#drama techniques for writers

[rozmorris]

Finding stories and characters in drama games - author and actor Elizabeth Bruce @EbruceTexasDC

Elizabeth Bruce is a storyteller on the page and on the stage. She began acting at the age of 25, began writing in her 40s and has continued productively on these two creative channels ever since. She’s founded a theatre group and theatre workshops that teach writers drama techniques to create truthful characters and plots. She’s published short fiction and a novel. Her first short story…

[forcebookish]

......DID BECKETT JUST CALL NINJAS "MYTHOLOGY"

?????????

does she think that ninjas are mythical creatures omg??????????

[tryslora]

On Writing Combat and Sex Scenes

Today I want to talk about writing sex and combat (and no, I do not mean combative sex). This post is inspired by a few recent events:

Once, a long time ago, I read a blog post that said “if you can write a combat scene, you can write a sex scene” and that was mind-blowing for me because while I was well-versed in writing erotica, I couldn’t write combat to save my life.

More recently, at Boskone, I participated on a panel about writing combat, and the research involved there-in.

Even more recently, I had someone look at me say, “You’re not a gay guy. How do you write gay sex scenes?”

So. Let’s begin.

I get it—sex and combat aren’t interchangeable. But at their core, they have some strong similarities which can be leveraged while writing. Both are intense, high drama, and can involve a lot of anxiety and quick thought. Both tend to narrow focus down to the moment and the current feeling and action. Both are heightened emotion and physical reaction. Both can involve actions that lie outside the author’s personal experience.

I started writing erotica when I was a freshman in college. I posted it online (does anyone remember rec.arts.erotica?) and was surprised (and pleased) by the compliments I received. Turned out my readers were not expecting the idea of emotion being entangled in their erotica. They were invested emotionally in how the stories went, and how my characters felt. Since I was writing from the point of view that made sense to me at the time, they were het stories from a female perspective, and they were very focused on the emotional connections and how the physical events heightened those emotions.

Male readers were surprised by the intensity of the feelings that these stories gave them (as opposed to pure arousal). It got me thinking about how I wrote, and why I wrote, and I tried to talk about it some at the time. I was eighteen. I was still a new writer. The internet itself was new. I wasn’t entirely certain how to frame it, but I remember getting one comment where a guy was surprised at how struck he’d been by the moment in the scene where everything shuddered to a halt due to an event in the story that interrupted the action, and I replied that that was because I wasn’t writing about the sex. I was writing about the character’s reaction to the sex.

Which has always been how I write. At the time, that was my only tool: put myself in the character’s mind, and write what they feel. If that’s affection and attraction and physical reaction, write that. Tangle it up, and hope the reader feels that entanglement.

Now, fast forward several years, and take a little side trip onto a tangent wherein I learned something very important about writing craft.

I was reading Syne Mitchell’s End in Fire, I think it was, and I kept having panic attacks. Now, I did most of my reading late, often when I woke in the middle of the night due to stress, or just because my brain refused to rest. I was in a rough place in life in general, with a lot of external work stuff going on and very small children. I wasn’t sleeping well. And it took me some time to figure out why I was struggling to read a book which I actually loved (and when I read it later in life, I enjoyed it greatly).

It was the sentence structure.

In order to induce the emotion of the scene, the sentences were short. Sharp. Quick. There was no time for the reader to breathe, much like there was no time for the heroine to do anything but act. The reader was caught up in the rising tension, to the point where my anxious, sleep-deprived brain, caught a panic attack from it.

The technique was brilliant.

Now back to our original timeline, wherein I read a post about how if you can write combat, you can write sex scenes. This post assumed that more people felt comfortable writing violence than sex. I was the reverse. I’d been writing about sex for over a decade when I saw this post, and it made a light bulb go off in my brain.

If writing sex was like writing combat… was the reverse also true? Could I improve my skills at writing battles by analyzing what worked when I wrote erotica?

So I tried doing just that. Back then, I found combat overwhelming. There was so much going on, and I was trying so hard to write good description that I lost all of the intensity. I was focusing on everything that was going on at the same time.

Thinking about how sex scenes were all intense emotion and narrowed focus, I applied that to my combat scenes. I wrote only what the point of view character experienced, and tied everything to their actions and reactions. I thought about how they breathed, how they moved, how they thought. I used those short, sharp sentences as they processed the scene. 

That doesn’t mean I forgot about everything else going on in the scene. That’s impossible. After all, in any story the things the character doesn’t pay attention to might be as important as the things they do focus on. Stuff still happens, and there is still fallout. I needed to know what else was happening so that if the character moved from one place to another, or did something that put them in the path of a different part of the action, I could have them start processing it.

But it also meant that on the page, out of sight was out of mind. Everything narrowed down to the now. The immediacy. Suddenly my combat scenes snapped into focus.

During the panel at Boskone, all of the panelists had experience with different fighting styles (fencing, street combat, and of course, me with taekwondo). I spoke about how for me, that narrow focus is very real when I spar. I know there are some people who naturally see a move or two ahead while fighting; I don’t. I am stuck in act and react mode. Can I kick them now? Can I attempt a head shot? Oh, no, circle back and away or they’re going to hit me… that’s how my brain works during a sparring match.

It’s not like a total blackout—there should be a vague awareness of things around the character. Sounds in particular, or sometimes flashes of movement. Something distracting can catch the attention of the fighter, but the personal fight will always pull the character back.

Combat feels easy when I’m writing like that.

Of course, there’s still the question of writing about something if I’ve never experienced it. As someone did point out to me: I am not a gay man, so how does that affect writing sex scenes? I’ve also never fought with a sword. Brawled. Fought from horseback. I have, however, held a blade, shot a gun, shot an arrow, rode a horse. I have a vague idea of how these things work, much like I have a working knowledge of sex in general.

So yes, research gets involved. Sometimes research is observational, sometimes it’s reading (there’s so much good stuff out there). I highly recommend video for combat scenes—find things that have the feel that you’re going for, then put yourself in the place of the character you want to write about. Practice. Work through the ideas of how things fit together, and what your character will (and will not!) know during the fight.

If you need to, stand up and block the scene by thinking about how you would experience it. What can you see, and what is out of sight? If someone is coming at you with a blade, what are your options? How do height differences affect you? Yes, I have asked friends and husband to help me block scenes. 

“Stand right there and show me what it looks like if you punch me. Okay, so if I do this then…” Yeah. It’s a thing. But it works.

When doing your research, remember that movie fighting (and hell, movie sex scenes) isn’t realistic. It’s meant to look good. For combat, if you can find re-enactments, or sparring videos, I highly recommend taking a look at those. 

Anyway, the point is: I don’t have to have shot someone, and I don’t have to have had gay sex in order to write about them. What I do need to know is how it feels emotionally to do those things, and I can extrapolate that from what I do know. I need to know enough about the details so I can get it right, and that’s where research will help me. Also, use language to create emotion. Because emotions are where we grab the reader, and how we pull them into the scene.

Combat and sex aren’t so different when it comes to writing, and the personal experience. Now, go forth and write!

[thebiggerbear]

Soldier Boy Fic Recs List

Rec list under Read More:

Hush Hush Behind the Shield by @syrma-sensei - being america's greatest hero's wife has its perks, but they don't come for free…

Home by @syrma-sensei - ben's discovering new life affairs while expecting his first baby.

I like that name... by @jawritter

Rugrats, Pool, and Grilling Techniques by @syrma-sensei - soldier boy is surprisingly an amazing family man.

Frequency by @previousloversandmuses

Hot Under The Helmet by @syrma-sensei - fucking his wife is the best way to ease his mind.

Different World, Different Words by @syrma-sensei - ben's trying to fit in this fucked-up, new world.

Bad Mouth by @syrma-sensei - ben wants to netflix and chill with you but on his way.

I'll Be Home For You After Christmas by @mishapocalypse - A phone call you never expected to receive leaves you broken. However, some things can be done better a second time.

Far From Innocent by @wayward-dreamer - Y/N's life is quite simple. She's engaged to be married in a few months, she has the easiest job at Vought American, and she stays out of the drama or away from rumors she's heard around the office. An encounter with Soldier Boy, Vought's most respected hero, quickly changes all of that and she soon realizes that there's more to life than what she's settled for. (Set in the 50s)

Feral Cry by @holylulusworld - He wants only you...

Feral Love by @holylulusworld - He wants only you…

@lilacliquors - how solider Boy falls in love with a reader and confesses his love to her

French Mistakes and the Like // I Notice All Too Well by @mishapocalypse - The relationship that you have with Frenchie isn’t perfect-everyone can tell. When Soldier Boy takes an interest in you-the others can definitely notice all too well.

Aftermath by @deanbrainrotwritings - she’s human and ben wants to push her limits, fuck anyone else who got in the way of his mission.

Jump On Into the Fire by @deanbrainrotwritings - ben liked her more than he thought he did, more than he’d ever admit to her or himself.

All I Wanna Do by @deanbrainrotwritings - aka. part 2 of jump on into the fire. in which she finally makes a decision about ben’s previous offer to start a family together.

G.B.A. by @impala-dreamer - Spend the 4th with America’s first and greatest superhero

After The Ticker Tape Parades by @wayward-dreamer - Soldier Boy returns home for war to several celebrations.

Enrapture by @wayward-dreamer - Y/N is a P.A on the Solid Gold music program, and is excited for Soldier Boy’s appearance. She hopes to catch his attention for a few seconds, but doesn’t expect him to take such an interest in her.

Two Ways To Love Him by @wayward-dreamer - There were certain things about the supe she didn’t want to accept, they were surprisingly two things love about him.

New Blood by @wayward-dreamer - The executives at Vought American are enamoured by the new supe at the annual shareholders party, hoping to make her a new addition to Payback. Soldier Boy isn’t pleased with the idea, as he’s the only one who gets to decide who joins his team. He tells her this fact, and braces himself for a fight, but gets something much better out of their encounter.

Father Material by @wayward-dreamer - Curiosity from the public and media has Ben expressing his dream to be a father. Y/N wants to make his dream a reality.

