#character involution

[the-hilda-librarians-wife]

Damn it, just when I thought I was going to be ahead of schedule for Sketchbook Week I got an idea for a fanfic to write for the day I didn't know what I was going to do. There is absolutely no reason for me to drop 6 new fics in the span of one week but I don't think I'm going to be able to run from this

[literaryvein-reblogs]

Hey, I wanted to ask, do you have any tips for numbers and their meanings, For example: what does the number 5 represent?

Writing Notes: Symbolism of Numbers

In symbolism, numbers are not merely the expressions of quantities, but idea-forces, each with a particular character of its own.

The actual digits are, as it were, only the outer garments.

All numbers are derived from the number one (which is equivalent to the mystic, nonmanifest point of no magnitude).

The farther a number is from unity, the more deeply it is involved in matter, in the involutive process, in the“world.”

The first 10 numbers in the Greek system (or twelve in the oriental tradition) pertain to the spirit: they are entities, archetypes and symbols.

The rest are the product of combinations of these basic numbers.

Below are the most generally accepted symbolic meanings of each number.

ZERO

Non-being, mysteriously connected with unity as its opposite and its reflection; it is symbolic of the latent and potential and is the “Orphic Egg.”

From the viewpoint of man in existence, it symbolizes death as the state in which the life-forces are transformed.

Because of its circular form, it signifies eternity.

ONE

Symbolic of being and of the revelation to men of the spiritual essence.

The active principle which, broken into fragments, gives rise to multiplicity, and is to be equated with the mystic Centre, the Irradiating Point and the Supreme Power.

Stands for spiritual unity—the common basis among all beings.

Guénon draws a distinction between unity and one, after the Islamic mystic thinkers: unity differs from one in that it is absolute and complete in itself, admitting neither two nor dualism.

Hence, unity is the symbol of divinity.

Is also equated with light.

TWO

Stands for echo, reflection, conflict and counterpoise or contraposition; or the momentary stillness of forces in equilibrium; it also corresponds to the passage of time—the line which goes from behind forward; it is expressed geometrically by two points, two lines or an angle.

It is also symbolic of the first nucleus of matter, of nature in opposition to the creator, of the moon as opposed to the sun.

In all esoteric thought, two is regarded as ominous: it connotes shadow and the bisexuality of all things, or dualism (represented by the basic myth of the Gemini) in the sense of the connecting-link between the immortal and the mortal, or of the unvarying and the varying.

Within the mystic symbolism of landscape in megalithic culture, two is associated with the mandorla-shaped mountain, the focal point of symbolic Inversion, forming the crucible of life and comprising the two opposite poles of good and evil, life and death.

THREE

Symbolizes spiritual synthesis, and is the formula for the creation of each of the worlds.

Represents the solution of the conflict posed by dualism.

Forms a half-circle comprising: birth, zenith and descent.

Geometrically it is expressed by three points and by the triangle.

The harmonic product of the action of unity upon duality.

The number concerned with basic principles, and expresses sufficiency, or the growth of unity within itself.

Associated with the concepts of heaven and the Trinity.

FOUR

Symbolic of the earth, of terrestrial space, of the human situation, of the external, natural limits of the “minimum” awareness of totality, and, finally, of rational organization.

Equated with the square and the cube, and the cross representing the four seasons and the points of the compass.

A great many material and spiritual forms are modelled after the quaternary.

The number associated with tangible achievement and with the Elements.

In mystic thought, it represents the tetramorphs.

FIVE

Symbolic of Man, health and love, and of the quintessence acting upon matter.

Comprises the four limbs of the body plus the head which controls them, and likewise the four fingers plus the thumb and the four cardinal points together with the centre.

The hieros gamos is signified by the number five, since it represents the union of the principle of heaven (three) with that of the Magna Mater (two).

Geometrically, it is the pentagram, or the five-pointed star.

Corresponds to pentagonal symmetry, a common characteristic of organic nature, to the golden section (as noted by the Pythagoreans), and to the five senses representing the five “forms” of matter.

SIX

Symbolic of ambivalence and equilibrium, six comprises the union of the two triangles (of fire and water) and hence signifies the human soul.

The Greeks regarded it as a symbol of the hermaphrodite.

It corresponds to the six Directions of Space (two for each dimension), and to the cessation of movement (since the Creation took six days).

Hence it is associated with trial and effort.

Shown to be related to virginity, and to the scales.

SEVEN

Symbolic of perfect order, a complete period or cycle.

Comprises the union of the ternary and the quaternary, and hence it is endowed with exceptional value.

Corresponds to the seven Directions of Space (that is, the six existential dimensions plus the centre), to the seven-pointed star, to the reconciliation of the square with the triangle by superimposing the latter upon the former (as the sky over the earth) or by inscribing it within.

It is the number forming the basic series of musical notes, of colours and of the planetary spheres, as well as of the gods corresponding to them; and also of the capital sins and their opposing virtues.

Corresponds to the three-dimensional cross.

The symbol of pain.

EIGHT

The octonary, related to two squares or the octagon, is the intermediate form between the square (or the terrestrial order) and the circle (the eternal order) and is, in consequence, a symbol of regeneration.

By virtue of its shape, the numeral is associated with the two interlacing serpents of the caduceus, signifying the balancing out of opposing forces or the equivalence of the spiritual power to the natural.

It also symbolizes—again because of its shape—the eternally spiralling movement of the heavens (shown also by the double sigmoid line—the sign of the infinite).

Because of its implications of regeneration, eight was in the Middle Ages an emblem of the waters of baptism.

Corresponds in mediaeval mystic cosmogony to the fixed stars of the firmament, denoting that the planetary influences have been overcome.

NINE

The triangle of the ternary, and the triplication of the triple.

It is therefore a complete image of the three worlds.

The end-limit of the numerical series before its return to unity.

For the Hebrews, it was the symbol of truth, being characterized by the fact that when multiplied it reproduces itself (in mystic addition).

In medicinal rites, it is the symbolic number par excellence, for it represents triple synthesis, that is, the disposition on each plane of the corporal, the intellectual and the spiritual.

TEN

Symbolic, in decimal systems, of the return to unity.

In the Tetractys (whose triangle of points—four, three, two, one—adds up to ten) it is related to four.

