#but attribute the thought and discovery to themselves

[aw-dag]

for the “now name a woman” crowd this is a satire character. that is. the point. the joke. the type of person who is being satirized.

[imastoryteller]

The Paradoxical Character: 19 Unique Trait Pairings

Here’s a list of 19 wildly unusual, highly contrasting trait pairs that blend quirky or fantastical attributes. These could make for delightfully strange, otherworldly, or surreal characters:

Immensely Patient & Chronically Forgetful Character Idea: They can wait for years without complaint but never remember why they started waiting in the first place. Their endless patience is undercut by the confusion of purpose, creating an aura of timeless mystery.

Unbearably Charming & Involuntarily Invisible Character Idea: This character has charisma in spades but is cursed to flicker out of sight randomly. Their allure is magnetic, but people constantly forget they were even there, adding to their mystique and frustration.

Perpetually Cheerful & Pathologically Suspicious Character Idea: They radiate sunshine and kindness yet believe everyone is secretly plotting against them. Their optimism is baffling, considering they’re convinced of hidden dangers everywhere.

Mind-Reading Empath & Emotionally Oblivious Character Idea: Able to feel others’ emotions intensely, yet baffled by their own, this character has no clue how they themselves feel. They’re highly attuned to everyone else but entirely alienated from their own heart.

Limitless Curiosity & Existentially Terrified Character Idea: Endlessly fascinated by every detail of the universe, yet they’re constantly haunted by the fear of the universe itself. Every new discovery brings wonder and intense dread, creating a fascinating internal tug-of-war.

Brilliant Strategist & Hopelessly Absent-Minded Character Idea: A tactical genius who can plan a perfect heist, yet constantly forgets their own plan halfway through. They’re sought after for their brilliance but just as likely to wander off mid-operation.

Supernaturally Persuasive & Pathologically Indecisive Character Idea: They could talk anyone into anything—if only they could decide what they wanted to say. Their powers of persuasion are legendary, but they take forever to make a single choice.

Ancient Wisdom & Childlike Innocence Character Idea: Despite being impossibly old and wise, they approach every situation with the wonder of a child. They’re both sage and novice, baffling people who come seeking advice but receive only wonder-filled observations.

Obscure Knowledge Hoarder & Shameless Gossip Character Idea: They know every forgotten fact of history yet can’t keep a secret to save their life. This character’s deep knowledge clashes hilariously with their loose tongue, turning historical mysteries into idle chatter.

Zen-like Tranquility & Quick to Panic Character Idea: Usually the calmest person in any room, until anything unusual happens, at which point they’re the first to run. People turn to them for peace until their sudden freakouts reveal a hidden, hilarious irony.

Hyper-Logical Thinker & Ridiculously Superstitious Character Idea: Obsessed with logical consistency yet terrified of stepping on cracks or upsetting minor spirits. Their rationality makes them a master problem-solver, but they’re comically fearful of common superstitions.

Effortlessly Graceful & Magically Clumsy Character Idea: They’re naturally elegant in all they do, but objects randomly fly out of their hands or shatter in their presence. They’re revered for poise but cursed by chaos, creating an aura of unpredictable charm.

Telepathically Intuitive & Immensely Gullible Character Idea: Able to sense the unspoken thoughts of others, but easily duped by the most obvious lies. They sense everyone’s hidden motives but constantly believe in harmless nonsense.

Exceptionally Knowledgeable & Epically Lazy Character Idea: They’ve accumulated endless knowledge from books but refuse to do anything with it. They could save the world but prefer napping and observing others fumble around in ignorance.

Magnet for Coincidences & Cynically Skeptical Character Idea: The most absurd things constantly happen around them, yet they refuse to believe in coincidences. This character is a walking contradiction of fate and disbelief, surrounded by odd events they disdain.

Hyper-Attentive Listener & Mute Character Idea: They pick up every nuance of conversation and are incredibly insightful, but they can’t respond out loud. People find comfort in their presence but struggle to understand their silence and deep gaze.

Radiantly Optimistic & Obsessed with Disaster Preparedness Character Idea: Always smiling and convinced things will work out, yet constantly building bunkers and storing supplies. Their sunny outlook is shadowed by an apocalyptic readiness that baffles everyone.

Unbreakable Memory & Instantly Distracted Character Idea: They remember every moment of their life in perfect detail but are so easily distracted that they rarely finish sentences. They’re a walking history book if only they’d stay focused long enough to share it.

Boundless Energy & Always Asleep Character Idea: They have an endless zest for life and could do anything—if they could just stay awake. People are drawn to their energy, but they frequently fall asleep mid-sentence, leaving everyone in suspense.

[morlock-holmes]

Towards a Unified Theory of Conspiracy Crank Politics

I've been thinking a lot about what seems to drive the person I will call, for lack of a better term, the conspiracy crank world-view, and particularly, my feelings about the great crank realignment.

A lot of people have said, "It seems like 30 years ago conspiracy weirdos were pretty bipartisan people, but now they all seem to be Trump loyalists."

My belief is that it's not that the conspiracy cranks became more right-wing; rather, it's that the Republicans have largely stopped being a right-wing party and are instead now a conspiracy crank party.

So, I've said this before, and I'm not well enough read in the history of conspiracy thinking to bring up old examples, but as a kid I subscribed to Skeptical Enquirer, and I remember quickly coming to two conclusions:

The reason a lot of the alien conspiracy X Files stuff is so interesting in fiction is that talented fiction writers have used it as a jumping off point to make an interesting story; the primary conspiracy literature is often very poorly written, not very inventive, and frequently openly bigoted, which leads into my second discovery,

A lot of times there is only one degree of seperation between "Big pharma and modern living has severed our spiritual connection to our earth mother Gaia" and "The Jews run the world with the aim of keeping the white race enslaved". Like, the far right conspiracy people were often really willing to ally with and break bread with the far left conspiracy people, and vice versa, in fact much more so then the more grounded parts of the left and right.

And I think that's because the conspiracy theorists have a kind of common mindset with certain shared features, regardless of the specifics of their conspiracy.

These are things that I have noticed as commonalities, and they aren't limited to conspiracy cranks; in fact, probably the vast majority of people have these habits of thought to some extent. My argument is that they are often abnormally strong in conspiracy believers.

Belief in a just world. A lot of fringe types have a really strong belief that the world is fundamentally just, and that in the ordinary course of things bad things do not happen to good people. Bad things only happen because a personified force arranged for the bad thing to happen. The example I've used before is slipping and falling off a ladder. Many of us would attribute such a thing to pure chance; some people will take it as evidence that a witch or a demon has cursed them.

An extreme difficulty with feeling out of control. It is hard for them to accept that in some circumstances they may not have control. Things which make them feel like they are no longer in control are very often interpreted as hostilities against them.

A severe difficulty in actually putting themselves in another person's shoes. Often, the conspiracy minded person is incredibly judgemental about others, and particularly, they really, really struggle with the idea that something might be easy for them, but difficult for someone else, or difficult for them, but necessary to help someone else.

Like I said, we all have these habits to some extent, I just think they are often magnified in the conspiracy crank.

As an example of what I mean by these thought patters, I am in the middle of a podcast reviewing a crank movie about how germs don't cause diseases. And apparently, in this movie, they first have a heroic interview with a restaurant owner who not only never required his patrons to wear masks, he actually banned any mask wearing on the premises.

Which is followed immediately by a scene of a person getting kicked out of a store for not masking, and talking about how it's incredibly shocking that what should be a matter of personal conscience is being enforced by the government.

And there's just no sense that there is any hypocrisy or tension here.

What I mean is, a principled libertarian might say, "Each individual business can require masks, or require you to take masks off, or have no policy, according to their individual decision, and we should allow them to make those decisions and abide by them."

Another principled position might be that we have extremely compelling evidence for the pandemic, and maybe certain kinds of policies should be temporarily enacted to slow the spread, even though they infringe on what would be, in ordinary times, important liberties, because they serve to protect the collective greater good.

Either of these positions sort of takes it for granted that a choice that I, personally, might not fully agree with might still be important to other people.

But the crank mindset says, "I don't want to wear a mask. So forcing people to wear a mask is an imposition on important freedoms. But since I'm already comfortable without a mask, forcing people to take their masks off isn't any kind of imposition on anybody's freedom, that's ridiculous."

You can see what I'm talking about most clearly in certain right-wing Christians. I've seen Christians say that freedom is exactly the same as following God's will, and that disobedience to God is a form of bondage and slavery.

These habits of mind are not, themselves, partisan; the can be applied to any cause, right-wing or left-wing. I might just have easily brought up "Free speech doesn't mean tolerating hate speech."

But I would argue that the reverse is not true, that you can build a political party that caters primarily to people with these habits of mind.

These people tend to flock to politicians who simultaneously promise a strong government which they can borrow to reassert their sense of control in the world, but the actual specific politics of that government are squishy and malleable.

The government has to be strong and able to domineer others because the conspiracy crank understands that they are in opposition to some large portion of the population, and so the government has to be strong enough to say, for example, "We will make sure that no private business will kick you out for wearing a mask."

When the world feels out of control, the government will lend you the tools to reassert your control over the world around you.

But the actual political goals of the government have to be extremely vague and malleable, so that they can move quickly to maintain the illusion that good people don't ever really disagree about this stuff.

A government which is coherently committed to a libertarian project might well say, "Sorry, those businesses have every right to decide who they cater to."