Pillow Talk by @wayward-dreamer - After a stressful meeting lead by Stan Edgar, Y/N looks forward to her other weekly meeting that is far more enjoyable.

Distractions by @that-sarcastic-writer - You're Soldier Boy's assistant and you're trying to prepare things for an upcoming premiere, but he has other plans. And he really wants your attention.

Oh Baby by @junobarnes - You let it slip that you want a baby and Soldier Boy just can't resist.

Not Exactly Babysitting by @magicalqueennightmare

Bad Dream by @eclecticqueennerd

New Years Eve by @fandom-chic - Corporate parties are usually the worst. However, when you meet Solider Boy, the night takes an exciting turn.

Happy Little Family by @fandom-chic - When Vought asks the unthinkable, you are forced to play house with certified psychopath Soldier Boy. Your life (and dignity) may be at stake, but something about him draws you in.

The Time We Lost by @fandom-chic - 40 years have passed since you saw Soldier Boy. Yet here he was at your door. With so many things having changed, will you two be able to withstand the modern world?

breeding kink by @lilacliquors

Sorry... Not Sorry by @deangirlsstuff67 - You work with the boys to fulfill Butchers mission. Your family, like MM's, were killed by Soldier Boy. The only difference, you aren't mad about it. Your family was terrible and you constantly suffered at their hands. When you all find Soldier Boy, you offer to be his babysitter, only your attraction for the older supe might be too strong to fight.

What's Your Pleasure? by @venus-haze - Joining Vought’s newly announced superhero team Payback could be the big break you’re looking for. When it comes down to you and Crimson Countess for the last spot on the team, you’re shocked to hear Soldier Boy will be conducting your final interview. You shouldn’t be shocked at what it involves.

One More Time by @barbedbetty - Soldier Boy sneaks out of the Legends house to see an old friend.

Dirty Boy by @deangirlsstuff67 - Y/N is trying hard not to let on that's she's in pain due to her period coming yesterday. Crippling cramps take over her body when she's left to baby sit Soldier boy and he notices.

i love you by @blurblurdeactivated

Love To Hate You by @deanwanddamons - Y/N and Soldier Boy hate each other, but can’t resist one another when they meet again after many years apart.

uniform sex by @lilacliquors

Fangirl Crush by @targaryenvampireslayer - 𝐘𝐨𝐮 𝐦𝐞𝐞𝐭 𝐒𝐨𝐥𝐝𝐢𝐞𝐫 𝐁𝐨𝐲 𝐛𝐲 𝐜𝐡𝐚𝐧𝐜𝐞 𝐢𝐧 𝐚 𝐜𝐥𝐮𝐛. 𝐈𝐭’𝐬 𝐠𝐨𝐢𝐧𝐠 𝐭𝐨 𝐛𝐞 𝐚 𝐧𝐢𝐠𝐡𝐭 𝐭𝐨 𝐫𝐞𝐦𝐞𝐦𝐛𝐞𝐫.

She's Out To Please, She Pouts Her Best by @venus-haze - Soldier Boy’s been pulled from the European Theater to sell war bonds to the American people, the goodwill tour dotted by big cities and small towns alike. In the meantime, he gets familiar with the variety of women in dazzling costumes that accompany his speeches with carefully choreographed dances. You’re, without a doubt, his favorite of them all.

Watch Honey Drip, Can't Keep Away by @venus-haze - America’s golden son can’t keep his eyes off of you, almost like he wants to devour you whole…or something like that.

The Triplets by @welldonebeca - Lizzie moves in with her favourite honorary Uncle, Beau, to find work in a big city, and starts sharing a house with him and his other two twins brothers. The triplets - Dean, Ben and Beau - couldn’t be more different and more similar at the same time. One thing they all share? Well, they all want to fuck her, of course.

Come Marching Home by @mishapocalyse - Soldier Boy gets a call from his best girl, you. However, instead of the happy, giggling sweetheart he’s used to loving. It is a side that you hate. He’s marching home, your–Soldier Boy.

Three in a Row and You Can Get The Girl by @mishapocalyse - You wanted that giant teddy bear and you were not going to leave the fairground until it was yours. It really helped when America’s masked crusader comes to your aid.

Imagine being scared of Soldier boy by @deanoheartspie

Imagine Talking shit with Soldier boy by @deanoheartspie

Sit by @negans-lucille-tblr - Y/N finds herself in trouble when she doesn’t listen to her boyfriend’s instructions.

All In The Family// I Will Never Stop With You by @mishapocalyse - Soldier Boy loves a good family, yet never had the time to start one. However, when he meets you–that all changes–for better or for worse.

Modern Lady by @deangirlsstuff67 - Soldier Boy learns just how much women have changed…

Soldier Boy x Dom!Reader by @lilacliquors

Soldier Boy Has A Daughter by @lilacliquors

Soldier Boy x Reader, 18+ by @lilacliquors

Alpha!Soldier Boy x Omega!Reader by @luci-in-trenchcoats

herogasm ~soldier boy;the boys by @storiesforallfandoms - in which she’s trying to leave the supe orgy, just to stumble into the room of the man who started it

Imagine Soldier Boy making sure you know there’s no way out for you by @mrsdarkandyandere7

Guess Who's On The Menu by @jawritter

Dirty Boy by @deangirlsstuff67 - Y/N is trying hard not to let on that's she's in pain due to her period coming yesterday. Crippling cramps take over her body when she's left to baby sit Soldier boy and he notices.

Gods & Monsters by @devilmademewriteit - delivering coffees to Vought’s crisis management team brings you face to face with Soldier Boy—who has a different job in mind for you.

For Whom the Bell Tolls by @minefield-of-a-ninja - In the books, Soldier Boy calls out the names of US states when he fights. What if live-action Soldier Boy made his sex partners list all 50 states and the federal district in alphabetical order before he lets them come, and if they slip up or pause for too long or say anything other than the name of a state in the correct order, he withholds and makes them start over?

Starlit Serenade by @myouiminn

Centerfold by @rizlowwritessortof - It’s 1973, and you are the assistant to the most famous photographer in the U.S., who just happens to be doing the photoshoot for Playgirl Magazine’s first-ever centerfold. Who better to start things off with a bang than America’s favorite superhero?

One More Time by @barbedbetty - Soldier Boy sneaks out of the Legends house to see an old friend.

Somewhere In Your Heart by @syrma-sensei - soldier boy lives through the ennui of his peak, but everything is about to change when he has a shift in his heart.

Possessive by @kaleldobrev - Ben is highly against when other men hit on you

Side Effects of Soldier Boy by @tom-whore-dleston - Soldier Boy tries to keep you quiet during sex.

Let’s Dance by @impala-dreamer - there's one thing she knows, it's that she fucking hates Soldier Boy. If there's one thing he knows, it's that he can change her mind.

The Bet by @quin-ns - butcher leaves you to keep an eye on soldier boy and things become interesting when a deck of cards gets involved

Open Wounds by @negans-lucille-tblr - Soldier Boy sets his eyes on a new project – one that takes an interesting turn.

No, no don’t look at me with those eyes by @deanoheartspie

Like Hell by @holylulusworld - You don’t like your mate. Not at all…

Flashbacks by @sams-red-flannel - where reader comforts soldier boy during fireworks

*I will add more as I go

dividers by @firefly-graphics

[buckgettingstruck]

here to ask about the camera panning to eddie. give me the freak answer pls

when i saw that shit airing i yelled and spilled wine on my carpet.

like. i feel like this is common sense but i dont know if people realize how intentional each second of a show/movie is. like whether the show is a silly sitcom or a serious drama everything is so intentional and purposeful. of course theres always continuity errors and mistakes that happen when you’re creating a show of that size thats been running for so long but for the most part everything has its intentions. its why you see certain themes come back again and again. im not gonna get into outfit meta or anything like that because its not really my wheelhouse but i did learn a lot about camera techniques and im a writer so. yeah.

shots are one of the most important aspects of a movie or a tv show. they set the mood. close up shots convey intensity and emotion while more wide shots establish a scene etc. they gave us a lot of close up shots of eddie’s face in the kim and eddie scene at the end of 7x09 because it was an intense moment for eddie as a character for example. you have to get the shot right to convey what you want your audience to see yknow.

so. you have the medal ceremony. they couldve done the announcements for these people in literally any order because they fucking wrote the script. they didnt do it alphabetically or anything normal they literally had the trio of triangulated desire standing in the back with buck in the middle AGAIN while chim and hen were being normal and serving cunt up front. and when they were sitting they had buck in the middle again because reasons. then once they got their medals itd pan to their families and significant others clapping. ofc for tommy they pan to buck because thats the person there supporting him. for BUCK they had so many options. they had bobby, his captain that he verbally said was his father figure the next episode, they had maddie, his fucking SISTER AND THE WOMAN WHO RAISED HIM, and they had tommy, the dude he’s dating. instead they pan to eddie.

literally that is the absolute LOUDEST fucking thing the show has done so far in my opinion. they panned to buck for tommy!!! they couldve panned back to buck or done it in a different order if they didnt wanna repeat so they could pan to them for each other!!! but they panned to eddie and the director of photography was even emphasizing that choice on twitter.

the entire bi arc had eddie written all over it. they had so many opportunities to shove their relationship to the side and double down on their friendship but they didnt. instead we had buck tweaking at the gym where we have no idea who eddie was even talking to on that phone, eddie constantly mentioned by buck in a kiss scene with someone else, the line of all time ‘MY attention?’, eddie interrupting the date next episode, buck not even giving a FUCK about the date because he lied to eddie, the shit maddie said that episode about being confused about his feelings, eddie saying nothing is gonna change between them (which. thats a chekov’s gun if ive ever seen one), and all the entire shit with the bachelor party. not even mentioning the implications of the song choice for the karaoke scene that paralleled madney because we didnt get it in the episode. they couldve completely avoided all of that but they didnt and then when buck is dating someone else they dont pan to HIM being happy and supportive for buck, they pan to EDDIE. it feels as if its supposed to remind us what’s actually going on or another attempt to clue us in

also like right after they had the two who were dating acting as acquaintances. and had that guy also kinda put buck’s excitement down at said ceremony. and later in that episode had buck ditch plans with the guy he was dating to make sure eddie was okay. for reasons i guess. so buddie canon or theyre doing a real bad job at getting me to care about bucks actual man

[literaryvein-reblogs]

How to Start Creative Writing

Journalling

If you’re unsure how to begin writing and find yourself with a mind block, starting a journal can help unlock your creativity.