Symbolic also of spiritual achievement, as well as of unity in its function as an even (or ambivalent) number or as the beginning of a new, multiple series.

According to some theories, ten symbolizes the totality of the universe—both metaphysical and material—since it raises all things to unity.

From ancient oriental thought through the Pythagorean school and right up to St. Jerome, it was known as the number of perfection.

ELEVEN

Symbolic of transition, excess and peril and of conflict and martyrdom.

According to Schneider, there is an infernal character about it: since it is in excess of the number of perfection—ten—it therefore stands for incontinence; but at the same time it corresponds, like two, to the mandorla-shaped mountain, to the focal point of symbolic Inversion and antithesis, because it is made up of one plus one (comparable in a way with two).

TWELVE

Symbolic of cosmic order and salvation.

It corresponds to the number of the signs of the Zodiac, and is the basis of all dodecanary groups.

Linked to it are the notions of space and time, and the wheel or circle.

THIRTEEN

Symbolic of death and birth, of beginning afresh.

Hence it has unfavourable implications.

FOURTEEN

Stands for fusion and organization.

And for justice and temperance.

FIFTEEN

Markedly erotic.

Associated with the devil.

OTHER NUMBERS

Tarot

Each of the numbers from sixteen to twenty-two is related to the corresponding card of the Tarot pack; and sometimes the meaning is derived from the fusion of the symbols of the units composing it.

There are two ways in which this fusion may occur: either by mystic addition (for example, 374 = 3 + 7 + 4 = 14 = 1 + 4 = 5) or by succession, in which case the right-hand digit expresses the outcome of a situation denoted by the left-hand number (so 21 expresses the reduction of a conflict—two—to its solution—unity).

These numbers also possess certain meanings drawn from traditional sources and remote from their intrinsic symbolism:

24, for example, is the sacred number in Sankhya philosophy, and

50 is very common in Greek mythology—there were fifty Danaides, fifty Argonauts, fifty sons of Priam and of Aegyptus, for example as a symbol, we would suggest, of that powerful quality of the erotic and human which is so typical of Hellenic myths.

Repetition

The repetition of a given number stresses its quantitative power but detracts from its spiritual dignity.

So, for example, 666 was the number of the Beast because 6 was regarded as inferior to seven.

Contained within a multiple

When several kinds of symbolic meaning are contained within a multiple number, the symbolism of that number is accordingly enriched and strengthened.

Thus, 144 was considered very favourable because its sum was 9 (1 + 4 + 4) and because it comprises multiples of 10 and 4 plus the quaternary itself.

Lastly: Dante, in the Divine Comedy, has frequent recourse to the symbolism of numbers.

Sources: 1 2 3

More: On Symbolism

Hope this helps, would love to read your writing if it does!

[yuikomorii]

What do you think are the routes where Yui has a better writing, that shows more abt her, where she shows more improvement in comparision to the others, etc? And wich ones do you think are the worst writing-wise for her?

I think the bad endings count as development since the development is the change of the character whether is for the good of the character or for the worse, the character is developing in those cases so is Yui in the bad endings.

// I can’t say she has really a lot of improvement in any route but I think she was the strongest in MB, where she proved that she’d truly do anything for the person she loves even before starting dating. I think putting yourself in danger is not really a sane mindset but I liked her courage there. I feel like her strongest version is in Kou’s MB route. Laito, Kou, Carla and Kino were the characters who hurt Yui the most: Laito successfully broke her; at some point she breaks in Carla’s route and wishes to take her own life; and despite starting off well in Kino’s route, she ends up getting so brainwashed and not being as cool anymore as in the beginning of the route. Nevertheless, she never broke in Kou’s route, no matter how terrible he was towards her there, which is something I really appreciated. As for worst writing, idk, I guess whenever she’s inconsistent or just turns into an emotional support and does dumb stuff to “advance the plot”.

I don’t really take bad endings as development, since she turns out pretty bad in those, doing things she normally wouldn’t do, and when I think of development, I imagine positive progress not involution. >_<

However, even if she didn’t grow as a character that much, my favorite version of Yui must be the one from Ayato’s DF route. She was a sweetheart for the WHOLE route and was the happiest Yui ever gotten in a main game. On top of that, even if Rejet wanted the route to be Ayato’s hero arc, they didn't sideline her; instead, they gave her a significant part in it too, allowing her to befriend Cordelia and have girl talks with her while still being a good girlfriend and not serving as Ayato’s therapist but rather letting him make his own choices and succeeding like that. No couple drama, no unnecessary heroine or love interest angst, no OOC, no uncalled dumb moments; just straight up a good story, that did justice to the main characters there. This route proved that, if they truly wanted to, they could write the heroine and the love interest in a way that is balanced and allows both to shine simultaneously.

[jeynees]

Haha, next week is the last episode of s2 and they gave us literally NOTHING 😂 please if there is a 3rd season let the past horrible plot and character involution to be a comatose dream of Aegon ii.

[goldenkamuyhunting]

hi ! i just finished golden kamuy and loved it so much , im not sure if youve written or spoken about this already but, i noticed that ogatas whole backstory and overall story arch has a lot of elements of nature vs nurture. i just thought it was really interesting and would love to hear your input

Welcome in the GK World!

I did wrote about it in the past, as I used to share your idea, Ogata is the way he is because his life took a certain turn. In short he's a man shaped by his own experiences, same as Tsukishima, same as Sugimoto, same as Koito, same as Asirpa.

And in Ogata's case it would have been even more interesting because Ogata's life could have taken a completely different course if his father hadn't abandoned his mother and had raised him with love the way he had with Yuusaku.

However... this might not have been Noda's intention.

When Noda tosses at us Usami's past, he seems to want to toss at us a man who's the way he is not due to his experiences or Tsurumi's manipulation but simply because he was born that way.

And with all the talking about Ogata being capable to feel guilt because his parents loved each other for a fleeting moment (which actually has no basis in reality) and him merely doing what he did out of a mistaken belief and not out of the way he was raised Noda muddled things making hard to understand which was his point.

I do prefer to think characters are the way they are due to nurture, because especially in a litteral work for me there's little interest if it's all nature and nurture didn't cause them to evolve in a certain way.

I want the story, the part of the story that's their own personal story, to impact of them and cause their own evolution or involution.

