#as a plot device

[dolphin1812]

“Still another resemblance between Paris and the sea. As in the ocean, the diver may disappear there.”

Hugo’s never one to shy away from a drowning metaphor, and they’re never good signs. At the beginning of the novel, Jean Valjean was drowning in the negligence of society; now, he’s at a similar crisis point, but in the sewers instead of the French countryside.

(It’s also not great that the sewer is a sepulchre, both because of the general association with death and the link between this description and the convent. It’s “freedom” in that he’s escaped the troops, but the sewer might be another prison that he’s stuck in, choosing an awful form of confinement over dealing with law enforcement once again. As usual, there’s a rational element to this - especially here, where he would be killed or captured otherwise - but it’s still sad to see.)

“The truth is, that they were less safe than Jean Valjean fancied. Perils of another sort and no less serious were awaiting them, perchance. After the lightning-charged whirlwind of the combat, the cavern of miasmas and traps; after chaos, the sewer. Jean Valjean had fallen from one circle of hell into another.”

I just really love this paragraph! I think the sewer is a very fun setting (except for Valjean and Marius, of course).

“He said to himself that he was probably in the sewer des Halles; that if he were to choose the path to the left and follow the slope, he would arrive, in less than a quarter of an hour, at some mouth on the Seine between the Pont au Change and the Pont-Neuf, that is to say, he would make his appearance in broad daylight on the most densely peopled spot in Paris. Perhaps he would come out on some man-hole at the intersection of streets. Amazement of the passers-by at beholding two bleeding men emerge from the earth at their feet. Arrival of the police, a call to arms of the neighboring post of guards. Thus they would be seized before they had even got out. It would be better to plunge into that labyrinth, to confide themselves to that black gloom, and to trust to Providence for the outcome.”

I love this insight into Valjean’s thought process, as it highlights his intelligence in escaping (the image of Valjean and Marius emerging to the astonishment of random Parisians is also a bit funny). He’s very quickly able to reason through a navigation process that calls back Bruneseau’s mapping attempts, and that’s considering that this is his first time in a sewer and that he’s been deprived of the senses he would normally rely on. He makes a mistake, but his reasoning isn’t completely wrong, illustrating his cleverness.

The suspense is this chapter is also well-done. Hugo’s great at conveying the eeriness of the sewer, and watching Valjean panic over something that isn’t the police always underscores how scary it is. If even he’s unnerved by its dark and labyrinthine nature, then it really has to be horrible. And of course, leaving us on a cliffhanger with the light of the police in the distance raises the tension considerably.

[dana-duchovny]

Can I just say how insane it is that Buck's bisexual awakening was literally because Eddie made a friend who was Not Him

[afterartist]

Tiny… oversight in the planning

Re-visiting Colour theory for a Uni assignment and I can’t get over the fact that, with his red visor, Sounders would 100% be colourblind

N e ways, bonus images without the text for u (cause im proud of the perspective on Screamer okay shush)

[hawkinsbnbg]

Steve woke up remembering absolutely nothing besides Robin and the kids and that oddly intense, handsome man whom he was pretty sure was his boyfriend.

Though everyone else (except Eddie) kept telling him otherwise, he wasn't convinced. Steve might be a bit slow on the uptake, but he knew love when he saw it. And every fiber of him had melted when he saw Eddie Munson’s face upon opening his eyes.

There was no other reason for his heart to threaten to punch through his ribcage whenever Eddie looked at him. So yeah, boyfriend.

Dustin: He's not your boyfriend, Steven!

Steve: Are you like, homophibying me?

Dustin: Wha– I'm not homophobic! Eddie! Tell him you're not his boyfriend!

Eddie: Sorry, sweetheart. I'm not your boyfriend.

Steve: Oh.

Dustin: See? I told–

Eddie: I'm actually your husband.

Dustin: Dude.

Eddie: We've been married for ten years and these are our children.

Dustin: Dude!

Steve: Who's the mother?

Eddie: You, obviously.

Steve: Yeah, that tracks.

In the end, when Steve finally regained his memory and had another bathroom heart-to-heart with Robin, he silenced Eddie's profuse apologizing with a kiss. French style.