You have to be a weathervane, once a majority of cranks decide that vaccines and mask mandates are bad, you have to swivel and take that position in order to maintain a sort of illusion that whatever freedoms your crank audience wants in the moment are inherently sensible and that no sane person could disagree.

My argument is that Trump has turned the Republicans into the crank party, the party that signals to cranks that it will have their backs, whereas thirty years ago, the parties were still committed enough to coherent political goals that neither one could make that promise, and so cranks had to be politically idiosyncratic.

[talonabraxas]

“Tat Tvam Asi” – “Thou Art That”

OM - Meta Eye Talon Abraxas

THE most sacred mystic syllable of the Vedas is Aum. It is the first letter of the Sanskrit alphabet, and by some it is thought to be the sound made by a new born child when the breath is first drawn into the lungs. The daily prayers of the Hindu Brahmin are begun and ended with it, and the ancient sacred books say that with that syllable the gods themselves address the most Holy One.

In the Chandogya Upanishad its praises are sung in these words:

Let a man meditate on the syllable OM, called the udgitha, ...it is the best of all essences, the highest, deserving the highest place, the eighth.

It is then commanded to meditate on this syllable as the breath, of two kinds, in the body - the vital breath and the mere breath in the mouth or lungs, for by this meditation come knowledge and proper performance of sacrifice. In verse 10 is found:

Now, therefore, it would seem to follow that both he who knows the true meaning of OM, and he who does not, perform the same sacrifice. But this is not so, for knowledge and ignorance are different. The sacrifice which a man performs with knowledge, faith, and the Upanishad is more powerful.

Outwardly the same sacrifice is performed by both, but that performed by him who has knowledge and has meditated on the secret meaning of OM partakes of the qualities inhering in OM, which need just that knowledge and faith as the medium through which they may become visible and active. If a jeweler and a mere ploughman sell a precious stone, the knowledge of the former bears better fruit than the ignorance of the latter.

Shankaracharya in his Sharir Bhashya dwells largely on OM, and in the Vayu Purana a whole chapter is devoted to it. Now as Vayu is air, we can see in what direction the minds of those who were concerned with that purana were tending. They were analyzing sound, which will lead to discoveries of interest regarding the human spiritual and physical constitution. In sound is tone, and tone is one of the most important and deep reaching of all natural things. By tone, the natural man and the child express the feelings, just as animals in their tones make known their nature. The tone of the voice of the tiger is quite different from that of the dove, as different as their natures are from each other, and if the sights, sounds, and objects in the natural world mean anything, or point the way to any laws underlying these differences, then there is nothing puerile in considering the meaning of tone.

The Padma Purana says:

"The syllable OM is the leader of all prayers; let it therefore be employed in the beginning of all prayers," and Manu in his laws ordains: "A Brahmin, at the beginning and end of a lesson on the Vedas, must always pronounce the syllable OM, for unless OM precede, his learning will slip away from him, and unless it follows, nothing will be long retained."

The celebrated Hindoo Raja, Ramohun Roy, in a treatise on this letter says:

"OM, when considered as one letter, uttered by the help of one articulation, is the symbol of the supreme Spirit. "One letter (OM) is the emblem of the Most High, Manu II, 83."

But when considered as a triliteral word consisting of (a),(u),(m), it implies the three Vedas, the three states of human nature, there three divisions of the universe, and the three deities - Brahma, Vishnu, and Siva, agents in the creation, preservation, and destruction of this world; or, properly speaking, the three principal attributes of the Supreme Being personified in those three deities. In this sense it implies, in fact, the universe controlled by the Supreme Spirit."

Now we may consider that there is pervading the whole universe a single homogeneous resonance, sound, or tone which acts, so to speak, as the awakener or vivifying power, stirring all the molecules into action. This is what is represented in all languages by the vowel a, which takes precedence of all others. This is the word, the verbum, the Logos of St. John of the Christians, who says: "In the beginning was the Word, and the word was with God, and the word was God." This is creation, for without this resonance or motion among the quiescent particles, there would be no visible universe. That is to say, upon sound, or, as the Aryans called it, Nada Brahma (divine resonance), depends the evolution of the visible from the invisible.

But this sound a, being produced, at once alters itself into au, so that the second sound u is that one made by the first in continuing its existence. The vowel u, which in itself is a compound one, therefore represents preservation. And the idea of preservation is contained also in creation, or evolution, for there could not be anything to preserve, unless it had first come into existence.

If these two sounds, so compounded into one, were to proceed indefinitely, there would be of course no destruction of them. But it is not possible to continue the utterance further than the breath, and whether the lips are compressed or the tongue pressed against the roof of the mouth, or the organs behind that used, there will be in the finishing of the utterance the closure or m sound, which among the Aryans had the meaning of stoppage. In this last letter there is found the destruction of the whole word or letter. To reproduce it a slight experiment will show that by no possibility can it be begun with m, but that au invariably commences even the utterance of m itself. Without fear of successful contradiction, it can be asserted that all speech begins with au, and the ending, or destruction of speech, is in m.

The word "tone" is derived from the Latin and Greek words meaning sound and tone. In the Greek the word "tonos" means a "stretching" or "straining." As to the character of the sound, the word "tone" is used to express all varieties, such as high, low, grave, acute, sweet, and harsh sounds. In music it gives the peculiar quality of the sound produced, and also distinguishes one instrument from another; as rich tone. reedy tone, and so on. In medicine, it designates the state of the body, but is there used more in the signification of strength, and refers to strength or tension. It is not difficult to connect the use of the word in medicine with the divine resonance of which we spoke, because we may consider tension to be the vibration, or quantity of vibration, by which sound is apprehended by the ear; and if the whole system gradually goes down so that its tone is lowered without stoppage, the result will at last be dissolution for that collection of molecules. In painting, the tone also shows the general drift of the picture, just as it indicates the same thing in morals and manners. We say, "a low tone of morals, an elevated tone of sentiment, a courtly tone of manners," so that tone has a signification which is applied universally to either good or bad, high or low. And the only letter which we can use to express it, or symbolize it, is the a sound, in its various changes, long, short, and medium. And just as the tone of manners, of morals, of painting, of music, means the real character of each, in the same way the tones of the various creatures, including man himself, mean or express the real character; and all together joined in the deep murmur of nature go to swell the Nada Brahma, or Divine resonance, which at last is heard as the music of the spheres.

Meditation on tone, as expressed in this Sanskrit word OM, will lead us to a knowledge of the secret Doctrine. We find expressed in the merely mortal music the seven divisions of the divine essence, for as the microcosm is the little copy of the macrocosm, even the halting measures of man contain the little copy of the whole, in the seven tones of the octave. From what we are led to the seven colors, and so forward and upward to the Divine radiance which is the Aum. For the Divine Resonance, spoken of above, is not the Divine Light itself. The Resonance is only the outbreathing of the first sound of the entire Aum. This goes on during what the Hindoos call a Day of Brahma, which, according to them, last a thousand ages.4 It manifests itself not only as the power which stirs up and animates the particles of Universe, but also in the evolution and dissolution of man, of the animal and mineral kingdoms, and of solar systems. Among the Aryans it was represented in the planetary system by Mercury, who has always been said to govern the intellectual faculties and to be the universal stimulator. Some old writers have said that it is shown through Mercury, amongst mankind, by the universal talking of women.

And wherever this Divine Resonance is closed or stopped by death or other change, the Aum has been uttered there. These utterances of Aum are only the numerous microcosmic enunciations of the Word, which is uttered or completely ended, to use the Hermetic or mystical style of language, only when the great Brahm stops the outbreathing, closes the vocalization, by the m sound, and thus causes the universal dissolution. This universal dissolution is known in the Sanskrit and in the secret Doctrine as the Maha Pralaya, Maha being "the great," and Pralaya "dissolution." And so, after thus arguing, the ancient Rishees of India said: "Nothing is begun or ended; everything is changed, and that which we call death is only a transformation." In thus speaking they wished to be understood as referring to the manifested universe, the so-called death of a sentient creature being only a transformation of energy, or a change of the mode and place of manifestation of the Divine Resonance. Thus early in the history of the race the doctrine of conservation of energy was known and applied. The Divine Resonance, or the au sound, is the universal energy, which is conserved during each Day of Brahma, and at the coming on of the great Night is absorbed again into the whole. Continually appearing and disappearing it transforms itself again and again, covered from time to time by a veil of matter called its visible manifestation, and never lost, but always changing itself from one form to another. And herein can be seen the use and beauty of the Sanskrit. Nada Brahma is Divine Resonance; that is, after saying Nada, if we stopped with Brahm, logically we must infer that the m sound at the end of Brahm signified the Pralaya, thus confuting the position that the Divine Resonance existed, for if it had stopped it could not be resounding. So they added an a at the end of the Brahm, making it possible to understand that as Brahma the sound was still manifesting itself. But time would not suffice to go into this subject as it deserves, and these remarks are only intended as a feeble attempt to point out the real meaning and purpose of Aum.

For the above reasons, and out of the great respect we entertain for the wisdom of the Aryans, was the symbol adopted and placed upon the cover of this magazine and at the head of the text.

With us OM has signification. It represents the constant undercurrent of meditation, which ought to be carried on by every man, even while engaged in the necessary duties of this life. There is for every conditioned being a target at which the aim is constantly directed. Even the very animal kingdom we do not except, for it, below us, awaits its evolution into a higher state; it unconsciously perhaps, but nevertheless actually, aims at the same target.