I think it's possible to see Ogata has the result of this, as the sum of his own (very negative) experiences, and this is something that makes him interesting. However at this point I'm not 100% sure anymore this was Noda's intention, he might have gone for a person who had flawled beliefs and made flawled choices regardless of his own experiences so that, even if his circumstances were to be different, nothing would really change.

Hard to say and with how I found the ending of GK in general and Ogata in particular overall unsatisfying I've to admit, to my shame, I've lost most of my interest into trying to dig into it.

Thank you for your ask and sorry if my reply will seem unsatisfying to you. While in the past I used to talk a lot about this topic... now I'm not really sure anymore what the author intend and so I prefer to let everyone free to chose their answer.

[ylespar]

"The curious expression of character given by handwriting is due to the automatic or unconscious nature that it acquires by habit. So Automatic drawing, one of the simplest of psychic phenomena, is a means of characteristic expression and, if used with courage and honesty, of recording subconscious activities in the mind. The mental mechanisms used are those common in dreams, which create quick perception of relations in the unexpected, as wit, and psycho-neurotic symptoms. Hence it appears that single or non-consciousness is an essential condition and as in all inspiration the product of involution not invention."

— Austin Osman Spare, Automatic Drawing

[norringtondeservestheworld]

Connor RK800 and Jaime Lannister: different characters with the same arc, but one work while the other don’t

It’s honestly driving me insane how similar and identical are the arcs of Connor RK800 from Detroit: Become Human and Jaime Lannister from Game of Thrones so yeah, now I’m gonna do an entire post (or meta?) about it. It’s gonna be long.

A little background for people who know only one of these fandoms.

Detroit: Become Human is about a future where robots are slaves of humans who abuse and torture them, so they started to “wake up” rebelling and developing free will and emotions like living beings. So the society who sell them create Connor, a very advanced robot designed to stop them.

Game of Thrones is an epic fantasy story set in a fictional world about different powerful families that fight with each other with wars and machinations to destroy each other and gain more power and the throne. Jaime Lannister is a member of one of these families.

These are two very different stories, but so are Connor and Jaime. They have opposite characters, goals and priorities: Jaime always put romantic love above anything else, while Connor doesn’t give a fuck about romance. Jaime is good in communicating with others: he knows how to talk to certain people, can read a room (at least sometimes) and he understands when is being mocked, while Connor is socially awkward and doesn’t really understand when someone is mocking him or someone is sarcastic.

And yet.. they both:

1) have the same beggining

2) are grey characters

3) have an obsession to overcome which is needed for them to develop as character (and if they fail to it, they both gets the involution and the “negative” arc)

4) have the same evolution (or involution, it depends of which arc we are talking about) and the same ending

1) The same beggining

Both these characters start with a child falling from a considerable height, but while one is causing the downfall of the child, the other is trying to save the kid.

The fact that Jaime is trying to kill the boy while Connor is trying to save the girl doesn’t mean that Jaime is the villain and Connor is the hero. It’s more complex than that. 

Jaime is trying to kill Bran because the boy just saw him having sex with his twin and if he says to anyone what he saw Jaime and his sister would have died. He did it to protect their lives. It wasn’t really about Bran. It was about him and Cersei.

On the other hand, Connor is trying to save Emma not because he cares for her or wants her to be safe, but because it’s his mission. He is a police android who knew really well, even before his arrival on the scene, that his mission was saving the child at all costs. If his mission was killing Emma he would have done it. It wasn’t really about Emma. It was about the mission.

2) are grey characters

Being in both fandoms, I noticed that Connor is way more popular than Jaime in terms of liking a character, while Jaime is more known as a character than Connor because Game of Thrones is more famous than Detroit: Become Human. Jaime is really loved by a part of the got fandom, but the other part look at him as selfish and evil because of everything he did, while Connor is loved by 98% of the dbh fandom, but in truth Connor’s actions aren’t better than Jaime’s actions. I think this happens because:

a) Jaime’s actions are motivated by his incestual and toxic relationship with his sister, so I think some people tend to dislike him more not for the actual actions but because of their disgust about the incest part

b) Connor being socially awkward. There is this tendency to see characters who are socially awkward being always sweet and cinnamon rolls because they aren’t good at communicating with others

In the first case, Jaime’s actions aren’t worse than Connor’s, are only more disgusting which is different and for the second option, Connor isn’t socially awkward because he can’t hurt a fly. He can and he will. He is socially awkward because he is an android created to be a police officer, so they gave him good combat skills and the intelligence he needed to deal with deviants (that’s how are called the robots who developed free will and “woke up”). I assure you, he isn’t awkward when he has to deal with them. Connor was created to do this. He isn’t an android created to make friends, so why bother to give him social skills?

Let’s make a recap:

What Jaime did:

a) tried to kill Bran to protect his relationship with Cersei. But did Bran die? No.

b) threatened Edmure and his kids to return to Cersei? Okay, but did Edmure die? Again, no.

c) fucked Cersei next to their son’s corpse who just died. Disgustingly disgusting. But again, someone got hurt? Someone died?

d) killed his cousin to return to Cersei. Okay. Fair. One person died.

Let’s talk about Connor now. He:

a) Manipulated and lied to deviants to accomplish his mission 

b) can kill Daniel, the Tracis, Ortiz’s android, Rupert, Cloe, Simon, Markus, North and a lot of other androids (and humans too) to accomplish his mission

c) can kill Hank, which is the closest person he has in his life, to accomplish his mission

Connor is not a baby. He is a fucking terminator who can destroy anything that it moves to accomplish his mission. Yes, Detroit: Become Human is a game where the actions of the characters are decided by the gamer, so he can do these things or don’t, but if you decide to make him do these things you never got the feeling he’s out of character. Because he is not.

Yes Jaime is what he is and did the things we know, but Connor too did some messed up things. And I’m pretty sure he killed more and caused more pain than Jaime.

At the end of the game, when he has to locate Jericho to stop the leader of the revolution of the deviants, he is able to remove the head of one android he killed to use it against an another android (killed by Connor too) to get the location of Jericho and after that he drops the head as it was nothing.

