#and colors (depending) and structures

[triptychofvoids]

Saw you appreciate microscope slides, Ludwig. Here’s some mitosis from bio class!

Hope you don’t mind the graticule! Anything in particular you’d want to see under a microscope

oh no i dont mind at all! these look like they must be from a plant of some kind, yes? i may be more biased towards animal cells but nevertheless theyre very pretty!

[autisticdoomslayer]

the world would be a better place if it was universally required to take one (1) cultural anthropology class

[sc-cresteds]

The slowest grower ever is now a whopping 8g at a year old. I don't know why she grows so slow, but she is growing!

[astrolook]

Some Astrology Behind Your Looks

Note: These are just my personal observations over the years, so let me know in the comments if anything hits home! Your Ascendant alone (or just its ruler or the planets sitting in your 1st house) isn’t enough to define your appearance. You gotta look at the aspects to the Ascendant, the planets in the 1st house, the chart ruler, and its aspects too.

The ascendant is like your default character design. Think of it as a "default skin" in a video game. The ASC ruler is like your stylist who works behind the scenes and the mastermind behind your look. The planets in your 1st house, the aspects to your ascendant and to the planets in 1st house is the DLC pack that really customizes your look.

Saturn in 1st/conjunct ASC - Stiff posture. Ages in reverse. Looks 30 at 20 but looks 40 at 60. Deep-set eyes. Wrinkles before 30. Knees, joints, or back always ache even if they are sitting doing nothing. Looks better with age. Ugly duckling as a kid/teen. Sharp defined bone structure as an adult.

Moon in 1st/conjunct ASC - BIG eyes. Puffy cheeks that people want to pinch even when they're grown adults. Pouty lips. Gets sweaty easily. Face constantly changes with emotions so lying here is impossible. Weight fluctuations. Baby face for way too long. Look cute even when crying. Wavy hair but changes with their emotions. Skin is super reactive like blushes easily, bruises easily, sensitive to everything. Round or Moon face.

Pluto in 1st/conjunct ASC - Either scary hot or hot scary. No in-between. A face that barely moves. Either angelic or villainous eyes. Hair is either jet black or deep red or whatever dark shade they wanna color their hair with. Born with a resting face. Unbothered style. Skin either pale as a ghost or deeply striking.

Neptune in 1st/conjunct ASC - Either dreamy or look like they haven't slept in days. Messy at home. Prone to get mysterious acne out of nowhere. Spaced-out eyes. Skin glows weirdly like sometimes as a built-in instagram filter sometimes greasy. Gliding instead of walking. People mistakes them for someone else sometimes.

Uranus in 1st/conjunct ASC - Hair does whatever it wants and never behaves. Either noticeably tall or noticeably short. No in-between. Posture that either as stiff as a board or slouches like a hacker. Randomly winks, raises brow, smirks or stares into nothing.

Sun in 1st/conjunct ASC - Hairline so perfect it looks like CGI. Looks expensive even when broke. Aging slows after 30. Laugh is as contagious as a virus. Neck slightly longer than average. Skin tans fast. Cheekbones pop when smiling. Looks like Greek statue in side angles.

Venus in 1st/conjunct ASC - Dimples, even in weird places. Hips curve like a renaissance painting. Balancing proportions. Gains weight only in right places. Natural symmetrical face. Baby hairs lay perfectly. Doesn't even need nail polish as they can rock without it. Shoulders have a graceful rounded slope. Weight gain makes them hotter. Wide hips, thick thighs and butt. THICC body.

Mars in 1st/conjunct ASC - Forehead vein pops when mad. Prone to random scrapes and scars. Operate at 1.5x speed. Dressing style depends on their mood. Formal when composed, bitchy when annoyed, angelic when warm and boyish when fun. Also hairstyles depend on their mood too. Struggles with hair fall in mid 20's.

Mercury in 1st/conjunct ASC - Mouth is slightly open even when they sleep. Snores. Blinks fast. talk with their hands. Looks younger than they are. Eyes move like they're reading subtitles in real life when talking. Fine or wavy hair sometimes its messy. Nails might be bitten, tapped, or fidgeted with constantly. Short eyelashes. Switchy emotions like smiles one second serious the next.

Jupiter in 1st/conjunct ASC - Gains weight faster than they lose. Rounded or slightly protruding belly if gained even a little weight. Laugh is impossible to ignore. Full wide cheeks like they store snacks there. Broad forehead. Big teeth or an over-exaggerated smile like they are in a tooth paste advertisement. plump lips. Gives "big presence" energy. Large hands and feet.

Sun square ascendant- Face would look slightly irritated even if they don't mean to. Sometimes force their smile or just look like that even when real.

Moon square ASC - Face bloats easily, especially under the eyes. eczema, redness, or dry patches are common. Cheeks puff up randomly.

Venus square ASC - Would think they are not good looking enough. Insecured about their looks. Weirdly pretty. Sometimes looks AI generated. You get me? Lips too big or nose too sharp. Beautiful but off.

Mars opposite ASC - Bad boy/girl vibes. Can look pissed off even when happy.

Sun opposite ASC - Silent but strong type. Can come off either intimidating or bossy.

Uranus square ASC - Unusual eye color, shape, or one bigger than the other. Can't really tell if they are attractive or really unique. It's like features are drawn by different artists.

Neptune square ASC - Can look slightly sleepy or like a fever dream. Soft features but slightly off focus. Look different everytime.

Moon opposite ASC - A living emoji. Puffy under-eyes are permanent.

If you’ve got multiple planets in your 1st house with a ton of aspects, you’re basically ramen noodles - complex, tangled, and impossible to replicate.

DM me for a complete astrology reading! ✨ Check out my pinned post for pricing. 💫

[literaryvein-reblogs]

Writing Notes: Children's Dialogue

Language is extremely complex, yet children already know most of the grammar of their native language(s) before they are 5 years old.

BABBLING

Babbling begins at about 6 months and is considered the earliest stage of language acquisition

By 1 year babbles are composed only of the phonemes used in the language(s) they hear

Deaf babies babble with their hands like hearing babies babble using sounds

FIRST WORDS

After the age of one, children figure out that sounds are related to meanings and start to produce their first words

Usually children go through a holophrastic stage, where their one-word utterances may convey more meaning

Example: "Up" is used to indicate something in the sky or to mean “pick me up”

Most common first words (among the first 10 words uttered in many languages): “mommy,” “daddy,” “woof woof,” “no,” “bye,” “hi,” “yes,” “vroom,” “ball” and “banana”

WORD MEANINGS

When learning words, children often overextend a word’s meaning

Example: Using the word dog to refer to any furry, four-legged animal (overextensions tend to be based on shape, size, or texture, but never color)

They may also underextend a word’s meaning

Example: Using the word dog to refer only to the family pet, as if dog were a proper noun

The Whole Object Principle: When a child learns a new word, (s)he is likely to interpret the word to refer to a whole object rather than one of its parts

SYNTAX

At about two years of age, children start to put words together to form two-word utterances

The intonation contour extends over the two words as a unit, and the two-word utterances can convey a range of meanings:

Example: "mommy sock" = subject + object or possessive

NOTE: Chronological age is NOT a good measure of linguistic development due to individual differences, so instead linguists use the child’s mean length of utterance (MLU) to measure development

The telegraphic stage describes a phase when children tend to omit function morphemes such as articles, subject pronouns, auxiliaries, and verbal inflection

Examples: "He play little tune" or "Andrew want that"

Between 2;6 and 3;6 a language explosion occurs and children undergo rapid development

By the age of 3, most children consistently use function morphemes and can produce complex syntactic structures:

Examples: "He was stuck and I got him out" / "It’s too early for us to eat"

After 3;6 children can produce wh-questions, and relative pronouns

Sometime after 4;0 children have acquired most of the adult syntactic competence

PRAGMATICS

Deixis: Children often have problems with the shifting reference of pronouns

Children may refer to themselves as "you"

Problems with the context-dependent nature of deictic words: Children often assume the hearer knows who s/he is talking about

AUXILIARIES

In the telegraphic stage, children often omit auxiliaries from their speech but can form questions (with rising intonation) and negative sentences

Examples: "I ride train?" / "I not like this book"

As children acquire auxiliaries in questions and negative sentences, they generally use them correctly

SIGNED LANGUAGES

Deaf babies acquire sign language in the same way that hearing babies acquire spoken language: babbling, holophrastic stage, telegraphic stage

When deaf babies are not exposed to sign language, they will create their own signs, complete with systematic rules

IMITATION, REINFORCEMENT, ANALOGY

Children do imitate the speech heard around them to a certain extent, but language acquisition goes beyond imitation

Children produce utterances that they never hear from adults around them, such as "holded" or "tooths"

Children cannot imitate adults fully while acquiring grammar

Example:

Adult: "Where can I put them?" Child: "Where I can put them?"

Children who develop the ability to speak later in their childhood can understand the language spoken around them even if they cannot imitate it

NOTE: Children May Resist Correction

Example: Cazden (1972) (observation attributed to Jean Berko Gleason) – My teacher holded the baby rabbits and we patted them. – Did you say your teacher held the baby rabbits? – Yes. – What did you say she did? – She holded the baby rabbits and we patted them. – Did you say she held them tightly? – No, she holded them loosely.

Another theory asserts that children hear a sentence and then use it as a model to form other sentences by analogy

But while analogy may work in some situations, certainly not in all situations:

– I painted a red barn. – I painted a barn red. – I saw a red barn. – I saw a barn red.

Children never make mistakes of this kind based on analogy which shows that they understand structure dependency at a very young age

BIRTH ORDER

Children’s birth order may affect their speech.

Firstborns often speak earlier than later-born children, most likely because they get more one-on-one attention from parents.

They favor different words than their siblings. 

Whereas firstborns gabble on about animals and favorite colors, the rest of the pack cut to the chase with “brother,” “sister,” “hate” and such treats as “candy,” “popsicles” and “donuts.” 

The social dynamics of siblings, it would appear, prime their vocabularies for a reality different than the firstborns’ idyllic world of sheep, owls, the green of the earth and the blue of the sky.

MOTHER'S LEVEL OF EDUCATION

Children may adopt vocabulary quite differently depending on their mother’s level of education.

In American English, among the words disproportionately favored by the children of mothers who have not completed secondary education are: “so,” “walker,” “gum,” “candy,” “each,” “could,” “wish,” “but,” “penny” and “be” (ordered starting with the highest frequency).

The words favored by the children of mothers in the “college and above” category are: “sheep,” “giraffe,” “cockadoodledoo,” “quack quack,” the babysitter’s name, “gentle,” “owl,” “zebra,” “play dough” and “mittens.” 

BOYS / GIRLS

One area of remarkable consistency across language groups is the degree to which the language of children is gendered.

The words more likely to be used by American girls than by boys are: “dress,” “vagina,” “tights,” “doll,” “necklace,” “pretty,” “underpants,” “purse,” “girl” and “sweater.”

Whereas those favored by boys are “penis,” “vroom,” “tractor,” “truck,” “hammer,” “bat,” “dump,” “firetruck,” “police” and “motorcycle.”

Tips for Writing Children's Dialogue (compiled from various sources cited below):

Milestones - The dialogue you write should be consistent with the child's developmental milestones for their age. Of course, other factors should be considered such as if the child has any speech or intellectual difficulties. Also note that developmental milestones are not set in stone and each child is unique in their own way.

Too "Cutesy" - If your child characters are going to be cute, they must be cute naturally through the force of their personality, not because the entire purpose of their existence is to be adorable.

Too Wise - It’s true kids have the benefit of seeing some situations a little more objectively than adults. But when they start calmly and unwittingly spouting all the answers, the results often seem more clichéd and convenient than impressive or ironic.

Unintelligent - Don’t confuse a child’s lack of experience with lack of intelligence. 

Baby Talk - Don’t make a habit of letting them misuse words. Children are more intelligent than most people think.

Unique Individuals - Adults often tend to lump all children into a single category: cute, small, loud, and occasionally annoying. Look beyond the stereotype.

Personal Goals - The single ingredient that transforms someone from a static character to a dynamic character is a goal. It can be easy to forget kids also have goals. Kids are arguably even more defined by their goals than are adults. Kids want something every waking minute. Their entire existence is wrapped up in wanting something and figuring out how to get it.

Don't Forget your Character IS a Child - Most of the pitfalls in how to write child characters have to do with making them too simplistic and childish. But don’t fall into the opposite trap either: don’t create child characters who are essentially adults in little bodies.

Your Personal Observation - To write dialogue that truly sounds like it could come from a child, start by being an attentive listener. Spend time around children and observe how they interact with their peers and adults. You can also study other pieces of media that show/write about children's behaviour (e.g., documentaries, films, TV shows, even other written works like novels and scripts).

Context - The context in which children speak is crucial to creating realistic dialogue. Consider their environment, who they're speaking to, and what's happening around them. Dialogue can change drastically depending on whether a child is talking to a friend, a parent, or a teacher. Additionally, children's language can be influenced by their cultural background, family dynamics, and personal experiences. Make sure the context informs the dialogue, lending credibility to your characters' voices.

Sources and other related articles: 1 2 3 4 5 6 7 8 9 10

Writing Notes: On Children ⚜ Childhood Bilingualism More: Writing Notes & References ⚜ Writing Resources PDFs

[reasonsforhope]

"The coral reefs of south Sulawesi are some of the most diverse, colorful and vibrant in the world. At least, they used to be, until they were decimated by dynamite fishing in the 1990s.

As part of a team of coral reef ecologists based in Indonesia and the UK, we study the reefs around Pulau Bontosua, a small Indonesian island in south Sulawesi...

In many places around the world, damage like this might be described as irreparable. But at Pulau Bontosua, the story is different. Here, efforts by the Mars coral restoration program have brought back the coral and important ecosystem functions, as outlined by our new study, published in Current Biology. We found that within just four years, restored reefs grow at the same rate as nearby healthy reefs.

Speedy recovery

The transplanted corals grow remarkably quickly. Within a year, fragments have developed into proper colonies. After two years, they interlock branches with their neighbors. After just four years, they completely overgrow the reef star structures and restoration sites are barely distinguishable from nearby healthy reefs.

The combined growth of many corals generates a complex limestone (calcium carbonate) framework. This provides a habitat for marine life and protects nearby shorelines from storm damage by absorbing up to 97% of coastal wave energy.