"Having taken the bow, the great weapon, let him place on it the arrow, sharpened by devotion. Then, having drawn it with a thought directed to that which is, hit the mark, O friend, - the Indestructible. OM is the bow, the Self is the arrow, Brahman is called its aim. It is to be hit by a man who is not thoughtless; and then as the arrow becomes one with the target, he will become one with Brahman. Know him alone as the Self, and leave off other words. He is the bridge of the Immortal. Meditate on the Self as OM. Hail to you that you may cross beyond the sea of darkness."

AUM!

Hadji-Erinn

[thegambitgazette]

Fear: Using Stoicism to Shape Characters

WC: 2,730

Introduction

Like many people, I suffer from severe panic and anxiety attacks. My heart races at what feels like a thousand beats per minute, I get a cold sweat, and my thoughts do not have a filter. The latter of which, I find the most dangerous and disturbing, especially when said attacks get triggered by something so small or nothing at all.

A lot of the time, they boil down to not feeling safe. I feel like I’m vulnerable, that the worst things that happened to me will happen again tenfold, or I’ve become the worst person in existence. Fear, as a lot of us know, can have us assume the worst.

I’m still working on managing my fear, if it can be managed at all, but a lot of what I’ve been practicing is essentially Stoicism. Epictetus, a Greek Stoic philosopher, often highlighted that it is not events themselves that disturb people, but rather their judgments about those events. One famous quote attributed to Epictetus that reflects this idea is: “People are not disturbed by things, but by the view they take of them.”

This sentiment suggests that fear and other negative emotions stem not from objective reality but from our interpretations and perceptions of reality.

I thought, “What a wonderful way to get to know our characters!” Not only do we have to have a grasp on the world around them, we have to understand the extent of how they perceive said reality and how it leads to their own fears as well as their ambitions, passions, hate, love, etc.

Amor Fati

One of my favorite phrases is “amor fati.” It’s what helped me most in navigating my own fears and, as a result, writing some ways in which my characters handle theirs.

The idea of “amor fati” is closely associated with philosophers like Epictetus and Marcus Aurelius, even though they didn't use those exact words. However, it was Nietzsche who made it a key part of his philosophy. He believed that true greatness comes from embracing fate and wanting nothing to change, not in the past, present, or future. In simple terms, it means loving and accepting everything that happens, rather than just enduring it.

When considering the relationship between “amor fati” and fear, several key points emerge:

Acceptance of the Uncontrollable: Fear often arises from the unknown or from circumstances beyond our control. “Amor fati” encourages individuals to relinquish their resistance to such uncertainties and to accept that life is inherently unpredictable. By embracing fate, individuals can find solace in the realization that some things are simply beyond their power to change or influence.

Facing Adversity with Resilience: Rather than viewing challenges as threats to be avoided or overcome, individuals can approach them with a sense of equanimity and resilience. Instead of succumbing to fear or anxiety in the face of challenges, one can choose to see them as opportunities for growth and self-discovery. By embracing adversity as an integral part of life’s journey, individuals can cultivate the strength and fortitude necessary to navigate difficult times with grace and composure.

Gratitude for All Experiences: Fear often stems from a sense of insecurity or dissatisfaction with one’s circumstances. “Amor fati” cultivates gratitude for all experiences, both positive and negative, recognizing that each contributes to the richness and depth of life. By embracing fate with gratitude and appreciation, individuals can mitigate the fear of the unknown and find peace and contentment in the present moment.

This idea is what helps form a “baseline” for my way of thinking and perceiving fear, which is what many people, fictional characters included, tend to mix up.

You don’t need to adopt the same mantra, of course, but I believe that having this Ground 0 in your own personal philosophy will add further depth and characterization in writing. It provides a deeper perspective on why your characters think the same or why they may deviate.

Distinction Between Events and Perceptions

Let’s go back to what Epictetus said: “People are not disturbed by things, but by the view they take of them.” Stoicism teaches that events themselves are neutral; it is our interpretation of those events that shapes our emotional responses. This concept is often referred to as “cognitive appraisal” or “judgment” in Stoic philosophy.

In practical terms, this means that two individuals may encounter the same external circumstance, yet react to it in vastly different ways based on their subjective interpretations. For example, consider a person who loses their job unexpectedly. While one individual may perceive this event as a devastating blow to their self-worth and security, another may view it as an opportunity for growth and new possibilities. The event itself—the loss of a job—remains the same, but the emotional response varies depending on the individual's perception of the situation.

Epictetus’s insight invites us to reflect on the role of our perceptions in shaping our emotional experiences. It suggests that our judgments, beliefs, and attitudes about the events we encounter play a crucial role in determining how we feel and behave in response to those events. By recognizing this distinction between events and perceptions, individuals can gain greater agency over their emotional lives.

Moreover, understanding this distinction empowers individuals to practice what Epictetus called the “dichotomy of control”—the Stoic principle of focusing only on what is within our power to control, namely our thoughts, attitudes, and responses, rather than becoming consumed by external circumstances beyond our control. By directing our attention inward and cultivating a mindset of resilience and rationality, we can navigate life's challenges with greater equanimity and inner peace.

Applying this to character development, particularly in relation to crafting a character’s fears, can add depth and complexity to the character.

Understanding the Character’s Perception of Fearful Events:

Explore how the character interprets and perceives the events or situations that evoke fear. What underlying beliefs, past experiences, or personal values shape their perception of these events?

Consider whether the character’s fear is rooted in the objective reality of the situation or in their subjective interpretation of it. For example, is their fear based on genuine physical danger, or is it driven by irrational beliefs or past traumas?

Revealing Character Traits and Beliefs:

A character’s response to fear can provide insight into their personality, values, and beliefs. For instance, do they confront their fears head-on with courage and resilience, or do they succumb to anxiety and avoidance?

Consider how the character’s fear reflects broader themes or conflicts in the story. For example, does their fear stem from a desire for control, a fear of vulnerability, or a struggle with existential questions?

External Manifestations of Fear:

Consider how the character’s perception of fear manifests in their actions, behaviors, and interactions with others. Do they exhibit outward signs of fear, such as trembling or avoidance, or do they mask their fears behind a facade of bravado?

Pay attention to how the character’s response to fear influences their relationships with other characters. For example, do they push others away in an attempt to protect themselves, or do they seek support and connection during times of fear and uncertainty?

Symbolism and Subtext:

Use the character’s fears as a vehicle for exploring deeper themes and subtext within the story. What do their fears symbolize in terms of larger narrative themes or character arcs?

Consider how the character’s perception of fear parallels or contrasts with other characters in the story, providing opportunities for reflection and exploration of different perspectives.

“Personal Truths” Are Not Necessarily Lawful

No matter how much a character is afraid of something, there is a line to be drawn on how valid that fear is when justifying a character’s actions and self-proclaimed motives. A person can say that they are afraid of someone else and that they are acting to protect others, but does that truly evade them from the law? In other words, a Villain can be completely convinced that what they are doing is noble and right, or that it stems from their own trauma, but, at the end of the day, they’re a murderous liar.

For example, in George Orwell's allegorical novel Animal Farm, Napoleon is a Berkshire boar who emerges as one of the leaders of the animal revolution against the human farmer, Mr. Jones. Initially, Napoleon is portrayed as a strategic thinker and persuasive speaker, working alongside Snowball, another pig, to rally the other animals and establish the principles of Animalism, which advocate for equality and freedom from human oppression.

As the story progresses, Napoleon’s character undergoes a transformation fueled by his ambitions for power and control.

Napoleon’s fear of losing control over the farm drives many of his actions. He becomes increasingly paranoid about potential threats to his authority, particularly from Snowball, whom he views as a rival. This fear prompts him to manipulate and eliminate anyone who opposes him, including orchestrating the expulsion of Snowball from the farm and later falsely accusing him of being a traitor.

He also utilizes propaganda and manipulation to maintain his grip on power. He gradually assumes control over the farm’s decision-making processes, consolidating power in his own hands and using fear tactics to suppress dissent among the other animals. For example, he employs the threat of the mysterious “Jones” returning to instill fear and obedience among the animals.

Napoleon’s lust for power leads him to betray the principles of Animalism that he once espoused. He progressively becomes more authoritarian and exploitative, engaging in corrupt practices such as trading with humans and altering the Seven Commandments to justify his actions. Despite initially advocating for equality, Napoleon begins to live a life of luxury while the other animals toil and suffer.

As his regime becomes more entrenched, he resorts to violence and oppression to maintain control. He establishes a reign of terror, using his loyal enforcers, the ferocious dogs he raised since they were puppies, to suppress dissent and punish any animal perceived as disloyal. Under his rule, the farm descends into a state of fear and tyranny, with Napoleon ruling with an iron fist.

Napoleon’s character serves as a symbol of totalitarianism and the corrupting influence of power. His transformation from a revolutionary leader to a despotic dictator mirrors the rise of real-life totalitarian rulers who exploit fear and propaganda to consolidate power and suppress dissent. There is not one moment of self-reflection, of him questioning that, perhaps, his fears are unfounded or his “personal truths” are not true at all.

Playing With Reality

Now, how can you utilize fear in order to create a character with as much depth and reflection (or lack thereof) like Napoleon?

Exaggerating a character’s fear involves manipulating elements of reality within the narrative to heighten the character’s sense of paranoia, insecurity, and authoritarianism.

