneck and navy suit, Kate visits the crime scene at Terry’s apartment again. This green top still aligns her with both AC-12 and Jo, but the navy suit serves as a reminder that she doesn’t think the MIT has the full story on Terry Boyle. 

Later, we see Kate in the same outfit debriefing Jo on the new information at the crime scene, namely that there is no new information because it’s been wiped clean. Jo is wearing a grey suit jacket, brown sweater, and a white shirt. Both agree that Terry isn’t a solid suspect, and want the ID of the CHIS in order to confirm that he’s the man identified as Ross Turner. Jo’s layering here is interesting - cool tone, warm tone, cool tone. She agrees with Kate externally, she knows Terry is in the frame for Vella’s murder, and she doesn’t feel comfortable pursuing Terry as a suspect she knows is innocent.

They then visit the CHIS’s handler, who refuses to give up his informant’s ID, but reveals to Kate that he is concerned about the CHIS’s welfare. Kate is wearing a long navy coat, while Jo is wearing a long grey coat with a blue and orange scarf. Kate wants to know the CHIS’s ID to genuinely pursue justice, hence the blue, while Jo wants the CHIS’s ID for ostensibly the same reason, but for her, pursuing justice with the CHIS would also clear Terry’s name. Jo doesn’t want Terry to be punished because he’s innocent, but she also knows a negative ID on Terry will lead to trouble for her with the OCG.

We see Jo in the same outfit minus outerwear in the next few scenes - when she is called into Buckell’s office and convinces him to put pressure on for the CHIS’s ID (while Kate watches), and later when Kate informs her that there was a surveillance gap on Terry Boyle’s flat due to the wrong authority being sought. Jo pushes Buckells and manipulates him to reveal the CHIS’s ID, and also blames him for the gap that she’s responsible for, hence the warm coloring of her sweater. Kate, meanwhile, is showing her allegiance to Jo by telling her about the gaffe, the green of her shirt being the visual representation of that act. 

Next we have a scene of Steve looking at CCTV of the armed robbery, and their suspicions are raised about the speed the convoy was traveling and the likelihood that Jo could have actually spotted it. Again, Steve is in an all blue outfit. 

Back to our favorite murder investigators, Lomax, Jo, and Kate arrive on the scene of a murder victim which turns out to be their missing CHIS. Jo is dressed in a long grey coat, green sweater, and light blue shirt, while Kate is rocking a long navy coat, navy suit, and an orange and navy striped turtleneck. Later at MIT, Kate and Jo discuss the CHIS further, lamenting the loss of the only witness who could ID Terry as Ross Turner. Throughout this scene, Jatri is watching the two of them interact. Jatri then calls Steve, in a grey suit with a blue tie, and tells him she can no longer be an informant. 

Round two of interviewing sweet Terry begins, with Jo in the same outfit and Kate watching on video, again in the same striped turtleneck. They all seem to think Terry is hiding something, but Kate seems taken aback at some of Jo’s lines of questioning (Vicky McClure, expert reactor) but is mostly saddened by Terry. Later, Steve meets with Kate outside of Hillside and they discuss his inquiry into Jo. She refuses to help, but gives him the name Carl Banks as someone to look into. 

We then see Jo arrive at Farida’s house with a suitcase, moving out her final belongings after their breakup, where they have a row over Jo’s refusal to introduce Farida to her nonexistent family. After, Jo returns to her own apartment with its 18 dead bolts. Nearly the entire place is blue - the walls, the furniture, even the refrigerator. However, those warm tones pop up throughout - lemons on the counter, golden pillows in the living room, gold lights framing the picture of her mother. Jo at her heart is good and believes in justice, but she has been groomed and manipulated by the OCG into acting against her nature in the name of self-preservation. She is blue, but the pops of gold and yellow of the OCG catch the eye. 

The following scene shows Jo getting chewed out by Buckells in the briefing room in full view of the rest of MIT, again in the green sweater and blue shirt. Kate looks on in concern, still wearing the orange and navy striped sweater. Buckells storms out, and Jo rushes into the hallway. Kate follows quickly behind, asking after Jo, who vents her frustrations with the pressure to charge Terry with murder because she knows it isn’t right and wants to find real justice for Gail. The color choices in this scene are clear. Kate is wearing orange and navy, highlighting both her connection to Jo and her pursuit of justice. Jo is wearing green, combining the blue of her heart and the pollution of OCG yellow, with a light blue shirt, again highlighting her true self and alignment with Kate.

This also highlights something we don’t learn until episode 6 - Jo wanted Kate on her team to keep her in check and be a barrier to the things the OCG was asking her to do. This includes the arrest of Terry Boyle. Jo specifically identifies several odd things about the recent evidence - and tells Kate that something doesn’t add up, essentially encouraging the DI to look into these inconsistencies further. This is her way of looking for help when she still feels trapped in many ways. 

Of course, no analysis of this scene would be complete without mentioning the hand grab and subsequent hold. They’re gay, kids!

The final scene shows Jo watching as Terry Boyle is released and remanded to police bail, a look of relief on her face. Because yeah, she’s done a lot of bent things, but Jo isn’t bent.

And that’s where the episode wraps.

Stay tuned for more wardrobe analysis tomorrow!