lrb ACTUALLY let’s talk about epithets have i done that yet? if i have you get to hear it again.
so the main rule is to simply avoid epithets at all costs if you know a character’s name. i promise it’s not as noticeable as you think it is. just use the name. it’s okay. even if i DO notice i vastly prefer that to “the black-haired man” every two paragraphs.
but if you must use them, avoid comparative ones (the older woman, the shorter man) because not everyone remembers a canon birthday calendar or height chart—and it’s worse when people use their own headcanons for that sort of thing. confusing all around. stop it.
also, avoid anything longer than 1-2 syllables to help the epithet blend into the prose. “he looked over at his partner,” when we know his partner’s name is Morgan, feels way more natural than “he looked over at the blue-haired woman.”
on that note—in general, go for relationships before appearance, job, etc when picking epithets. you can use this as a way to develop characters! referring to Morgan as “his partner” implies a close, trusting relationship. it could also imply a certain level of possessive/protectiveness, or shock/insecurity (she’s really my partner…wow). all depends on the context and framing. on the other hand, if we chose to refer to Morgan as “the stubborn asshole” (that’s kind of long, but lets assume we only need to use it once and it fits the tone), that implies they might be working together against their will, and this is not at all a close partnership. but it can also be affectionate! again, context.
going for things like appearance or job (unless the character whose pov you’re in has a good reason to care about those things) is just kind of a waste of words when you could be using them to emphasize something else.
and once you’ve realized that you will forever be annoyed at how many fics decide to throw “the powerful blonde” or what-the-fuck-ever into the middle of a passionate romantic scene between a couple that’s been dating for like five years. what’s all this emotional distance? the love of your life just gets a generic adjective and a hair color on your anniversary? rude.
thank you for coming to my ted talk
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WELL my church is a mess. Today in the afternoon, there was a meeting with all the church members gathering to basically talk badly about the pastor and decide whether he should stay as the pastor of the church or not. My parents went and voted for the pastor to stay. We actually like him, he's a good pastor. Independently of things we may think, we also believe he is doing a good job. Plus, his family consists of a big part of the church. But they want him gone. So I think my parents and I are also leaving the church. Which is fine. We now know that church is full of hypocrites who won't hesitate to talk shit about you. I know that nobody is perfect and we are all human, but I thought these people were a little different. Turns out they're WORSE than the catholics. Big cringe and yikes 😬.
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I’ve never seen this talked about but I found this a truly interesting bit of Skull lore. When he was alive it was a good century before the Problem started and ghosts were generally thought as fanciful.
But Skull could clearly see them, enough to be able to ward them off while making the bone glass. It gives so much context as to how and why Skull ended up with Bickerstaff and possibly explains how he’s able to communicate in the modern day.
I think Skull had been another ‘once in a generation’ psychic talent like Marissa and Lucy had been. Hell, Marissa has proven that with enough talent one could see spirits pre-problem. Skull’s innate talent from when he was alive is the reason he’s able to talk to Lucy, another talented Listener. Does Skull even know how incredible it was to see spirits before it was a nation wide problem???
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I've said it before and I'll say it again: Midst is a perfectly-paced show. I know the story arcs are largely outlined, but it is actually astounding how flawless the pacing is given the improv aspect. It's clearly created by people who understand on an intrinsic level when and how plot points need to land in order for it to flow smoothly. Absolute chef's kiss, infinity/10, perfect pacing, no notes because I am in fact taking notes.
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i keep thinking about the datamined conversation between halsin and minthara and what gets me about it is that if you side with halsin and turn minthara away, thats objectively the bad choice.
like at this point, you've rescued minthara from moonrise. you know now that she was being controlled to act against her will. you've gone to the trouble of rescuing her from her tormentors, and you've experienced what it felt like as they tried to destroy her mind. you know what will happen to her if you turn her away. and if you do, you're willingly condemning her to that fate. you've essentially allowed her to experience freedom, to regain her sense of self, only to tear that away from her again.
whereas if you side with minthara, and halsin leaves, that's the only consequence he experiences. that he's not a companion anymore. at this point, we've saved the grove, we've saved him, and we've lifted the shadow curse. we've helped him achieve what hes been hoping to do for over a century. leaving your party won't see him lose his free will. he can return to the grove and live his life.
the choice is essentially either condemn someone to a fate worse than death, knowing exactly what that entails vs not letting someone travel with you anymore. its pretty clear cut to me.
its just interesting to me that they've switched the morality of it around given that minthara is considered the 'evil' companion by so many.
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