#like they tend to make an effort to work together and adapt to fit in with the dogs and people around them

[unintentional-sad-wizard]

I think the biggest difference I’ve seen so far working with cats versus dogs is that dogs believe in rules and cats don’t. If I stop a dog from doing something enough times (and find an alternate outlet for the behavior if necessary), they’ll eventually be like “oh! This is a thing that we don’t do. Got it!” and they’ll stop trying it. If I stop a cat from doing something repeatedly, they’re like “ah okay. I will reschedule my exploration of the kitchen counter for two minutes from now” and act equally confused every time I stop them.

Which isn’t a bad thing! I’ve really enjoyed figuring out the differences between these two species and how to work with them, and I find their different social behaviors super interesting. It’s just really funny that back when I lived with Flash (dog), he would really learn what I expected of him and would try to meet those expectations, but if I try to redirect Moon (cat) he assumes that I just personally have a problem with him in that specific moment.

[rwbyrg]

A Rosegarden by Any Other Name Would Smell As Sweet

AKA Reasons Why Rosegarden is Canon #015: Ruby and Oscar's Multiple Shared Allusions to Other Fairytale Love Stories

Typical disclaimer that while all characters within the RWBY narrative have a main allusion, they often have secondary allusions that apply to the roles they fill in relation to other characters stories. Like how Yang is Goldilocks on her own, but becomes the Beauty to Blake's Beast when paired together.

The first, most notable example for Rosegarden is, of course, The Little Prince (expanded upon here). Oscar's primary allusion is of a boy who grows up on a planet "scarcely bigger than himself, who was in need of a friend", and one of his most influential relationships is that to a rose with whom he loves. They spend much of the story separated from one another, while the prince wanders lost in a desert, pining for a way to reunite with her back home.

Important to note this isn't the only time Ruby has been a Rose for another fairytale. She also slots in as the Rose Red to Weiss' Snow White, she acts as the successor to her mom as The Last Rose of Summer, and she also stands in as the Enchanted Rose to Bumbleby's Beauty and the Beast given how it's a "true loves kiss will break the spell before the last petal falls" situation... and BB kisses two episodes before Ruby Rose "dies".

The second notable allusion for Rosegarden is the Warrior in the Woods (expanded upon further here), a canon RWBY fable from The Fairytales of Remnant. The very first story within the book is about a village boy who becomes a huntsman after being inspired by a huntress he meets in the woods. A huntress, I might add he fell in love with the moment he saw her silver eyes.

Something to note about both of these examples, is that they are each stories with a focus on caring for someone else in unique ways. With The Little Prince, the Rose is vain and has many demands and asks the prince to tend to her; while in WitW, the warrior works tirelessly without thanks to protect a village. When the boy meets her, he starts looking after her for a change because he figures that's the least he can do to repay her. Both of these tie in well to RG's dynamic of Ruby carrying such heavy responsibilities alone, with Oscar making a conscious and active effort to help her shoulder those burdens.

The third, more subtle allusion, is their respective ties to The Wonderful Land of Oz. Oscar's first confirmed allusion before the Little Prince reveal was originally to Princess Ozma/Tip, the heir to the Kingdom of Oz given his proximity to Ozpin as the man behind the curtain, as well as to fit a "genderbend" character within the framework of team JNPR.

How does Ruby tie into this one? Well, we have to work backwards a bit. Ozpin's initial four lieutenants were all linked to the original cast of Oz:

Qrow as The Scarecrow without a mind (travels around as a crow and is regularly inebriated)

Ironwood as the Tin Man without a heart (his multiple cyborg prosthetics and character development in Atlas)

Lionhart as The Cowardly Lion (his fear overtakes him and pushes him to join forces with Salem to save his own skin)

Theodore as Dorothy Gale (donning ruby gauntlets instead of the traditional red slippers)

But RWBY is a story about legacies and breaking cycles. With the new generation of huntresses in Oz's inner circle, they replace those who came before them.

Blake takes Lionheart's place (cat faunus that ran out of cowardice, only to become brave and return to the fight)

Weiss as the Tin Man (aka Ice Queen, who's heart melted as she became kinder and grew more attached to those around her)

Yang the Scarecrow (no longer blindly following orders, but making an active effort to question the words and intentions of those around her)

Ruby as Dorothy (her little dog Zwei and the red - or silver, depending on movie or book adaptation - slippers that lead them all on their journey)

Why bring up Oscar as Princess Ozma and Ruby as Dorothy? Well, according to the original books and not the movie, "Dorothy and Ozma are each other's closest relationship" as illustrated here:

Very good friends. Just gals being pals. Sharing the responsibilities of leadership with one another. Smooching in the palace gardens. Dorothy as the only one who's allowed in Princess Ozma's rooms without an invitation. #BFFS4EVA

These are all the canon ones that are easy enough to parse, but there are some similarities to others famous stories that can be found with a bit of squinting that I will also share just for fun.

The first is how Ruby's experience in the Tea Party acts as a near perfect display of Romeo and Juliet's ending. For those unfamiliar with - or who have forgotten - the bard's infamous tragedy, it is a story about two star-crossed lovers very much doomed by the narrative. It ends with Juliet faking her death without telling Romeo. So when her prince charming comes across what he believes to be her corpse, he drinks a vial of poison and kills himself out of grief. When Juliet wakes and sees he has left her, she takes his dagger and stabs herself so they might be together.

In the tea party, Ruby fills the shoes of Romeo and Oscar of dear Juliet. Oscar is "killed" by Ruby's blade, but it is an illusion. He's not real. Like Juliet, he's not really dead. However, the vision is still enough to push Ruby into drink a vial of poison (the tea that takes her to the tree), giving up in the face of her grief, just as Romeo does.

And if we need any more evidence for this one, can't hurt to bring up the infamous quote of Juliet wherein she likens her love to an oh-so-familiar flower:

What's in a name? That which we call a rose By any other name would smell as sweet;

A line that Juliet says to proclaim that if her Romeo weren't a Montague, then she would still love him regardless, but through which implies that it would be easier for them to be together if he were not himself. And within V9, Ruby's cited motivation to go to the tree is because she doesn't want to be herself any longer.

And last, but certainly not least, is how a lot of ships within RWBY seem to have fairly direct parallels to the myth of Eros and Psyche. It is a classical tale about the trials of love, putting the protagonists under multiple tests of loyalty and attachment before letting the two lovers unite at the end. Both love stories within Beauty and the Beast and Snow White and Rose Red pull inspiration from the myth, and we see it in CRWBY's approach to writing romances throughout the show thus far.

Blake and Yang being separated, breaking and rebuilding trust, before coming together in V9; Ren and Nora going through trials and conflict, currently apart now so they might discover who they are on their own before re-uniting with one another again; and Rosegarden having constant reunions, separations, and trials with strong focuses on their attachment to each other. Another common archetype they use from Eros and Psyche is that of the "Animal as Bridegroom", wherein at least one of the partners undergoing a transformation that is often monstrous in nature.

Bumbleby is self explanatory

WhiteKnight has the issue of Jaune being lost to time and becoming an Old Man, who's curse is reversed by magic. It alludes to his role as the Prince within Snow White and Rose Red who was initially turned into a bear via a curse

Rosegarden, has this instance for both characters. Oscar as an Ozcarnation (becoming something he doesn't want via a curse they are trying to break before time runs out) and Ruby's future fate should she be captured by Salem (being turned into a Grimm by the wicked witch - or eaten by the wolf - like her mother before her).

All of these line up with the myth's structure as well as Monty's foundational philosophy on love stories that we see in his quote from many years ago:

A lot of these all have really tragic endings so uh. Good thing RWBY likes to subvert the stories it's telling, right? They're going to get a happy ending, right CRWBY???? 😰

[disneymbti]

Can you do the Big 3, Mbti, Enneagram and Moral Alignment for Erin Quinn (Derry Girls) please? Thank you!

Hi there, sweetie! I really hope you like this a lot!

Erin Quinn's MBTI Type, Big Three, Enneagram Type and Moral Alignment

MBTI Type: ESFJ [The Consul]

As extroverts, Consuls are talkative, energetic, and thrive around people. They prefer not to spend too much time alone.

Highly observant, their focus lies more on the details than on how everything connects together. They trust facts over theories—and they make decisions based on what they can see right now.

ESFJs are feelers who prioritize emotion rather than logic in their decision-making.  Empathetic and diplomatic, they do what feels right rather than what makes sense.

They’re structured and organized, preferring to plan ahead so they know what’s going to happen. They like rules, processes and schedules.

Big Three: Aquarius Sun, Virgo Moon and Capricorn Rising

Aquarius Sun: Aquarius is ruled by Saturn and Uranus, which makes them seek out unique ways to problem-solve and to approach life. They're known to be intellectual and innovative.

Virgo Moon: Virgo Moons use their calm nature to gain deep clarity on matters, filtering questions through their kind, but reasonable, lens.

Capricorn Rising: Capricorn ascendants are known for their efforts and diligence when it comes to attaining success and prosperity. 

Enneagram Type: 3w4 [The Expert]

Basic Fear: Enneagram type threes with a four wing are afraid of failure. They tend to throw themselves into their careers and do anything it takes to succeed.

Basic Desire: Their most basic desire is to succeed and feel valued. They may show this by seeking validation of their hard work and successes.

Experts defend themselves by adapting or changing their personalities to fit their environment. This makes them great communicators, but may also lead them to being misunderstood or feeling fraudulent.  

Moral Alignment: Chaotic Good [The Rebel]

These characters value freedom and kindness, often challenging laws and order to achieve just outcomes.

[blaurascon]

Took me way longer than I planned to put this together because I kept tweaking stuff but! please enjoy Hrravak, my tav that's absolutely taken over my head for weeks now

Cheers to @arcandoria for the base this was super fun to fill out!!

More about Hrravak & image credits below the cut

Hrravak started out as an adaptation of my Elder Scrolls character Harrava but she took on an entire life of her own and it's been a blast! I haven't put this much thought and effort into a character for going on 20 years - I've got an obsidian thing going for her and everything to keep her lore tidy. I'm more of a technical writer than a fiction/prose writer (her obsidian page is formatted like a wiki because that's what I'm most comfortable with) but I might give fiction a shot sometime - write proper fics about her history. Doing all this with her has given me a joy I haven't known in a very long time and I'm so thankful.

