#only things within quotation marks are direct quotes

[t-u-i-t-c]

You're My Important Partner→Saki Rōyama & BearRV

[subskz]

do you have any tips on writing? i wanna start my own blog and start writing, but im not sure where to start and how to make it sound good.

ofc! i do wanna preface by saying i’m by no means an expert, and when it comes to writing (or any form of creative expression) a lot of it is very subjective, so there’s not really any set standard for your writing to be considered “good” outside of basic writing/grammar rules! that being said, here are some things i do!

first just a few basic rules:

1.) start a new paragraph each time someone different is speaking

e.g. “What’s that?” she asked, tilting her head in the direction of the other room.

He squinted, taking a moment to listen carefully before another dull thud echoed through the door. “Not sure,” he replied. “Let’s check it out.”

2.) when seperating dialogue, don’t capitalize dialogue tags, treat the text in quotations and outside of quotations as if they’re the same sentence. this is one i didn’t learn until quite recently actually…😭

e.g. “Oh my God,” she muttered. “Why are you so difficult?”

The exception to this would be if the dialogue is seperated by a different sentence!

e.g. “Oh my God.” She was clearly fed up, running a hand down her face with a huff. “Why are you so difficult?”

3.) when a character is quoting something within their dialogue, don’t use quotation marks (“”), use apostrophes (‘’)

e.g. “He told me “do what you want”, so I will.” (this is wrong)

“He told me ‘do what you want’, so I will.” (this is right!)

as for writing tips, these are just some things that i personally do when i write! they’re not necessarily the right way to go abt it, so only follow the advice you want! i also talked a bit abt motivation here

include actions w dialogue! this can keep things from getting monotonous (like a constant back and forth of “he said” “she said” with little in between) and can also emphasize what the characters are saying! for example, instead of writing “he replied dismissively” you could say “he replied, giving a dismissive wave of his hand” or instead of “she said in exasperation” you could say “she rolled her eyes as she spoke” just little things like that to enhance the dialogue. ofc, keeping it simple is necessary sometimes so don’t overdo this!

that brings me to another point, adverbs aren’t bad (i use them a lot!) but sometimes what ur trying to say could be better expressed with just one word. it can get a bit repetitive if things are always described like “said awkwardly” “laughed loudly” “touched softly” etc. you might be able to find a word that gets the point across better. for example, “said irritably” could be “huffed”, “walked casually” could be “sauntered”, “smiled brightly” could be “beamed” and so on. but there are plenty of cases where adverbs are super useful so definitely don’t avoid them altogether!! i just try to make sure i dont use a bunch in a row

simple dialogue tags like “said” “asked” “replied” are your friend!! don’t avoid using them just bc they might seem generic hehe esp if you’re substituting them w verbs that are less appropriate simply for the sake of not using “said”

sometimes, you’re better off not including dialogue at all! like the whole premise of “show, don’t tell”, spelling out every last thing for the reader can sometimes work against you. body language and cultivating an atmosphere is key here! if it’s an awkward situation, you could bring up someone averting their eyes, shifting from side to side, playing with their fingers etc. if it’s a serious situation, you could mention their tensed shoulders/facial expression, their jaw clenching, them pulling away when someone tries to touch them etc. that in itself tells a story! but once again, it’s just abt using methods like these at the right times. sometimes, exposition is necessary

if ur writing abt skz, or any muse really, i think including mentions of their features/habits makes it more fun to read! it can help immerse the reader if u bring up traits that capture the character’s essence, or speech patterns that capture their voice. it’s all fictional ofc and just based off our perception of them, but i like to write skz in a way that’s at least somewhat believable in accordance w their personalities! even little things like the way jisung talks through breathy giggles, binnie’s nose scrunches, how minho looks up when he’s thinking, or how jeongin ends his sentences with a cute nod sometimes. and ofc there’s physical details as well like binnie’s chin scar, chan’s dimples, hannie’s cheek mole etc

this one is probably obvious but paragraph breaks are very important!! both to prevent overwhelming the reader with a huge block of words, and for organizing events/building tension! a paragraph never strictly has to be multiple sentences, you can have a single isolated line of text if you want. timing paragraph breaks can be very effective for creating the right vibe! if something intense is happening, putting a break right after a serious action or putting a single line of dialogue on its own can make them stand out and really add to the drama of it all hehe

don’t worry too much abt using the same word multiple times!! it might feel a lil annoying when you have to repeat a word several times in a paragraph but sometimes that’s the only option there is. if you try to replace it w 10 different synonyms instead of just referring to a book as a book, then it might end up sounding even goofier haha…so try not to stress when you feel like you’re overusing a word!

if you want your writing to be more immersive, take all senses into account!! describe more than just the character’s actions—describe sights, smells, sounds, touch, how the characters are feeling, etc!

arguably the biggest piece of advice i could give!! having varied sentence structure/length is one of the most challenging parts of writing in my opinion but so so important. when smth sounds off in your writing, it could very often be bc of the way a sentence is structured, or bc several sentences back to back are similar in length/format, which makes it flow awkwardly. i think making sure ur sentences range from long, detailed ones w several clauses, commas, semicolons, em dashes etc. to short, direct ones keeps the writing engaging! sometimes combining 2 short sentences can make the flow sound better, and sometimes breaking down a long one does the same! it also makes it a lot more effective when you have a sudden short sentence amidst several longer ones, bc there’s a clear shift in tone! generally just try to avoid having an entire paragraph of sentences that go “she did this and then this. then she did this and then this. then she did this and said that.” the variety will work wonders for how it all connects together!

ofc there are some situations where you might be going for a certain feeling or tone w your writing, in which case it can actually be a useful tactic to have repetitive sentence length/structure. maybe you want a scene to feel overwhelming w several long, complex sentences or you want to really drive in an idea by using blunt, disjointed ones. it’s all abt what you hope to achieve w your writing and your personal preference!

i hope this helps!! once again this isn’t the be all end all, so please only follow what you see fit! if you have any other questions let me know, i’m wishing you the best of luck! ^_^

[reachexceedinggrasp]

I have a feeling you might relate to this or you might have even related this on your blog already, but I was just thinking of that Ghoul quotation water water everywhere and not a drop to drink

I think probably my favourite, maybe ever, quiet point of characterisation in a sort of villainous or Beast love interest is his or her having a poet's soul... whether that is conscious or unconscious romantic meditation. It's like Kylo musing to Rey when he says 'You have that look in your eyes. From the forest. When you called me a monster' I love that sort of wistful observation, especially because it evokes such potent imagery ('when we fought together in the forest and then you marked yourself on my face'). Or more literally something like Ghoul citing a line of literature, even when none around except for Lucy would know what he's referencing, it's for his own arrestment and amusement, this is how he sees/interacts with the world

I guess in that way, it reveals something new about their perspective on the world, even when they're somebody seemingly cut off from it - monstrous, othered, repellent, ugly - when they're able to articulate a certain beauty which other characters may not remark upon. It's sort of covetous in that sense, but I think it also sort of helps explain what might interest them about a Beauty, after all, there's something they long for and value (spiritual, aesthetic, existential beauty).

I thought you might be able to relate 🥰

Oh, totally. And with Cooper and Ben, specifically, which is a parallel I hadn't actually noticed until you've just pointed it out, we're being shown their sensitivity as characters. Not in the sense of being considerate, but that they're aware and alert to beauty and meaning in the world despite currently occupying a narrative role which might make us think they're simply destructive or nihilistic figures. And despite the cynicism they're both ostensibly espousing.

Cooper quotes or alludes to literature practically constantly relative to how little he speaks, always knowing people almost certainly won't understand him, and that's especially fascinating because he didn't make those kinds of references in the flashbacks. We could take this in a whole direction about how he created the Ghoul as a character to shield himself from the things he had to do to survive and is living within a meta-narrative deconstructing the reactionary anti-hero who overtook the white hat sheriff he used to play in his movies. The anti-hero he never wanted to be. He makes allusions because his life has become a story he's telling himself to stay sane. He's his own wry Dickensian narrator making asides to an imagined audience about dramatic irony and social commentary.

And an important part of his presentation to others before the war was painting himself as not sophisticated. Just a cowboy and then just a guy who plays a cowboy in the movies. He wants nothing to do with politics either in an interpersonal or broader sense, and disclaims any pretensions to being savvy despite being in a theoretically powerful position as a rich, well-connected major film star. I think he was genuinely naive, but I also think he often played dumb to avoid social conflict. He was complacent and his image helped him remain complacent. Obviously he was very willing to be confrontational when he saw wrong or injustice right in front of him (he goes after Bud Askins directly to his face about marines getting killed by shitty equipment, he challenges Moldaver when she calls him out), but pre-bombs he mostly uses his empathic perceptiveness and charisma to keep everyone around him happy.

In the wasteland we often see him doing the opposite and deliberately riling people up in order to gather information and assess or eliminate them as threats, but he's also only gotten better at disarming people when he wants to. As a handsome charming film star he pretended not to know anything, as a scary intimidating monster he pretends he knows everything.

What I'm wondering about as far as all this goes is whether Cooper always had a secret nerdy side and read all the classics as a teenager or perhaps while waiting between shots when he was working as a stuntman, or whether he wanted to fit in when he started to make it in Hollywood so tried to become cultured before realising that wasn't what anyone wanted from him. Or if he just spent 200 years alone and read anything he could find as a way to cling to his humanity. We know he was at least a bit intellectually curious before the war, because of his reading and retaining some article about studies on torture.

But YES, him quoting poetry and being so interested and insightful about Lucy, specifically is a huge part of how he's framed as a romantic figure. And he's already by far the most romantic figure in the show. If it were solely about his tragedy, you'd think they would emphasise the contrast between his pre-fallen and post-fallen state by stripping him of his heroic trappings, but they don't. He's actually more romantic post-'curse'.

It also gets me because he's an extremely smart, socially adept person who doesn't let others see him for who he really is both consciously and unconsciously on multiple levels and that layers of identity shit is my crack. He was a profoundly honest man who thought he was simple, but actually he was a glorious maze of contradiction and complexity waiting to happen who has now come into his own as a master manipulator.

[crowsmischief]

(i feel the need to say this: English is not my first lenguage, so forgive me - and correct me - any mistakes)

*THE SONG OF ACHILLES SPOILERS*

TSOA is my favorite book ever, i love discovering new things about it and a comment on pinterest ("why is there only one quotation mark, i'm confused") made me realize something new:

it's all just my theory, maybe i'm delusional but i do think it might be interesting...

fact #1: most of the book is narrated by Patroclus AFTER his death, that is made clear with the "i am made of memories" and the use of the past to describe things that are supposed to be happening in the moment.

with this in mind:

1. Single quotation marks are used for a quote within a quote.

2. Double quotation marks are used for direct quotes.

And throughout the book there's certain moments where the double quote is used and others where the single quote is used.

meaning (' '): the majority of the book is a single quote. The dialogue is by Patroclus, something someone else said but in Pat's words.

That's why, later in the book when he dies and his dialogue ends, the narrative style changes and for a moment there we're not reading Patroclus anymore. Achilles' words are with double quotation marks, because they are exclusively HIS.

meaning (" "): before Patroclus' death, when the double quotation marks are used, is because he remembers EXACTLY what was said.

I admit it can be a little confusing (specially for non-native english speakers like myself), but this whole theory makes sense to me. It's part of the beauty of interpreting books. Lol.

[tapwrites]

How to Write Dialogue

A lot of a story is told through narration: action, description, exposition, and so on. But a big part of characters interacting tends to be speech. In prose, we call this "dialogue."

The key to what happens in the scene for this is...

People communicate in their own way.

To a new customer entering their store, a gruff character might say "What do you want?" Whereas a more personable character might say "Welcome in! Can I help you?"

Maybe the character would use body language, with a wave as they speak. Or only use body language to communicate in this moment, with a polite nod and smile to the customer with no dialogue.

If they share some knowledge with character they are communicating with, they may speak differently, with an unspoken shared context for their conversation. Compared to speaking to a character who doesn't have that knowledge.

If both characters have the shared context of knowing Frank is coming for tea at 6, it would be odd if one said "Frank is coming for tea at 6." Because the person they are speaking to already knows that. (Unless they have some reason to believe they've forgotten.)

But it would be natural for one to say, "When was he coming, again?" or "I hope he doesn't start smoking like he did last time," without even declaring who they're talking about, or what the situation is. Just the new stuff. Just like people do in real life.

Think about why the character chooses to speak at this time, not before, not waiting until later? What do they want to communicate? How do they want to communicate it, how do they phrase it, what other things go along with it like tone, volume, body language as I mentioned earlier?

And of course, all of those things are affected by the character's personality, their mood and emotions in that moment, their relationship to the people they are communicating with, and the subject they are talking about.

A lot of times all of that just comes naturally from our understanding of the character, and we don't have to think through each of these one at a time. But if you're stuck, making it more of a "process" can help you get rolling.

And now, onto the mechanics of dialogue in the prose itself...

To mark text as being spoken instead of narration, it should start and end with double-quotes, "like this." There are novels that use single-quotes, but this is a rare exception and tends to be more common in older books. But if that's your thing, you do you.

Apparently, the UK flips this and starts with 'single-quotes'. I've lived in the UK all my life, and was taught to use double-quotes. So... I guess your mileage may vary, I don't know what that's all about... 😅

If a line of dialogue ends with a complete sentence, it will normally put the punctuation before the last quote. There are exceptions, and stylistic choices, but that's the general rule for dialogue.

"The sky isn't blue."

You can have quotations within the dialogue, marked with single-quotes. And, in theory, the further down the rabbit hole you go, it switches back and forth between single and double quotes.

So, a quote within dialogue has single-quotes. A quote within a quote within dialogue has single quotes again. And so on...

"And he said to me, 'Go over there and tell them, "Frank said, 'The sky is blue, darn it!'"'"

Yes this does look weird, and yes it can be confusing keeping track of the layers of quotation. Which is why it's very rare, in fiction at least. Instead of making a direct quote, a speaker normally paraphrased, or rewritten in other ways to simplify the structure of the dialogue.

"Frank said to tell you the sky is blue."

If the dialogue ends its own sentence, but the sentence as a whole continues with a dialogue tag, the full-stop/period at the end of the dialogue becomes a comma.

"The sky isn't blue," Geraldine said.

This is because a dialogue tag is actually part of the same sentence.

A dialogue tag is like a luggage tag tied to the end of the dialogue to tell us more about how it was said.

In the example above, there is a dialogue tag to tell us the character who said it: Geraldine.

You could write the dialogue tag in a couple of other ways:

"The sky isn't blue," said Geraldine. Geraldine said, "The sky isn't blue."

But this is uncommon in modern novels, and makes it have a different old-timey vibe that may be confusing or distracting for readers. So bear that in mind if you want to try it out.

Now, if it's part of a longer piece of dialogue, you could leave it to the end of the spoken words to have the dialogue tag as normal. But the reader will be wondering through the whole thing... "Yeah, but who's even saying all this?"

To avoid this, try to have the indication of the speaker sooner rather than later. You can use any of the methods from this article to do so. But one example would be:

"Fourscore and seven years ago," Lincoln said, "our fathers brought forth, on this continent, a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal..." (and so on)

For longer text like this, you can actually have paragraphs within the dialogue. The paragraph doesn't end in a quotation mark because the dialogue isn't ending. But then the new paragraph does have a quotation mark to remind the reader it's still dialogue.

"Four score and seven years ago, our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal. "Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure."

