Let's Talk About Pacing Our Fight Scenes.
For Fast-Paced Parts:
Short words with single syllables. Immediately > at once/ endeavour > try/ indicate > point at/ investigate > check out.
Short sentences, the shorter the better.
Partial sentences to blaze through multiple senses and actions within a few lines.
Short paragraphs
Lots of verbs.
Few adjectives and adverbs.
Cut down on -ing form of verbs, as it can make words longer
Use simple past tense
Avoid conjunctions and link words.
Avoid internal thought - your characters are irrational, ruthless and in the flow of pure action.
For Slow-Paced Parts:
Use medium/long sentences
the paragraphs are longer: three lines minimum
Include longer words with more syllables
Use adjectives and maybe a couple of adverbs.
Insert the thoughts of the PoV character.
Words for Action Scenes
act, alter, attack, avert, back, block, bang, bash, battle, beat, beg, belt, bend, best, bite, blacken, bleed, blind, blister, blow, blunt, boil, bolt, boot, bore, bow, box, brace, brag, brash, brawl, break, breathe, brush, buck, bulgde, burn, burst, cackle, call, can, carry, cart, carve, catch, check, chop, chuck, clack, clank, clap, clash, claw, clear, cleave, click, cliff, cling, clip, close, club, cock, coil, cold, collar, come, con, connect, corner, cost, count, counter, cover, cower, crack, crackle, cram, crash, crawl, creep, crinkle, cross, crouch, rush, cry, cuff, cull, cup, curl, curse, curve, cusp, cut, dart, dash, deepen, dig, deep, dip, ditch, drive, drop, duck, dump, ede, effect, erect, escape, exert, expect, feint, fight, fire fist, fit, flag, flare, flash, flick, fling, flip, flock, force, gash, gasp, get, gore, grab, grasp, grip, grope, group, hack, harden, heat, help, hit, hop, hurl, hurry, impale, jab, jar, jerk, join, jolt, jump, keep, kick, kill, knee, knock, knot, knuckle, leak, leap, let, lever, lick, lift, lock, loop, lop, plunge, mask, nick, nip, open, oppose, pace, pack, pain, pair, pale, palm, pan, pant, parry, part, pass, paste, pat, peak, peck, pelt, pick, pierce, pile, ping, piss, pit, pivot, plot, pluck, plug, plunge, ply, point, pool, pop, pose, pot, pound, pour, powder, pray, preen, prepare, prey, prick, prickle, print, probe, pry, pull, pulp, pulse, pump, punch, pursue, push, quarry, quarter, quest, race, raise, rake, ram, rap, rasp, rear, retreat, rip, riposte, rivert, roar, rock, roll, rope, round, rouse, run, rush, sap, scale, scalp, scan, score,scream, seek, seep, shake, shape, sharpen, shock, shoot, shop, slap, slap, slash, slice, slick, slip, slit, smash, snap, snare, snatch, snipe, sock, space, spar, spark, speed, spike, spill, spin, spit, splash, spoil, spring, spur, spurt, spy, squirm, stand, steert, step, stick, strap, strike, stuff, suck, support, swat, sweat, sweep, swingm tack, tag, take, target, taste, team, tear, tent, test, thrash, throw, thrust, thud, tick, tide, tilt, time, tire, top, toss, tower, toy, trap, trick, trigger, trip, triumph, trouble, trump, try, tuck, tug, twril, twitch, weaken, wet, whip, whirl, whirr, whoop, whoosh, whop, work, zap, zip.
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So I spoke somewhat about my thoughts on Emanator Sampo here, but I never really thought of it from a design point of view or what kind of powers he would have until just recently. But I actually kind of love leaning into it from a "stage hand" perspective?
Because like. Aha's body in THEIR official art is completely black, giving attention to all the fun brightly colored things around THEM. And that's so fitting for Sampo! He usually prefers to be a side character. He likes to act from the shadows. His is a much more subtle hand.
So I wonder if as an Emanator, a lot of his clothes are actually very dark? Not necessarily plain, still extravagant and needlessly detailed in things like cut and quality with lots of different fabrics and textures and ornamentation, but dark. Or maybe even his skin itself becomes blackened further down his body; his hands in particular are dark, as a sort of sleight of hand reference.