Distorted Perceptions: Employ literary devices such as unreliable narration or distorted perspectives to amplify the character’s fears. By presenting events through the lens of the character’s paranoia, the narrative can create a sense of heightened tension and uncertainty. For example, descriptions of seemingly innocuous occurrences may be exaggerated or imbued with sinister undertones to reflect the character’s heightened state of fear.

Symbolism and Imagery: Symbolic imagery can be used to represent the character’s fears in a heightened and exaggerated manner. For instance, recurring symbols of oppression, surveillance, or impending doom can serve as visual metaphors for the character’s anxieties and insecurities. These symbols can be woven throughout the narrative to reinforce the character’s sense of paranoia and isolation.

Surreal Elements: Introducing surreal or fantastical elements into the narrative can create a sense of disorientation and unease, effectively amplifying the character's fear. By blurring the boundaries between reality and fantasy, the author can evoke a sense of psychological instability and existential dread. Surreal imagery, dream sequences, or hallucinatory experiences can all contribute to the character’s sense of dislocation and terror.

Manipulation of Time and Space: Playing with the conventions of time and space can further exaggerate the character’s fear and disorientation. Flashbacks, flash-forwards, or nonlinear storytelling techniques can create a sense of temporal dislocation, mirroring the character’s fractured mental state. Similarly, disorienting shifts in perspective or setting can contribute to the character's sense of being trapped or pursued by unseen forces.

Atmospheric Detailing: Careful attention to atmospheric detail can help to create a sense of oppressive dread and foreboding. Descriptions of the environment—such as gloomy weather, claustrophobic settings, or unsettling ambient sounds—can evoke a palpable sense of unease, intensifying the character's fear and paranoia.

Character Interaction and Dialogue: Dialogue and interaction with other characters can be used to reinforce the character’s fears and insecurities. Conversations may be laced with veiled threats, double entendres, or gaslighting tactics, leaving the character uncertain of whom to trust. Manipulative or menacing exchanges can heighten the character's sense of isolation and vulnerability.

Did anyone else get a little uneasy imagining all of that? I’d go rather mad if I had all of that happening to me, too. Now, what about the good guys? They are afraid of things, too, right?

Of course they are, and you can utilize the above methods for your heroes, as well! There might just be a little bit of extra work involved in ensuring that they don’t spiral into the villain role.

Establish Strong Moral Compass: From the outset, establish the hero’s core values and moral compass. Make it clear what principles guide their actions and decisions. This foundation will serve as a guiding light, helping to anchor the character and prevent them from straying into villainous territory.

Empathy and Compassion: Ensure that the hero retains their empathy and compassion towards others, even in the face of fear and adversity. By prioritizing the well-being of others and demonstrating empathy towards those in need, the hero reaffirms their commitment to noble ideals and reinforces their heroic identity.

Positive Support Systems: Surround the hero with positive support systems, including allies, mentors, and friends who can offer guidance, encouragement, and moral support. These relationships serve as anchors, providing the hero with strength and stability during moments of doubt and fear.

Consequences of Actions: Highlight the consequences of the hero’s actions and choices, emphasizing the impact they have on others and the world around them. By holding the hero accountable for their decisions and their effects, the narrative reinforces the importance of ethical behavior and reinforces their heroic identity.

Redemption and Forgiveness: If the hero does succumb to fear or makes mistakes along the way, provide opportunities for redemption and forgiveness. Allow the hero to acknowledge their faults, learn from their experiences, and strive to make amends. This narrative arc reinforces the hero’s humanity and resilience, emphasizing the possibility of growth and redemption.

Thematic Resonance: Ensure that the hero’s journey is thematically consistent and resonant, emphasizing themes of hope, courage, and resilience. By grounding the narrative in these overarching themes, the hero’s actions remain aligned with their fundamental nature, reinforcing their heroic identity and preventing them from veering into villainous territory.

Conclusion

Fear is a powerful and universal human experience that can shape both individuals and characters in profound ways. Drawing upon Stoic philosophy, particularly the concepts of “amor fati” and the distinction between events and perceptions, can provide valuable insights into understanding and managing fear. By exploring how characters perceive and respond to fear, writers can create nuanced and compelling portrayals that add depth and complexity to their stories.

“Amor fati,” or love of fate, encourages individuals to embrace and accept all aspects of their lives, including the uncertainties and challenges that provoke fear. By adopting an attitude of gratitude and acceptance towards fate, characters can navigate fear with resilience and courage, transforming adversity into opportunities for growth and self-discovery.

Furthermore, understanding the distinction between events and perceptions allows writers to delve into the subjective nature of fear, exploring how characters’ interpretations and judgments shape their emotional experiences. By depicting characters’ fears as rooted in their perceptions of reality, writers can add layers of complexity to their motivations and behaviors, enhancing the depth and authenticity of their characterization.

While fear can drive characters to make choices that lead them down dark paths, it is ultimately their moral compass, empathy, and support systems that determine whether they remain heroes or succumb to villainy. By emphasizing themes of redemption, forgiveness, and growth, writers can ensure that even in the face of fear, their characters' journeys ultimately lead to strength, resilience, and self-discovery.

[badsongpetey]

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7

The Water Guardian (aka Cryptid Keith AU) Part 8

And so Lance falls into an easy pattern with his new cryptid friend. Every week he brings books to an eagerly awaiting Keith, and steadily the conversations between them become less and less strained. Lance has discovered that he and Keith share similar tastes. Keith loves graphic novels, and in addition to adventure and fantasy stories, has a penchant for horror. The scary monster in the haunted waterfall loves horror, go figure.

Lance would be lying if he hadn’t hoped to get Keith to open up more about his mysterious past, because what’s the fun of having a supernatural friend without learning his cosmic secrets, right? But as the weeks turn to months, Keith remains as reluctant as ever to broach the subject. And strangely, Lance finds himself minding less and less.

Keith, contrary to first impressions, is actually funny. Okay, his sense of humor is definitely an acquired taste, but it’s there, and he frequently has Lance laughing out loud. And stranger still, Keith is just fun to hang out with. He’s smart, and creative, and passionate about the things he cares for. Sure, he’s still stubborn and annoying and almost ridiculously oblivious at times, but in a ways that challenge Lance to be better instead of frustrating him.

Introducing Keith to more modern stories has also opened up a world of questions for the dragon. Every week he hounds Lance for answers: What’s the internet? What’s a TV show? And why do people binge eat them on streams? These are tough to answer as the area where Keith lives is the deadest of dead zones, a fact Lance attributes more to Keith himself than any feature of technology or geography.

In return for Lance’s knowledge, Keith shows him his world. Lance learns secrets of the forest; meets a host of wild animals — some friendlier than others, stupid chipmunks; and is dazzled with dragon magic tricks.

They swim, and hike, and make up stupid challenges to see who can best the other. He even hatches a scheme to camp out and surprise Keith with his first ever movie night. Keith’s face, transfixed as he watches some of Lance’s favorite flicks on his laptop, is something Lance finds far more compelling than the movies themselves. Somewhere along the line, without being fully aware of it, Lance realizes that Keith has gone from being a friend in name only, to one of his best friends.

And speaking of best friends, it crosses his mind more than once that he’s never invited them to come visit Keith. Hunk really should get to meet the dragon he thought was going to eat them, he knows Hunk and Keith would be good friends. And Pidge would be maniacal with glee over the discovery of a whole new species. On second thought, maybe keeping Pidge away is for the best. Keith might actually be forced to eat them in self defense.

Lance tells himself that he’ll introduce them when the time is right, but truth is, he likes having Keith’s friendship to himself. And he tries his best to ignore the weird little flutter thing that his heart does when Keith comes bounding out of the woods like an excited puppy to greet him. Who wouldn’t be excited to have a magical being for a secret friend, right? Of course right, there’s no other explanation.

“Are there any other dragons?” Lance asks one afternoon as they lay sunning themselves on the warm rocks after a swim.

When he’s met with silence, he looks over at Keith unmoving on the rocks beside to him.

“I was just thinking, you know, there must be more dragons out there, besides you and your parents. Maybe, you’ve run into them?” Lance elaborates.

Keith is still quiet, and Lance is about to chalk this one up to things they don’t talk about when…

“I don’t know. I’ve never left my waters.”

Lance sits up. “You’ve never left?” He asks incredulously. “Not once in a century? You’ve just been here all alone?”

Keith is sitting now too, and his brow furrows in response.

“Look,” Lance sighs, “I know there are things you don’t want to discuss, but… I dunno, I worry about you, here all alone.”

“I’m not alone, I have you.”

“And I’m incredible, I know. I mean, you’re not gonna find better than me, human or dragon, that’s a given.” Lance replies over the soft sound of Keith’s scoffs. “But I’m still just one guy, and, well, aren’t you curious? At all?”

Keith frowns and looks away, his established way of shutting down a conversation.

Lance huffs in frustration. “Keith, part of being friends is talking about stuff. Friends talk. They care about each other and help each other, and trust each other. I’m just hoping that maybe you trust me.”

Lance stares at the back of Keith’s head and wonders if he just ruined a friendship and not merely a perfectly nice afternoon. But he’s reached a point with Keith where he wants more. He can’t keep walking on eggshells whenever the subject of Keith’s past comes up, and he’s at a loss about what else he can do.

“My mom, before she… passed… she made me promise to never leave here. To never look for any others. She said it was too dangerous. And it’s been hard, but it was the only thing she asked of me.” Keith’s voice quavers as he replies.

