#their dynamic is just so... like it can't be encapsulated so simply it needs this much. it's their past and their rivalry and their hate an

[lsleofthelost]

there is a tenderness in knowing what desire ties you to a person, even if you have spent your dreaming hours cutting them a casket from the tree in their mother's front yard

descendants 2 (dir.kenny ortega)

rise of the isle of the lost - melissa de la cruz // how do you sleep? - lcd soundsystem // rise of the isle of the lost - melissa de la cruz // game shows touch our lives - the mountain goats // rise of the isle of the lost - melissa de la cruz // irresistible - fall out boy // @/normal-horoscopes // rise of the isle of the lost - melissa de la cruz // flatline - sophia lornie // waiting for this story to end before i begin another - jan heller levi // rise of the isle of the lost - melissa de la cruz // the hours - michael cunningham // an ideal husband - oscar wilde // rise of the isle of the lost - melissa de la cruz // motion sickness - phoebe bridgers // when rome falls - yves olade // rise of the isle of the lost - melissa de la cruz // my dearest friend and enemy - tamino // no children - the mountain goats // escape from the isle of the lost - melissa de la cruz // sunburn - penelope_z // escape from the isle of the lost - melissa de la cruz // twin size mattress - the front bottoms // rise of the isle of the lost - melissa de la cruz // vikings - 2x01 brother's war // nature poem - chen chen // rise of the isle of the lost - melissa de la cruz // out of spite - @/dvoyd //

[teastainedprose]

I want to ramble about Homelander in bed. 

Blah blah "Homelander is a sub!", "NO, he's a Daddy Dom!", "No, he's!" He's whatever you want to fap to, who the fuck cares

He's none of the above. I don't think any D/s dynamic roles encapsule Homelander, not even Switching. (It's not his scene, bondage is a waste of time, this collar look stupid, don't call me that, that's weird...)

He's simply not into sticking to any set kink dynamics. (The vibes are off, fam. He'd be the vanilla boy within the BDSM dungeon. Confused and bemused.)

He doesn't have some innate desire to give up control to someone constantly, or to lead someone with a firm or gentle hand. Switching, yeah but he doesn't care enough to begin with. He's too insecure and uncertain of what he is as a person to even understand slipping into a role in the bedroom. Too volatile and what he wants and needs switches depending on his mood and/or partner.

What he is, is a starving man and his partner is the feast.

Poor idiot doesn't even know how to do intimacy properly and has gotten all of his sexual education from someone grooming him, someone paired with him for publicity, and porn.

The dude is lost. What he in bed I feel like boils down to three specific things:

Sadistic - He's a bully, he's mean, he likes watching others suffer in some form or another. (Giving pain play, orgasm denial, edging, forced orgasm, overstimulation)

GGG - Good, game, giving. He'll try anything and be up for whatever as long as his partner is into it. The dude can't be harmed in conventional ways, what's he got to fear?

Attention whore - Craves positive attention in any form (wanting to please his partner, praise kink to the MAX, receiving worship play, demanding attention, bratting, pestering and teasing, topping from the bottom)

-and then how those three things manifest depends wholly on his partner.

With Madelyn Stillwell, he wanted to be her good boy. He craved her praise and affection and he was restrained because she wanted him to be. He's a brat, he's petulent. He's needy. He's picking a fight with a toddler. She's his Mommy Dommy. I suspect she denied and teased Homelander endlessly and he took whatever scraps she gave him because he was starving for it.

With Maeve, they would have been two equals that he was horrifically territorial of. She was his and he had no issues broadcasting that to the world while emotionally intimidating her, but never getting physical. No, she's a god just like him. You can't hurt gods so why would he try?

With Stormfront, she encouraged all of his bad behavior, so Homelander was reckless and hungry. Break shit and fuck like animals, push and pull and playing with their combined strength. They're primal and at war and it's fun.

Soyeah, Homelander is going to fill whatever role suits his partner best. He's going to pay attention to what gets his partner off because he wants that positive response from them. It can be a good thing, or it can lead to the most toxic relationship possible. The man is fucked so it can go sideways fast. You're gonna need a strong constitution, a steel spine, and willpower to survive Homelander at the start else you'll get steamrolled and dropped by the plot like Becca AUGH.

