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chaosmagetwin · 3 months ago

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Waiting Dreams

(This is part 5)

(Here is part 4. Links to the previous parts there)

It always takes a while for the soulbind to kick in. A lost weapon, or armor, always comes back after a few hours. It was intended to keep players from losing their progression if they caught death for a few months. Or from being soft locked if they were captured, or had their gear temporarily stolen. After all, it was fine to steal someone's gear in the moment, during a heated push. But never permanently. There were some players who made an effort to use other people's gear as often as possible. Usually Central mercs, with a build focused on unlocking as much gear as possible.

Which meant wandering the small town with Al'alvaeia, stopping between homes and checking down streets and feeling my heart pulse with fear was made all the stronger by my lack of weapons. It seemed, unfortunately, that we had lost the town for the most part; I saw purple uniforms every few streets. I could still hear gunfire from the edge of town on the side we'd come from. We'd even run into a tank that had shot at us when Al had walked out of shadow into the street. It'd been a near miss, and losing the pursuing soldiers had been a difficult thing. Al was fortunate I had camoflage, even if sharing it sometimes took direct contact. If I'd been a wizard like he'd thought, neither of us would have survived.

"So, Illeri..." Al spoke while we rested in a house, listening to an armored car trundle past us, probably a street away. We were both seated against the wall, the window between us. "Your kid sibling... brother? Sister? Other?"

"Sister, if I recall correctly." I took a sip of water from his canteen, and tried to imagine what they would look like. "It's been a long time... I was in basic for a while." Technically, the game could assign anything. If it were listening, then, perhaps it'd adjust. I hadn't met her as a character yet... only given her an age, and some personality.

"How do you think she's doing?" His green eyed gaze met mine, and I tried to put some pain into my gaze. He looked away again. "S-sorry, I don't... mean to pry."

"No, it's... fine. I told you about her, after all. I... hope she's okay. I don't know. I worry that something's happened. She doesn't respond to my letters, and she was pissed when I got drafted." I thought back to the lore I'd written up, typing away in that off-brand writing program I'd rented. I had history, and some personality. But every character developed their own voice, their own wants and needs.

"Why's that?" He took the canteen back, and flinched as our hands brushed against each other.

"I mean, she thought I should hide when the soldiers came. It's not exactly like I got shanghai'd or something. They just... handed me a letter. She thought I should've hidden. She didn't understand that they would've just gotten me at the store, or something... but it doesn't matter. Once I was drafted, well, that was it."

"... I'm sorry. That's dreadful. I wish this war wasn't like this. I became a doctor to help people, but now it just feels like I'm prolonging the inevitable. I... you know, vows of nonviolence only matter if... you can't bring someone back. But I can." She raised an eyebrow at him, and he looked away, ashamed for some reason. "And then it suddenly doesn't feel like it matters. Because they'll just shoot at me again."

"And yet, if we don't defend the nation, all our people will die. Our towns and cities, replaced. The war is like this. If I don't fight, my sister will just be another body on the pile. And then what?" Illeri shuddered in horror, and I tried to remember I wasn't her for a moment. Too much. I needed to back off. Just a game. "What about you, what was your youth like?"

"It was war. A refugee, from a defeated nation. I'd been... training to become a doctor, and my parents were too old to join. I was given the choice, to be a medic and give them a place to live, to stay... or to be outcast. I haven't been home in a long time." We both knew what he really meant; was there really a difference between a smog-choked city teeming with hundreds of millions, and a figurative home? One still couldn't see their parents, talk to their girlfriend, or attend a class. The escapism only worked one way.

We both stared at the ground between us, struggling to find the words that connected us, that would finish this conversation and stop the pain, anything. "I hope we get to go home some day," I said finally. He nodded, and pulled his legs to his chest, almost in a sitting fetal position, his eyes locking onto the ground in front of him. My heart panged; this wasn't doing us any good. "Doctor, we should get moving again. I'd feel a lot better finding even one person to help us."

I watched him stand, stretching his joints out, and I followed suit. "It's frustrating that all we've found so far is purples. We got pushed really far back. Maybe they're hiding the bodies, but... where?"

I shrugged, thinking it through for a moment. "If I were worried that they'd revive behind lines, then... basements, maybe? I can't see them taking the bodies far; it's time better spent fighting. I don't know, they just lost the trench fight, and got pushed back. I imagine they don't want to get back into trench right now, so, maybe there's some sort of protocol in place to stack and burn?"

"Hmm. If it were the other away around, we'd just leave them on the streets. Too busy pushing forward, keeping momentum." I shook my head at that.

"Nah. Even if we were keeping momentum, I think we'd probably just push them into alleyways or something. What's really weird is that if the purples are winning, why aren't they picking up their own dead?"

"Shouldn't it be for the same reason, then? Too busy pushing. Maybe we're just really unlucky?"

"Well, there's always the chance the entire battlefield was already lost, and the losing dead got sent back." He chuckled, and shook his head with a half smirk. "Well, we are still here, aren't we? Alright, they gotta be somewhere."

"There! Finally, some blues." Al said, relief in his voice. I nodded, and let out a sigh of relief. We wouldn't be going back to trench today. Not today. If we could just keep playing safe... those gunshots were getting fewer and fewer.

"Looks like they and some purples got caught in a fight. Look at the way some blood leads away, and the casings on the ground there, next to the pillars." I pointed it out from our vantage point on the second floor, looking down into the courtyard. "The fight wasn't done yet. No one had time for clean up here. You can see some of the blood spatter is from bullets, and some is from melee."

"Err.... how do you tell?" Al was looking at me in surprise, and I shrugged, trying to play it nonchalant.

"Well, bullet's make a sort of shotspray pattern, see. Behind that body there, you see, it's like a cone. But the other one, that one," I took his arm and pointed it to both who had fallen, and felt both our heart beats quicken for a moment. "It's in an arc, like it got slung. Melee, like a sword, or knife. Also, you can see the dead purple next to them has a sword." I looked back at him, and saw his face redden a little and quickly let go of his arm. "S-sorry."