A brief history, up to the start of the game:

Hrravak was orphaned at a very young age by a plague. She was rescued by Priests of Ilmater from Baldur's Gate, who tended to her while she was critically ill. Once she was more stable, she was adopted by the retired adventurer, abjuration wizard, and apothecary Orn, a tiefling (who I have to write more about sometime).

At this point, Hrravak was a preteen who'd lost everything she'd known up to that point, got taken to a strange place by strange people she'd never seen the likes of before who speak strange languages she had never heard prior. She was, understandably, not very happy about the situation. Add onto that her budding Sorcerer power, and Orn had his hands full.

I don't have many specifics between this point and the beginning of the game, but the gist of it is Orn trying to find acceptable, healthy outlets for Hrravak's pain and growing power. He helped teach her to fight with words instead of fists (or fireballs), hence her skills with deception and persuasion.

After the abduction and subsequent tadpoling, Hrravak is terrified of course, but also embracing being away from Orn for once - she can finally stretch her legs and figure out on her own what she's capable of. The powers the tadpole offers are also very tempting...

I don't want to make this post 438 miles long though so I'll end her history here, if you want to know more I think my asks are open, I am happy to talk about my blorbo lol

The sheet is reflective of her stats where I currently am in the game, mid Act 1. I've gotten further with her before, but my save file absoluely thrashed itself *somehow* so this is a re-start lol. I fiddled with her stats a bit this time - she was default 8 str before, but I shimmied some points around to give her 10 - she'd have had to work hard to get to the equivalent of 10 given the side effects of recovering from plague, but it fits her better than 8, I think.

I really dig the idea of Dragonsoul Heirs (from 4e I think?) so I'm pulling some of those concepts for her, mostly that as she develops her draconic powers, she changes - hence her silvering scales, those developed over time, and after a molt, her scales are entirely black until the top layer is worn down.

Her alignment being Chaotic Neutral (Good) draws on the idea of Alignment Tendencies - specifically the "not quite neutral" flavor; she is Chaotic Neutral but has a tendency to favor Good actions.

My brain's starting to fizz out so I think this is a good end point for this long heckin post ahhah

Anyway, image credits:

https://unsplash.com/photos/brown-wooden-rack-with-brown-and-black-feather-J2_nIEkIpRM

https://unsplash.com/photos/closeup-photography-of-glass-ball--i4C0vCugS8

https://unsplash.com/photos/clear-glass-bottles-in-brown-wooden-box-oduOp0RlPf8

https://unsplash.com/photos/gray-floral-metal-jewelry-box-A9sGR4Fo72k

https://unsplash.com/photos/white-and-black-leaf-plant-mHwdBObbgXs

https://unsplash.com/photos/clear-wine-glass-and-glass-bottle-8lC8lOyF2Ws

[valiant-portabella-pirkko]

Putting Sylffa in the spotlight: 1, 8, 13 and 30!

Just an asura ask game

Ty so much for the ask!! Time to stuff another decent wall of lore under a cut! Because yep, this one's definitely gonna be long, too.

1. Do they fit well into asuran society or are they more at home with other races? How do they feel about fellow asura? Is it because of their personality or something else? Is there any deal maker or breaker?

Sylffa tends to be pretty adaptable, shifting gears depending on who she's working with and what they expect. But when it comes to what group she LIKES more... She finds asura society way too stuffy for the most part, too much bureaucracy. Sylffa's more the type to want to just go out and get her hands dirty, paperwork be damned. On top of that, she's more than a bit fed up with their tendency to hoard knowledge all to themselves; Sylffa doesn't see the point in making things that will never actually see a practical usage. It's actually a big reason why she got along with Ruju! They might have opposite temperaments, but their interests are pretty similar. Likewise, she tends to prefer other asura that break the mold a fair bit, too.

Other races tend to find her madcap inventing style of 'throw things at the wall until something sticks' a bit unnerving though, so everywhere has its drawbacks. At least the charr usually like it when she straps laser cannons to everything, so that's a win? The jetpack that also launches shrapnel bombs was a hit, too.

All that said, she found herself most at home working with the Priory and eventually the Pact. There she can really put her wild imagination to work, coming up with all sorts of bizarre ideas that no dragon could possibly see coming. And mingling with all these other races gave her all sorts of new ideas, inspiring even crazier concepts than she'd ever had before. Variety is the spice of life as far as she's concerned; Sylffa's at her happiest getting to meet all sorts of people from different cultures and walks of life. It gives her the opportunity to explore much different perspectives and really stretch her creative wings! A lot of the time their ideas inspire her next project.

8. Do/did they have a krewe? If yes, describe them, their roles and tasks. If not, why?

She did, though she eventually left it behind to join the Priory. They'd been a small band of Dynamics alumni that all graduated together with her, just a few years above Ruju. While Sylffa doesn't work with them directly anymore she DOES keep in contact; they've always got a new story to share about whatever nonsense they've gotten into.

Sometimes they send her some of their newest tech, too.

Their specialty tends to vary a lot, though they have a soft spot for handheld machinery, particularly automated tools and equipment. Most agree that the best plasma-based welding tools in Rata Sum use their designs, and they double as a mid-range blast cannon in a pinch. A fully functional multitool! What's not to like about that?

13. What's their field of research of choice? Are they pursuing it or is something else taking priority? If they don't have one or more, why not?

Sylffa graduated from Dynamics with a specialty in engineering, though what that covers is pretty broad for her! She's worked on everything from the plasma multitool mentioned above, to specialized defensive golemites that bind together to form temporary barriers, to improved scanning hardware designed to increase sensitivity and reduce interference, to figuring out ways to build weapons into things that don't normally have weapons on them. Whatever she's working on, though, you can bet it's designed with field usability in mind. If it can't take a hit from a minotaur charging it down at full velocity what's the point??

Sylffa also assisted with some of the early engineering for the Pact airships, though that massive undertaking was very much a team effort. It's probably what she's the most proud of, though!

She doesn't have much interest in maintaining patents or writing research papers though; Sylffa likes using her knowledge base for practical applications, finding that much more interesting and more fulfilling, too. Seeing her work actually help people-- even if just by making construction a bit easier-- is like a proof of concept. She doesn't need recognition from the Council or a bunch of professors. Being appreciated by the people actually using her designs is worth far more to her than some award she could stick on a shelf.

30. Free space for 3 pieces of trivia about your asura!

- During Sylffa's first year at Dynamics she was BRIEFLY assigned as Ceara's roommate. This arrangement lasted less than a week, largely because Ceara didn't want a roommate and made the experience as infuriatingly insufferable as possible. This little asura tried VERY hard to break through that icy exterior, but Ceara just wasn't having it. Sylffa finally gave up and requested a transfer after she returned to the dorms to find her bed had been "accidentally" subjected to an anti-gravity experiment, and it was now irreversibly stuck to the ceiling. Under less antagonistic circumstances she might've found that funny, though.

- Sylffa's actually a Warrior, Berserker specifically! She has no magic to speak of, but while she doesn't fight much she can hold her own in a scrap when push comes to shove. Sylffa tends to rely a lot on augmenting her weaponry with technology, building bizarre contraptions that enhance the power of whatever she happens to be wielding-- and she really will use ANYTHING. If it's in range, she'll eagerly smack something with it. Sylffa is a firm believer that anything can be a weapon if you're creative enough.

- This girl is actually one of the big deciding factors that shifts Ruju's path across different timelines, and the reason that him going to Dynamics leads to becoming the Commander. They knew each other as little kids, so when she recognized him in college she quickly reconnected and pulled him into her friend group-- which in turn led to him giving up his bully shtick and meeting his own future krewe. The two still stay in contact long after, with her occasionally sending him weird experimental tech once they're both in the Pact. Sometimes he uses it, but he keeps a lot of it for mementos.

[romanceandshenanigans]

Happy STS!

Today, I'm asking writers to take two of their OCs and switch them, so they're now playing each other's role in the story and/or life in general. (In your case. I'm thinking of Finn and Juliana, of course). You can make some modifications for gender roles, etc. How would they cope? Would they survive/thrive? Would they not last a day?

This is interesting since it would change the direction of the story.

So if Finn were in Juliana's position then he is the second son who is dealing with the death of his older brother.

Suddenly his life changed from being able to coast through life to being head of the household. He can still run off in order to not deal with his problems, but he's a grown man so it's not so much running away as it is just dropping contact for a while.

Juliana is a bit more tricky. She'd be of a lower working class so either she's working as a cook/maid, or we still keep it that she's dressing up as a man but doing so to allow herself to gamble and race horses to make a living. Either way, she would have a home she returns to so it's unlikely Finn and Juliana would be living together, not unless Finn finds himself in need of a place to stay and offers to rent one of the rooms in her family home.

Finn would have to get involved in the theatre on his own, writing out of the small spare bedroom and trying to find somebody interested in his scribblings. Probably leaves out the part that he comes from money and could go home at any time. This would have to be a more immature Finn.

Juliana meanwhile would keep her secret longer since she would have been at it for a while and learned the ropes early on. Likely whole subplot of Finn finding out about her crossdressing and him deciding not to say anything because it's just too good to spoil.

Tension would come when it is revealed that Finn is a gentleman. Perhaps he did properly propose to Juliana only for her to find out he can't actually marry her. Finn argues that he can, he's now the oldest and he doesn't care what anyone else thinks. Juliana would then point out that his family can still cut him off and at the end of the day he's still a rich boy with no idea what it takes to work. If he gets cut off, there's only so much she can do to support them. So, she breaks off the engagement and he goes home.

The eight years later is the tricky part.

I can see Finn doing just fine for the most part. Still heart broken, but there wouldn't be the pressure to marry as there is for Juliana. He could easily spend his days writing as he figures out how to run the family accounts. Thomas would tell him tales of London, while he avoids it for the most part. It's the opening of one of his plays that finally pulls him from the country side into town.

Juliana I'm still unsure. There would still be a pressure to marry, but she's a working girl and has other things she has to deal with and so might be able to get away with not marrying for longer. I still think she'd continue cross dressing to make extra money. Maybe that's how she meets Thomas. Either that or he has hired her on as a maid and has no idea what she gets up to in her off hours. Either way, she and Finn would be in proximity again.

