#their motivations make sense and their responses to conflict make sense for their characters | Explore Tumblr Posts and Blogs

royboyfanpage · 3 months

Text

Okay, let's talk about Ollie's experience with fatherhood.

I'm an Oliver Queen apologist forever, but I think that there's a tendency in fandom to go one of two ways- "absolutely perfect dad, no flaws whatsoever" or "evil abuser who shouldn't be within six miles of a child". This isn't an Ollie exclusive phenomenon, a lot of characters and topics do fall into that black-and-white mindset. But the thing is- Ollie doesn't have to be either extreme. Particularly with Roy, who most of the debate centres around, Ollie wasn't perfect! I think there's such a rich discussion point in terms of young Roy's relationship with Ollie, so much more than just That Panel. Because, in my interpretation, Ollie absolutely cared about him, absolutely saw him as a son, but also the idea of being a father is something that deeply terrified him. The idea that this literal child being dependent on him made it feel more real, if that makes sense. Coming to terms with the fact that he was responsible for another person's life was difficult for him, and so he put up this wall- hero and sidekick. A conceptual dynamic, one that's not based in reality. He can keep that distance between himself and Roy and decide what that means, he doesn't have to be a father because that word has so many strong connotations, but he can still express that he cares about Roy, in his own way. That's why he always calls Roy 'Speedy' even out of costume, that's why his first thought is that Roy's undercover in Snowbirds. He can focus on being a good mentor to Speedy, which will have a trickle-down effect to being a good guardian to Roy, right?

Unfortunately, kids' brains don't work like that! Especially not a kid who's already lost two fathers. Roy needed a stability in his teenage years that Ollie just wasn't able to give at that time. He didn't see "Ollie's nice to me as Speedy because he loves me and doesn't know how to show it", he saw "Ollie's nice to me as Speedy, which means I'm only good as Speedy". This, at least in my opinion, is a major factor in Roy’s later self-esteem issues. Roy’s constantly underestimating himself as a hero, constantly comparing himself to Dick, and pushing himself 24/7 to improve because he internalised the idea that if he’s good, if he’s the perfect hero, then he’ll be loveable. He can’t be bad, he can’t fail, he can’t back down because if he does, he’s nothing.

It’s absolutely not Roy’s fault, but also this doesn’t mean that Ollie’s an evil neglecting abuser, either. Even the best parents fuck up, and Ollie was by no means the best parent. He took in Roy as a sidekick, as a buddy, and then never really found a way to combine the ideas of sidekick and son. He assumed that Roy would be able to interpret meanings behind gestures, which is something that Roy seems to struggle with even into adulthood. I’ve talked about it a fair bit, Roy’s absolutely someone who relies on the explicit, but he’s also not someone who’ll ask for clarification, which has caused conflict in his relationships time and time again. And while it's something he has gotten better at as he's gotten older, a 12-18 year old Roy would absolutely not be able to read Ollie's motives.

And Ollie's fear of fatherhood isn't something exclusive to Roy, either. Sure, he'd gotten better at it by the time Connor and Mia entered the picture (speaking as an oldest child myself, we are the guinea pigs of parenting, I was my mum's sibling), he absolutely still expresses this with them. I mean, just look at his face when he finds out Connor's his son.

That's the face of a man who's just had the crushing weight of parenthood slammed down onto him again, the moment Connor stopped being an ally and started being his responsibility. He's scared, because Ollie absolutely does not see himself as a good father for someone to have. This was very much present during Roy's teenage years, but particularly since this is post-Snowbirds. Both in terms of Roy developing a drug addiction and in terms of Ollie's own initial reaction to it, he immediately spirals. And, since we've already established he does not know how to process things, he lashes out at Connor.

And as for Mia, he's definitely matured significantly by the time she comes into the picture, and compared to with Roy he's a lot more open with his feelings. However!

He still won't explicitly accept the responsibility of fatherhood! Despite acting like a father to Mia in every way through his actions, he still won't use his words! Even though in the issue following, he expresses a paternal protectiveness over her.