Writing daily about anything that comes to your mind will train your brain and gradually help it unlock your imagination.

Creative Writing Summer Course

If you’re just starting as a creative writer and you are looking to collaborate, share ideas with others, and workshop your writing, joining a creative writing summer course could be a great option.

This is a chance to develop your writing skills and network with other budding writers.

Write!

The main piece of advice for starting creative writing is to pick up your pen or laptop and start writing.

Whether you have a single idea for a character or a complete narrative arc in mind, you will only succeed when you begin to write.

Even if you have no idea what to write, once you channel your inner creativity and start putting words down, you will notice the words naturally flow.

Try to use the elements of creative writing, and you’ll be on your way to creating amazing writing.

Benefits of Creative Writing

Creative writing helps develop your imagination, improves your ability to express ideas, enhances your writing skills, and can be therapeutic.

It also offers opportunities for professional growth in fields such as literature, journalism, and content creation.

Some Ways to Improve your Creative Writing

Reading widely

Practising regularly

Attending workshops or courses

Seeking feedback from peers

Experimenting with different styles and genres

Some Types of Creative Writing

Creative writing includes various genres such as fiction, poetry, drama, and non-fiction.

You can explore different forms like short stories, novels, screenplays, and more.

Some Ways to Overcome Writer's Block

Techniques to overcome writer's block include journalling, freewriting, changing your environment, setting small writing goals, and reading to gain inspiration.

It's important to stay patient and persistent.

Source

[perpetual-stories]

Tension vs. Conflict: What’s the Difference?

Good morning everyone! It’s my birthday today and because it’s my birthday I thought I’d post today (that’s kind of an obscure reference to Star Wars Guy and his girlfriend lol)!

Conflict and tension in literature help build drama and keep readers engaged through the end of the book. Learning the distinctions between conflict and tension will help elevate your writing and make your storylines more engaging.

What Is Tension in Writing?

Tension in a literary context is the sense that something ominous is right around the corner. Building a large amount of tension as a writer keeps your readers engaged up until the end of the story. Mystery novels are full of tension and foreboding, and they generally feature tense scenes from beginning to end. Working within the genre of mystery writing is a great way to learn how to layer tension into your narrative arc. Good use of tension makes a story worth reading and keeps readers guessing.

3 Tips for Using Tension in Your Writing

Learning to build tension is no easy task. Even the most seasoned professional writers have trouble maintaining tension from beginning to end. Here are a few tips for using tension successfully in your writing:

Foreshadowing: An important part of building tension is using foreshadowing to build dramatic tension and keep readers on the edges of their seats. In Harry Potter, author J.K. Rowling uses flashbacks and backstory to foreshadow the eventual major conflict that will unfold between Harry Potter and the villainous Voldemort.

Inner conflict: Sometimes inner conflict and self-doubt can be layered in through character development and used to build levels of tension. In William Shakespeare’s Hamlet, the main character wants to avenge his father’s death but is beset by self-doubt, paralyzing indecision, and mental strain. As an audience, there is a sense of tension in every scene as we wait to see if Hamlet will act on his inner desire for retribution or remain stuck in a place of indecision.

A time limit: One great way to build tension in your story is to place a time limit on an action your character has to undertake. By adding the element of a ticking clock, you build tension and increase stakes. This is a common technique used in thriller novels and films as well as action and adventure stories.

What Are the Differences Between Conflict and Tension?

While tension simmers under the surface, conflict is generally out in the open—it's tension realized. Tension might be present an unspoken rivalry between the protagonist and antagonist or in the audience’s awareness of an impending disaster.

Conflict, on the other hand, involves an active clash; maybe the protagonist and the antagonist engage in a firefight or a heated debate, or maybe a character fights off a pack of animals or works to prevent climate catastrophe. Even if the conflict is interior—a character battling low self-worth, perhaps—it still involves opposing forces struggling for supremacy.

What Is Conflict in Writing?

Conflict can come in many forms. Conflict in a story can be a physical fistfight or a passive-aggressive war of words. All that is required for conflict is a manifestation of disagreement or incompatibility between a character and something else. Characters can be in conflict with other characters, with natural forces, or with society at large.

Another type of conflict is internal conflict. Conflict is one of the fundamental principles of narrative and creative writing. In order to write a story worth reading, you need characters whose point of view is in some way challenged and to whom bad things happen. Without conflict, you won’t have a narrative or any meaningful character arc.

4 Types of Conflict and Tips for Using Them in Your Writing

The kind of conflict you use depends on what your plot and subplots are centered around and what your main character wants and needs. New plot points generally introduce conflict or advance existing conflict. Here are some types of conflict to employ in your writing and a few tips about when and how you migh

Person vs. self: An internal conflict is a kind of conflict that only manifests within a character’s head. Though we may see this conflict dramatized through narration or dialogue, or play out in the protagonist’s actions, it is an internal struggle within a character.

Person vs. person: The simplest and most common form of external conflict is when two characters are in conflict with each other. The first stories we are told as kids generally have a clear good guy and bad guy. These stories are early introductions to person vs. person conflict. Person vs. person conflicts are very common, and it’s rare to find a narrative without an interpersonal conflict present at some point in the story.

Person vs. nature: Conflict between a person and forces of nature is a good example of external struggle that can raise the stakes in a story. Some notable stories that included conflict between a person and a natural force include The Old Man and The Sea by Ernest Hemingway and Robinson Crusoe by Daniel Defoe. Consider using person vs. nature conflict if you’re interested in writing a story with one main character and few, if any, supporting characters.

Person vs. society: Conflict between a person and society at large is a type of conflict often found in science fiction. Some notable examples of this type of conflict are found in The Handmaid’s Tale and The Hunger Games series. In The Hunger Games, Katniss Everdeen finds herself contending with a dystopian and oppressive United States government that pits citizen against citizen in order to keep dissent down and quell rebellion. If you’re interested in science fiction or narratives about social justice, you might want to consider exploring conflicts that pit an individual character against society at large.

[hayatheauthor]

Forging Epic Battles: Techniques for Writing Gripping War Scenes

I want to start this post off with sort of an author's note: this is a long one! I tried to keep my detailing to a minimum but I guess this topic Is just so vast I couldn't help but pour it all out. This really is sort of an ultimate guide and I hope it helps! Also, it was requested by @xweirdo101x (if you want to request something just send me an ask)

War has long captivated readers' imaginations, evoking a sense of grandeur, sacrifice, and the clash of ideologies. As writers, we have the power to transport our readers to the frontlines, immersing them in the chaos, drama, and emotion of epic battles. 

Crafting gripping war scenes requires a delicate balance of research, skillful storytelling, and an understanding of the human experience in times of conflict. In this guide, I will explore various techniques that will help you create dynamic and compelling war narratives, transporting your readers to the heart of the action and leaving them breathless.

Setting the Stage: Creating a Compelling War Setting

When it comes to writing gripping war scenes, creating a vivid and immersive setting is paramount. Whether you are crafting a historical war or inventing a fictional conflict, the setting serves as the backdrop against which your characters and their stories unfold. Here are essential steps to help you create a compelling war setting that captures readers' imaginations:

Research Historical Context or Build a Fictional World:

For historical wars, immerse yourself in research to understand the time period, social dynamics, and political climate surrounding the conflict. This knowledge will lend authenticity and depth to your narrative.

If you're building a fictional world, establish the rules, geography, and cultural aspects that shape the war. Consider the unique elements that set your world apart and make it feel real to readers.

Describe the Physical Environment and Atmosphere:

Depict the landscape, whether it's a war-torn city, a rugged battlefield, or a desolate wasteland. Pay attention to sensory details—sights, sounds, smells—to transport readers into the heart of the war.

Convey the atmosphere of the setting, capturing the tension, fear, or anticipation that hangs in the air. Is it shrouded in darkness and despair, or does a glimmer of hope persist? Use descriptive language to evoke the desired emotional response.

Incorporate Cultural and Societal Elements:

Explore how the war has affected the culture and society within your setting. Are there new traditions, rituals, or customs that have emerged in response to the conflict?

Consider the social dynamics at play—class divisions, power struggles, or the impact of war on marginalized groups. These elements add layers of complexity to your setting and provide opportunities for conflict and character development.

By carefully constructing your war setting, you transport readers into a world brimming with authenticity and intrigue. Whether it's the trenches of World War I, a futuristic intergalactic battle, or a mythical realm engulfed in strife, the setting sets the stage for compelling storytelling.

Building Conflict and Tension

In the realm of war fiction, conflict and tension are the driving forces that propel your narrative forward and keep readers captivated. From the clash of opposing ideologies to the internal struggles within characters, here are essential techniques for building conflict and tension in your war scenes:

Establish Clear Goals and Stakes for Characters:

Define the objectives and desires of your main characters within the war. What are they fighting for? What personal or collective goals are at stake?

Create conflicts of interest between characters, where their motivations and objectives may diverge, leading to tension-filled interactions and confrontations.

Introduce Opposing Forces and Ideologies:

Develop compelling adversaries that challenge your protagonists. These opposing forces may represent different sides of the conflict, ideologies, or even personal vendettas.

Explore the contrasting beliefs, values, and philosophies driving each side, heightening the ideological clash and intensifying the conflict.

Utilize Internal Conflicts within Characters:

Explore the internal struggles and moral dilemmas faced by your characters. How does the war affect their beliefs, principles, and sense of self?

Delve into the emotional turmoil and psychological toll of war, showcasing the internal battles characters face as they navigate the chaos and make difficult choices.