Again, confusing to read, and rarely needed or used in modern fiction. But something to know about. A better way would be to break up the dialogue with some "Blocking"--a stage term for people moving around the scene.

This would be a new paragraph, as it focuses on something else, and then another new paragraph continuing the dialogue. If we focus on a different character with the in-between paragraph, you might want to remind them who is speaking when they continue.

Lincoln stood for a moment, taking in the crowd. Then drew in a breath. "Four score and seven years ago, our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal." The crowd looked uneasy, a low murmur floating across them. Lincoln shook his head. "Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure."

Going back to dialogue tags... Other verbs can be used instead of "said," to better describe how it was said.

"The sky isn't blue," Geraldine muttered.

There is a general tip that the same word shouldn't be used over and over in quick succession, because it draws attention to itself. But this doesn't apply to all words. Structural words like "a" and "the" shouldn't (and often couldn't) be replaced with a new synonym every time they're used.

This is because they simply fade into the background; the reader knows that they are common words and don't matter to the meaning of the sentence so much. So they just sort of brush over it. "Said" is one such word.

Don't be afraid of "said."

Some writers still try to not use "said" much, and instead use "thesaurus words"--synonyms with the same meaning--throughout their writing. However this actually draws more attention to it that using the simple "said," which people brush over anyway.

Take a look at the following examples:

"The sky isn't blue," Geraldine said. "The sky isn't blue," Geraldine stated. "The sky isn't blue," Geraldine explained.

Is "stated" describing how the line was said better than "said"? Not really. And is "explained" adding anything to the story that isn't from the dialogue? Nope.

If there is a line of dialogue, then it was said/stated/explained/said in reply/asked, depending on what was said and the context. We know what was said. So when a character asks something, the verb "asked" doesn't do anything that reading the question didn't do. So you may as well put "said."

"The sky isn't blue," Geraldine smirked. "The sky isn't blue," Geraldine yawned.

And if you go too far with it, trying to incorporate an action into it, you can get yourself into a real mess. Smirking is not saying anything. You can smirk while saying something. But if the action you are performing is a smirk, or yawn, or laugh... you, my friend, have uttered no words!

These are known as "said-bookisms": words used to avoid writing "said." And named after a book that was written listing such words for writers to use (you may have seen similar posters/graphics on the internet). But as we don't need to avoid writing "said," we can safely throw out the book!

Earlier we used "muttered" instead of "said." Was that okay? Well, did that add to story? Does it tell the reader more about what was said? Yes! Now they know the words weren't simply spoken; they were said quietly, muttered under the breath.

Anything that tells us more about how the dialogue was said is fine. If the character shouted or screamed, or they muttered or mumbled, or slurred... they aren't necessarily obvious from the dialogue. So if they fit, and they describe the utterance of words, then go for it!

Sometimes writers have entire actions as a dialogue tag.

"The sky isn't blue," Geraldine moved over to the window, peering out.

That action isn't describing the act of saying that dialogue. So it doesn't make sense for it to be part of the same sentence. Just split it into its own sentence, and you should be good.

"The sky isn't blue." Geraldine moved over to the window, peering out.

However, these things may be indicated earlier in the paragraph, before the dialogue begins.

Geraldine looked up. "The sky isn't blue."

Because Geraldine has been established as the focus of this paragraph, any dialogue will be assumed to come from Geraldine.

Here, the first sentence describes an action the character took. But it could be a narrated thought. Or an expression. You can indicate the focus of the paragraph in many different ways, but however you do it, that can be used by the reader to infer who the speaker is.

You can of course add a dialogue tag anyway, using the pronoun of the character.

Geraldine looked up. "The sky isn't blue," she said.

The tone of the dialogue--the way it is said by the character--can also be implied by the context in the paragraph up to that point.

Geraldine laughed. "The sky isn't blue." Geraldine gasped. "The sky isn't blue."

Whatever context the reader has before the dialogue will colour how they "hear" it in their minds as they read.

Geraldine whispered, staring up in awe. "The sky isn't blue." Geraldine screamed. "The sky isn't blue!" Geraldine staggered through the door, drunkenly. "The sky isn't blue."

In the last example, the character's general state or attitude is shown. So as you read what she says, you'll naturally imagine it being said differently. That's the beauty of writing...

The final story in the reader's mind is made from the teamwork between writer and reader.

You can actually get away with having no indication of the speaker at all, in particular circumstances.

Geraldine smiled, her nose wrinkling. "The sky isn't blue." "I think you'll find it is, Gerry dear," Frank muttered, packing. "No, no, you don't understand... the sky is not blue!" "Poppycock." "Look!"

Did you have any trouble knowing who was saying what? If not, why not? Because we had other context clues.

The first couple of lines had the speakers clearly declared. And, as they're the only two characters that are in the scene, it's natural that they'd each take turns--going back and forth in their conversation. Also, if this is in the middle of a book and you're used to how the characters talk differently, that can help too.

Just be careful to not rely on this back-and-forth effect for too long, because it will get confusing after a bit. Just pepper in something to remind the reader of whose turn it is--the character does something as they speak, or a simple dialogue tag is added. And the reader will keep up better.

[phantomtutor]

Research Paper Assignment:Topic - Indigenous Knowledges of People in Canada Information:The time frame for this project is Before 1900.  Students will articulate how and why attention to a particular portion of research is important, how they can connect the research to what is being learned in class and critically engage with the material they discover.In order to complete this assignment in a timely manner, it is important to start out by reading the unit(s) affiliated with your topic from the course materials.  From there, you should complete some outside research using acceptable primary or secondary sources.  A strong way to structure your paper for this course is to include an introduction that catches the reader’s attention, discusses what will be discussed in the paper, and includes the thesis statement.  Following this, the body paragraphs should follow an understandable structure that includes the research you completed and shows a strong understanding of the content.  Finally, the paper should end with a conclusion that summarizes the material that was discussed and ends with a strong concluding statement.  Some recommendation for how the paper should be completed are included below.-Minimum 8-10 page research paper - Provide minimum 5 sources (per the Research Outline Assignment) including; 1 Journal Article (online or physical copy), 1 book reference other than your textbook (online or physical), 1 Government document (electronic or physical copy) and 1 report from a private organization (electronic or physical copy). NO Wikipedia, Encyclopedias, or dictionary sources. News articles may only be supplementary material and do not count towards the 5 sources. Personal communications must be documented adequately. - Essay must be double spaced in 12 point font, Times New Roman, and 1 inch margins. Length requirement does NOT include the title page or reference page(s). - Analyze the research they have gathered and the points discussed in sources. In order to support your arguments, you MUST use correct APA or MLA citations for both direct quotes and paraphrasing. - Pages will be numbered in the top right hand corner. - No abstract necessary. - Title page MUST have a Running head as well as: The title of your essay, your name, the class code (NATV 1220 and section), and the due date of the Assignment. - Avoid the use of contractions (EG: Don’t should be written out as do not) and avoid Colloquial language (IE: “This is a thing”, slang terms, phrases such as “Pass the Buck”, or idioms like “It’s raining cats and dogs”). - Be aware of your spelling and grammar.A rubric has been provided that shows how the assignment will be graded and how many points each aspect of the paper are worth.  It is immensely important that you cite information that is not common knowledge.  Copying and pasting information from other sources is not an acceptable way of completing your paper.  When using the words of another person directly, including quotation marks as well as an in-text citation with page numbers, if applicable.  Paraphrasing another author’s information is acceptable, however paraphrased information also requires in-text citations and page numbers are a very good choice when including a citation, however they are not always mandatory.Book - Dickason, O. P., & Newbigging, W. (2019). Indigenous Peoples within Canada: A concise history (4th edition). Oxford University Press.

[yolkyeomie]

Improv Game | Yang Jeongin

summary — maybe following the script of what’s ahead isn’t for you and a little bit of improv is all you need to make it better

word count — 1.9k words

pairing — gender neutral!reader x jeongin (ft. x hyunjin)

genre — high school au, transmigration(?) au, fluff, cliff hanger

disclaimer — this is VERY loosely based off of series like Extraordinary You and the awfully popular reincarnation webtoons i’ve seen like… everywhere. I JUST NEEDED SUMN TO WRITE OKAY?

You strained a smile at the boy in front of you, rhythmically tapping your fingers on the desk in hopes that he’d pick up your annoyed undertone. Though to no avail did he notice. He simply took it as your way of attentively listening to him speak and that’s all he would ever take it as, he was rather oblivious after all. You couldn’t exactly blame him for this unfortunate trait of his but you couldn’t stand it either.

“Oh, Y/N, if you don’t mind me asking…,” the boy began, leaning back in his chair as he held onto the desk for support. His eyes wandered from the front of the classroom then to the classroom window where the cherry blossoms were on full display to finally your eyes.

You didn’t mean to make direct eye contact with him but he caught your gaze a lot quicker than you could look away. With a deep sigh you stretched your arms out before turning your genuine attention to him, “What’s up, Hyunjin? Go ahead and spit it out.”

He cleared his throat for the moment, his eyes darting away from your connected gazes before mumbling something out of his mouth. The boy glanced at you to see if you had heard him and when you showed no signs of understanding, he cleaned his throat again. “I said if you’re not busy any time like… I don’t know— tomorrow? If you wanted to hang out? Like go to the park or an arcade or—“

“—like a date?” You questioned, raising a brow in suspicion.

Hyunjin immediately started to crumble, his face flushing a beetroot red and his ears practically steaming from your words. “No, no! Not a date! I would like… never ask you on a date! Unless you want it to be a date…? I mean if you don’t think it’s a date then it’s not a date—!” The boy continued to ramble, nearly forgetting about your existence as he tried to cover himself.

You were in a very… odd situation to say the least. One day you had woken in a room that wasn’t yours, in a house that wasn’t yours, with friends you didn’t know, going to a school you never went to. Only one could imagine the amount of disarray you were in as you tried to traverse the day struggling to get from one place to another when you didn’t have a clue of what was exactly going on.

You thought, maybe if you just get through this day, everything will go back to normal when you wake up again? As if this was all some sort of… dream your mind had created in your slumber.

But alas, that was definitely not the case. You woke up the next day in the nearly same situation you were in before. And the same in the next day, and the day after that. Soon days turned into weeks and weeks turned into months. You were still living throughout each day as if you had never really woken up in the unfamiliar at all.

The kicker? You had quickly caught onto the fact that you were within a book, maybe even a comic who knows, and were walking around as the main protagonist. Well, quickly isn’t the right word per say. A week went by as if everything was normal until you interacted with a teacher who had asked for you after school.

The conversation was as normal as any conversation with an adult would go until you looked above their head and saw words in bold quotation marks detailing words that hadn’t been spoken yet. Without thinking, you read them out loud and the teacher responded exactly to what you had read out. You didn’t think anything of it at first until the routine you had adapted yourself to suddenly changed to fit the words you had read to him.

The world was shaping around the detailed actions and words the story was instructing you to take. Sometimes it would be something simple like helping your teachers with their work and other times if quite literally instructing you to get hit with a soccer ball in the face. You didn’t want to follow through when things like the latter were given to you, but they would just happen whether you liked it or not.

Oh and your main love interest? It was Hyunjin. You’d think having someone fated to fall in love with you and vice versa would be interesting and exciting to you, but you weren’t feeling it all.

Don’t get it wrong, Hyunjin is a very nice kid. He’s tall and handsome with a sweet personality, but he just… wasn’t your type? So trying to get your “character” to fall in love with him was hard. Especially when whatever author that was scripting your interactions together made them happen extremely frequently and in rather annoying ways.

Not a day goes by where you can get some peace and quiet. Whenever you thought you’d be free, Hyunjin would always pop up to greet you or keep you company or even pull you to the next step of your growing relationship when you really didn’t want to.

It seemed like the date-that’s-not-really-a-date-but-it-totally-is was the next step into pushing you two closer to each other. It had to be, given the fact that the next sentence that was supposed to come out of your mouth had appeared over his stressed out figure.

You concealed a deep sigh as you placed your hand on his shoulder in an attempt to calm him down. The boy immediately stopped in his tracks, turning to face you with wide and curious eyes. You flashed him your best smile possible, “Yes, let’s make it a date.”

The boy nearly popped a vein, blinking rapidly and his cheeks growing warmer and warmer at your answer. “You… Do you really mean it? Like… this wouldn’t be just two friends hanging out— this will be a whole date?”

“Do you even know what the definition of a date is? Of course it’s a whole date!” You recited, watching Hyunjin’s eyes begin to glow and his smile stretching from ear to ear.

A small hum of satisfaction left his lips as he jumped up from his seat, struggling to contact his excitement. “Okay then! It’s… it’s a date?”

“It’s a date.”

“It’s a date!” He exclaimed, catching the attention of nearly the entire class. Luckily it was a free period so you didn’t have to worry about interrupting the class instruction but it was still embarrassing. You practically sunk in your seat and covered your face to the best of your ability as Hyunjin hopped about the room in glee. “Jeongin, Jeongin! You’ll never guess what happened to me!”

Your head immediately shot up upon hearing the name uttered from the boy’s lips, your eyes glued straight onto Hyunjin’s back. The boy was jumping up and down in the door and his back was blocking the view of whoever was in front of him, but you didn’t exactly mind. You simply waited for him to stop moving before finally spotting the familiar dimpled boy in front him, his pretty smile and excited eyes on the main love interest.

Jeongin, the main love interest’s best friend and the device used to move the plot forward, that’s exactly who he was. Minus the fact that you liked Jeongin a lot more than you liked Hyunjin.

Your body so desperately wanted to move on it’s own, your eyes following the boy’s every move as he expressed his delight for the boy’s accomplishments.

The mischievous glint in his eyes every time was mesmerizing, the pretty tone of voice he had was exhilarating, and his unique features almost made him too good to be true. Not to mention how genuinely funny he was without even trying, he was much more your speed than the gullible and kind Hyunjin that you were paired with.

Unfortunately, the story you were placed in would never let Jeongin think of you more than a friend. He just wasn’t scripted that way. While Hyunjin may love you unconditionally because that was his purpose, you didn’t find it as appealing as perhaps a reader or any other normal main protagonist would be.

Plus, you had no idea how exactly you’d be able to break free from the plotline of you and Hyunjin getting together nor did you know what would happen if you did. You had always followed the path that was in front of you without question, the possibility of getting to the end of the story and escaping the book you were in had been the only thing you were reaching for.

But if you strayed from that somehow and got with Jeongin against the author’s wishes, what exactly would that entail for you? Would you still be forced together with Hyunjin? Or would the author somehow eradicate Jeongin’s existence altogether?

Big bold quotes appeared over Jeongin and Hyunjin’s heads, your next scripted words to continue the plot blasted right in your face like flashing headlights. You read them silently to yourself for a moment, glancing from Hyunjin to Jeongin with a skeptical frown on your face.

I can’t wait for tomorrow, Hyunjin!

What a simple phrase to repeat, a normal response in the situation you were in. You and Hyunjin were fated to be with each other, destined to fall in love no matter what odds were against the two of you. But… you just weren’t feeling it honestly. Who would have guessed that the obstacles that stood in between you and Hyunjin becoming a couple was yourself, the main protagonist, after all?

With a deep breath, you stood up from your seat and flagged down Hyunjin and Jeongin to get their attention. Jeongin was the first to notice, catching your moving figure in the corner of his eye and hitting the boy’s shoulder to get his attention. Hyunjin turned around shortly after, his hair whipping in the wind and landing perfectly on his shoulders thanks to his typical love interest privileges.