Both of them are rather adaptable, so I think they'd each find a way to fit into their respective societal roles even if they push against it. Finn as a man would have it the easiest while Juliana would have to continually break the rules.

The power would then all be on Finn's side so I'd have to make an effort to show how much sway Juliana has over him to counter balance it. She already has a strong will, so I don't think that would be an issue.

Sorry if this is kind of rambling. I tend to think and type at the same time. This was a fun thought experiment though!

[ill-be-istj-if-no-one-else-is]

(1) Hello Em, I hope you’re doing well lately. I want to ask about my MBTI and Enneagram. I consider myself a people person, meaning that I will go out of my way to get along with other, have fun with other, and make them feel comfortable with me. For example, when I’m with carefree university friend, I will often crack jokes that I know will make them laugh, even mocking our more wrathful lecturer if I’m sure it will bring chuckle to them. However, when I’m with more contemplative friend, I will do my best to keep up with their mind, taking their thoughts and ideas with concentrated thinking, then giving my own opinion and reflection about them. I admit, the former is easier to do than the latter, but both are equally rewarding to do since they’re my friends, and I want the best for them. Of course, there’s time where I feel more selfish like usual, like when my mother pressured me to do something that doesn’t seems right or comfortable for me, I can lash out and rebel, but eventually, I will back down and do what she thinks is correct. Even with their flaws, my family and friends are important, and I want them to be happy.

(2) I also find myself to be quite nostalgic and keep hanging on the past like baby monkey hanging on their mother. I believe that human is a creature of trial-and-error, which is why I think it’s crucial to remember the past mistakes I did in order to not repeat it. One of my mistakes I remember is 2022 ago, when I’m having group work with mostly non-cooperative friends, it makes me learn that I need to either work on my effort to push workmates so they want to participate in group or be more confident to report authority figure about it.

The other much more severe mistakes I did was my failure as community service program group leader, where I initially manage to communicate well with my groupmates about preparation for the event, but eventually become a recluse who pull back program that was planned to do together without any discussion due to stress and creeping feeling of incompetency. We manage to salvage the situation and did the program in the end, but I’m still thinking about it, how my selfish decision lead catastrophic result, how I really need to communicate more with other, and how I should have representation to express my thoughts and feeling should that me difficult to do. One of my friends said that it is something that already happened long in the past and I shouldn’t stop feeling bad about it, but I disagree. If I forget how terrible it was, it will slip from my mind, and I won’t be able to learn anything from it.

On lighter note, I do have tendency to associate songs with certain place and time, like how this melancholic song is fitting during roadtrip after listening it so often in car.

Those are all things that I find important and all-encompassing within me. Thank you for taking your time to read this, and I apologize for the imperfect English.

----

Hi anon!

Based on this my guess is ISFJ or ESFJ: it sounds like you tend to ultimately go along with the expectations of others, and you tend to reflect people's own behaviors and habits back at them and adapt pretty intensely (Fe). Your tendency towards a trial and error/past-based mentality sounds like high Si. I also associate music with specific places, so this might be Si - but it also might just be a thing people do. (and a plurality of people are SJs anyway). I am not entirely sure which you are. Your anecdote about the group project definitely sounds like it could be either an Si-Ti loop (indicating ISFJ) or it could be a Ti grip (ESFJ) but it also could just be high stress.

I am not sure about enneatype from this but I would look at 2, 6, and 9, all of which are very common for xSFJs. Based on the group project anecdote 6 disintegration to 3 in that scenario is one possibility.

[peachsequence]

A few Corey x Michael headcanons in an AU where they both live on the run. These are a bit indulgent, I’m sorry lmao.

Corey doesn’t like to think of himself as domestic but he does basically everything to take care of the both of them.

He trims what’s left of Michael’s hair, washes their clothes, and buys basic supplies.

He taught himself basic first aid too just so he could care for the many wounds Michael tended to earn during a night of killing.

They mostly eat fast food because Corey doesn’t know how to cook and he’s too impatient to learn. He’s never too sure if Michael actually likes what Corey orders for him.

Corey does odd jobs to make money, usually tries to work in repair shops. 

When they can’t afford a cheap motel, they sleep in a car they stole or in abandoned buildings.

Michael appreciates Corey’s efforts for the most part, though he’s confused why Corey tries so hard to fit into society in the first place. After all, it’d be much easier to just sleep in a sewer and eat animals.

It took some time to get used to living with another person but he learned to adapt. He tries to take care of Corey’s needs, which are usually emotional or physical.

Some nights, Michael disappears for hours. When he comes back, there’s blood staining his clothes, and he usually has some kind of gift for Corey that he stole from the victims. 

Other nights, they kill together, going on a spree of terror until the early morning hours. Then they pack up their stuff and run to another town, another hunting ground.

[bogusboxed]

Boxtober -  Day 10: "An Unlikely Alliance."

Day 10: -Dr. Smiley X GN!Reader “It’s my name on the line.” x Love Language

-I do not own "Dr. Smiley" and do not take credit for him.

-(Contains Minimal Description of Blood.) - This chapter includes headcanons and a one-shot!

Headcanon Section

-Upon meeting you he instantly memorized your behaviors.

-You two probably don’t get a lot of missions leaving you two to just be friends for long periods of time

-You both don’t stay in one spot for long.

-He likes making sure your physical health is absolutely perfect and will go above and beyond to keep it that way.

-He probably has only been a genuine doctor to you.

-He tends to put a lot of trust and pressure on you due to this fact. You rarely mess up a mission. And when you do normally he cleans it up and chooses not to mention it unless it’s really bad.

-He really could care less about the operator and just normally enjoys taking people’s lives away in the name of mercy.

-His love language is either word of affirmation or acts of service.

-He can’t stand seeing you in actual pain that not even the operator can dull. And when tending to your wounds he gets overwhelmed and stressed. Not trusting his skills to heal you but, not trusting anyone else with you.

-He carries around a very small pistol wherever he goes to protect himself long distances or to threaten others.

-He will never admit it but, he loves blood. He thinks it looks pretty.

-He feels extremely comfortable with you and always has. It’s because you can manage to be independent and respectful of what he does.

-He can’t stand dirty places and loves a clean look, especially with his tools.

-You sometimes like being slightly injured during a mission so, you have a reason to go bug your teammate.

One-Shot Section

Another day, another mission. You've been doing this for a while. You never really complained and always finished your tasks. But, it didn't mean you perfectly fit in with the others. Because you didn’t and couldn’t. You never could work together with them as smoothly as either of you would like. And that’s why you only teamed up with one person who really stood out to you. Which was Dr. Smiley. You chose him as your companion because he never talked back or did anything against you. And he had a lot of added benefits, such as being a good doctor. Even with his entire persona being that he takes organs and kills sick people. But, you couldn’t find it in yourself to care. You weren’t much different from him. You killed and hurt others around you when you were asked. You were a good pair. You and he may have had two different ways of killing each other, but it always worked out. Whether it was someone you hurt, getting away, and seeking his help. Or if it's simply chaos. He didn’t mind you taking the lead and normally had good input when needed. So you didn’t mind teaming up with him. You'd never admit to each other that you both found comfort in each other, but it was there.

And before you knew it, you two had been teammates for well over a year, doing the same tactics over and over again. Always knowing what the other person was thinking and how to adapt your plan to theirs. You both strived not to get in the way of one another and made no effort to compete against one another. And inevitably, he started to anticipate your unpredictable behaviors over the months you two were together. And his coyness slowly came undone, allowing you into his circle. But, this time you messed up. Really badly. For once in these months, you've managed to fail. You failed him and the operator. You didn’t kill your target. One of them made it out, and it was entirely your fault. It shouldn’t have been as hard as it was. Maybe it was your pride that let them get away, or maybe it was your own body. But, still, you didn’t complete your mission as intended. You failed on that mission because they found a machete laying around the abandoned fields. And they chose to fight back. They swung against your leg a few times while enraged, and you attempted to rip off their arm. That caused them to run again, but you couldn't manage to run after them. Your lower leg was barely attached as you collapsed, watching them run in the distance. You watched them run into the horizon as you rotted in place. The blood loss had gotten to you and caused you to pass out unwillingly. But, you couldn't even manage to focus on the unbelievable pain. You were only engulfed in rage. You were disappointed. You failed for once. You didn't want to hold anyone down, but you just did by not getting up. You failed by passing out. Your own body betrayed you. You could remember your friend Smiley looking aimlessly in the field till he pinpointed where you were. He looked at you seeing how red bled through your clothing and how your leg was falling off of your frame. The way you weren’t breathing and the way you weren’t awake.

And now here you are on a hospital bed with a cast on your leg with little to no recollection of where you were. You could feel the pain flare up and go back down. It felt like your lower leg was set on fire. You just sat there and reflected on everything. You could still remember the emotions laced on Smiley’s face as he found you sprawled in the dirt covered in blood. He looked angry but worried. You saw true fear glazing his eyes as he quickly helped you. He was confused, but he took you in and mended your leg. He sat with you in surgery for hours on end and helped your lifeless body recover slowly. You didn’t know how long you’d been knocked out for. But the flowers next to you had deteriorated if that told you anything. You grudgingly pushed yourself up from your bed as you scanned the room. You could still feel the disappointment in the pit of your stomach and it overshadowed any minor pain you had.

You exhaled, relaxing your muscles as you looked at the lights. The room you were in was fairly lit with various old lanterns. Which wasn’t the normal style that Dr. Smiley liked. He admired the glaring white office lights, but they were instead replaced with cozy home-like lights. The more you looked, the more you saw his rush and desperation in how everything was placed. You huffed, feeling your throat dry up. As you looked back to the table of dead flowers, you took the water bottle that was placed next to them. You shouldn’t ingest anything in this room because you know him with his victims. He would always knock them out with something like poisoned water. But, you trusted him enough to drink it. The water rushed down your poor throat as you felt refreshed. You could feel all of your senses regaining their normal states. As you felt a tinge of pain in lingering your lower leg. You yawned as you heard the loud shuffling from outside. You felt tension arrive as you weren't sure who you wanted to see behind there.