By effectively building conflict and tension, you create a dynamic and engaging narrative that keeps readers invested in your war story. The clash of goals, the ideological friction, and the internal struggles of your characters add layers of complexity and depth to your storytelling, drawing readers deeper into the heart of the conflict.

Developing Dynamic Characters

In the realm of war fiction, dynamic and well-developed characters are essential to breathe life into your narrative and create an emotional connection with readers. By crafting relatable protagonists and antagonists, you elevate the impact of your war story. Here are key considerations and techniques for developing dynamic characters within the context of war:

Crafting Relatable Protagonists:

Give your main characters depth and complexity by exploring their backgrounds, motivations, and personal histories. What drives them to participate in the war? What are their hopes, fears, and vulnerabilities?

Develop relatable goals and desires for your protagonists that resonate with readers. Show how the war impacts their lives and pushes them to grow, change, or make difficult decisions.

Creating Compelling Antagonists:

Craft antagonists who are more than just one-dimensional villains. Give them their own motivations, beliefs, and reasons for engaging in the war. This adds depth and complexity to their characters, creating a sense of empathy or understanding.

Explore the potential for redemption or transformation within your antagonists. Are they driven by misguided ideals, personal vendettas, or the pressures of their circumstances? Allow their development to challenge readers' perspectives.

Conveying the Psychological Impact of War:

Explore the emotional and psychological toll that war takes on your characters. Depict their fears, traumas, and inner conflicts as they grapple with the horrors and realities of the battlefield.

Show the evolution of their beliefs and perspectives as they confront the brutalities of war. Allow their experiences to shape their character arcs, highlighting the resilience, resilience, and vulnerabilities that emerge in the face of adversity.

By developing dynamic characters in your war narrative, you create a multi-dimensional and emotionally resonant story. Readers will become invested in their journeys, experiencing the triumphs, losses, and personal transformations that unfold throughout the war.

Writing Action-Packed Battle Scenes

Action-packed battle scenes are the heart of war fiction, where the intensity and stakes are at their highest. These scenes immerse readers in the chaos, danger, and adrenaline of the conflict. To craft gripping battle scenes, consider the following techniques:

Structuring Battle Sequences for Maximum Impact:

Begin with a clear sense of purpose for the battle scene. What are the objectives? What is at stake? Establish the goals and set the stage for the conflict.

Build tension gradually, starting with smaller skirmishes or encounters that escalate toward the climactic moments. Consider pacing, alternating moments of heightened action with moments of respite for emotional impact.

Balancing Fast-Paced Action and Descriptive Details:

Use concise and vivid language to convey the fast-paced nature of battle. Focus on capturing the essence of the action, highlighting key movements, and sensory details that immerse readers in the experience.

Strike a balance between brevity and providing enough detail to engage the reader's imagination. Avoid overwhelming readers with excessive description, ensuring that every word serves a purpose and contributes to the overall impact.

Using Sensory Language to Immerse Readers:

Engage multiple senses to transport readers into the battle scene. Describe the sights, sounds, smells, and tactile sensations to evoke a visceral experience.

Leverage sensory details to enhance the emotional impact of the battle, capturing the fear, adrenaline, and urgency felt by characters and evoking a similar response in readers.

Good action-packed battle scenes bring the war to life on the page, immersing readers in the heart-pounding action. Remember to focus not only on the physical aspects of combat but also on the emotional and psychological experiences of your characters. 

Conveying Emotional Resonance

In war fiction, it is crucial to convey the emotional impact of the conflict on both individual characters and the larger society. By tapping into the raw emotions experienced during times of war, you can create a profound connection with your readers. Here are key techniques for conveying emotional resonance in your war narrative:

Show the Human Cost of War:

Portray the personal sacrifices, losses, and tragedies that characters endure in the face of war. Highlight the emotional toll on their relationships, families, and communities.

Explore the range of emotions experienced by characters, such as fear, grief, anger, and resilience. Through their struggles, allow readers to empathize with the profound impact of war on the human psyche.

Engage the Senses to Evoke Emotion:

Utilize sensory language to evoke emotions within readers. Describe the sights, sounds, smells, and tactile sensations associated with war to create a vivid and immersive experience.

Connect specific sensory details to the emotions they evoke. For example, the acrid stench of smoke may elicit a sense of danger or the distant cries of anguish may stir feelings of sorrow.

Develop Authentic and Complex Relationships:

Showcase the bonds formed and tested amidst the chaos of war. Explore friendships, romances, and the camaraderie among soldiers to highlight the connections that sustain characters in the face of adversity.

Depict the conflicts and tensions that arise within relationships due to the strain of war. This adds layers of emotional complexity and authenticity to your narrative.

By effectively conveying emotional resonance, you invite readers to experience the human side of war. They will connect with the characters on a deeper level and become emotionally invested in their journeys.

Navigating Moral and Ethical Dilemmas

War is often accompanied by moral and ethical dilemmas that test the values and principles of individuals and societies. As a war fiction writer, it is important to explore these complexities and shed light on the difficult choices characters face. Here are key considerations for navigating moral and ethical dilemmas in your war narrative:

Present Conflicting Perspectives:

Introduce characters with differing moral viewpoints and beliefs. Show the diversity of perspectives within the war, whether it's among the protagonists, antagonists, or the larger society.

Challenge readers to contemplate the gray areas of morality and the complexities of right and wrong by presenting conflicting viewpoints and the reasons behind them.

Highlight the Consequences of Choices:

Illustrate the consequences of characters' actions and decisions. Showcase how their choices ripple through the narrative, affecting themselves and those around them.

Explore the moral dilemmas characters face, such as choosing between duty and personal convictions, sacrificing the few for the many, or grappling with the aftermath of their actions.

Offer Reflection and Discussion:

Provide opportunities for characters to reflect on their choices, engaging in internal dialogue or discussions with others. This allows readers to contemplate the moral implications alongside the characters.

Invite readers to reflect on their own moral compass and engage in discussions surrounding the ethical dimensions raised in your war narrative.

Navigating moral and ethical dilemmas makes your war fiction go beyond the surface-level action and delve into the deeper questions of humanity. It prompts readers to question their own values, moral boundaries, and the intricate web of choices that arise in times of conflict. 

Research and Authenticity in War Fiction

For war fiction to have a lasting impact, it is crucial to conduct thorough research and strive for authenticity in your narrative. By grounding your story in accurate details and historical context, you enhance its credibility and immerse readers in the world of war. Here are key considerations for incorporating research and authenticity in your war fiction:

Study Historical Events and Settings:

Research the historical events, conflicts, and time periods that serve as the backdrop for your war narrative. Gain a comprehensive understanding of the context, including the political, social, and cultural factors that influenced the war.

Dive into the specifics of battle strategies, weaponry, and tactics employed during the time period. This knowledge will help you create authentic and realistic war scenes.

Explore Personal Accounts and Memoirs:

Read personal accounts, memoirs, and interviews of individuals who have experienced war firsthand. These sources provide invaluable insights into the emotions, challenges, and nuances of the human experience during wartime.

Pay attention to the details of daily life, the physical and psychological tolls, and the individual stories of courage, sacrifice, and resilience. Incorporate these elements into your narrative to add depth and authenticity.

Consult Experts and Military Advisers:

Seek guidance from military advisers, historians, or experts in the field to ensure accuracy in depicting military operations, protocols, and terminology.

Engage in conversations or interviews with individuals who have expertise in areas relevant to your story, such as veterans, soldiers, or scholars. Their perspectives can offer valuable insights and help you portray the realities of war with authenticity.

Strive for Emotional Truth:

While research and accuracy are crucial, remember that emotional truth is equally important. Balance historical accuracy with the emotional resonance of your characters and their experiences.

Capture the human aspects of war, such as the impact on relationships, the psychological trauma, and the bonds forged in the face of adversity. Connect readers to the emotional core of your story.

By incorporating thorough research and striving for authenticity, you create a rich and immersive war narrative that resonates with readers. The combination of accurate historical details, personal accounts, and emotional depth brings your story to life.

War fiction is a genre that holds immense power to captivate readers, evoke emotions, and shed light on the complexities of human nature during times of conflict. Through the techniques and considerations I have explored in this guide, you have the tools to craft compelling war narratives that resonate with authenticity and engage your readers on a profound level.

I hope this blog on forging epic battles will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and marketing tools for authors every Monday and Thursday

[whalesforhands]

MY GOD YOUR GETO X READER X GOJI FICS SCRATCH AN ITCH IN MY BRAIN AND THE SHOKO CRUSH ADDITION?!?!? ABSOLUTELY DIVINE I TELL YOU!!!! Part 3 had me hurting ngl like ouch man but it inspired some angst *rubs hands evilly* what if one day after a tough mission reader is just feeling super down and tired and weak and is abt to cry and runs into Gojo and Geto who (not knowing any better) start teasing her abt her abilities and cursed technique etc not knowing her mental state and she just snaps and starts crying and yelling at them abt if all they think of her is a joke then they should just leave her alone instead of messing around with her feelings and runs off. Shoko is the one to find her and comforts her while Gojo and Geto are left gobsmacked and stricken with guilt. I’ll let you imagine how they realize what idiots they are and try to fix their huge screwup. Also I’m so glad you’re writing for Geto x reader x Gojo there’s hardly any fics on here with that pairing and not smut (not that I don’t love that too but I want PAIN and DRAMA and SHENANIGANS) and your fics give me just that so ty

anon i’m going to cry i finally got another ask. i thought ppl hated me bro. ur so cute for such a detailed and compliment filled ask, anon

i write 2 gs x reader bcs it never feels right knowing that they are without each other. i need them to be happy 😭😭

anyways, eat up

dread creeps around the corner (gojo x reader x geto, shoko x reader)

warnings: angst to fluff, y’all making me consider quitting smut writing to become a full time PG writer cause these are way more fun

You think the weariness of life is catching up to you.

Your body felt heavy, your feet dragging as your back was hunched over. Your staff strapped to your back as your eyesight started to blur.