He smiled at you, his wide and grand smile that should have made any person fall out in adoration. You raised your hand to wave at the boys as you spoke, “Hi… Jeongin.”

Hyunjin’s infatuated gaze fell into one of confusion, his face twisting as he looked back at the friend you had called out to.

Jeongin looked just as confused as Hyunjin, unsure of whether or not he could respond to you. Though it was a little too late to not answer now, you had already made eye contact with each other. Not responding would be seen as rude to his friend’s future partner after all. “Hi, Y/N” He replied, his words seemingly unscripted from what the original author had intended. Perhaps he wasn’t supposed to say a word to you in this scene but that didn’t matter now.

You had taken the first step into straying off the path that was laid out for you since you woke up in this book’s storyline, and now you were going to run for it. Run as fast as you can to change the story to what you wanted, a story where you can have Jeongin all for yourself, and not what the author had intended for you.

After all, you're not the protagonist that the author had intended to write. You are you’re own person with your own wants and desires, you were going to get what you wanted whether the author liked it or not.

[spiritualdirections]

The revelations to St. Faustina weren’t ‘private revelation’--Pope Benedict XVI

When he was the head of the Congregation for the Doctrine of the Faith, Pope Benedict XVI was asked by St. John Paul II to provide a theological reflection on the Third Secret of Fatima. (There’s a problem with the way the Vatican website is displaying quotation marks, so I am posting it here.) Then-Cardinal Ratzinger’s key move was to describe what visionaries receive, not as private revelation, but as contemporary “prophecy.” The same point is to be applied to all such visions and apparitions, including those prayer experiences that St. Faustina writes about in her Diaries.

THEOLOGICAL COMMENTARY   

A careful reading of the text of the so-called third “secret” of Fatima, published here in its entirety long after the fact and by decision of the Holy Father, will probably prove disappointing or surprising after all the speculation it has stirred. No great mystery is revealed; nor is the future unveiled. We see the Church of the martyrs of the century which has just passed represented in a scene described in a language which is symbolic and not easy to decipher. Is this what the Mother of the Lord wished to communicate to Christianity and to humanity at a time of great difficulty and distress? Is it of any help to us at the beginning of the new millennium? Or are these only projections of the inner world of children, brought up in a climate of profound piety but shaken at the same time by the tempests which threatened their own time? How should we understand the vision? What are we to make of it?   

Public Revelation and private revelations--their theological status   

Before attempting an interpretation, the main lines of which can be found in the statement read by Cardinal Sodano on 13 May of this year at the end of the Mass celebrated by the Holy Father in Fatima, there is a need for some basic clarification of the way in which, according to Church teaching, phenomena such as Fatima are to be understood within the life of faith. The teaching of the Church distinguishes between “public Revelation” and “private revelations”. The two realities differ not only in degree but also in essence. The term “public Revelation” refers to the revealing action of God directed to humanity as a whole and which finds its literary expression in the two parts of the Bible: the Old and New Testaments. It is called “Revelation” because in it God gradually made himself known to men, to the point of becoming man himself, in order to draw to himself the whole world and unite it with himself through his Incarnate Son, Jesus Christ. It is not a matter therefore of intellectual communication, but of a life-giving process in which God comes to meet man. At the same time this process naturally produces data pertaining to the mind and to the understanding of the mystery of God. It is a process which involves man in his entirety and therefore reason as well, but not reason alone. Because God is one, history, which he shares with humanity, is also one. It is valid for all time, and it has reached its fulfilment in the life, death and resurrection of Jesus Christ. In Christ, God has said everything, that is, he has revealed himself completely, and therefore Revelation came to an end with the fulfilment of the mystery of Christ as enunciated in the New Testament. To explain the finality and completeness of Revelation, the Catechism of the Catholic Church quotes a text of Saint John of the Cross: “In giving us his Son, his only Word (for he possesses no other), he spoke everything to us at once in this sole Word--and he has no more to say... because what he spoke before to the prophets in parts, he has now spoken all at once by giving us the All Who is His Son. Any person questioning God or desiring some vision or revelation would be guilty not only of foolish behaviour but also of offending him, by not fixing his eyes entirely upon Christ and by living with the desire for some other novelty” (No. 65; Saint John of the Cross,The Ascent of Mount Carmel, II, 22).   

Because the single Revelation of God addressed to all peoples comes to completion with Christ and the witness borne to him in the books of the New Testament, the Church is tied to this unique event of sacred history and to the word of the Bible, which guarantees and interprets it. But this does not mean that the Church can now look only to the past and that she is condemned to sterile repetition. The Catechism of the Catholic Church says in this regard: “...even if Revelation is already complete, it has not been made fully explicit; it remains for Christian faith gradually to grasp its full significance over the course of the centuries” (No. 66). The way in which the Church is bound to both the uniqueness of the event and progress in understanding it is very well illustrated in the farewell discourse of the Lord when, taking leave of his disciples, he says: “I have yet many things to say to you, but you cannot bear them now. When the Spirit of truth comes, he will guide you into all the truth; for he will not speak on his own authority... He will glorify me, for he will take what is mine and declare it to you” (Jn 16:12-14). On the one hand, the Spirit acts as a guide who discloses a knowledge previously unreachable because the premise was missing--this is the boundless breadth and depth of Christian faith. On the other hand, to be guided by the Spirit is also “to draw from” the riches of Jesus Christ himself, the inexhaustible depths of which appear in the way the Spirit leads. In this regard, the Catechism cites profound words of Pope Gregory the Great: “The sacred Scriptures grow with the one who reads them” (No. 94; Gregory the Great,Homilia in Ezechielem I, 7, 8). The Second Vatican Council notes three essential ways in which the Spirit guides in the Church, and therefore three ways in which “the word grows”: through the meditation and study of the faithful, through the deep understanding which comes from spiritual experience, and through the preaching of “those who, in the succession of the episcopate, have received the sure charism of truth” (Dei Verbum, 8). 

In this context, it now becomes possible to understand rightly the concept of “private revelation”, which refers to all the visions and revelations which have taken place since the completion of the New Testament. This is the category to which we must assign the message of Fatima. In this respect, let us listen once again to the Catechism of the Catholic Church: “Throughout the ages, there have been so-called ‘private' revelations, some of which have been recognized by the authority of the Church... It is not their role to complete Christ's definitive Revelation, but to help live more fully by it in a certain period of history” (No. 67). This clarifies two things:   

1. The authority of private revelations is essentially different from that of the definitive public Revelation. The latter demands faith; in it in fact God himself speaks to us through human words and the mediation of the living community of the Church. Faith in God and in his word is different from any other human faith, trust or opinion. The certainty that it is God who is speaking gives me the assurance that I am in touch with truth itself. It gives me a certitude which is beyond verification by any human way of knowing. It is the certitude upon which I build my life and to which I entrust myself in dying.   

2. Private revelation is a help to this faith, and shows its credibility precisely by leading me back to the definitive public Revelation. In this regard, Cardinal Prospero Lambertini, the future Pope Benedict XIV, says in his classic treatise, which later became normative for beatifications and canonizations: “An assent of Catholic faith is not due to revelations approved in this way; it is not even possible. These revelations seek rather an assent of human faith in keeping with the requirements of prudence, which puts them before us as probable and credible to piety”. The Flemish theologian E. Dhanis, an eminent scholar in this field, states succinctly that ecclesiastical approval of a private revelation has three elements: the message contains nothing contrary to faith or morals; it is lawful to make it public; and the faithful are authorized to accept it with prudence (E. Dhanis,Sguardo su Fatima e bilancio di una discussione, in La Civiltà Cattolica 104 [1953], II, 392-406, in particular 397). Such a message can be a genuine help in understanding the Gospel and living it better at a particular moment in time; therefore it should not be disregarded. It is a help which is offered, but which one is not obliged to use.   

The criterion for the truth and value of a private revelation is therefore its orientation to Christ himself. When it leads us away from him, when it becomes independent of him or even presents itself as another and better plan of salvation, more important than the Gospel, then it certainly does not come from the Holy Spirit, who guides us more deeply into the Gospel and not away from it. This does not mean that a private revelation will not offer new emphases or give rise to new devotional forms, or deepen and spread older forms. But in all of this there must be a nurturing of faith, hope and love, which are the unchanging path to salvation for everyone. We might add that private revelations often spring from popular piety and leave their stamp on it, giving it a new impulse and opening the way for new forms of it. Nor does this exclude that they will have an effect even on the liturgy, as we see for instance in the feasts of Corpus Christi and of the Sacred Heart of Jesus. From one point of view, the relationship between Revelation and private revelations appears in the relationship between the liturgy and popular piety: the liturgy is the criterion, it is the living form of the Church as a whole, fed directly by the Gospel. Popular piety is a sign that the faith is spreading its roots into the heart of a people in such a way that it reaches into daily life. Popular religiosity is the first and fundamental mode of “inculturation” of the faith. While it must always take its lead and direction from the liturgy, it in turn enriches the faith by involving the heart.   

We have thus moved from the somewhat negative clarifications, initially needed, to a positive definition of private revelations. How can they be classified correctly in relation to Scripture? To which theological category do they belong? The oldest letter of Saint Paul which has been preserved, perhaps the oldest of the New Testament texts, the First Letter to the Thessalonians, seems to me to point the way. The Apostle says: “Do not quench the Spirit, do not despise prophesying, but test everything, holding fast to what is good” (5:19-21). In every age the Church has received the charism of prophecy, which must be scrutinized but not scorned. On this point, it should be kept in mind that prophecy in the biblical sense does not mean to predict the future but to explain the will of God for the present, and therefore show the right path to take for the future. A person who foretells what is going to happen responds to the curiosity of the mind, which wants to draw back the veil on the future. The prophet speaks to the blindness of will and of reason, and declares the will of God as an indication and demand for the present time. In this case, prediction of the future is of secondary importance. What is essential is the actualization of the definitive Revelation, which concerns me at the deepest level. The prophetic word is a warning or a consolation, or both together. In this sense there is a link between the charism of prophecy and the category of “the signs of the times”, which Vatican II brought to light anew: “You know how to interpret the appearance of earth and sky; why then do you not know how to interpret the present time?” (Lk 12:56). In this saying of Jesus, the “signs of the times” must be understood as the path he was taking, indeed it must be understood as Jesus himself. To interpret the signs of the times in the light of faith means to recognize the presence of Christ in every age. In the private revelations approved by the Church--and therefore also in Fatima--this is the point: they help us to understand the signs of the times and to respond to them rightly in faith.   

The anthropological structure of private revelations   

In these reflections we have sought so far to identify the theological status of private revelations. Before undertaking an interpretation of the message of Fatima, we must still attempt briefly to offer some clarification of their anthropological (psychological) character. In this field, theological anthropology distinguishes three forms of perception or “vision”: vision with the senses, and hence exterior bodily perception, interior perception, and spiritual vision (visio sensibilis - imaginativa - intellectualis). It is clear that in the visions of Lourdes, Fatima and other places it is not a question of normal exterior perception of the senses: the images and forms which are seen are not located spatially, as is the case for example with a tree or a house. This is perfectly obvious, for instance, as regards the vision of hell (described in the first part of the Fatima “secret”) or even the vision described in the third part of the “secret”. But the same can be very easily shown with regard to other visions, especially since not everybody present saw them, but only the “visionaries”. It is also clear that it is not a matter of a “vision” in the mind, without images, as occurs at the higher levels of mysticism. Therefore we are dealing with the middle category, interior perception. For the visionary, this perception certainly has the force of a presence, equivalent for that person to an external manifestation to the senses.   

Interior vision does not mean fantasy, which would be no more than an expression of the subjective imagination. It means rather that the soul is touched by something real, even if beyond the senses. It is rendered capable of seeing that which is beyond the senses, that which cannot be seen--seeing by means of the “interior senses”. It involves true “objects”, which touch the soul, even if these “objects” do not belong to our habitual sensory world. This is why there is a need for an interior vigilance of the heart, which is usually precluded by the intense pressure of external reality and of the images and thoughts which fill the soul. The person is led beyond pure exteriority and is touched by deeper dimensions of reality, which become visible to him. Perhaps this explains why children tend to be the ones to receive these apparitions: their souls are as yet little disturbed, their interior powers of perception are still not impaired. “On the lips of children and of babes you have found praise”, replies Jesus with a phrase of Psalm 8 (v. 3) to the criticism of the High Priests and elders, who had judged the children's cries of “hosanna” inappropriate (cf. Mt 21:16).   

“Interior vision” is not fantasy but, as we have said, a true and valid means of verification. But it also has its limitations. Even in exterior vision the subjective element is always present. We do not see the pure object, but it comes to us through the filter of our senses, which carry out a work of translation. This is still more evident in the case of interior vision, especially when it involves realities which in themselves transcend our horizon. The subject, the visionary, is still more powerfully involved. He sees insofar as he is able, in the modes of representation and consciousness available to him. In the case of interior vision, the process of translation is even more extensive than in exterior vision, for the subject shares in an essential way in the formation of the image of what appears. He can arrive at the image only within the bounds of his capacities and possibilities. Such visions therefore are never simple “photographs” of the other world, but are influenced by the potentialities and limitations of the perceiving subject.   

This can be demonstrated in all the great visions of the saints; and naturally it is also true of the visions of the children at Fatima. The images described by them are by no means a simple expression of their fantasy, but the result of a real perception of a higher and interior origin. But neither should they be thought of as if for a moment the veil of the other world were drawn back, with heaven appearing in its pure essence, as one day we hope to see it in our definitive union with God. Rather the images are, in a manner of speaking, a synthesis of the impulse coming from on high and the capacity to receive this impulse in the visionaries, that is, the children. For this reason, the figurative language of the visions is symbolic. In this regard, Cardinal Sodano stated: “[they] do not describe photographically the details of future events, but synthesize and compress against a single background facts which extend through time in an unspecified succession and duration”. This compression of time and place in a single image is typical of such visions, which for the most part can be deciphered only in retrospect. Not every element of the vision has to have a specific historical sense. It is the vision as a whole that matters, and the details must be understood on the basis of the images taken in their entirety. The central element of the image is revealed where it coincides with what is the focal point of Christian “prophecy” itself: the centre is found where the vision becomes a summons and a guide to the will of God…

Joseph Card. Ratzinger Prefect of the Congregation for the Doctrine of the Faith

[anncanta]

‘Dracula’ and ‘Doctor Who’. Blood is testimony

Stephen Moffat is often accused of using similar plots, repeating the same plot lines, and returning to a number of his favorite ideas.

Moffat really develops a certain set of specific, quite recognizable topics, and in his different scripts, he one way or another tells similar stories.

But with his recurring motives and ideas, as, indeed, with another stuff, not everything is so simple.

First, the outstanding authors are most often accompanied by craving for certain narratives and archetypal forms, as well as cross-cutting themes. Some of this authors create ‘frames’ for these ideas in the form of multivolume novels or novel cycles, others devote wreaths of sonnets and collections of stories to their favorite topic, and others choose whole genres for reflection on issues that are important to them. I think that none of those reading this article will have any difficulties with examples.

Secondly, there are not so many really interesting stories.

And thirdly, repetitions can be different. Like any feature, it can exist on its own, or it can – if the author has a large-scale talent – become another way to tell a story like no one else do.

In Stephen Moffat's case, we are dealing with a very unique situation where the author's stories are literally read through one another.