The door was abruptly pushed open as a fairly familiar face made its way to you. His normally jet-black perfect hair was now fluffed all around his face. Out of exhaustion and stress, he had strands of hair stuck to his forehead with clear dark circles forming under his eyes. "Reader," his red gaze made fierce eye contact with you. You could sense his upset aura coming off of him. He exhaled heavily as you didn’t want to look him in the face after the last mission. "You’ve been passed out for at least two weeks," he informed you as you widened your eyes slightly. He kept you patched up for that long. He kept you alive for that long. "Thank you." your voice was soft, barely above a whisper. You weren’t like this. Normally, you were loud and bashful. Constantly on the edge, on the verge of snapping. But, here you were being as coy as a cat. You could feel him take in the truthful words. He could feel his stomach turn with worry again. "I'm sorry," you said, not looking into his remarkable velvet eyes. You weren't ready for that look of disapproval. "It’s my name on the line."  he crossed his arms exhaling heavily. He wasn’t wrong. With you messing up and him having to stay by your side relentlessly for two weeks, his status with the operator has surely gone down. His entire name was probably mocked by the others. And you could feel the guilt rush over and drown you. Normally you were good at reading others, but for some reason, you weren't at the moment. You couldn't focus properly and you knew he knew.

"You shouldn’t have stayed then," you told him flat out, without having sympathy for yourself. "You would’ve died." you could feel his disappointed gaze burn into your neck. "The operator would’ve kept me alive," you muttered, taking another sip of water as your head raced with thoughts. But, of all of them, losing your friend was the worst. "Yeah, well you would’ve suffered," he sniffled and slowly paced around the room. You snapped your head towards him. He was upset? Upset about yourself and not in the way you initially took it? "I thought you valued death and suffering above all." you looked at him as he was already looking at you. "I do, but-" he curved his brows as he looked at your frame. "I saw the way your body was contorted in pain.’ ‘I didn’t want you to die like that." he explained, keeping his head high but visibly shaking. "So you're going to hurt now?’ Or even try to kill me if it’s possible?" you genuinely questioned as he glanced at you. His eyes were now glassy. "You deserve to die of old age.’ ‘Not now." you took that as a compliment. He had always wanted people to die as fast as they could. Especially if they were injured or sick. Just like you. You were his ideal victim.

"Thank you," you told him again as he took off his surgical mask, inhaling heavily. You could see his sharp canines as he did so. He approached you carefully as he bit his lip. "Does anything hurt?" he asked, changing the subject. You could feel him analyze your movements for any hints of suffering. "Just a little bit of pain in my leg, but that's to be expected." you exhaled as he stared down any visible scars or scratches. You shifted your hurt leg uncomfortably as he seemed to take note.  "I have some painkillers lying around, but you’ve already been pumped full of antibiotics as it is." he looked at you carefully as he tilted his head. He was calming down from the initial panic he was in. You remember the pain from that night, emotionally and physically, before your body had completely shut down. And now today, you barely felt anything. He was a doctor, after all. And he indeed completely took all the pain away. "I'm fine," you said, trying to reassure him and pull him away from whatever he was stuck in. "I know, but it doesn’t look like it," he muttered desperately, trying to still look cold and calculated even when he was freaking out. Your thick cast held you back from getting up or making any movement. As you lay back down, slowly make minimal movements that wouldn't trigger him. "Thank you for this It doesn't hurt anymore," you affirmed to him again. You were ensuring him that you were okay at the moment. He needed to hear you were okay, even if he was the doctor. He needed it from you. He seemed to consider it before exhaling. He felt okay and let himself confirm that you were okay too. "Get some rest, Reader. You’ve been through a lot already. " "We have a mission tomorrow." he smiled at you as he slowly left the room, shutting the door quietly, leaving you to your own devices. And suddenly, he wasn’t just your teammate anymore; he felt different now.

-

[r3d-f0xs-blog]

D I Q T for Voss and Charlie

Thanks for the ask. This was fun and Charlie always has a few sides because work aex and personal relationship sex are different for them.

D – Dedication – To what extent are they willing to go to make the night perfect?

Voss – will tell you that perfect doesn’t exist! Doesn’t stop him from trying. Whether it’s something new to wear, perhaps a new toy he wants to share with Kerry, setting the scene, asking Kerry about things they both want to do or if it needs some teasing and seduction of some kind before, Voss will try a lot of things to make it as good as he can.

Charlie – as far as they can. There’s little difference on this point for Charlie between their personal relationships and their joytoy clients. If it takes particular garments, equipment, toys, scenarios and such and it all fits within Charlie’s limits, Charlie will do their best to make it perfect. And hey when it comes to joytoy work, that can mean a generous tip, a boost to their reputation and more business so it's worth the effort. In personal relationships however, nobody is treated better than them by Charlie and they will do everything they can to make their time together amazing.

I – Innuendo – How good is their dirty talk game?

Voss – his dirty talk is pretty good. He sometimes feels a little awkward when it comes to it, worried that what he says is cheesy or very literal.

Charlie – is skilled. It’s part of the job when it comes to finding potential new clients or with existing ones. For example one of the services they can provide is to send dirty talk messages in advance of their session with a client. They have to pay Charlie extra for this! They’ve been asked to call too which is more expensive. Some people are happy to pay for the messages and calls alone.

Q – Quirk – Does their love-making have any unique elements?

Voss – ahaha is the fact that he sometimes sticks his tongue out and is unaware of the fact he’s doing that when he’s close to orgasm a “unique element?” It doesn’t happen all the time, more often when he’s trying to make things last or he’s purposely edging or delaying.

Charlie – Charlie would say they are the unique element and they don’t mean that in an arrogant way. In a way the fact that Charlie doesn’t have a Mr. Stud is rather unusual in their work. Some people prefer that or are surprisingly happy when they find out Charlie doesn’t use one. Sounds ridiculous but when rippers like Fingers and the black market exist joytoys with cybernetic intimate parts are more common.

T – Tempo – What’s their pacing like? Are they casual or more intimate?

Voss – he tends to more intimate but is happy to switch it up to casual sometimes. As for pacing, he prefers slow to moderate most, occasionally fast if the mood strikes. But nothing feels better to him than drawn out, easy going love making that leaves them both so mushy brained they almost forget themselves.

Charlie – as you can imagine, Charlie is adaptable. Casual, intimate, literal strangers who just met they’re fine with it all. Pacing is the same and with joytoy work time is money and also about what else the client wants in the time they have Charlie for. In personal relationships Charlie doesn’t like the quick stuff because it can feel too similar to quicker client sessions. There’s no time to indulge their partner.

[rodeodeparis]

another rambling tachioda analysis i impulsively wrote where i compare it to folk tales and talk about story structure. whoopee

so i’ve been working with the aarne-thompson-uther index lately. the atu is like tvtropes for folktales. it has two categorizations: one is for motifs, or common themes that can be found in folk tales. (ie wicked stepmother, shoe that only fits the true love, etc.) the other is for story types, which is common ways in which these motifs can be glued together. (cinderella is wicked stepmother + shoe that fits the true love, plus a bunch of other things.) 

while browsing, this particular tale-type caught my eye:

lenore, the namesake for the type, is a ballad by german author gottfried august burger. inspired by the european renditions of this myth, it follows the tale type description to the letter. however, it includes an additional section where the human curses god for killing her lover, and is punished by the dead because of it. the deacon of myrka, an icelandic rendition, follows this as well to an extent, but keeps the human alive at the end and curses her with a haunting. in general, both involve a bare-bones 365 with different christian and local twists. 

my first thought when i saw this was “tachioda”. probably just my fixation talking, but i recognized the story. not just in tachioda, and not in the way the description put it. 

in a section below descriptions of types, it lists countries where the author found indications of this tale (with sources). i’ll save you the long list - it’s disproportionately european. despite recent efforts to internationalize it, the atu is still very euro-centric. (why go through the trouble of adding “walloon” as a distinct ethnic renderer of a story while you just put “iraq” or “morocco” to refer to those regions?) hence the “generic” description being of one of the tale’s most popular european forms. what’s more important here is the premise. so, when i saw a japanese version was listed, my suspicion was confirmed.

i think what i may have recognized was the peony lantern* (starts page 5), a famous “ghost story” in japan. i can’t find the book the atu lists as a source for the story having a japanese rendition so i don’t know this for sure.

the peony lantern is a literary adaption of a folk tale, written in 1666 by author ryoi asai. the original was a chinese story of the same name* from jiandeng xinhua ( something like ”new stories to tell after snuffing out the lamp”), a famous compilation of adapted folk tales by ming-era novelist you qu that’d come out some 300 years earlier. this makes asai’s peony lantern an adaption of an adaption of a story that’d probably been passed on and changed long before qu was born.

(*for the former - asai’s version is the first in japanese, but not the most popular - the plot summary goes from page 5-6. most of what you can find online is a translation of another, more popular japanese adaption that came after asai but added some things.

for the latter, yes, that was the only english translation i could find. they tend to be sparse for chinese literature unfortunately.)

the peony lantern - both qu’s and asai’s versions - is the same idea as 365, but with flipped genders. here’s a very very basic summary of both of them:

man finds ghost woman during festival. (lantern festival in qu’s, obon in asai’s.) she’s with her maid, who’s holding a peony lantern,

man falls in love with the woman ghost, and she tells him about her past, 

discovered by neighbor peeping into his house, who suggests he travel to the village the woman was from for help,

he does, and discovers a coffin in her old house with an inscription that confirms the ghost’s identity. he then goes to get religious help (from a taoist disciple in qu’s, buddhist priest in asai’s),

despite having gotten help, the man is drunkenly lured to his death,

qu’s man is drunk after a friend’s banquet and wanders inside the temple he was staying at. he’s lured by the ghost inside and into a coffin.

asai’s man is called by the ghost from outside of his house. he drunkenly wanders with her into the temple.

people spot the man, now as a ghost, walking around with the woman ghost,

townspeople (qu) or the man’s family (asai) go to a (taoist in qu’s, buddhist in asai’s) priest (and in qu’s only, disciple) for help,

the priest banishes the ghosts,

in qu’s version only, the townspeople go to thank the priest and disciple who helped them, but find that the priest has disappeared, and the disciple is now mute.

don’t worry about the surface-level details not matching up to lenore or to each other. for example, i’m pretty sure that the horse is a european thing. the folk tale of oisin on tir an nog and the tale of urashima taro are listed under the same type - 470b - with the circumstances of how they happened as local flair. oisin’s stepping off the horse serves the same purpose as the box urashima receives. what matters here is the themes and main events, and those track.

lenore could have very well ended in the same way as the peony lantern - the human and ghost are spotted, and a christian priest banishes them - but it doesn’t. that’s because of a very important difference in the way these stories are set up.

if you know the difference between european five-act structure and east asian four-act structure, skip to the paragraph starting with “if the peony lantern followed”.

european five-act structure goes like this: 

exposition - characters, setting, and conflict are set up.

bob needs to open the bottle of olive oil to make dinner. the cap is tight.

rising action(s) - conflict ramps up.

bob struggles to open the tight cap. he tries everything, but it doesn’t work.

climax - conflict comes to its highest point.

in frustration, he digs under the cap with a knife, and it flings open.

falling action(s) - conflict de-escelates and starts to wrap up.

bob closes the bottle and pours the olive oil in the pan.

resolution - conflict is resolved.

bob continues making dinner.

east asian four-act structure* differs by country, but the gist of it goes like this: 

introduction - characters, setting, and pretense are set up.

bob is making dinner. he’s struggling to open an olive oil bottle with a tight cap.

development - situation is developed. 

in frustration, he digs under the cap with a knife and it flings open. he pours oil in a pan.

pivot - story changes direction/introduces a new perspective.

alice comes to stand behind him. she sounds angry. 

conclusion - story ends. 

bob turns around and discovers that alice’s eye is swollen and red - the cap had flung into it. bob profusely apologizes while he cooks.

