#storytellers are vital

[nikayna]

Fandoms are wild places nowadays man. Maybe they always were?

I saw a couple takes about Loki and the Loki TV series, and my first instinct was to roll my eyes. But I kept thinking about it, and I realized, taking a peek at their profiles - they’re young. They’ve probably only been reading comics for what, five, MAYBE ten years? And they’re at the age where they’re trying to create their own identities and certain characters or stories or universes are imprinting on them like baby ducks. And I get it, man. I was in that place at that age too.

So let me, an old, just explain something to you.

Stories are never made of stone. They are as air, or water. Mutable.

The story of Loki in the TV series is not the same as the story in the MCU movies. That story is not the same as the current comics run. That story isn’t the same as Agent of Asgard, which isn’t the same as Young Avengers, which isn’t the same as Siege, which isn’t the same as Journey into Mystery. You wouldn’t recognize the very first appearance of a Loki from 1949 as one of the Olympian gods. And NONE of those stories even comes anywhere near the original Norse myth from the Prose Edda.

When you are a storyteller - even if you are working with a character you did not create - you get to WRITE YOUR OWN STORY. Not only that, you SHOULD write your own story. We NEED you to write your own story. Every single human being in this earth has a unique experience and viewpoint. They need to bring that new perspective to old stories.

Because without that, old stories - and the story of Loki is very old indeed - don’t stay preserved in gold amber for all eternity, just the way you remember and prefer them. They die.

And I get it. I understand having a story imprint on you, and the frustration when retellings get it “wrong”. For me, it was the way the X-Men movies handled the Dark Phoenix storyline; my preferred telling was the ‘92 cartoon. Spoiler alert though: the cartoon didn’t tell the story the same way as the comics run by Chris Claremont, which was itself a rewrite of an earlier comics storyline. (Do you see the pattern yet?)

But at least storytellers keep trying. Because the tragedy isn’t when the story doesn’t speak to you. The tragedy occurs when stories are lost, forever.

[befuddledcinnamonroll]

Sure, the romantic stuff is cute, but this, this right here is the beating heart of We Are.

[catofoldstones]

Saw a post right now that said that the affc outline talks about Baelish’s plot to marry Alayne to Harry Harding and then reveal that she is Sansa so that the vale army stands behind her taking the north and not what the stansas are saying. Babes, that is still Sansa taking back the north, keep talking to the wall.

[goodoldfashionedengineer]

I love it that you are just immediately able to tell that it is just a dream when Tsubomi is impressed with Mob's powers.

[braisedhoney]

horrific alternate version of my narry variation who looks similar but is that creepy kind of nice. like super calm, serene, calls people "my dear" but not romantically. is suave-ish but something about it feels intrinsically off. not bc it's an ego thing he revels in—that's og narry exclusive—but bc genuinely nothing ever phases that guy. it is not rooted in insecurity or false bravado, he is in control. the version that the narrator wants to be, what he wants other people to think he is, not knowing that the other guy lacks the very part of him that makes him distinct and alive. and y'know. generally likable despite his grumpiness. absent of the complex but still afflicted and afflicting the horrors.

... scary. *hits with narry's new cane* give back my normal old man.

[batemanofficial]

attempting to revisit skinamarink via heck (the proof of concept short that inspired it) and i must say heck is the superior story

[bahoreal]

possibly my least popular storytelling onion but bringing people back from the dead undermines the very real and powerful grief that drives a character journey and i hate it when that happens

[lantern-lost]

💭 + the arts? (Music, visual arts, dance, whichever.)

send 💭 + a topic to receive a headcanon about said topic. Gods are often glorified through the works of their followers; they are made icons, through art, poetry and music. It is a shame, then, that Adaru does not engage in the arts as thoroughly as his heralds.

Over the millennia, there have been examples of his heralds work; especially those of Sacrifice and Legend. Fear, as a character, has endured through songs of fitful terror and gruesome murals; he has been the villain of countless folktales. But Adaru himself, as an artist, is... more understated. He sees no need in telling his own story, so long as his reputation arrives before him. And it usually does.

... Even so, it is invested in preserving those stories as much as he can. You'd be surprised at just how well a low, growling voice like that can sing. At how it conducts itself with such awful grace. At the fact a little part of him, even now, holds the stories of his past so close to his chest, and is eager to retell them.