I will make a separate reservation: I am not talking about postmodern ‘intertextuality’ – a vile definition for references and quotations that have existed in literature since the emergence of storytelling and are news only for postmodernists themselves – but about a peculiar use of certain plots and motives.

If you want, you can find a huge number of such things in Moffat's scripts. The viewers who have been closely following his work since the period when he became the showrunner of Doctor Who will immediately name a dozen of them. But I would like to dwell on one example – the newest one for today.

When the TV series Dracula by Steven Moffat and Mark Gatiss was released on BBC and Netflix in 2020, some viewers noted the similarity of its style, and in some places, the plot outline, with Doctor Who, and directly called the main character of the film, Agatha Van Helsing, the female version of the Doctor.

The first is obvious, and the second is quite understandable in light of the two years earlier release (absolutely disastrous, in my opinion) of the eleventh and twelfth seasons of Doctor Who.

But the beauty of both Moffat's game and the whole story is that there`s not Agatha who is the Doctor here.

Yes, by all appearances, it is this brave, interested in science, well acquainted with evil, fighting against it and even – partly – traveling through time, the heroine who seems most suitable for the role of the Doctor in the new setting. There was a calculation for this: Moffat, during his time as the showrunner of the series, who, it seems, tried all the plot possibilities except this one, and who left on the eve of the epochal transformation of the character, it would seem, had to offer the audience his version of the female Doctor. Well, he did: on the surface. As if he said: ‘Here is a heroine with such qualities. This is how you imagine her, isn`t it? Well, get it.’

And inside this shell, as inside the unfortunate Jonathan Harker (Moffat, as a true Briton, uses materialized metaphors and often literally shows what he means), there is another story.

In order to understand it, you need to take a close look at Dracula and – at Doctor Who written by Moffat.

With Dracula everything is simple. As soon as you start looking for the main character of this film who: a) lives for several centuries; b) collects human stories; c) travels in time; d) always has one or more people next to him – you instantly find him. And if you've watched an entire episode and a half and still don't understand anything, in the middle of the second one you will hear a direct quote.

'The sophistication of a gentleman, Agatha, is always a veneer.'

'Even a gentleman like Mr. Balaur?'

'Mr. Who?'

But that's just one detail.

A deeper level opens if you try to read Dracula through Doctor Who itself.

In the Christmas special Twice upon a time, which ends the last season, written by Stephen Moffat, the plot is centered on the Doctor's encounter with strange creatures, as if made of glass, which are living vaults of memory. The episode itself is full of layered ideas and references. But for us now only one dimension is important.

At the very end of the special, the Doctor addresses the glass creatures with an ardent speech – one of those that he loves so much.

‘You're just memories, held in glass. Do you know how many of you I could fill? I would shatter you. My testimony would shatter all of you. A life this long, do you understand what it is? It's a battlefield. And it's empty. Because everyone else has fallen.’

Does this remind you of anything?

It seems to me that this is a literal description of what is happening with Dracula.

What he says throughout the film, and what Agatha did not understand even at the end, because in order to understand this, you had to live his life.

And in order to understand this whole context, you need to understand that the Doctor was never a good guy. He always said this to everyone but no one believed him.

No one believed the stories of the horror before which entire civilizations tremble, about a creature that destroyed its entire species in order to stop the most destructive war in history, about the person who does not need weapons so that the captains of warships flocked from the most distant corners of the Universe, after listening to him for a couple of minutes, ran away without looking back.

The Doctor was never a good guy, but just as important, he always knew it. For the Doctor of Russell T. Davis, this position looks like a fact with which neither the character himself nor the people around him and aliens are very inclined to interact. I guess it’s a matter of Davis’ very outlook on the story and perhaps his own worldview.

But the Doctor of Moffat is a hero who lives with this knowledge and with the impossibility of passing this knowledge on to others.

Because the Doctor is always the one they are waiting for, the one they go to for advice, the one with whom they travel around the Universe, the one who opens the door to the magical world, the one they hope for.

He is never the one who sits on the roof of the TARDIS, surrounded by the loneliness of the starry sky. Not someone who lives longer than any human being, not someone who knows what it means to make monstrous decisions in circumstances that most of us cannot imagine.

And the one in whom there is so much testimony that it is able to break the vessel that they will try to fill with.

In Dracula, all these details, motives, and meanings are repeated sequentially.

The most obvious is ‘blood is testimony’. This is not self-quotation, as it might seem, but a literal proposal of the author to look in a certain direction.

The blood in Dracula is not only memory. It's also a way to watch. And to see a bright and diverse world, which otherwise would have become boring long ago.

In the fifth season of Doctor Who, there is a moment when Eleventh says to Amy Pond, ‘You don't understand. I have the whole Universe in my backyard. I'm used to it. I don’t notice it. But when you appear, I look with your eyes. And it becomes a miracle again.’*

In this sense, the ‘brides’ and everyone that Dracula ate are in some way his companions. If you remember what a great sense of guilt towards most of his companions the Doctor felt and how some of them ended up, the comparison turns out to be not so poor.

Dracula, like the Doctor, has companions with whom he has a very special relationship that he cannot explain to himself. He travels through time and space, discovering one day that all human experience is stored and cataloged somewhere in his head, and there is nothing new.

And – as is often the case in Moffat's stories – here one character completes and harmoniously implements a theme started by another.

If the Doctor, being who he is, and fully aware of this, tormented by endless insatiable loneliness and memories of life as an empty battlefield, invariably continues the path that seems to him more and more meaningless, then Dracula decided to end the life like that.

And all this, the whole story, is organized as a transition, as a movement forward and backward in time, which unites and brings to life what is dissolved, inherent, basically exists, and ‘spilled’ in blood. The blood here is also the same as the space in the Doctor Who, it is the Universe, which belongs to everyone and flows inside everyone, and inside which everyone exists, and which determines everyone. In order for blood to become an individuality, it takes time, a specific moment at which each specific individuality comes to the surface. So, for example, the return of Agatha takes place. There must be something she wants to come back for. Like the TARDIS, blood is always within us and speaks through us. In the case of Dracula and Agatha, this is their bond, their love for each other. Even if this love is unaware, – sometimes the TARDIS acts on her own and travels wherever she wants, forcing the Doctor and his companions to act in the circumstances she suggests.

And all this, this whole context, the whole story, with all its dimensions and additional meanings, became possible only due to the fact that Stephen Moffat, the author of both series, is not afraid to describe ambiguous heroes, to reflect out loud on their adventures, and – sometimes – to repeat.

* The words of Eleventh quoted from memory.

[wisdomrays]

TAFAKKUR: Part 194

Questions Concerning Robots That "Care": Part 2

... and these robots that "care" invite some questions

Considered only as machines meant to assist overburdened nurses with their care of older people, the types of humanoid robots just described might initially be categorized simply as useful new tools. We have reasons to wonder, though, how long those who will be interacting regularly with these life-like robots can be expected to perceive them merely as tools. So-called "animaloid" robots, such as the robotic dog AIBO that was marketed in recent years by the Sony Corporation, admittedly represent a somewhat different class of robotic artifact than the more complex contemporary humanoids such as ASIMO. Nevertheless, empirical studies of human-robot interaction even with AIBO have uncovered some relevant thought-provoking surprises. Not long ago, for example, numerous online postings by owners of AIBO began appearing on Internet forums. One study of these postings noted the following confession by an AIBO owner:

The other day I proved to myself that I do indeed treat him as if he were alive, because I was getting changed to go out, and [AIBO] was in the room, but before I got changed I stuck him in a corner so he didn't see me! (Friedman, Kahn, and Hagman 2003, 278)

Regardless of whether this posted confession was altogether truthful, its expressed thought of needing modesty in this case clearly alerts us to the potential psychological potency of human interaction with such machines. Abrahamic religions, through their shared accounts of the Garden of Eden, have long recognized appropriateness of modesty between even the primordial man and woman – but application of that sentiment to our dealings with a battery-operated dog suggests how plastic human notions of personhood might be!

For that matter, professional testimony of such plasticity for the specific case of humanoid robots is available in a frequently-quoted set of observations by Professor Sherry Turkle, Director of the MIT Initiative on Technology and Self, at the Massachusetts Institute of Technology. One of her MIT colleagues, widely-recognized roboticist Rodney Brooks, is among the many people who have cited Turkle's report of her first encounter with his experimental humanoid robot, Cog; note carefully Sherry's candid description of the experience:

Cog "noticed" me soon after I entered its room. Its head turned to follow me and I was embarrassed to note that this made me happy. I found myself competing with another visitor for its attention. At one point, I felt sure that Cog's eyes had "caught" my own. My visit left me shaken – not by anything that Cog was able to accomplish but by my own reaction to "him." For years whenever I had heard Rodney Brooks speak about his robotic "creatures," I had always been careful to mentally put quotation marks around the word. But now, with Cog, I had found the quotation marks had disappeared. Despite myself and despite my continuing skepticism about this research project, I had behaved as though in the presence of another being. (Brooks 2003, 149)

Professor Turkle's testimony is consistent with an entire literature of contemporary research in human-robot interaction that suggests a deep human predisposition progressively to accept as peers various machines that convincingly mimic human appearance and autonomous behavior. Her reference to discovering herself behaving as though she were "in the presence of another being" points, in turn, toward some questions that invite our reflection.

First, one might inquire whether (and why) it could matter that humans seem so inclined to regard convincingly humanoid machines as peers. For some people, it apparently does not matter. From his perspective as a practicing Zen Buddhist, for example, robotics engineer Masahiro Mori has argued against insisting upon any profound distinction between persons and robots, noting that there "must also be buddha-nature in the machines and robots that my colleagues and I make" (Mori 1999, 174). In contrast, though, a pilot study has suggested that Abrahamic theistic belief in creation of individual human souls by a personal deity may be related to disapproval of human-robot interaction "with life-like personal robots that requires human acceptance of the robots at intimate levels" (Metzler and Lewis 2008, 22). This finding resonates with a respected voice in modern Christian theology. Paul Tillich, in Volume Three of his monumental Systematic Theology, addresses "objects that are produced by the technical act," warning that "by virtue of producing and directing mere things" one can lose one's "character as an independent self" and "become a thing" (74). Again, Jewish theologian and philosopher Martin Buber, widely remembered for his distinction between "I – Thou" and "I – It" relations, issues a similar warning in I and Thou:

And in all the seriousness of truth, hear this: without It man cannot live.

But he who lives with It alone is not a man. (34)

Apparently, we have reasons to expect that individuals belonging to Abrahamic religious traditions may especially feel troubled when they find themselves treating humanoid machines as though they were peers.

Within the Abrahamic religious family, after all, human beings historically have been regarded as spiritually special, and understood as belonging to a category fundamentally different from any technological artifacts that they might construct for amusement, or as tools. Anglican priest (and physicist) John Polkinghorne has emphasized significance of "the mystery of the human person," which involves "our embodied nature, embedded in the physical world but transcending a merely reductive physicality" (Polkinghorne 1998, 80). Both the mystery and the transcendence that Polkinghorne mentions are punctuated clearly, as well, in the Holy Qur'an: And they will ask thee of the Spirit. SAY: The Spirit proceedeth at my Lord's command: but of knowledge, only a little to you is given (The Night Journey – Sura 17:85). The theistic perspective of this family of religions tends to link the human person, as a free moral agent, with a spiritual level of reality that is not completely expressible in terms of everyday (macro-level) entities such as rocks and trees – and machines.

It may be pertinent at this point to inquire whether the spiritual level of reality envisioned by these religious faiths might arguably be represented even in current science. To be sure, the robotic and AI technologies upon which we have focused in this essay are discussed almost entirely nowadays with so-called "macro-level" accounts of discrete, individualized entities. Computer scientists typically view all "information processing" executed by contemporary computers as reducible to operations of the celebrated Turing Machine formalism, which imagines an abstract machine successively "reading" well-defined symbols (0 or 1) on an external tape, comparing them with its current internal "state," and then implementing clearly prescribed (albeit possibly null) changes on the tape and its own internal state. Physicists working with quantum mechanics, however, have discovered a quite different level of reality that requires a so-called "quantum-level" description. The description is expressed mathematically in terms of complex numbers (incorporating an imaginary unit equal to the square root of negative one) and it explores a reality in which individualized entities of the macro-level (this table, that book, etc.) simply are no longer present. An atom may be understood to contain four electrons, but – in principle – one cannot select and track, say, the changing locations over time of a specific individual electron among the four. Pondering this strange new reality, mathematical physicist Roger Penrose has argued (via his Shadows of the Mind) that human consciousness cannot be modeled in terms of the Turing Machine formalism, requiring, instead, the resources of an advanced quantum physics. If the emerging technology of "quantum computers" eventually could yield a machine consistent with Roger Penrose's understanding of how the human brain operates when we experience consciousness, future robots incorporating such computers might open possibilities for exciting new dialogue between religion and science.

Under present circumstances, though, we can discern the outlines of potential difficulties in the not-so-distant future. Specifically, elderly members of the Abrahamic faiths may find themselves increasingly conflicted in responding to robotic "caregivers." On one hand, following natural predispositions, they will be inclined to accept the machines as caregivers (dropping the skeptical quotation marks, as Professor Turkle did during her encounter with Cog). At the same time, they may retain their religious worldviews and resist accepting the machines as persons. Will they feel authentically comforted, then, by machines programmed to display "artificial empathy"? Will they discover resolution of their conflict in the following conjecture by noted roboticist Hans Moravec?

So, it may be appropriate to say "God" has granted a soul to a machine when the machine is accepted as a real person by a wide human community. (Moravec 1999, 77)

Indeed, in perhaps the next ten years or so, how will people be using quotation marks to distinguish what they consider authentic from mere "make-believe"? Will they be describing new robot nurses as persons – or as "persons"? Will they decide that the machines care for people – or "care" for people? Will the artifacts be considered capable of moral behavior – or "moral" behavior? Will some older people still understand the granting of souls to be determined by God – or by "God"?

For some of us, these already are important questions.

[wallclockscrafts-blog]

How to find calligraphic wooden-ware in Pakistan?