We measured the overall growth of the reef framework by calculating its carbonate budget. That's the balance between limestone production (by calcifying corals and coralline algae) and erosion (by grazing sea urchins and fishes, for example). A healthy reef produces up to 20kg of reef structure per square meter per year, while a degraded reef is shrinking rather than growing as erosion exceeds limestone production. Therefore, overall reef growth gives an indication of reef health.

At Pulau Bontosua, our survey data shows that in the years following restoration, coral cover, coral colony sizes, and carbonate production rates tripled. Within four years, restored reefs were growing at the same speed as healthy reefs, and thereby provided the same important ecosystem functions...

Outcomes of any reef restoration project will depend on environmental conditions, natural coral larvae supply, restoration techniques and the effort invested in maintaining the project. This Indonesian project shows that when conditions are right and efforts are well placed, success is possible. Hopefully, this inspires further global efforts to restore functioning coral reefs and to recreate a climate in which they can thrive."

-via Phys.org, March 11, 2024

[kedreeva]

if peafowl colouring comes from the way their feathers are structured, how does pie and white eye happen, since those are a lack of pigmentation?

So, "color" is actually "light wavelengths as perceived by our eyes" and pigment is "substance which reflect certain wavelengths and absorb certain wavelengths." Peafowl don't lack /pigment/ but what light is reflected from it depends heavily on how the light is refracted before/after it reaches any pigment. That refraction is what we can see, and is the "coloring that comes from the way their feathers are structured."

A bluejay's feathers are not blue by pigment. They use a brown pigment. But the structure of the barbules on the vanes causes the feathers to appear blue to our eyes. Here's a bluejay feather, lit two different ways.

The same is true of peafowl feathers, in complex ways. The pigment used to color the feathers is almost certainly a brown or black pigment, and the structure of the feathers refracts the light to create different colors. This is how ALL iridescence works in birds, by refracting light through barbule and barb structure. Different angles produce different colors to our eyes because we see different... like "stages" of refraction or angles of it.

Here's a video of what I mean, of Orion showing the blue-to-purple shift that happens when you view a purple peafowl.

If the light is behind you shining directly onto them, they appear blue. If the bird is between you and the sun, up to a 90* angle, it appears purple. Without full-spectrum lighting, the bird appears blue. The bird is still black/brown, but we don't/can't see that because of the structure. The PIGMENT of the bird is not changing just because I walked 6 feet. They don't have chromatophores in their feathers that react specifically to my changing my position. But what color we perceive them as changes due to the structure of the feathers. Except in matte birds like cameo, we don't see the actual pigment color of the bird, we see the iridescent color created by the structure.

So, the leucistic mutations are removing that underlying pigment, and without pigment, the structure of the feathers doesn't matter, since there's no substance to absorb any wavelength of light, and so we see the full spectrum reflected, and see white.

[sparrowsgarden]

As I have been promising for years, the eye color chart is all cleaned up and ready to be shared! I'm totally ok with this being saved and passed around, that's why all my info is on it.

Basic image description is in alt, and a full transcript of all text in the image is under the cut.

This model has been in a process of expansion and tweaking for a very long time. Huge huge thanks to all the folks who contributed and hunted down photos, helped me name all the colors, and gave the final proofs!

Sparrow's Eye Color Chart 2025 Edition

Eye colors in cats are difficult to model because they vary to a significant extent on two axes. This is my best attempt at a general model of cat eye color based on observation and research into how eye color works across species.

Pigmentation refers to the amount of pigment in the colored layer of the iris. Higher pigmentation causes darker colors.

Refraction means the extent to which light is scattered in the structures of the iris. Higher refraction causes deeper blues or greens.

Eye colors are related to coat color, but not as closely as breed standards might have you believe! Most coat colors can have most eye colors outside of purebred lines selected to meet breed standard.

What Color Are My Cat's Eyes?

Color names are descriptive of the actual color of the cat's eyes - I chose them all to sound nice so that breeders can use them if desired. Note that breed standards have a much broader use of color names - "Amber", for example, may include much of the golden to orange range.

Colors are based on pictures of cats in full white light (such as midday sun fully illuminating the eye), and tweaked to look good on properly color-calibrated screens. Always determine eye colors based on how they look in full light.

Main Block

standard eye colors possible with most pelts

Every cat is assumed to have genes that specify some genetic eye color in the main block, but certain other alleles can depigment the eyes partially or completely, creating the lower block.

Pigmentation and Refraction are modeled here as dependent on multiple genes, which seems to best fit the wide spectrum of possibilities in cats. The actual number of genes is unknown and could be very many, but for simplicity they are shown here on a scale from 1-7.

In theory, the genetic eye colors of the offspring should tend to fall somewhere between the genetic eye colors of the parents. Then, any depigmentation factors are applied, which may result in an actual eye color somewhere below the genetic eye color.

Lower Block

occur with phenotypes which cause depigmentation of the iris.

Gray-blues: Fairly rare coloration. The cause of gray eyes in humans is not well understood, but one theory is that collagen or very small amounts of pigment in the eye alter the scattering of light.

Blues: Most common depigmented colors. Can be caused by white spotting/dominant white, colorpoint, and sometimes mocha. There are also multiple Dominant Blue-eye (DBE) mutations known which cause blue eyes as the main effect.

Albinistic: Caused by complete albinism, which also fully depigments the back layer of the iris meant to keep light from getting through. This allows the red color from the retinal blood vessels to bleed through, and also causes poor visual acuity.

Following is a list of all eye colors shown on the main diagram. Rows are pigmentation levels starting from the highest pigmentation, refraction increases from left to right.

Main Block: Copper, Chestnut, Umber, Walnut, Earthen, Olive, Moss; Ochre, Caramel, Bronze, Serpentine, Artichoke, Fern, Forest; Orange, Amber, Brass, Peridot, Avocado, Clover, Malachite; Saffron, Butterscotch, Shrub, Spring, Jade, Pine, Emerald; Gold, Citron, Pear, Lime, Mantis, Grass, Viridian; Yellow, Chartreuse, Sprout, Laurel, Mint, Turquoise, Teal; Canary, Chiffon, Honeydew, Sage, Celadon, Aqua, Cerulean.

Lower Block: Gray-blues: Frost, Opal, Flint, Storm, Steel, Slate, Cadet. Blues: Ice, Powder, Celeste, Sky, Azure, Lapis, Cobalt. Albinistic: Pink, Mauve, Lavender, Periwinkle, Cornflower, Royal, Indigo.

Combo Colors

Cats can exhibit a few different heterochromia types, most commonly a blue with a non-blue. The other most common cause for heterochromia appears to be localized hyperpigmentation, which can be caused by damage to the eye. It can also happen simply due to differing iris structure or unusual pigment migration within the iris.

It is also relatively common for the center of the eye to be a slightly different color, without being marked enough to constitute full heterochromia. My provisionary term for this is "dual-toned". The boundary between this and "true" central heterochromia is somewhat subjective.

For any form of heterochromia or dual-toned eyes, my recommendation for describing them is to note both colors with a slash. For dual-tones, I generally write the outer color before the center one.

Complete Heterochromia Blue/non-blue is commonly caused by white spotting/dominant white, other combos are rare.

Sectoral Heterochromia Blue/non-blue sometimes occurs with white spotting/dominant white. Can also be from hyperpigmentation.

Central Heterochromia Can occur due to hyperpigmentation, uneven pigment distribution, or iris structure. More common in certain breeds.

Dual-toned Irises Relatively small differences in central eye color are common in cats.

Iris Atrophy Iris atrophy due to old age can cause a distinctive lighter ring in the center of the iris.

All writing, art, and chart design ©Sparrow Hartmann 2025

Icon designs are released to the Creative Commons under a CC-BY-SA license and will be made available for download.

Go to sparrows-garden.com for more genetics resources!

[nipuni]

Alright, time to share my opinions about Veilguard!! I have both criticism and praise so bear with me as I jump from one extreme to the other 😆 spoilers ahead of course!

The game has a very rough start with the dialogue being formulaic and rushed and the characters overexposing. It feels like a heavy handed attempt at summarizing all of previous games' lore for newcomers or in case you forgot but it's so overdone it feels coddling and trivializes a lot of previous events. Luckily this gets better once all of the introductions are out of the way, though the excessive hints and clarifications continue until the end sadly.

The locations are absolutely incredible and very diverse!! This is a highlight of the game for me. There is so much detail and care in every map and there are so many of them. My pc is struggling to reach medium settings and yet everything looks stunning. The verticality of the maps is so imposing and the graphics have a very dreamy quality that I love. I also enjoy the maze-like structure to the maps, it's more linear but makes everything look a bit more intentional. The color and light direction was amazing, all the visual development really!! it has to be one of the prettiest games I've ever played.

When I started I have to admit it did not feel like I was in Thedas and it all felt a bit theme-parky, if that makes sense. A lot of previously important and established world elements that made Thedas what it is were overlooked or made irrelevant. But the more I played the more it started to feel a bit more similar to Inquisition, for better or worse depending on what you feel about Inquisition. But!! this also feels like a selectively sanitized version of Thedas compared to previous games. In it's attempt to stay safe and uncontroversial in some aspects it loses a lot of substance and it changes the tone. The surface level politics, ignoring previously established major societal issues and a tell-don't-show approach makes the world seem more simple and shallow with no grey areas to explore. ( the humor also falls flat and out of place often too, and WHY is everyone always smirking, enough!! godlike beings are destroying the planet please this is not the time for Marvel banter aaaa )

The pacing at the start is a bit of a mess. It is so fast it felt like jumping from one world shattering discovery to the next with no time to process. The characters also seem to underreact to important information and major developments. It felt like the game was rushing me through all this to get to the part of the story it wanted to tell me while I was still wrapped in my shock blanket trying to catch my breath lmao. I really like all the key story points they touched upon, I just wish they dwelled more on them to give them more narrative weight. ( though blaming every bad thing to ever happen on the Elves was certainly..a choice )

I think the writing could have used more subtlety in the first half and more boldness in the second 😆 but I loved the thematic parallels between Rook and Solas and how every quest informs the main storyline. I do wish Rook was given more impossible choices and put in more difficult situations that forced them to lie or betray their own to better drive the point home though ( listen I just love a Trolley problem!! we need more of those, I'm the Trolley problem's number one fan!! ) I feel like they missed the chance to put Rook in Solas' role and be as vilified and hated for it as Solas was despite their best intentions which would make Rook's regrets stronger and in turn make their escape from the fade all the more impressive and give them a better understanding of Solas to either use against him or earn his respect. The line 'they called me the Dread Wolf, what will they call you when this is over' from the trailers was so good I was waiting for this!! But everyone just loves Rook no matter what!!

But I feel like I stated too many negative aspects in a row so moving on to some things I enjoyed!

The characters were very lovable to me. The romances weren't as long or impactful as I would have liked but I enjoyed all the companion quests. Emmrich is a delight and his quest is so wild and fun. I loved learning about Nevarra and I was awestruck by the Grand Necropolis. The mourn watch was so interesting, it showed a whole new side of Thedas' lore I knew nothing about! and I loved Manfred! Davrin is so charming, he became a favorite. I loved his quest too and learning more bits and pieces about the Dalish was great, I wish we got more. Seeing the Wardens through his quest also made me enjoy them a lot. Assan was very cute too and I'm glad he was treated as an animal and not turned into a goofy Disney sidekick too much lmao 😭 Lucanis is hilarious. The fantasy Spain/Italy was a bit silly and off at times but he is very sweet! and I love the Spite possession, that was so fun I'm glad they kept him that way! Bellara is adorable, her first backstory quest made me cry and I just love a nerd! I wish the second part of her story was written better however, and she sort of devolves into 'it's hard, I wish it was easy but it's hard' dialogues too often sadly. Anaris and the Forgotten Ones' portrayal was underwhelming and anticlimactic which was disappointing. Harding is also very cute and her Titan plotline was the most interesting to me, I bawled my eyes out in her quest!! I love the dwarven lore of this universe I'm so happy we got more of it!! ( she also fucking died in my playthrough?! I was devastated what the hell 😭 'whatever it takes' WEUEUGHHHG I'M SO SORRY) Neve was a slow burn for me because of my choices in game slowing that relationship down ( saving Treviso I mean, perdón amor 🙏 ) but I love detective novels and she is such a badass I ended up loving her. Taash was unexpected, I didn't think they would be so young. The coming of age story was sweet, though I found myself cringing a lot too at the handling of it I have to admit ( and the Lords of Fortune in general, and the Antaam...and que Qun..listen- kajshfgf ) but I also enjoyed learning more about the first expedition and the Qunari in general despite the messy writing and choices. I also loved Antoine and Evka! and Strife! And I haven't even read any of the novels they are in 😆 also Mila!!!! and her dad oh my god and Felassan haunting the narrative!! speaking of haunting, I would have loved for Cole to be in the lighthouse too I think it would have worked well 🤔 especially with the whole 'reading Solas' secret diary' thing the game had going on lmao

Everyone seems to get along except for a bit of friction that is quickly resolved at the start, which is hmm missed potential? I would have preferred more tension personally. I enjoy the drama! gives me more to work with and gives you a better grasp on everyone's personality by contrasting values. I think they wanted to speed run a found family trope for the new hero to establish some emotional stakes early on but it ended up making everyone seem like a group therapy session instead. The group meetings also have everyone either state the obvious or repeat the same opinion or conclusion to each other, I would have loved these meetings to have more bickering, have people get mad and storm out and also get to listen to different takes on a situation. Make Rook struggle more to take the reins and keep the team functional, learning how to be a leader.

Speaking of Rook! ( who in my case has a northern British accent that I loved so much 🥺) They seem to have a very established personality. I was expecting more of a blank slate but I'm lucky that the personality they went for kind of matches what I would normally choose in a first playthrough. Though the lack of range in the choices is irritating and takes away some replayability and role playing potential. Rook is very supportive and selfless, I wasn't expecting this tbh! But it all made my Rook turn into the team's weird supportive necromancer mom so it worked out in the end I guess lmao. I can't wait to draw her!!