The motif of a lot of straps wrapped around him like in his canon design is still present, but they're all loose and flowing off of him like paper streamers now instead of restraining him or holding him together. He is no longer contained! Or maybe they're still a bit more rigid/heavy, but just draped more like red stage curtains!
And this is like. Fully self-indulgent, but I love inhuman designs, and there's nothing in canon to say I can't do this, so screw it! Go for broke!! Maybe it's not visible to normal people, but Sampo having a second set of arms would be really cool, as further sleight of hand reference. One set is almost normal looking, but his hands are a bright, attention-drawing white, and the other is dark, set almost in the shadows of the first arms, to act less noticeably.
He also has something of a broken heart design to him in canon (the front of his black shirt with its jagged shape down the middle; his coat looks like a full heart shape in the back), and I actually like him keeping that element as an Emanator, because I think it suits him. Sampo says his taste in aesthetics and views on Elation involve human dignity,
and the story he helps create in Belobog involves the long and winding road of resistance and survival and eventual triumph in the face of some very adverse, oppressing odds. (I'm pretty sure I heard he once called Wildfire "artless" though, plus the man acts like he thinks Shame is some kind of dessert, so like ndkdjzjskkd) But the point being!!
I think Sampo is someone who can appreciate heartbreak and angst and tragedy in a story, because it makes the victory at the end all the sweeter. And this would be another thing he shares with Aha, because I think THEY did bless the Mourning Actors partly just to be a little shit, but also because Aha does recognize tragedy as part of THEIR Path, too, and you can see it in some of the game. So a broken heart motif can still suit him, and I like him having elements of both comedy and tragedy. Like his clothing having a happy sun/sad moon (like the moon in Aha's art) or him having both of the traditional comedy/tragedy masks in his design.
And as Emanator, Sampo can maybe play with the stage settings environment, too. Like lights sometimes behave strangely around him, appearing blindingly bright to someone or dramatically dark. Sampo wills it and suddenly there seems to be a metaphorical spotlight right where he wants everyone to look. And when he doesn't want to be noticed, his face seems to be cast in shadow, he seemingly just fades into the background, no one notices or recognizes him and he sneaks away easily. He can create smoke or fog literally out of thin air without his bombs now, too, the air will just suddenly thicken until his stage is obscured, and Sampo can set the scene as he pleases or disappear without a trace.
And in line with being a stage hand, Sampo can direct attention like no other. He was already extremely good at this as a normal mortal, and becoming an Emanator only took it up to 11, past human limits. Sampo points, and all present feel compelled to follow his fingertip. He looks away, and they all follow his gaze. He can even affect the mood of an audience; he can influence everyone to be calm and placid or he can whip them into a feverish frenzy. Sometimes a crowd will start to become unsettled, agitation stirring until it boils over, until it incites a full on violent mob.
And in the middle of all that chaos will stand one perfectly calm figure, face cast in shadow, until they quietly slip away out of sight.
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Rest
Guess what? I've got more Jamil x reader for y'all.
You can also find this on ao3.
No warnings, just 866 words of kinda fluffy(?) caretaking stuff with gender-neutral reader.
At this point, you know Jamil’s schedule almost as well as he does. So, when you have the chance, you head to Scarabia’s kitchen, hoping to spend some time with Jamil while he and the other students prepare dinner.
However, when you enter, it takes you but a moment to notice Jamil’s uncharacteristic fumbling and the tired look in his eyes. The way Jamil’s chopping the vegetables has you worried about him cutting himself with that knife he’s usually so adept with, and it seems it’s only force of habit that’s keeping him on track.
You frown, and when your eyes meet Jamil’s, you can already see him put his guard up.
So he knows what state he is in, huh? And still, here he is.
It seems Jamil is reading your thoughts, all of him telling you drop it before any words are even said.
At least he still lets you lean in and give a quick kiss to his cheek in greeting.
“Hello love. Do you still have a lot on your agenda for today?” you ask, keeping your tone low for at least some semblance of privacy in the busy kitchen.
“Nothing I can’t handle,” is the response you get.
Of course.
It takes a little more pestering before Jamil actually answers your question. Your lips purse. That list is far too long to your liking.
You take a moment to think, juggling your own plans and to-do list against the urgency of the things Jamil mentioned.
“Will Kalim be eating from that?” you ask, pointing at the food Jamil is preparing.
“Yes.”