And I think Mia's HIV diagnosis is maybe one of the biggest examples of his distancing himself and hiding his feelings, particularly when Connor asks him how he's feeling about it.

He's so fine, so totally fine, trust him when he says he's fine, totally not freaking out. He's absolutely not terrified for his not-daughter, no way.

Ollie has this fear that if he gets too attached to his kids, he's gonna end up failing them. If he keeps a distance from them, then he can't blame himself when they get hurt. Is this good parenting? No! Absolutely not! But this is also the man who dresses up as Robin Hood and who chose to die rather than lose his arm. This is not a healthy man.

But he tries, he tries so hard, even if it's in his own way. And he recognises when he fucks up! And he tries his best to mend it later on!

He's not the best at showing his kids that he loves them, but he's so proud of Roy when he becomes Red Arrow. He comes back to life to save Connor. He stands by Mia's side when she gets diagnosed and becomes Speedy. He's not a great dad, but goddamnit he's trying to be.

In conclusion, no, Ollie is not the perfect father. He's deeply flawed, and his own emotional incompetency has been and always will be a point of conflict between him and his kids. But he's not some uncaring abuser, either. He's trying.

#oliver queen #green arrow #connor hawke #roy harper #red arrow #arsenal #speedy #mia dearden #arrowfam #dc comics

291 notes · View notes

mercymornsimpathizer · 24 days

Text

per request of (checks notes) two people….the premises of my interpretation of the plot of gideon the ninth vis a vis cytherea and john are as follows:

i. the actions taken by cytherea and john are not consistent with their stated motivations

ii. this is on purpose

iii. we can work backwards from these characters' actions to determine their real motivations

because i am a funny poster and because i love my followers i will explain further under a readmore. abandon all sanity ye who enter here etc.

why canaan house: john and john's motivations

while john does not appear "on screen" in gideon the ninth, his actions set the plot into motion and shape the conflicts the arise. (1)he sends letters to the scions of each house, requesting that they come to canaan house with their cavaliers and no one else. he does not request the leaders of each house, or the best necromancers of each house, or the most experienced. (2)he does not provide information of what the lyctorhood trials will entail, either in the initial letters or upon arrival at canaan house. (3)during the creation of the first lyctors, he did not inform anyone that the death of the cavalier is not necessary, and (4)he interfered in the ascension of anastasia/samael, (5) the pair who spent the longest studying the lyctorhood process and (6)who we can presume were closest to achieving "true lyctorhood," which we can presume is (7)more powerful than "normal lyctorhood" and (8)does not kill the cavalier.

(9)the stated purpose of the events at canaan house is to create new lyctors to replace those that have (really or apparently) died to the resurrection beasts. (10)john further states that he did not intend for any unwanted deaths; (11)that he intended for the necromancers and cavaliers to enter into lyctorhood willingly; and (12)that, if the necromancers and cavaliers decided not to enter into lyctorhood, he intended that they should have been allowed to leave peacefully. (13)we can presume he also intends that any new lyctors created would be loyal to him, or at least not a threat to him.

are these actions consistent for these motivations? in my correct opinion, they are not. the secrecy of what the lyctorhood trials entail and the choice of very young, competitive people as postulants do not lend themselves well to the postulants making wise, well-informed choices. if john wanted the postulants to enter into lyctorhood willingly, and leave peacefully if not, he could have informed them of what the trials and lyctorhood entail, encouraged cooperation between the houses, and stated explicitly that they could leave at any time.

one way to interpret this mismatch is that john was careless or negligent in how he set up the trials, which is possible but not consistent with his characterization otherwise. another interpretation is that john was not sincere in stated motivations 10-12, and that he rather set things up as he did to create uniquely easy to manipulate per 13, which both makes sense and is in character but is not consistent with his other actions.