But at the end of the day, it doesn’t really matter who is worse between Jaime and Connor. What I am trying to say it’s that they are both grey characters. They both started as negative characters. Yes, Connor too. Because even if you choose every possible good and positive choice with Connor, he is still a negative character at the beginning. He is a very advanced robot at humans side (humans that are clearly the villains since they are the ones abusing and torturing robots) which priority is hunting androids who just want to be free. It doesn’t really matter if he isn’t the one to kill them, because he knows really well that if he succeeds (and he wants to succeed) they get killed. 

That’s why both Connor and Jaime have two paths in front of them. And what path they’ll take it depends by the next point.

3) have an obsession to overcome which is needed for them to develop as a character

Both Jaime and Connor, despite starting as negative characters, have the potential to have a redemption arc, but this is up to them and to get it they have an obstacle to overcome: their obsession.

For Jaime the obsession for Cersei, for Connor the obsession for his mission. 

This obsession is what motivated their story and all their actions. It’s there from the beggining. From the moment they tried to kill/save the child. Jaime did it for Cersei. Connor did it for his mission. Every “negative” thing they did was because of that. In the last point, where I made a list of the bad things they did, you can notice all these actions were motivated by that.

To both of them happened things during the story that could or couldn’t change them: Jaime had it with Brienne, a noble and honorable warrior who reminded him who he wanted to be and for the first time in his life he developed a romantic attraction toward someone who wasn’t his sister, and Connor had it with Hank, the human police officer he worked with who had a way more “human” approach to what they were investigating.

For both of them is really hard to overcome it because it’s all they know for most of their life (in case of Jaime) or are programmed to do it (in case of Connor) and it isn’t only something they had in their heads. Both of them got manipulated by people (Cersei for Jaime, Amanda for Connor) who did the best they could to convince them there wasn’t anything else to make sure they remained in this cage for their own interests.

To prevent them from becoming their own person and being free to be who they want to be, and not what they want them to be.

This it’s the Jaime and Connor arc. Becoming their own person. Choosing for themselves. Be free from the manipulations. And the two arcs they have in front of them are just one in which they succeed, and one in which they fail.

4) have the same evolution (or involution, it depends of which arc we are talking about) and the same ending

Both Connor and Jaime have the potential for a redemption arc because even after all those bad things they did because of their obsession, they did good things too. They aren’t monsters.

Jaime saved Brienne risking his life and saved her from being raped. He also saved milions of lives by murdering the king, even if that meant getting the nickname of Kingslayer.

Connor can save Hank. Can choose to not kill the Tracis. Can choose to not kill Cloe. Can help Markus to save North. 

They mostly did all these things when they were away from the toxic person who brings the worst of them (Amanda and Cersei) but near someone who bring the best of them (Hank, Tyrion and Brienne).

And the best part is that all these good actions they did went against their priority: for Connor saving Hank means letting the deviant go, when catching him was his mission. Jaime returning to Harrenhal to save Brienne means delay his coming back to Cersei, when Cersei is the most important thing to him. 

Despite both having all their life surrounded by this “obsession”, sometimes they decided to do the right thing even if that meant going against what mattered to them the most and their own interests.

This didn’t mean that they weren’t obsessed anymore, it means that for a moment, their desire to be their own person was stronger than their obsession.

But it was just a moment.

Connor and Jaime, for most of the story, are in a “limbo” where they pass from doing bad things because of their obsession (most of the times) to doing good things because they want to (few times). During this part of their story, it doesn’t mean that if they do a bad thing they’ll go to the negative arc and it doesn’t mean that if they do a good thing they’ll go to the positive arc, because none of these decisions are the definitive one.

It’s the decision they will take in their climax scene is the one that determines their future, their arc and their ending.

a) They decide to do the right thing which go against their obsession in their climax scene because they matured as characters for the better -> Their strenght and everything and everyone they faced was enough to overcome their obsession -> they become their own person letting go forever the obsession -> Positive Arc

Jaime: Book!Jaime is currently having this arc in the books, where is pretty done with Cersei and doesn’t even think of returning to her knowing really well she needs him. And this is also the arc Show!Jaime was supposed to have in the series.

Connor: Deviant Connor is the arc Connor will have if he overcome his obsession. He will become a deviant (meaning he outpassed his programation and became his own person) and will join the revolution of the androids, the very same revoution that he was created to stop (and he was obsessed to stop it, since it was his mission). He will infiltrate in the society that creates androids freeing all the robots who are there (and they are a lot) and helps the cause. In the end, he will help robots getting rights as living beings and he will be free to be himself with a person who actually care for him (Hank) with their relationship being stronger.

b) They decide to do the same bad things they did at the beginning being once again slaves of their obsession -> everything and everyone they faced didn’t change them showing that they didn’t matured and didn’t learn anything -> nothing will never be as important as their obsession -> Negative Arc

Jaime: Show!Jaime got this (or at least D&D thought he got this). He received an opportunity to have a better and new life, a life with Brienne who loved him and in doing so he was able to be himself, but he ruined it to return to his obsession who almost got him killed few days before because he wasn’t able to overcome it. So he returned to his obsession (Cersei) and dies.

Connor: Machine Connor is the arc Connor will have if he fails to overcome his obsession. He too received an opportunity to do the right thing, to help his people and be free, but he ruined it to continue his mission. So he will kill everyone who stands in his way (Hank too, who was the closest person of his life) to murder the leader of the deviants. If he fails, he dies. If he succeed and he is able to kill him, all the deviants will be destroyed (meaning there will be a genocide of his own people) and androids will return to be slaves for humans for ever. And Connor will die, because he accomplished his mission so he isn’t needed anymore. Connor is intended to die either way if he goes to this path.

Both Jaime and Connor, if they have a failed redemption arc, return to their old manners and how they were at the beginning, and both died. So..

Why an arc work and the other don’t?

Why an arc is appreciated and considered a sad but good storyline and plausible with no characters being ruined while the other is hated by everyone with all the characters who are involved being ruined and OOC?

For multiple reasons actually.