Is it the fear mingled with arousal that gets them all hot and bothered like I imagine poor Hughie would feel with Homelander? Fuck, he's going to exploit that. He's gonna make that twink jump in fright every chance he gets.

What about little Starlight getting a spine and trying to play his game? Yeah, he's going to push those buttons and show her how good he can actually be for her. The gnawing need for the praise from the girl next door would eat him alive.

With Butcher? Scorched earth, baby. They're going to destroy each other in the most toxic, hate-fuck filled fest. Just tearing chunks out of each other to show the other that they can still feel. Raw and painful.

Until Homelander actually figures out who he is without his powers, status, or fame? He's going to play whatever role his partner needs, be that god, perfect gentleman, monster, or sweet boy. Then again, he's all of that and then some at once. He'll want to devour his partner in one moment, consume them wholly and just taketakeTAKE and the next he wants the intimacy that comes with being inside them/them inside him and he's so so so soft and gentle and reverent when he strokes them, and then he's a bastard who wants to twist the knife and make them beg and cry and scream and just tell him what to do, he'd do anything just to know he's loved.

-and anyway, this man is broken and the perfect putty for anyone to mold sexually consciously or subconsciously.

Not a Dom, not a sub, or a switch, but a chameleon.

[theflyindutchwoman]

Nice try. That was clearly a test. And you should know better than to test the master.

| ANATOMY OF A SCENE - CHENFORD EDITION 5.10 - The List

The way this scene encapsulates the richness of Tim and Lucy's relationship is absolutely brilliant. The allusion to the Tim Tests from their early days… the showcase of the dynamic they've developed over time… the reminder of how well they know one another… the dresses that intimate the moments where their friendship was veering into something more… All of these little details are intricately retelling their journey, from colleagues to partners to friends… to this new chapter. And not only is this a really good way to introduce it, it also feels like a promise that their romance is simply one more facet to their bond… that they're still going to be them. At its core, this scene is a love letter to the characters and their story.

The montage of Tim and Lucy figuring out what to wear is perfect. Her adorable expressions and his grumpy ones contrast each other wonderfully… and depict their personality so well. But this goes beyond that. Lucy's dresses, the ones she wore on previous occasions, also tell a story. Of how they got here. The green dress symbolises the very beginning, when they started to recognise their attraction to each other. It was still in the early stages, still tentative. But it's truly where it started to blossom. And then bloomed with that double date, where they were in their own bubble, forgetting their respective dates, and with that dance where they were completely at home in other's arms. It recounts their journey in a very subtle and poetic way. It is also a glimpse into their state of mind, on how nervous they are, worrying about what to wear… On how important this is for them. This new step between them is so exciting… and scary. Neither of them want to ruin what they already have. It's not just a first date : this is supposed to be their last first date. And that's nerve-racking.

It's only natural then that Tim would resort to calling Lucy. Every time he has to step outside his comfort zone, she is the one he turns to. They can ground each other like no one else can. Their romance doesn't change that, as underlined by that phone call. Their classic banter takes over immediately… with Lucy who can't help but tease him. Right down to her fond eyeroll, the one she often has with Tim. A reminder of the dynamic they've nurtured since her rookie days. Just like the reference to the Tim Tests… There's even a hint of what the future holds for them, with this little preview of a Lucy Lesson.

Tim asking her what she is going to wear so he can match is so precious. He's never cared about any of that before. But he told her she was worth the effort and he meant it. But the best part of this scene (for me) has to be his reaction when Lucy mentions the green dress. The fact that he knows which dress she is talking about right away and lights up at the memory… You know a dress made an impression when a man can remember it and gets flustered about it. And in some way, it is a confirmation that Angela's wedding was when he started to realise that there might be something more to his relationship with Lucy. When he let his mind wander, if only for a few hours. Lucy changing her mind right after hanging up is so cute… and so her. And as much as I love her iconic green dress, I like that she didn't wear it for their very first date. If each dress tells a story, then this new chapter needed one we had never seen before. And somehow, I doubt that Tim had any complaints about this one either.

[my-midnight-musings-xoxo]

Light spoilers for Veil manga!