I was so overwhelmed by the amount of information we got about Solas and his past!! I was expecting answers but not these many and not for them to be such an integral part of the plot!! The game feels like it's about him more than anything else. His arc is the best written out of all. He is mentioned in every conversation, he's the main advisor and the narrative foil, you get to talk to him often, you work for him and with him and go into his memories it all feels so surreal to me lmao I love him so I'm delighted ngl! but also making the other Evanuris so cartoonishly evil makes Solas into such an obvious choice of an ally, god of trickery or not, that it sort of takes the decision out of your hands and makes some dialogue options and companions' opinions seem almost nonsensical. I have no idea how this game would feel to someone who absolutely hates Solas' guts honestly. I suppose I will find out soon enough 😆

About Solas' story, I loved it! I somehow also feel that I knew it already, all the speculation and theories that Solavellan fans were crafting for years were so accurate that it was all very validating. Even the wildest ones! Solas as the Maker, the elves spirit origin, Mythal giving him a body, the war with the Titans, the origin of the Blight, Solas being on your side as advisor, I can go on, we knew!! Also I have to mention this I'm sorry but they made him look so hot!! unbelievable. And the bloodied teary eyed pathetic look in the end ouurghhh I'm cheering and clapping!!

The romance conclusion was so lovely 😭 the Loki and Sigyn ending we deserved to such a mythological epic!! and open ended enough for all of us to cook!! and we got to see him fight and transform into the Dread Wolf!! and whimper and cry!! and bleed and love!! that's all I ever wanted, incredible we were really spoiled what the hell I still can't believe it 😭 GDL acting was brilliant as usual! the visuals were also incredible and exactly what I had in mind when I imagined where the story may go, the eclipse, the giant wolf, the glowing eyes, the Elvhenan ruins, the statues, even the hair lmao it all aligned exactly to what I've been painting all these years but better I was thrilled 😭

Solas backstory with Mythal also offers players that didn't romance him a chance to see him act out of love and show a side they wouldn't be able to reach otherwise and I think it was smart! also very tragic and sheds more light into all of his choices and words and his relationship with Lavellan too and the parallels and reversals and uughh thoroughly enjoying the emotional distress 👌

Pleasing both the Solas lovers and haters at the same time was always going to be hard with him being such a polarizing character by design and the world states being so different but I think they did a good job! at least from my side of things.

I think my favorite part besides the Solas related stuff was the Blight. I loved how horrific and gross and threatening it was! I've always loved the concept of the Blights and I'm glad it was such a huge part of the story in this game. I also loved Treviso!! has to be the most beautiful city in Thedas ahhh and the Necropolis!! the gardens!! Vorgoth!!! Kal-Sharok!!! I can't believe we got to see it!! and a Titan!!! the giant floating face of Ghilan'nain in the clouds??? and the huge archdemons and dragons!! oh and that warden dragon trap in the shape of a griffon?? and the giant blight tendrils!! the siege at Weisshaupt was outstanding!! and the floating panopticon castle situation in Minrathous uughh there is so much I loved.

OH I also enjoyed the Varric arc even though I saw it coming since the trailer it was still played well and it was touching 🥺

The ending felt a bit jarring to me in tone though, a bit too cheerful considering...the horrors. Over half the continent destroyed and most of the problems Thedas had before the game are still there. Veil in place and all 😆

But I had fun!! I'm nitpicking really, the conclusion to Solas' story feels very satisfying to me which was my main worry so I'm happy. It is a good game!! with a sort of soft reboot feel to it and aimed at a younger audience which is probably what they were going for? You can sort of feel the struggle the team went through during production in the way the target audience seems unclear sadly. I also can't help feeling like this is an ending, so much was revealed and resolved!! but maybe I feel that way because that is what I felt after Shadowbringers / Endwalker in FFXIV once my favorite part of the story was wrapped? They can always pivot to a new continent and expand on the world and cultures we know almost nothing about, but that is always harder to sell so I have no clue where they will go from here 😵‍💫

Anyway I'm still processing a lot of stuff that I will probably talk (and draw) about later, this is already long enough!! for now I'll look up how to get the artbook because the art direction of this game is fantastic!! I would love to hear your thoughts too really, I'm curious about the experiences of players who made different choices and with different tastes to mine!!

[artechoceneexplorer]

I don't think I have shown this here, but I've been working on a drawing of one of my favourite creatures (?) from Dungeon Meshi, the Dryads. Also kind of making my own version of it by adding details specifically on their internal workings, and making them feel more like a fake puppet of a human grown from a flower.

The original dryad design vs Full Piece of mine (WIP)

I used several plants that have hinges and moving parts as a reference, mainly the hammer orchids (Drakaea sp.) for the internal joints and snapdragons (Antirrhinum sp.) for the external joints of the petal limbs. For the muscles used for more fast movement rather than structure, I used the curling tendrils that many climbing plants, especially in the cucurbit and grape families used for climbing, and can contract and extend pretty easily like springs. They don't use the same mechanism as normal tendrils though, as these move not by growing, but by hydraulics like other movable parts in plants like Mimosa, Drosera or the venus fly trap. For the general texture of the petal skin and sepal hair, I used mainly Hibiscus flowers for no particular reason other than I just love Hibiscus color diversity and petal texture.

Closeup of nearly finished Female flower

I Really enjoyed designing the face of the dryads, making them much more articulated and doll-like than the original designs. This facial petal had two moving parts: the mouth, which can open to allow pollination, which is partially inspired by orchids and snapdragons, with similar contraptions to access the pollen or stigmas; and the eyes, which are inspired by the retractable leaves of Mimosa plants, which can contract and relax via internal hydraulics to open the dryad's eyes.

Closeup of the facial petal of the female flower

I might add some text detailing some additional information once I finish the rest of the piece, but it depends on how good or cluttered it makes the piece feel, but I would like to add it. By the way for anyone wondering, the scientific name is a modification of the Greek name for dryads and other nymphs, which are usually named by adding -aie and similar suffixes to the plant they're associated with (greek dryads were named after oak trees). As these are more more flowers than trees, the genus name uses the prefix "Antho-" which is derived from the word for flower. The species name is much more simple as it means false (-oides) human (anthrop-).

Closeup of the male flower with additional information.

I hope you enjoyed this different kind of post where I go a bit in depth into my creative process, see you in the next one :>

[three--rings]

One of the largest projects I've been working on is this typeset and book version of 999: 9 Hours, 9 Persons, 9 Doors, one of my very favorite video games. (Which later became the first game in the Zero Escape franchise.)

The game is a visual novel and escape room game combo with multiple routes and endings leading to a true ending. So this version is structured like a Choose-your-own-Adventure book where you flip to different pages depending on your choices.

I also made it possible to skip all the less linear escape/puzzle sequences because they don't read very cohesively. But they do contain a lot of funny or revealing lines so I didn't want to eliminate them entirely.

I should also mention one of the reasons for doing this is that I wanted to preserve the original text of the game from the Nintendo DS version from 2010. When it was remastered/ported to PC and Switch a lot of the dialogue was rewritten very much for the worse. As well as making the novel sections optional, which destroys a lot of the point and atmosphere of the game.

The book is a full leather casebind, with stenciled titles. The leather was honestly a little too thick and required a lot of paring, which is terrifying because any slip could ruin it. And the final satin finish I put on made a lot of the leather flaws look worse and more obvious, which is annoying. It was my first time doing faux raised bands on the spine, and they came out nice.

My printer decided to fuck with me while printing this one and the color alignment is off. This is my second attempt at printing it and it's better than the first but still not great. But I wasn't gonna waste so much paper again.

And no, I'm not planning on doing the sequels. I can't imagine trying to deal with VLR's 28 endings when doing 6 was this challenging and annoying. And the sequels are perfectly represented by their existing playable versions, unlike 999.

[hood-ayo]

Quick ferrygabe Aaand my headcanons about angelic anatomy or smth :^)

I did it mostly for ultrarock au but whatever Ah here we go... WELL There are angels of all physiques. The skin has fabric-like structure whose filaments are filled with blood and are something like vessels. Nevertheless, the material is durable, elastic and withstands external influences well. in terms of strength, it is definitely not inferior to human skin.

Golden parts filled with blood as well. In the section, it consists of layers of metal with blood vessels that resemble something similar to bones inside. The golden pattern on belly and back can be any and depends on heredity but there is can't be two exactly identical patterns yea.... Women often have a more flattened pattern than the men one but it's not always like that and both types are normal for everyone.

There also angels with different anomaly like vitiligo, albinism and etc.

Examples of diseases and wounds

Wings stuff

Color indicate the emotional state from calm (blue) to high excitability (yellow)

They're just like prime souls but with skin lol. It makes sense to me cuz i see it's like... a mere souls need some physical shell to not die but the strong souls (minos, sisyphus) can carry themself without it

CURSED MOUTH AHAHHAHAHA thankfully it's always closed (expect meal and such)

Different golden shapes on the head looks cool too so yeah i add it as well

Bonus with sillies

[girlietips]

Random Beauty Big Sister Advice 💐💋🪩

Here are my random big sister beauty advice! Enjoy!!!

Fix your posture

Some of you did not get pinched in the shoulder blades when you were slouching growing up and it shows

Every time you sit or stand up take the time to roll your shoulders back. Just do it as a little reminder everyday (multiple times) and your posture will improve.

If you can’t hold it without it becoming uncomfortable or tiring you need to do some core workout (a lot of inner core specifically) because that means you muscles aren’t strong enough to keep your spine strong. Which also means you can be more susceptible to injuries.

As much as you hate it healthy is 100x prettier than unhealthy.

Almost all the beauty standards are based on your health.

Proper diet and exercise will make your skin glow and your hair shiny.

Under eating or eating junk shows on your face and hair.

Muscles are sexy

I swear to you there is no way for you to become “bulky” by picking up weights.

You need to strengthen train for that toned look.

In order for your muscles to get really bulky you have to be in a pretty heavy calorie surplus be hitting a very high protein level. You also have to have the gene to build bulky muscles and the bone structure which is not as common in women. You can’t really do it on accident.

Even women who can put on muscles really fast are not bulky they are built. It’s giving she hulk and it’s hot.

To look put together you have to do the 2/3rds rule.

Only one part of your outfit can you neglect. Either your hair, makeup, or outfit. But it should never be your hair.

Learn to do really quick easy hairstyles and you will never have bad hair. I am almost always in Dutch braids because they are simple and I can do them quickly.

Also adding jewelry always gives your outfit more flare.

Learn how to alter clothes always have cute clothes.

You can find really simple tutorials to turn that body tank top into a fitted tank so easily.

Usually you just need a needle thread and scissors but if you have a machine you can do so much.

Do your nails

If you don’t like color or fake nails make sure they are always filled and clean.

Nails can be extremely cheap or extremely expensive you just gotta find what works for you.

Get a good nail oil as well for extra care.

Your body is not the problem you just don’t know how to dress and compliment her.

Stop looking at girls whose body is nothing like yours for outfit inspo.

Depending on your proportions things can look vastly different on different people.

Figure out your body type and shopping gets so much easier.

That’s all for now I might continue this series slowly but I just ended my spring break and classes have started so if I disappear don’t worry I’m just being an academic weapon.

Xoxo💋

[linkspooky]

JASON TODD VS. DABI: WHY NOT ME?

"You haven't been here long but you've seen him, right? The batman. The batman. He lives in darkness, to find the helpless and bring them into the light. So I have to wonder...why couldn't he do it for me?" The Boy Wonder: Issue #2

This is the story of the boy who didn't get saved. The story of a boy who really ought to have been saved. Of course, every victim deserves to be saved, but this boy was the son of a superhero. Can a hero who saves everyone, but fails to save his own son really be called a hero? As for the son, how does it feel to watch his father save complete strangers but let him fall to the wayside?

Jason Todd and Dabi are two characters with similar backstories and motives (so similar it's possible Dabi is outright based on Jason Todd) which are worthy of comparison. These are two tragic arcs which explore the conflict between a hero's responsibility to act as a father, and their responsibility to save people. As I said they are tragic because in both cases the hero fails, as a father, and a hero. However, I'm comparing the two because Jason Todd's story is a well written tragedy, and Toya's story is not.

If you were to write a story of my life, it would surely be a tragedy.

Aristotle's Poetics is the first attempt to define what Tragedy is, not as a story where sad things happen but a specific story structure. He outlines not only what makes tragedy, tragedy, but also what makes a good tragedy.

The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.

I use this quote because the painting metaphor is a great way of explaining what I'm getting at, you can have a painting with the most wonderful colors, you can have a story with really good ideas like the Todoroki family plotline but if you don't use those colors correctly all you're going to end up with is a bad painting.

In poetics Aristotle clearly defines a tight well-structured plot as the first priority for effective tragedy, character as second.

Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator; as for instance if there were one a thousand miles long

To make sure you understand, it's vital in tragedy for all the pieces to fit together. Tragedy is a specific story format. Good tragedy uses the parts of a story well, but bad tragedy is sloppy and poorly put together. In tragedy, the whole has to be greater than the sum of its parts. The Todoroki Family are all good characters out of context, but the story could have enhanced their characters but detracted from them due to how poorly it is told. The fact that a lot of MHA fans are in love with the Todoroki family out of the context of the story, but also have constant complaints for how Horikoshi handles their plotlines is, in my opinion, very telling.

What Aristotle goes on to posit is the best tragedies do not come about by accident, but rather by the direct actions of the characters.

But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will thee be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design. 

Therefore Tragedies require consequentialism, like Newton's Third Law, every action will have an equal and opposite reaction. To simplify a good tragedy arises from the consequences of the character's actions (or inaction). The most basic form is that the hero of the story will have a tragic flaw that they fail to improve upon in time and then leads to their destruction. In essence, tragedy is where the hero fails. Not only does the hero fail, but the hero loses, and that irreversible loss is what defines tragedy. Medea slays her own children, Oedipus rips his own eyes off and deserts his kingdom, Creon Antigone is buried alive and Creon's son, her fiancee, commits suicide.

These events share two things in common, they are irreversible (hence why they feel like good endings), and two they evoke catharsis. Aristotle defines the goal of tragedy to evoke terror and pity. We feel alongside these heroes, Medea was abandoned by the husband Jason who she left her home and slaughtered her own brother for, Oedipus did all of his crimes unwittingly and is a victim of fate, Antigone was doing the right thing by burying her brother so his soul could pass on to the afterlife.

There's all different sorts of tragedies, Hamliet explores more here. I'd say UTRH and Hellish Todoroki Family are tragedies centered around grief.

Tragedy works on extreme emotions, and extreme hard-hitting consequences to the hero's failures. The worst thing a tragedy can be is boring.

The Tragic Hero

Now that I'm done lecturing you let's actually talk about both My Hero Academia and Batman like I promised. Both of these stories don't actually feature the central victim as their protagonist, and that is a feature not a flaw.

Rather, the story we are being told is that of a tragic hero, failing to save a tragic victim because of their own personal flaws.