"No! No, it's fine, I just, it, you just, uh, caught me off guard. Sorry. You're very knowledgeable." Great. Now we were both stammering. Great to know we were both bottoms. Damn hormones, fuck off...You're supposed to be under better control than this.

I shook my head and took a step away as I felt my face heat up. I had to be bright red. What was I, stupid? "We should get down there, and get some people up. People with stealth, or who can revive if we can."

"Y-yeah. Uh. Let's go." He was already heading down the stairs and I let out a sigh of... relief, maybe. I put a hand against my belly and glared down at it, annoyed with the way it was twisting. I followed a moment later.

By the time I was down the stairs, he was already in the courtyard, hiding next to a pillar, and squatting next to a blue. I checked the angles before following, and eyed the bodies. I didn't recognize any of the blues.

Fred, however, stared back at me from her purple leathers, and for a moment, I just stared. I glanced at the next body, next to the blue who had been killed in melee; Jini, face down, but her cat ears and tail were visible. The purple who'd been shot, next to a suspicious amount of dirt; Deirdre's black halo was crumbled on the ground next to her head.

I looked over at Al. Still blue. He was in the middle of charging his medical equipment that would revive the other blue by hand cranking it. I went to stand by him. "We got really lucky! I know this one, a druid. She'll help us get more up, and we'll be back in business! I'm so glad I found you." He sounded relieved. He glanced up at me with a smile, and I watched it die as I slipped my knife under his chin. "Uhh!"

"Nice trick," I couldn't keep the cold ice out of my voice. "Getting me away from my gun. And dragging away any other dead bodies, right? What is it, an illusion?"

"... Mind trick." He said stiffly. "Damnit. I thought I'd have more time."

"Yeah. Yeah, I bet you did. Real cute. Stand up, love." He complied, slowly. "You're going to revive my commander, so I can get orders and know what to do with you. So. You knew I was a thief." I lead him over to Deirdre and motioned. "How'd you find out?"

"I was part of the crew that ambushed you. When it was clear we were losing the fight, I hid. Your team really did leave you, though. For hours. I didn't drag anyone away. Come on, I've stuck by you this entire time, you know me! And! Your side is losing!"

"Is it? Gods, you must think I'm stupid. Get to reviving her, please."

"This vestigial is your commander?" I nodded. "What's her class? I'll make a trade with you. I revive your commander if she can't revive anyone, and you let me go. We don't have to kill each other. Please. I don't want to fight you."

"She's a thief into spell thief line. Don't know if she can revive or not, I guess it depends on whether she stole the spell or not." Al'alvaeia hesitated. "Either that or we fight. Your choice."

"All you have is a knife...."

"And I have it pressed against your carotid. Elven anatomy is nearly identical to human, although some of it is a little harder to reach, since it's smaller. Want to find out?" He sighed, and knelt next to Deirdre.

"Fine. But then you let me go."

"Also, drop the mind trick. It's annoying me to see you in blue." I watched as the hues shifted in his clothes, darkening into purple. Worse, my sense of direction suddenly righted. The feeling of north and south flipped. The distant mountain suddenly felt like the iron mine I'd been protecting with trenches. It all suddenly felt so obvious. "Gods, what a trick. You really had me going."

"... I don't like killing. I didn't lie." He was cranking the machine again, but the changes weren't done; his sharp ears were rounding, his features thickened. "I was going to offer you a chance to desert. If you work with the enemy, you can do that. You just... have to get them into the colors. I was going to get your uniform dirty, and then...."

I snorted a laugh, frustrated with myself. "How many people have you gotten like this?"

"... Seven. You act like a sopping wet kitten enough, and touch their hand, and blush a little... it usually works. Even if they find out." I felt my free hand clench. "People can't help but be a little down bad for elves..." he muttered. "I know it was working on you."

"How long of a game does it run for? How long until you make the reveal. Or do you?" My hand hurt from clenching my knife. He had to be stupid. Did he really think his elven form was more attractive to me? If he'd been a human, I wouldn't have even suspected! But, then... I hadn't suspected anyways. Not a hint. And who would?

".... I don't. I... Usually my plan is to sleep with people. Get their clothes off, and..."

"You are horrific!" I said brightly, smiling at him. "You really epitomize this war well. Good job. Now stop talking." The anger was white-hot. Incandescent. Everything was calculated. His every word was a farce. I wanted to rip his eyes out and brand him the mark of Cain, the wrath of a goddess. I wish I could say it was Illeri's feelings, and not my own.

The machine dinged, and he placed it against Deirdre. "One last question, actually. What race are you, really? I feel dumb, I should've put this together a while ago."

".... Human. My class is Medic - Heretic - Soul Healer. I put a point into magic, and all of my levels have gone into magic, too. Second class, Awakened, then Dreaming Healer. I put a lot into psionics, mind tricks, and illusions."

"Yeah. High technology, and high magic. Nice little package. Built for this right from the start, hunh?" I spoke through gritted teeth, and forced myself to breathe. There was more to life than this. This was just how he decided to have fun. Could I really judge him for that?

"How do you even know I'm here right now? Maybe I already left, hunh?"

I felt my eye twitch in annoyance. "Just revive the commander, healer."

There was a snap as the machine pushed life into Deirdre, and her eyes flickered. Color returned to her skin. "Let me go. You promised. She doesn't need to be involved."

I don't keep promises with liars, and I didn't bother to respond beyond killing him.

Deirdre stared up at me groaning, and felt her face. "Ugh. How long have I been out?"

The fighting in the town was, predictably, winding down. Every fight that I thought we'd lost was actually the other way around. Every purple uniform had really been blue. It was obvious, if I had just paid attention. The purple's had been set up in a meat grinder way for this town. Always with an exit plan, unless they got ambushed. It had made fighting them annoying.

I learned all of this as Deirdre brought the rest of the squad back, and I tried to not beat myself up too much. She explained that we had gotten ambushed, and the fight had been one that was mostly harassment. I'd gone down in the first barrage from an unlucky hit. They hadn't had time to revive me, and had gotten pulled into a fight that had dragged them across the entire city, fighting more and more entrenched purples. Vehicles had been brought in for the first time just to try to clear it out with larger guns.