---

A few posts ago I mentioned writing about Veil, and as it's currently taking over my thoughts once again I thought it's best to muse about it. A simple summary of Veil: A blind woman named Emma literally stumbles into a police officer called Aleksander. They strike up a conversation and she mentions looking for a job. It just so happens the police station needs someone to take phone calls, and their story begins. It's told in vignettes, and every chapter builds on the sweet dynamic. I admit when I first saw Veil I thought it was a story meant to look pretty with little substance. I don't like being wrong, but I'm happy I was this time. The art is elegant, serene, and delicate, with almost every chapter having bonus sketches of Emma (and sometimes Aleksander) looking lovely and having cute character interactions. I was worried Emma would be infantilized in some way, but far from it. She's assertive, coy, playful, and sweet. They do address her being blind and how she navigates the world because of it, but she's more than her disability, and that makes me quite happy. Romance isn't my typical genre, so if it isn't yours either, I'd honestly recommend it. It's called Veil because there's a veil that tickles them, their relationship is between friendship and dating, which is one of my favorite parts. For years I've liked the thought of an intimate friendship, as I dubbed it. A relationship that isn't quite dating, but you're close and comfortable with each other. You're simply together without any need for strict labels to define you. I'm not quite sure if that's an actual thing, but Veil perfectly encapsulates what I'm poorly describing.

It's also just adorable. There's a cute chapter with Emma and Aleksander playing rock, paper, scissors with a kid at a stoplight. (I've been looking for minutes now and I cannot find it I'm so sorry!) When Aleksander keeps losing he convinces Emma to win for him. In Volume 2 Chapter 24: Present, Emma buys a suit for Aleksander, saying it was from an invisible man. Once he tries it on he picks her up, declaring he wants to see the invisible man too.

Tell me this isn't adorable.

If my ramblings have convinced you to read this manga, hooray! There's a playlist I'm listening to while writing this called 'Veil manga vibes' on Spotify by yuumin. It's perfect for reading this story.

If not, that's alright too. It's not for everyone, but thank you for reading this far anyway.

Veil actually inspired me to enjoy drawing again, no matter how silly or unfinished. There are also poems interspersed between the manga. Sometimes it's Aleksander talking about Emma, other times it's about inanimate objects viewing them. This is going to sound silly, but one of my favorites is about a key and a keyhole. Trust me, it's very cute. It's at the end of Volume 5, Chapter 48: To get drunk with.

Just to be a little presumptuous, if anyone's wondering I do plan on writing more about MadK. After the wonderful engagement on my J and Datenshou posts, I'm very grateful for all of the notes and reblogs by the way. It was a wonderful surprise to return to 25 notes and more than one reblog! I thought those two posts wouldn't do very well, J's especially, I'm glad you do. I can't thank you in person, as much as I'd like to. With such nice responses, it's boosted my confidence to post more about MadK. I might analyze Makoto's design this week! Have a wonderful morning/afternoon/evening/night and stay hydrated!

I hope I've made at least one person a Veil fan today, hehe. <3

[thyandrawrites]

Rereading bllk made me realize Reo and Nagi's dynamic encapsulates a lot of the themes of the story, and their conflict perfectly shows the clash between wanting to be good at soccer cause it's fun, and nurturing one's ego to become the best striker in the world.

Interestingly, Reo starts off as the one chasing the latter and Nagi the former, but their first loss in blue lock flips their positions around. Reo can't progress to a point where he devours his opponents in the 3v3 match because he's stuck playing a soccer that is meant to be fun, that plays by established rules. His role in the field is to balance out Chigiri and Kunigami's egos instead of chasing his own goals, just like how he relied on passing to Nagi to score in a pinch.

Reo is a team player, mostly setting up goals with his passes. Which isn't necessarily a bad thing, per se. Controlling the field in such a way is a skill that he shares with Niko, but as Niko's loss also shows, limiting yourself to assisting someone else's goals is a losing strategy in blue lock, where one awakening can turn the scores upside down in a matter of minutes. Yet, Reo plays it safe because up till then his ideal of soccer is driven by the promise he made to Nagi. Winning together. Becoming the best together. His one objective throughout the match isn't being the best in the field, or even winning the match, but simply winning Nagi back. His ego cannot grow because he becomes complacent in what used to work for them.

As Ego puts it, Reo refuses to face reality and chases his dream for the sake of chasing it, refusing to admit to his shortcomings and thus entering a mindset where he can grow from his loss.

And Nagi calls this out.

