mandelasystemike

[mandelasystemike]

!!!INTRO!!!

Hey, My name is Blitz I'm a (he/him) transman

Also asexual and bisexual, maybe just a little bit autistic

The OCD runs through my veins. Dissociation doesn't own me I OWN IT 😎

Also trying to be a writer! I do art too but mostly of my own characters

I'm a Hellenic Pagan do I might rant about Greek Gods and Mythology

Fandoms (Gets Updated):

- Batman Rogues (mostly Scarecrow, Riddler, & Two-Face) I think Jason Todd is chill too

- Camp Here & There

- Scott Pilgrim vs the world

- X-Men (Nightcrawler and Magneto are my favs)

- Will Wood

- Hannibal

- Good Omens

- Re-Animator

- Renfield

- Moral Orel

- South Park

- Gravity Falls

- Percy Jackson

- Hunger Games

- Musical Theatre (mostly talk about Falsettos, Ride the Cyclone, and Cabaret)

- The Owl House

CreepyPasta (just got back into it in 2023 for Ticci Toby)

- Dsmp (I could rant about how many of the creators on there suck. Ik only in it for Technoblade, Quackity, Slimecicle, Tommy, and Jschlatt)

- The Marauders (I hate JK Rowling though, obviously)

- Hazbin Hotel (not really into this as but I was obsessed back in 2019. its okay)

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I can never make fun of/defend Elijah Volkov or Jedidiah Martin separately. I'm either cool with both of them or hating on both of them. I will always defend Sydney with my life however- that man can do no wrong

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I think I'm obsessed with Elijah Volkov the way he's obsessed with Sydney Sargent

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I hate them

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Do you have a method or strategy for outlining the entirety of CHNT/any story?

I’m bangin at writing scripts but big picture? Oof ouch me brain.

I can offer you a quick crash course on story structure.

If you're writing a story with a purpose and an ending, reference the three act structure:

Particularly, a beat sheet, which breaks down the components of the three act structure into notable, key happenings, which all work together to drive the epicenter of your narrative.

There's no single interpretation of something as fundamental as the three act structure, but the Hollywood standard for storytelling references the following sheet:

ACT ONE

1. INCITING INCIDENT - This incident starts the whole journey. It's the spark that lights the fire. In other words, it must be a critical occurrence. If this thing does not happen, the rest of the story doesn't happen.

2. HOOK - The beat which "hooks" the audience and makes them want to see more. Often it is a preview of the theme, the character's flaw, or the coming Plot Point One.

3. PLOT POINT ONE - The event which defines the main challenge the protagonist must deal with through the second act and leading to the climax. Whatever you set up in Plot Point One must be paid off in the Climax.

ACT TWO

4. CONFRONTATIONS/RISING CONFLICT/COMPLICATIONS - As we come to understand the characters, we also learn more about the challenges and raise more questions. The protagonist struggles against initial conflicts/challenges, which should be consistently escalating.

5. MIDPOINT - The stakes are raised in an unexpected way, leading to a whole new set of conflicts and deeper challenges for the protagonist. Sometimes it will be the moment in which the protagonist is challenged to fully commit to fighting back/pursuing their goal. (I like to think of this point as "the point of no return" in which everything the audience knows about the story is changed in some way.)

6. RISING CONFLICT TO PLOT POINT TWO - Conflict continues to rise, leading to Plot Point Two - sometimes referred to as the "all is lost" moment. Enemies are winning, tragedies happen, values are tested. The situation seems hopeless. This is the lowest moment for your protagonist.

ACT THREE

7. CLIMAX - The protagonist's final face-off with the conflict. The challenge and stakes that were set up in Plot Point One are confronted for the last time.

8. PAYOFF - The direct result of the Climax. The protagonist succeeds or fails. Sometimes it's more complicated.

9. RESOLUTION - How our characters are left at the end of the story, and a suggestion of what the future holds for them..or not if they're dead. In certain stories, the resolution may leave the audience with a parting question.

You also need to study the structure of a character arc, as it will inform your beats. A dynamic character meant to change will have the following characteristics:

GOAL - Motivation. What they want, whether it be something they're working towards, or something they already have and need to hold onto. A goal must always be actionable. FLAW - This is the thing holding your character back, and is either directly causing, relating, or contributing to the conflict. NEED - What your character requires to grow and change. Think of the “need” as the “solution” to the flaw. In most cases, the result here is often a theme in the story.

There's an abundance of reading you can do on this theory and over a million different interpretations, so it can be overwhelming what to listen to.

❗ I recommend Save the Cat as a starting point.

No matter how you approach it, you cannot skip out on beat structure. It's the thing that tethers your story to itself instead of getting lost in concepts, that centers your theme and engrosses the audience. Ignoring it or trying to subvert it for the sake of subversion will kneecap your story and have the audience going :

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elijah once stole yaoi from somebody

probably joshua

Probably Joshua

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I feel like no matter what Sydney says, Elijah will compliment it. Like even if he literally told him "fuck you" or something Elijah would be completely unphased and say something like "Oh, such conviction! You have such a way with words, my muse."

There was something else I was gonna put here but I cannot for the life of me remember what it was

Yeah he would

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maybe i’m projecting but…how do we feel about BPD elijah volkov..what’s the fandoms stance on this one..

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???

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The fact that Batman insists on calling his villains by their names makes me feel so many things.

He insists on these people’s humanity even after everything they’ve done.

That’s not Poison Ivy, that’s Pamela.

That’s not Harley Quinn, that’s Harleen.

That’s not Scarecrow, that’s Doctor Crane.

That’s not Killer Croc, that’s Waylon.

That’s not Riddler, that’s Ed.

They’re not a “rogues gallery”, they are people.

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Hroo hrah

I think its funny that the Scarecrow keeps showing up in Batman villain team-ups because I honestly think he causes more problems than he solves for everyone involved.

Couldn't figure out which versions of these characters to use so I just mashed stuff together.

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queer-on-queer workplace hostility

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The sillies

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???

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is this anything

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Fuck it. So many of you asked for this so I’m delivering. English Willy part 2. Enjoy

(part 1)