These flaws are called (hamartia) or "error in judgement". A hero, being called a hero of a story is often unaware of his flaws which is central to what makes them unable to fix those flaws in time. That flaw can later lead to a moral failing, such as Othello's jealousy, initially jealousy is an understandable emotion, but then it leads to him trusting Iago over his own wife and killing his wife in a rage.

Most importantly, the hero’s suffering and its far-reaching reverberations are far out of proportion to his flaw.

Let's begin with talking of the heroes and their flaws, Batman and Endeavor. My main reason for comparing these two is in these specific stories they have the same flaw, inability to move past their personal guilt towards their son, and the same conflict the duty of a father versus the duty of a hero.

However, Batman functions as a tragic hero, and Enji does not. The summary of their conflict is right here in these two panels.

A parent is required to place their children above everything else, because they are the ones responsible for bringing that child into the world. Bruce Wayne made the decision to adopt Jason. Enji made the decision to have children, however with Enji you have the added insidious motivation of he only wanted to make designer babies and just didn't care for the ones who didn't turn out right.

Bruce attempts to do both, to act as a father for Jason and also a crime fighter as batman but he can't do both. This comes to a head in Death of the Family when Jason is having serious trouble because of his lack of a strong parental figure, and Bruce knowing that Jason is in trouble chooses still to go off and fight crime instead of staying with him. The choice to place crimefighting over the child they chose to take responsibility for has the unintended consequence of getting that child killed.

Whereas Enji makes the same choice over and over again, ignoring Toya's clear troubles at the fact his father no longer spends time with him and choosing to run away to the world of heroes because he doesn't want to face the fact that his actions are severely hurting his son. Bruce's motivations are more sympathetic admittedly he wasn't actively practicing eugenics, but the choice is the same and the consequences are the same.

Both Bruce and Enji are forced to bear witness to the deaths of their children when they are not there, specifically because they made a choice to be a hero instead of staying by their child's side. A situation directly caused by their choice to be a hero over a father, and a situation that would have been avoided if they had stayed with their child in their time of need. Jason runs off when Batman tells him to stay and gets kidnapped by the Joker, if Enji had been on Sekoto peak that day Toya would never have accidentally lost control of his fire.

This is just the backstory however, the main event that kickstart this plot is the unexpected return from the dead of both Jason and Dabi. Each story follows the same plot beats. A new villain appears to challenge Endeavor / Batman. The villain reveals themselves as their dead son. Both Endeavor / Batman are given a chance to try reaching out to their sons, but they choose not to.

Then even though they are given a second chance with a miracle of a dead son coming back to them, they choose the exact same thing they chose before, being a hero and because of that the tragedy repeats itself. For both of them they are unable to save their son again, and the son goes through a second death. History repeats itself, the lesson isn't learned.

Their fatal flaw is their guilt. This is a story about grief and mourning after all, a son who is died, buried, but never grieved properly, never mourned, an open wound on the father suddenly coming back. The inability of each to process their grief blinds them from seeing the fact the son has come back, and they have a second chance.

Toya has internalized he is a failure, because Enji literally called him that. Jason believes that Batman thinks he is a failure. In both cases the father is the one who failed, Bruce at least acknowledges this but cannot communicate it in any way shape or form.

This guilt and responsibility both Enji and Bruce feel causes them to self-sabotage. They no longer have the confidence they are in the right (they no longer feel like heroes because they have failed to be heroes to their own son).

You can also add the layer of complication that since both men chose to be heroes in the past, they do not know how to handle the situation as a father now that they're being challenged to step up as one. Unfortunately, they are not the fathers that stepped up.

The reason their grief becomes a flaw is because they put their grief over their victims. . Each man is aware too much of their own failure, and while they should feel guilty they make the classic mistake of placing their own guilt over the feelings of the victim. The guilt they feel for causing the death and the genuine grief of losing a son is given priority over Jason and Dabi who you know... actually died.

An overwhelming grief and guilt is understandable because grief is a messy and human emotion, losing a child is an unimaginable tragedy that should never be inflicted on anyone.

Yet at the same time both Dabi and Jason are grieving to. This paradox that Batman only thinks of his own grief at losing a son and never stops to think about how Jason must feel leads to one of the best lines in Under the Red Hood.

"The father had lost a son, and now the son had lost a father."

Batman's guilt is so strong over being the cause of Jason's suffering, that the suffering of the victim himself is ignored. To be fair to My Hero Academia, the Todorokis say a similar line to Enji.

However, this is where I begin to get into the difference between ideas and execution. Tragedies are stories of actions and logical consequences, every action has an equal and opposite reaction in Under the Red Hood. Batman is punished for the choices he makes, the choices he doesn't make, and the choices he fails to make in time.

The Todoroki plotline features almost none of its character making any choices of substance, and because of that the plotline says the right things over and over again, but it all comes off as tell don't show.

I'm going to quote @codenamesazanka's post right here a couple of times because they describe the complete failure of the Todoroki plotline to show us a reason why we should be feeling things for the characters artfully.

We've heard Enji say this before - I'm sorry, I intend to atone. It's indeed the right thing to say, it's exactly what he should be saying and acting. Natsuo is declaring no contact - That's fine, I'm sorry, I accept this as part of my atonement and will continue. Touya calls him a coward - That's fine, I'm sorry, I accept this as part of my atonement and will continue. The public hates him - That's fine, I'm sorry, I accept this as part of my atonement and will continue. But you can only hear this so many times before you want to snap and beat the character, the story, the writing over the head with Enji's wheelchair. Why is that? He's behaving exactly as he should, and yet...

The reason why it fails to evoke strong feelings is because of what we'd called "narrative dissonance." The actions of Bruce and Enji are the same, they both neglect to do anything, make any real attempts to reach out to their victims because they're paralyzed by guilt.

However, we are told that they have entirely different arcs. Bruce's arc is a tragic fall. He's failing as a hero. While we are being told that Enji is experiencing an arc of atonement. Enji is supposed to be improving himself, and Bruce is supposed to be experiencing negative character development but they both do the exact same thing in story. Bruce neglects Jason, we are told by the story, by the characters in the story that Bruce is failing Jason. Enji does nothing in time to actually atone for Toya or try to help him, yet, we are told again, and again, and again, and again, and again, and again that Enji is atoning with nothing substantive to show us this is the case.

To show what I meant instead of telling this scene is in chapter 252.

This scene is the ending point in chapter in chapter #426.

It's just him repeating the exact same sentiment and yet in a more than 150+ chapter gap, Enji never made any action to show he was now placing his family first. Enji didn't say anything to Dabi when he revealed himself as Toya. Enji didn't look for Toya in the months before the final war arc. Enji literally appeared on live TV in a broadcast that Toya was watching and said the very selfish "Watch Me" atone for the crime of creating Toya instead of literally talking about Toya or too Toya. Well, that would have rocked the boat too much... THAT IS LITERALLY THE POINT. Enji had to somehow break from tradition or make some significant sacrifice onscreen to his social standing to show that he's willing to put his family first. Enji decides to go along with Hawks decision to not face Toya head on, making the decision to be the hero for the final time which directly causes Toya to get up after Shoto brings him down non-lethally and make one last attempt to suicide bomb for his father's inaction.

Bruce does nothing for a long time in Under the Red Hood. He ignores his initial instinct that Jason came back and instead makes a long investigation on whether or not someone can come back from the dead in order to distract himself. When Jason takes the mask off, Batman already knew but was pretending otherwise because he didn't want to face the reality.

Even when Jason takes his mask off, Bruce still takes on the "I need to investigate this" angle even though Jason calls him out that deep down he already knows it's the truth. This of course foreshadows Bruce's underlying flaw, he doesn't want to face Jason head on because he feels too much grief about what happened to Jason and his guilt is more important than Jason's own grief. Just as the father has lost the son, the son has lost the father.

What follows is several chapters of Batman fighting crime as usual and making no attempts to directly search for Jason. They cross paths a few times but when they do Bruce doesn't follow. In fact, Bruce only shows up when Jason sends Bruce a sample of the joker's hair and Bruce knows that the Joker has kidnapped him out of Arkham. Bruce almost lets Jason get killed by Black Mask because he doesn't know whether to stop Jason or save him yet again, and then they have their final showdown where Jason has kidnapped the joker to demand Bruce kill him, and Bruce finally attempts to talk him down.

Out of context it sounds like I'm describing the same plotline, to the point where if you haven't read either, it looks like I'm complaining baselessly. Why is one hero doing nothing until it's too late good, and the other bad? The difference is of course context, or rather framing. Bruce's actions are called out by the people around him (Dick, Jason, Alfred) as him handling the situation wrong. Whereas both Enji's internal monologue and other characters say that he is doing his best to atone for his actions and deserves a chance, but the events we are shown in story are the exact opposite.

Here's another example to SHOW my point. Here's Dabi with my special, hardcover edition of under the Red Hood.

I reread the entirety of the fourteen chapter plotline and the majority of internal narrations come from characters outside of Bruce observing his behavior and commenting on how differently he's acting. Jason's backstory for instance is told by Alfred, not Bruce. Dick Grayson the first Robin comments on Batman's odd behavior. The rest are the third person narrator. Bruce has four instances of internal monologues spanning a few pages each in a 378 page story. (Alfred has the most internal monologues and he's presented as a more trustworthy unbiased narrator than Bruce, to get us to question Bruce's actions).

"Information travels on many routes, sometimes it comes predictably like the tides. You just need to know where to stand and meet it. Other times it's elusive and you have to root through the garbage to find it. In the last few years I've come to rely on Barbara Gordon, Oracle, we all did. Utilizing every form of surveillance equipment she has been the eyes and ear [...] but those days are over. I can't rely on anyone anymore. [...] and tonight it's also about the company I keep. It's different with him [night wing] out here. I think about when he was younger, when I was younger, it was different, simpler and I miss it. I miss those days, for that it's hard to be around him.

This first internal monologue is a case of unreliable narrator, because as soon as finishing it Dick Grayson / Nightwing shows up, offers Batman his help and while Bruce at first refuses it the two of them are forced to work together to fight Amazo. What does this show us? Bruce is not alone, but Bruce actively acts like he's alone ignoring the feelings of the other people around him. It exhibits a flaw of Bruce and the bad headspace he is in mentally (if I remember correctly Stephanie Brown recently died in the comics while this storyline was being published. It establishes Bruce's improper coping mechanism with grief, and how he is going about it the incorrect way.

Bruce says I work alone, and then Bruce says it's easier working with Dick, I miss it, but I can't go back to those days. It's bruce's contradictory thinking patterns in the same chapter that stop him. it's bruce's fault he cannot connect to Dick, and he is actively mourning the past because his relationship with Dick has changed.

Now the final part of the monologue in that chapter.

He's quick. Not just fast, agile. He's not thinking about his next move, he's just making it. He's been trained well. And there's something about him. Something familiar. There was something interesting about before he cut the line, before it had been taught. That had to have been practiced. Either that or just plain dumb luck. No it's not luck.

This is the first hint that Bruce already suspects it's Jason from early on but is in denial about it. This unreliable narrator trope also gives an agency to Bruce's decision, he is actively choosing to ignore the possibility that it's Jason because it doesn't want it to be.

Whereas, a lot of Endeavor's plot takes away any agency from him. For example, he doesn't even know that Dabi is Toya, because if he had the sneaking suspicion and ignored it like Batman did that might have made him look bad. We can't have the main character in a tragedy looking bad now can we?

The second monologue is more denial.

That device is from Kord industries. I should know. Ordered it special from them. How can he have it? No more dead ends. No more questions. No more guessing. Tonight I find out what is passing for the truth.

Reading between the lines this is outright confirmation Batman already knows.

The third is a brief reflection in his feelings for Jason.

The armor has to be light enough to fit but strong enough to protect. But sometimes a great many times, it's not strong enough. It wans't strong enough for Barbara who has to fight from her chair. It wasn't strong enough for Stephanie, other dear soldier enough dear grave. And it wasn't enough for Jason. Willful Jason. Who ignored the danger. Who spat at risk. Who was never frightened enough. I've always wondered... always... was he scared at the end? Was he praying I'd come save him? And in those last moments when he knew that I wouldn't. Did he hate me for it?

This monologue directly shows without stating it outright, Bruce is prioritizing his feelings of grief and failure mixing them in with his genuine grief over the loss of a son. it's selfish of him, but grief is a selfish emotion.

Here's the thing Bruce is allowed to be selfish and to not have the correct reaction to his grief, because the whole story is centered on Bruce being unable to get his shit together in time, and this picture into his emotions is an explanation as to why. Bruce is afraid of being hated by Jason. Jason of course has every right to hate him for failing as a father, but still I think not wanting to be hated to a person you loved so much and feel genuinely sorry over what you let happen to them is an understandable reaction.

Meanwhile we have Enji saying repeatedly all the right things in his monologue, the selfless, I don't need to be forgiven, it's okay if they hate me, I just need to atone but he never actually does anything. There's no explanation for why he isn't doing anything either, so that narrative dissonance. We're shown why Bruce doesn't act in time, he's internally a mess to be frank. We are not shown why Enji doesn't act in time because his internal monologue tells us again and again he's committed to atoning and he understands what the right thing to do is.

As Codenamesanzanka says:

Enji is still saying all the right things, but the story isn't giving him the opportunity to actually do the right things. To have his new actions matter. I have no doubt about his sincerity in his mantra, but without the 'show', it's hollow. Similarly, "Let's talk" is actually kinda bullshit too, because it's so vague. This is less about Enji, and more about the writing, how it set up this scene. "Let's talk" or "I want to talk" or any of that variation is repeated 6 times, without anything more or specific added.

There's an excess of repetition of Enji saying he wants to atone, he's ready to atone, without any of that materializing in the story.

As @class1akids says in this reaction post:

It also feels also super-hollow to say he's sheltering the family from the fallout, after they've just talked about how Fuyumi lost her job (and got a new one through the connections she herself built). How is he going to do that?

The fourth because I don't want to write it down, it's just Batman monologueing on how his partnership with Jason is still good and explaining the technical details of his fight with count Vertigo. It's in chapter 10 if you must look it up.

So four monologues total. Two monologues establish indirectly that Batman knows that Red Hood is Jason and doesn't want to face him. The third monologue establishes why he doesn't want to face him, he's afraid of being hated. The monologue is in line with Bruce's actions in the story, Bruce investigates several ways of reviving from the dead instead of looking for Jason.