Nagi, who used to think he'd quit playing if he wasn't good enough to win, instead ends up growing through a loss. The only soccer he knew until then was the one he played with Reo, but he's able to face that it wasn't enough to win. Thus, he chooses to advance alone, recognizing that what he lacks to become best in the world and crown their promise is not a lack of teamwork, but a lack of ego. Nagi lost to Isagi on a 1v1 before than the match as a whole. So he chooses him because Isagi demonstrated his willingness to chase after monsters to devour and better his plays, aka the drive Nagi lacked, but also the drive that is at the heart of true egoism. While Isagi would not give up in the face of likely loss and instead made an awakening happen, Reo, despite being equally driven, ends up falling behind. And that's, I think, because Reo gets so stubborn about not letting go of the idea of soccer he had before joining blue lock. The soccer that had himself and Nagi as its core, the soccer that didn't need anything else to be effective (not Kuon's subterfuge, not Isagi's direct shot, just the two of them as they are):

But, and here's where it gets interesting, Nagi, the unmotivated slacker, evolves, and Reo, the driven one, does not. Why's that?

One could say it's because Reo's a sheltered rich boy who never encountered a challenge in his life, and is not equipped for it. That could be true, I suppose. It definitely plays a role, just like how new soccer is to him in general. But it's also a matter of themes!

What Reo doesn't account for is that what worked against weaker teams won't work against team Z, who is the bottom of the barrel, and basically starving. They're willing to take themselves apart and rebuild anew just to remain in the running, and that makes them better candidates for Ego's goals. Nagi is able to recognize this, at least to an extent. He instinctively gravitated towards Isagi, the player whose hunger is arguably the strongest, and who thus is the most driven to break and rebuild himself anew in every match.

Reo, on the other hand, is more businessman-like. He asses individual strengths and drives them out with his passes and his machinations. That's how he can capitalize on less strategic players like Nagi and Zantetsu, while simultaneously being the driving force of team V. At the same time, that's also why he doesn't see Isagi's weapons for what they are, at first, while Nagi does. Since Isagi is still failing to be consistent, Reo sees a mediocre player who can only shoot, but is lacking in every other department. Nagi, who is much more reliant on trusting his guts, sees the guy who predicted where the ball would go and preceded him there, and realizes Isagi's true assets. That is, the ability to create your own scoring possibility, even though at that point it was still in its larval state.

To Nagi, who until then only played by receiving passes and following his inspiration, Isagi is the puzzle piece he's lacking. Reo's playstyle is different because they've never faced an opponent they couldn't beat together. In that sense, Reo can't teach Nagi that hunger that drives his plays, only Isagi can. To Reo, Nagi is already a treasure as he is. But Nagi's ego sparked to life, and he has questions that Reo can't answer. So he follows Isagi instead, in an effort to answer them.

Misunderstandings enter the chat. Chaos ensues.

Keeping all that in mind, when Reo then accuses Nagi of having changed, it opens the floodgates. Of course, it's true that Nagi did. He evolved, and that's plain for everyone to see. But, and this is equally important, Reo did not. Reo remained the same, to a fault. In fact, he's preaching remaining the same as a virtue that Nagi's pissing on.

So then when Nagi retorts that "the one who's forgetting our promise is you", I think he's saying that Reo is not actively trying to become the best anymore, but only seeking a soccer that is "fun". A soccer like the stuff that worked for them pre-blue lock, pre this mass of starved egoists. But they already played that way, and lost to team Z, to Isagi. They stopped being the best in their stratum.

During the 3v3, Reo begins to understand the reason why Isagi is a good player, and his frustration grows the more the march goes on. But he's powerless to stop them from winning, and then he refuses to accept the loss, griping at Nagi for discarding him again. In other words, instead of using that frustration as fuel to spark an awakening, Reo let himself crash into that wall, and then still asked to advance not because of his skills on the field, but simply on accounts of what he'd contribute to the team. He doesn't believe in his own ego, but relies on being chosen. Unlike Chigiri, who evolved to face the challenge, Reo and Kunigami were regular players, and that's why they get left behind. For the same reason, they both grow as characters when they start incorporating egoism into their playstyles. Reo becomes a chameleon, Kunigami a cannon.

But in this moment? All Nagi sees is a Reo who is fine being average. Comparing that to their dream, he blows up at him for letting that be the end of his line, for implicitly going back on the promise to show Nagi a 'life more enthralling than any nap or game'. They didn't even beat the best players in blue lock, so how can Reo speak of being the best in the world?