When victory was finally declared, we were still recuperating, resting next to the very tank that had shot at us... or rather, at Al'Alvaeia. Or whatever his name was. He had me under his thrall, but that didn't work with multiple people. I didn't bother to look at the stat screen, or the heroes or gambits of the day. I was too angry. I didn't want to risk learning his name.

No one seemed to notice anything important about me in this stat screen, at least. Thank god my mistakes weren't being highlighted. Perhaps the story was too small for "the history books" or whatever. Too personal. Too... human.

"Congratulations on reaching level 15, Illeri Shadesmith. You've been granted access to the following abilities; Light Melee Weapon Specialty, Enhanced Senses. You will need to choose a Light Melee Weapon to specialize in. (Combat Knife). Your technology level is three. You may requisition one of the following; Cloth Slippers, Leather Boots, Heavy Combat Boots, or Sabotons. You may requisition one of the following: Long Range Radio, Short Range Radio, Improved Gas Mask, Sampling Kit, Vehicle Repair Kit, Magic Detection Kit, Gear Maintenance Kit. You may change this requisition at any quartermaster, but only carry one at a time. Your magic level is three. You may requisition one of the following: Word Scroll, Spell Diagram(Dome), or Theory Tome. You may requisition one enchantment for all gear pieces(Arcane Cloth: Resist Pierce; Leather Boots: Hush; Pippytyr SMG: Recall Missed Bullets; Gunnhildr 104 Pistol; Hush; Combat Dagger: Haste; Gunnhildr Type 202 Bolt Action Rifle: Focus Sight (3x); Gas Mask: n/a; Gear Maintenance Kit: n/a) You may choose one ability: Share Stealth, Burn Mana, Water Proficiency, Melee Training, Ranged Training, Motionless Spells, Hidden Spells, Steal Ability, Steal Health."

"Warning; you are a level 15 Starved; you will now mutate. Choose, or one will be selected at random."

Three options flickered into my vision. I already knew what I wanted. But it couldn't hurt to look?

Gargoylian: Your technological limits increase by 2. Your willpower and strength is increased. You gain access to a new resource: Stillness. You may expend stillness to heal yourself. Your skin toughens, and becomes harder to piece; this passively stacks with armor, and is roughly equivalent to scale armor. Your ears become more sensitive to sound. The following changes will occur: Your horns will grow in the style of the Oni. You will grow vestigial wings in a painful process that lasts three days. If you have vestigial wings from another source, these will grow into fully fledged wings with poor maneuverability. Your skin will gray, akin to stone. Your tail will become more powerfully built. Warning: you must meditate completely still for at least two hours a day, in addition to sleep. You must eat stones to survive.

Blood Demon: Your limits do not change. Limits do not interfere with one another an additional tier higher. You gain access to a new resource: blood. Your mana pool increases. You may use your hit points or blood pool in place of mana to cast. You may increase the strength of your spells by expending blood or health. Your vision becomes more accustomed to the dark. You are sensitive to light changes, but may still operate in the light. The following changes will occur: Your horns will grow in the style of the Ram. Your pupils will become slit during the day. Your fingernails will lengthen, harden, and sharpen. Your teeth will fall out, and be replaced by fangs and sharks teeth. You will find vegetables repulsive, and meat alluring. You will develop a thirst for blood, which will increase as your blood pool lowers. Warning: You must drink blood to survive. Some find this to be greatly psychologically damaging.

Night Lord: Your magical limits increase by 2. Your spells are passively four times stronger in the dark, but fail to function in the direct light. You immediately gain access to any words, shapes, or types to cast invisibility. Your mana recharges faster at night. Your mana pool increases. Your vision becomes more accustomed to the dark. You are sensitive to the light, and are light blind. The following changes will occur: your horns will grow in the style of The Devil's Crown. Your pupils will become shaped like that of a goat, and your eyes will increase in size by 12.5%. Your horns and eyes emit faint light. Your feet will become replaced by hooves in a painful process, and your lower half will grow fur. Warning: You must rest in complete darkness. You cannot sleep if there is any light source besides yourself.

What was a little blood thirst among friends, after all?

#The Waiting Dreams #Never War to Come #Creative Writing #Part 5 #oc #writing #The early levels in an MMO always go way faster than you think #Sure the max is 60 but those first 15 show up in like an hour of play #Honestly the fact that it took multiple days for her to reach level 15 is almost sad for most MMO's #Glacial pace #That's what happens when your only method of EXP is PVP though :)#If she went and did PVE that'd go MUCH faster #You'll never guess what is coming up in the next part!#Is it PVE?#PROBABLY #This story still remains some of my worst work but I do NOT care #I mean I do but there's only so much I can do about that #Practice Writing is just Practice #If any of these seem a little too body horrory to you #just know that that is the appeal of the starved race #as an ENTRY into the body horror that is available to others #The additional races that aren't in the main grouping are even more fucked than this #I've not put them all to words but I'm pretty sure the Ancients were like Da Vinci guy types #Four legs four arms #Sometimes they mutate into tentacles and such #No one plays them because it fucks with your mind so bad it got the game shut down for a few weeks while they tried to figure it out #They didn't btw #They just slapped warnings on it and made it harder for people to get direct experience from it #The handful of people who DO play ancients are basically almost aliens IRL #and they get euphoria out of it