(*ctrl+f “east asian 4 act”.)

disclaimers:

4-act isn’t the only one used in east asia, and 5-act isn’t the only one used in europe

i’m not saying you can’t appreciate these if you didn’t grow up with them or something like that

these aren’t the end-all-be-all of story structures in general, but it’s easier explaining two than several. also, these ones are pretty big.

in a five-act structure, the protagonist affects the world around them. because of this, they need a problem - a conflict - to take care of. it’s probably best to think about conflict here more like “goal” or “motivation” - a character needs to want something, and that thing comes in conflict with something else. this isn’t always a character explicitly going after something or being pitted against an enemy - it can be internal as well. their goal/motivation needs to be at the center of the story.

five-act stories start with a character’s goal being solidified to the audience. after this, they can either do something about it, or something can happen to them which furthers complications. either way, they need “motivation” to keep going. if an antagonist is present, whether or not they’re out to get the protagonist doesn’t matter - the protagonist will end up confronting them since they’re in the way of their goal. in the end, a goal needs to be met or not met, antagonist defeated or not defeated. whatever won out in the end is the determiner of the theme the story’s ended on. this is why the ending is the “resolution.” 

in a four-act structure, a character is affected by the world around them. the character can have a conflict and goals, but they need causality - significant events to happen to them - to move forward. the story is driven by how events take shape and how they compare to each other in the grand scheme of things. from there, a character’s reaction (or lack of a reaction) continues the chain of events while telling us what we need to know about them.

four-act stories start by something happening to the protagonist or the protagonist doing something that makes the story-starter happen. the story continues as the protagonist keeps reacting. what keeps them going is some sort of mental/emotional relation to the events at hand. if there’s an antagonist, it’s their goals that are propelling the story, as those goals inhibit the protagonist/their world in some way. when the protagonist seeks a fight, it’s related to the sequence of events - if they’re a goody two-shoes, for example, it’s when the antagonist’s violence goes too far. events lead to an ending that, no matter what it is, reflects the theme of the story. this is why the ending is the “conclusion”.

in the five-act example, the point of the story is bob opening the cap. in the four-act example, his opening the cap was a goal of his, but the point was that he wasn’t careful and hit alice in the eye. you can change the structure of these stories around to make one fit the other, but the focuses work because they’re tailored to those structures.

there’s philosophical/cultural/historical “backstories” as to why the four and five-act structures are the way they are that i don’t feel like i can articulate very well. they’re also a lot for a post about video game men. if there’s something i’m missing or not getting, please tell me. i’ll try my best otherwise.

if the peony lantern followed a five-act structure, i think it would go something like this:

introduction: man meets woman ghost at festival. 

rising action: he falls in love with her. neighbor sees him and tells him this is dangerous. he goes to get help in her village. he discovers a tomb in her house with her name on it.

climax: he discovers a coffin in her house with her name on it.

falling action: although he got help, he’s drunkenly lured to his death.

resolution: his body is found and he’s buried. the ghost couple haunts the town. the townspeople/family ask for help, and the ghosts are banished.

feels weird, right? the peony lantern isn’t actually following a five-act structure. instead, it goes like this:

introduction: man meets woman ghost at festival. he falls in love with her. neighbor sees him and tells him this is dangerous. 

development: he goes to the town where she’s from and discovers a tomb in her house with her name on it. he then goes to get religious help. even though got help, he’s drunkenly lured to his death. 

pivot: the ghost couple haunts the town.

conclusion: the townspeople/family ask for help. the ghosts are banished.

four-act structure hinges on significant events to develop the situation, which leads to character development. we see this in two different ways - during the man’s life and after - because of the way four-act structure is set up to think about ideas: idea (thesis), opposition (antithesis), combination (synthesis). that’s why the “pivot” is the story giving him what he wants; the effect the man’s uniting with his love had on his fellow townspeople as they prowled the streets was not something he seemed to care about much. there’s no way he couldn’t have cared when he was banished. no matter how strong their love was, the story claims that there were more important things for him to consider.

compare this to lenore. if lenore followed a four-act structure, i think it’d go something like this:

introduction: human has a good relationship with her boyfriend. however, he dies. she is grief-stricken, and in mourning. her mourning is slowly escalating.

development: her mourning escalates to a point where she curses god at her loss.

pivot: later, his ghost shows up to her house, riding on a horse.

conclusion: ecstatic, she goes with him. she rides with him to the graveyard. she realizes he is really dead. she dies herself. 

feels weird, right? lenore isn’t actually following a four-act structure. instead, it goes like this:

introduction: human’s boyfriend is dead. she’s grief-stricken, and curses god.

rising action: he shows up at her house. she goes with him. he asks her if she’s afraid twice, she says no twice. third time, they’re at the graveyard.

climax: she realizes he’s really dead.

falling action: she’s pulled to her death.

resolution: she’s dead.

like how the four-act structure hinges on character development, the five-act structures hinges on goals to drive a conflict. the five-act structure ideas as thesis vs. antithesis - goal vs. opposition. one has to win at the end, and this tension culminates in the climax. in lenore, the two opposing ideas are her love for the ghost vs. how she blasphemed. first, she blasphemes. then, her ghost lover comes back to take her, and it seems like the love will win out...but she soon faces the consequences of that love when she realizes her love was actually dead. when she dies, the latter triumphed, and her love is shown as not having been worth it. 

so the peony lantern is a story which can only read as harrowing as it does because it’s told in a four-act structure. qu’s and asai’s versions differed quite a bit, though:

ghost appearing during the lantern festival (qu) vs obon (asai)

disciple and priest (qu) vs disciple’s role merged into priest (asai)

man lured to death (qu) vs leaves house on his own volition, then lured to death (asai)

village asking for help (qu) vs human’s family (asai)

taoist priest and disciple (qu) vs buddhist priest (asai)

taoist punishment big part of story (qu) vs buddhist punishment, smaller part (asai)

most of these choices look like localizations. the family instead of the townspeople was probably to make those localizations make more sense. as for the significance of the banishment and the way in which the man was lead to his death, i assume asai changed these because of the specific story he wanted to tell. 

a buddhist priest himself, much of asai’s writing focused on subverting buddhist emphasis on the importance of spiritual matters. a previous book he’d written is named for the term ukiyo (浮世), or “floating world”. this term had started picking up meaning to refer to a contemporaneous emerging culture of boisterous, red light district-prowling city life. this term is homophonous to another term pronounced ukiyo (憂き世), or “this sorrowful world”, a japanese  term for the buddhist concept of escape from earthly death and reincarnation. instead of that, why not hedonistic, earthly pleasures? this was a sentiment which fit into asai’s writing, his time’s relatively stable contemporary politics, and the ukiyo subculture. (also, yes, it’s that ukiyo.) you can read tales from a floating world translated here. 

with that, it’s easy to see the sort of story he was trying to get out of the peony lantern. “floating” suggests that most of his writing is lighthearted, and it certainly is, but much of it ultimately focused on critiquing politics/society at large. (though not always expertly.) he was a particular fan of pointing out to the readers what he felt were injustices or what was right instead. qu’s peony lantern and its warning of not faltering to love was a perfect target for a writer like asai. 

jiandeng xinhua was influential for the novel way in which qu combined folk tales, buddhist lessons, and his political context. despite this, it was banned (and later unbanned) in his home country for political reasons and was more popular in vietnam, korea, and japan. as a consequence, the peony lantern is most well-known in asai’s form, scoring adaptions from further written stories, to kabuki, to tv, to several movies. it’s one of the most popular japanese kaiban and it inspired others like it. why did it last so long?

asai’s story still operates in a the same buddhist framework as qu’s. in both stories, for lack of a better term, the man’s love with someone he shouldn’t have interacted with came back to bite him in the ass. he’s ultimately punished along with his ghost-lover for having faltered to her in the first place.

but qu’s man was coaxed into his coffin. asai’s man chose to leave his house. the buddhist prayer to banish the ghost is one sentence long, as opposed to qu’s detailed taoist banishment. i think the longevity of asai’s peony lantern is because of these changes. it draws attention to the events that got the story to this point and their ambiguity. with this, we’re left with a ghost and the man who loved her. the relationship is even more in focus than it was before. 

the basis of the religious subversion builds a framework for further explorations of the nature of the man and ghost’s relationship - the ghost’s apparent intentions, and the man’s apparent “loss” of agency. subversions never question the danger of the ghost, and don’t go great lengths to change the main course of events or introduce a conflict. they subvert by showing the love inside of that danger, what could’ve happened within, before, after, or outside of it. the change of context changes our perceptions. some adaptions even include the human and ghost being reincarnated together or the human dying with a smile on his face. 

by keeping the actions and changing the context, subversions of the peony lantern are about how much the ghost and human mean to each other. the world around the human faces the consequences of the human’s actions. the drawing, oppositional factor here is the “forbidden love” on the part of the relationship’s existence. the important question is “who are these people, and why do they love each other so much?”

lenore had a level of cultural influence in europe to jiandeng xinhua. it inspired a lot of 18th-19th century romantic and gothic literature, specifically early vampire literature; english author bram stoker mentioned it as an influence on dracula*. the plot of dracula revolves more around the group of men who kill him at the end. dracula stalks, seduces, and eventually feeds on women. when he curses the protagonist’s fiancee, the hunt ramps up, and dracula’s eventually staked through the heart. 