Blood and teeth and terror can only convey so much for so long. People remember stories. And Fear has been the crux of many of them.

[katya-goncharov]

my absolute most hated thing in tv shows is when they just change the background music on different platforms or streaming sites, as if the music is something meaningless that can just be changed for copyright reasons or whatever bullshit, and not an absolutely integral part of the storytelling and the artistic experience

[nazumichi]

immortality haters are forced to chuckle

[strongpeopleadvice]

Who are the sentinelese?

They are the inhabitants of North sentinal Island in the bay of Bengal in the Indian ocean.They are considered to be roughly around or below 500.

They are hunter and gatherers .they mostly use bows and arrows to hunt terrestrial life.they donot have any contact with the world so they are considered to be dangerous.It is report that American tourist had died making contact with the sentinelese .

First people that make contact with the Sentinelese

An Indian merchant ship called the Nineveh ran aground on the reef. 86 passengers and 20 crew managed to swim and splash their way to the beach. They inhabit there for three days before the Sentinelese evidently decided the intruders to chase away the passengers.

Can we make friends with the Sentinelese?

An Indian Anthropologist Trinok Nath Pandit, working under the Indian government, landed on North Sentinel Island. They found only hastily-abandoned huts. The people had fled so quickly that they left the fires still lit outside their homes. Pandit and his team left gifts: bolts of cloth, candy, and plastic buckets ,other then them few other Anthropologist like Madhumala Chattopadhyay also make contact with the Sentinelese.

Please follow for more content 🙏

[occknow]

[wanderingandfound]

There is a podcast that I had a hard time listening to but I did like, even when it activated or worsened my depression. My memory of it is always a little harder to deal with than the podcast itself, so like I could usually listen to it with a little gritting of teeth and have an enjoyable experience overall.

But then a while ago shit went down between the creators and the fans about racism (not for the first time) and that sorta killed the enthusiasm I had for the show. But here I am wondering how some of the characters are doing, but am unable to bring myself to listen to it. Not out of "purity politics" or whatever, but because audio can be a hard medium for me and I was relying on that fan- and personal-enthusiasm to get me through the difficult parts.

[that-wildwolf]

every time i see fanart of the last of us (original) on my dash these days I let out a squee of joy! that's the Original™ ellie! the Original™ joel! omg! ohohoho! a rare sighting in the wild these days! and i think to myself that im so lucky to have seen this! and i literally only saw it bc one of my mutuals reblogged it 💀

[blue-kyber]

Watching clips of season 3 of Picard, and reading some of the comments. Everyone loves it. TBH, it's what we all wanted who grew up with TNG, DS9, and Voyager - and to many who's first trek was Enterprise. Not what we got before with the woke bullshit of Discovery, and the dystopian AU of the first two seasons of Picard.

Someone in the comments regarding the fleet museum in the recent episode (yes I cried at the Voyager theme, too) said that they grew up in a household of domestic abuse and violence. As a child, they would hide upstairs and watch Voyager.

Voyager and her crew were their home and family.

I understood what we all wanted after all these years; we all wanted those safe places to escape to for our minds to take refuge in, our home with a family we grew to love, and in a way, felt loved by them.

The Bridge of the Enterprise D, the halls of Voyager,... Those were safe places with family for us when we could go nowhere else. They were places we could have adventures in in a world that promised something so much better than our reality.

That's when I remembered the real reason I want my sci-fi story to be seen by many. Not for any fame, or recognition, but for it to be someone's Star Trek, someone's Voyager, someone's safe place with people they love that they can escape to when they can go nowhere else to find it.

This is why stories are so important. If done right, they will become part of who we are.

I wanted to become a sci-fi actor when I was little, because I wanted to bring people into a better world to escape the hell of their lives where they could find joy, love, sadness, connection, home, and family.

This reminded me of why I create.

[hayatheauthor]

Creating Fear in Your Characters: A Writers Guide

Creating authentic emotions is vital for immersive storytelling, which is why I decided to make this series on how to write different emotions. After exploring rage, and sadness it's now time to delve into fear!

Fear is a powerful emotion that can manifest in various ways, from subtle apprehension to paralyzing terror. Here's a guide on how to write fear effectively, covering different aspects of your characters' behavior and reactions.