Of course, to Reo, it's Nagi who betrayed it first by advancing without him. He always assumed they would cross that finish line together. But the story tells us, this is the mark between a "lump of talent" and someone who can aim at being the best striker. The latter makes his own plays, and doesn't rely on others to create his opening; but an average player is someone who hangs on to dreams without putting in the effort to challenge oneself, even after a defeat.

Reo "lost" to Isagi not because he's unskilled, as he surmised, but simply because he didn't cultivate that hunger. Until now. But this moment, this loss, is what sparks his ego in turn.

And thus, the series tells us, do you have what it takes to keep evolving, devouring other people's play styles and incorporating them in your own, or will you cower, collecting only broken dreams?

[red-riding-wood]

@toms-cherry-trees Mars, I am utterly speechless after reading this masterpiece. Let me try and articulate why I love this so much (and try not to quote the entire thing in the process), but genuinely, no words can do this justice.

The things one does for love,

Already starting strong here; not only did this make me think of Jaime's "The things I do for love" but also, what a deliciously dark hook with her standing over the body. At first I thought it might be Tommy, then Greta, then Grace... what a rollercoaster and such suspense you injected in this story simply by setting this first scene!

I also want to say, I am ALL HERE for the Crimson Peak vibes. I love that film and its atmosphere so much, as I think I've already mentioned over call, but seriously you do a brilliant job of capturing the same sinister vibes!

During that time, you were forced to see John go too, then your own brothers and friends, an endless supply of fresh meat to feed the insatiable beast awaiting in the Flanders fields.

This is just such a beautiful metaphor for the war; I had to read it twice 'cause I swear my jaw dropped.

A sharp jaw, sunken cheeks and deep set eyes replaced the once boyish face. The boy you had fallen for had ceased to exist, but your passion for the man remained just the same, even with time and distance trying to suffocate your flame.

I... I have no words. This line, it's perfect. Perfect for describing Tommy post-war and perfect for how I imagine their relationship would indeed suffer.

But even in the joy of finally obtaining what you had so long desired, you couldn’t not notice how his drive didn’t come from love. It tasted like desperation, like urge, like fear. The imperious need to feel something, anything at all to remind himself he remained alive. Seeking the warmth the trenches had stolen from him.

As soon as I read the line about him getting the reader's dress off within a night or something, I already suspected that Tommy was just doing this to feel something, to fill the emptiness or silence the demons in his head. And then you not only confirm that but hit me with this gorgeous fucking line. This again just really encapsulates Tommy's character as a whole, his emptiness and his need to take and destory and gain.

You wanted him to want your soul, not just your body.

Oh my God, the angst is so, so FUCKING GOOD. It's the kind of angst that is so dark and desperate and so human that it's just pure beauty. It also reminded me a lot of Creep - Radiohead (one of my favourite songs); "I want a perfect body, I want a perfect soul..." So bonus points because genuinely that's one of my favourite songs of all time and this fic has been giving me those vibes. The yearning of the reader is so heart-wrenching to read yet also so delicious.

Tommy x the reader actually reminds me a lot of the dynamic he has with Lizzie, especially when they get married for the kid and are stuck in this loveless, one-sided marriage. And I don't mean that as an insult because I don't like Lizzie -- you took the interesting parts of her character (the jealousy, pining, vindication, the need to be loved, the inability to let go) and just made them a thousand times better here.

trying to build himself together but falling apart again every night.

Just another line of pure fucking poetry.

Yo, I fucking lost it when it got to the line about Polly holding her tit like an orange at the market. I instantly knew what was up lmao.

Refusing to let you in but unwilling to let you go.

Mars, stop, please, with all this poetry! (But don't, because it's incredible.) I'm quoting the whole damn story at this point! This line, and this whole section about their marriage, I love it so much. I can't imagine the emotional turmoil the reader must be going through getting all these mixed signals from Tommy. The scene where she asked him to say I love you back was such a hit in the gut. As I'm typing this I'm actually realising how brilliant all of this build-up to her killing Grace is, because you made a villain that has reason to be acting the way she does. All of this pain and resentment and envy, bottled up over so many years... even though what she does is deplorable, you can't help but empathise or sympathise with her and THAT is the mark of a perfectly written villain. In my case, I even found myself cheering her on. Her character is so delightfully dark and twisted and unhinged, perhaps even a little delusional. I LOVE that shit and words cannot express how much I adore the character and story you've crafted here.