“Alright, I won’t be touching that one, then. I’ve gotta do a few things but I’ll be back when you’re done here.”
“Don’t,” Jamil says with a glare, clearly aware of what you’re thinking.
Yet even his disapproving look doesn’t have the usual weight behind it.
“Yes. I will,” you say firmly, even as your heart curls inwards with another bout of concern.
Really, when did he get so tired?
And how did you not notice it earlier?
You leave the kitchen before Jamil can protest further, hurrying through the dorm corridors to find Kalim.
Soon you have an enthusiastic – and concerned – supporter for your plans. You have Kalim point out a few reliable Scarabia students to help with a few of the most urgent matters Jamil mentioned – cleaning up the common areas, delivering some paperwork to Crowley, preparing some dorm-wide notices – while you see to Kalim getting his school supplies in order for the following day. You even recruit a couple of third years to help Kalim with his homework.
You’ll see to the rest tomorrow – after all, you do also have a boyfriend to look after.
Your conversation over dinner can hardly be called anything else than an argument – despite Kalim’s best attempts at acting as a moderating force between you two. It is very tempting to ask Kalim to tell Jamil to take the rest of the day off – it’s not like Jamil would be willing to openly disobey a direct order. Still, you really don’t need to remind Jamil of his position on top of everything else that you’re already doing more or less against his wishes.
Eventually, however, Jamil’s had a square meal, the most urgent things on his to-do list are being taken care of, and you’ve managed to drag him to his bed.
“I really wish you wouldn’t push yourself so hard,” you murmur, your arms wrapped tightly around Jamil. You’re telling yourself you really do just want to cuddle, to offer some respite to Jamil. Still, there might also be a part of you worried that if you were to let go, he’d just jump up and get back to working himself to the bone.
Yet, for all his protestations, just the fact that you’ve gotten Jamil to lay down with you speaks volumes of his current exhaustion.
“I can’t just leave my duties, albi. You know this.”
“Making yourself too indispensable, is what you’re doing,” you protest.
Oh, you know it’s not so simple. Not with his background, not with all the expectations and assumptions.
But sometimes you really wish it would be.
Jamil merely scoffs in response to your words.
Still, it is undeniable that he is slowly beginning to relax in your arms, slowly bringing his head closer to yours. His eyes are starting to flutter, too.
“I will still need to help Kalim with his homework, at the very least.”
You wonder who he is trying to convince more, you or himself.
“Amin and Khalil are helping him. They’re basically top of their classes, aren’t they? I’m sure they’ve got it.”
Still, Jamil frowns.
You sigh. He really is not letting go, is he?
“Do you want me to go supervise?” you ask.
And leave you, unsaid yet hanging there right after your words.
“Don’t,” Jamil eventually says, the word barely more than a breath.
It seems he has accepted his fate.
You softly caress Jamil’s hair, listening to his softening breathing.
And when you wake up, wholly unaware of having been lulled to sleep in the first place, it’s to the lightest of touches from Jamil’s fingers.
Tagging @diodellet @twstgo @crystallizsch @jamilvapologist @jamilsimpno69 as per request
If you'd like to be tagged for any future works, let me know!
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Writing Weapons (4): Clubs, Maces, Axes, Slings and Arrows
Clubs & Maces
Maces are refined versions of clubs, usually made from steel and flanged or spiked.
Perfect for smashing and plate armour and for crushing skulls.
When used on horseback, the rider uses continuous swining motion and leans to the side to hit.
Type of Fight Scene: gritty, historical fiction, smashing armour
Typical user: brawny male with broad shoulders nad bulging biceps
Mostly used in: historical fiction - Stone Age to Middle Ages
Main Action: smash, crush, bludgeon, batter
Main motion: downwards
Typical injury: crushed bones, crushed skull
Strategy for lethal fight: crush skull
Disadvantages: heavy, need to get closer to the opponent
Batle Axes
Used by a peasant or lumberjack
Special battle axes are bigger and heavier, with longer handles
A weapons for attack rather than defence, good at cleaving through armour
Can break through enemy shields and kill a charging horse.
They require intense training, so users are highly skilled elite soldiers, often aristocrats.