(*it’s a whole book rather than a short story like lenore or the peony lantern, so just read the wikipedia page if you’d like a full summary.)

the ghost in the peony lantern wasn’t this polarizing a figure because stoker wasn’t in the business of subverting in the way asai was. stoker wrote dracula in the fashion of a shitty contemporary trend. vampires have a history in europe of being portrayed through symbols associated with antisemitism against ashkenazi jews that i’d rather not get into. dracula was so evil because he was so cunning and seductive, “luring” you in, a trope which echoed that sort of anti-semitism. dracula’s allure gives the story a conflict in the same way the human cursing god in lenore did. the emphasis of the conflict just changed. 

in lenore, the ghost’s danger was as inherent as in the peony lantern, but the woman’s love - her motivation - was similarly pre-established. what stuck here is the emphasis on that conflict - the question of the human’s priorities between her safety and her love interest’s allure. making the monster appealing in some way complicates things, as it gives her a “rational” reason to be lead to her death. it’s a question of the “benefit” vs. the “cost”. thesis vs. antithesis. 

like in the peony lantern, the ghost’s danger is never questioned, but their intentions are. this is why dracula’s contemporaries in anglophone tv shows, movies, and young adult romance novels fret over their danger as much as their human love interests do. by showing that they don’t want to hurt their human, they’re given goals that “salvage” their dangerous nature. this focus on their “goals” not only paints them as worthy of sympathy, but drives the romance on both sides instead of just one. this portrays the relationship as a matter of mismatched compatibility in the way subversions of the peony lantern do, but the focus of the relationship is on how the individual sides fit together, rather than why they fit together.

by changing the focus of the conflict to highlight motivations, subversions of lenore are about how much this ghost means to the human. the world around the human warns the human about what they’re doing. the drawing, oppositional factor here is in the “forbidden love” on the part of the human’s and ghost’s motivations. the important question is “who is this ghost, and why does the human love them so much?” 

essentially, these stories teach the same lesson - engaging with ghosts is bad - in two different ways. the effects of the human’s wrongdoing culminate in his receiving the worst fate vs. the human’s wrongdoing is cemented in her receiving the worst fate. these story structures are so ingrained in us that they impact how stories are told, even today - since the stories are set up in the specific ways they are, things like “dangerous” romance can be cultivated from them differently.

(second, completely unrelated side note: i doubt a 365-type story could exist in this form in the me/na. "spirits” are thought of differently. it’d have to change a lot.)

back to tachioda. no matter whether you’re more used to the peony lantern-type stories or lenore-type ones, this motif can be recognized. isn’t someone you care for betraying you with a secret which endangers your life sort of like a realistic rendition of a ghost dragging you into your grave? isn’t tachibana sort of like the human in those stories, where his love care for oda was what inspired him to not run away from his problems anymore by “sacrificing” himself? 

oda’s something like the human, too - he did something he knew was against tachibana’s interest out of said poor judgement, which was blinded by his love. and just like both the human and the ghost were banished, oda’s judgement led to events that got tachibana killed. 

regardless of who’s who, oda carried both tachibana and himself to their deaths. but is it more similar to the peony lantern, or to lenore? 

let’s see if tachioda follows a five-act structure, for one:

introduction: oda works with tachibana. we know they’re very close, but not how. oda seems antagonistic towards kiryu for some reason. oda begrudgingly works with kiryu.

rising action: the search for the owner of the lot goes on. eventually, it’s discovered that it’s makoto, and they head to sotenbori to get her. we learn some stuff about their backstory from the video store owner. makoto and oda encounter each other, and seem to recognize one another. he’s antagonistic towards her.

climax: he eventually tries to kill her. kiryu stops him.

falling action: he spills and is left to fend for himself.

resolution: oda is dead. tachibana learns about it.

completely unrelated post-resolution occurrence: tachibana is inspired to stop running away from his problems.

in the five-act structure, the climax is the most intense moment - the moment where the main character’s goal and what it came in conflict with is at its peak. oda’s attempt to kill makoto is very intense, and where his antagonism both towards her and kiryu comes to a head. but what’s the conflict here?

if you want to find a conflict, you have two options: oda vs. makoto and oda vs. kiryu. since oda’s reveal is seen in the form of a buildup of antagonism that comes near his death, with his death serving as a resolution, there’s one conclusion here - oda is a twist villain. he dies, and makoto and kiryu won.

interpreting the story this way skews things a bit. namely, for a twist villain to work in a 5-act structure, they need to have been involved in the conflict that was driving the story all along. oda was a mole for shibusawa all along, yes, but...that’s it. it didn’t really go any further than him having given shibusawa’s men their location. in terms of a conflict of oda vs. makoto or kiryu, his death wasn’t the culmination of those things - not directly, at least. it didn’t “resolve” any arcs.

makoto’s main situation in the game is dealing with her life on the line with the empty lot in her hands and wanting to meet with her brother, not to mention grappling with everything she’s faced. within that, the identity of the person who trafficked her isn’t represented in a conflict. it’s a conflict - a question. that doesn’t mean it didn’t cause her significant trauma, and that doesn’t mean she isn’t struggling with it; it means that it was presented in a specific way. think about how she found oda - by chance when oda and kiryu came for her. after everything happened, and oda died, she had her answer. we see her reaction to it and everything else she’d faced in the rest of the game.

oda came across makoto so we would know what would happen when she saw him. makoto’s writing...could be better, to say the least, but i think this is a more harrowing presentation of what trauma can feel like. it’s not something that you overcome in a decisive conversation or battle, it’s something that sticks with you, even if you have all the pieces together. 

kiryu’s conflict with oda pre-reveal was...nothing, really. even in 5-act structure terms. oda was just an ass to him. if anything, oda had been begrudgingly helping kiryu this far. nothing much other than that going on there, really.

with tachibana, the “conflict” between them isn’t so explicit. we may have some indication that tachibana knows something is going on with oda (which i talked about in my last post from a while ago), and we learn about their past together. until he learns about oda’s death, that’s the most of it. their on-screen interaction is mostly bare-bones.

so, yes, this is a conflict, but we only really see one party propelling the events in it. oda’s also going against tachibana’s interests, but tachibana isn’t involved, and doesn’t even know until it’s too late. he has no “goal” against oda. oda’s also trying to kill makoto, but even that’s only one-sided. she’s no big fan of oda, but she has no “goal” against him. if you see oda vs. tachibana as a conflict that’s driving the story, how tachibana reacts to oda’s death seems out of place - it has nothing to do with any sort of “goal” against oda, let alone resolving any goals, so we can’t say tachibana’s reaction is a resolution to a conflict that came before it. that’s why i put it as a “completely unrelated post-resolution occurrence”. 

but oda had reason to be apprehensive - is an oda vs. himself conflict propelling the story? nope. even though it was something he chose to do under specific circumstances, oda’s already made his decision. he’s not convinced out of it until he’s caught. he’s conflicted, but his misguided perceptions motivate him to continue, so what’s driving him forward is not his internal conflict against anyone. it’s his goal. 

he’s following his goal, which comes in conflict with tachibana and makoto’s goals, which is what makes events occur, which means that in terms of the four-act structure...he’s a twist villain? not so fast.

like pretty much every yakuza subplot that lasts throughout the whole game, the tachioda subplot follows a jo-ha-kyu structure:

jo: tachibana seems eager to get close to kiryu. he relays that he’s had difficulty trusting people in the past. on the other hand, oda seems antagonistic towards kiryu for some reason, but begrudgingly works with him. the search for the owner of the lot goes on. meanwhile, from makoto and wei han lee, we learn that she was trafficked while looking for her brother. the person who trafficked her had a bat tattoo. in a later scene, it’s revealed that tachibana has the same bat tattoo. later, kiryu and oda go to sotenbori. we learn about their (mostly tachibana’s) past from the video store owner. 

ha: makoto and oda encounter each other, and seem to recognize one another. he’s antagonistic towards her, which climbs in severity as oda drives them to a “safe spot”.

kyu: oda tries to kill makoto, but he’s stopped. oda spills everything. kiryu leaves him to fend for himself. tachibana learns about his death and stops running away from his problems.

yes, that’s a new thing i didn’t talk about before. jo-ha-kyu is a japanese artistic structure extrapolated from the chinese literary concepts of fu-bi-xing. by “artistic structure” i mean that it’s a structure that’s applied to a lot of stuff. in our case, it’s a narrative structure used in movies, tv shows, and games.

progression-wise, jo-ha-kyu is similar to four-act, when you think about it. (sort of like how the five-act structure generally follows a larger pattern of “beginning-climax-resolution.) jo-ha-kyu is about a slow development of actions and context (jo), a sudden and quick dramatic heightening of the tension (ha), and an even quicker finish (kyu). the point of this is to show exactly how the “conflict” affects the story before it’s taken care of. the something it leads up to (or doesn’t) isn’t the “climax” - it’s as much of the point as the events are. like with four and five act structures, there’s a philosophy-based reason as to why this exists in the way it does but i’m not sure i could articulate it well.

what happens is that we’re presented with context and later get some indications of what’s “really” going on. then, oda and makoto see each other, and the pace heightens. as they escape from being pursued, oda’s antagonism builds until he tries to kill her. our questions are answered when he’s stopped and reveals everything, giving us context to everything we’ve seen. the conclusion is the rest - it’s not entirely linear because this plot affects both makoto and tachibana. with jo-ha-kyu, like with four-act, plots often don’t “resolve” and can lead to others.

the fun part about this is that you can incorporate a four-act sequence into a part of a larger jo-ha-kyu story to build it up even more. this manifests itself via the oda vs. makoto subplot like this:

introduction: makoto and oda encounter each other, and seem to recognize one another. he’s antagonistic towards her, and that antagonism builds.

development: oda takes them to the “safe spot”. eventually, he tries to kill her. he’s stopped.

pivot: oda spills everything.