Your backpack seems even heavier today too. You were sure you packed light.

Another mission, another near-miss. How many times would you be able to just make it out with your life? How many times until your luck finally ran out?

Why weren’t you improving? Why weren’t your techniques breaking past their limit quicker? What are you doing wrong?

Why are you so weak?

Perhaps you just aren’t cut out for savi- No.

You shake your head, trying to rid yourself of those thoughts as you sense the familiar energy begin to surround you.

“Little Miss Barrierrrrrr!” An arm latched itself onto your shoulders as weight suddenly pressed itself down onto you, the sudden pressure causing you to stumble backwards, only for the arm to support you and keep you upright on your feet.

“How was your mission?” Gojo’s loud voice rang throughout your ears, it’s sheer volume grating and painful. His hand going round to the strap of your backpack, tugging it off of you and onto his own shoulder.

The other presence flanked your side, before you felt the weight of your staff disappear from your back, leaving you empty handed as the two sorcerers smiled down at you.

You took a breath in.

“It… It was-“ Horrible. Tragic. You survived by the skin of your teeth once again. You struggled to find the strength to describe it in more detail.

“Fine.”

Gojo grins as you felt Geto’s hand pat your head.

“Sounds like code for, ‘You struggled!’” He laughs, patting your back. “My Six Eyes tell me your cursed energy barely improved after that mission too. Should I ask Yaga to assign you harder ones? Maybe with us?”

Your body stills. It… Barely improved? You gave that mission your best shot.

You heard Suguru laugh as he smacked Satoru’s arm, ridding his arm off your shoulder as he replaced it with his own.

“It’s alright,” Suguru began. “Don’t listen to him. Improving takes time anyway.”

Takes… Time? How hypocritical does he have to be to tell you that? He, along with the gifted Gojo Satoru, had immense cursed energy from the beginning. Their talent innate, their improvement expedited with little to no training.

Self-sufficient, talented, never having to try too hard to far surpass the standards of average. Exceptional. Things that you never were, never will be.

Frustration had built up, your emotions starting to light aflame. With desperation, with aggravation. Why did it always feel like they looked down upon you?

“Helloooo? Earth to Miss Protection? Ya there?” Gojo waved his hand in front of your face.

Seeing no response, he reached a hand out to caress your cheek.

“Gosh, if you’re going to be so distracted, I might just ki-“

You slap his hand away before he could touch you. Eyes alight with anger, you looked straight at him, throwing Geto’s arm off your shoulders.

“If you think I’m so weak, then just leave me alone!”

The air grew tense. Your tears were beginning to well up.

“I- I know I’m weak, okay?! You don’t have to rub it in all the time! B-but I’ve tried! I’ve tried too hard for you to tell me that I’m not doing enough!” The dam broke, your cheeks streaked with your tears as your stutters caused you to grow embarrassed.

Why can’t you even express your anger more courageously?

You turned tailed and ran away. Your sobs making themselves more apparent the more you ran, the more your legs burned.

You were such an embarrassment.

Settling by a creek, your legs bundled up to your chest as you cried into your knees. You don’t know how long you’ve been here crying your stress out. Your eyes were puffy, stress not leaving your body as you sat still, listening to the gentle pitter patter of the rain beginning to fall upon you.

Can the day really not get any worse?

You wanted to laugh at yourself as you felt the rain begin to drench your uniform. It was your last clean one. You need to do the laundry again soon.

As the rain poured down on you, it suddenly stopped. A shadow had overcome your figure, providing you shelter.

Cigarette smoke and a hint of a citrusy fragrance.

Shoko.

“I thought I’d find you here.”

You stay silent. You didn’t expect to be found. Nor did you even feel like talking right now. You bury your face deeper into your folded arms, trying to hide. You don’t want to be seen as weak by Shoko.

It stays that way for a moment. Silent, besides the gentle patter of the rain.

“It’s not,” She began. “It’s not weak to cry when you’re sad. Not in front of me.” Assurance. She was comforting you.

You felt her settle next to you, getting her skirt wet.

She gently adjusted your head to rest on her shoulder.

“Cry all you want. I’ll be here.”

And you did. Sobbing, fingers digging into her uniform as your tears and snot mixed into her clothing.

You didn’t notice her other shoulder getting wet with rain as she held the umbrella up over the both of you.

——

You were holding her arm with both of your own as she walked you back to the dorms.

You were ready to take a shower, collapse onto your bed and cry even more. Too much stress has built up.

What you didn’t expect was to see the duo settled on your carpeted floor.

They scrambled up to their feet almost instantaneously.

You sniffled, your eyes red and weary as you held Shoko’s arm tighter.

Geto spoke first, a hand of his outstretched to touch you before he willed it back to his side. “I- We’re very sorry. It wasn’t our intention to hurt you.”

He never wanted to make you feel inferior.

Gojo’s eyes were downcast, sight seemingly stuck to the floor before he raised his gaze to be directly looking at you.

“You’re not weak. You just need more training.”

Geto elbowed his side as you heard Shoko sighed exasperatedly beside you.

“Ow!” The white haired sorcerer exclaimed. “Oh, and uh, I- I’m sorry… Too.” He rubbed at his torso where Suguru had landed his hit.

“Hopeless…” You heard her murmur. Strangely, you didn’t feel taken aback by Gojo’s seemingly insincere apology.

You found it funny. You giggled, desperately trying to not let them see as a hand came up to slap itself over your mouth, your eyes beginning to light up with joy.

“It’s-“ You tried to speak through your silent laughter. “It’s- Okay.” Getting ahold of yourself, you remove your hand.

“I forgive you.” You smiled.

“We bought you pizza as an apology by the way.”

“You’ll join us, right?”

masterlist

Note:

Geto, Gojo and Shoko thought your laughter was cute, especially after seeing how hard you cried.

Surprisingly, Geto and Gojo were fighting over who was to pay for the pizzas. They both wanted to pay for you. Shoko watched, amused by their fighting as she paid for it at the counter whilst they were too busy wrestling.

You never thought you’d get so hungry after crying so hard. You ate nearly half of the whole damn thing before Geto went to order some more.

Gojo thought it was adorable how you were stuffing your cheeks like a pig.

Shoko licked some sauce off your face as you were eating, you blushed so hard and told her she’d make an amazing wife.

“Just because of some sauce?!?! I can do that too-!”

[shiftingconfessions]

A lot of these new shifters who came from TikTok and Amino are lying. Not because their stories are unrealistic—they are realistic—but it's because Amino was coded the same way. In 2021, everyone got exposed for lying, and now on TikTok, they're admitting they're lying for attention. Now, shifting is real; I have been doing it since 2019, but be careful who you're following and who you're listening to. A lot of these new shifters who ran away from TikTok because it's crumbling are just Wattpad writers or having a false attempt at living "in the end" in hopes that helps them shift. And then, others are just having lucid dreams or false awakenings and calling it a day. Please do your own research; shifting is very real. Stick to the old shifters on here—I can think of 3—not anyone who came during 2024. The quality of shift Tumblr is becoming juvenile, which is sad because it's been one of the best communities thus far. Take from the OG and please dip so you don't slow down your own journey. This has happened on every platform, unfortunately, but the people engrossed in drama are lying and attention-seeking.

The stories that literally sound like they're Wattpad-coded or just make no sense to the foundation of shifting are lying; the questionable memories are lucid dreams or a hypnagogic state. Again, shifting is REAL, the law is REAL, manifesting is real, but a lot of people are uneducated and literally want to spread misinformation and lies for shits and giggles, and it's embarrassing. Keep it on Amino and TikTok—you know who I am talking about. m unfortunately but the people engrossed in drama are lying and attention seeker, the stories that literally sound like they’re wattpadd coded or just make no sense to the foundation of shifting or lying, the questionable memories are lucid dreams or hypnagogic state. Again shift is REAL the law is REAL manifesting is real but a lot of people are uneducated and literally want to spread the misinformation and lies for shits and giggles and it’s embarrassing keep it on amino and tik tok you know who I am talking about

As someone who shifts often and meets with other wise shifters across realities , here are some tips:

1. **Stick to the Law**: The law of assumption will not fail you and is always in operation. Learn about it.

2. **Avoid Useless Debates**: Stop engaging in meaningless debates; this isn't drama club. Those involved in such debates likely aren't shifting—they're like crabs in a bucket.

3. **Embrace Lucid Dreams**: Lucid dreams can be your best friend. You sleep for a third of your life, so use it to your benefit!

4. **Believe It's Possible**: Yes, you can shift without trying, but most won't achieve this because you can't do something you don't believe to be true. Don't lie to yourself; honesty is key to progress. It’s okay to want techniques and use them, it’s okay to be lazy sometimes but some of you guys are being lazy without the assumption that will aid you so it will not work!! Shifting is worth it but some work in it’s okay…

5. **Don't Let Doubts Hold You Back**: Understand that your doubts can't stop you. Don't attach yourself to them.

6.Use Methods That Fulfill You: Stop copying others. There are no rules to shifting, which is why it works differently for everyone. Just because a method worked for someone else doesn't mean it will work for you in the same way.

7. **Feeling Is the Secret**: Your emotions and feelings play a crucial role in shifting.

8. **Have Faith in Yourself**: If you doubt everything else, at least have faith in yourself. Shifting is a part of you and is within you.

Good luck, and research wisely! Shifting is very real it’s so amazing guys. Please don’t scroll too much on this app anymore the quality has gone to shit in the last week or two and it will get worse.. don’t make the same mistakes everyone did in 2020!!!! You all can do it even the people currently lying (and it’s very obvious pls log off lol) they can do it too :)! To infinity and beyond my friends ☯️

.

[longing-for-rain]

This is unacceptable behavior

So this morning, I found this blog who has apparently taken it upon themselves to “call out” anyone they suspect of using AI in either fan art or fanfics. No proof needed; just send them an anon ask and they’ll start throwing people under the bus.

This person is harassing artists, writers, and anyone who questions them. They’re even demanding that artists upload videos of themselves drawing by hand to “prove” they’re real.