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batsplat · 1 year ago

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thoughts on challengers ? 👀

haha okay sure. I was overthinking this when I first saw this ask but since then I've sent half an hour worth of voice notes to my number one person I send half hour's worth of voice notes to (listen she keeps encouraging me to) and I've ironed some of my thoughts out. also I should probably watch it again. some of this might be me misremembering shit. also it's not that serious. quick warning, this ended up being just. too long. it's basically just a long rant. under the cut it goes

so first of all, I really enjoyed watching this film. I liked the central premise a lot, I liked the chemistry between the characters, tashi was very hot, the score was fantastic, the cinematography was at least interesting, and a lot of the non-tennis bits are interesting

having gotten that out of the way. there's an interview where guadagnino says he doesn't watch tennis matches because he finds them boring, which to be clear is completely fair enough - but I do think it does slightly come across in how the tennis is filmed. there's definitely fun, neat stuff in there: the shot where it follows around the ball, the shot from underneath the court, all of that stuff. and I think there's obviously a lot of challenges with filming tennis when you have to make sure you can't, like, see the actors actually play tennis, and I don't know anything about film-making so I don't want to judge it too harshly. but there are a few established angles from which tennis looks good, and this film doesn't really use them all that much. it was interesting to what extent they went for side shots (basically from the tashi pov in the final match) rather than... well, picking a side, and at different points of that match actually giving the viewer a clearer sense of the visceral nature of what they're doing here. like, if you're going court level from behind the player, that's how you capture the weight of the shot on screen. which felt was a little bit... missing

okay... ffs this next section ended up kind of being tennis tactics 101, and then the other bit ended up being about how matches work. my basic point here is that I think this film did some interesting stuff with the tennis but, and this is part of my more longstanding frustrations about the untapped narrative potential of sports, I think you could've done a lot more and communicated a lot more through the actual tennis. not just for annoying people who want to go 'oh look that's an extreme western grip and explains why her forehand has so much spin but can also be fragile when absorbing pressure!!' but for the general viewing audience. I want to be very clear here: I do not really care about realism except when I'm being annoying in voice notes, I care about storytelling. if you understandably do not give a shit about all this tactics and match construction stuff, skip to the bit marked 3 for more of my thoughts related to the actual film

now you might go 'okay but this film isn't about capturing tennis and doing it justice - it's not even about tennis'. yeah, but tennis is the central metaphor! tennis is a relationship, right, but it's also a conversation. it's a way of communicating something to the audience, yes, in a way non-tennis fans can also pick up on. and a lot of the tennis looked pretty same-y. the points were very similar - the intensity was ramped up mainly by the characters just... whacking the ball harder, running side by side, and then sometimes they both move forwards. this isn't a realism issue, it's a storytelling issue. you can tell a story with a tennis point, you can construct these points in different ways to tell you different things

just to give you an example (I promise this is relevant): okay, the most common rally pattern in tennis is hitting cross court. so either you hit on the deuce court (from your pov, this is from the right side of your court to the left side of the other player's court, aka the forehand side for right handed players) or the ad court (the opposite, and thus the backhand side for right handed players). this is for a bunch of tactical reasons. the net is at its lowest in the middle so, y'know, you're less likely to hit it. perhaps most importantly, it's a question of angles and... okay look I don't want to bore the two people reading this with the details but just to very quickly explain, here:

say player a is hitting the ball along the red line to player b, the orange zone depicts the theoretical area in which the ball trajectory of player b's answering shot can go. like, if you want to get the other player to move 'out of the court', you can only do so by going back cross court... which is obviously where, in a cross court exchange, the other player is already standing. this is why a lot of the times, players don't 'recover' after their shots to the exact centre of the court, but instead make a judgement of where the centre is of the theoretical zone the opponent can hit. to put it in plain english: I hit a forehand cross, I don't move back to the exact middle of the court because I know where you can hit the ball back and I need to be in the middle of that - which skews to the right of centre. also, I just know it's more likely you're going to go cross again, because that's just how this works

you want to move the other player around, right, first of all to get the ball past them - but also to make it harder for them to attack you. you're trying to construct a point so that eventually they are the one who can't reach the ball/makes an error, not you. a lot of the times, continuing to go cross court is the smart option. it's less risky than going down the line, and also if your down the line shot isn't perfect, where it isn't a winner or at least a shot they'll struggle to attack, then you're setting up a situation where they have all the angle in the world to work with, where the centre of their theoretical hitting zone is nowhere near where you're actually standing and they can easily whack the ball past you

now, why the fuck does this matter when we're talking about the tennis threesome film? obviously, I don't expect the director to interrupt the film to explain angles to the audience. in tennis terms, 'go cross court' is tactics for babies, but it's still not something most viewers will be instinctively familiar with. but think about what it actually does if players keep exchanging shots cross court because they can't risk going down the line: they're engaging in a direct contest! they are measuring one shot against the other, my forehand against your forehand, my backhand against your backhand, and they are trying to assert dominance. sometimes, you have no choice to escape that exchange even when it's risky because their raw cross court shot is better than yours. sometimes, you're trapped in that exchange. how you can extract metaphors from that should be fairly obvious, and I don't think this should be visually too tough to get across - it's a power struggle between two people contained within a simple shot pattern. it adds variation to what the viewer is being shown (and, yes, it does make the points feel more realistic), but it's also a way of gradually ramping up intensity. my shot against your shot - who wins? who is willing to risk deviating from the norm? who sets themselves up for a trap - does patrick sucker art into attacking him down the line? can he then manage to counterpunch (to use attack as defence) by making it to art's shot in time and placing his response into the open court? who blinks first etc etc

look, this is only one way you can visually use tennis to add to the story. another common tactic is (if you're a right handed player) hitting forehands from the ad court, to 'run around the backhand'. that's an expression of dominance, it's a power play - you're trying to bully your opponent with your most powerful shot (which is the forehand for 99% of players, some might have better backhands but they won't have stronger ones), and you're deliberately recovering less to the centre. you're camping out on the ad side, and going 'yeah I don't actually think your down the line shot is good enough to hurt me, I actually feel very comfortable standing right here so I can more easily move far enough to the left to continue hitting forehands'. it's a tactic that is implicitly passing judgement on the opponent, and again, I refuse to believe you can't show this in a way that the audience understands roughly what's going on. have patrick bully art with his forehand into the weaker backhand or vice versa - they can use their faces to show how comfortable they are with their respective positions. y'know, make the actors act. have one of them find the backhand down the line, fire it into the bit of the court the opponent has completely left open. your characters are using tennis to assert dominance over each other, to manipulate, to deceive each other - you can do that with the actual tennis they're playing

you can also express character through tennis. I'm not saying different play styles function as a personality quiz, but inherently the way you play is going to reflect what you feel comfortable with doing on the tennis court. is your preferred point three shots long or twenty shots long? are you looking to dominate your opponent with your big weapons, or are you looking to trick them with your variety of shots and smarts in using them? or are you looking to just grind them into submission with sheer relentless consistency?