Kinds of Several Historically Famous Calligraphy wooden-ware Decor StylesParis decor calligraphy gift label. Connect them .Tying a label to an antique key, worn door handle or lonely coat hook is a fantastic way to get calligraphy outside in the open. Choose a quote, song lyric or saying to reach your desired look.Just adding a little tag to an current bit of hanging decoration creates another layer of meaning and a glimpse of where it came from. Possessing a place name lettered on a gift label can offer a welcome memory of a particular holiday or event and indicates a tale to tell.Arabic Decorative Calligraphy Decorating with drawingsDonation label floral drawing with pencil inkJ apanese CalligraphyScrapbooking A  wall-clock looks so much prettier decorated with a lovely lettered gift label Calligraphy !Read on for inspiration of how to utilize present tags around your home for beautiful living daily. You will be taken by Click on the pictures .Calligraphy further advanced into a Number of Other types of arts in China, like Seal Carving, Ornate Paperweights, and Ink-Stones. We can likewise customize any message that is scripted and then can use it.Through the medieval period of time of history that the Calligraphy achieved its new highs in the kind of Arabic Calligraphy.  wall-art  in this period's use was not restricted to such a items that were decorative or the newspaper.Calligraphy may be used as a very amazing tool to be sure to maintain its glorious existence when beautifying our wooden-wares. Devanagari script can be used to incorporate the native feel of the message that was depicted.There was a time in which Roman Calligraphy was limited to portray the Christian spiritual sayings and quotations. The Roman Calligraphy has gradually become the symbol of westernization and modernization. The roman letters can be used to depict the ancient and royal type of modern wooden-ware art.Calligraphy is a kind of music not to the earsbut also for the eyes." (V. Lazursky)Actually, almost all the monuments of that time were decorated by carving and inlaying that the calligraphic form of texts into them. It arrived from mausoleums and palaces to home decor and slowly achieved the image of royalty and is being recognized as piece of decoration from the modern and royal manner.Beautiful bookmarksHome decoration ideas for vintage and shabby elegant livingSHOP GIFT TAGSIt does not just have to be assessed that adorns present tags - fragile drawings operate equally well too. Better in pencil and ink. Hang them from empty hooks to include interest and intrigue !Calligraphy decoration gift tags with specific dates Calligraphy gift label with classic home decor Adding a significant date to your gift tag will serve to jog the memory also may be set on picture frames showing family photographs or artworks of a favorite location. Consider tying three or two tags together with a place, a date and a quote to tell a tale and remind you.This one being restricted to ancient and royal architectures is now making a brand new comes back in modern Calligraphy wooden-ware decor styles, let us investigate it.Calligraphy having an artistic depiction of almost any human language was mostly practiced during Chinese civilization. Like lots of other arts calligraphy is totally inspired by character. In any script even every dot, every stroke, depicts the kind of a object that is natural.Roman Calligraphy wooden-ware Art Place settings There are loads of regular and modern options when it comes to wooden-ware decor. Patterns, landscapes photos and carry excellent aesthetic value and sculptures are all contemporary.Maintaining a scrapbook is a lovely way to store photographs and mementoes of a vacation or special event. Cut-out articles ticket stubs and postcards all can be gathered and tagged for prosperity. Whether you produce a collage which may be framed and put on display, or anything more personal, hand lettered present tags will tie it all together. They've so a lot more applications than just being added to a gift wrap. And if you are provided a gorgeous gift tag which you just can't bear to throw off (and why should you?) You might like a few of those ideas. They will add your home in no time and some chic appeal until you really have to admire the gorgeous calligraphy.These small hanging decorations can include some meaning and attention to your decoration easily and immediately. No matter how small your area you are able to add a certain je ne sais quoi and handmade loveliness.Special datesMore will be moreHand lettered scrap booking gift label accessoryThough using calligraphy gift tags as home décor is only a little touch, it will add effect, albeit in a subtle manner. Whether they are personalised with calligraphy of whimsical word your quote or a drawing that is quaint, their royal presence will probably be enough to make layers of significance and attention .We will recount a comparatively old but crucial aspect of wooden-ware artwork.For adding finishing touches filled with charm to your table configurations these calligraphy name tags perform wonders. They look lovely if you're hosting a formal dinner or afternoon tea party. They are guaranteed to please and could be taken home by your guests and valued as a reminder.I don't know about you, but I am a fan of faffing and making things look quite. Foraged and give me a few objects locates to arrange and I am happy - much more happy when a there is a label. Style it with your favorite paintings onto a shelf or tray on a desk. I can't resist tea cups, blossom hearts along with French glass vases folded from old novels. Indian Calligraphy Art India being an area of many languages has diversity of this artistic direction of writing. Sanskrit is among the most ancient languages. Of duplication of texts, it was used Within this language the craft of calligraphy has served many purposes because its starting in 2nd century BCE.Calligraphy novel mark with beautiful quotesInsert some fairly and functional organisation by minding these sweet and small tags to cloth storage bins using a safety pin or tying them onto wicker baskets functions as well. Whether it's storing bottles or pegs from the laundry area or makeup in the bedroom, you will know where things are without needing them. Sometimes a line of poetry or amusing words out of your favourite novel are worth watching regular in addition to making a thoughtful gift for a bookworm. Two of my favourite things and one wonderful combination AND fairly, practical.Roman wooden-ware CalligraphyWhy don't you blend a hand-lettered tag to some plant stem or around the grip of a jug of flowers to allow them to sing much more. A couple of words written on will probably be sufficient. Alternately, fill an empty jam jar with flowers cut from the garden, wind some many times around the rim and then add a gift label. It's the tiny changes which make the biggest differences here.Vases of flowersArabic Calligraphy wooden-ware ArtYou could use two or one of these gift tag thoughts or scatter the appearance around and decorate your living space. The best bit is, it's really easy to achieve, have the benefit of being timeless and will make daily beautiful. Japanese is one of popular language for tattoos nowadays. However, we can even use calligraphies composed by brush the place of honour of the house, in the niche Tokonoma. There are numerous choice calligraphy (Verses, Poetries, Sayings and Independent Kanji) for various seasons. In Indiait could be customized to alter calligraphy decorating as per our style suits. Calligraphy tags for storage in the laundry areaCalligraphy quotes make beautiful keepsakesQuote, candy-jar .

[phantomtutor]

Research Paper Assignment: 8- 10 pages Topic - Indigenous Knowledges Information:The time frame for this project is Before 1900.  Students will articulate how and why attention to a particular portion of research is important, how they can connect the research to what is being learned in class and critically engage with the material they discover.In order to complete this assignment in a timely manner, it is important to start out by reading the unit(s) affiliated with your topic from the course materials.  From there, you should complete some outside research using acceptable primary or secondary sources.  A strong way to structure your paper for this course is to include an introduction that catches the reader’s attention, discusses what will be discussed in the paper, and includes the thesis statement.  Following this, the body paragraphs should follow an understandable structure that includes the research you completed and shows a strong understanding of the content.  Finally, the paper should end with a conclusion that summarizes the material that was discussed and ends with a strong concluding statement.  Some recommendation for how the paper should be completed are included below.- Provide minimum 5 sources (per the Research Outline Assignment) including; 1 Journal Article (online or physical copy), 1 book reference other than your textbook (online or physical), 1 Government document (electronic or physical copy) and 1 report from a private organization (electronic or physical copy). NO Wikipedia, Encyclopedias, or dictionary sources. News articles may only be supplementary material and do not count towards the 5 sources. Personal communications must be documented adequately. - Essay must be double spaced in 12 point font, Times New Roman, and 1 inch margins. Length requirement does NOT include the title page or reference page(s). - Analyze the research they have gathered and the points discussed in sources. In order to support your arguments, you MUST use correct APA or MLA citations for both direct quotes and paraphrasing. - Pages will be numbered in the top right hand corner. - No abstract necessary. - Title page MUST have a Running head as well as: The title of your essay, your name, the class code (NATV 1220 and section), and the due date of the Assignment. - Avoid the use of contractions (EG: Don’t should be written out as do not) and avoid Colloquial language (IE: “This is a thing”, slang terms, phrases such as “Pass the Buck”, or idioms like “It’s raining cats and dogs”). - Be aware of your spelling and grammar.A rubric has been provided that shows how the assignment will be graded and how many points each aspect of the paper are worth.  It is immensely important that you cite information that is not common knowledge.  Copying and pasting information from other sources is not an acceptable way of completing your paper.  When using the words of another person directly, including quotation marks as well as an in-text citation with page numbers, if applicable.  Paraphrasing another author’s information is acceptable, however paraphrased information also requires in-text citations and page numbers are a very good choice when including a citation, however they are not always mandatory.Book - Dickason, O. P., & Newbigging, W. (2019). Indigenous Peoples within Canada: A concise history (4th edition). Oxford University Press.

[morris-magus-merry-miller]

Chapter 1: Explosive Beginnings

The day began like any other on the road. I was of course upon my trusty steed, Nathaniel, as we made our way on what was to be our greatest venture yet. For you see, I had decided to undertake the most perilous journey across the desert to find the Undiscovered Realm.

Only one teeny tiny little problem stood in the way of myself and my dear companion Nathaniel…we were lost. Horribly, terribly…lost. Not a speck of sand in sight. In fact, quite a few trees instead. It makes sense, since the town we were approaching was called Dualwood.

Oh and there was a mountain. Hard to miss the mountain. Big old thing. The guard at the front of town called it “Mt Terminus”. It’s supposed to be some sort of big important proving point for adventurers. A big important dangerous deadly proving point I had no intention of going near, for you see I already had my own important dangerous and daring quest to venture forth upon, so I hardly needed to add a mountain to that. I was certainly not afraid. Just because the mountain is huge and high up. And supposedly there’s two-headed banshees and other such terrifying monstrosities lurking in wait for the next adventurer who willingly walks straight into their jaws of defeat. And the town guard make regular journeys to clean up the bodies they can safely retrieve…

 …Note to self, maybe edit this part before the final draft…

Note to self 2: less fear, more Big Adventurer Gusto

Of course, flying off course wasn’t going to put a damper on my mood. Oh no. So I found the most lovely bakery in town, ordered some local delicacies which I absolutely whole heatedly suggest if, dear reader, you ever pass this way. Splendid woman, and her bear claws are to die for. Only maybe don’t word it like that, since this town takes that kind of terminology quite literally what with the giant killer mountain looming above them every moment of the day and all that.

With a full belly and a new spring in my step, I stepped I strode boldly into town to find someone with the know-how to point me in the direction of the nearest desert so that I may truly begin my grand adventure to the Undiscovered Realm.

And there, in the center of town, I met a man of great wisdom. He was clearly a storied and well-traveled adventurer himself, for he wore the most splendid dress. Colored in majestic bright hues of reds and oranges, with a grand hat to rival even mine atop his head. It even had not one, not two, but FOUR bells upon each of its grand little horn-like protrusions. He was granting his wisdom in the form of riddles that I didn’t much understand. “Urgathoa? I hardly knew her!” Why and how would one know the Goddess of Undeath? Unless he was himself a zombie…he didn’t look it but you never know these days…

My ramblings aside! I spoke with the wise gentleman, asking him if he knew where the nearest desert is. He seemed to be under the impression I was sent by some guild or another. Perhaps, recognizing my adventuring gear, he believed me to be from the same adventurers’ guild as he? But alas, I am very much a lone wolf upon this adventure, taking to the road with none but Nathaniel for company. It’s a lonely life, especially since Nathaniel can only be summoned for about six hours at a time. But that is the lot in life of an adventurer, and so it is my burden to bear until I have reached my grand journey’s end.

Anyways, the wise man of many bells pointed me in the direction of a nearby temple. There he believed the learned clerics and holy travelers who pass through may be able to grant me guidance in my travels, and return me to my rightful path to the desert, and the mysterious land that lies within it.

 Within the Temple (mysteriously named “The Temple” and even more mysteriously with a sign out front that said, and I quote, “‘Clerical’ services available”. How ridiculous is that? Nobody will believe you’re providing clerical services if you put it in quotation marks as though it is a front for something!)

Author’s note: Oh my Shelyn I think it was a front for something.

 Within the Temple, I met with a grand group of lovely adventurers. There was Miss Candy, a bright and cheery human chef who also on an unrelated note looks like she could break me in half. Snap me like a twig. Probably with just her legs.

Oh dear this is starting to sound like a sex thing. Note to self, do not ever describe it like that again.

There was Miss Candy, a bright and cheery human chef with a love of pink and a surprising talent for kicking things to death. There was Sir Vigo, a mighty and powerful goblin wizard with a knack for fire and animals. Strange combination to be sure, but it works for him. Speaking of animals, there was also Issac, a druid half-orc who is so tall I have not actually gotten a good look at his face. It’s just way up there in the sky somewhere. But of arguably greater import, there was his companion, a bear named Peanut. And I do mean a bear. A literal black bear, just hanging around inside the temple, gentle as a dog. He and Vigo had a rousing conversation, although I know not what about as I cannot speak bear myself, but it would seem the magics of the universe granted Vigo such an ability. Where was I…? Oh, yes. There was also John Smith, a human many years my senior who I suspect has lived a very storied life, although he has not let on just what that story is. He said some rather off-color things in our first meeting, but I do believe there is more to this gentleman than meets the eye. (Not that I can easily meet his eye either, while he is not so tall as Issac, he is a human which generally means ‘much taller than even a really tall halfling’, and I am not a ‘really tall halfling’. I am ‘a very medium halfling’)

Here we met one Cleric Ringwald. Although the more she said, the more it seemed like cleric was an overstatement. She said she worshiped something called “The Creator”, and that the only magic she could do were some simple tricks like magic missile…which looking back, I don’t believe is even a divine spell! Regardless, she told us of a rat problem they were having, and since we were all clearly of the adventuring variety, she wanted to offer us some money and five magic stones to clear the rats out. Only it turned out quite quickly that there weren’t REALLY rats in the basement. Oh, no. When pressed about some rather odd choices in her inflection, she admitted that the creature in the bowls of the temple was a mass of slime, gore, limbs, eyes, and mouths.

For those familiar with earlier works in the M Merry-Miller collection, you may recognize such a description. In Night of the Hallowed Moon, the brave sorceress Emilia faced off against a similar such creature. A gibbering mouther. Disgusting creature in person, I must say. Its sounds alone were enough to make me wish I had not eaten just before hand.

We made our preparations. The grand team of newly acquainted adventurers burst forth into the room, where the beast awaited its demise. As a mysterious fog began to fill the room, the adventurers rushed forward, ready for what was to come.

The fog was, by the way, an ingenious ploy by dear John, who used it as a means to protect us all from the creature’s attacks. Unfortunately it also meant that hitting the creature was a bit more difficult—the fog was, after all, quite difficult for us to see through as well. But for all I know he may well have saved Miss Candy’s life, as the creature tried and failed to bite at her a number of times.

Knowing from past research that this creature would not be affected by my magical talent, I went for the next best thing. A crossbow. With a steady breath despite the (rather cigarette smelling if I’m being honest) smoke, I took aim, and infused my bolt with a nice little punch of my arcane magics. I fired with a flourish, and while I feared from the fog and the creature’s writhing that it would not strike, it struck true, sticking into one of the creature’s many eyes. There was blood everywhere. It was horrific, quite frankly.

Fortunately, Vigo used that moment to slip in closer to the writhing monstrosity. With a shout of some clever words (note to self: think of clever one-liner since he didn’t say any at the time), the feared and powerful wizard evaporated half of the creature’s body with a single lightning strike.

 And this is when things started to get out of hand.

As my gallant companions went to check on a hole in the floor that seemed to be how the wicked beast had entered this fair establishment, there was a commotion outside. Myself, John, and Candy were nearest the door at the time and went to investigate. We found Cleric Ringwald packing in a frenzy within her surveillance room. She tossed some coin to her acolyte Amelia (a skittish elven woman who had apparently directed some of the other adventurers to this location) and told her to get out of town.

Ringwald turned to us when we entered and told us the same, to get far away from here. She tossed us the magic stones she had promised as payment, and said that ‘if we survived’ she would pay more for further services if we met her in Port Town. Then she cast some rather powerful magic on us which made each of us feel revitalized, and she disappeared in a flash of awe inspiring arcane might the likes of which I had never seen.

But oh, I was about to see so much more, dear reader.

You see, I mentioned we were in a surveillance room, yes? By that I mean a room with a number of scrying mirrors which all permanently showed different sections of The Temple. And into the front room stepped a man. I say a man loosely. There was something off about him. He looked like a man, yes. A man with black hair, purple eyes, and robes depicting the butterfly of Desna—which my companions later revealed was a glamour, for it actually depicted a dragonfly symbol of some unknown origin. The reason I question if he was truly a man in the traditional sense was a strange segmentation in his hands at the joints. At first glance it could be mistaken for scars, as one of my companions later stated. However something about them was off. It was less a scar in the skin and more actual barely noticeable separate segments. While my genre of choice is not science fiction, I have read my fair share, and it brought to mind stories I had read in the past of humans created from technology and steel rather than flesh and blood. I know, I know, it sounds crazy. The closest thing we have to such a thing are golems, and they are never so realistic to be mistaken for a living breathing creature. How could such a being truly exist? Quite frankly, dear reader, I know not. But I do know his power was beyond the natural order. We were about to see that first hand.