why canaan house 2: cytherea and cytherea's motivations

while john shapes much of the plot of gideon the ninth, cytherea as the primary antagonist drives the plot more directly. (14)she kills dulcinea and adopts her identity to pose as a postulant in the lyctor trials, and she poorly reanimated protesilaus's corpse. (15)she presumably is responsible for disposing of the transports, stranding the postulants at canaan house. (16)she kills first the fifth house and the fourth house. (17) she prompts the ninth to complete the avulsion trial. (18)she attacks gideon, harrow, and camilla after being confronted by palamedes, but (19)repeatedly offers to spare gideon. (20)throughout her murder spree, she writes on the walls, questioning or criticizing john for the events of her own ascension. (21)she did not participate in dios apate and is not mentioned by mercymorn or augustine as being party to their conspiracy to kill john (i think...correct me if this is wrong!). (22) her identity is not revealed by teacher or the other constructs at canaan house, despite the fact that they presumably would recognize her. (23)she does not contact or encourage the other postulants to contact john or anyone else for help.

(24)cytherea states that her motivation is to sabotage the creation of new lyctors and (25)to draw john to the nine houses, putting himself and the nine house in danger from the resurrection beasts. (26)she strongly implies that this is in revenge for her cavalier or possibly all of the original cavaliers. (27)presumably, she also wants both to survive long enough to accomplish these aims, though (28)she does not seem to intend to survive for very long beyond the events at canaan house.

are these actions consistent with these motivations? again, in my correct opinion, they are not. she does not send a distress call to draw john to canaan house, and she does not encourage anyone else to do so. she kills jeannemary and magnus, even though killing isaac and abigail would prevent the fourth and fifth from ascending; while it could be argued that she would have had to kill magnus to protect her plan, but this isn't true of jeannemary's murder. she further lets other necro-cav pairs live, despite the fact this allows for the opportunity for them to ascend. her stated goals (24 and 25) could be well achieved by (a, for 25) killing (simply or gruesomely) all or most of the necromancers, while allowing the cavaliers to live, and/or (b, for 24) calling or encouraging someone else to call for help or otherwise alert someone that things have gone wrong; neither of these actions would contradict her other stated or implied motivations.

(as an aside: i think many people believe that cytherea killed the fifth first because she suspected they were likeliest to figure out her plan, which is possible but doesn't explain why she would kill the fourth next or why she wouldn't kill the sixth or third.)

one interpretation of this mismatch is that she planned sloppily or haphazardly. while this doesn't directly contradict anything we know about her, it doesn't make much sense to me -- i don't think anyone, let alone a very powerful and reasonably intelligent person, would half-ass a revenge/justice plot as their last hurrah, even if she did not have long to plan or if her plan changed upon realizing that gideon is john's daughter. another interpretation i've seen is that cytherea is simply sadistic and/or dramatic, and that her actions are motivated by a desire to make the postulants paranoid and afraid. i think this is on the right track, but doesn't itself explain everything she does (and the things she does not do).

why be perfect when you could be normal: the original lyctors and perfect lyctorhood

what is "perfect lyctorhood" and under what conditions does it occur? when i use the term "perfect lyctorhood," i'm referring to a situation where both the necromancer and the cavalier ascend to lyctorhood and share their newfound power; this is in contrast to what i'm calling "normal lyctorhood," wherein the necromancer kills and consumes the cavalier and uses them as a power source. in text, john and alecto are the only example we see of "true lyctorhood," while the other original lyctors (and ianthe) are "normal."

while the creation of the original lyctors is not thoroughly described in the text, we do know some details. it is strongly implied that (29)mercymorn and augustine, the first two lyctors, ascended under duress after their cavaliers forced their hands, presumably by killing themselves. much later, (30) anastasia and samael attempted to ascend after (5)spending a long time studying the process, but are (4)interrupted by john, who kills samael. (31)john states this he interfered because anastasia and samael had made a mistake. (32)at no point does john inform anyone that perfect lyctorhood is possible or that the cavaliers do not need to die.

i think it's reasonable to conclude that (33)very skilled necromancers, with strong bonds of mutual respect with their cavaliers, given the right resources (i.e. the trials at canaan house, or something equivalent, and sufficient time) could achieve perfect lyctorhood, or at least come close to it. (34)fear, pressure, and devaluation of the lives of cavaliers, on the other hand, push necromancers towards normal lyctorhood.