take the drop shot: a shot that 'drops' right after it clears the net as a result of how the player has put a different kind of spin onto it. ideally, it's so close to the net the opponent can't sprint forward quickly enough to reach the ball. how effective your drop shot is depends on several things. obviously, it's how good the shot and the placement and the spin you've put on it is. it also depends on where you're standing and where your opponent is standing, which means that particularly effective dropshots usually come after big, heavy attacking shots that have forced the opponent to move back and have allowed you to move into the court. and it also depends how good your disguise is: for as long as possible, it should look like the shot you're playing is going to be a bog standard forehand or backhand - until you readjust your grip at the last moment and slash the racquet downwards (vs the upwards motion you'd make with the bog standard forehand or backhand). this is a shot that depends on the element of surprise. it's about trying to fuck with your opponent, it's about choosing your moment. it's about playing with them! and you can get pretty memorable reactions from your opponent. if you wrong foot them well enough, they'll literally stumble when they realise what's happening and never even start running. maybe they'll comically flail their arms

I feel like when the men's world number seven throws his arms up in shock every time somebody hits a short ball, you can probably convey this kind of dynamic in a film

and think about what it says if somebody's using a shot like that. again, you're trying to fuck with the other player, and you are relying on your knowledge of the opponent to figure out when they might be susceptible to it. now, obviously, this is tough to do when you're playing someone for the first time and (unlike top level professional players) don't have a vast amount of data to work with and how often xyz shot works against them in xyz situation. this is generally why early in a match, it's a good idea to just like, test some stuff out to give yourself a sense of how they'd react, if it's a good idea to use it in a pressure situation (you also do a version of this in the warm up if you're smart, just check how they react to that high ball to the backhand! all about being curious y'know). but if you know someone, if this is an established rivalry, if this is someone you've played with since you're kids... well. then it's a different ball game entirely

patrick has the psychological edge in that match-up, right, and the whole point of that final match is that it shouldn't be that close but it's that close due to the mental dynamics between the pair of them. patrick constantly wrong-footing art and frustrating him is the easiest way in the world to visually demonstrate that dynamic. you're constantly trying to guess what your opponent is going to do, you're constantly trying to anticipate, yeah? you know what I said above about how you're 'recovering' to the centre of the theoretical zone and all that? well, sometimes you don't do that - you guess where the opponent is going to go. most often, you've got to do that when you know the opponent has a relatively easy shot and they can hurt you with it, so you have to play the probabilities and hope you get it right... it's basically like a penalty kick in football. it's a quick judgement you're making on the basis of past data, of what you think your opponent is thinking, of how big a risk you want to make - of when to time it, because if you move too early they can still change the trajectory of their shot and go the other way. maybe you even feint one way before darting the other. and your opponent might shoot one way or the other... but, sometimes they'll drop shot you while you're moving in one direction as you frantically try to change course. or, which is even more humiliating, they'll go straight down the middle - since you're no longer standing there

in narrative terms, what does it tell you if a character guesses rightly or wrongly? what would it say if art or patrick had that kind of intimate knowledge of each other - I know you usually do this, but I know you know that so I'm going to go the other way - round and round in circles, a mental contest between people who are so familiar with each other that it can become actively confusing to try and preempt their moves. tennis is a relationship and it's a conversation and the way we construct a point tells us a story about the history between you and me. it tells us a story if art, the six time slam winner and more accomplished player by far, is being read so perfectly by patrick that he's tripping over himself and getting in his own way and flailing. one of the most common commentating cliches is about the ball, or indeed the player, being attached to the end of a string. the extension of that metaphor is that one player is the puppet master and the other player is a puppet. easy visual metaphor bingo

you can literally express how the characters feel about each other by... where they're standing. if you're scared of your opponent's shot, then you're going to try and give yourself more time to react. if you are on the attack, then you need to move in, to take the ball earlier, to take time away from the opponent. to me, if you're showing fictional tennis, you really should be playing with time and how you can use cinematic techniques to play with that sense of time. now, you can do this on the broader level of the match, because your subjective sense of time is dependent on how well you're doing in a match. time never moves faster than when you're losing a six love set. but it's also obviously integral to actual points, because you are usually trying to maximise your own time and minimise your opponent's, trying to make sure you will always have enough time to get to the ball and making sure they won't (obviously often u kinda have to pick one of those because of how time works)

where you stand on the court is an integral part of that, for obvious reasons related to 'basic physics'. and, again, it's also psychological. take the return position, right, aka where you're standing when the opponent is serving. most people have a built-in preference for both the first and second serve, and a kind of basic 'return strategy' of what kind of shot they'd like to use and where to move. generally, you'll stand further back for the first serve because it's more powerful... but hey, maybe you have a slightly unorthodox return strategy where you're just trying to 'block' the first serve and use the weight of the opponent's shot against them, and then you step back for the second serve and have a massive whack at them. just as an example

and, again, this is another way in which you try to fuck with your opponent. there is nothing more annoying than seeing the twat on the other side of the net move in to the court by an insulting amount because they don't respect your shitty second serve and think they can take a swing at it from in front of the baseline. some players just do this in general - prime offenders on the women's side are garcia and ostapenko (and with all love to them, they do this more than is perhaps tactically prudent)