Reading their blog gets even more disturbing. Apparently “suspicious activity” for artists can be something as simple as experimenting with a different style, having trouble drawing hands, improving too quickly, uploading too quickly, or even using digital watercolor. So essentially, artists deserve harassment for being too good, not good enough, or if they don’t use 100% traditional techniques. Do you really think that’s helping artists? All you’re doing is intimidating people away from their hobbies and encouraging toxicity. Cut it out.

For context, yesterday @azula-brain messaged me in my DMs to accuse me of AI usage. I explained that a) I don’t consider my images “AI art” in the sense of “push a button and it makes a picture” because I only use it as a filter over my existing work, b) that I’ve posted detailed explanations of my artistic process before and that still didn’t stop people from harassing me over anon. She also accused me of charging people for art, which I very clear state in my pinned post that I do not accept commissions.

I’m committing a crime by not using fully traditional art, and by having a tip jar (keep in mind, many blogs simply use the built in tumblr feature which is easily understood to be for tipping bloggers they like, not art commission payments). I told her I suggest she simply block and move on if she was unhappy, but apparently that wasn’t good enough, so she called me out by name instead along with the above noted misinformation after I refused to bow to her threats over DMs.

But anyways, I’m done caving to threats, and so should the rest of you. Nothing you do will ever appease the mob, and I’m sick of these literal children making blogs like this thinking they’re saving the world, when literally they’re just stirring up drama and harassing random artists who were doing nothing wrong.

[chirpsythismorning]

Why I Don’t Experience Byler Doubt

It’s simple. One of the most essential techniques in storytelling: Show, don’t tell.

Show, don't tell is a technique that allows the audience to experience the story through actions, words, subtext, thoughts, senses, and feelings rather than exclusively through the creators' exposition, summarization, and description.

Even more importantly (assuming we want to enjoy ourselves bc this is supposed to be high quality entertainment), it adds drama. Rather than telling viewers what's happening, a filmmaker will use this technique to show drama unfold. 'Telling' is factual and avoids detail; while 'showing,' is detailed and places the human subject at the centre of the drama.

This technique is literally playing out in the narrative when it comes to Mike’s inability to tell El he loves her (or even simply write love Mike in his letters), which he never would have had to tell her (spell out) in the first place, if he had just shown her that he loved her.

It’s no fun having to spoon feed your audience. Instead, it's much more enjoyable for the storyteller to present the truth in the details, even sometimes contradicting very basic assumptions that are being outright told. Hence why, for example, when the Duffers were asked about the Vecna reveal, Ross used the opportunity to go on a mini tangent: 'the best twists are ones that you go, “Oh, I should have seen that coming.” As opposed to the twists that go, “Oh, well that just came out of nowhere.” So, “Oh, I missed these clues along the way.” But you get nervous when you’re writing it because you go, “Well, to me it seems obvious--'.

In fact, Show, don't tell is what largely allows surprise revelations to hide in plain sight. Because obviously, if a writer just tells their audience everything that's happening while it's happening, we would always see what's coming next.

And so the problem I have with downplaying or even completely refusing to acknowledge the importance of Show, don't tell, in the case of Stranger Things especially, is that, in order to comfortably subscribe to what is being told, I have to ignore what is being shown.

We see this play out all the time on Reddit in particular, which if I'm being honest is the only platform at this point that treats mere speculation about Will and Mike's relationship as if it is the end of the world. On the rare occasion the mods don't remove a byler related post, the post is either already negative towards byler or the comments are filled with fury over the poster simply thinking critically by speculating about byler. Even if you manage to get a fan over there in the comments to consider certain evidence pointing towards byler as incriminating, they'll still manage to end it by downplaying the Duffers and their abilities, because 'They're not that smart!'...

They'll ask for evidence, be presented with it, only to insist that it's all reaching because details mean nothing and everything about the show is actually just surface level, ie. it's not that deep.

Without even realizing it, they're low-key admitting that going the byler route would be smart, and yet here they are tirelessly defending a show that, according to them, has shit writers and no deeper purpose. All this does is prove that they are hoping this is the case. Because even despite being presented with strong evidence that the show might very well be epic, they would rather reject it altogether.

They would rather have one of their favorite shows suck and defend it religiously, then consider the possibility that it's good and gay...

Don't get me wrong, there are definitely fans on reddit that don't hate byler. I imagine out of the million in that sub, there's a silent majority that would be open to it. Keep in mind, most fans still active at this point in hiatus are hardcore fans, and so they're obviously opinionated, that goes for everyone on most platforms rn. And yet, I know there are very likely casual fans who are popping in there every now and then, the same people in the majority when after s4 dropped, saw that monologue and said What the actual fuck was that?

There’s a reason no other couple on the show has needed to hear the words I love you to believe it. Well, besides Steve and Nancy…

Because SHOW, DON'T TELL. That's why!

So, what do I mean when I say that Show, don't tell is why I no longer have byler doubt?

It's actually pretty ironic, but basically the moment Mike told El he loved her, that's the moment they showed us that he didn't.

I mean, for starters, how does one go about filming a romantic love confession? Because if we're being entirely serious right now, they made just about every artistic and creative choice possible to go against what a romantic love confession should look like to feel satisfying.

I mean, you'd probably want the atmosphere to be intimate, right? Make the audience feel like these two are the only two people in the room (world) for this moment?

Well, that's not the case for Mike and El, nor is it the case for literally any of their scenes in s4 (arguably a lot of their scenes in the series; Will the wise drawing in El's room, I'm looking at you). Almost all of the scenes with them together in s4 had Will in the background, often times in the literal frame between them. That is NOT how you film scenes for a romantic pairing that you want the audience to root for, from beginning to end.

You guys gotta understand, rewatch value is one of the most important aspects to this story for the Duffers. When talking about the prospects of s5, they mentioned that they rewatched all the Lord of the Rings, saying how important it was, despite what some fans might say about the ending being too long, or this or that, bc to them, it was necessary to watch it all, and to rewatch it and rewatch it, in order to appreciate the entire story as a whole, aka the way it was intended.

If you're a serious about Mike and El as a romantic pairing, but because of the way the show has set up their relationship over the seasons, you can't sit down and enjoy more than a quarter of each season bc they're either separated, broken up, or on the rare occasion they are together and happy, they're accompanied by a kicked puppy in every shot, maybe all of that's for a reason.

And that applies to the scene in Surfer Boy more than any other scene in the show, a scene that is supposed to be Mike's monologue to El... You mean a scene that directly parallels Mike's monologue to Will in s2?

When planning the end of s4, do we think the Duffers just decided they wanted this intimate moment between Mike and El to have Will in the frame behind Mike (visually piggybacking off of him, in an episode titled The Piggyback...) in almost every shot, including when he said I love you for the first time, for no reason at all? Or is it possible there was a reason for it? Just like there's been a greater reason for everything?

Like bro, I'm sorry, but even if what's being told in that scene is relevant, all of it still reads as either a lie, a partial lie, a lie of omission or a platonic truth hiding behind romantic phrasing: I don't know how to live without you = platonic (trauma bond), whereas I can't live without you/I don't want to live without you = romantic. The later is out of desire/want, the former is out of fear of the unknown.

The entire scene the lighting is blinking rapidly. And so the vibe they're going for here is uncertainty, which is quite odd for a love confession that's supposed to feel certain? Then we have El seeing all red the entire time. She's literally choking, hearing Mike struggle to muster up anything that could help her pull through, only to overhear Will calling Mike the heart, followed by Mike finally saying I love you????

And I guess according to the Duffers, nothing says true love like a love confession ending abruptly by a two day time jump...

Oh and how about, instead of them taking the time at the end of the season for El and Mike to have a private moment, where they could finally address their love for one another, let’s have them barely on speaking terms, and the one time they do talk, let’s have it be offscreen and mentioned in a private moment between Will and Mike, who in contrast to Mike and El, we're going to prioritize having a scene with them alone together at the end of this season...

In the last minutes, let’s have El look at Mike and Will, only to avoid them with visible annoyance. And THEN let’s show Mike visibly defeated by El's annoyance, instead prioritizing reassuring Will, aka his friend with whom he shares an I didn’t say it/ You didn’t have to bond...

I mean? Are we just not going to talk about it? The fact that I didn't say it/You didn't have to could pass off as a literal synonym for Show, don't tell...

It just kills me that even with all of that, the Duffers were like, You know what? Fuck it. Let's show them all the endgame couples lined up next to each other, with Will and Mike in the middle and El standing on her own in front of them. If by now they still refuse to consider it, after everything, this ending probably wont convince them anyways, but it makes for great rewatch value...

Seriously, if you're subscribing fully to the belief that what is being told is the whole truth and nothing but the truth (so help you god), then you're having to ignore all of that. And I can't ignore all of that, I just can't. Which makes it impossible for me to experience doubt anymore.

[tossawary]

Watching "Star Trek: Strange New Worlds" is a lot of fun. I want to be clear that I'm enjoying myself, perhaps especially because the show suffers from many of the same issues as all previous "Star Trek" shows and I like picking at Doylist versus Watsonian explanations for things.

In one of the episodes of Season 2, all of the characters on the ship are suffering from this supernatural memory loss. They don't remember who they are or what they're meant to be doing. This issue hits the Enterprise over the course of many hours, enough time for senior members of the crew to become aware of the issue and decide that the Enterprise needs to get away from what's probably causing the issue. As a precaution, Spock even hands out datapads with personnel files to remind people of their own identities.

Unfortunately, this doesn't work out, because the memory loss apparently includes the ability to read. And I was immediately like, "Why didn't they ask the computer to periodically remind them of the situation? Why didn't they go into lockdown and set a looping announcement to keep everyone calm?" And it does turn out later on in the episode that the day is saved because the helmswoman accidentally prompts the ship's computer to remind her of who she is and what her role is. And I immediately pointed at the screen and the person I was watching with laughed.