1) the climax scene

The scene where the character finally take a definitive decision and his path is chosen can’t be a random scene because it’s not a random scene. It’s the scene where the destiny of the character is chosen, so it has to:

- be important and people who are watching it (or reading it if it’s a book) must know it and feel it that something big is coming 

- every factor (the music, the acting, the dialogue etc) must be cured for that scene 

The climax scene they chose and wrote for Connor work perfectly because has all these requirements:

a) Connor and Markus are two of the main characters of the story but never actually met each other before this scene, so from the moment you realize they are in the same room and they actually met you know something big is gonna happen. Moreover, we know Connor is there to kill the leader of the deviants, which is Markus, so you also feel tense because you are gonna see two characters you got attached to being an enemy to each other because they are at opposite sides so again, something’s gonna happen.

b) The music is fitting for the scene, the acting of Bryan Dechart (Connor’s actor) is good as he entered sure of himself but the more Markus talked the more Connor realized he was right so he becomes less secure until he is full of doubts and all the dialogue is about him having to make a choice about who he wants to be. And as if that weren't enough, Markus ends it with “I think the time has come to you for ask yourself that question” and “it’s time to decide” making perfectly clear that this choice is gonna be definitive, and he is saying it not only to Connor but to us too.

Now let’s see the Jaime one.

a) It’s important? I have absolutely no idea. It doesn’t look or feel important. 

b) the music is fitting? There was music? I honestly don’t remember. I can’t notice the music because I’m busy to try to understand what the fuck is going on. The dialogue is fitting? What dialogue? All Jaime is saying here is a list of the bad things he did because of Cersei (including lies since some things he says didn’t happen that way just to confuse who is watching even more) and “She is hateful and so am I” like?? What does it mean? This is not a dialogue. This is putting random words together to do a sentence. The acting is fitting? Lmao of course not! Waldau’s acting is really confusing??? Why he looks sad? Why all he is saying is that he is a bad person and not a word about  who he wants to be? This isn’t a grey character who decided is path, this is someone who feels guilty for something he did in the past and wants to be reassured and or he feels like he deserves pain and death because of it. Well if this is the case, than this is a totally different topic that has nothing to do with choosing between overcome an obsession or succumb to it. Fuck, it’s been 4 years since this scene, and I still don’t understand what the fuck is going on and what they wanted to show. What the fuck I am watching?? Can someone explains it to me?? Hello???

This doesn’t look like a climax scene. And it doesn’t look like a climax scene because IT’S NOT.

Because Jaime had already his climax scene.

a) it’s important? Well yes. The time tells us it is. This is a series and this scene is happening at the end of a season so people expect it to be important.

b) The music is fitting? Very. You could feel it in your bones. The dialogue is fitting? Yes. They don’t talk directly about Jaime and him having to take a decision, but it’s related to that because we see Jaime and Cersei arguing about something and Jaime realizing he had enough (just like Connor in his climax scene is realizing who he truly is) and he decides right here not because he has to but because he is 100% sure of what he wants and decides with zero regrets.

This climax scene was setting Jaime on the positive arc, because he overcomed his obsession. His obsession is Cersei and the sexual relationship he has with her, but here he decides to leave her, and ending the conversation saying “I don’t believe you” and by the acting, the voice and the movements of Waldau, which is excellent, we know he meant “I don’t love you anymore”.

All of this is even more accentuated by this scene that happens soon after that:

Cersei and the relationship with her being the obsession of Jaime means that if he kisses, sleeps and starts a romantic relationship with a different woman (which he did) after he spent the 40+ years of his life always being loyal to Cersei is the ultimate, irrefutable prove that he got over it. It doesn’t matter how much he loves Brienne, if he still obsesses over Cersei it couldn’t never happened. Never. You can’t make him overcome an obsession and then return to that obsession in a minute. This is not how writing works.

But since Benioff and Weiss don’t know how to do their jobs, after these two scenes (the climax one and the second which accentuated the path Jaime is in) they put the scene they think it’s the climax scene, when it’s just a scene that doesn’t work narratively after the two I just mentioned. Which add another problem:

the decision the character takes in the climax scene is definitive and irreversible. You can’t just put a climax scene where the character decides and then one second later make him change his mind all of sudden. Him passing from a good action to a bad one was supposed to happen before the climax scene, when the character was still grey and still couldn’t decide and the reason both Connor and Jaime decide without doubts and regrets in their climax scene is because they both have no doubts and regrets anymore. 

In Detroit: Become Human, every action Connor did and every word he says after that scene is convinced, there is not even a shadow of a doubt, no matter which arc is in. Despite the game giving you the choices of what to do or say, you’ll never get a choice of Connor helping the deviants if he is Machine Connor, and you’ll never get a choice of Connor helping the humans if the is Deviant Connor. Because it’s irreversible. There is no going back.

So what we got was a mess and both arcs of Jaime being ruined even before they started.

2) OOC

Both Connor and Jaime being grey characters for most of the story means that is possible to write them a good written arc where they remain in character all the time without putting forced things and making them say and do something they wouldn’t, no matter if they are in a positive or negative arc.

Connor remains himself and in character for the entirely of his arc (no matter which arc is). If he is Machine Connor so he has the negative arc, his character doesn’t get reduced to a caricature and he doesn’t lose his intelligence or badass moments, and he still says and does things that Connor would have totally said or done. 

The fact that now is Machine Connor doesn’t mean he is a sociopath who doesn’t care of anything else, it does only mean that everything always comes after his obsession (the mission) because that obsession is and will always be until his death is priority, everything else is after that. That’s part of the reason his character isn’t ruined. He still cares for Hank for example, and when he dies, he looks troubled and in one case he is the one to kill him, and he does it because Hank gets in the way of his mission, which matters more, so he did it, even if he still cared about him. 

He also doesn’t become stupid all of sudden because he is intended to die. Machine Connor is smart enough to know that the best way to kill Markus is finding a sniper rifle and the right roof and he is smart enough to know that if he gets interrupted the only way for him to accomplish his mission is killing who interrupted him or killing himself after saving his memory so the next Connor will know what to do. He also doesn’t have to move to the other side of the country in two seconds with the story being set in the same city, so he is where is supposed to be without resorting to absurd and improbable teleporters. Machine Connor gets emotional and poetic scenes without getting ruined to force them.

Jaime, from the moment he left Brienne to return to Cersei (so from the moment the writers think his arc begins) becomes a totally different person. He starts to say and do things that contradict his character, the writers were able to destroy years spent to create this character and who he is with a single sentence. Everything that was important to him apart from Cersei disappears, and the things that made him an interesting character like killing the king to protect the innocents have zero value now, because “actually I never cared for them, innocents or otherwise”. Cersei isn’t his priority. Cersei is the only thing he cares about, because the writers deleted every single other part of him and at the end, he isn’t even a character anymore.