(for the other end of the spectrum, see another place from which you can theoretically return a serve from if you're out of your fucking mind) (this particular player's return strategy has been like a top five discourse point over the last few years but we do not have time to get into all that)

but you can also vary it up in a match, and you probably should if you're being smart. so for instance (and there's a specific match in 2022 I'm thinking of here), if you know your opponent has an awful second serve and a lovely little habit of double faulting when under pressure, maybe as the returner you just... well, look, the ball from the first serve has rolled right to your feet, so obviously you need to politely pass it to the ballperson, and maybe it just takes a little bit longer so that you know the server is looking right at you when you meander in front of the baseline to wait for their second serve. and then they double fault and that's the break of serve right there. you're not always standing that close to return second serves, but you're standing there when you know it'll make them most nervous. again, I am not saying the tennis threesome film needs to explain the difference between jelena ostapenko's and daniil medvedev's return strategies, but these ARE the kinds of things you CAN organically integrate, and give you very blunt and easy to understand messages about the characters and their dynamic

and like... different people have different play styles, yeah? let them express a little character! tashi is relentless, maybe she's constantly attempting to take everything with her forehand to attack and attack, or maybe she trusts herself to attack from any place with any shot. maybe she's so lively and confident and uncompromising that she uses down the line shots more than anyone else, or maybe there's surprising subtlety there in how the intensity and rage fades away for a moment as she flutters a slice across the net. what is it about her game that so captivates the two boys, its aggression or its complexity? is her game already more complete and well-defined and self-aware than it has any right to be from a high school student? or is it raw and untamed and a little wild and so full of potential?

art has a one-handed backhand and uniqlo gear in a very obvious federer allusion, but does he share any more with federer than that? is he particularly prone to rushing the net, especially after the serve? does he want to end points quickly? does he have good hands, is he trying to wrong-foot his opponent - or is he the one constantly getting wrong-footed as the others dance around him? is he constantly trying to assert his dominance, to end points quickly, and initially you think it's a sign of his power and confidence... but then you realise that it's insecurity - he's worried what will happen if they go on too long, if he gives too many chances to other players to outsmart him, if he's uncomfortable playing defence because it makes him feel reactive and weak. maybe in the second set he has to knuckle down and accept the rallies will be long and gruelling - which is a central aspect of tennis, it's about patience and managing risk. maybe he's so tense and nervous that he's just an error machine in the first set, but then he decides to just slow the pace and live with patrick in those forehand to forehand exchanges, let his natural weight of shot do the talking for him and force patrick to change things up

and patrick, with the unorthodox technique and the sleeveless shirts and the money and how he never really grew up - what does that tell us about his tennis? is it rough and energetic, big swings at the ball, layering on more and more spin to propel it high over the net? does he throw a massive forehand at art's backhand, making him hit it at a high point that is naturally uncomfortable for the one handed backhand? wouldn't it be interesting if you had patrick have a strong point to his game that naturally matches up to art's weak point, the chink in the six time grand slam champion's armour? what about the physicality, does he lunge further and harder and throw himself into balls just that little bit more? is he stronger than art, or is he faster, or is he neither? is he driven by instinct and gets in his own way less than art does, or is he tactically more astute and gets the better of art that way?

obviously you can't do all of those things in a film and you shouldn't because it's distracting. but what I'm trying to demonstrate here is that there is a whole range of potential storytelling you can tap into here. now, nobody's actually doing this, and my thing with challengers is that in many ways it came closer to the kind of narratives I would like to see. but then it still falls short just a touch, which is where the frustration comes in

a rivalry has got a history that is woken up again every time you step on court to face your old foe - you remember how they play, you already know what you want to do to beat them this time. you are trying to unsettle them. you know how they want to play and you want to deny them that opportunity. inevitably, any defined play style tells us something about the player and their personality and their approach to the game. the film is quite scarce on details about its lead characters and using the tennis more deftly would've been a great way to give us a stronger sense of who they are in a very economical, concise way. what does it mean for tashi's game that she can no longer run? yes, obviously it means she can't compete any longer, but the injury does different things symbolically depending on how big a part movement was of her game. often, tennis injuries directly affect your strengths. take a player who puts a lot of heavy spin on the ball by snapping their wrist - they are putting more strain on said wrist and may end up injuring it (a particularly terrible part of the body to injure for a tennis player). there's something extra cruel about that because it also affects how they'll recover, if they'll ever be able to trust that body part again. these are career-threatening injuries not just for physical but for psychological reasons. same thing if you're a great server with a shoulder injury... or if you're a great mover with a leg injury

also, and okay this probably did come across as nitpicking and it's not really an issue if it worked for people who aren't familiar with tennis... but omg the last point was so confusing. did check and this wasn't just a me problem, though I'd be curious if it worked for people less familiar with the game. when they came closer and closer to the net and hit back and forth, I thought what was happening was that they'd like, given up competing and were just hitting back and forth as a symbol of defiance or something. that they'd basically decided to stop playing the match and just play with each other. because like, you just can't do that in a match, the point would immediately be over especially if they're just standing there - they're too close! you'd immediately get the ball past! so I only realised when the film was over that it was supposed to be a really intense point... but I think that's the kind of thing where most people watching will probably be fine with it, so again. y'know. whatever. I do think you could have staged that point a little more cleverly to get to the same conclusion in a more natural way, but also. whatever. it's fine

(obviously there are also some other broader suspension of disbelief issues that I'm far less bothered about. the technique was like, not great, but also probably about as good as you'll get from actors, though again I would've liked a little more thought put into what they're doing beyond 'art's got a one handed backhand and patrick's got a quirky serve!' I thought the patrick serve thing was really neat and fun and theoretically you could hit a serve like that, though quite frankly in the men's game you'd probably be fucked because you need more racquet acceleration than that - but that does fit in with his character and the stubbornness and all that so it's fine. the art serve quirk... well, most players deliberately construct serving rituals like bouncing the ball several times or ball placement or whatever because it's the one shot in tennis that's completely 'on your own racquet' but is also really tough, so you're trying to trick your brain into always doing the same thing. I find it a little tough to believe art wouldn't have been aware of what he was doing, but again, not a massive issue. beyond my concerns about the lack of variation in the points they were showing, it did also trip me up whenever they were obviously stranded in no-man's land - you need to be either on/behind the baseline or right at the net and there's certain areas of the court where if you spend too long in them you are very much fucked. the whole concept of 'recovering' after a shot is like, as important part of tennis movement as getting there in the first place, and there's whole footwork patterns you use while you're hitting the shot and immediately afterwards to get yourself in position again. at times they'd just be standing in place in the fuck end of where on earth are you standing until the next shot comes and. listen. it really Does Not Matter beyond how it's fun to be annoying about this stuff but it did make me a bit twitchy)