Facial Expressions

Fear often manifests first in facial expressions, conveying the initial shock or unease. Describe these expressions to immerse readers in your character's emotional state:

Widened Eyes and Dilated Pupils: Show the eyes widening in response to a sudden threat, with dilated pupils indicating heightened alertness.

Tense Jaw and Clenched Teeth: Mention the clenching of jaw muscles or teeth, signaling internalized stress or anxiety.

Furrowed Brow and Raised Eyebrows: Describe the furrowing of the forehead and raised eyebrows, revealing worry or confusion.

Quivering Lips or Lip Biting: Note subtle lip movements like quivering or biting, reflecting nervousness or fear.

Frozen or Stiff Facial Muscles: Highlight moments of fear-induced immobility, where facial muscles become tense and rigid.

Body Language and Gestures

Fear can also be expressed through body language and gestures, showcasing your character's instinctual responses to danger or threat:

Backing Away or Recoiling: Describe your character instinctively moving backward or recoiling from the source of fear, signaling a desire to retreat.

Raised Shoulders and Tensed Posture: Show how fear causes the shoulders to rise and the body to tense up, indicating readiness for fight or flight.

Trembling Hands or Shaking Limbs: Mention the trembling of hands or shaking of limbs, reflecting nervousness or anxiety.

Covering Vulnerable Areas: Describe your character instinctively covering vulnerable areas like their neck or torso, symbolizing a protective gesture.

Fidgeting or Restlessness: Note any fidgeting or restlessness, such as tapping feet or wringing hands, as signs of inner turmoil and fear.

Vocal Cues and Dialogue

Fear can alter vocal cues and dialogue, affecting how your character speaks and communicates their emotions:

Quavering Voice or Shaky Speech: Describe the voice quivering or becoming shaky, indicating nervousness or fear.

Rapid Breathing and Gasping: Mention rapid breathing or gasping for air, showcasing the physical impact of fear on the respiratory system.

Stammering or Hesitant Speech: Note any stammering or hesitant speech patterns, reflecting the character's struggle to articulate their thoughts coherently.

Sudden Silence or Lack of Verbal Response: Show moments of sudden silence or the inability to respond verbally, highlighting the overwhelming nature of fear.

Repetitive Phrases or Vocalizations: Describe repetitive phrases or vocalizations, such as muttering prayers or chanting reassurances, as coping mechanisms in fearful situations.

Reactions and Physical Responses

Fear triggers various physical responses in your characters, showcasing the body's instinctual reactions to perceived threats:

Increased Heart Rate and Sweating: Mention the character's heart rate increasing and sweating profusely, reflecting heightened physiological arousal.

Dilated Pupils and Heightened Senses: Describe dilated pupils and heightened sensory perception, as the character's senses become more attuned to potential dangers.

Muscle Tension and Rigidity: Note muscle tension and rigidity, as the body prepares for action or defense in response to fear.

Nausea or Stomach Churning: Show how fear can lead to feelings of nausea or stomach churning, as the body's stress response impacts digestive functions.

Fight, Flight, or Freeze Response: Highlight the character's instinctual response to fear, whether it's a readiness to fight, a desire to flee, or a state of frozen immobility.

Types of Fear and Emotional Depth

Different types of fear can evoke varying emotional responses in your characters, adding depth to their portrayal and the narrative:

Startle Fear: Describe the sudden, reflexive fear triggered by unexpected events or loud noises, leading to a quick, intense reaction.

Apprehensive Fear: Show the lingering sense of unease or dread that accompanies anticipated threats or impending danger, heightening tension over time.

Terror: Depict the overwhelming, paralyzing fear that arises from extreme danger or horrifying experiences, impacting the character's ability to think or act rationally.

Phobias: Explore specific phobias that trigger irrational and intense fear responses, shaping how your character navigates their environment and interactions.

Trauma-Induced Fear: Address fear resulting from past traumas or experiences, influencing the character's behavior and emotional resilience in present situations.

Verbs and Adjectives for Writing Fear

Here's a list of verbs and adjectives to help you convey fear effectively in your writing:

Verbs: tremble, cower, gasp, quiver, shrink, freeze, recoil, sweat, pant, gulp, shudder

Adjectives: terrified, anxious, alarmed, horrified, shaken, jittery, panicked, petrified