The episode was fun and fairly solid. I find a lot about this show to be comparable to all previous "Star Trek" shows. But it IS amusing that this episode hinges on the idea that the senior officers of the ship who are supposedly pretty good on-their-feet problem-solvers, including a logically-minded Vulcan science officer, would not develop SEVERAL background plans in the event of further memory loss. Like, uh, carrying around datapads with personnel files is a single point of failure? And far less reliable than asking the computer to herd the crew and make announcements? What if someone drops their datapad? Should you not immediately strive to take a variety of precautions for everyone's safety? Your backups should have backups!

It's also amusing that the episode hinges on needing the helmswoman to pilot their way out of an asteroid field or whatever, because that really seems like something that should be trivial for the ship's computer. I don't remember if the episode gave us a sci-fi mumbo-jumbo excuse as to why a person needed to do it. But a human being just doesn't have the same reaction time or field of awareness as a computer, especially one 200 years in the future; maybe we don't want to rely on a computer all of the time, but there SHOULD realistically speaking be some background program that allows the ship's computer to plot a course in the event of an emergency. And it's a little ridiculous from an in-universe perspective to think that an organization like Starfleet would not have those backups already.

Like, I come from a background of more scientifically-minded problem-solvers with a handful of memory issues to their names, so we've adapted with techniques to cope with forgetting shit sometimes, and I just cannot fully suspend my disbelief regarding some of the things the writers has Starfleet do for plot reasons. So much can go wrong in space even before you bring glow clouds into it! Good engineers are paranoid fuckers! What can go wrong WILL go wrong.

(We watched the first episode of "Star Trek: Lower Decks" last night and I found it delightful. It IS set in the era of "The Next Generation", but nevertheless you'd think that Captain Pike and crew should have developed a series of "the entire crew has lost their minds again" protocols by now, and "Lower Decks" is lovingly making fun of that in the same vein as "Galaxy Quest".)

Thankfully, I mostly find this discrepancy for drama's sake funny.

In one of the earlier episodes, it was basically the show doing their own version of / a tribute to "Alien". And I have a great fondness for the original "Alien", so that was kind of fun to see. Nice. But if you do stop to, like, actually think about what's happening, this sequence of events is only really happening because 1a) you didn't send piloted drones in first to try to retrieve any logs about what happened and 1b) search for survivors without recklessly endangering half of the senior bridge crew.

2) None of these people are wearing protective suits or shield generators or whatever. They have BARE FACES when this destroyed ship they're exploring could have been taken down by a plague for all they know. None of the characters are ever even wearing HATS when they go to cold locations, because filmmakers don't like obscuring actor faces or ruining their hair. This episode is, for understandable reasons, prioritizing drama over... uh, indicating that Starfleet has decent safety regulations that include personal protective equipment.

3) They send EVERYONE into the spooky destroyed ship instead of holding various crewmembers back. Like, uh, maybe you should leave someone in the shuttle in case something goes wrong? There's an ion storm preventing transporter use and interfering with communicators again, sure, but... Starfleet hasn't developed a series of communication protocols besides "Aw, fuck, communicator's broke, better wait it out"? There's no alternate radio-esque technology that would allow for short range communication between an exploration crew and a grounded shuttle crew? You don't have a temporary communications machine to drop onto a planet? You can't even have little drones physically carry messages between the shuttle and the exploration crew?

Like, yes, I understand why the writers did things this way. "Star Trek" has such miraculous technology that writers have to fight for their fucking lives every episode to explain why the miracle technology isn't working this time. Nevertheless, when crewmembers start dying because Starfleet apparently doesn't have, like, decent safety protocols and backups, I am going to think in the back of my mind: "Okay, this redshirt's death is kind of on you guys this time. Send in a damn robot first."

[whencyclopedia]

Theogony

The Theogony is an 8th-century BCE didactic and instructional poem, credited to the Greek poet Hesiod. The Theogony was, at first, not actually written down, rather, it was part of a rich oral tradition which only achieved written form decades later. The Theogony traces the history of the world from its creation through the battle between the Olympians and the Titans to the ascension of Zeus as the absolute ruler of all of the Olympian gods. With the rise of Zeus to supremacy and the birth of his many children, the poem ends and does not address the continued struggles between mankind and the gods. Much of what is known today concerning early Greek mythology comes from Hesiod's work and that other great Greek poet Homer. Collectively, their works would serve as a major influence on later Greek literature and drama, and Roman mythology, especially through the epic Metamorphoses by Ovid.

Authorship

The Theogony (from the Greek theogonia, meaning "generations of the gods") is an epic poem of 1,022 hexameter lines which describes the birth of the gods in the Greek pantheon. It is thought to have been composed c. 700 BCE (give or take a generation either side of that date). Little is known of Hesiod's life. His father emigrated from Cyme in Asia Minor and settled in Boeotia, a small state in central Greece. It is assumed that the poet was a farmer; a fact garnered from the early verses of the Theogony. He may also have been a rhapsodist, a reciter of poetry, where he learned the technique and vocabulary of heroic songs.

Although there are some who question whether or not Hesiod actually wrote the Theogony, most classicists believe he did. However, parts of the work may have been added by later poets and there is a definite similarity in some aspects to earlier Mesopotamian literature. The historian Dorothea Wender believes that the Theogony was an earlier work than Works and Days, the other work attributed to Hesiod. She considers the latter to be a better work, and while the Theogony seems to be unpolished, the author could have had difficulty with written composition.

Wender criticizes Hesiod for not discussing the dethroning of Kronos and his endless mention of "colourless deities." Also, Hesiod's Zeus is too invincible. There is no suspense. "Homer gets more excitement out of a footrace than Hesiod does out of a full-scale war in heaven" (18). However, to Wender, the poem still has historical interest. Certainly, the Theogony was influential; the historian Norman Cantor in his Antiquity wrote that the Greeks adopted Homer and Hesiod's notion of the gods and

a distinctive Greek religion was developed. This religion was always complex and never consistent in all its details; still, its view of man and the world lies at the center of Greek culture. (123)

Hesiod was influential on Classical Greek literature and philosophy, his Prometheus story, for example, inspiring such playwrights as Aeschylus (c. 525 - c. 456 BCE). His poetic style was much imitated, particularly in Hellenistic times and in Roman times - both the Republic and Imperial Rome - when Hesiod's works continued to be recited and set to music. The great Roman writer Ovid (43 BCE - 17 CE) would use many of the themes of the Theogony in his Metamorphoses.

Continue reading...

[writing-with-sophia]

any writing tips on a protagonist who is a ballerina ??

Protagonist who is a ballerina

Honestly, I don't know lots of things about ballet...

Research and Understand Ballet: Dive into the world of ballet and gain a deep understanding of the art form. Learn about its history, techniques, terminology, and the physical and emotional demands it places on dancers. This knowledge will help you create an authentic and believable portrayal of your ballerina protagonist.

Show the Passion and Dedication: Ballet requires immense passion and dedication. Showcase your protagonist's love for ballet through their actions, thoughts, and interactions. Explore their unwavering commitment to their craft, the sacrifices they make, and the challenges they overcome. This will make your protagonist's journey more compelling and relatable to readers.

Explore the Struggles and Sacrifices: Ballet is a demanding profession that often comes with physical, emotional, and personal sacrifices. Highlight the struggles your protagonist faces, such as rigorous training, intense competition, performance anxiety, and the pressure to maintain a certain body image. Address the sacrifices they make in pursuit of their dreams, including missed social opportunities, strained relationships, and the toll on their physical and mental well-being.

Develop Internal Conflict: Create internal conflicts within your ballerina protagonist to add depth to their character. Explore their doubts, insecurities, and fears about their abilities, career prospects, or the sacrifices they have made. This internal struggle will make your protagonist more relatable and human, allowing readers to empathize with their journey.

Showcase Growth and Resilience: Ballet demands resilience and the ability to bounce back from setbacks. Illustrate your protagonist's growth throughout the story as they face challenges, make mistakes, and learn from them. Show their determination to improve, their willingness to push their limits, and their ability to overcome obstacles. This will make their journey inspiring and showcase their strength of character.

Portray Relationships and Support Systems: Explore the relationships your ballerina protagonist has, both within and outside the ballet world. Show the bonds they form with fellow dancers, teachers, mentors, and family members. Highlight the support systems they rely on, the friendships they cultivate, and the impact these relationships have on their journey. This will add depth to your protagonist's character and provide opportunities for emotional growth and conflict.

Use Vivid Descriptions: Ballet is a visually captivating art form. Use descriptive language to bring the dance performances to life, capturing the grace, precision, and elegance of the movements. Transport readers to the ballet studio, stage, and behind-the-scenes moments through rich sensory details that evoke the sights, sounds, and emotions of the ballet world.

Balance Realism with Artistic License: While it's essential to portray ballet realistically, remember that you also have creative freedom as a writer. Find a balance between authenticity and artistic license to create a compelling story. Use your imagination to infuse drama, tension, and emotional arcs into your protagonist's journey while staying true to the essence of ballet.

[hestzhyen]

Chapter 45 Uh, Seriously?! Posting

So! Full speed ahead it is, internet void! What a dense chapter.

First up, John Hishaku and the Samurai Murderer Guy that was at Chihiro's house in chapter 2.

Guess we'll see more of him soon, how fun! It's not quite clear how many people are talking here, but Hishaku scheming is afoot and the game is on. The only question is how fucked the Kamunabi is going to be by the end of the arc IMO.

And don't think I missed that vase reappearing. My nemesis. The spiky boi on the mid-left drove me insane as soon as the raws dropped but I would like to tentatively propose that it is a kiku (chrysanthemum). Different colors have very different meanings so I still admit defeat on that front. But kiku are usually associated with mourning or Imperial imagery, so that's cool. I demand a treat if this flower arrangement turns out to be the world's subtlest hint that the Hishaku are related to an old regime or breakaway faction of the government.

But yeah... so much cuteness this week. Very welcome after the rich drama from the past few chapters.

Boys who commit patricide together fall asleep mid-conversation wake up together, apparently. And for all the fan artists/fanfic writers out there, it's now canon that both of them are wearing long-sleeved shirts under the other layers. I was kind of hoping for Chihiro to be wearing one of his dad's shirts but this is more in character...