i think it's also reasonable to conclude that, in line with (13)his motivation to maintain power over the lyctors, john does not want perfect lyctors to be created, and that (4)his interference in the ascension of anastasia and samael was not because (31)they made a mistake but rather (35)to prevent them from achieving power that would rival his own.

connecting the red string

if john and cytherea's actions are not sufficiently explained by their stated motivations (or of them the motivations commonly attributed to them by fans), what motivations would explain their actions? because john (by asking for young people as postulants, and by being secretive about the lyctoral process, and by not stating that postulants could leave) and cytherea (by killing people, and by preventing people from leaving, and by generally encouraging competition and paranoia among the postulants) both created an environment of fear and pressure at canaan house, and because cytherea (by letting both necromancers and cavaliers live in other cases) john (by not providing a deadline, and by not forbidding or obscuring parts of the trials, and by not directly or indirectly supervising the trials) otherwise do nothing to prevent to an outcome that they does not want, i think we can draw the following conclusion: john and cytherea are both attempting to ensure that normal lyctors, and only normal lyctors, are created at canaan house.

in other words, i think john tasked cytherea with going to canaan house to put pressure on the postulants to ascend quickly and to prevent them from leaving alive if they were likely to not ascend. i think he did this because he did not want the postulants to become perfect lyctors, and because he did not want the secrets of lyctorhood to be known to the nine houses in general, and because he did not want to take responsibility for the deaths. i think cytherea likely did want revenge against john, and likely did not want to live beyond canaan house, but did not want to kill john; rather i think she wanted to be killed by john or by one of the new lyctors.

i think that tamsyn muir is a talented writer who has demonstrated an ability to create twisty, multi-layered plots where characters are often working on incorrect or incomplete information and where characters are often not forthcoming or are dishonest about their actions and motivations, and that therefore the mismatch between characters' actions and stated motivations are intentional. i think my conclusion sufficiently explains the actions taken (and not taken) by both cytherea and john in the gideon the ninth, and while it contradicts their stated motivations, i do not think it contradicts any of their actions or any of their demonstrated motivations. moreover i think it is consistent with their characterization in general: cytherea is dramatic and emotionally distraught over her own ascension, but she is not part of the plot against john, and she encourages gideon in her role as cavalier; john is very smart, and has few compunctions about doing horrible things to children (especially to maintain his own power), but does not want to be blamed for the things he does, and so often outsources the dirty work to his followers.

#gtn spoilers #htn spoilers #ntn spoilers #tlt #tlt meta #the locked tomb #etc etc etc #making this unrebloggable to maintain my reputation as a shitposter #cytherea the first #john gaius #<-idk why i bother when tumblr wont even let me search my own blog but oh well

146 notes · View notes

hayatheauthor · 1 year

Text

Forging Epic Battles: Techniques for Writing Gripping War Scenes

I want to start this post off with sort of an author's note: this is a long one! I tried to keep my detailing to a minimum but I guess this topic Is just so vast I couldn't help but pour it all out. This really is sort of an ultimate guide and I hope it helps! Also, it was requested by @xweirdo101x (if you want to request something just send me an ask)

War has long captivated readers' imaginations, evoking a sense of grandeur, sacrifice, and the clash of ideologies. As writers, we have the power to transport our readers to the frontlines, immersing them in the chaos, drama, and emotion of epic battles.

Crafting gripping war scenes requires a delicate balance of research, skillful storytelling, and an understanding of the human experience in times of conflict. In this guide, I will explore various techniques that will help you create dynamic and compelling war narratives, transporting your readers to the heart of the action and leaving them breathless.

Setting the Stage: Creating a Compelling War Setting

When it comes to writing gripping war scenes, creating a vivid and immersive setting is paramount. Whether you are crafting a historical war or inventing a fictional conflict, the setting serves as the backdrop against which your characters and their stories unfold. Here are essential steps to help you create a compelling war setting that captures readers' imaginations:

Research Historical Context or Build a Fictional World:

For historical wars, immerse yourself in research to understand the time period, social dynamics, and political climate surrounding the conflict. This knowledge will lend authenticity and depth to your narrative.