 The man walked into The Temple’s entry, calling out to Ringwald. He just wanted to talk. Don’t make this harder than it needed to be. She had forced his hand. He began scattering orbs about, while humming a tune I’m unfamiliar with. John tugged at Candy’s sleeve and insisted we had to go. Now.

“Why?”

“Those are delayed fireball charges. He’s about to bring this entire place down!”

We ran, making a beeline for the hole in the basement, which we hoped would lead to safety—or at least shelter from the explosion that was to follow.

Candy quite kindly carried me, Peanut, and Vigo with her much faster legs. We leapt down the hole, and followed a tunnel that led to a ladder up. Looking back, that’s rather strange. I wonder if someone planted that gibbering mouther in the first place. But at the time we were far too busy running for our lives to think of such things. Candy practically flew up the ladder, along with John who was in a mad dash to get back to the stables. It would seem he had paid a stable hand to watch over his daughter while he was in town buying supplies, and he needed to get to her in case the explosion reached that far. Once we made it back above ground Vigo, Issac, and Peanut went with John to check on the stables, as Vigo’s trusty mount Gordon the Ram was stabled there as well.

This left myself and Candy to see when the mysterious dragonfly man descended from the exploding Temple and to the center of town. A storm had whipped up, with a fury of thunder and lightning positively cracking open the sky—but no rain to join it.

The man was chanting in tones that I recognized as Celestial, but I am unfortunately not well versed in that language. However it would seem John was. Over the magical stones his voice spoke to the rest of us, and he told us that the man was about to do something terrible to the entire town, and to get out of there.

Candy had other ideas.

With me still upon her back, she ran at the villain. She leapt forward, posed to kick him and interrupt whatever terrible spell he was weaving.

The storm grew more violent, the clouds swirling and turning an unnatural pink hue. Then everything went black.

 And then we woke up, on the ground before an empty town square. It was dark and silent. The stars were above us in a clear night sky, but the stars didn’t twinkle. Birds and butterflies were frozen in place in the air. There was no breeze, and the grass beneath our feet remained static with each footfall, frozen into whatever shape our feet pressed it into. The people in town were equally frozen. Not a breath, not a blink between them. Candy and I were the only ones in sight still moving.

We made for the stables, where we knew our fellow adventurers had gone. There, they were moving as well. But John’s daughter was not: frozen in a moment of fear, with the stablehand shielding the young child from harm, equally frozen. Somehow Vigo’s ram Gordon was fine, still moving and ‘baa’ing as a ram should.

We tried to brainstorm why we were able to escape the effects of this spell, which the more magically inclined members of our group identified as a potent mixture of a Stasis spell on a massive scale and Miracle—the most powerful of powerful divine magics. The best we would think of was that whatever spell Ringwald had cast upon us had also protected us from the spell that had otherwise pulled an entire village out of the natural flow of time.

As if to prove our theory, Ringwald’s acolyte Amelia pulled herself limping from the nearby rubble of the Temple, the only other person we’d seen in town left unaffected besides ourselves. She needed a moment to catch her breath, so we continued to brainstorm while she did.

Vigo wanted to climb Mt Terminus, believing the treasure at the top would be necessary to make us powerful enough to face the monster who had done this. Issac was in disagreement—he’d been living in this town for months, and had seen first-hand how deadly that trip is. According to him only one single group of adventurers had ever reached the top and lived to tell the tale, and they were the best of the best. Our inability to face this monstrous man was proof enough that we would die upon the peaks of the mountain long before we reached the treasure—and with us, all knowledge of what had happened in town. The rest of our band of adventurers believed that tracking down Cleric Ringwald would be the ideal next step. She seemed to have some mysteriously powerful magic of her own, and a history with this individual. Vigo wasn’t happy with this plan, as it might be putting us right back into the line of sight of the man whose magic broke the natural order.

Issac was finally able to talk Vigo into it, promising to join him on venturing to the top of the mountain after we got Ringwald and unfroze the town. None of us had any intention of facing this man again if we could help it—except for possibly John, who sounded rather keen on punching him in the face. I can’t blame him, his daughter is on the line after all. I can think of a few faces I find rather punchable myself that would probably come back to bite me afterwards. But that’s neither here nor there.

Once it was agreed we would head to Port Town to find the cleric who may or may not really be a cleric, who has some connection to the man who may or may not really be a man, Amelia asked to tag along since she had nowhere else to go. We happily agreed. While we prepared to set out, Amelia showed us how to use the magic stones—called the Stones of Far Speech—which we could use to talk to each other from a great distance, as John had done when trying to warn us about the dragonfly man’s spell.

On our way out of town I summoned Nathaniel, ready to head back out onto the open road—this time with a number of companions and a new destination in sight. It wasn’t quite the adventure I’d been looking for, but it appears adventure found me none-the-less. And really, isn’t that what being a daring adventurer is all about?

(note to self: you used ‘adventure’ 3 times in 2 sentences, find some synonyms before the final draft)

[fiddletwix]

A Guide for Navigating a World of Rumors for the #SaveDaredevil Campaign

Hey #FandomWithoutFear! It’s been almost a year now since the #SaveDaredevil campaign started, and I thought I’d do a brief PSA to help save your sanity as we enter the second half of our campaign. I’m talking about rumors.

Over the past year, we’ve heard piles and piles of rumors, some causing chaos, others causing despair, some even being really strange and confusing. In fact, our campaign was basically born into a world of rumors as we’ve been combating the ‘The shows are going to Disney+’ rumor since the instant it was canceled. Only recently have we been mostly freed by that one thanks to D23 releasing their starting lineup, but we’re still seeing it.

Giving into rumors can be a trying experience, especially considering our current situation of Marvel being unable to tell us almost anything about the NMCU properties until the two year clause is up and them being tight-lipped by default. However, there are ways of avoiding rumor rabbit holes and the emotional turmoil they put us through.

Before I start, I’d like to point everyone out to #SaveDaredevil’s official website and FAQ. It is loaded with everything we can say for certain about the status and future of Daredevil given the information that has been confirmed by official sources so far. We even have screenshots and citations.

#1 – Encountering the Rumor

So you’re out in the wilds of the Internet and come across ‘news’ about Daredevil. As mentioned previously, simply the fact that there is ‘news’ is enough to raise a red flag. Since everything is on the hush-hush, there’s an 80% chance the ‘news’ isn’t valid right off the bat.

But let’s say there seems like there could be some validity in the claim. Worth investigating further.

#2 – Beware of Clickbait

Websites love dem clicks, and they know the Daredevil fanbase is filled with people who are yearning for news. Many websites will either make up or perpetuate rumors to fill a video or article and then slap a misleading title on it to go fishing for cursors and their precious left-clicks.

While some clickbait is painfully obvious from the getgo, some is harder to discern. The rule of thumb here is that, if it seems too good to be true or if it feels like something that could be molded out of existing knowledge, it’s probably best to avoid it.

Also be on the lookout for words and phrases like ‘Could be’ and ‘Might’ as they are almost always indicative of opinion pieces/rumor mills than actual news.

Reputable articles will commonly headline with a source of a quote, such as ‘said (name) (some important position) at (Marvel or Disney)’ but even those can be misleading, so beware.

#3 – Check the Website Before Clicking

You really, really want to click the link no matter what the title says. Understandable. But before you turn that blue link purple, let’s see where it came from.

Another way you can discern what is likely a rumor from what could possibly be legitimate is by checking the source of the link. Sites like Cosmic Book News (That’s not a typo, that’s the name of the website) and wegotthiscovered are some of the better known rumor mills, but if you’re unsure about the reputation of a site, ask around. However, sometimes the only way to know if a website or news source is reputable is by investigating the content of the link.

Which leads us to….

#4 – You’ve Clicked the Link. Now What?

A few things you should be on the lookout for while investigating the page before even reading the content are the author of the article or creator of the video (if one isn’t listed, that’s a red flag in itself), how professionally made the website looks, the date of the article/video posting (the more current, the better) and how well-written the article is overall. Poor grammar, punctuation and formatting can all be red flags to misinformed or false content.

Sensational graphics, such as pictures with red arrows, circles or obnoxious text – this applies to the video if there is one – can also be an indicator of less than legit sources. Overly produced videos and graphics have become quite common as they are attention grabbers, but they don’t exactly give off the professional air that more legitimate websites and content creators strive for.

Fair warning, while a good chunk of rumor articles are fairly short, many rumor videos can be insanely long because longer videos can have more advertisements crammed on it, which means more money.

Longer videos don’t instantly mean legitimate information. In fact, outside of opinion pieces, many ‘news’ videos will regurgitate information we already know about and go into length about that to extend the video’s run time. Even if you’re only in it for opinions, a significant portion of the video could be padding.

You don’t necessarily have to watch the entirety of the video (or even read the entire article) to tell if it’s spouting nonsense or not. It’s a good idea to do so, but in many circumstances the writing is on the wall within the first paragraph or first few minutes of the video.

They jump to conclusions based on something that is entirely unrelated. They add the could be’s and might’s to the content, instead of the headline. Or they accidentally show their rumor hand by saying the dreaded words ‘I/We heard...’ or even ‘rumor has it.’

Some writers are also tricky about their wording to get you to stay the entire way through by ending the article or video with ‘but this is all speculation. We won’t really know until (blank)’

If the author seems intent on getting you to believe this is all fact and the red flags aren’t quite visible to you, there are still options to explore.

#5 – Read/Listen Carefully

Some writers are particularly good at twisting words around to suit their needs. Even direct quotes can be manipulated in their favor. Read the article or listen to the video host very carefully. Take note of context. Be wary of anything that doesn’t mesh with existing knowledge. You may also find that the content contradicts itself sometimes. If things seem fishy to you, your instincts are likely right.

#6 – Who Else is Saying This?

Daredevil news would be huge, and anything even slightly confirmed by official sources would be plastered on a plethora of news sites so quickly you’d think they were announcing their first born child. When you’re first out the gate, you tend to get the most clicks. However, reputable news sites, as you can guess, want to stay reputable, and jumping on rumors isn’t going to be helping them maintain that status.

Do a quick Google search for the main news item in the headline. Using quotation marks on specific phrases used in either the title or body of the source can help narrow things down.

If there are no very recent news articles from several other websites (Let’s say five or more) containing similar news, it’s probably false. If the initial posting is particularly recent, wait a few hours and do another search. By then, the reputable news sites would certainly have something out if it’s true.

#6 – Cited Sources: They’re Not Just for College Papers

Some rumors do get out of control, however. False information can spread like wildfire, and sometimes reputable news sites make mistakes. One thing can still save you from falling into the rumor rabbit hole – cited sources.

They don’t have to be as meticulously formatted as they have to be for college papers (though that does help!) but having quotes from officials within Marvel or Disney (with context and notes about when and where this quote was said) and links to information sources mean the world when determining if ‘news’ is actually, well, news.

Like before, even if the article does cite sources, that doesn’t mean much if the source itself isn’t reputable. IE, you may want to use Wikipedia in your term paper, but your teacher won’t let that fly. Check out the links and double check the quotes to be as certain as possible.

Also, if something simply says ‘sources claim’ without giving actual….ya know...sources, they probably don’t have any. Or, if they do, they’re not reputable.

#7 – This Random Youtuber I Like Said This, That and The Other Thing

This is cropping up more frequently, so I thought I’d include it. Just because you like a Youtuber doesn’t mean they’re always right. It’s not even a matter of calling them a liar – many times these people are just misinformed or fell down a rumor rabbit hole themselves.

Dealing with people who are saying this to you is difficult because they’re frequently too blinded by their liking of the Youtuber to listen to reason. All you can really do is explain to them what I’ve explained above and direct them to the #SaveDaredevil FAQ.

#8 – Dealing with The F Word

Another problem that has been frequently popping up over the past several months is the F Word: Feige.

A rumor that has been unavoidable since practically the instant Daredevil and the other NMCU shows were canceled was that the properties would inevitably fall into the hands of Marvel Studios president, Kevin Feige, and DD and The Defenders would be in the MCU after the two years is up.

Feige has never spoken a word, post-cancellation, about Daredevil or The Defenders futures, and for all we know he has no role in their futures considering they were originally with Marvel Television. However, so many people seemingly believe bringing up Feige is enough to confirm or deny all things speculation about DD. Some won’t even humor the idea of DD going anywhere else but Feigeville.

Like with the Youtuber fans, it’s hard to reason with people who seem to hardcore support Feige in everything involving Marvel, and dealing with them is about the same. The main cannon you have in this situation outside of the norm is that, as stated before, Feige has said nothing about this, so they don’t really have sources to cite here, leaving everything up to speculation.

Let me clarify that, if you’re of the opinion that Daredevil should be in the movies, that’s perfectly fine. Everyone has their own opinions on what they want for Daredevil’s future, even if the #SaveDaredevil movement has made their own hopes and views very apparent. However, the story of Daredevil’s does not begin and end with Feige and it shouldn’t be treated as such.

#9 – Scooping the Inside from the Outside

There have been a couple of people, won’t be naming names, in the past year claiming they have the inside scoop on this matter because they either are on the inside (IE an employee at one of the companies involved, such as Netflix, Marvel or Disney) or they know someone who is.

These people may very well have inside information that they’re willing to share with us, but the problem is which information is valid and which isn’t.

The ‘insiders’ I’ve seen seem to work on a system very similar to an old fortune-teller.

Fortune-tellers have a habit of predicting something that they know will come true because of something else they knew ahead of time or just getting lucky on an educated guess. If they’re right enough times on little things, that gives them all the validity they seemingly need to prove they’re right about anything else they claim. They will likely be wrong on numerous occasions, but it’s when they’re right that gives them power. They’ll also likely contradict themselves and double-back on things they’ve said in the past to make it look like they weren’t wrong when they were.

Problem is, you don’t know who these people really are, what role they have in whatever company they work for, if they do, or what relationship they have to whatever insider might exist.

They might act like they have the insider knowledge of a high-level executive, but, in reality, they may actually have the bare bones knowledge of a lower ranking employee or just hear stuff around a water cooler and build off of that information. It’s impossible to tell because they don’t say out of fear of being fired or otherwise getting in trouble with one of the aforementioned companies.

That’s also where the difficulty in discerning fact and fiction/opinion with them comes from. We’re all outsiders and any actual known insiders can’t give us really any information. Debunking them or confirming what they say is incredibly problematic given the limited information we have.

That’s not to say there aren’t people out there who pay a lot of attention to what these people say over time and analyze their statements heavily to see if they hold water, especially if it contradicts something they’ve said in the past. I said it was really difficult to discern fact and fiction with them, but it’s not impossible. When you’ve exhausted every other option with these ‘insiders’ the only thing you can do is wait and see if they’re right or wrong.

It’s been my experience (and this is my personal opinion right now) that it’s best to just ignore these people altogether. They never seem like they have good intentions with their info sharing, no matter if their information is accurate or not. They always seem like they want to make people in the fandom angry or sad with their ‘inside scoops’ then eat up all the special attention they get as a rare person ‘on the inside’ that will actually talk with the masses about the subject. Nothing good tends to come out of hanging on the words of these ‘insiders.’