so. match constructions and narrative arcs. I think if a literal match of tennis is the framing device of your film, you should think about the natural narrative tension that exists within a literal match of tennis. again, a match is a conversation, it has its ebbs and flows and peaks and troughs and all that other stuff. you are more tense at *4-5 30:30 than you are at 1-1* 15:0. you are feeling better about your life choices at 6-4 *5-3 than you are at 7-6(8) 0-6 *1-3. you change over the course of a match, as you test yourself physically and mentally and acquire a situationally specific data bank about yourself and the other player, as you notice and learn certain things about what's going on in your own game and your opponent's game. maybe you have a moment where you go 'yup the backhand's a catastrophe today, time to slice everything and hope for the best' or you go 'lol that's the third consecutive djokosmash they've hit, maybe I'll throw the ball high up again next time they get to the net'

also obviously all these things vary over the course of a match - and they do so more than they have any right to! there's no logical reason why 6-1 1-6 6-1 scorelines should happen, but they do! because game breaks and changeovers and set breaks and all of it can represent massive shifts in momentum. you play a *5-0 game differently than a *0-1 game, and suddenly those beautiful forehands you were ripping for half an hour are all flying out of the stadium and, shit, time to change tactics to defend more except now you're really screwed because you're playing your opponent's game. the most important thing to remember about tennis is that it fucking sucks. matches are psychological torture. I want to feel that part when watching the tennis threesome film

the basic mechanism of narrative tension in a match is the serve vs return dynamic. if you serve, you need to protect your serve, because those are the games you are supposed to be winning. if you return, you need to attack the opponent's serve, because those games represent opportunity. you want your service games to be short and fast and you want your return games to be long and tough and miserable for your opponent. and after every game, it ticks back again - you are literally passing the ball to the other side of the court. your turn, have fun!

there are a million different ways you can construct tension on a micro level within a match. you have breakpoints/matchpoints, obviously, which to some extent the film did feature. you have games that just get stuck on deuce, with neither player able to win the requisite two points in a row to release them, so it's like... basically groundhog day in sports as you keep trotting from one side of the court to the other, both players frustrated, one unable to escape the danger and the other unable to seize the opportunity. battle of the wills. games can completely realistically last more than twenty points. obviously you've got tiebreaks, which again the film did feature (though icl I had no clue what the score was supposed to be, again it doesn't matter but). you have the old cliche of 'it's not a break of serve unless you've backed it up' (aka by holding your own serve) and how common it is to be broken straight back for various nasty psychological reasons

I wish they'd played with this a little more, just showed a little more of why the players were reacting emotionally in the way that they were at certain stages of the match - rather than just basically reacting to the flashback we've just seen. like, there's plenty of reasons why a player might get particularly angry at a certain point of a match in a way that just feels a bit more organic. if tennis is the medium through which to explore this three-way relationship, then showcase that push and pull factor, those changes in momentum. the film suggests patrick has always had the upper hand - I'd make more clear this is the classic 'pigeon' dynamic where basically the head to head between two players is more skewed than it has any right to be given how 'good' those two respective players actually are. usually that means there's something funky going on with the play styles or it's something mental or it's an interaction between the two. patrick really cares about art, right, and then he's always able to beat him because he gets him and knows how to mess with him. art has the more raw ability(?) but it takes a bit longer for him to actually realise how good he is, in part because he always lost to patrick

the way they should've done this imo have a place where art does actually choke a sizeable lead, a kind of unexpected switch of momentum. like have this be the first set where art comes in hot and is y'know the obviously better player and all that, but then patrick just increasingly manages to unsettle him. make it a proper bad one, say *5-2 to 5-7. throw in a long deuce game. and then art is confronted with all his old demons again, his inadequacy, all that stuff. and then you've got the momentum switch after the set break when art manages to pull himself together. the thing is, they do actually show a fair bit of the match, but it's not always that interesting because it lacks a little bit of specificity, a little bit of detail... just make a few adjustments that accentuate the central dynamic. you don't have to go with this exactly but go with SOMETHING, 6-2 2-6 is such a nothingburger score lol like what does that tell us... 7-5 1-6 is what it's all about

(dumb nitpick corner: unlikely a time violation would get called between first and second serves, and if you do so then you'd better hand out a time violation if the receiver starts faffing about between points right after, rather than quietly talking to them off-mic. but hey, the establishment is corrupt, they obviously wanted art to win. also, there's a mistake on the scoreboard at the *5-6 game where they accidentally make it look like art is serving for the match at that stage, which would completely change the dynamic of that game and the previous game and the implications if art had let it go to a tiebreak - aka he would have choked. just slightly confused me when the umpire called out 'thirty love' after patrick won the point lol)

so maybe this all does come across like I hate the film, which I really did not. I enjoyed it a lot, and honestly it's not like there's much to choose from in terms of 'sports media that seriously engages with the narrative potential of the actual sport'. there were plenty of storytelling details I really vibed with, especially the dynamic between the central three characters and the push and pull between them and how they work as a trio. all three sides of the triangle were good fun. the way the two blokes were so in sync at times, that kind of easy intimacy and familiarity - again, I think you could have expressed that more through actual tennis but that did absolutely work for me

the actual 'playing a challenger before uso' thing was also fun, though I was wondering what his ranking was like because it must have still been kinda in the pits. like, you can't show up to a challenger as a top ten player. not that it actually matters matters but just. whatever. I do think the premise is neat

(though, that challenger audience was not keyed in enough! like omg if you're showing up to some random challenger to watch a top player on the injury comeback try to rack up some wins and the final is against the guy he played doubles with to win a junior slam, everyone watching would be SO aware of it. those spectators aren't just randomly being drawn into the drama, they know what's up!! you just know the challengers tv stream is racking up crazy figures. idk this is obviously more of a subtle thing, but I feel like it was supposed to give off the vibe of the non-tashi viewers being surprised by why they were being such weirdos all of a sudden but nah they would be ON IT with their patrick zweig backstory. including the fact he used to date tashi lol, like yeah they'd Get It)