Steve: Will you be the father of my children?

Eddie: Hell yeah, baby.

[imastoryteller]

20 Plot Twist Ideas That Will Shock Your Audience

One of the most effective tools in a storyteller's arsenal is the plot twist. A well-executed plot twist can leave your audience reeling, questioning everything they thought they knew about your story. It can turn a good story into a great one, leaving a lasting impact on your readers or viewers. In this post, we'll explore 20 plot twist ideas that will shock your audience and elevate your storytelling game to new heights.

1. The Unlikely Hero:

Turn the tables by revealing an unexpected character as the true hero. This can be someone seemingly insignificant or even an antagonist who redeems themselves at a crucial moment.

2. The Double Agent:

Introduce a character who initially appears loyal to the protagonist but is secretly working against them, only to later reveal their true intentions.

3. The Long-Lost Sibling:

Uncover a secret sibling, separated from the main character in their early years, and use their sudden appearance to shift the narrative.

4. Time Travel Paradox:

Play with time travel to create a paradox that forces the characters to confront alternate timelines or unforeseen consequences of their actions.

5. The Mastermind:

The story's villain is revealed to be a puppet in a larger scheme, controlled by a mastermind who has been operating behind the scenes.

6. The Supernatural Twist:

Introduce a supernatural element, like ghosts or mythical creatures, that the characters and audience believed were mere myths.

7. The Doppelgänger:

A character's doppelgänger appears, causing confusion and chaos as they try to determine who is the real one.

8. The Reversal of Roles:

Switch the roles of the protagonist and antagonist halfway through the story, making the audience question their allegiances.

9. The Untouchable Hero:

Create a seemingly invincible hero who unexpectedly meets their match, forcing them to reevaluate their abilities and tactics.

10. The Forgotten Past:

Unearth a character's forgotten or repressed memories, leading to a shocking revelation about their true identity or past actions.

11. The Betrayal Within:

One of the protagonist's closest allies betrays them, throwing their entire mission into disarray.

12. The Hidden Identity:

A character is not who they claim to be, and their true identity is revealed, impacting the story's direction.

13. The Inception Twist:

Blur the lines between reality and illusion, leaving the audience guessing what's real and what's a dream or illusion.

14. The Time Loop:

Trap your characters in a time loop where they're forced to relive the same events repeatedly until they can break free.

15. The Shapeshifter:

Introduce a character with the ability to change their appearance, creating doubt and suspicion within the group.

16. The Truth About the Mentor:

The mentor figure, who initially seems wise and benevolent, is unveiled as the story's true antagonist.

17. The Lost Artifact:

The much sought-after artifact or treasure turns out to be a fake, and the real item is something entirely unexpected.

18. The Pseudo-Death:

Fake a character's death to shock the audience and later reveal they were alive all along.

19. The Prophecy Reversed:

Subvert the traditional hero's journey by defying a prophesized destiny and taking the story in a different direction.

20. The Unreliable Narrator:

Reveal that the narrator has been lying or misrepresenting events, casting doubt on the entire story's accuracy.

Conclusion:

These 20 plot twist ideas are just the beginning, and by incorporating them into your narratives, you can leave your audience stunned, shocked, and eager for more. Remember that the key to a successful plot twist lies in its execution, so take your time and craft a twist that seamlessly integrates into your story, making it an unforgettable experience for your readers or viewers.

---

+ If you find my content valuable, consider Support This Blog on Patreon!

[bruciemilf]

One of my biggest gripes about the dc fandom is how simplified and stripped down ‘child soldier’ became as a term.

Like, ya’ll, I don’t think forcing a rich guy to take you in and make him teach you martial arts is equal to having your entire childhood ripped from the root up for military purposes. That’s just me tho idk

[letalisotium]

[mid-knight-black]

Just gonna point out that Tommy was a closeted gay man for years who almost married a woman and came out late in life…and having him of all the characters be the one to scoff at the thought of Eddie being straight (while actively discussing about Buck being in love with Eddie) was definitely interesting…🤭🤭🤭

[sasswonfp]

Compare - PART 2 is DONE! (alt text provided)

Happy new year this one is just for me and 2 other freaks who will get me and go insane over this. I had a ton of fun doing this comic and I hope people enjoy it just as much! If you stuck around thank you!