#10 – Avoid Confirmation Bias

For every ‘news’ source that claims something negative about Daredevil’s situation, there’s another that claims something positive. We, as fans of the show, want to believe the more positive stories that are released while also wanting to combat against the more negatively slanted pieces.

While this is entirely understandable, it’s also very biased. It’s great to have hope and not let the negativity get to you, but allowing yourself to more easily fall prey to positive rumors may set you up for a fall. It’s difficult, but you have to take the blinders off.

Staying objective is important in both ensuring that you get the most valid facts and keeping your emotional roller coaster from going off the rails. Even among less than positive news alerts, we have had many nuggets of actual validated hope spring up consistently, and there’s a good chance we’ll get more down the road, so don’t get discouraged if you find some positive rumors turn out to be just that – rumors.

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As a final note, remember that the community is always here for you to both discuss any ‘news’ that comes up, dig out the real facts, and help get you through any struggles you might be having with campaigning. We’ve taken our share of hits, but like Daredevil, we keep getting back up. #SaveDaredevil has already made it nearly halfway through the two year wait with tons of support, positivity and legitimate good news. Together, we can take on the second half even stronger than before.

We can #SaveDaredevil. We’re #NotGivingUp.

[thanksjro]

Eugenesis, Part Six Scene Six: Jolup Sinks Rewind’s Ship

You sure as shit have, sugarplum.

It’s time to get the down-low on everyone’s favorite severely-depressed detective.

So, hey, remember waaaaay back in Part One, when Nightbeat used his deadname to sign a report accidentally? It’s okay if you don’t, because I sure did.

God, that was ages ago, wasn’t it? Anyway, that string of numbers is his biocode, which I guess sort of functions as his social security number. So, if any of y’all wanna go ahead and steal his identity, I’m not gonna say anything.

Now, that’s a mighty low number for a Transformer. Strikingly low, even. Turns out that Nightbeat wasn’t biomorphically created, but rather cold constructed. Cold construction as a term didn’t exist within the canon when this was written- trust me, I checked. Sure, robots were built, as opposed to bursting from another’s torso like an over-microwaved hotdog, but they usually turned out like the Dinobots… that is to say, not exactly smart.

Cold construction was an experiment, trying to build Transformers outside of the messy lines of “genetics" and “family lineage”, and as it turns out, the first batch didn’t come out as expected. Or, at least, Nightbeat didn’t.

Hey there, friends. Just a head’s up, before I try to tackle this: I am, as far as I’m aware, neurotypical. With that in mind, let’s take a look at what may be an honest attempt at inclusion for a neurodivergent take on a character in a story published in 2001.  

Now, some of these snippets look kind of harsh at face value, but let’s take a closer look. Everything harsh isn’t really Nightbeat putting himself down, but rather him quoting what others have said. Notice the use of quotation marks. Think back to Part One, how he was treated by his peers- they treat him like everyone else, they respect him, they trust his input. Hell, Rodimus himself wanted Nightbeat on the mission to go get Optimus from the past. Nobody who’s been in the story has tried to belittle Nightbeat for being wired differently. That’s fucking phenomenal treatment of a character like him in the early 2000’s.

I’m probably out of my depth here, but it seemed worthwhile to mention.

Anyway, back to the plot.

Right, that.

Nightbeat gets pulled out of his inner monologue when Red Alert asks if he’s okay, since he’s been staring off into space for the last little while. They’re still waiting for Optimus to show up, and everyone’s starting to get antsy. It’s hot as hell over by this collapsing wormhole, which isn’t helping them settle either.

Something finally comes up over the horizon, but you and I both know that it wouldn’t be Eugenesis if things just got on smoothly, now would it? Quantax starts firing on the team of Transformers, while he gets nervous about the wormhole still being there. He decides that if it is, he’ll jump back to this exact point in time to show himself that it is. This is a stupid plan, for a lot of reasons. 

Good idea, Quantax.

While he’s trying to come up with something better, someone lands a lucky shot and takes his ship down. Trailbreaker goes to see who it is, I guess because he isn’t aware of what happened the last time a Transformer went to go see Quantax.  

Oh no, he’s been turned into The Transformers The Movie Prowl!

Before anyone can try and save Trailbreaker’s stupid ass, the Quintessential Flying Fucks show up. Nightbeat’s not having it- he orders his team to take them down.

The Quintessential Flying Fucks are here for the wormhole as well, but they’ll be taking out the Autobots beforehand. While everyone else handles the Fucks, Nightbeat chases after Quantax, who just bolted for the temple.

Nightbeat catches up and tackles him to the ground, only to get himself pummeled for his efforts. As the blows rain down, Nightbeat tries to reason with Quantax that the wormhole is dangerous and shouldn’t be tampered with. Not sure why he thinks this would ever work, but alright.

Quantax, pal, do I have some friggin’ news for you.

Quantax pulls out of Nightbeat’s hold to hide in the shadows, only to jump out and slash him once he gets close enough.  

I hope nothing bad happens to Muzzle here. I feel like Nightbeat really would snap if that orb got broken.

Trying to buy some time, Nightbeat tells Quantax about the futility of trying to change the past, the future, simply because it’s all already laid out, and has been from the beginning. Quantax doesn’t take the jab well, jumping out at Nightbeat again and stabbing him in the stomach, spilling his guts. Nightbeat uses the slump of his body to topple the both of them into the hole in the floor.

Outside the temple, Centurion’s wondering just how the fuck he’s still alive. Jolup’s got him by the throat, his legs have gone AWOL, and he honestly just wants to go home at this point. Jolup’s about to drop the poor guy in a conveniently-placed pool of lava, when Optimus finally shows up.

He, Thundercracker, and Astrotrain- who I’d legitimately forgotten was in this novel- are all pointing their weapons at Jolup, and demand he put the cinnamon roll down and back away slowly. It’s a sweet gesture. Too bad Centurion’s already dead, though.

With a grand, villainous flourish, he drops Centurion into the lava, where he promptly explodes, then flies off for the temple. Astrotrain pursues, as Optimus orders Thundercracker to find Nightbeat and get back to the eighties.

Sevax is in the middle of a scrape with Hound, about to be shot to death. Looks like it’s all over for this son of a gun.

Or not. Man, there goes Rewind’s weird coworker ship. Too bad, he’d already written a huge chunk of his slowburn Ultra Magnus/Hound coffeeshop AU slashfic.

Jolup tells Sevax to slap a bandaid on it and get ready to go while he goes and grabs Ryknia.

Back inside the temple, Nightbeat is clinging to Quantax like his life depends on it- because it does. They’re both hanging off the edge of a hole that’s filled with molten lava. Quantax pulls himself up with his very strong arms, just in time to stand up and immediately be shot back into the pit. Nightbeat dares to dream a dream almost too beautiful- that Optimus is here to save him, like the romance novel protagonist he is!

No such luck. It’s just the Quintessential Flying Fucks. But how did they shoot Quantax? Didn’t he make that impossible? Good thing they dragged Trailbreaker along for the ride, and also good thing he’d managed to keep hold of his gun. Loopholes are fun.

The Fucks run for the wormhole, and all Nightbeat can think to do at this point is stand in front of it and hope for the best. Or maybe the least worst, in this case.

But… but the lore!

Nightbeat gets them with the device as they go through the portal, thus wiping everything from their brains and assumedly dooming them to a short, brutal loop for the rest of time. Thus the plight of the Quintessential Flying Fucks draws to a flaccid and confusing close. I had a feeling this might happen. I was hoping it wouldn’t, though.

Thundercracker soars through the wormhole next, and Nightbeat manages to hit him with the mindpurge just as he crosses the barrier. He’s not even sure if it’s working anymore at this point.

Then Optimus gets there, and it’s time to take him back. They hold hands, click their heels three times, say “there’s no place like home”, and step into 1984. Optimus stares at the collection of almost-dead robots on the Ark, not really feeling the scene, as Nightbeat blathers on. He offers to let Optimus keep his memories of 2013, so he can try and prevent his own death. Optimus… well…

And then he gives Nightbeat a gun and tells him to shoot him until he’s basically dead. Which he does, once the guy’s had the entirety of the last few days scrubbed out of his head. There’s an actual reason for this, though I won’t lie, I kinda freaked out a little when I first got to this part. In order for Aunty to reformat Optimus into his fresh new Earth bod, he needs to be injured enough for the scans to pick up. While this is happening, we also get an explanation for why the 1984 Decepticons got reformatted too- the mindpurge dropped and rolled under the counter while Nightbeat was busy murdering his celebrity crush, and wiped the entire history of the war out of the ship’s database. Now it didn’t see Autobots and Decepticons, but rather just a whole slew of injured robots. So if we want to end prejudice, what we need to do is mindwipe our cars and then shoot our dads in the chest. Gotcha.

And then Mount St. Hilary erupts. Time to go.

Back in 2013, Astrotrain’s been reduced to being transportation, as he always is, and the team’s watching the wormhole cook the atmosphere around it from a good fifty miles away. Fun fact, the curvature of the earth makes it so that we can’t see more than eight miles in any given direction from sea-level. Even though they’re holed up in a building right now and arguably above sea-level, I can’t help but wonder just how friggin’ big Cybertron must be for them to be able to see this right now.

Genocide’s over! Time to break out the booze.

Nightbeat’s taking his sweet time, but it isn’t for a lack of trying. He’s been dodging the repair beams, trying not to kick dead people in the head as he scrambles for the portal. He gets there eventually, the wormhole now running so hot he literally bursts into flames and his eyes melt out of his head as he passes through.  

There’s my macabre little man! Back to normal at last. All’s well that ends well!

The wormhole explodes as it shuts down behind him.

Hours after, things finally cool down enough for a rescue team to go try and find survivors.

Motherfuckin’-

NO.

NO, NIGHTBEAT, YOU’RE NOT ALLOWED.

That’s the end of Part Six.

[shewantedtobeasecretgirl]

7. Bass is heavy a.k.a. useful finger techniques, Dee Dee Ramone’s yelling and helpful octopuses

„Damn, I forgot Sly and Ethel in the van!” she groans and slaps on her forehead.

“No problem, I bring them with the next round.” Scully offers and disappears in the hallway that leads to the backdoor. I have no idea who Sly and Ethel can be but I don’t want to know it either… Now that she’s been left alone she tries to push the carriage trolley with the amps to its place on the stage. With little success. But her fight with the gear twice as heavy as her reminds me of a scene.

“Old woman!” I call her.

“Man!” she corrects me still pressing against the load at full strength. Okay, she passed the test again but that’s not a big deal, Monty Python’s Holy Grail basically became a mainstream movie by now, anybody could quote a few scenes from it. Okay, not everyone, none of my former girlfriends was familiar with absurd humor and neither is Amber. I got her to watch it with me but I gave up the mission and turned off the video recorder when she asked for the third time how much time was left of it. It’s just not for her.

“Okay, Dennis, where’s my cow?” I inquire while I’m helping her win the battle; otherwise hours later, the amps would still stand in the middle of the stage and our crowd would enjoy her hopeless struggle instead of the show.

“Are you deaf? Or just concentration problems?” she asks harshly, avoiding my glance and trying to ignore my intervention but her rush moves uncover the surprise she might feel about it.

“Hey, it’s not easy to talk with you, do you know? I asked you about something, I even emphasized my lack of information using a different tone, in grammar text books you can find the encyclopedic explanation in chapter “Question”.” I draw a question mark with my index finger in the air. “The next communication panel is the so-called “answer” in which you satisfy my need for details…” I gesture the quotation marks too.

“I won’t satisfy you in any way, excuse me…” she cuts me off and even tosses me away a bit as she steps dynamically to the monitor board to plug the cables into it.

“I’m just trying to ask where’s my…” I don’t need to finish the sentence since Scully arrives back with Dave’s stage prop, holding my cow under his arm.

“And I was trying to refer to the fact that we take care of Ethel and Sly.” she nods at the two mascots.

“Ethel?” I blurt out frowning. This chick isn’t sane, she was serious about searching for a name for it… “Since when has she been called Ethel?”

“Actually her name has always been Ethel, you’ve just never asked her about it.” she fixes her glasses with a wiseacre face. “She was quite unhappy, did you know that? I caught her searching for numbers of slaughterhouses in the phonebook as she wanted to volunteer to be a steak ingredient, no wonder knowing you. But when I told her we were traveling to Texas soon she immediately changed her mind. Now she wants to be the spokesperson of the anti-rodeo movement. A little care makes wonders.”

Her fantasy is quite intense, I have to admit.

“So you’re obsessed with stuffed animals?” I ask leaning against my Marshall and watch her wiring the stage with quick moves.

“…asks the guy who keeps one on his amplifier…” she mumbles darting at me for a second and raising one eyebrow. “What are you doing here, anyway? Are you supervising me or what? As far as I know I’m an unbearable person who makes the others admire her and uses her family ties…”

Nice attempt but not enough to distract me.

“…and who told, ahem, yelled at me that I should get to know her better, that’s what I’m trying to do right now.” I continue the sentence. “So tell me, Judith, how many stuffed animals do you have exactly? I bet there are a few ones in your bedroom… my first estimation would be somewhere between five and ten.”

“Oh yeah, my bedroom. Damn, you’ve got me… First of all there’s that huge teddy sitting on my bed, how did you figure it out? Then there’s the bunny in the armchair, the cute seal on my desk and my stuffed pony and unicorn collection, I gave up counting them a few years ago. And I have to mention that everything in the room is very pink and very fluffy. Do I meet the profile you created about me?” she bats her eyelashes.

Clever, but not clever enough to drive me to the wall.

“Actually, when I asked you about stuffed animals I was talking about stuffed animals. Like, dead animals which are stuffed. I mean, I could totally imagine a few stuffed bats, snakes and rats hanged on your shelves full of mysterious ingredients for occult purposes. Candles arranged on the points of a huge pentagram, right next to the coffin-shaped bed…”

“You left out the voodoo dolls. I have a bunch of them, the latest one I prepared wears denim pants and a Luv Co shirt tucked into them…” she approaches threatening me with a jack plug and for one second I think she’s about to stick it into my eyeball but in the last moment she changes direction and plugs it into the matching slot of the amp. I acknowledge, she didn’t need much time to know her way around our gear… But come on, even a chimpanzee can be trained how to put different solids into the right holes, she’s on the level of an average lab monkey. “But how come I turned from a nun into a witch in one single day? You’re pretty much inconsistent at insulting, Gossard…”

That makes sense. I open my mouth to cite the witch hunt scene from the mentioned movie but Scully intervenes in our conversation.

“Guys, if you go on like this I’ll claim payrise from Eric…”

“For what? How do you mean it?” she turns in his direction with hands on hips.

“Conflict management bonus.” he shrugs casually. “Seriously, could you just stop for a moment? For just a few seconds, I feel like I was at a fucking dogfight.”

“It was him who started it!” she exclaims outraged pointing at me.

“Don’t look at me, I don’t know what she’s talking about.” I play dumb raising my hands in front of me.

“Jesus, you’re hopeless. Forget the stopping part, I just want the money.” Scully shakes his head resigned.

“Money? What money? I don’t know what’s going on here but I want money too.” Smitty enters in the company off Dave, Karrie and Jeff.

“When did everybody get so greedy? Actually, it is you who should pay me for my show, I’m the only one who keeps you entertained in this boring touring life.” I smirk as I begin to tune my orange Les Paul.