The character's reactions around Bruce are also talking about how he's not acting like himself. Especially Alfred's who speaks of Bruce's indecision, on whether to put a stop to or save Jason.

"It is curious. He is lost in thought. It is not like him to spend vast stretches of time immobile, where his mind is gripped in the solitary process of deduction. This is quite different. He is hesitating. At a loss for what to do. I believe it is about Jason. And whether or not to stop him or save him."

This is illustrated in two scenes later where Jason spends a long time simply watching when Jason is fighting enemies, first in a fight against Captain Nazi, and second Black Mask. Jason even gives a direct callout of that behavior.

Jason: What the hell took you so long? Couldn't decide if you wanted to let me live. Batman: Shut up and fight.

Observed by Alfred Bruce is completely stalling and can't choose, observed by Jason Bruce can't decide whether to let Jason live or not. Bruce hesitates twice. We know why. We see it in action. It's called out as flawed behavior.

Now let's cover all the tell that don't show that is Endeavor's many monologues.

Pro Hero Arc:

I have to safeguard the future for them. That's the job for whoever's on top. What about the lives I cut short? Just demanding forgiveness isn't enough, it's too late for that. At this point I need to atone there's no other route.

Hellish Todoroki Family 1:

I'm trying to make ammends going forward. It might be too late. but I fall asleep every night thinking about it. Lately it's been the same dream. The wife and the kids looking happy at the dinner table. But I'm never there with them. It might be too late but I fall asleep every night thinking about what I can do for my family. I wish you could be here too, Toya. It's always the same dream. My whole family's there but not me. If I really care how they feel [I'll remain here].

I'm not going to read 200 chapters so I'm just going to ballpark it based on memory. Here we go.

Dabi's Dance:

My eldest, Toya didn't harbor frost within him. He didn't have a way to overcome the inescapable downside of overheating but I nevertheless sought to raise the boy as a hero. [...] Because Toya had more potential than me I placed my ambitions on his shoulders. I thought it could be you. You could have been the one to reach my eternal goal. My frustration... My envy... The ugliness in my heart... you could have been the one to smash it all to dust.

Plot twist this is the only monologue I like. It's different from all the others, and it's the only one where Enji is being emotionally honest. He put the emotional burden of his own emotional insecurities on an eight year old child, and expected to live vicariously through him and when Toya failed to live up to those expectations he just abandoned him. It alligns what we have been shown so far, Enji is not acting like a reptentant man here who realizes the harm he's done to Toya and only thinks of Toya as an extension of himself and his own regrets.

The Fight Against AFO:

My mistakes took the form as Toya leading to many stolen futures. The past never dies. Rage, resentment and even penace wound together toward the future. And the future is a path for the young. A path with so many branching choices. That's why I must win this. [I'll keep paying my penance. I'll win today and keep my eyes on Toya.]

When Enji decides to double Suicide with Toya:

I take full responsibility. I swore to bear the burden and live my life atoning for it all. However, you've been watching me all this time. While I couldn't be there to watch you. You were someone I especially needed to do right by. No I can't let you meet your end alone, but I won't let anyone else get caught up in our tragedy.

Hellish Todoroki Family Final:

I came to talk about what's to come. I'm retiring as a hero. That was my initial plan even before the war started, but now I can't even walk on my own. The hero endeavor burned to death. Your flames were really stronger than mine. [...] You're right. You know everything about me, Toya. After all you were always watching me. And you wanted me to do the same for you, but I didn't. Not matter what anyone says your heat does come from my hellflame. From now on I'll come everyday, so let's talk. It's too late now, so let's talk. [...] You're free to hate me. Anything is fine really, so throw it all at me.

This one is spoken dialogue but it's still a four-page long monologue. Every one of Enji's monologues with one exceptionsays the same thing: I'm sorry, I'll spend the rest of my life atoning for my actions.

We're repeatedly told Enji is atoning but he acts like Batman. Then, his actions should be framed as Batman, not atoning but avoiding any responsibility.

As observed by Class1akids when we were discussing the update:

Everyone else faces an uphill struggle with their lives, but we should all feel sorry for Enji atoning and being in hell. I hate Hori's compulsion to over-write his abusers and over-explain their atonement. He does this with Bakugou too but with Enji it's more irritating. It was so much more enjoyable when he just wrote the thing but didn't point at them and say -> look, they are atoning. Aren't they soooo cool??

Enji's internal monologues and the other characters frame him as some sort of martyr, while on the other hand it's clear by both Batman's actions and Alfred's observations he's not acting like his usual self. In fact, this is an interpretation of Under the Red Hood that I love from the writers of the video game Arkham Knight that does a less tragic retelling of Under the Red Hood:

Batman doesn't fight victims. He saves them.

Therefore if Batman is fighting Jason, a victim, he's not acting like Batman. I'm also fine with Arkham Knight being an Under the Red Hood retelling because it's a different story. Comics do this all the time, different universe versions, popular storylines adapted into different mediums. It also works as a commentary on the original story, by showing what Batman could have done to lead to a more positive outcome it makes Batman's choices in Under the Red Hood worse and more tragic because he could have saved Jason, there was still a chance.

So here we have two flawed tragic heroes who are meant to be both pitied and condemned for their actions. One of them is all pity with no condemnation. The other is both pity and condemnation, Batman is grieving, but also he's failing his responsibility towards Jason. Therefore one protagonist works, the other fails utterly.

I'm not saying abusers don't deserve redemption. I'm not saying Enji should have died in order to atone. I'm not saying that the underlying problem with the arc is that they decided to make Enji sympathetic and a focus of the arc. The most important problem is the breaking of one of the fundamental rules of storytelling: Show, Don't Tell.

The Tragic Villain

Not only does The Hellish Todoroki Family plotline fail to make Enji a compelling protagonist, it also fails it's biggest victim. Now, these are both stories that end with the hero failing to save their victim. So if both of these stories have the same ending, why am I saying it failed Dabi, but not Jason?

Well, let me explain.

Dabi and Jason are both villains turned victims. The stories themselves are about this ambiguity. How much should the be held responsible for their own choices? If they are actively harming innocent people, then shouldn't they be stopped? Should they be automatically be forgiven just because of the pain and grief they've suffered, even if they've been causing it to others?

Both characters are also reflective of their fathers because they are too being selfish in their grief, they want their grief acknowledged and so are violently lashing out.

Jason and Dabi both make plays at being vigilantes at first, Dabi wants to inherit Stains will, and Jason Todd wants to be a better bat-man by taking control of the drug trade in Gotham and cutting crime down by executing gang heads. However, neither of them are being honest with this and it's shown through their actions, both of them abandon their original plans.

In the final showdown all Toya cares about is facing Enji on the battlefield, and when he's on the brink of death his mind erodes to the point where all he can do is scream for Enji's attention while his flames get hotter and hotter.

Let's take about Jason first and how his narrative treats him a whole lot better and more sympathetically, with more humanity than Batman. Jason is still held responsible for his choices, he is criticized by Bruce for murdering gang leaders and passing it off as justice. He's also blatantly shown to be a hypocrite. My favorite scene from Red Hood: Lost Days, the official UTRH prequel.

"I want to kill the joker in a cool way. Just sniping the Joker from a rooftop isn't dramatic enough for me."

This scene, and the final scene of UTRH underlines Jason isn't executing criminals because he believes it's the right thing to do, or because of his stated motivation that killing the joker would prevent more future victims.

Instead his every action is to set up a scenario where he makes a selfish demand of Bruce. He wants Bruce to prove to him that he would choose him over being a hero, by setting up his final scenario. Him, the Joker, and Batman. Jason will shoot the Joker. Bruce has a gun. He can either choose to let Jason kill the Joker, or kill Jason to stop him, either way it makes it clear what Bruce's priorities are.

The underlying reason for this is similiar to Bruce. Just like Bruce, Jason is deeply afraid that Batman doesn't love him. That he thinks of him as a failure. (This is Toya's main reason too).

He also interprets Bruce's failure to avenge him to mean that Bruce didn't even care enough to mourn him. If Bruce loved him enough, he'd choose him over the joker, but he's so afraid that Bruce doesn't love him enough that he's going to force Bruce to choose.

Along the way he's also going to behead several crimelords in order to put an exclamation point on that point.

The way Jason completely unravels in the confrontation shows this insecurity, he begins with monologueing about how batman should totally kill people, until his fear that he wasn't important enough, and his grief at losing his father is revealed.

Batman: I know I failed you, but I tried to save you. I'm trying to save you now. Jason: Is that what what you think this is about? Your letting me die. I don't know what clouds your judgement worse, your guilt or your antiquated sense of morality. Bruce, I forgive you for not saving me. Jason: But why on god's green earth is he still alive? Ignoring what he's done in the past. Blindly, stupidly disregarding the whole graveyards he's filled with people. The friend's he's killed. I thought killing me - that I'd be the last person you ever let him hurt. Jason: If it had been you that he beat to a bloody mess. If it had been you he left in agony. If he had taken you from this world. I would have done nothing but search the planet for this pathetic pile of evil, this death worshipping garbage, and sent him off to hell.

Direct statement, it's irresponsible of Bruce to let Joker live after killing Jason and should have put him down to prevent future victims. Reading between the lines, Batman not taking revenge for Jason is a sign that he didn't love him enough, Jason loves Batman more because he would have taken revenge.

As the confrontation continues and Jason's mental spiral worsens, to the point where he can't keep up his pretense of self-righteousness.

Jason: I'm not talking about killing cobblepot, or scarecrow, or riddled, or dent. Jason: I'm talking about him. Just him. And doing it because...he took me away from you.

The father had lost the son, and now the son had lost the father.

Jason's revenge is just a cover, for his grief at losing Bruce. I think this also shows a really positive aspect of Jason's character to humanize him instead of condemning him for his actions to ignore or even justify the suffering he endured: Jason really loves Bruce.

I mean how meaningful is the statement: "Bruce, I forgive you for not saving me."

Bruce has been afraid to hear the whole time that Jason hates him, that he won't forgive him, but Jason loves him deeply. In fact his love is almost equal to his rage because Jason is a deeply emotional person, and these little details make him human and not just like a plot obstacle that Bruce has to face. A metaphor for his past failures.

Dabi is drawn as a crying boy who wants comfort, Jason is shown to be a crying boy who wants comfort through both dialogue and action without us directly needing to be told. It's a heartbreaking line and doing it because he took me away from you and it lands perfectly because the narrative wants us to just look at Jason's grief. It doesn't add an asterisk* even though he was in pain, he's done unforgivable things that can't be justified to undercut Jason's suffering.

In fact that might be another underlying problem with The Hellish Todoroki Family, the narrative tries too hard to make you feel a certain way instead of just presenting things as they are to make you come to your own conclusion. UTRH doesn't support Jason's revenge based serial killing of villains. It doesn't say he's justified to cut off the heads of mobsters. However, it doesn't excessively state "Well, I'm really sorry what happened to you but what you've done can't be forgiven" so we don't have to challenge ourselves to feel too much empathy for Jason's suffering.

Meanwhile even when Toya tries to express his rightful anger and grief, we're always met with someone shutting him down and saying well yeah, but you're wrong, involving innocent people is unforgivable.

As said by @stillness-in-green in the replies to this post:

I think so much harm (in-universe, but the state of the Twitter fandom makes me think the messages are pretty toxic irl, too) comes out of portraying the Heroes as needing to weigh in on the *morality* of the Villains' actions before they gauge "saving" them, when that is not a thing that glorified cops have any business thinking they have the right to do. Demanding repentance before the rehab is so bizarre.

You can say someone's actions are wrong without using it as a factor to consider whether or not their suffering as a human being should be acknowledged, and like I said there's multiple instances of people just yelling at Toya how immoral he is instead of addressing the elephant in the room.

You're wrong, you're wrong, you're wrong, you're wrong.

(Okay, I understand that some people have interpreted this as a show of Honnae and Tatamae, the Todoroki's who are a very repressed household are finally talking about their feelings even if those feelings are selfish and ugly).

(I'm not criticizing Shoto for saying that the people he killed were his own choice necessarily, Shoto is a character who's actions need to be read more deeply than his words he was dedicated to bringing Dabi down without him burning himself any further start to finished. My criticism lies in the fact that Hori uses Shoto as a mouth piece because he thinks we need to be reminded that murder is bad).

However, even acknowledging that time and place man, time and place. They couldn't have done that in the aftermath, when Toya isn't burning to death?

Hey buddy, you're being selfish.

Toya: AHHHHHHHHHHHHHHH I'M MELTING, I'M MELTING.

This is I feel the underlying problem with the way the arc is written, not because the Todorokis are a very traditional Japanese family and there are cultural reasons they express their emotions differently, I'll give a caveat to that it's a nuance I might not understand.

However, I am arguing the actual problem is tell don't show. Horikoshi thinks that we as an audience need to be told multiple times that murder is bad, and we cannot be trusted to interpret that on our own.

Under the Red Hood shows both sides of Batman and Jason's debate, and let's us just come to the conclusion that Jason is in the wrong because revenge isn't justice. Horikoshi reaches no shit sherlock levels of telling us that we're not supposed to approve of Dabi's murders.

it's also a matter of giving Dabi narrative space to express his feelings, like every time Dabi tries to talk he is continually shut down (Shoto does engage Dabi talk to him and listen to why he didn't come back though I'll give him that) and it seems to be to push forward this weird idea that you shouldn't sympathize with the pain Dabi has endured or the ways he's dehumanized unless he does something to prove he deserves to be treated like a human being first.

Jason gets to monologue and make an entire argument, and his argument also shows the depths of his love for Bruce and what a deeply feeling person he is, and how those feelings being hurt and twisted could logically lead to his lashing out.

Compare this to Dabi who doesn't get a final monologue, but is instead reduced to a completely mindless state where he just cries out for his dad's attention. He doesn't get to make his argument.

Jason and Dabi both choose to blow themselves up, but Jason gets enough character agency to show this is a deliberate choice he's making even if it's the wrong one. He retains his character agency and ability to make decisions until the end of the narrative.

Jason's also you know physically crying. The end result of the narrative is about wrong choices that both Bruce and Jason make together, and then suffer the consequences together. Bruce watches the same failure play out again and he isn't able to save Jason, Jason doesn't get what he wants, he doesn't get revenge and he doesn't get to reunite with his father. It's tragic for both of them, and brought about by decisions both of them made.