PART 1 | PART 2 (here!)

[tacticalgrandma]

Idk man Jayce and Viktor both having Black women in their lives who love, comfort, and support them, only to pay those same women absolute dirt when they actually ask something in return—you could have done something there. You could have had Mel actually express her heartbreak that when she tries to lay her head in Jayce’s lap, he screams at her. You could have had Sky acknowledge how little Viktor cared for her own, independent personhood with something more than a “No, you won’t.” Or hell, just have her say that with pain or anger or terror or SOMETHING.

You could have cared about these women’s internal lives and, even if you still narratively reward Jayce and Viktor for ignoring them, you could have shown that these women bleed when you prick them. But they didn’t and that’s really fucking ugly of them.

[theokusgallery]

Little pet project of a human AU

The comic above is from they were 14-15, they're 19-20 here

[deikshen]

The married Bingqiu goes on a hunt/exploration in search of rare monsters, when they meet Liu Qingge. Well, he is on the same way, they can hunt the monster together!!

Except for the fact that Liu Qingge and Luo Binghe accidentally end up in one of those weird flower pollens that are clearly a plot device. Shen Qingqiu quickly tries to go after his husband, helping him to his feet to get him out of the little flower meadow - he is usually the one who ends up with papapa flowers! He knows that legs tend to be fragile afterwards!!

He feels a little sorry for his Liu-shidi, vanished in a pile of flowers, but ah, he will call for reinforcements to take him back. Speaking of which, what kind of flower are these, actually? With a pearly sheen and pollen as clear as powdered sugar...

Luo Binghe barely spoke at his side. When Shen Qingqiu examines him, his husband's face is flushed, his ears are red, and he seems to be trembling. Ah, poor thing! He must be very upset. Shen Qingqiu sighs and moans about his butt for the next few hours.

However, when he tries to take his husband's hand, he seems to almost implode. He walks away with widened strides, pupils dilated, completely red. He seems to be breathing heavily, but still... Is he embarrassed? Shen Qingqiu barely held his hand!! What the fuck?

“Husband?” Shen Qingqiu asked in a small voice. What effect do those damn flowers have?

Luo Binghe made a strangled sound in his throat. He is really embarrassed, and Shen Qingqiu finds him adorable.

His world tilts when he hears the voice behind him.

Honestly, Liu Qingge is a man of few words and much action. That's why, when Shen Qingqiu hears this, he turns to look at him in amazement.

Liu Qingge sat down amidst the crushed flowers, his hair disheveled, his gaze almost lazy, his expression a mixture of bewilderment and clear annoyance.

"Husband, husband. Of course, won't you help your shidi, Shen Qingqiu? Does one have to marry you to be helped as well? This shidi is no longer important to you?"

If the expression on his face wasn't enough, Shen Qingqiu having to restrain his husband from jumping on Liu Qingge's neck with his sword in hand really was enough.

Fuck it. Of all the plot devices, THEY JUST got the personality swap?!

[theroundbartable]

Ah shit, now I want an episode where Merlin somehow hears that Aithusa has been captured by an evil King.

Arthur is like: We have to get on good terms with that King. He knows how to capture dragons. Let's go, Merlin.

And the entire episode, Merlin debates whether to tell Arthur that they need to FREE the dragon because that's what Dragons are meant to be.

Then, Merlin sees the state Aithusa is in.

Evil King: it was tough to have it bow to my will. It loves to bite the hand that feeds it, haha. You shouldn't get too close.

Merlin: *not listening* walks over to where Aithusa is in chains.

Arthur: Merlin, what the hell are you doing!!!!

Merlin: She's hurt.

Arthur: yes, that's kind of the point. Now get away before- she?

Merlin starts petting the Dragon who is now whining and whimpering into his arms.

Merlin: *whispering* shhhh, my dear. I'll get you out of here. I'll be back tonight.