Fine, okay, it's probably for convenience's sake since apparently these guys can only rest for one night before jumping into the lion's den. But I'm flabbergasted by their soulmate coding. I kind of expected Hakuri to pass out, but Chihiro conking out at the same time in the same pose is too damn cute! Barely over a week together and they've already perfectly synced their sleep schedules and postures lol.

I find it deeply amusing that the entire flashback sequence at the end of chapter 44 was purely for the reader's benefit though. Seriously! Hakuri asked Chihiro "So... what comes next?" and then they both immediately passed out sitting up. So the last four pages were there just to spare us from even more infodumping in this chapter, which is much appreciated.

That's something that Hokazono-sensei also did at the end of the vs. Sojo arc in chapter 18. 10 pages to him exploding, 7 to the situation at the Kamunabi (which will now come into play! EXCELLENT LAYERING OF DETAILS!). I don't know if I'm smart or educated enough to do a full analysis on the techniques he's using, but I love the style. He doesn't let the emotional points linger too long or waste a single goddamn panel in this manga. Yeah, I want more time with the characters outside of serious plot moments, but there's not much else for me to complain about. The need isn't particularly dire anyway since every scene is efficient in giving us characterization and info at the same time (example later this rant).

So yeah. Thanks to that excellent pacing decision, we get to witness this crowning moment of heartwarming:

LOOK AT THESE DORKS. LOOK AT THEM. I LOVE EVERY SINGLE ONE. Thank you for this moment of Team Goldfish x Hiyuki and Tafuku bliss.

And look at the food on the table! Hiyuki and Tafuku have earned a measure of trust with Team Goldfish! Just a bit, but Shiba definitely wouldn't have let them stay the night and eat with them if he felt they were dangerous.

It's also so sweet that Char's comfortable sitting in big bro Tafuku's lap... she's come a long way since her debut as a scared, scruffy orphan. Wonder where the gang is hanging though. Someone's apartment, I guess? A nearby hotel? More insignificant details this annoying reader wants to know...

TW for SF5-era tournament enthusiasts: That Stage appears in the first panel.

Did anyone have bets on Shiba wrecking Hiyuki in Street Fighter while waiting for Hakuri and Chihiro to wake up? I didn't, but I love it. And this scene highlights something I've really come to appreciate about Kagurabachi's writing: it's incredibly efficient. Almost every scene has more than one thing being conveyed at a time. For instance, here we learn that Hiyuki sucks at Street Fighter compared to Shiba but is too stubborn to quit (comedy & character consistency) and still doesn't know he's ex-Kamunabi (serious). This in turn tells us that Shiba's probably got something to hide from active Kamunabi personnel. After all, it's not like the org itself is a secret, and we wouldn't see Hiyuki questioning him twice if his circumstances weren't suspicious. So Shiba's subplot thickens while we laugh at the gag- peak efficiency.

The cuteness, though... the sweetness of this chapter, man!

Chihiro respecting Yuu's nickname and correcting Hakuri with such a gentle expression is incredibly adorable. He's so relaxed here... but oh wait, there's... chibi Hakuri and Chihiro apologizing for worrying Uncle Shiba?!

Chihiro and his new #1 enabler owe more than an apology but it's good enough for now.

This break wasn't quite long enough to reset the tension in my opinion, but it absolutely delivered on character moments. We definitely needed this after all the big feels from the previous few chapters. I wish there was more time devoted to letting us calm down before ramping up again but what we got here is pretty good.

And so we jump feet-first into laying the groundwork for the Kamunabi arc. A nice, efficient recap of the situation leads us into some additional context and a surprising bit of Shiba characterization. Whatever beef he's got with the Kamunabi feels quite personal for a guy who plays it cool and loose most of the time. We know he's glad he quit because they're too uptight, but there's gotta be more to it than that- he's subtly trying to steer Chihiro away from them while Hiyuki is having none of it here. I want to gently snap this man in half to make him spill his secrets...

At the end of the day, though, Shiba's not going to stop Chihiro from joining the Kamunabi. That's been his thing since Chapter 1: if Chihiro makes up his mind to do something, Shiba will offer advice and make suggestions but ultimately leave the decisions up to him. I wonder how much of his guilt over Kunishige's death plays into that...

Then!

PFFT. "I know what I'm doing here seems risky and unwise but It's fine, trust me. I've got Hakuri." OKAY BUDDY. You've been able to do a hell of a lot since you met this kid haven't you? It's like meeting him changed the trajectory of your life as much as you changed his.

Shiba's expression is very interesting to me. He's like "ah, I get it..." and he's not thrilled in the slightest. Adding Hakuri to the team means Chihiro can be even more reckless than ever before; what little influence he had over Chihiro's safety is all but gone now. And Hakuri himself won't try to stop Chihiro from putting his life on the line- he'll risk his own to help him do it! All this while they're poised to go somewhere he probably can't follow... poor Mr. Shiba.

And then!! AND THEN!!!

Chapter 32: Smile Unlocked (once has no meaning...)

Chapter 36: Smile Lost (twice is a coincidence...)

Chapter 38: Locked In (three times is a pattern...)

Chapter 45: Smile Restored (four times is fate)

The one pulling the other forward is always on the right, leading the reader as well.

When one calls, the other answers. What one starts, the other finishes. A and Un. And this time Hakuri echoes Chihiro's "you got it" catchphrase back to him! I hope this is their thing now, like the "How's my timing?/Perfect" bit that Shiba and Chihiro had.

I'm going absolutely insane over this interaction though. It's the first time Chihiro's gotten to hear someone affirm that they'll see things through with him at his own request (on-screen at least). The first time he's outright said he needs someone, even. And of course Hakuri responds so enthusiastically- he's finally wanted. Just a few days ago he thought he'd never amount to anything. But he's got so much hope thanks to Chihiro's faith in him now.

"What I need in my life is a samurai! THAT'S YOU!" is finally answered with "I'm going to need your help again." hnnnngh what in the hell is this chapter.

Platonic, familial, romantic- however you want to see their relationship, these guys are meant to be together. If I ever start to doubt Hakuri's importance again just smack me right upside the head- he's truly Chihiro's other half now. Let's cheer them on and hope nothing horrible happens to Hakuri ever again! Protect the smile of the boy who would die for you on command, Chihiro. You've been warned.

Protected Bearers

Cool stuff ahead, and tough times to go with them. I doubt things will be as simple as Chihiro successfully making his case and being allowed to start trying to Talk no Jutsu the former wielders. This arc seems like it could easily be longer and more complicated than the previous two combined. I kind of hope it is, just to get more time with everyone. I've never loved a cast of characters this much.

That said... In another series I'd be sure Chihiro would visit each area one by one in their own mini arc, but Kagurabachi is probably going to subvert the expectation somehow. We got previews of the areas so we'll be seeing all of them. Probably (we goddamn better after that gorgeous spread showing them off.), but not in the way we'd expect. This story is so fast I kind of expect us to blitz through all of them in a handful of chapters each... guess it depends on how in-depth we get with the bearers themselves.

As we originally saw them in chapter 18. The slightly updated designs from this chapter are pretty nifty.

I'm 100% sure the order they're presented here corresponds with the areas shown on the spread immediately afterwards. So eye scars is stuck in a temple, the girl is stuck in an onsen, kabuki monk guy is stuck in what looks like a floating shrine, and sushi chef is in... a sushi restaurant. Wow shocker.

I'm going to make the assumption that they got to choose where they were imprisoned for the rest of their lives. Maybe it was the government's way of expressing gratitude for helping the war effort? Which makes Magatsumi's wielder (the Sword Master) being sealed up like a nasty curse all the more intriguing... he's clearly fucked up but was he always that way or did the sword corrode his mind? Is there more to the lifelong contract with these swords than just being the only person who can use them? I better get some answers!

Anyway.

So Kunishige personally knew and chose these people... I wonder how meeting them will deepen Chihiro's understanding of his father's legacy. I sincerely doubt that all of them will make it easy for him to recover the blade they're tied to, but we'll hopefully learn a lot while Chihiro makes his attempts. Really seems like we are set up for Kunishige and Seitei War backstory so I am hype. Dead DILF lore! DEAD DILF LORE!

Hiyuki and Kamunabi Thoughts

Hiyuki also had some interesting moments this chapter. She understands that the current stalemate with the Hishaku has tied the Kamunabi's hands for the most part, forcing them to do less than savory things (like bidding on the Shinuchi) to keep the peace. And despite her hotblooded outburst before the auction, she still has rock solid faith in her org's mission. So I don't think she'll defect easily so as long as she believes the mission is doable under better circumstances.

And it seems like she thinks Chihiro might be the right catalyst for change... hmm. She's essentially using him as a chaos agent to shake up the status quo because he proved himself to her. She finds him worthy of deciding how to handle the blades, so now she's giving him and Hakuri the opportunity prove themselves to her leaders. Very cool. There's some rather deep stuff going on with her.

Hiyuki's much more establishment-oriented than her personality and actions suggest. I get the sense that she's there as an idealist who is willing to upset the status quo to see the mission through. A true believer in a bureaucratic institution- love that type of conflict. Can't wait to see more of her in this arc!

So now we're set to see Chihiro's philosophy and methods on trial. Super intriguing stuff and I'll definitely be looking at the questions each Kamunabi leader is asking to try and suss out their allegiance. Playing Guess the Traitor this arc is gonna be a lot of fun (I hope)!

Speaking of which... Azami as the traitor allegations don't move me, but I do think he'll be restricted this arc due to the ongoing investigation into his clandestine activities. Chihiro could well be on his own without an adult to watch out for him. At least he and Hakuri will be there for each other. ...With no one to try and stop them from doing reckless stunts. Uh oh.

So that's a wrap on this fuckhuge ramble. Hope the breakneck pace slows down just a smidge but I'm still very onboard with whatever is coming next. Thanks for allowing me to ramble as always, void.