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Watching Star Wars in chronological order is so funny.

Obi-Wan Kenobi really took one look at R2D2 in the middle of the desert and said “No, Luke, I’ve never seen this fucking droid in my life. Looks like a real bitch though. Not that I’d know. This is my first time meeting the asshole.”

No one in that whole franchise was Gatekeep-Gasslight-Girlbossing quite like “Ben” Kenobi, regular human-man.

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Joanna Klink, from “Night Sky”, The Nightfields

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Why did you become a Liondancer? It's time to think about it.

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[☆]

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The opposite of anxiety is not calmness, it is desire. Anxiety and desire are two, often conflicting, orientations to the unknown. Both are tilted toward the future. Desire implies a willingness, or a need, to engage this unknown, while anxiety suggests a fear of it. Desire takes one out of oneself, into the possibility of relationship, but it also takes one deeper into oneself. Anxiety turns one back on oneself, but only onto the self that is already known. There is nothing mysterious about the anxious state; it leaves one teetering in an untenable and all too familiar isolation. There is rarely desire without some associated anxiety: We seem to be wired to have apprehension about that which we cannot control, so in this way, the two are not really complete opposites. But desire gives one a reason to tolerate anxiety and a willingness to push through it.

Open to Desire

Mark Epstein

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Something I'm fond of saying is "The villain drives the plot but the hero sets the tone." Something that's very important about this is that the resolution to the conflicts presented need to match the hero's tone. If your story doesn't believe problems can be solved the way the hero wants to solve them... why is this the hero?

If you want your problems to be solved with brutal catharsis, then your hero should be someone who believes in brutal catharsis.

If you want your problems to be solved with forgiveness and reconciliation, then your hero should be someone who believes in forgiveness and reconciliation.

They don't have to begin there. This can be something they come around to over the course of the story, as they grow and change per their character arc. But by the time of their ultimate encounter with the villain, their values should be the values that drive the story forward.

There's this thing in D&D that some DMs do. Where, when you roll enough damage to deplete the monster's hit points, they'll turn to you and say, "That's a kill. Describe for the group how you take the monster down." And you're allowed to come up with some cool maneuver or something that your character did in order to deliver the finishing blow.

The hero's ultimate triumph over the villain is a lot like this. More than any other part of the story, this moment is their apotheosis. It should be a celebration of everything they are and everything they stand for.

You have defeated the villain; Now describe for the group what form that victory takes.

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"Everyone knows how to promise the extraordinary. Few master the art of consistent ordinary."

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describing emotions in writing is either “he felt sad” or a two-paragraph dissertation on how his soul crumpled like wet newspaper under the weight of his own existence. no in-between.

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Chewing and gnawing on the irony One Piece continually shows with the main characters where they're doing objectively kind and helpful things and that's what gets them in trouble with the law. It's the selective application of criminal justice. The bias and room for corruption built into the system itself. It's delicious. It's horribly relevant. I'm obsessed.

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the suffering never ends

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ah yes, my favourite foreign language feel, “I know what all of those words mean individually but not together like that”

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I'm at the pediatrician office watching two 3-year olds attempt to break the language barrier.

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sometimes you need dialogue tags and don't want to use the same four

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Beast by Tasha Tikhonova

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A walk.

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peak philosophy in ao3 tags

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Art by Kate Liu