Whereas yes Dabi makes a lot of bad decisions leading up to the last war arc, but in the end his final fate is up to a choice Enji made to not face Toya in the final battle.

However, while the final consequence of the battle is brought about more by Enji's decisions than Toya's, it's Toya who endures all the suffering and punishment. It's Toya who is in an iron coffin, and doomed to slowly and agonizingly die with all of his skin burnt off unable to move. Toya doesn't even get agency after the arc is over. Enji still has a wheelchair, Enji can still move around, Enji's still fucking rich, he's not in prison for his actions, he as Rei wheeling him around.

Toya's agency and choices are all taken from him, presumably to serve the plot purpose of making Enji save him to finish off his arc, and then ENJI DOESN'T EVEN SAVE HIM.

Also I think it's important to mention, Bruce's tragic ending is brought about by him attempting to save both, trying to save the joker and Jason with the same action. Whereas Enji's tragic ending is brought about by Enji NOT LIFTING A FUCKING FINGER TO HELP. Yet, it's Dabi who has the lion's share of suffering, and is sentenced to this horrific state of being skinless in an iron coffin and only being able to be awake a few minutes a day with no choice but to waste away.

Bruce is also immediately called out for his actions, by the Joker of all people, you handled this all wrong, it's your fault. Bruce is right to not kill the joker, killing the Joker would not have solved any of Jason's problems, but the fact that he put off facing Jason for so long, and his inability to communicate that he loves Jason is what leads to Jason thinking that the only way to prove Bruce loves him is to force him to choose. It's because Bruce has utterly failed to show him in any other way that he is loved.

Joker: Oh my god, I love it! You manage to find a way to win, and everyone still loses. I'm going to be the one who gets what he wants tonight, badda bing, badda boom."

I'd also like to add that a lot of agency in Enji's actions are taken away too, to make him look more blameless. It's not Enji's fault that he didn't say anything to Dabi during Dabi's dance, he passed out because he had a punctured lung. It's not Enji's fault that he spent a month protecting Deku instead of searching for Toya, he had to protect innocent people. It's not Enji's fault that he didn't go immediately to face Toya in the final war arc Hawks told him not to.

It's not Enji's fault that he made Shoto and Toya fight like Pokemon instead of cleaning up his own mess, and also he feels really sorry for it and as soon as he's done punching the bad guy he'll look after Toya he promises.

Enji does get called out for this behavior but it falls flat because it only comes from the villain AFO, and Toya himself. As I stated above too, the ending is more influenced by Enji's actions not Toya's (because Toya's agency is stripped away until he's mindless) but Toya is the one who has to die while Enji gets to live and atone.

That is the real sticking point for The Hellish Todoroki Family, the way it ends.

Themes Are For Eight Graders

The underlying problem with the whole arc and why The Hellish Todoroki Family fails as a tragedy, is because it wasn't written to be a tragedy.

The above quote is from an interview with the writers of the widely hated Game of Thrones Season 8, which took a sudden tragic turn for Dany's character, gave her an incredibly dehumanizing ending of being put down like a rabid dog by her own lover, an ending that was neither foreshadowed nor did it match with anything written before.

In this meta here by @hamliet it goes far more into depth that Game of Thrones isn't a tragedy, but a piece of Romantic fiction (not a love story, Romanticism is a genre of big emotions, the beauty of life, larger than life ideas hence why it fits well with fantasy genre, it can be sad but it doesn't follow tragic structure).

Dany is a romantic heroine, a deconstruction of the idea of the classic warrior princess trope, and you know a colonizer, but she's not meant to be written as an inherently bad person. There are people who say that Dany was going to die in the original books. I'm one of those people. Me. However, context and framing matters, Dany for all her colonizing ways does genuinely want to do the right thing, so it's likely she'd die a heroic death as a reflection of her selfless intentions (and intentions do matter for fictional characters) whereas in the show she's put down as a villain.

Now watch me I'm going to coin a term for future literary critics to use: Narrative Gaslighting.

Narrative gaslighting is different then Show Don't Tell, where an author has just failed to properly show what they're trying to tell you in the story. Narrative Gaslighting is when a narrative deliberately tries to mislead you, straight up lies to you, or just insists things that did not happen totally happened guys. Much like real gaslighting, Narrative Gaslighting makes you feel stupid for interpreting things a certain way and insists you were wrong all along.

Narrative gaslighting is when Tyrian gives a speech that everyone should have suspected Dany when she burned slavers alive that she was secretly evil and would one day turn on them.

Like, no.

Dany is flawed because she is a foreigner, interfering with the politics of a different country that she does not understand in order to gain enough resources and men to return to her home country and invade that country to exercise her right as a Targeryn to uphold the divine right of kings.

Game of Thrones doesn't mention any of that shit that's in alignment with the previous actions in the story, it's just insisting the very ableist notion that Dany was insane all along and her violence towards other people is the result of her mental illness.

(Also before anyone says, so if she's a colonizer than how can she have good intentions, everyone is Bad in Game of Thrones, they're all waging war to vie for a throne, monarchy is bad guys. IDK how to tell you that Game of Thrones has gray on gray on gray on gray morality).

(Also this aside ties into the hangup of MHA and most popular fandom culture on Twitter, that Dany's moral failings somehow disqualify her from her humanity. In spite of the fact that on top of all of that she's a rape victim, and like, Dany's only on that continent in the first place because she was sold as a bride.)

But here's the same weird subtext that Horikoshi's writing of Dabi. The fact that Dabi was continually victimized and denied human dignity does not need to be addressed, because he did the bad things and didn't atone properly enough for it first.

In essence this random post on the gunnerkrigg court forums I found on the same day the chapter came out, displaying apollo's gift of prophecy.

"When someone is persecuted, it's important to inform everyone about their flaws. That way you don't have to feel anything about all the times that they were denied human dignity."

So, Dany is not written as a tragic hero but a romantic one, we as an audience are both meant to acknowledge her flaws and sympathize with her, not demonize her in an ableist way for being insane, and even if Dany is meant to die the tragic way she dies does not match up with all of the narrative foreshadowing that was built before that.

Like, for instance a lot of POC after the show ended kept telling everyone that Dany's actions in a foreign country were seriously problematic, and not only did the audience not listen but the showwiters didn't acknowledge it with the same subtlety as the books. So those people especially were able to pick up Dany's character flaws, and when the show finally acknowledged them it's not even in the way that critiques of the show were pointing out Dany's flaws it was just "she was insane all along." Not like taking time to go "no matter what the intention, interfering with the politics of a foreign country is wrong."

The problem with the Todoroki arc is essentially the same, down to the ableism (because outsiders continually call Dabi either a maniac or insane Demon without even giving credence to his grievances about hero society he's just reduced to an insane fringe element of society, and Dabi himself is reduced to a completely mindless, childish, insane screaming state where he can't make active decisions).

The Todoroki Arc is not set up to us as a tragic one. The ending is pretty clearly telegraphed to the whole audience. People are not wrong for thinking that Toya's ending would be either rehabilitation like Rei with the eventual hope of being welcomed home, or some kind of house arrest where he still gets to be with his family.

Everyone happy at the Dinner table and Enji not sitting with them.

"I wish you could be here, Toya."

"We all have to go stop, Toya."

"In that case, I'll make him sit down for a bowl with me."

Even Shoto's efforts to take down Toya non-lethally are rendered completely pointless, because Toya gets back up again and then burns himself alive (completely by his own choice so no one has to feel bad that they failed).

The story sets up the expectation that Toya is going to be brought home and sit down for a meal with his family. Then it makes you feel stupid for going in an entirely different direction. It was always going to end this way didn't you know The Todorokis are a tragedy?

Well, I just spent a very long section of this thesis statement illustrating that if it's supposed to be a tragedy, then it's still not written well.

It's a written as a romantic story of a family healing, and the villain getting saved, only for the villain not to be saved and the story to just keep on going like not getting saved isn't a huge failure. This is something that should permanently destroy the main characters, that they got the chance to repeat Sekoto peak and be there this time and they all utterly failed. I feel bad for Shoto most of all because he did everything right, and he still loses his brother, but does the story show that?

The problem is the story is blatantly lying to you about the fact that Toya was somehow saved, even though he LITERALLY LOOKS LIKE HELLRAISER. To quote Codenamesanzanka again:

But I feel the story couldn't give us that because it will remind the reader and everyone just how much Touya will be missing. In-story, talking any more will overburden Touya's heart - and how apt is that metaphor? So let's talk about how we'll talk, but that's all that's allowed here for this scene. Else we'll see how unfair it is that Touya has to be confined to this room, he isn't with his family and they have to come to this prison just to tell him about their day, and soon he will be gone. Details make it real, and it would've exposed the lie that Touya was saved in an actual way. The story knows it too - "this extra time Shouto gave us." This is all 'extra', and not the core. [...] If the story was sincere that this is a case of "it's simply too late" - as it should be!!! imo, to really drive in the clear point that they failed, they did not get the save they wanted, because that's the truth - the tone of the chapter isn't tragic enough for that. The tone is going for 'Making Peace With This'. We've skipped the stages of grief and all we have is acceptance. The characters have accepted this, and so must the readers as well.

Therefore it's narrative gaslighting, the story is making us doubt our perceptions and trying instead to manipulate us to feel a certain way. We don't have to question the unfairness of Toya's fate, because look at all the people he's hurt, and look how Enji is atoning and taking responsibility.

The story builds up the idea that Enji will choose Toya. That he will choose being a father over being a hero. Enji doesn't do that, and it's Toya who suffers the horrific, painful consequences while Enji gets off mostly scott free. Mind you it's also ableist to suggest that being in a wheelchair is some sort of life-ending consequence like he's fine. The story even goes out of its way to say how avoidable this ending could have been if Enji or Rei or someone lifted a single finger to give Toya the acknowledgement he wanted, and then gives it a "Too little, Too Late" conclusion but doesn't acknowledge that this is where it's ending and instead tells us that Enji has successfully atoned.

"Everyone's watching me. So this is what it's like. If it was such a simple thing, then why not sooner?"

If it was going to turn out this way Toya should have just died here, not because death would somehow be a mercy compared to life in prison, but because the Todoroki Family doesn't deserve to get to pat themselves on the back. If they let Sekoto Peak happen a second time, then they should have to deal with the consequences of that.

It would be consistent is my point. This is written as a "Too Little, Too Late" kind of ending, but we don't get the emotional response from the Todorokis that they've let Toya die a second time.

On the other hand, UTRH has the exact same tragic ending but it doesn't make me angry because it's honest about it. The Todorokis let Sekoto peak happen a second time. Batman let Death in the Family happen a second time, but look at how even the narration and comic panels of the story acknowledge it.

"Fate is a funny thing. It swells up like a raging current and we are forced to travel. It provides us no exit. No deviation. It drops us in a bottomless ocean and compels us. We either swim, or drown, and sometimes as we struggle against the tide, a great truth arises."

One ends with Enji meaninglessly stating that he'll spend the rest of his life atoning for Toya and watching over him (which I guess will be like two months tops) for the fifth time. The other ends with Batman being lectured by the Joker of all people of how he chose wrong and being forced to watch once again as a warehouse blows up, and he's completely helpless to save Jason.

UTRH ends with the message that Batman sucks, Enji's atonement arc ends with Natsuo calling him cool for atoning and UTRH makes me like Batman way more as a character. Whereas at this point I feel nothing from the Todoroki Family, except for a disgust for the way that Toya not only has to die, but has to die a slow, gruesome death while the rest of his family walks away with the small comfort of "oh at least we'll get to say what we need to say before Toya passes."

Especially with the fact that Toya's greatest fear was that when he died, he died meaninglessly because his family never grieved him and all moved on with their life. I guess we don't have to analyze how gross the underlying message that criminals don't deserve to be sympathized with because themes are for eighth graders.

EPILOGUE

The post is finished but apparently everyone expects me to cover every single possible angle even in posts this long.

You didn't address the cultural aspect. Under the Red Hood is a western story, and Todoroki Family is based on eastern concepts.

The post isn't about that. The post is long enough I can't cover every single topic. Here's someone who covered that topic thoroughly. This one discusses more about the nuances of collectivism.

Also, since the Todoroki Family obviously copied Under the Red Hood's homework, it warrants a comparison. Especially since it seems to critically misunderstand what made the original work.

Which is a valid form of Literary Criticism, as Ursula K Le Guinn once said:

 It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

The Todorkis aren't all to blame for Toya. Natsu, Fuyumi and Shoto are innocent:

You're right. It's just easier to refer them as the Todorokis then specifying "Enji and Rei" each time.

You didn't mention Shoto once in this post:

I have no cricism for Shoto's role in all this. In fact I think he's the best written part. I praise it here.

Shoto is a good boy, and he deserved to spend more time with his brother. The fact he won't be able to sit down and have dinner of him, is the greatest tragedy of them all.

[neptuneiris]

Cruel Summer (01/10)

Sunset's Bay

pairing: modern!aemond × fem!reader

summary: There are two sides to the city of Sunset's Bay, the rich who live in 'Crown's' and the poor who live in 'Black Waves'. What happens when a rich guy and a poor girl meet and inevitably fall in love? In the city where they live and with their status, that can't be possible.

words: 5.8k

series masterlist • next part

I wasn't sure about posting this but if you like the story I will continue with it, it all depends on how you receive it😬

in case you like it, I want to advance that the story will be a kind of forbidden love by the fact of rich and poor hehe and I have a lot prepared, basically everything is already written, I just need to structure it in a better way

this has only been an introduction to the world of Sunset's Bay, so I hope you enjoy it and the warnings will be added as I post the chapters if you like it🤗

so enjoy!

Sunset's Bay.

The hidden but mostly inhabited beach on the California Coast, with golden and white sands that slide into crystal clear waters of such a deep blue that it seems infinite.

According to Google, it is one of the most beautiful beaches in Northern California and where teenagers living in surrounding cities yearn to come every time a new summer begins.

Sunset and sunrise on these waters are beautiful, as they transform the horizon into a palette of vibrant colors, from warm shades of gold and pink to soft purple and the deep blue of night.

Every summer, the beach comes alive with exciting surfing tournaments, as well as Sunset's Pier, the midpoint of the beach where everyone mingles, transforms into charity events with live music, fireworks and lamp shows that illuminate the night with a mesmerizing light show.

Boat and yacht rides add a touch of sophistication to the coastal scene. This allows tourists to explore the waters beyond the beach, visit small islands up close and enjoy the serenity of the open sea.