If the devil worked hard, you worked harder.

Another thing about the main character, I have to say, I commend her determination. A character who will do anything to get what they want is so interesting to read. Also another line that just hits me in the soul!

You leaned against a wall for support, as the full weight of the night dawned over your shoulders.

Beautiful line. Seriously, I am trying not to quote the whole story at this point. It's little lines like these that just add that extra oomph to your prose.

And that ending, with her laughter turning into sobs, again so heartbreaking and doesn't actually make her feel like she's the villain of this story. Despite what she's done, I want to give her a hug and let her cry into my shoulder.

For This Love || Tommy Shelby x Reader

Summary: You have fought for this love far too long, and you weren’t willing to let anyone take it away

Word Count: 3610

Warnings: Cheating, pregnancy, headcanon death, murder, Tommy and Grace are painted in a very bad light here, reader is unhinged AF

Author’s note: I wrote this while watching Crimson Peak and that should be enough to tell you what type of story this is. Not much romance, just a lot of angst, one sided love, vengeance, murder, honestly somebody get Guillermo del Toro on the phone (just kidding) So read at your own discression, for this is a dumpster fire

Part two here

Let me know if you wanna be in my taglist

The things one does for love, you thought, suppressing a wave of nausea as the life gurgled out of your victim’s neck, warm and slick as it slipped around your fingers and stained the blade of crimson. The dark liquid pooled underneath you and drenched the hem of your skirt and the front of your stockings, seeping through the fabric into your skin. 

~

Keep reading

[arosejoy]

11-25-11 Photobooth In-home art studio East Side House, Saint Paul

Notice the top photo, hanging on the wall the three images. The first one, it has a deep, dark pigmented black and I still remember the feeling of the brush against the paper. That mixed media series remains one of my favorites to these days - perhaps there are 8-10 pieces within in; a story of setting free what words can not encapsulate. It's tucked away in the attic of my parents garage, along with the plethora of pieces that came out of those years of searching within to find where I had become lost in my own life.

I am at a time now where I can begin to look back and reflect outwardly the experiences of those years when I lived so deeply within my self after starting life over. It is not just time that allows these words I share, I will not give time that value. It is the hard work, and grit, determination, that having a second chance at life, NOT dying, means work as well as reward, extremely uncomfortable situations and feelings and processes, and learning to go through versus around, or over, or under or in any other way of complete avoidance. It eventually comes back in one way or another. Trauma does not hide. It will present itself at every opportunity. An opportunity also for me to confront, and see, and take in, and breath despite the truth.

Avoidance means safety, often, to the mind in a troubled dynamic with trauma. This was the case for me. There have been events in my life that were too much to look at directly. I had to learn to tap into these feelings and memories without allowing them to take me over. Creating was the first way I was able to even think of what had taken place in my life and begin to find a way to let it out of me. It was a safe space that I could begin to unravel the images that would stand out in my mind, suddenly coming out of nowhere memories evoked that had been so long hidden, making me feel unreal and out of touch. Flashbacks...I can't begin to explain how scary they are. Or, perhaps, I just don't care to divulge some of the scarier details, is more like it.

Even though I showed and shared this collection of art with people, hanging at cafes, and having openings and celebrations, I never actually talked about the paintings/pieces themselves. I didn't have words and would direct any topics very far away from the truth. In that time, I suppose I just wanted to share them because it was such a need within me to create them. I thought that even if I did not have the words, there must be others too who do not have the words and can relate in some way.

Now, however, I do have the words and abilities to speak of that part of my life. The healing is ongoing in my mind, something that never ends, it is just a living of life, however, I have done the intense work through brainspotting trauma therapy, primarily, as well as medication therapy and my general therapist who has seen me since the age of 18. The triggers, the activation points, the memories no longer hold me in place, frozen. They simply are.

Yes, if I do not care for my self I am much more susceptible to the CPTSD taking over. However, I can count on one hand the number of episodes within the last two years. Compare this to years of daily episodes, and episodes lasting days and weeks and months. I just did not know what was happening. The gratitude of finally receiving the help I needed still moves me. I am continuing to find ways to live a lifestyle that furthers the health and wellness of my self and my life. It endlessly intrigues me, this exploration, the condition of being human.