Evil King: It's not... Biting him? That's interesting

Arthur: Ignore him. He's just my idiot servant. For some reason, animals love him. It's just his nature

Evil King: That thing, King Arthur, is not an animal. That's a magical creature and magical creatures only feel safe around even more powerful magical creatures.

Arthur: *opens mouth, closes it, laughs* you wanna tell me that Merlin is a magical creature?

Evil King: would you care to explain, boy? *Completely serious*

Arthur: *expression falls* you can't be serious

Merlin: *remaining in his position* So, I see you did your homework

Evil King: You're a Dragon Lord

Arthur: oh come on! The last Dragon Lord is dead!

Merlin: I am the last Dragon Lord and I hatched this Dragon. You can imagine that I am NOT pleased with what I find here.

Evil King: oh. OH. That's rich. Is this your idea of peace, King Arthur? Bringing a Dragon Lord into my Kingdom? One who's out for revenge too?

Arthur: he's joking

Merlin: No, I'm not

Arthur: *huffs, and notices Merlin is also serious* Merlin, you HAVE to be joking. That THING-

Merlin: is basically my daughter.

Evil King: A wonderful job you did then, letting her fly directly into my arms

Merlin: I think you still don't understand who I am, do you.

Evil King: Oh, I think I have a pretty good idea, Emrys.

Arthur: WHO?!?!

[deception-united]

Let's talk about killing off characters.

Killing off characters is a dramatic device often used to advance the plot, create tension, or evoke emotional responses from readers or viewers. We love doing it. The initial shock, the mourning after. The effects of it on the other characters. It's fun.

Nevertheless, you can still achieve the desired impact on your plot and characters without necessarily resorting to fictional murder.

Here are some alternatives to drive the plot forward:

Character transformation: Instead of killing off a character, you can have them undergo significant personal growth or change. This could involve overcoming challenges, facing moral dilemmas, or undergoing a shift in beliefs or values. Their transformation can still drive the plot forward and impact other characters. (I especially love it when the transformation is negative—like when a traumatic experience of some sort completely strips a character of their soul. But that's a sentiment for another day.)

Betrayal or conflict: Introduce betrayal or conflict between characters that challenges relationships and creates tension. This can lead to significant plot developments and character arcs without resorting to death. And it can be cause for quite a lot of angst.

Separation or estrangement: Have characters physically or emotionally separated from each other, causing tension and driving the plot forward as they strive to reconnect or deal with the consequences of their estrangement.

Sacrifice without death: Characters can make significant sacrifices that don't necessarily involve their death. This could be sacrificing personal goals, relationships, or values for the greater good or to achieve a specific objective.

Injury or disability: Instead of killing off a character, you can incapacitate them through injury or disability. This will create challenges for the character and those around them, leading to character development and plot progression as they're forced to adapt to their new circumstances.

Redemption arcs: Characters who have committed wrongdoings can undergo redemption arcs where they seek forgiveness, make amends, or strive to become better individuals. This can drive the plot forward while also adding depth to the character. Keep in mind that this may not be a suitable alternative to death for some characters—for instance, the protagonist forgiving their abusive parent despite all they were forced to go through may evoke a sense of indignation rather than admiration for their supposed selflessness.

Revelations or secrets: Introduce revelations or uncover secrets that have significant impacts on characters and their relationships. This can lead to conflict, tension, and plot twists without the need for death.

Forced alliances or unexpected partnerships: Characters can be forced into alliances or partnerships with unlikely allies, leading to interesting dynamics and plot developments as they navigate these new relationships.

Loss of power or status: Characters can experience a loss of power, status, or reputation, which can drive the plot forward as they strive to regain what they've lost, seek revenge on those responsible, or adapt to their new circumstances.

Time constraints or pressure: Introduce time constraints or pressure situations that force characters to act quickly and make difficult, split-second decisions that may end up being quite regrettable later on. This can raise conflicts of who's to blame, or what should have been done.

I feel like I strayed off a little, but there you have it. Hope this was helpful! ❤

Previous | Next

[saveahorserideaneddie]

WHO DID THIS ON BUCK AND EDDIE’S WIKI PAGES IM— ✋😭💀

[purpleexplosive]

Big sword!!!

more doods