But on top of all that, everything is meticulously maintained, most of it, like the clean, spacious beaches, adorned by palm trees swaying gently in the sea breeze.

And your favorite section, the volcanic stone cliffs that are distributed in specific locations on the beach, offering rocky walls as you sit on the seashore behind you and all around, emerging as natural guardians of the beach.

And from their heights, you can take in panoramic views of all the beauty of the landscape, encompassing the vast endless ocean and coastline to the endless horizon.

You always looked forward to coming here as a child when a new term at school ended and your mother was always willing to come and spend the vacations with your relatives, the Blackwoods.

They always welcomed you and your mother and together with your cousin Alysanne, you had an amazing summer.

Ever since you were little, you have always been tattooed with the memory of the sand on your feet, the salt air in your nostrils, the water enveloping you completely and the sun in full sunset caressing your whole face as you watched it on the horizon starting to descend on the shore of the beach with the cliffs behind you.

And now, that's all you know, a life in Sunset's and your frequent days at the beach.

Living with your aunt and uncle and Alysanne in a house big enough to also make room for you on the beach shore, this has been your home for exactly a year now.

And now summer has begun.

"Sam has sent a message."

You raise your gaze to Alysanne as you finish cleaning one of the tables.

"He says to meet him at the beach with the others in the evening. Do you want to go?"

You place a small smile on your lips.

"Sure."

"Table nine!"

You both turn your heads toward your boss, who looks at both of you as if he wants to kill you at any moment, and you quickly rush to serve the food, briefly wiping the sweat from your brow to keep working.

"Hurry up, Blackwood," Mr. Frey tells you reluctantly as you begin to pick up the orders on the tray.

You let out a long breath and glance at the clock briefly before going to serve, realizing that you will have to put up with this for four more hours and for the rest of the summer as well.

Unfortunately you and Alysanne have to work, as it has been for some months now at a seafood restaurant where the 'rich' people from this side of the city come to enjoy the delicious food.

And because of the summer, the work has increased. But that doesn't stop them both from having fun now that summer has begun.

So as soon as you and Alysanne finish your shift, you head home as soon as possible and start getting ready to meet your friends at the beach.

Previously going out and having fun was a problem for Alysanne's parents, your aunt and uncle were not the liberal type, but as soon as you both started working and helping them with the household expenses with what you could, they started to be more permissive and understanding.

And this is your home, the less ostentatious side of the city, but still genuine.

Once you join Sam and all the boys on the beach, you head for the small boat floating near the shore.

It is not a luxurious boat, much less can it be compared to a boat or yacht of the latest model, but it is a modest boat that has seen many summer seasons.

And it has taken them all to many spots on the beach and you have shared many anecdotes on it.

And as the boat glides through the calm waters, you and Alysanne enjoy the laughter and stories shared by the boys from the neighborhood, Sam, Daniel and Chase.

The three of them have been childhood friends of Alysanne's and when you came to live with her officially, she introduced you to them and now you all have formed a group of friends where you enjoy afternoons like these with Sam's boat and where you also go swimming and surfing all together.

The sea breeze caresses your faces and the sun slowly begins to descend as it paints the sky in warm golden tones, until the afternoon turns into night.

And on the beach, with a campfire in the center, the starry sky above and all together in a circle, you start burning marshmallows and drinking beer.

"And tell us..." speaks Daniel, watching you both curiously, "How about the slave life for the rich people?"

You and your cousin let out a small laugh.

"Slaves?" you repeat amused.

"Well yeah, come on, you said your boss... what's his name? Grey? Payne?"

"Frey," Alysanne corrects him.

"Yeah, that," he points to her, "He's a jerk or not?"

"And no concept of patience and prudence," you add.

"I imagine the ones who eat there are worse, no?" asks Chase.

Daniel snaps his fingers at him.

"Lannister?"

"Oh yeah, definitely. Jason Lannister has that vibe."

"I put him in the top one of the most hated, along with the Baratheons. And I have a feeling the Arryns do too, I don't know why," Daniel again looks at you both, "Right?"

"You work for them," Alysanne tells him amused, "Don't you know that?"

"Well, it's not like they can tell me much for cleaning their boats and yachts but... no–they're extremely nice, though..." he holds up his finger with a thoughtful expression, "Though I think there must be something wrong with them."

Alysanne lets out a snort.

"They're rich and live at Crown's, practically owning all the establishments on the beach just like the Lannisters, Baratheons, Tyrells and others leaving nothing for us, the poor ones, because they despise us," she says with an ironic but true tone "Of course there must be something wrong with them."

"One time one of them didn't leave me a tip," you say, remembering, "The Tyrell's."

Sam looks at you amused.

"Tips are not obligatory."

"Oh come on," you retort, with a touch of irony, "They're rich, they can have yachts and mansions, but can't they at least give me a five percent tip?"

"Yet it's not obligatory."

Everyone lets out a laugh.

"Yeah, it's not the nicest place to work and the customers aren't necessarily nice but the pay is good, after all," Alysanne says as she shrugs.

And that's true.

Even though it's not a good work environment, the necessity is what makes you not quit and endure as much as you can. Even though your aunt and uncle are taking care of you and taking responsibility for you, you know you can't continue that way forever.

You want to be independent, pay for your own things, especially you want to pay for college, but to do that, you have to work and now this is the job.

Besides it's useless to find work elsewhere when the owners are still the same; rich and arrogant. And you can't find work on your side of the city because the pay won't be much or maybe they won't even hire because they can't afford it.

But right now, being here enjoying the summer with your friends and your cousin, you allow yourself not to think about it and just continue to criticize the rich people.

And after many cans of beer, Chase picks up his guitar and you all together start singing in the most off-key and horrible way possible, laughing amongst everyone with the jokes filling the air, just like the heat of the flames and the aroma of roasting marshmallows.

"You had a party and didn't invite me!?"

Almost everyone together turns their heads unexpectedly toward the approaching outside voice laden with amusement and mild reproach.

And then they all see Cregan Stark with a huge grin and a bottle of beer in hand.

The guys soon start showing off at the mere sight of him, making jokes and greeting him with great enthusiasm, as Cregan greets them.

And you just watch Alysanne with a sly smile, amused by Cregan's sudden appearance, but of course, she quickly hides all traces of whatever her reaction is to seeing him, adjusting her expression to one of neutrality as she tries to appear disinterested.

But you know.

And you're amused at how she acts as if you don't know her.

Cregan Stark is the spoiled son of one of the wealthiest families in Sunset's, living in one of the most exclusive areas on the Crown's side.

His appearance reflects his status; brand name clothes, really expensive accessories, late model car and an attitude that denotes familiarity with luxury. However, despite his wealth, Cregan has proven to be different from other boys in his social environment.

Although he has access to all the luxuries, he does not carry with him the air of superiority and arrogance that many would expect from someone like him and that those of his class usually display.

In fact, Cregan became friends with Chase, who works for his family in the ports.

And it was Chase who introduced him to the group and although at first no one felt confident with him, Cregan instead of imposing his status, imposed a genuine and friendly demeanor that won the friendship of everyone in the circle.

Later everyone understood that he doesn't really enjoy being with people from the same environment as himself. The wealthy teenagers he usually hung out with, for the most part, were overly judgmental and arrogant.

So thanks to Chase, he found company with all of you, the guys from across the city who don't have a mansion and all the money in the world, but who are genuine and free of pretense.

Despite the looks people give Cregan for not understanding his choice of company, he deliberately ignores them. His parents don't say anything to him either, although he says they clearly prefer that he stop interact with you.

"I am deeply, intensely and extremely offended," he says expressing mock indignation, holding a hand to his chest, watching you incredulously but amused.

"Come on, man, don't get dramatic," Chase tells him giving him a friendly tap on the shoulder.

"Yeah, we're just getting warmed up," Sam encourages him.

"Besides..." says Daniel, in an exaggerated tone, "We can't send messages across the beach, us poor people have to use carrier pigeons like the olden days to get anything to you, but guess what... we're so poor we can't even afford pigeons."

Everyone lets out a laugh, enjoying Daniel's humor in implying the differences between the poor and the rich on the beach.

"Stop, seriously, why didn't you guys tell me you were doing this?" Cregan asks, taking a seat on the logs.

"I heard there's a party on your side of the beach and I figured you'd be heading over there," Chase tells him, "Which you did, didn't you?" he points to the beer in his hand.

He lets out a long breath.

"Yeah but it was pretty fucking boring."

"Boring?" you repeat incredulously, "A party with a DJ, champagne and yachts I highly doubt is boring."

"Well, not that it wasn't fun," he says looking around and observing everyone, "But I wanted this, to be with you guys, the atmosphere."

"And how did you know we were here?" asks Alysanne curious.

"I didn't exactly know," he smiles at her, "So I just decided to come and try my luck."

"Oh man, stop it or you'll make me cry," Daniel jokes, holding a hand to his heart.

"He loves us, doesn't he?" asks Sam, with a smirk.

"Yeah, he definitely loves us."

Everyone laughs and you watch discreetly as he and Alysanne start throwing their little looks at each other.

"Party with DJ and yachts? Man, if I were you, I'd be enjoying that," Sam confesses, shaking his head in a gesture of incomprehension.

"It's not big deal and people are hateful, believe me."

No one argues with him about that but you too sometimes wish you could have fun like that, have the experience of going to a beach party like the rich kids in the movies, just once.

But the time will come, someday, there are still many summers left to enjoy.

The conversation flows as the boys settle around the campfire, the warmth of the fire contrasting with the cool night breeze blowing in from the sea.

The atmosphere is filled with laughter and banter, and the relaxed beach setting becomes the perfect backdrop for a night of genuine camaraderie.

Cregan, with his carefree and genuine attitude, seems to fit right in with all fo you and that he values sincere company over superficial luxury.

And you don't know exactly how much more time passes or how many beers that Daniel brings back the theme of the rich party on the other side of the beach.

"Hey, Cregan," he says, leaning forward with a mischievous expression, "Since you're here, why don't you take us to that party? I'm sure it's not as bad as you say."

Cregan raises an eyebrow, amused but surprised.

"What?"

Something about Daniel's words clicks in everyone's head, even yours, so you quickly exchange glances with Alysanne. And Cregan notices how everyone starts to truly consider it.

"Do you guys really want to go to that party?"

"And why not?" asks Alysanne, with an grin, "I'm sure we can have fun, even if we're not part of the rich circle."

"Yeah, and besides..." adds Sam, with a persuasive tone, "It would be interesting to see what the other side of the city is like from the inside. We've never been to a party like this."

Cregan seems to think about it for a moment, looking at the boys with a mixture of doubt and amusement.

"Seriously you guys are telling me this? The rich haters?"

You shrug.

"The rich hate us too."

"And that's precisely why we want to go," Sam says, gesturing animatedly, "We want to try something different. And who knows, maybe we'll give you a good reason to have a little more fun at that party. Right, Chase?"

Everyone looks at Chase, who shrugs.

"I guess that wouldn't be bad."

"But you haven't thought this through," Cregan insists, "As soon as they see you all, they'll know you're not like them."

Everyone looks at themselves and well... he's right.

The rich, especially those who are the same age as you, have a radar to recognize someone who is just like them... or not.

But you don't blame them, since you have them too, the difference is that you don't make disgusted faces or criticize in whispers as soon as you notice.

You notice your two-piece bikini top is wrinkled and is clearly second hand, besides your worn-out sandals. Alysanne is also in the same condition as you and the boys... well, they're worse.

Sam's shirt is torn, Chase's is torn, and the clothes are visibly secondhand.

"We have better clothes at home," you tell Alysanne and she nods.

"And we take our shirts off and stay in shorts," Daniel says, in solution, "Are we at the beach or not?"

"And if something goes wrong, we can always run out and come back here," Alysanne suggests.

Everyone nods and basically watches Cregan with puppy dog eyes, hopeful that he will take you to his kind of people.

"What do you think, Cregan?"

Cregan is silent for a few seconds, his gaze sweeping over the group around him, analyzing and thinking about all the things that could go wrong. And he doesn't pass up the abandoned cat look that Daniel and Sam throw at him.

And finally, he lets out a laugh and a resigned sigh.

"All right, all right. I'll take you. But if we have a bad time, don't say I didn't warn you."

"That's what I like to hear!" exclaims Sam, raising his arms in victory.

"We won't regret it."

"We may not but the rich will."

"Thanks, Cregan," says Alysanne, patting him on the back.

You frown as you watch her gesture and also notice Cregan's confused look for a moment, but go back to watching the boys.

"Well, then let's go before I change my mind."

You put out the campfire, pick up the trash and with laughter they all very animatedly walk away from your spot on the beach, heading first towards the trash cans and then towards Cregan's car.

"You do know Cregan likes you, don't you?" you say to Alysanne, walking a little further away from the guys.

She gives you an incredulous look.

"What?"

"Oh come on and you like him too, don't deny it."

"Of course I don't."

"Of course you do."

"You're crazy."

"And you won't stand a chance if you keep treating him like just a dude."

"Oh yeah, yeah, whatever you say."

You let out a laugh, understanding that it will be difficult for her to accept and share it with you, so you give her time. The guys behind you laugh too, with the echo fading into the salty air, leaving the sea breeze and the sound of the waves behind.

The difference in locations is completely noticeable.

You leave behind the small wooden houses, the unkempt streets, the establishments where you and your friends can shop, the bicycles and old cars, to move to large neighborhoods with green grass, trees and bushes on every corner with huge luxurious houses, almost mansions with modern cars and expensive decorations.

The guys are excited and so are you, as you have never explored these sections of the beach before, which are completely exclusive and with access for the rich people.

Obviously there are entrances with booths and security guards, so Cregan's appearance alone proves he's a Stark and he's allowed in without objection.

And soon enough, you arrive at the party.

"Oh my goodness, look at this," exclaims Alysanne, wide-eyed as she takes in the scene.

"That's a Prestige F4?" asks Sam in surprise, eyeing the luxurious yacht in the distance.

"Seriously, how much money do these people have?" mutters Daniel, in shock.

"More than you'll ever have," Alysanne tells him with a smirk as you all walk onto the beach illuminated by the party lights.

"You don't know that," Chase replies to her, pretending to be offended, "Maybe someday I'll get rich and buy one of those," he points to the yachts.

"I'm very offended that you didn't invite us to your parties sooner," Daniel says to Cregan, putting a hand to his chest as if he were badly wounded, "How could you hide all this from us?"