“Keith, I… I’m so sorry, but she couldn’t have wanted you to be all alone for so long…”

“You don’t understand!” Keith snaps, turning around, eyes filling with tears, cutting Lance off mid-sentence.

“Dragons don’t just take care of a body of water, we’re bound to it. A water dragon cannot be, cannot exist, without this bond. My mom came here when she was still pregnant with me. She never told me where she’d come from, only that she came here to protect me. Her magic was strong and she was able to sever her old bond and forge a new one here.”

Lance sits slack-jawed and stunned as the story comes pouring out of Keith.

“Normally, when a young dragon comes of age they find their own place, their own bond. But, I couldn’t go…” Keith hiccups out a sob, “I couldn’t leave, and she couldn’t leave, and… and… she gave her bond to me. She gave it up so I could live. And she… she…”

Keith’s voice breaks as he cries and Lance is moving before he even decides to. He wraps himself around his friend and Keith just collapses in his arms, releasing a grief held for longer than Lance can imagine.

“I’m here now.” He whispers into Keith’s hair. “I’m here and I won’t let you be alone ever again.” He promises. And Lance never breaks a promise.

[flowerandblood]

Copyright & Fanfics

Fanfic authors have copyright on their work and it is protected by law, like any artwork. It stems from moral copyright, which people who enjoy stealing plot ideas, gifs or fanarts confuse with economic copyright.

So from the outset:

moral copyright protects the author's indefinite and indissoluble bond with the work. It results from the creator's emotional and intellectual involvement in the creation of the piece. This bond cannot be extinguished. It cannot be transferred or waived.

The rights cover the author's contribution to the work, what he gave of himself − the things he independently invented and the way he described them − in other words, all the things that don't make up the canon, are not source material or are not obvious (you can't say that someone independently invented that the characters breathe, have sex, the way it happens, because it's related to the culture we live in and the predetermined rules).

What fanfic or fanart authors don't have the right to do is to profit financially from their work unless they get permission from the creator of the source material − HBO, for example. Some people risk a lot by doing this and in cases where someone does it on a large scale it can end up in a lawsuit.

However, creating fan content for free is not only not illegal, it is actually covered by (moral) copyright.

Some people clearly have a problem separating what can be 'stolen' and what can't, so let's get more specific.

[ what is not subject to copyright ]

− tropes

Let's not kid ourselves − often old tropes are used in new fandoms within other characters. A trope is just a template that dictates the time period and subject matter, however, there are so many ways to resolve it that an infinite number of dissimilar works can be created.

− the use of canon and source material

We cannot have someone steal from us something that is not ours. If certain dialogues or scenes have been used in a TV series, a book or, for example, explained by actors in interviews, it is not ours, it is just generally accepted knowledge that anyone can use.

− things attributed to everyone's life

People eat breakfast and dinner, take baths, text, communicate through computers, take public transport or cars. These are normal things, and the mere fact that a character in someone's story 'drove a car' or 'ate breakfast' is no discovery or plagiarism.

[ what constitutes plagiarism ]

− copying someone else's style of expression

Anyone who writes knows that authors create their own distinctive style quite quickly, use their favourite words, combine them in their own specific way. They structure dialogue differently, divide paragraphs differently, narrate characters' minds differently. If someone wants to write a particular lead as we do, it's easy to spot what I'll deal with in the next section.

− copying plot solutions, dialogues, characters' thoughts with only slight modification

By this I mean those solutions that are invented by us. For example, in my story where Aemond is the Young Pope, my authorial solution is not that the action takes place in the Vatican or that my heroine has to kiss his hand like every pope.

My authorial solutions are that they have breakfast together in the garden, their conversation on the roof, his interview, what my heroine helps him with and why, his story, the fact that he compares my heroine to Bernini's sculptures, all their dialogues, intimate scenes and other side characters that I invented for the plot.

If someone writing their story used the things I mentioned in the previous paragraph it wouldn't be inspiration, it would be plagiarism − I spent hours making it up, and what? Someone would think it was good material and rework it for themselves?

What does not fall under "plagiarism" in this story − all the references to the source material, i.e. The Young Pope − the fact that the protagonist smokes, that his mother is a nun, that the action takes place in the Vatican, that he wants to bring about a revolution, that he exercises physically and walks around in a white tracksuit.

− the sequence of events not following from the canon, i.e. the so-called storyline

I don't mean that the characters meet and have sex, because let's agree that's the general sense of smut fanfic. It's about how it happens − where and why the characters meet, what happens to them next, their conversations, dilemmas and so on.

The fact that my male character from The Man in the Black Mask is actually a completely different person that everyone thought, what happens to the protagonist's mother and herself, what happens afterwards to her and her father, Aemond's backstory − it was all a product of my imagination. If someone wanted to write a new sworn protector Aemond and used my plot solutions leading to similiar results, it would be plagiarism.

− dialogues and creating tension in intimate scenes

We can all agree that when it comes to smut and sex scenes, we all go in circles because the number of ways it can be done is very limited, so I would be very careful with accusations in these areas. However, still, what an author can do, and what makes these stories so popular, is to create tension through full dialogue and gestures − and copying these can already be something clearly proven.

to sum up

One or two paragraphs like ours for an entire story may be a bit of an exaggerated accusation, unless of course they are copied word for word. We have to follow logic. Sometimes it's better to ask an outsider who doesn't write:

Hey, do you think these two paragraphs are similar?

We, as people accustomed to and connected with our works, can find "references" to our work very quickly, but it may turn out that a person from the side will make us realize that the similarity to the essence is distant and comes down only to the fact that the scene takes place, e.g. in the car and the hero is sad, but that's it.

Sometimes it is better to think carefully before we want to be "inspired" by someone and before we "accuse" someone of this "inspiration". It is worth taking screenshots and comparing the two works if we feel that someone may have been inspired too much.

If we find this to be the case, such common areas should be highlighted and preferably a screenshot should be sent to the author with a request for clarification, retaining all evidence beforehand, of course.

Remember that everyone has the right to explain themselves.

However, if we do not receive a reply and we see such a person publishing further, it is worth to write publicly about our observations and simply warning that this person may be copying other people's work (unless the quotations, dialogue and sentences are almost identical, in which case the word "certainly" is needed).

I generally caution authors against using the word "inspiration" and looking for such in fandom. Look for them in literary classics, where no one will accuse you of plagiarism.

Personally, I read the stories of only 2-4 people, my closest friends, whose works I adore, but also thanks to the limitation of their number, I know what they write about, what their plots looks like and that I will not be "inspired" by them in any way, even involuntarily − apart from improving my language, which is always a good thing.

[thehollowprince]

I've been on a bit of a Star Trek kick lately, and I've come up with a crew for a Federation ship using Teen Wolf characters and what species I would have them be.

Scott McCall - captain - Kwejian

Derek Hale - first officer - Romulan

Allison Argeant - security chief - human

Stiles Stilinski - chief engineer - human

Lydia Martin - science officer - Ocampa

Danny Mahealani - ops officer - human

Vernon Boyd - comms officer - Xahean

Isaac Lahey - tactical officer - Bajoran

Kira Yukimura - navigator - Trill

Malia Tate - helm officer - Romulan

Alan Deaton - chief medical officer - El-Aurian

Matin Morrell - counselor - El-Aurian

I have no idea what kind of story I'd write for this, but I had fun coming up with what position each character would have on a Federation ship and what species to make certain members (everyone who was a shapeshifter on TW was automatically an alien).

The easiest to assign were Deaton and Morrell, including them being El-Aurian like Guinan. An Immortal race of "listeners"? Sounds like those two.

Scott I struggled with until I remembered the character of Book from Discovery and the Kwejian, who have empathic abilities, which fed right into Scott's compassion. Of course, since I made him Kwejian, this would have to take place in the 32nd century or later - I'm thinking a century after Discovery.

Lydia I made an Ocampa from Voyager, because of their untapped psychic abilities, but because I'm placing this at a later century, I'm saying they've evolved psst the 9 year life span.

Isaac I went with Bajoran because of Kira Nerys and her more upfront approach on Deep Space 9, and it just made me think of him. Plus, picture Isaac with the Bajoran earring.

I chose for Derek to be a Romulan because of how secretive the Hale family was, relying on sabotage and subterfuge. I'm actually picturing that Peter was the original captain of the ship before he was overthrown in a mutiny because of his "un-Federation like conduct" with Derek as acting captain until he stepped down, realizing he wasn't leadership material, thus mirroring how on TW he usurped Peter as Alpha before giving it up and Scott sort of rising in his place.

I also think it would be cool to have Scott and Derek on the bridge in their red shirts to match their Alpha eyes.

Same with Malia, since she's technically a Hale, I made her a Romulan, specifically a former adept of the Qowat Milat, thus explaining her upfront and blunt demeanor. Though she never actually became a full sister of the Order, and instead joined Star Fleet.

I originally had Kira in mind to be a nun for the Qowat Milat, because of her sword skills, but then I thought a little more about it and made her a Trill, specifically a host for a symbiot. So, in one of her symbiot's other lives, it was trained by the Qowat Milat, thus giving a credible excuse for her martial prowess.

And Boyd... Boyd was the hardest for me. I wanted to include him because of how dirty his character was done on Teen Wolf, but because his character was hardly used, I didn't have much to base this on. In the end, I went with Xahean, because they're an obscure and barely used species from Discovery and then Picard, who have fangs and claws (similar to his werewolf form on TW) and the ability to turn partially invisible.