I loved a lot of tashi's characterisation, how fucking obsessed she was with tennis and how everything was About Tennis for her... like yeah very real!! of course it eats her up!! I had a bit of a debate about this but I personally really liked the college tennis thing because it felt like a complete curve ball given her characterisation. it's good though, this idea that she wants to fool herself into believing she's more than hitting a ball but she's actually not... because of course she isn't.... none of these people are.... I like that element of self-delusion, even though it still... hm, I'm not entirely sure the film COMPLETELY sold me on that level of self-delusion because it was so obvious she didn't care about anything except for tennis... like it never quite felt entirely clear what she thought she was getting from that experience. but yeah, the central premise of it all... like the fact she just can't say goodbye to that world, that she can't really escape it, that she has to pursue something related to it to feel alive, even by proxy, the suspicion that all she needs art for is to have that kind of second hand thrill... really good!!

I was talking about this with the unfortunate recipient of my voice notes, and she's more familiar than I am with american college tennis than I am for the fairly obvious reason that only one of us has attended an american college. she said she'd discussed this with some of her friends and that that kind of injury did feel a touch unrealistic in the context of college tennis, partly because you're less likely to be playing with the kind of schedule that professional tennis requires of you. now, this doesn't really bother me, but I almost wish they'd leaned into the tragedy of it more - that it was unlikely and she didn't even get it while playing professional tennis! she was engaging in this grand act of self-delusion that there was more to her than tennis, which, let's face it, just really isn't a thing when you're a very good junior player, and she got injured before she ever even got close to 'making it'. it's tragic because it should never have happened. whatever injury art picked up (can't remember if they mentioned) would be statistically more likely to actually fuck you over, given their respective ages and time on tour and all that. you don't typically randomly get career ending injuries when you're running for a ball, not if you've trained properly - both in the sense that you're moving 'correctly' on the court and you've developed the muscles to protect yourself (which admittedly she was looking a touch light on). perfectly fine as a narrative choice, lean into it more

the churro college conversation between patrick and art was good, but that's another thing I would've integrated more into the tennis. like, the thing about him actually going for what he wanted and all that? you can do that through tennis! I also kinda wanted more of a sense of what tashi brought to the coaching dynamic, just something very simple and straightforward even the non-tennis viewing audience can understand. again, you've got this fairly obvious federer expy set up going on with art, and the glimpses we got of his game ... I mean mainly the one handed backhand, it does lean towards him being a player that's naturally oriented towards aggression. I would've maybe gone for the whole.... y'know. him not really being able to embrace that, him always holding himself back a little bit, not willing to fully give himself over and throw himself into the game. that tashi kinda has to get him to go for it, to go after the ball, to step into the court and use that technically excellent flat forehand stroke and trust himself to find those angles and rush the net and play the game, rather than letting the game play him. linking that into his loss of motivation post injury, where he feels like he's achieved what he wants to, where maybe he kinda retreats into himself. which is partly a motivation issue but also about trusting yourself post injury... not really being able to go after it in the same way any more, struggling to commit to that kind of aggressive mindset when your heart just isn't it any more. or something! just a thought!!

that's the thing right - sure, tennis might be a relationship, but the tennis will always be a character in its own right in whatever twisted threesome thing they've got going on. at the end of the day, the real toxic relationship is with the tennis! it's sad tashi can't leave it behind, it's tragic she's organising her whole life around something that'll always be lost to her. but it won't ever let her go, even though it hurt her, even though it caused her physical pain as well as emotional. it's the truest love in the whole film, tashi and the game itself, and all other love is subservient to that. it's also the most interesting relationship that needed to be... well, a little more foregrounded. she's always chasing that high, that moment of perfect communication and understanding and all that - and it's an entire lifetime of work, chasing the briefest of moments and now even that is gone. something she won't ever be able to recapture. she can't live her dream and she can't move on, so she is forever trapped, in stasis, frustrated and tormented by desires she can't act upon, the worst kind of repression imaginable. and it's not just about playing tennis in general - it's about playing matches. the height of competition, the moment in the point and in the match in which losing or winning feels like an equal possibility, where anything could happen but only one player will eventually emerge victorious... she's chasing the high of uncertainty, of suspense - the equivalent to showing up to the bedroom of two blokes and knowing anything could happen, not knowing yet what choice she will make, who will win, who will lose. if you really want to get abstract about this, she's essentially functioning as, y'know, the tennis gods with these two boys, where she is the one to make the choice of who wins and who loses. she is the one creating the uncertainty, the suspense. and she's doing it all for the love of the game, because that's all she ever truly loved

or that's what I think they should've gone for idk. I also have a few kinda dumb thoughts like 'ugh I needed more of a sense of what patrick's career looked like, are we talking never made it to the main draw of a 250 or slam quarterfinalist because both are plausible'. but anyway I think narratives in sports are neat and I wish more people did stuff like challengers did, even if I think I was just looking for something a little different from what that film was doing. you do kinda need somebody who's really into sports to do some of this stuff I feel, but. well. sports rivalries really is a bit of a tragically under-explored storytelling set up. they're good narratives. somebody write them

#basically i really enjoyed the film and i also would've really enjoyed editing it #sometimes you just dream of being the dick in the room going. okay does anyone know how good his fh dropper is #reminds me that one of my favourite games I sometimes play with voice note girl is transposing different athletes to different sports #like what their styles would be like if they did a different sport #because it kinda makes u think about what certain aspects of someone's approach says about them and what the equivalent is #anyway. I don't think you should be so beholden to reality that fact checking gets in the way of the narrative you're creating #BUT at times I feel like the actual 'reality' and the intricacies and the fine details can strengthen the narrative. like here!#//#also btw if anyone DOES read this and anything is unclear please do feel free to ask (obviously this goes for anything I post lol)#batsplat responds

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