Types of Fight Scene: gritty, brutal, battles, attack, historical fiction, fantasy fiction, cutting through armour
Typical User: tall brawny male with broad shoulders and bulging biceps, courageous, elite soldier, Viking, Saxon
Mostly Used In: European Dark Ages to Middle Ages
Main Action: cleave, hack, chop, cut, split
Main Motion: downwards
Typical Injury: severed large limbs, split skulls, cleaved torsos
Strategy for Lethal Fight: severe the arm which holds the sword or the shield, or cleave torso from top to bottom, or cut off a lef then split the skull
Disadvantages: big and heavy
Bows and Arrows
They are weapons of mass use. Hundred of arrows are shot at the enemy to inflict as mcuh damagne as possible from a distance.
In the middle of the battle and for close combat, they're useless.
Castles were designed for the use of bows and arrows, with narrow windows called 'archer slits'. The top of the outer walls were desgined so archers could shoot while remaining under cover.
Arrows are relateively cheap and quickly to produce. Tips an be metal or sharpened stone, wood, bone, glass splinters, etc.
Pieces of feather at the end help the arrows fly better, but knowing which part of the feather to attach how and where is much -treasured knowledge.
Characters can learn the basics of archery can be done quickly at an emergency. However, to be really good it takes years of practice.
Most important skill is to be able to shoot many arrows in quick succession.
Stone Slings
Stone slings are cheap to make - it only takes a piece of leather, string and ammunition are simply pebbls lying around.
This makes it good for low-tech historical periods and for characters of all ages and physical capacities.
Doesn't require great physical strength, but a lot of practice is required to achieve accuracy.
Different cultures have different techniques for holding and releasing, none of which includes the continuous frantic whirling around beloved by moview makers. Rotatin is usually done once or twice, or not at all.
(1) the slinger hooks the end of the sling over her fingers (2) holds the hand above the shoulder so the sling's bag with the stone in it hangs down behind her shoulder. (3) flings it straight forward.
Blunders to Avoid
Depicting an axeman as an unkilled brute who chops blindly.
Battles where the archers shoot when sword fighters are already engaged in close fighting
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7x09 is titled "Unfinished Business" ....
Tell me that is not a revenge plot against Bobby. TELL ME. You can't. If I was not convinced before, I AM NOW.
hErE mE oUt.
I'm not saying they are going to burn down Buck's loft, I AM NOT... BUT, imagine Bobby is dropping a patient off at the hospital with Hen and Chim (I know this hardly ever happens but roll with me guys), and our friend, the Burn Unit Nurse, sees him, and is like...
"Bobby?" BECAUSE, he recognises him, from all those years ago in Minnesota. He lived in Bobby's apartment complex, they were somewhat neighbours, and he saw Bobby go into that vacant apartment that night (the night we do not DARE talk about), on his way to work, and was working a night shift at the hospital when suddenly, they get an influx of patients with burns and smoke inhalation from an apartment fire downtown, and he hears in passing from a nurse the address, and his heart sinks because no his fiance was at home asleep at that address and he hears from someone a few weeks later that the fire started in a vacant room due to an electrical issue with a space heater and HE JUST KNOWS.
And Bobby turns around to face him and is like "Sorry, do I know you?" Because Bobby was going through it back then, he doesn't remember this guy, and the guy is like, "Sorry, no, I was mistaken." And he walks away leaving Bobby all like huh.
Then the episode ends with the truck pulling into the firehouse and the camera pans out and we see BURN UNIT NURSE GUY STOOD ACROSS THE ROAD STARING UP AT THE FIREHOUSE BECAUSE DUN DUN DUN- He has some Unfinished Business to attend to.
If this so happens to lead to the burning down of Buck's loft because this guy does his research and he does some stalking and he sees a connection that Bobby has with Buck that he doesn't seem to share with the other members of the team, then well, ya'll didn't see it here first but I fucking called it if so, because you're telling me that is not a CRAZY storyline right there.
BUT, even if not, even if we do not get our beloved loft burning down scene that we have been writing and praying for on Fanfiction for years, you cannot tell me that there is not going to be some kind of dark revenge plot going on in the last four episodes. This nurse is about to cause some HAVOC I CAN SENSE IT. MY SPIDEY SENSES ARE TINGLING GUYS.
Anyway, @whollyjoly and @thetangycheesemanwithaplan had the absolute joy of hearing this from a very sleep-deprived me last week and now that the episode titles have been released, Buck's loft burning down and Burn Unit Nurses revenge plot is going to be my new personality trait. Thank you, thank you, THANK YOU.
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