As for the humans, given how StarFleet is mostly human, I left them the way they were and just used their attributes from the show to influence their positions on the ship. Allison wanting to protect those who can't protect themselves? Security. Stiles being able to hold his jeep together with duct tape? Engineering. Danny, the hacker? Operations.

Like I said above, I still have no idea what story I would write with this, but I had fun getting here.

[mooechi]

𝐈𝐍𝐅𝐎𝐑𝐌𝐀𝐓𝐈𝐎𝐍! 𝐰𝐢𝐧𝐭𝐞𝐫 𝐛𝐫𝐞𝐚𝐭𝐡𝐢𝐧𝐠; 𝐢𝐧𝐭𝐫𝐨𝐝𝐮𝐜𝐭𝐢𝐨𝐧.

WINTER BREATHING

Winter Breathing (冬ふゆの呼こ吸きゅう, Fuyu no kokyū) is a Breathing Style derived from Water Breathing alongside Wind Breathing.

Winter Breathing is a breathing style that mimics ice and snow, specifically their smooth yet sharp structure and replicates it with the user's movements which grants speed to it's user and portrays the effects sub-zero temperatures have on objects, specifically hypothermia and frostbite. Most, if not all, known techniques involve the user bending their body, limbs and weapon in a sharp, swift and fluid motion to gracefully yet instantaneously shred anything within an enormous range accompanied by drastic and almost fatal decreases of temperature. If one utilizes this technique effectively and properly, the use of swift penetration tampering with the opponent's senses is capable of inevitably restraining all movements rendering them paralyzed as the user moves nimbly cadence capable of stirring winds to the point of formulating blizzards which heavily impacts the temperature, decreasing it at a level enough to inflict Hypothermia. Users of Winter Breathing also visualize themselves seemingly manifesting and manipulating destructive natural disasters related to winter itself (mainly avalanches, blizzards, tundras, snowstorms, etc...) when unleashing its techniques.

This Breathing Style was created by Akari Fuyutsuki, who ingeniously modified and amalgamated both the Water Breathing and Wind Breathing techniques to suit her slender and agile form. With a keen focus on adapting the technique to complement her petite and nimble physique, she harnessed her height advantage to execute precise and accurate strikes with remarkable flexibility and astonishing swiftness.

Akari's exceptional control over her body's light density further enhances her agility, allowing her to unleash a relentless onslaught of rapid and devastating blows. This unique attribute empowers her to swiftly incapacitate a single target or engage multiple adversaries within an expansive radius. In doing so, she effectively compensates for her inability to dispatch enemies with a single strike, ensuring that her offensive prowess remains formidable

TRIVIA! there's more to it!

Winter Breathing stands as an incredibly potent and versatile technique, uniquely suited for combat against a wide array of adversaries. Diverging from a reliance on raw strength, this style places a paramount emphasis on speed, potentially rivaling, if not surpassing, the agility of Insect Breathing. However, Thunder Breathing remains the sole known style to surpass it in terms of swiftness.

Notably, Winter Breathing prioritizes attributes such as speed, agility, flexibility, precision, and accuracy, underscoring its adaptability in diverse combat scenarios.

Executing the techniques of Winter Breathing requires exceptional visual acuity, as precise and accurate maneuvers are essential. Although originating from Water and Wind Breathing, Winter Breathing exhibits intriguing parallels with Mist, Thunder, and Insect Breathing techniques. Acknowledging her limited knowledge of these other techniques, Akari humbly acknowledges this fact upon its discovery. Recognizing the constraints of her physical strength, she capitalizes on her diminutive and nimble build to achieve decapitations through astonishing inhuman speed. This approach ensures that unfortunate demons often remain oblivious to being struck until the realization dawns upon them that they have been swiftly beheaded.

The rapidity with which Akari wields Winter Breathing serves to minimize the suffering endured by her opponents. Furthermore, depending on the velocity of her attacks, Winter Breathing can induce a numbing effect in adversaries, effectively determining the degree of pain they experience prior to their inevitable demise.

yes, i thought of all this back then.

feel free to use it, but please credit me. thank you!

[wufflesvetinari]

lkwajelkrjewar fine. FINE. i'll do it MYSELF goddamn it

tarka was only good in 1.5 episodes in canon so i am not surprised the writers had no specific interest in "unhinged asexual from planet pound town" as a concept (thank you ruon tarka tag from 2 years ago lmao, i'm obsessed)

unfortunately, i am interested in "serious for-real character from risa, specifically." and i have COVID and my brain has run stupid little circles around the concept. my thoughts are as follows:

some of the frankly bad writing where various protagonists were willing to trust him and/or let him do risky things despite his blinking "I AM NOT TRUSTWORTHY" high beams could be attributed to risian pheromones--but not, like, in a sexy way. like a charisma bump in the rpg sense where the other person doesn't have to come out LIKING you at all, you are just more of a PRESENCE. stamets certainly didn't like him but look at the stupid experiment he let happen on the discovery for no reason lmao

i think this would mostly work on species with a close genetic makeup to risians, like humans--it did not specifically work on saru for instance. it also does not work on oros. i think Certain Tourists to risa have an idea of the pheromones as a kinky sex thing but risians themselves do not. it's just a part of the social language

it has been pointed out that 5 years in solitary is probably worse for someone socialized on Planet Touchy/Sexy/Expressive. tarka thinks of himself as Not Like Other Risians but he WAS raised there and imo the shot of oros pillowed on his arm would be within tarka's cultural comfort zone even if they are not romantically linked

speaking of: "Risians have a more permeable understanding of romantic vs. platonic relationships" is good, but to make it more Alien Sociology i think it would be fun if the species outsiders see as "fluid/open/label-less" instead just have way more categorizations based on specific feelings towards others that can be combined lego-style into each specific relationship: so rather than "eros vs. philia" we have "Type A Love + Type B Love + Type M Love and that's how i relate to my newest partner." and fifteen million definitional words spring from that. everyone just kind of knows them and the relationships do change over time

agree that tarka feels very asexual if you read his relationship with oros as romantic. however i don't prefer the read that this causes him particular trouble on risa. instead, it's the intensity of his relationship with oros that would be nonstandard/queer on risa. a risian would look at tarka and go "holy christ, chill out. balance your fucking humors"

[spacetimewithstuartgary]

Webb finds potential missing link to first stars

Looking deep into the early universe with NASA’s James Webb Space Telescope, astronomers have found something unprecedented: a galaxy with an odd light signature, which they attribute to its gas outshining its stars. Found approximately one billion years after the big bang, galaxy GS-NDG-9422 (9422) may be a missing-link phase of galactic evolution between the universe’s first stars and familiar, well-established galaxies.

“My first thought in looking at the galaxy’s spectrum was, ‘that’s weird,’ which is exactly what the Webb telescope was designed to reveal: totally new phenomena in the early universe that will help us understand how the cosmic story began,” said lead researcher Alex Cameron of the University of Oxford.

Cameron reached out to colleague Harley Katz, a theorist, to discuss the strange data. Working together, their team found that computer models of cosmic gas clouds heated by very hot, massive stars, to an extent that the gas shone brighter than the stars, was nearly a perfect match to Webb’s observations.

“It looks like these stars must be much hotter and more massive than what we see in the local universe, which makes sense because the early universe was a very different environment,” said Katz, of Oxford and the University of Chicago.

In the local universe, typical hot, massive stars have a temperature ranging between 70,000 to 90,000 degrees Fahrenheit (40,000 to 50,000 degrees Celsius). According to the team, galaxy 9422 has stars hotter than 140,000 degrees Fahrenheit (80,000 degrees Celsius).

The research team suspects that the galaxy is in the midst of a brief phase of intense star formation inside a cloud of dense gas that is producing a large number of massive, hot stars. The gas cloud is being hit with so many photons of light from the stars that it is shining extremely brightly.

In addition to its novelty, nebular gas outshining stars is intriguing because it is something predicted in the environments of the universe’s first generation of stars, which astronomers classify as Population III stars.

“We know that this galaxy does not have Population III stars, because the Webb data shows too much chemical complexity. However, its stars are different than what we are familiar with – the exotic stars in this galaxy could be a guide for understanding how galaxies transitioned from primordial stars to the types of galaxies we already know,” said Katz.

At this point, galaxy 9422 is one example of this phase of galaxy development, so there are still many questions to be answered. Are these conditions common in galaxies at this time period, or a rare occurrence? What more can they tell us about even earlier phases of galaxy evolution? Cameron, Katz, and their research colleagues are actively identifying more galaxies to add to this population to better understand what was happening in the universe within the first billion years after the big bang.

“It’s a very exciting time, to be able to use the Webb telescope to explore this time in the universe that was once inaccessible,” Cameron said. “We are just at the beginning of new discoveries and understanding.”