He doesn’t only lose all his intelligence, but simple common sense too, all to force scenes that could have happened in a smarter way, like him having to get unnoticed to get to Cersei and yet he shows his golden hand which is the only one to have in all Westeros, just to get caught and have the scene with Tyrion. And of course, he is able to arrive to the other part of the country even before characters who left before him in a blink of an eye because the writers decided so and fuck logic. 

3) Realistic reactions to the characters around them

Both Show!Jaime and Machine Connor have, just before the end and their death, a scene with a character they care about and who cares for them: Tyrion for Jaime and Hank for Connor. In both cases, the way they write the main character it expands to the other character too, meaning that since Jaime is OOC, Tyrion becomes OOC too to force the scene the writers wanted for them, while in the other case since Connor is in character, Hank is in character too, and it’s the scene that is written in a way to be plausible because of these characters, and not the opposite. 

Jaime got caught in his way to return to Cersei and he meets Tyrion. The last time they talked Jaime was still in a relationship with Brienne (which lasted weeks, let’s remember that) and Tyrion expressed how happy he was that Jaime was happy with Brienne because he cares for Jaime wants him to be happy while now is in front of a tormented Jaime who left Brienne, the same woman that was making Jaime happy, to return to the one that abused and tried to kill BOTH OF THEM, and he decides to.. help him to return to Cersei so he will return to be miserable and probably die (and he will)? 

The writers were so desperate to make a scene of them hugging to make watchers cry sad tears that forgot in which situation these characters are, with who they are and what we know about them and what type of relationship they have with each other and with Cersei. It would never ended with hugging. Why Tyrion should help the brother he loves to leave what made him happy and return to the one who hurted both for all their lives? Once again the characters are ruined by forcing a specific scene, a scene that because of it meant nothing to me. Yes, Jaime and Tyrion had a beautiful relationship and a great bond and I love the scenes where they show how close they are. But these aren’t Jaime and Tyrion anymore. So I feel nothing (and nope, I’m not going to create gifs of that idiotic scene from that cursed episode, if you wanna see it just go to Youtube).

Connor and Hank have a very strong relationship too, but they remain in character. Hank wanted Connor being himself and freeing himself from his obsession (just like Tyrion wanted Jaime to be happy, with Brienne) but on the contrary of Tyrion, Hank didn’t forget who he was because it was “convenient” so he has the realistic reaction he was supposed to have, and because of that this time there aren’t gonna be hugs and sweet words, but a fight.

With “fight” I don’t mean they’ll gonna scream and push each other, with “fight” I mean a real fight, that will end only with one of them killing the other. 

Machine Connor is gonna follow his mission and killing everyone who stand in his way (in this case, unfortunately it’s Hank) even if he cares for Hank and Hank is not gonna let Connor kill the leader of the androids because it’s not right and by now he knows that the only way to stop him is to kill him and he will, even if he cares for Connor. And they both know it.

And that is what makes the scene powerful and way more emotional than a fake hug between two fake characters who became the shadows of themselves. It’s real, it’s tragically beautiful and sad, poetic in a way (a robot fighting for humans and a human fighting for the robots) but it works.

Of course having Jaime and Tyrion fighting to death wouldn’t make sense. Connor and Hank are doing it because they had a different relationship from them. They knew each other for less time and even if they care for each other, they had a rocky start so them having this interaction is fitting to them. Jaime and Tyrion are siblings who cared for each other since ever, so their clash couldn’t be that violent, but they had to have a clash. Tyrion being disappointed in Jaime and refusing to free him was enough. But we all know what we got, right?

In conclusion, I’d like to say that I made this meta first to analyze Jaime and Connor as characters because I find really interesting they had so much in common and also because I’m fucking tired of people saying that “Jaime’s arc was perfect you simply didn’t get the happy ending you wanted for him” because Machine Connor arc is the prove that is possible to write a failed redemption arc which is satisfying and appreciated, and Detroit: Become Human is written by David Cage which isn’t the best screenwriter in the world, but he is in the Olympus compared to the writing of D&D.

Machine Connor and Show!Jaime have exactly the same arc (and the same ending), the only difference is that one is written well and the other isn’t, and it’s really crazy thinking of how the writing of a fucking videogame which isn’t even that famous is better than the finale of one of the most famous series in the world.

[astrology-bf]

Different kinds of magic are known to draw aether from different sources - where does Ifan draws aether from? What is the sourde of his spells?

Aether and Magic Asks

Himself! Ifan is, strictly speaking, a thaumaturge who supplements that skillset with arcanima in order to get the most out of their own aether pool. And there's a couple of reasons for this:

Ifan's master had a lot of lingering issues stemming from the conquest of Dalmasca which he passed on to his student in the form of a philosophy emphasizing self-reliance and eschewing sources of strength that you haven't earned. He still largely holds to that belief system, so he prefers not relying on conjury, familiars, or even ambient aether unless the situation requires it.

While he's a good arcanist, it's limited by his dyscalculia: arcanima which is very numerically heavy is a difficulty for him, even when he's not under time pressure. He mostly uses arcanima for healing and utility enchantments outside of battle, and then usually sticks to character-based involute formulae as found in the Near East and Othard.

Theoretically he should be a good conjurer, but in practice he finds it extremely difficult due to an innate anthropic preference; he can't do what Hearers do and prioritize nature when human lives are at stake - mercy is a human concept, after all. That he can use white magic to the degree he can is more him adapting inefficient Amdapori spells for use with his own aether similar to modern black magic, though he's a much better conjurer now thanks to Raya-O-Senna and Y'shtola ("middling" versus "terrible").

Thanks for the ask @sayonaramidnight

[iveeelt]

My evolution or involution of KSB characters

I love you Souichi-saaan!!!