I'm reminded that we all live our stories. I'm reminded that I do have so much control of my story, and some of it just is what it is, and I can choose the lens in which I take the narrative to heart. What is the story I am telling my self?

[free write; unedited]

[melodyofthevoid]

☕️rvb? 👀👀👀

You bastard, you just want me to rewatch the show don't you.

Well, no sense in not indulging some nostalgia I suppose.

While the show is in no way perfect, and some elements definitely have a severe "early 2000s" humor (some of the jokes were uh. Yikes) I can't deny that I have a soft spot for this little rainbow of idiots. Their dynamics are so fucking good and spot on, and it's so entertaining to watch them overcome the impossible not because they're "good" at anything or the "best" but because they care about each other in their own way.

Like you want non-traditional found family? You'd be hard pressed to find one where the family couldn't simultaneously hate each other but also need each other, with no clear "roles" or anything. They simply cannot function on their own, and they know that. They could leave, but where would they go? No one else has their back like this group of chucklefucks. They all compliment each other so nicely? It's my favorite thing to watch them come together after bickering and bitching at each other all season.

Like, it works for me in ways that not a lot of other "they hate each other but in they end they come together" stories don't. Fundamentally these guys are losers. They're the worst. But even as they bicker you can tell that they do care, it's just buried under whatever petty argument they're having on a given day.

Plus Washington and Church so wholly encapsulate my feelings on a given day. I love them so fucking much.

[marxistfurry]

Encapsulation C++

class myObject { int myVar; public: myObject() : myVar(0) { } int getMyVar() { return myVar; } void setMyVar(int x) { myVar = x; } };

It would appear to a casual observer, and could be pretty well argued, that there’s no need to have two methods just to set one variable and get one variable inside of an object, aside from the knee-jerk reaction to encapsulate everything. A public variable would accomplish the same goal, and would be far easier to read and write, like so:

class myObject { public: int myVar; myObject() : myVar(0) { } };

To someone who hasn’t experienced any problems with this way of doing things, it may seem odd to want to write more unnecessary code when all this time we’ve been trying to find ways to avoid writing more code. The aforementioned way looks more computationally expensive, harder to understand, and completely unnecessary.

Well… no, it isn’t. Encapsulation is the basic principle that teaches us to always do this, but we’re not writing all of this just to appease the Encapsulation Police, we’re doing it for a very good reason, and that’s flexibility with our objects. I’m going to venture a proposition… never in the history of programming has there ever once been someone who completely wrote a non-trivial object and didn’t need to change it ever again. What I am saying is that I guarantee to you you’ll find yourself in situations where you’re going to need to change some internal mechanisms of an object to add functionality, or make it more efficient, or for any other assorted reason. I’ll now prove this to you.

Let’s continue to utilize the object above, but let’s say, for some reason, you need a new function that “rewinds” and “fast forwards” the returned value from getMyVar(), so you’ll need to keep some kind of internal mechanism as to how to rewind/FF it. Let’s also say that you need to keep count of how many times myVar was changed, as well as add a new overloaded constructor to allow the user to set any value as the initial value (instead of just 0).

class myObject { unsigned long tChanged; bool looped; std::vector<int> myVars; std::vector<int>::iterator retNum, endPoint; void setup(int x) { myVars.reserve(20); myVars.push_back(x); retNum = myVars.begin(); endPoint = myVars.end(); } public: myObject() : tChanged(0) { setup(0); } myObject(int x) : tChanged(0) { setup(x); } int getMyVar() { return *retNum; } /* I wanted to ensure I didn't have to do any additional dynamic memory allocation for this method in the case of setMyVar being called more than 20 times, so I made it so after the 20th call, setMyVar simply wrapped around the vector and treated the first number as if it were the 21st, but that means rewind can't go further back than 20 numbers. That's okay. 🙂 */ void setMyVar(int x) { if (myVars.size() >= 20) { if (endPoint >= myVars.end()) { endPoint = myVars.begin(); looped = true; } *endPoint = x; ++endPoint; } else { myVars.push_back(x); endPoint = myVars.end(); } retNum = endPoint - 1; ++tChanged; } void rewind() { if (retNum >= endPoint) { if (--retNum < endPoint) retNum = endPoint; } else { if (--retNum < myVars.begin()) { if (looped) retNum = myVars.end() - 1; else retNum = myVars.begin(); } } } void rewind(int x) { for (int iii = 0; iii < x; ++iii) { rewind(); } } void fastForward() { if (retNum < endPoint) { if (++retNum >= endPoint) retNum = endPoint - 1; } else { if (++retNum >= myVars.end()) { retNum = myVars.begin(); } } } void fastForward(int x) { for (int iii = 0; iii < x; ++iii) { fastForward(); } } unsigned long getTimesChanged() { return tChanged; } };