TOP IMAGE: What appears as a faint dot in this James Webb Space Telescope image may actually be a groundbreaking discovery. Detailed information on galaxy GS-NDG-9422, captured by Webb’s NIRSpec (Near-Infrared Spectrograph) instrument, indicates that the light we see in this image is coming from the galaxy’s hot gas, rather than its stars. Astronomers think that the galaxy’s stars are so extremely hot (more than 140,000 degrees Fahrenheit, or 80,000 degrees Celsius) that they are heating up the nebular gas, allowing it to shine even brighter than the stars themselves. Credit NASA, ESA, CSA, STScI, Alex Cameron (Oxford)

LOWER IMAGE: This comparison of the data collected by the James Webb Space Telescope with a computer model prediction highlights the same sloping feature that first caught the eye of astronomer Alex Cameron, lead researcher of a new study published in Monthly Notices of the Royal Astronomical Society. The bottom graphic compares what astronomers would expect to see in a "typical" galaxy, with its light coming predominantly from stars (white line), with a theoretical model of light coming from hot nebular gas, outshining stars (yellow line). The model comes from Cameron’s collaborator, theoretical astronomer Harley Katz, and together they realized the similarities between the model and Cameron's Webb observations of galaxy GS-NDG-9422 (top). The unusual downturn of the galaxy's spectrum, leading to an exaggerated spike in neutral hydrogen, is nearly a perfect match to Katz’s model of a spectrum dominated by super-heated gas. While this is still only one example, Cameron, Katz, and their fellow researchers think the conclusion that galaxy GS-NDG-9422 is dominated by nebular light, rather than starlight, is their strongest jumping-off point for future investigation. They are looking for more galaxies around the same one-billion-year mark in the universe’s history, hoping to find more examples of a new type of galaxy, a missing link in the history of galactic evolution. Credit NASA, ESA, CSA, Leah Hustak (STScI)

[seyemvertisepra]

Up until relatively recently in its natural history, Centauri Prime was the homeworld of not one but two sapient species, close cousins who diverged around 550,000 earth years ago. This other species was referred to by Centauri ancestors as the Xon, a word whose meaning is lost to apocrypha. This is the origin of the Centauri species' original name for itself, "Ahnxon" or "Not Xon" as the ancients viewed themselves as weaker creatures living in a frightening world where their predatory cousins held dominion over their lives.

The average Xon male stood around 7 feet in height, a considerable advantage over the average male Centauri height of 5'7". Obligate carnivores, they possessed notable meat sheering dentition and the ability to unhinge their jaws, something still observed recessively in their modern Centauri descendants. Their skull structure was more readily compared to their crocodilian like ancestors, giving them the appearance of a slight reptile "snout."

Like most members of their family, males possessed the usual six prehensile reproductive organs. Unlike the Centauri, these were more highly developed, with an extra digit evolving on each. It is believed that Xon may have used their pachiri for manipulation and grasping far more often, which aided them as predators and in navigating their more heavily forested habitats. They are believed to have been used as a threat display on occasion. Xon crests were long and laid flat on their backs, with three or four sets of quilled hair in sections, giving them a tiered appearance.

Female Xon are mysterious, as nearly all written examples describe lone wandering males who occasionally joined together to execute pack hunts.

The only clue to their existence is the occasional discovery of incredibly small Xonoid remains found deep in the impenetrable forests of the western mainland. These individuals would have stood only three feet in height fully grown and are often attributed to Centauri mythology around Whisper Folk, strange tiny women who built Creche-cities in the forest and shied away from interaction with the outside world.

It is well known that male Xon frequently interacted with Centauri Claves and Creches, with Claves favored for pack hunting and hybrid instances existing in both. The modern Centauri population contains an average Xon admixture significantly greater than that seen in humans with Neanderthal ancestors, with the highest admixture existing in the Zapata culture and mainland Centauri coming in second.

The rapid acceleration of Centauri society and its ability to defend itself began to show damage to the Xon population as early as 1500 years ago, with the last full-blooded individuals living just prior to the foundation of the Republic 200 years ago. During this time, they were often treated as second class citizens when they did manage to interact with Centauri, believed to be less intelligent and naturally violent. Individuals were often held captive for research aimed at pushing them further towards the edge of extinction.

The last major Xon population center was wiped out in a single cataclysmic event; the launching of the first suborbital Mass Driver, which was aimed at their then-home in the western continent of Eachnke. This devastating attack tore the continent itself apart, and the newly founded Republic declared the Xon race to have been obliterated in the process. High content hybrids continued to live on the mainland for some time but were mostly eventually driven out or killed, the survivors settling on the ruptured Eachnke to form the Zapata culture.

The violence between the two species has left a permanent mar on the epigenetic health of modern Centauri and is thought by many to be the catalyst for their developing xenophobia and warlike attitudes. They retain many traits associated with prey animals, such as heightened fear responses; they have a tendency to sleep in groups and an intense instinctive fear of having the stomach exposed that can induce panic attacks for many.

[davyreads]

review of emilia hart’s weyward

a bewitching tale that travels through time and follows 3 different women of the weyward line.

“after all, i am a weyward, and wild inside."

emilia hart’s debut novel weyward follows three weyward (wayward?) women, altha, violet and kate, from 1619, 1942 and 2019 respectively. each are escaping the oppressive powers of the time, which, though we get closer to the present, persist. hart takes us on a journey as these women find themselves through their ancestors who have worked tirelessly to preserve the weyward line, in spite of social pressure, whether that be witch hunts, controlling male relatives or abusive partners. read as altha, violet and kate, separated only by years, find themselves, their inner strength and each other.

keep reading for my personal thoughts (there will be spoilers)

emilia hart seemingly wanted to take us on a journey of self-discovery for these women, with the ancient source of power usually attributed to women: magic. what i found interesting, however, was that the magic displayed in the novel is not like the magic you would see or encounter in other books that deal with witchcraft; that magic seems to be a lot more fantastical and wondrous and obvious, and in those novels, there is an obvious and clear effort to hide these gifts from those who would not understand, and whilst the latter is true for weyward, the former is not, in my opinion. the magic in weyward seems to come from the weyward women themselves, and their affinity for nature, and i think this lends itself to hart’s intention; by having the magic more grounded in reality, it shows the reader how this power is from the women themselves, and goes directly against beliefs held during the witch trials that magic and witchcraft was gained through lying with the devil (interesting to note that even here when women have some level of agency, it is due to their proximity to a male figure; the inescapable patriarchy!). i think the presentation of magic as well as a dormant ability that never truly leaves you, regardless of how one may have been violated (especially clear in the cases of violet and kate), was truly beautiful and really quite heartwarming because it really drives home the beauty of this budding, newfound sisterhood, and it also allows anyone to assume this power. it is an innate gift that can not be torn from you.

something else that i was really intrigued by was the title, as in the word, its origins, and how it works in the novel as the characters’ family name. i learned, whilst reading the book that weyward was actually the original word used in shakespeare’s macbeth to describe the three witches. when i studied this play, i read the version that had “weird”, and i decided to look up the etymology for it and discovered that it comes from the germanic word wyrd meaning to have the power to control fate or destiny. this really stood out to me because the modern version of weyward is wayward, which obviously suggests deviating from a designated or traditional path. this is exactly what each of these women do, and for that they are called witches. these women dared to take the road less travelled, which in this case is finding their own power that does not come from a man. these wayward women deviate from a societally ordained path, and are subsequently punished for it, but they succeed in the end. they are wayward in every sense of the word: they are wayward women of the weyward line, and they control their fates.

in regards to the characters, i personally liked them quite a bit, more so kate, as i feel since she was set in present day, it felt a bit more like we were actually following her more than violet and altha; with violet and altha, we can already glean, through kate’s perspective, what happens to them, whereas kate’s future, to the reader, is a lot more uncertain. watching kate develop from the very timid and shy woman that she was ultimately battered into being by her partner to the independent and brave woman who faces her demons, as well as the demons of her ancestors, all while pregnant, is truly admirable and moving and i could feel myself holding my breath at moments when i wasn’t sure what was going to happen, and breathing out sighs of relief whenever she would make it out the other side. the characters of violet and altha were, i think, not as developed as kate though this is not necessarily a negative, and reading their perspectives alongside kate’s made for a fun and immersive experience, but like i said, i felt more drawn to kate’s character, and that might have been intentional on hart’s part. something i really loved about violet and her character was her relationship with graham, her brother, and how it develops over the course of the novel. at the beginning, we are led to fear that graham will take that very patriarchal step where he assumes the power awaiting him out in the world, and uses his sister as a guinea pig for this newfound power. but then he becomes so much more, and i really enjoyed how this relationship was written. with altha, i was reading her as queer (dare i say lesbian), due to her relationship with susan, and her attitude towards adam bainbridge (that might just be me though).

one thing i would say, however, is that i wish we got to know violet’s mother and grandmother more; elizabeth and elinor appear very briefly in the novel but we never really get to meet them, except through letters. an expansion on that relationship would’ve made the book even better, because the only relationship between a weyward mother and her weyward daughter is the relationship between altha and jennet, her mother.

weyward reads like a love letter to women, sisterhood and the power that we hold, and i think that is a feat not easily accomplished a debut novel. i really loved this book, and i loved reading it. i initially found it through goodreads, and i eventually decided to buy it and read it. i’m very happy that i did, and i’m happy that i’m able to write this book review. i can’t wait for emilia hart’s next book, the sirens, which i’ve already pre-ordered. i also hope to see her at a panel soon, if i can. this book left me feeling quite warm inside and i would 100% recommend it.

“our ancestors – the women who walked these paths before us, before there were words for who they were – did not lie in the barren soil of the churchyard, encased in rotting wood. instead, the weyward bones rested in the woods, in the fells, where our flesh fed plants and flowers, where trees wrapped their roots around our skeletons. we did not need stonemasons to carve our names into rock as proof we had existed.

all we needed was to be returned to the wild.

this wildness inside gives us our name. it was men who marked us so, in the time when language was but a shoot curling from the earth. weyward, they called us, when we would not submit, would not bend to their will. but we learned to wear the name with pride.” - chapter 45: altha

note: please leave feedback, whether you enjoyed the review, what you wish i had included, or spoken about, and so on and so forth. and if you've read the book, then interact and let me know how you felt about the book.