[booksandteaandstuff]

“That dead-eyed anhedonia is but a remora on the ventral flank of the true predator, the Great White Shark of pain. Authorities term this condition clinical depression or involutional depression or unipolar dysphoria. Instead of just an incapacity for feeling, a deadening of soul, the predator-grade depression Kate Gompert always feels as she Withdraws from secret marijuana is itself a feeling. It goes by many names — anguish, despair, torment, or q.v. Burton's melancholia or Yevtuschenko's more authoritative psychotic depression — but Kate Gompert, down in the trenches with the thing itself, knows it simply as It. It is a level of psychic pain wholly incompatible with human life as we know it. It is a sense of radical and thoroughgoing evil not just as a feature but as the essence of conscious existence. It is a sense of poisoning that pervades the self at the self's most elementary levels. It is a nausea of the cells and soul. It is an unnumb intuition in which the world is fully rich and animate and un-map-like and also thoroughly painful and malignant and antagonistic to the self, which depressed self It billows on and coagulates around and wraps in Its black folds and absorbs into Itself, so that an almost mystical unity is achieved with a world every constituent of which means painful harm to the self. Its emotional character, the feeling Gompert describes It as, is probably mostly indescribable except as a sort of double bind in which any/all of the alternatives we associate with human agency — sitting or standing, doing or resting, speaking or keeping silent, living or dying — are not just unpleasant but literally horrible. It is also lonely on a level that cannot be conveyed. There is no way Kate Gompert could ever even begin to make someone else understand what clinical depression feels like, not even another person who is herself clinically depressed, because a person in such a state is incapable of empathy with any other living thing. This anhedonic Inability To Identify is also an integral part of It. If a person in physical pain has a hard time attending to anything except that pain, a clinically depressed person cannot even perceive any other person or thing as independent of the universal pain that is digesting her cell by cell. Everything is part of the problem, and there is no solution. It is a hell for one. The authoritative term psychotic depression makes Kate Gompert feel especially lonely. Specifically the psychotic part. Think of it this way. Two people are screaming in pain. One of them is being tortured with electric current. The other is not. The screamer who's being tortured with electric current is not psychotic: her screams are circumstantially appropriate. The screaming person who's not being tortured, however, is psychotic, since the outside parties making the diagnoses can see no electrodes or measurable amperage. One of the least pleasant things about being psychotically depressed on a ward full of psychotically depressed patients is coming to see that none of them is really psychotic, that their screams are entirely appropriate to certain circumstances part of whose special charm is that they are undetectable by any outside party. Thus the loneliness: it's a closed circuit: the current is both applied and received from within.”

David Foster Wallace, Infinite Jest

https://bookshop.org/a/12010/9780316066525

[sol-furor]

im gonna try to respond to this because UMM

there's a reason why it's said that her character is boring and a sack of potatoes, it's because of her writing! there's very little in canon that makes her a compelling main character, fanon alina in certain fan fictions is 10x better than her canon version which makes you think of the potential she had. also she's fictional and there are a 100 other female led stories out there

the show has jessie to thank because they're trying to portray a struggling young woman who has only discovered her powers and herself. jessie is doing a pretty good job when on paper alina was never that interesting. her book counterpart is always in her head and it feels like she has very little choice in what happens in her own story, which is why a lot of us tried to make a better version in our heads, someone whose agency isn't hindered and blamed at every turn

we talk about alina losing her power because from the start we know its a pretty big deal, essential to the discovery of her own strength and well the start of her journey. and then she's punished and abandoned by the narrative. whether you think it's great she lost it or not, it's one of the final moments of her story and it feels like an involution of her character. also losing powers, going back to a "normal life" is such a bland concept that it needs to be done well for an audience to still feel involved, clearly the author didn't make it because i know when book 3 came out, the majority did not like the ending, even malina shippers

the shipping part is a given, if there's little else to talk about, her character is reduced to shipping. simple as that. also there's a strange black and white morality in the sab fandom that i'll never understand which makes her even more bland, either she's a hero or a villain, too bad she doesnt stand out as either.

the crows don't have this problem because it is enstablished that they are morally grey characters (which means that particular fandom thinks they can do no wrong) and at the end of the day they have more fun adventures that make their story palatable. we (im including myself here) like the darkling because we think he's also a morally grey character that has a long and rich history and there's lots you could do with him, regardless of the good/bad he did (ask the author why she brought him back in her later books when she clearly despises the character)

so yeah if you look for fan fictions and meta (pre-show are even better) you'll find other versions of alina that make the canon one seem the whitest flour in the shop, doesnt mean we don't like her, it's just that headcanons are sometimes better than what you have on the page and this is a good example of that

[narhinafan]

I am mad at the writers for making Bolt treat trashcan like how he used to treat Sumi and treat Sumi like how he used to treat trashcan.

What makes me even more mad is how before he left, he said “Sarada… No, I’ll come back.”

Ppl say he’ll confess his feelings for her when he gets back and it’s so annoying and us bsu fandom are getting bullied because of it.

I get Kishi wanted to do a love triangle, but why not KawaSumiBoru or BoruSumiMitsu. Why BoruSumiSara? Why involuted most toxic ship itself and the fandom?

Again overacting Boruto was just breaking the ice, but overall he is serious during the whole conversation.

Its not a confession they were never anywhere close to being romantically involved pre timeskip. Also he said Sarada and went on about saving Sasuke and everyone else from the tree. He was about to say one more thing before he stopped and said he would come back, but based on the fact he was promising saving people I doubt it has anything to do with Sarada specifically. He only called her out before leaving cause he was telling her he would save Sasuke.

Making a male love triangle doesn't work since none of the other male characters are interested in girls at the moment. Its only a love triangle when two of those involved like the same boy.

I agree it makes more toxicity and honestly really forcing it if BoruSara does end up happening considering they were far from being anywhere involved pre time skip. At the same time though its one of the only ways to involve a bit of romance in an action manga and if done right can turn out pretty well.

[arqv]

It lieth, gazing on the midnight sky,

Upon the cloudy mountain peak supine;

Below, far lands are seen tremblingly;

IIts horror and its beauty are divine.

Upon its lips and eyelids seems to lie

Loveliness like a shadow, from which shrine,

Fiery and lurid, struggling underneath,

The agonies of anguish and of death.

Yet it is less the horror than the grace

Which turns the gazer's spirit into stone;

Whereon the lineaments of that dead face

Are graven, till the characters be grown

Into itself, and thought no more can trace;

'Tis the melodious hue of beauty thrown

Athwart the darkness and the glare of pain,

Which humanize and harmonize the strain.