"Don't draw too much attention to yourselves, guys," Cregan asks with a mixture of concern and amusement in his voice.

"We won't," says Sam, "We'll just enjoy ourselves apart from the others but inside, you get it?"

The music starts to get louder and soon enough, we are inside the party.

Blue and purple neon lights illuminate the white sand, creating a dazzling contrast against the night sky. Waves break gently on the shore, almost muted by the music vibrating through the air.

There is indeed a DJ from a raised platform and most of the people here dance in the center to the music, some with cocktails in hand, bottles of champagne or recording the moment on their phones.

Near the dock, several luxurious yachts are docked, all decorated with lights flashing to the rhythm of the music. There are people inside them, enjoying the party from right there.

Some people get off the yachts to join the party on the beach, while others stay on board, enjoying the view and the exclusivity it offers.

If not beer, there is a bar offering a variety of exotic drinks and gourmet appetizers, such as sushi, caviar and canapés.

And throughout the party, groups of people are spread out, chatting animatedly, laughing, toasting and dancing. There are also party games, such as beer pong and spin the bottle.

While others gather around improvised campfires farther away near the sea, where the atmosphere is more relaxed, watching the spectacle around them.

The air is permeated with the smell of sea salt mixed with expensive perfumes and the sound of laughter and music all along the beach.

It is a party that clearly reflects the wealth and status of their hosts, as well as the people present; pure spoiled kids with rich parents.

"Are we going to have fun or what!?" exclaims Sam excitedly, fully entering the party and everyone follows.

Chase convinces Cregan to be worrying since most of the people here are in their own world and he doubts drunkenly checking to see if they have the latest model Iphone or what.

And honestly you relax too as everyone here is having fun and you along with Alysanne look more presentable in nice bikinis.

They are second hand still but they are more cared for than the others you have.

Sam quickly orders drinks, surprised and excited to have gotten a bottle of champagne, then Cregan and the others take him and you and Alysanne to a more secluded spot.

You make a space for yourselves on the sand, a bit secluded from everyone, having the view of the huge luxurious houses, the cliffs in the distance and also the illuminated yachts on the dock behind you.

Pretty soon you have your beer and start enjoying yourselves just like everyone else, not worrying too much and just pretending you are one of them all.

Mingling with the rich at Sunset's pier is one thing, since the pier is the center of the entire beach and there are no prejudices there, but now pretending to be one is completely different.

You find yourself watching everyone around you when Alysanne nudges you slightly and points her gaze to a specific spot.

"Look at that."

You follow her gaze and see a group of girls.

"That bracelet is from Pandora, I saw it on Instagram."

From here you can see how their gold and silver necklaces and bracelets sparkle. Also the bikinis they have on are beautiful, certainly brand name. There is also a girl with a Guess bag and they all have the latest Iphone model in their hand.

And you turn to Alysanne with a shrug.

"Why are we judging when it should be the other way around?"

"We're not judging, we're just noticing the differences between girls like them and girls like us."

You both let out a laugh.

"You definitely want that Pandora bracelet, don't you?" you look at her amused.

"And you don't?"

The two of you continue to observe or rather admire all those rich girls who have fancy accessories when suddenly you hear a specific boast behind you.

You turn your head and see the dock, noticing how some impeccably dressed people are boarding one of the larger yachts docked near the shore.

And there they are.

You think as you make out those distinctive black, red and silver hair.

Of course they couldn't miss a party like this, the sons of the most influential families in the city, the Lannister's, Baratheon's and Targaryen's, practically the elite of Sunset's.

You've seen Cerelle, Tyshara and Loreon Lannister before on the Sunset's Pier, their red hair gives away who they are instantly. They always brag about their luxurious yachts, cars, jewelry stores and everything else they own.

Their father, Jason Lannister, has built an empire based on shipbuilding and port development.

From what you understand, his company designs and manufactures some of the most advanced and exclusive ships for the world's elite.

In addition to this, Lannister also owns a network of ports and shipyards on several coasts, allowing him to maintain a steady flow of wealth through port fees and contracts with global corporations.

This influence has given him a prominent place among the city's powerful and his family has inherited not only his fortune, but also his imposing and domineering character.

So it is no surprise that the Lannister's are typical spoiled children with clearly very wealthy parents, as are the others, especially the Baratheon's, Cassandra, Maris and Floris.

Known as much for their tanned skin and peculiar dark hair as for their arrogant attitude, they always seek to be the center of attention at any such social event.

Cassandra, the eldest, has a dominant bearing and never misses an opportunity to show off her status. She is also the best known of the daughters to go out every now and then with a boy from an important family either from the city or abroad.

Next, there is Maris, the quietest of the three and the most reserved, but still, as you have heard, just as spoiled and boastful as her older sister.

And finally, Floris, Cerelle's best friend and supposedly the most arrogant, capricious, shallow and boastful of the three.

She is the one who seems the sweetest at first glance, but her spoiled nature soon becomes evident when something doesn't go her way.

You also know that there are two other children, a daughter and a son, Ellyn and Royce, but apparently Ellyn prefers to stay at home and Royce does not live here.

Her father, Borros Baratheon, is a most important and influential shipping magnate and merchant in the region, known for his connections with outside businessmen.

He owns one of the largest commercial fleets operating along the entire Pacific coast. You don't know exactly what it's about but the guys have talked about how his company specializes in logistics and shipping goods across the ocean or something like that.

And finally, the sons of the most powerful family in the entire city and the entire country, the Targaryen's.

Viserys Targaryen is known as the most powerful man in the entire country and by extension his entire family as well. He owns one of the largest and most influential corporations in the region.

Your uncle Ben always had a kind of admiration for him, though your aunt always expressed her dislike of him, as well as the other families, for simply being other greedy money-rotters who drive up the costs of the city for all that they invest to elevate their status and leave you poor people increasingly difficult to make a living.

You honestly couldn't agree with her more, but the Targaryen's have been forging their main empire here in Sunset's for a very long time now and there is nothing that can really be done about it.

The Targaryen business empire focuses on multiple sectors, but they are best known for owning a very prestigious bank, where they serve wealthy elites and large corporations, as well as financing large scale projects, such as real estate developments, technology or even public infrastructure.

You understand that he has built and manages shopping malls, corporate skyscrapers and exclusive developments in major cities across the country, as well as high profile tourist destinations like Sunset's.

So basically all of them and him especially have total control over the financial resources of the region, as well as infrastructure and development in the most luxurious sectors.

Although Viserys and his wife Alicent are no longer seen as much at events this side of Crown's and on the pier, their influence still shapes everything that happens here.

"Hey."

Sam snaps you out of your thoughts when you feel him tap you on the shoulder and you turn your head towards him, confused and attentive.

"Hm?"

"What are you looking at?" he asks you amused, sitting down next to you and offering you a new bottle of beer.

"Oh, no, nothing, just..." you shake your head, taking the beer and not paying attention to the son's and daughter's of rich parents.

But Sam had followed your gaze before.

"I know, they're beautiful, aren't they?"

You immediately watch him intently.

"Who?"

"The yachts," he tells you as if it's obvious, "Imagine spending a whole weekend on one, just doing this..." he points to the beer and all the partying, "In the middle of the ocean."

You let out a small laugh.

"That's your biggest dream, isn't it?"

"And for the yacht to be mine, obviously," he says excitedly, turning his gaze back to the dock where they all are, "If I used to see them from afar and feel envious, now it's torture to have them so close."

You look to where he sees and he has a very good point. They could live perfectly well on one of those yachts and there would be no problem, which is also one of your dreams.

"Oh, come on Sam," you give him a friendly smack, looking at him again and you notice the gleam of longing in his eyes, "Surely your charm can make a girl from Crown's fall in love with you and let you enjoy the amazing yachts."

He looks at you incredulously.

"A Crown's girl with someone like me? Are you kidding?"

"It's not impossible," you shrug.

"Oh yeah, here at Sunset's everything is impossible if you don't live on this side of town."

And that's another good point and very true.

Daniel joins you and Sam's little group and you stop paying attention the moment you turn your gaze back towards the yachts and them specifically.

This time you focus on the Targaryen's, Helaena, Aegon and Aemond.

Surprisingly, despite being in the top tier of the wealthiest and most powerful family in the entire city and country, compared to the Lannister's, Baratheon's, Tyrell's, Arryn's, Stark's and Greyjoy's, they are not so smug, superficial and arrogant.

Although, come to think of it, the only exception is Aegon.

The eldest of the brothers, he is characteristic of his carefree and arrogant attitude. His life is summed up in parties, girls and excesses. Everyone knows him, he is the soul of the party and drives all the girls crazy.

For him, life is a game where he always wins. Sometimes he seems like the typical privileged son who has never had to strive for anything, but his power lies precisely in that.

Then there is Helaena, the only sister among the Targaryens who has a pleasant and gentle presence.

Although she is rich, the richest of them all and extremely beautiful, she doesn't abuse it, she doesn't show it off, she's not shallow or arrogant, besides she's always looking out for her siblings.

She is the kind of person who doesn't need to shout to be noticed and with just a quiet smile, she earns the respect and admiration of those around her.

You know a little about her as Chase has a little now not so secret crush on her and honestly you don't blame him, she is absolutely beautiful and even kind, which is rare due to her provenance.

And finally there's Aemond, who of all them, he's always been... different.

Where Aegon is shameless and carefree, Aemond is calculating and serious. Always impeccably dressed, with an expression that doesn't say much and keeps him at a safe distance from most.

From what you've heard, he's extremely intelligent, he's also reserved and quiet, the complete opposite of Aegon.

There is also a rumor about him about his left eye, something about an accident as a child and where he apparently wears a prosthetic.

You don't really know much about it or him but he's always been intriguing and mysterious, in a way.

You focus on him specifically, watching him from a distance, curious, as he takes a seat on the deck with an expression you can't read as it doesn't tell you much.

You watch as his short silver hair moves slightly in the wind and breeze, as well as he watches everything around him intently, to again focus on his siblings and Floris.

Floris is his girlfriend, apparently they have been dating for a few months now and have given a lot to talk about since no one expected Aemond to even date anyone.

But there they are.

You watch as Floris approaches him and takes a seat on his lap, looking radiant in a tight dress and a huge smile on her face, but he, on the other hand, remains expressionless.

Floris murmurs something in his ear, to which he responds with a slight smile, but averts his gaze to the horizon. However, she gently takes him by the jaw and leaves a soft kiss on his lips.

They begin to kiss and you look away, trying to refocus on the party and enjoying yourself here with your friends.

However, being here with all these wealthy people, especially the Targaryen's, you can't help but feel that divide about the rich and the poor at Sunset's.

You feel like you live in two different worlds, where they, the rich, live a life completely oblivious to the concerns of the people on the other side of town, in Crown's.

While you and the others work in the restaurants, clean their yachts, boats, houses and make sure their lives are comfortable.

They float above it all, the Targaryen's, Lannister's, Stark's, Baratheon's and so on, attending parties and making decisions that only benefit their own.

But you, the poor, the ones who live in Black Waters have nothing, you don't have the money, the influence or the power. Even the name of your side of town is a mockery to them, the rich, in despising even more the poor who don't have what they have.

But that's the life in Sunset's Bay.

[literaryvein-reblogs]

Writing Notes: Wounds

Wound

Occurs when the integrity of any tissue is compromised (e.g. skin breaks, muscle tears, burns, or bone fractures).

May be caused by an act, such as a gunshot, fall, or surgical procedure; by an infectious disease; or by an underlying condition.

8 Categories of Acute Wounds

Generally used by emergency personnel & first aid workers.

Abrasions. Also called scrapes, they occur when the skin is rubbed away by friction against another rough surface (e.g. rope burns and skinned knees).

Avulsions. These occur when an entire structure or part of it is forcibly pulled away, such as the loss of a permanent tooth or an ear lobe. Explosions, gunshots, and animal bites may cause avulsions.

Contusions. Also called bruises, these are the result of a forceful trauma that injures an internal structure without breaking the skin. Blows to the chest, abdomen, or head with a blunt instrument (e.g., a football or a fist) can cause contusions.

Crush wounds. Occur when a heavy object falls onto a person, splitting the skin and shattering or tearing underlying structures.

Cuts. Slicing wounds made with a sharp instrument, leaving even edges. They may be as minimal as a paper cut or as significant as a surgical incision.

Lacerations. Also called tears, these are separating wounds that produce ragged edges. They are produced by a tremendous force against the body, either from an internal source as in childbirth, or from an external source like a punch.

Missile wounds. Also called velocity wounds, they are caused by an object entering the body at a high speed, typically a bullet.

Punctures. These are deep, narrow wounds produced by sharp objects such as nails, knives, and broken glass.

Symptoms of a Wound

Include localized pain and bleeding.

Specific symptoms:

 An abrasion usually appears as lines of scraped skin with tiny spots of bleeding.

 An avulsion has heavy, rapid bleeding and a noticeable absence of tissue.

 A contusion may appear as a bruise beneath the skin or may appear only on imaging tests. An internal wound may also generate symptoms such as weakness, perspiration, and pain.

A crush wound may have irregular margins like a laceration; however, the wound will be deeper and trauma to muscle and bone may be apparent.

A cut may have little or profuse bleeding depending on its depth and length; its even edges readily line up.

A laceration may have little or profuse bleeding. The tissue damage is generally greater and the wound’s ragged edges do not readily line up.

A missile entry wound may be accompanied by an exit wound, and bleeding may be profuse, depending on the nature of the injury.

A puncture wound will be greater in depth than in its length, therefore there is usually little bleeding around the outside of the wound and more bleeding inside, causing discoloration.

Some Terminology

Butterfly bandage—Narrow strip of adhesive with wider flaring ends (shaped like butterfly wings) used to hold the edges of a wound together as it heals.

Plasma—The straw-colored fluid component of blood, without blood cells.

Tourniquet—A device used to control bleeding, consisting of a constricting band applied tightly around a limb above the wound. It should only be used if the bleeding in life-threatening and cannot be controlled by other means.

Traumatic shock—A condition of depressed body functions as a reaction to injury with loss of body fluids or lack of oxygen. Signs of traumatic shock include weak and rapid pulse; shallow and rapid breathing; and pale, cool, clammy skin.

Whole blood—Blood that contains red blood cells, white blood cells, and platelets in plasma.

Source ⚜ More: Writing Notes & References ⚜ Writing Resources PDFs More: Writing Realistic Injuries ⚜ On Anatomy ⚜ Poison ⚜ Fight Scenes Part 1 2