As you can tell, this object has become much less trivial! But here’s the real advantage to using your getter/setter methods: Any other code you made that utilized the myClass object doesn’t have to change at all and it is still fully functional! While your getter and setter methods have wildly changed in implementation, and new methods have been added to the object, your older code that still used the old getter/setter methods will still be able to use this object exactly as if nothing had changed at all, and you won’t need to worry about updating your entire code base to reflect what could be only one or two changes in a single object! This is absolutely vital in any project with more than a few source code files, since tracking down individual changes can be a difficult and time-consuming task, as well as could produce many difficult to find, and fix, bugs!

When people talk about flexibility with code, and a need for abstraction, this is a great example of what they mean. While the ideas of encapsulation and abstraction extend far beyond this simple example, this is a very much real code example as to what’s going on, and why it is so important to do. Imagine if you had chose to instead go with a public variable that could be changed by any object, by doing so you’ve suddenly lost any flexibility to count the number of times that public variable has changed, or to extend the functionality of the object with that variable. You’ve lost a significant amount of versatility in your code, and through experience many developers have learned that this is the best way to go about things. That is why we use getter and setter methods!

To close, I want to address some of the challenges to getter/setter methods, and emphasize when using these methods is appropriate. Remember that divulging implementation details, such as what certain internal “has-a” objects contain, or what those objects are doing and what their states are, is a completely inappropriate use of getter/setter methods. Objects in themselves should be doing that kind of legwork, not the other objects using them. The article writer asserts that all getter/setter methods break encapsulation and provides no evidence of this supposedly obvious truth, but it doesn’t. The reason these methods exist is to maintain encapsulation, as I’ve just shown. The entire implementation can be changed in the object, and so long as there’s something to capture those get/set methods, then things will continue to work. Getter/Setter methods are intended to be part of the interface of an object, and part of it’s functionality, not an exposure to implementation details, and this distinction is important.

Hope this all helped!

Look at it this way. You have two objects and you need a kind of medium for them to communicate with each other.A can go and ask B what he ate for breakfast.

A can do this by saying B.WhatDidYouEatForBreakfast() or shorter B.Breakfast(). The nice thing about it is that it doesn’t need to go and check it’s plates and dumpster (those are private) but the question is allowed (it’s public). B, on the other hand, can say what he wants (will probably say fruits and vegetables, when in fact was chips and cola), but it better be the info that you’re looking for (makes sure of this in the method body).

So, basically, you’ll just have to have a public method in one of the classes with a return type of the private variable. This method will return the value of the private variable. Anybody can now call that object and find out what is going on.

It is not clear what you are trying to do. If you have something like this…

class A { private: int X;//ignoring any thing about encapsulation for now }; class B { //... public: void DoSomething() { A objectA; //makes objectA another A each time we get here, with X uninitialised //use objectA.X which has random numbers in } };

this will behave similarly to the problem you describe. If you make objectA a member instead and initialise it properly it might do what you want. With class A as before,

class B { //... private: A objectA; public: B() { objectA.X = 42; } void DoSomething() { //use member objectA.X } };

EDIT Clearly in my example I have pulled 42 out of nowhere. If you have a sensible value from the gui, send it to the constructor of B. If it changes you’ll need a reference to it instead.

explicit B(int gui_value) { objectA.X = gui_value; }

EDIT2 If you have an existing objectA someplace else, then pass that to the constructor

explicit B(const A & otherA) : objectA(otherA) { }

If that’s not possible, your design needs improving. Without any code to look at I cannot help any more.

Sources:

http://forum.codecall.net/topic/50480-getter-and-setter-methods/

http://softwareengineering.stackexchange.com/questions/228211/how-do-i-pass-a-variables-value-from-one-class-into-another-c

http://stackoverflow.com/questions/17991140/c-how-to-pass-a-variables-value-from-one-class-to-another