“As for me, I prefer boredom by all means.“ she rolls her eyes and begins to flipping through her notebook.

“Hey, Judy, we have a few spare hour after the soundcheck and I thought… I thought we could begin your bass guitar lessons.” Jeff scratches his nape holding his other hand deep in his pocket. Awkward loverboy alert… I pull a few steps away because I’m not interested in this embarrassing lovey-dovey but I also try to stay within earshot. Not that I give a shit about it, it’s just better to keep up with the sequels.

“Sure!” she smiles. “I mean, Karrie, do you have any plans for the rest of the afternoon? If you don’t, we could…”

“Beth wants to do some shopping, I forgot to mention it… so I’m going with her. I wanted to ask you too but I have a mind like a sieve…” Karrie answers suspiciously quickly.

“Oookay, then why not?”

“Your place or mine?” Jeff asks not noticing how ambiguous he sounds.

“Jesus, Jeff, you don’t waste your time, straight to the point…” I throw in, which makes the others stop staring them and suddenly everybody pretends to be busy with their work to hide their grins and snorts.

“There’s that small park near the hotel, what if we go there?” the target person of the courtship tries to ignore my remark but can’t disguise the tremble in her voice.

Clever, again. She picks a neutral place. Cautious enough not to show her closest surrounding and smart enough not to get in awkward situations. I mean, boys’ rooms tend to be quite messy, the mixed smell of sweat and deodorant for men, not to mention the stinky sneakers and boxers left on the bed…

“Great. I’ve already mapped out which things I want to show you first.” Jeff goes on enthusiastically and more awkwardly if it’s possible at all. I see Dave’s shoulders shaking as he kneels behind his bass drum to fake-fix its pedal.

“Let’s begin with the basics, I only learnt the most common chords to be able to play some accompaniment to campfire songs and nursery rhymes.” she insists on keeping the conversation under control but Jeff doesn’t seem to cooperate.

“I can teach you a few useful finger techniques.” he exercises the fingers of his bear paws with sincere innocence in his eyes but at this point everybody cracks up; even his future music student giggles bashfully.

“What’s with everyone?” he looks around confused. “What’s so funny?”

“You should… have… heard yourself...” Scully hiccups as he and Smitty collapse of uncontrollable laughter onto each other’s shoulder.

“Oh yeah. That conversation was… juicy.” Dave adds winking and doing unmistakable moves with his hips and arms.

“Oh fff…” Jeff buries his face into his palms replaying the scene in his head. Dave steps to him to pat his shoulders a few times.

“You know what, Ames? You shouldn’t talk so much about what you’re going to do. Just… do it.”

***

“So what’s your plan with that skateboard?” Judy asks while we’re walking in the park searching for a remote place. She hasn’t come up with that awkward conversation yet and I can’t be grateful enough to her for that. I don’t know what happened to me, usually I’m not that clueless type… I was probably way too much focused on the possible outcome of this day. If can I stick to my plan, I’m going to ask her out in like one hour and I have absolutely no idea what she might answer and that drives me crazy. Cool down, Ament, don’t act like a junior high school student before his first prom…

“Uhm… I know it sounds surprising but I thought I could skateboard here…” Aaaand in the category of meaningless answers, the Oscar goes to… drumbeat… Jeffrey Allen Ament, Big Sandy, Montana!!! “Plus, I thought if being a qualified musician, you found the class boring, we could spice it up with some physical challenges… like… you should play bass lines while rolling and balancing on this skateboard. And if it was still a piece of cake for you we could search for a skate park with half pipes and you could even do somersaults and flips.”

“I don’t know… I’m not an athletic type… I’ve only tried to ride a scooter once in my life. Mary Sue Kellerman, my classmate lent me hers on the playground when we were second graders. She explained and showed me how to do it but somehow I didn’t feel the technique, I stepped on it, drove it a few times and enjoyed the speed so much that I forgot to drive it again.” she giggles.

“And… what happened?”

“Seeing I was slowing down she yelled after me like ”Drive, drive!” but I felt paralyzed, I pulled up gradually and ended up tumbling from a standing position…”

“Poor you! But my first skateboarding attempts weren’t glorious either and I still collect a few injuries when I decide to learn a new trick. But I fell in love with it at first… try, and I never want to give it up.”

“You could be a cool, skateboarding grandpa who shocks the youth!”

We find a calm, trellis-like corner and settle down still discussing the same topic. Unlike most girls I know, she doesn’t mind it at all and when I tell her how my father convinced me to build my own skateboard instead of buying that expensive Stacy Peralta board, she turns out to know him. I can’t believe my ears when she mentions Tony Alva too, I mean, who’s this girl?

“And how did you pick up how to play the guitar?” she nods towards the bass on my lap.

“Believe or not I took a few lessons… But they were boring, at least for me, no chords, no songs, only scales…”

“Scales are important!” she corrects me. I always forget that she’s pretty conscious as for music which isn’t typical at all in the band.

“What can I say… I grew up listening to my uncle’s records and as I could spare some money I spent all of it on ordering music magazines and vinyls. And when I started playing bass I figured out how to use my stereo vinyl player to learn Dee Dee Ramone’s parts.”

“I love them!” she exclaims.

“Really? I mean, you know a lot about music and punk songs aren’t very sophisticated concerning the musical part…”

“But that’s the best in punk. Even if you’re not very talented technically you still can play a bunch of songs… or if you can’t, you can still reproduce Dee Dee Ramone’s totally out-of-rhythm “one-two-three-four” yelling. And most punk songs operate with the classic scale degrees. Ramones also use the holy trinity of tonic, subdominant and dominant like the greatest composers before them and…” she jabbers enthusiastically without breathing.

“Waitwaitwait, stop! I don’t have the faintest clue what you’re talking about, if you want to analyze my favorite songs to me you have to go back to Genesis to make it understandable for this Montanan jerk!” I cut her off chuckling.

“Do you mean the Old Testament or the band?” she grins. “Anyway, it’s very simple, look.”

She grabs the instrument out of my lap, disposes it onto hers and strums all strings one after another.

“Normal basses are tuned like double basses, right?“ To my nodding she names them. “E, A, D, G. So, let’s take Blitzkrieg Bop which is written in A major.” She plays the bass line of the mentioned song flawlessly and explains its chord progression in the meantime. I listen to her with dropped jaw and when she falls silent for a second, I take my bass quickly back.

“Okay, the lesson is over, excuse me but I have to go and bury myself alive.” I remark trying to keep a straight face.

“Oh, sorry, I didn’t want to sound like a nerd or show off with my theoretical knowledge, I…”

“You don’t have to apologize for amazing me! But now it’s my turn to amaze you… Do you like graffiti?”

“I don’t know… I’m ambivalent… there are a few ones which look good and are also meaningful but if someone destroys a clear wall with stupid scrawls…” she frowns.

Oh. That’s not a good sign… Inhale, exhale, inhale, exhale…

“I prefer the creative ones too, such as my friend from the art school. He studied photography and spent his last years with shooting the best graffiti he’s seen all across the country and Canada and his exhibition opens on Thursday in Boston. And since we have a day off right that day, right there, I thought you could join.” I utter fast with one big breath. She stares me silently for a few seconds which seem like an eternity.

“ ’Course. Cool.” she answers briefly as if she was declaring something evident. I don’t have too much time to process the positive reception since she begins to roll my skateboard back and forth with her foot.

“Your introduction made me curious, I want to try this diabolical device.”

“Haha, okay, but only if I can walk next to you, you may need a handhold.”

She steps onto the board and she rolls cautiously on the path where we got here in a few minutes. She’s too busy with balancing to notice the rest of the band approaching from the gate.

“Hey Jeff, a suspicious woman is trying to steal your baby!” Eddie shouts.

“Look, guys I’m skateboaaaaaa…” she has to circle with her arms a few times and grab my shoulder to prevent herself from tumbling.

“Carefully, Judy. You should try surfing, it improves sense of balance and falling in water is safer than concrete.” Ed recommends.

“Say yes, if you don’t want to be fired…” Mike whisper-shouts hiding his face with one hand from Eddie preventing him from hearing it, which is obviously totally unnecessary.

“I’m not a big swimmer, so…” she shrugs apologetically.

“Anyway, did Jeff force you to try it? You can answer by signaling with your eyelids…” Mike jokes on.

“No, she just turned out to be a way better bass player than me. So I’ll quit the band and she’s begun to practice before she has to take over all of my tasks.”

“Ah, I see. Judy, I warn you, you’ll have to slam-dance with me. You should gain some weight, I don’t want to kill you…”

“Ed’s right. I’m going to slap you in the face with the guitar neck a few times… I mean literally… but no offense, you can hit back anytime you want or you can land on my foot after jumps from the monitor box like Jeff does…”

Judy wrinkles her nose as she tries to follow the relay of jokes. Stone – who has stayed silent until now – flashes an evil grin and clears his throat. The well-known first signs of his moronic verbal diarrhea.

“Guys, you forgot to prepare her for the most important circumstances. But that’s why I am the band leader… Judith, you have to do some shopping. The polyester basketball shirts are essential parts of our stage look, we can’t allow ourselves losing them just because Jeff quits. And the hats… that’s a more difficult question, they look quite… unique… so I don’t think you have any other choice than borrow them. Do you have sensitive scalp? Because… nevermind, I can lend you a few bandanas to make it more hygienic. Oh, and at certain points of the shows you’ll have to strip. Jeff often drops his shirt and plays on half-naked as you could already see it, you can’t break this tradition. But you also have to keep the hat on your head, don’t ask me why, that’s the rule.”

I sway my guitar case pretending I want to hit him and in the meantime I bite my lower lip to repress my grin. Stone is an idiot but sometimes he has good ideas… I mean obviously I can relate to that plot if I can be in the crowd… Jesus, when did I become such a sexist? I’ve just asked the poor girl out and… I’d better take a cold shower.

***

“And can we see you on TV on Saturday?” I ask rolling the film with my finger back and forth on the table. When Judy called me I was selecting pictures I want to show to Krisha as reference works and I found a few ones which I have to have developed.

“Nah, I don’t think so. We’re going to be with the guys in the studio but we’re not going to be filmed with the cameras. I think Karrie and Brett will have to work with the sound staff in the control room and I… I don’t know yet, if they let me in too I’ll just watch them like a useless idiot… which I am…”

“Control room? Wow, that sounds like a sci-fi, I can totally imagine the Star Trek characters there…” I deliberately ignore her low self-esteem-powered remark. “I’ve also seen in the previews that Sharon Stone would host the show, that’s an interesting combination…”

“Yep, Eric mentioned the creators wanted a funny scene or spot with her and the band but I don’t know if they can find a common ground. They only want to play music and aren’t interested in show business at all.”

“Maybe they want to gag with their physical appearance. Like, Sharon is tall and her legs are unrealistically long whereas Eddie is short so the screenwriters may figure out a joke about him being able to walk between her legs without bowing his head.” I guess as I start rummaging the photo heaps in front of me.

“Haha, you’re evil! You have no right to joke about Ed’s height, you’re a dwarf just like me…”

“But dwarf jokes are the best ones, you have to admit it. And… what are your plans until Saturday? Have you used the tape recorder yet?”

“Noooo…”

“You’re unbelievable, I’ve said you should…”

“…borrow a guitar, I know. Uhm, yesterday Jeff gave me a bass lesson, does that count?”

“Mmmmh, Jeff Ament?” I ask meaningfully. Since Judy joined the staff I played with the idea of them getting together, he seems to match her.

“No, Jeff Goldblum… of course Jeff Ament, who else? And he also let me ride his skateboard.”

“He let you ride his skateboard? That’s how you call it? It’s that a new slang or…” I cackle.

“Shut up, I meant it literally. No slang, no obscene details.” she cuts me off severely. So typical, usually she isn’t against sex related jokes but when actual guys around her come into play, she suddenly turns into a prude spinster.

“Okay, okay, I was just kidding. I’m just surprised, you haven’t mentioned yet you two spend time alone.” Actually I’m happy for these news, not only because I think they’d click but also because in the first ten minutes of our conversation she was cursing Stone Gossard. And even if only the half of what she claimed is true, I can’t blame her; the dude must be quite obnoxious. But still, she barely mentions anyone else from the band and I’m afraid if she goes on like this, these negative feelings will spoil her tour. “And how went the skateboarding? Did you collect a few bruises?”

“Haha, not yet. I didn’t try any tricks and I was probably quite clumsy but he kept encouraging me, he’s a nice guy. And ah, as for plans, he asked me whether I want to go to the photo exhibition of his friend in Boston. The guy invited them and Jeff asked me to join too.”

“That sounds great! And what kind of photos?”

“Photos of interesting graffiti. Jeff used to draw graffiti as well, did you know that? He told me a lot about himself but not in that annoying way when one is talking and talking and isn’t interested in the listener at all… this and the fact Eric defended me and they even gave me a cake… and that Jeff invited me with the bunch… make me feel they really accepted me as a member of the crew… and… oh, shit, I have to go, we have to set off for the show! Kisses for Mom and Granny!”

“Bye, take care of…” It’s needless to finish the sentence since she hung up in the meantime.

A few minutes later, I can hear the key turning in the lock and Mom literally falls in the apartment with her heavy shopping bags.

“You should have knocked, I would have helped you if you had asked me…” I shake my head and collect the apples and small cans which rolled everywhere on the ground.

“If I can give injection to Mrs. Mueller while she’s yelling at me calling me Gestapo’s slut, I can do everything…”

“Your foundation should employ octopuses, they are strong, can use their legs independently and are good listeners. And some of your clients wouldn’t even wonder if one crawled into their home…”

“That’s sure. I ask the opinion of my boss about it.” she settles to the table staring exhausted in front of herself.

“Anyway, you’ve just missed Judy’s call.”

“Damn… I wanted to hear her voice, I literally tossed Mrs. Muller into her bed to finish earlier…”

“Unfortunately you can’t see her either… I asked her about Saturday Night Live and we won’t see her in the show… But we still could watch it together, I would show you the guys and tell everything I’ve heard about them from her. We could make some popcorn and…”

“Oh, sweetie, haven’t I mentioned yet? I… I have to work…” she suddenly gets embarrassed.

“What? In the evening? On Saturday? By the time the show begins your clients are already sleeping the sleep of the just.” I complain.

“I know, but… there’s a former colleague from the hospital who works now in a nursing home. A few nurses quitted and I thought we could use the extra money so she recommended me to her boss as an occasional substitute nurse. And I begin on Saturday.”

Great. Since when have we concealed things like this from each other? I thought we could finally have a mother-daughter evening when she didn’t talk only about the insufferable old terrorists and didn’t pass out of exhaust right after dinner… she should finally relax and I need her company too, since Judy left I’ve felt like a lonely prisoner. And that’s more important than money, we don’t starve and if I got a few jobs I could contribute to our budget too, I wouldn’t be the cripple anymore who costs them a lot.

“And why didn’t you tell me that? Is it a secret or what?”

“Effie, honey, stop pouting, please. You can record it to me and we can watch it on Sunday. And I won’t even say a word if you stop it at every single shot, I’m going to listen to every single detail about these jam boys, I promise.”

“Mmmkay…” I mutter. I don’t like this patronizing voice, I’m not a toddler, I just want her to be honest with me.

“And what are you doing? Selecting pictures?”

“Yes… nothing particular…”

If she doesn’t tell me everything, why should I, right?