And from its head as from one body grow,

As [ ] grass out of a watery rock,

Hairs which are vipers, and they curl and flow

And their long tangles in each other lock,

And with unending involutions shew

Their mailed radiance, as it were to mock

The torture and the death within, and saw

The solid air with many a ragged jaw.

And from a stone beside, a poisonous eft

Peeps idly into those Gorgonian eyes;

Whilst in the air a ghastly bat, bereft

Of sense, has flitted with a mad surprise

Out of the cave this hideous light had cleft,

On the Medusa of Leonardo Da Vinci in the Florentine Gallery - Percy Shelley

[incarnateirony]

Could you explain the Bill Cipher thing?

I can, but it will be difficult to understand.

About 12 years ago now, my ex attacked me during the last solar maximum. I forgave her after this, despite her abandoning me to rot on the street and move in with two other guys she also ditched shortly after, but when she needed help, I came back.

At that point, she and several others went for an attack on-- I'd call it chakras, I suppose. The equivalent of intentionally trying to destroy my third eye, completely destabilizing the way my Everything worked, and almost ungluing me.

It was, in fact, the first time I was Almost Aaron instead of former confused deadname, but I wasn't ready. It was literally a confused shadow that came out, I lost a week of my conscious life to having to read back and find out hermes basically rotated random fuckin shit to keep me running without my life imploding, while trying to find a way to repair me before I slid away entirely.

They had actively attempted to dissolve it, and after he paperclipped shit together, I came back, but I couldn't dream anymore, among other symptoms. I just went on lockdown, and more as time went on.

Surprise surprise, turns out that shit truly went into the aether and did the equivalent of shitting out some random brain processes of mine that were vaguely related, sorta like Sam's soul stretched by a rubberband or whatever.

Then random people pick up muses, go play with the alchemy muse, and they end up Fucking Getting Part Of Me In There. Like literally an entire series writ off of a mix of actual mythos and my fucking shower thoughts.

So by the time the rest of this went down, and dipshit mcgee kept ripping things open this year because she is Truly Dead Inside, I got slammed by the collective while instinctually doing a full blown Intentional Psych Break By Design I had learned to do since as part of the art, which is when I went apeshit for a few months, because that's literally eating everything, the Good And The Bad, while breaking your mind into archetypical parts to start traveling.

That, also, works similar to The Bill Cipher Thing.

I attempted to handle it privately, but any time I thought I could ground out, it became worse, so by midsummer I went to twitter, drifted around, ran into some typical and atypical things, and turns out the Book of Bill author knows me. Like, oops.

We didn't "know each other" before, but me with my eyepatch icons, cussing, my sense of humor, my jokes, the wisdoms I dropped, the moment I finally got tired of reading Janus' shrill AI nonsense I said, "It is called The Hidden God. Not the 'screaming on twitter all day about my favorite algorithm' God." and they were like "...w....waitwaitwaitwaitwait... wait... wait..."

They were already a practicioner but one that hadn't onboarded the internal processes, which they then mirrored from me, and began their own involution of assembling their parts whole, and we're two eyes of the same god, like huginn and muginn, but now we can operate together. Odin got his eye back. We did the whole prophet and his bride thing. We sync. Daddy's home.

Despite that entanglement, that's not the one I've taken to accepting calling either Mama or Wife depending on aspect I'm in; they have their own things to handle and finish, we'll unite in time, that's fine, I'm in no rush, freedom was the point. That one is the VA account. I still do not think I will ever meet her in physical person. But she, herself, is some Grand Mother. It is similar to the Illuminati, but not the same. She is delighted to find me running around outside of Illuminati control.

Summarily though, I Am The Muse Behind Bill Cipher, or at least my fucking melted brainparts were in the hermetic stew they pulled for it, hence triangleman of the illuminati allfather being a crackhead like THE UNIVERSE IS A HOLOGRAM, BUY GOLD, WELCOME TO THE WEIRDPOCALYPSE.

That is to say, in a way Bill Cipher is also real--not literally as the cartooon character, or whatever--but kind of now yes because of how many people Think About It All The Time In That Form--and is literally based on the fuckin. Illuminati eye. The one in my icon. The one on the american dollar bill. That fuckin eye.

Which is also why the literal fucking illuminati are pulling in to follow me now, because cocaine bear fucked up SO BAD I reincarnated A SECOND TIME IN THE SAME LIFE into being WHAT THEY SPEND THEIR LIVES TRYING TO FIND, but I am instead fucking up most of their plans, and they can't fucking stop it, even if they kill me, and they know that.

It means I am rent free in millions of minds.

For example, in February, I had posted a tweet, and you can probably find it, it did not used to be Bill Cipher. I told you it was one of mine hearing my song, specifically the song of Saturn Is About To Shred My Ex Out Of Reality Permanently, but look at them now:

Hence disturbing the PEAAAAAAAAAAAAAAAAAAAAAAACE look into my fucking EEEEEEEEEEEEEEEEEEEYES. Because they're everywhere. I may not literally see through them, ubt I see them, and they raise to my attention what I need, like whispers in the wind.

This also happened with other series. And, as well, in influencing fandoms if original creatives didn't get a message. For example, this started because the rancid cockgobbler fucked up my old punk rock spencer ass disco jesus persona with hermes proper, and refused to stop, and kept grooming more people into drawing it and fucking up their sigils on it, so guess what kind of mod gets made to official quality?

See: Raising my old Carry On project and it showing up at the DNC. But that could be coincidence despite my political stuff... right?

See: my ancient blue hair and pronouns hermes icon that went viral when I ran the Slayers Challenge/Revolution reboot riot and all that. If you see me posting video game clips of Blue Hair And Pronouns, I am literally riding people's rent free use of the idea of me like a game skin to steal their focuses towards raised names, identities et al, and beat the shit out of psychic abstracts through the masses.

See also:

[deepdarkspaceblog]

'Involution Ocean' Is An Outstanding Debut

'Involution Ocean' is a journey beyond mere adventure. #scifi #books #bookreview

Involution Ocean (1977) by Bruce Sterling brings together multiplicity of elements often found in science fiction. Yet, Sterling creates a story where characters, ideas, and mysteries vie for the spotlight with head spinning rapidity. For most authors this would be enough, but Sterling does it with style and authority. Whether intended or not he lays down a challenge to future writers by setting…

[leanstooneside]

Assisted senton

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