conclusion: oda is left to his fate.

this is essentially the “ha” and “kyu” in the larger jo-ha-kyu of the tachioda subplot, and a part of the development makoto’s plot. with makoto, what happened to her was a significant part of her past, so knowing what would happen when she saw oda allows her to take matters into her own hands. (even though the writers screwed that up.) 

with tachioda, it "pivots” from oda’s devotion to tachibana (thesis) and takes us to something that seems to contradict it (antithesis) before putting this in context of the devotion established beforehand (synthesis). oda and makoto’s relationship is also the “antithesis” to the thesis of oda and tachibana’s relationship and oda’s characterization as tachibana’s right hand arm man. the synthesis is oda choosing to leave himself to his fate. this also happens so tachibana can learn about his death, and we receive another confirmation - tachibana wanted to trust him.

tachibana’s death is also not a “resolution” to anything. since tachibana is tied to the main plot, this leads to complications for kiryu and makoto both. long story short, makoto confronts the lieutenants, and kiryu later confronts shibusawa. it wouldn’t have been so direct if tachibana hadn’t died, if oda hadn’t died, if oda had better judgement, if oda and tachibana hadn’t bumped into each other in the street in sotenbori, if oda hadn’t trafficked people. but still...

is oda a twist villain here? i’ll answer this by stating what i’ve been implying the whole time: oda as a character doesn’t work in a five-act structure. he’s also not important enough to the game’s plot for a neat yes or no answer. this leads us to some semantics. since we’re speaking in english, “antagonist” implies a character who’s an opposing force to the hero/protagonist, and “villain” implies that the force is tied to nefarious motivations or morals. the two are different, but there’s always some sort of opposition, like with five-act structure. 

since we’re talking about a japanese game, japanese has these:

katakiyaku (敵役) - a character who’s role is to be against the protagonist

akuyaku (悪役) - someone who’s considered morally evil in a specific scene/incident/plot

akujin (悪人) - someone who’s very existence is evil; warumono (悪者) - a bad person

the first two japanese definitions are mutually exclusive from the third. they refer to context because they’re translations of the vaguer, european (or specifically anglo here) concept that these are intrinsic story roles. it’s not that villains or antagonists didn’t exist in japanese stories beforehand. it’s that in four-act, a villain doesn’t have to be there for “bad” to happen. see how those kabuki stock character descriptions primarily detail what characters do in a story? compare them to these commedia dell’arte stock character descriptions which primarily detail traits. a four-act villain is morally “bad” because that’s a reflection, not an explanation, of who they are in the story as a whole. that linkage serves as a counterpoint to the hero’s goodness and amplifier of their dastardly actions rather than as two inherently connected forces. 

hero vs. villain is still a conflict in jo-ha-kyu and four-act story structure. you fight shibusawa at the end of the game, don’t you? he went out of his way to do what he did, which his less than “moral” backstory gives context to. the only things oda has in that regard are a checkered past and poor judgement. oda was propelled by his goal to do things that went against tachibana and makoto...after he and tachibana saw the latter’s family in a documentary. he came across it, and he reacted to it. oda’s association with the antagonists and former sex trafficking were bad, but he’s not a “villain” like shibusawa is - it’s not his role in the story.

if anything, i’d say that oda was absolutely intended to be a twist “bad guy”, as in twist “guy who did a succession of really bad things, realized the scope of them almost by chance each time, and paid the price.” but we can’t call him a “villain” in the english/five-act way because what he did, his role as a character, and his goals are entirely separate. the last we see of him is his rebuffing shibusawa when he asks why oda “screwed up” - even without kiryu and makoto there, we’re shown that his regret is real. the best we have to describe this in english is “morally gray”.

that doesn’t mean he’s portrayed as being in the right, and it certainly doesn’t mean you’re supposed to sympathize with or even like him, though. the game doesn’t deny that oda’s actions were bad, but it’s not in the business of exploring this through oda as a “ghost” figure pit against the “humans”. like i said in my last post, if they wanted to do this, they easily could have. the main story could happen without oda - his role is to flesh out the world tachibana and makoto find themselves in. he’s a plot device. that’s it.

part of this is done through makoto’s journey. the other part is through tachibana and oda’s feelings about each other. (and also in that they’re foils but that’s another post.) they’re in a chain of events that implies animosity - betrayal - but something is different from what we expect. oda’s devotion to tachibana is the obvious thing. the scene with the car that i already talked about in my last post, a little less so.

other than that, most of what we know about how they behaved, felt, and thought until the “ha” is implied or summarized through anecdotes outside of them. the one thing underlying all of this doesn’t come out until it’s too late. oda realizes the gravity of keeping this secret and chooses to “redeem”* himself by divulging and staying behind. once tachibana reacts to that knowledge, we truly know.

(*another semantics thing - “redeem” in english has the meaning of “redemption arc”, as if it negates bad things or makes up for them. i mean “redeem” here in the “culmination of everything he’d done” way.)

we see oda first as someone who’s close to tachibana, and we only find out what he did and why as he’s dying. in turn, his death is used to confirm something about tachibana that had only been hinted at - his fear and his vulnerability. his priorities in the people he cares about and how he wants to do right by them despite those. (he lost his arm for oda.) by focusing on how tachibana and oda felt about each other within the context of what happened to them, we’re given a story about two people who were close, and one of them trying to work against the inevitable by keeping it that way. the tachioda subplot follows the same style of subversion as the peony lantern. 

regardless, oda didn’t come into the game as a “ghost”; he becomes one, both in the plot and in our perception. the focus is on their relationship within what’s happening. like in the peony lantern, what makes this so appealing is that you can connect the emotional dots yourself. both oda and tachibana’s deaths were inevitable, but whether or not they were “deserved” serves to deepen the emotional significance of their deaths on the part of the player, rather than clarified universally to drive the plot. for people like me who ship them, it’s not in spite of what oda did, but in tandem with it. 

i think part of the reason why tachioda may be so contentious with english-speaking fans is because of all of this. remember: your view of the world is, more likely than not, never going to be perfectly objective.

tldr: intentionally or not, tachioda is framed in the same way supernatural romances like twilight typically are. pretty cool!

[awetisomeopossum]

TIL There are different types of compliments. I'm developing this as I come up with how to explain, so it's very much a work in progress.

"Shallow" or "surface" compliments about beauty related things. These have the most superficial affects when received it would seem.

Deeper compliments would be about unchangeable things. "You have pretty eyes" So like a compliment on fixed features.

There's more complicated compliments. When they're layered together? Combined? "I love the curve of your hips" It's still based in desire on a surface feature but shows you've been in their thoughts 🧠 🐿️ ⌚.

There's deeper compliments about a person's character, personality, or efforts. This is something you'd have to be known for, or documented IRL, even if "document" just means your bloke likes watching you in yoga pants most days, and really admires your dedication. And wants to f* it. Not as shallow as it sounds! It's sexy AF to see someone dedicated and driven towards a goal we would find admirable. I was gonna say "nobody wants to bang a _____ person" but that's just leftover judgemental scraps from my childhood. And if history has taught us anything it's that if it can be f*, it will be f*. If it can't, it won't be from lack of blokes trying.

There's a combination of a commitment with a surface compliment. "I'm going to lick my way through every curve of your hips like I'm working on a geometry dissertation" seems to work but somehow "I would fuck you even if you didn't have any hips" doesn't feel like an improvement on the formula. Might need to adjust it based on your audience.

I'm sure there are many more types, but being on the receiving end of so much boy attention has given me a wide range of "dudehaviors" to compare with my early education in Dudehism.

"Female" vs "Male" mindset compliments are very different too, but as neither word is rigidly definable and entirely subjective, I hesitate to use them. Someone who identifies more with one or the other culture tends to think and behave in same ways. We mimic what we think is cool, and society doesn't promote deep thinking, anymore than being born free has promoted people of character and integrity. If everyone only lives for themselves, they're not a quality person. If they only live by the rules and opinions of others, they're not even a person, just a part of a collective "People". Some of the subjective "Thems" that we're always told about.

So there's this balance in us all that must be maintained. The key to finding it is 💋

Keep

It

Stupid

Simple

Strip back the cover on your life, and start pulling out all the broken shit, clean all the surfaces of gunk, wipe up any old or spilled fluids. Careful, people get fluids all over 😬 At some point, you get familiar with how it all goes together, so you can see what's out of balance or starting to show it's age vs premature wear patterns, and fix it before it blows the motor.

Compliments are like an additive. They can help or hurt performance. The quality of them is accurate to the situations the person will bring. And there's nothing wrong with shallow surface people or situations. It's a LOT of fun to go for a ride on something simple stupid fun! Just know what you're in for, be prepared for the situation. I know the sand dunes are super harsh my vehicles, so I do extra maintenance. Sometimes people be like that too. 🤷🏻‍♀️ Doesn't make them bad people, just high maintenance for you. If that bothers you, it's up to you to decide if you should ride less, ride somewhere else, or if you need to upgrade or replace a part of you to accommodate new conditions.

Above all else, remember everyone basically can agree that we're all unique, all more than our Meat Mechs, and that there's more to our world and species than anyone understands. Whatever altar you worship at- Science, Religion, Politics, Whatever's on the Idiot Box in your hand... They all say the same things. Be flexible, versatile, adapt to fit your current environment. Compromise to survive, except where you can't.

If a person is too much of a stress on your resources, maybe you can't not judge them and the grudges keep you from being in the moments, or they're hella dramatic and you always leave crushed and drained, whatever the circumstances are, you should absolutely consider leaving that relationship to blossom into good memories and move on with yourself. No one will fault you for taking care of yourself and protecting yourself from other's negativity.

As an alternative though, I'd like to propose a question I ask myself everyday. What are you doing to change the situations? Sure, you have to take care of you before you can be there for others, but like, that's an ideal. If you're in the situation already, instead of clinging to every insult and past offense, you have the option to say 'hey, I may not want to be the one here, but I'm here. I'm not doing this with you. Please pull yourself to this minimum standard I require of those around me, or offer a compelling case for why I should adapt to you. If you don't know how or can't meet this minimum but are willing to put in a good faith effort trying, tell me so that we might work together and both grow into something even better."