[parcy-anda-but-with-actual-posts]

Phew, okay - so pending shadows and highlights, and colors are likely to be tweaked at least a little (except for the baby in the middle; heckin' PERFECT!), but this is the first new ground broken in a while for my Fakemon project (with redesigns of old concepts being the art-production focus up until now). @v@;

Part of the excitement of revamping an old project is embracing new possibilities... and with that creative liberty, things have entirely spiraled out of control and now the region is based on a mashup of concepts (including but not limited to Post-Apocalyptic Cottagecore) rather than any real-world location.

In addition, the player is the only human in the setting — and to avoid drawing unwanted attention — can disguise themselves as a 'mon! These are your 3 options, which each align with a given "deity" (read: Mythical/Lesser-Legendary) you choose.

Rambles under the cut if you're as interested in the concept/process as I am!

Aside from signature accent colors and modified/added features of your chosen savior and one personal apparel-item, these are based on mutated variants of canon single-stage Pokémon. While these are super-derivative, I had fun with the concepts!

Each base is changed in type which the new designs reflect. Kecleon took on a Bug-Psychic typing; Indeedee became an Ice-Fairy type; and Heracross became an Electric-Ghost type.

Heracross changed the most of the 3, shrinking considerably and "hollowing out" to an extent, with the flakier texture of its altered carapace allowing for friction/contact-electrification to help generate current. Heracross was also the most-thought-out in terms of a Pokemon mutating to survive in a post-fallout setting; the others were just designed around reinforcing the themes/motifs of the deities I associated them with. ^^;

That said, the deities each have a theme that is reflected in the 'mon-avatar you can adopt through them. Let's go over each, respective to their avatar above, from left to right:

~ Celebi is coded as "The Illuminator", which is why a Psychic type is attributed to you as a mutant-Kecleon, and is the ideal choice if your priority in the "game" is exploration, discovery and mystery/problem-solving. ~ Suicune is coded as "The Protector/Rescuer", and I chose Fairy because out of the supernatural-leaning types, it felt most thematically appropriate. Despite mutant-Indeedee's primary ice-typing, the path associated with Suicune is about the gentle, cozy vibes, warmth and compassion, rewarding those who want to find comfort in rebuilding. ~ Victini is coded as "The Champion", and Ghost-typing was assigned via process of elimination, as I knew I wanted a "mystical" secondary typing for each (though that did make the conceptualization extra fun - deciding that mutant-Heracross attained this 'ghastly' subtype out of sheer tenacity, refusing to 'properly' die. XD). Even though the Heracross species is a tiny shell of its former self, it has lived to fight another day with newfound power, so it follows that this is the primary option if you prefer combat in gameplay!

I'm kind of invested in the hypothetical story now... as even though you assume a Pokémon form (at least while you're awake), you can still befriend a "starter" Pokémon out of 3 options (this is decided when you pick where in the "region" you want to start the game, with your options being the Cottage Zone, the Meadow Zone and the Twilight Zone); this First Friend will likely eventually find out that you're NOT a Pokémon, and that's when things will get interesting — because there's a reason you're hiding the fact that you're human, and there's a reason there are no other humans around...

[bwhitex]

Echoes of Elegance: Unveiling the Abstract Portrait of Personality

In a world where the essence of a person's being can be as captivating as the most breathtaking sunset, there exists a personality so finely tuned to the frequencies of human emotion, it can only be described as a masterpiece of psychological craftsmanship. This portrait of character, while not attributed to any one individual, paints an abstract of traits that many might find within themselves or aspire to encounter in another. The beauty of this personality is not just in its parts, but in the harmony of its whole, resonating with a formula that speaks to the soul: Beauty equals grace divided by the sum of pleasure and harmony, all multiplied by goodness.

Beauty = grace / (pleasure + harmony) good

The equation of Beauty = grace / (pleasure + harmony) good encapsulates a beauty that is not confined to the surface but is woven through the very fabric of being. It is the result of a harmonious blend of grace, pleasure, harmony, and goodness, creating a personality that resonates with the profound allure of an unspoken sonnet, the quiet dignity of a shared smile, and the steadfast warmth of an open hand.

This anonymous personality, a hypothetical figure sculpted from the finest psychological elements, reminds us that within the vast expanse of human diversity, there are those whose very existence is a testament to the beauty of the human psyche. They are the nameless ones we find in love, in friendship, in leadership, and in every walk of life, who, through their grace, pleasure, harmony, and goodness, elevate our understanding of beauty.

Grace

There is a certain lightness in being that comes with a high measure of agreeableness. It's a grace that endows one with the ability to glide through life's complex social labyrinths with ease and warmth. Those graced with this trait carry within them an ocean of empathy, where every wave is a gesture of kindness and every tide a testament to their genteel spirit.

Pleasure

In the sphere of extraversion, pleasure is a beacon that draws others in, a lighthouse of delight in a sometimes-dreary world. It's not just about basking in the sunlight of one's own joy; it's about casting that light wide so that it brightens the path for others. It's a pleasure that's contagious, spreading like wildfire, leaving a trail of laughter and light-heartedness in its wake.

Harmony

Imagine a personality so serene that its very presence could still the waters of a restless ocean. With a low inclination toward neuroticism, this personality trait is a bastion of balance and stability, offering a sanctuary of peace that quiets the noise of the world. Harmony is the thread that weaves through interactions, binding people together in a DNA of tranquility.

Good

Conscientiousness may not always manifest as meticulous organization or relentless productivity, but rather as a goodness that’s found in the earnest efforts of those who act with integrity. It's the good within that prioritizes meaningful endeavors over mere efficiency, valuing the spirit of the task above its completion.

Beauty

Openness, with its twin jewels of intellect and aesthetic appreciation, gifts its bearer with the ability to see beauty in the windswept plains of thought and the rich valleys of creativity. It's a perspective that finds wonder in both the grand and the granular, recognizing that beauty is not just seen, but also understood and felt.

This abstract embodiment of character traits, unclaimed by any name or face, serves as an archetype of the nuanced layers that compose human nature. The beauty of this personality blueprint is that it mirrors the potential within each person to cultivate a life rich in grace, pleasure, harmony, and goodness. It's a reminder of the intangible yet profoundly impactful ways we can touch the lives of others, simply by being embodiments of these qualities. Far from the anxious quest for self-discovery, this concept offers a tranquil reflection of the timeless virtues that resonate deeply within the human experience, inviting us to appreciate the art of character as the most authentic form of beauty.

[k00299935]

BRIEF THREE- MOVEMENT

Painting- Week One

Artist research- Hima Af Klimt

Hilma af Klint was once known as a minor academic Swedish artist. Born in 1862, she had been one of the first women to graduate from the Royal Academy of Fine Arts in Stockholm and had exhibited at the Swedish General Art Association.

Thses paimtings are her early works from the academy, but her most recognized paintings are not in the traditional style of art that she was taught by traditional art teachers. Her most renowned paintings reveale another life, a different art. Her involvement with spiritualism had radicalised her art to such an extent, that she can only be described as one of the greatest abstract artists.

As we can see, this is quite a shift in style. But what caused this shift? Well, her belief system became more vast, as it did many for many around that time. The scientific discoveries of the late 19th and early 20th century encouraged many to question the very nature of the universe.

In the 17th century, Isaac Newton discovered light was made of particles. In the early 19th century, Goethe’s Theory of Colours led many to see colour had spiritual and psychological powers. In the early 20th century, Max Planck demonstrated light particles had energy.

Many began to think that, if the universe was more than it seemed, then perhaps there were other lives living on different astral planes. Perhaps it was possible for some to be mediums, opening themselves to communicate with spirit guides to these worlds.

At the end of the 19th century a new religion, Theosophy, appeared, incorporating both ancient wisdom and modern science.

It is not surprising af Klint should become a follower. What is surprising is the power of the art unleashed as a consequence.

Af Klint was also influenced by another religious movement called spiritualism, which became popular in Europe and the United States during the mid- to late nineteenth century. Spiritualists believed in the existence of unseen spirits that could communicate with the living.

Af Klint began participating in séances in 1879, at the age of seventeen. The death of her sister one year later increased her interest in the practice. By the mid-1890s, she met regularly with a group of four other women who called themselves The Five.

The Five believed they could communicate with mystic beings named “High Masters.” In trance-like states, the women transcribed messages from these beings, who identified themselves as Amaliel, Ananda, Clemens, Esther, Georg, and Gregor. These automatic writings and drawings allowed af Klint to develop her own visual language and move away from her formal academic training and toward abstraction. She attributed her early revolutionary forays into abstraction to an external spirit and not her own conscious mind. The automatic techniques used by The Five were common among spiritualists during that time. Several decades later, the Surrealists would use techniques of psychic automatism, not to transmit the messages of spirits but to tap into their own subconscious thoughts.

(Seance room of The Five)

She felt the abstract work and the meaning within were so groundbreaking that the world was not ready to see it, and she wished for the work to remain unseen for 20 years after her death.

I absolutley adore her abstract style. Its conveys the exact feeling I personay attribute to death and spirituality. Its an abstract expirience, not a physical one after all. I find Hima Af Klimts work very inspiring and will take inspiration from her work to apply within my own project.