Hate isn't original. These are the same no nothing no load children they were in highschool. Something is different in their environment, and they don't like the audacity of someone existing without their explicit approval. If they're of the mindset, adding an imaginary friend who justifies smallness in character as a virtue doesn't help their critical thinking skills. Like compliments, I decide who and how I'll be taking, how I'm going to feel about it, and how I'll react to them. What I give back. I still don't decide how they'll take it, I'm not a man/Bill Cosby.

No matter what your situation is, who's at the party, or whatever the positions in need of filling, you determine your environment. All you can ever do is your best. If you have, and it's still not working, sometimes you have to accept that loss. You can't always prevent or fix up every loser that slips in. But you don't have to carry anything negative home if you don't want to. Leave the scraps behind, or get a doggy bag, and then move on. It's nothing to you if a restaurant has crappy bar food exclusively. So if you're not prepared to work there as a cook, or help them update their recipes, or train the cooks, then just mark it as an "L" in your daily journal, and move TF on. Get your burgers elsewhere if you don't like it. You wouldn't call in death threats over it.

The key to a happy life is to evaluate your situations, and then decide what you'll be putting in to them. Consider your priorities before you drop a steaming pile of 💩. Nobody loves the human fart bomb in a situation, so maybe consider being the party balloons and then teach people to make balloon animals. 😘😁 Same people, only your decide if you're dealing with some smelly unpleasant shit or blowing, swelling, contorting, and occasionally popping off accidentally to shrieks, giggles, and startled good natured embarrassment.

Jessie Jaye 🩵☠️💖

[calendargeek]

Demystifying the Sync: A Client's Manual for Schedule Effectiveness

Demystifying the sync cycle is fundamental for clients trying to open the maximum capacity of their calendars and accomplish ideal effectiveness. At the center of this try lies the inquiry: how to sync calendars actually? We should dig into a client's manual for schedule effectiveness, unwinding the complexities of syncing and smoothing out the booking experience.

Understanding How to Sync Calendars Really

Prior to wandering into the aide, understanding how to sync calendars is major. Effective schedule syncing guarantees that occasions and responsibilities flawlessly adjust across different gadgets and stages. The synchronization cycle includes incorporating calendars from different sources, like individual, proficient, or cooperative calendars, into a bound together and rational view. The objective is to dispense with the problem of overseeing divergent timetables and encourage a strong booking experience.

Picking the Right Syncing Strategy

Demystifying the sync starts with picking the right syncing strategy for your requirements. Various stages offer different syncing choices, going from manual syncing to automatic and constant synchronization. Evaluate your inclinations and necessities to decide the most reasonable syncing technique. Whether you choose cloud-based syncing arrangements or favor direct gadget to-gadget synchronization, understanding the accessible choices guarantees a fitted way to deal with schedule productivity.

Utilizing Cloud-Based Syncing Arrangements

For clients looking for availability and adaptability, cloud-based syncing arrangements are instrumental. Administrations like Google Schedule or iCloud empower clients to sync calendars across gadgets consistently. The cloud goes about as an incorporated center, guaranteeing that changes made on one gadget ponder in a flash completely associated stages. This strategy improves effectiveness, furnishing clients with constant updates and admittance to their timetables from anyplace with a web association.

Investigating Cross-Stage Similarity

Productivity in schedule syncing likewise includes investigating cross-stage similarity. Clients frequently work on a different scope of gadgets and applications. Understanding how to sync calendars across various stages guarantees that your timetable remaining parts steady, whether you're utilizing a cell phone, tablet, or PC. The demystification cycle includes tracking down arrangements that overcome any issues between stages, guaranteeing a synchronized and agreeable planning experience.

Synchronization Tips for Upgraded Proficiency

In the client's manual for schedule proficiency, synchronization tips assume a vital part. Routinely update your synced calendars to reflect changes quickly, forestalling errors. Use highlights like variety coding or arrangement to recognize different sorts of occasions, making it simpler to focus on and deal with your responsibilities. Embrace automation by setting up updates for significant occasions, improving proactive preparation and lessening the gamble of oversights.

Guaranteeing Security and Protection

Demystifying the sync is fragmented without tending to security and protection concerns. Clients should focus on stages and techniques that maintain powerful safety efforts, protecting delicate booking data. Understanding the security protocols of your picked syncing arrangement guarantees that your calendars stay private and safeguarded against unapproved access.

Taking everything into account, demystifying the sync is tied in with engaging clients to explore the intricacies of schedule effectiveness. By understanding how to sync calendars successfully, picking the right syncing strategy, utilizing cloud-based arrangements, investigating cross-stage similarity, taking on synchronization tips, and focusing on security and protection, clients can change their calendars into productive tools that flawlessly coordinate into their regular routines.

[disneymbti]

Can you do the MBTI and Big 3 of Edna Mode (The Incredibles)?

Hi there, sweetie! I really hope you like this a lot!

Edna Mode's MBTI Type, Big Three, Enneagram Type and Moral Alignment

MBTI Type: ENTJ [The Commander]

As ENTJs, Commanders are talkative, high energy, and thrive around people. They seek action and tend to involve themselves in events. They prefer not to spend too much time alone.

They focus more on the big picture than on tiny details—they’re interested in how everything connects together and trust their internal thought process more than they trust past experience.

ENTJs use logic rather than emotion in decision making. They tend to follow what makes sense, rather than what feels right.

They are structured, organized, like to plan ahead and know what’s going to happen. They appreciate rules, processes, and schedules.

Big Three: Aries Sun, Aquarius Moon and Capricorn Rising

Aries Sun: The first sign of the zodiac, Aries is ruled by action planet Mars. When placed as the sun sign, the ram can motivate themselves to face on fears and blow past hesitation.

Aquarius Moon: Logic or emotion? Why not both. The Aquarius Moon integrates logic with sentimentality in order to attain a deep understanding of their inner lives.

Capricorn Rising: Capricorn ascendants are known for their efforts and diligence when it comes to attaining success and prosperity. 

Enneagram Type: 3w4 [The Expert]

Basic Fear: Enneagram type threes with a four wing are afraid of failure. They tend to throw themselves into their careers and do anything it takes to succeed.

Basic Desire: Their most basic desire is to succeed and feel valued. They may show this by seeking validation of their hard work and successes.

Experts defend themselves by adapting or changing their personalities to fit their environment. This makes them great communicators, but may also lead them to being misunderstood or feeling fraudulent.  

Moral Alignment: Chaotic Good [The Rebel]

These characters value freedom and kindness, often challenging laws and order to achieve just outcomes.

[curatedattire]

The Irresistible Charm of a Well-Dressed Man Perspective on What Attracts Women

I want to delve into a topic that's close to every stylish man's heart: the allure of being well-dressed and why women just can't resist it. So, sit back and let's talk about why a well-dressed gentleman tends to catch the eye and capture the heart of the ladies.

Confidence is the Ultimate Accessory Listen, dressing well isn't just about putting on a snazzy suit or some sharp threads. It's about how it makes you feel inside. Confidence, my friends, is the ultimate accessory. When you put on that well-tailored suit or those crisp, fitted jeans, it's like armor that boosts your confidence. And let me tell you, confidence is magnetic. Women are naturally drawn to men who carry themselves with self-assurance.

Attention to Detail Speaks Volumes Now, let's talk about the devil in the details. Women notice the little things – the way your tie complements your shirt, how your shoes match your belt, or even the thought you put into your choice of accessories. It shows that you care about your appearance and are willing to put in the effort. Paying attention to these details signals to women that you're meticulous and attentive – qualities that are highly attractive.

Style Reflects Personality Your style tells a story about who you are. Whether you're rocking a classic, timeless look or embracing a trendier vibe, it reflects your personality. Women are naturally curious, and your fashion choices give them a glimpse into your character. Are you adventurous? Are you refined and traditional? The way you dress can communicate these aspects of your identity without you saying a word.

Respect for the Occasion Another thing that makes a well-dressed man irresistible is his ability to dress appropriately for the occasion. It shows that you respect the event, the people around you, and, most importantly, yourself. Whether it's a formal affair, a casual hangout, or a night out on the town, a man who knows how to dress accordingly demonstrates his adaptability and social awareness.

A Well-Dressed Man is Goal-Oriented I've always believed that the way a man dresses can be indicative of his ambition and goals. A well-dressed man often gives off an air of someone who's focused and knows where he's headed. This ambition is attractive because it suggests that you have a plan, a vision, and you're working towards something greater. Women tend to find this kind of drive very appealing.

Confidence, Respect, and Attention to Detail In the grand scheme of things, it's not just the clothes that do the trick. It's how you wear them. Confidence, respect for yourself and others, attention to detail, and a sense of style that reflects your personality – these are the qualities that make a well-dressed man truly captivating.

So, gentlemen, the next time you put together an outfit, remember that it's not just about looking good; it's about embodying these qualities that women find irresistible. It's about embracing your unique style and projecting the best version of yourself. And who knows, you might just find yourself turning a few heads and making some lasting impressions along the way. Stay sharp and keep strutting your stuff with confidence, because that's the true essence of a well-dressed man. Cheers, and keep it classy!

[doodlebeeberry]

11 13 22!

11. give a general summary of the plot/world/characters

quite honestly my summary for this story tends to just be 'fellas hanging out doing stuff' but, i suppose if im to get a tiny bit more in depth: Sweet and Mp3 are a pair of twin siblings living it up in their semi-idyllic little island town, getting themselves in and out of trouble in an effort to slot themselves comfortably into the grand design of things (or, at the very least, find a proper career somewhere in town). Despite any seeming successes on that front, though, it all starts to slip through their fingers, leading sweet and m to venture off in search of both work and a place in the big picture they can fit into together--no matter what they really need--leaving a trail of letters written home in their wake.

13. how long have you been working on this project? what has changed from the outset?

technically ive been working on it since early 2019, since thats when my first drawings of mp3 and some of the earliest story beats of theirs started cropping up. the current incarnation, though, ive been working on since sept of 2020. a lot of stuff has changed over the years. like, alot. particularly concerning the worldbuilding, but the characters and their dynamics have also shifted a good bit. like, sweetie, for example, is driven by fairly different motivations now than she was back in 2020.

22. you have been given unlimited funds to make two adaptations of some sort, however you can not make any other adaptations of any other sort. which two formats do you choose?

animated series and novelization with heavy epistolary elements. if i could make an animated series epistolary in the same way i would do that too. letters are important :]