If you're building a fictional world, establish the rules, geography, and cultural aspects that shape the war. Consider the unique elements that set your world apart and make it feel real to readers.

Describe the Physical Environment and Atmosphere:

Depict the landscape, whether it's a war-torn city, a rugged battlefield, or a desolate wasteland. Pay attention to sensory details—sights, sounds, smells—to transport readers into the heart of the war.

Convey the atmosphere of the setting, capturing the tension, fear, or anticipation that hangs in the air. Is it shrouded in darkness and despair, or does a glimmer of hope persist? Use descriptive language to evoke the desired emotional response.

Incorporate Cultural and Societal Elements:

Explore how the war has affected the culture and society within your setting. Are there new traditions, rituals, or customs that have emerged in response to the conflict?

Consider the social dynamics at play—class divisions, power struggles, or the impact of war on marginalized groups. These elements add layers of complexity to your setting and provide opportunities for conflict and character development.

By carefully constructing your war setting, you transport readers into a world brimming with authenticity and intrigue. Whether it's the trenches of World War I, a futuristic intergalactic battle, or a mythical realm engulfed in strife, the setting sets the stage for compelling storytelling.

Building Conflict and Tension

In the realm of war fiction, conflict and tension are the driving forces that propel your narrative forward and keep readers captivated. From the clash of opposing ideologies to the internal struggles within characters, here are essential techniques for building conflict and tension in your war scenes:

Establish Clear Goals and Stakes for Characters:

Define the objectives and desires of your main characters within the war. What are they fighting for? What personal or collective goals are at stake?

Create conflicts of interest between characters, where their motivations and objectives may diverge, leading to tension-filled interactions and confrontations.

Introduce Opposing Forces and Ideologies:

Develop compelling adversaries that challenge your protagonists. These opposing forces may represent different sides of the conflict, ideologies, or even personal vendettas.

Explore the contrasting beliefs, values, and philosophies driving each side, heightening the ideological clash and intensifying the conflict.

Utilize Internal Conflicts within Characters:

Explore the internal struggles and moral dilemmas faced by your characters. How does the war affect their beliefs, principles, and sense of self?

Delve into the emotional turmoil and psychological toll of war, showcasing the internal battles characters face as they navigate the chaos and make difficult choices.

By effectively building conflict and tension, you create a dynamic and engaging narrative that keeps readers invested in your war story. The clash of goals, the ideological friction, and the internal struggles of your characters add layers of complexity and depth to your storytelling, drawing readers deeper into the heart of the conflict.

Developing Dynamic Characters

In the realm of war fiction, dynamic and well-developed characters are essential to breathe life into your narrative and create an emotional connection with readers. By crafting relatable protagonists and antagonists, you elevate the impact of your war story. Here are key considerations and techniques for developing dynamic characters within the context of war:

Crafting Relatable Protagonists:

Give your main characters depth and complexity by exploring their backgrounds, motivations, and personal histories. What drives them to participate in the war? What are their hopes, fears, and vulnerabilities?

Develop relatable goals and desires for your protagonists that resonate with readers. Show how the war impacts their lives and pushes them to grow, change, or make difficult decisions.

Creating Compelling Antagonists:

Craft antagonists who are more than just one-dimensional villains. Give them their own motivations, beliefs, and reasons for engaging in the war. This adds depth and complexity to their characters, creating a sense of empathy or understanding.

Explore the potential for redemption or transformation within your antagonists. Are they driven by misguided ideals, personal vendettas, or the pressures of their circumstances? Allow their development to challenge readers' perspectives.

Conveying the Psychological Impact of War:

Explore the emotional and psychological toll that war takes on your characters. Depict their fears, traumas, and inner conflicts as they grapple with the horrors and realities of the battlefield.

Show the evolution of their beliefs and perspectives as they confront the brutalities of war. Allow their experiences to shape their character arcs, highlighting the resilience, resilience, and vulnerabilities that emerge in the face of adversity.

By developing dynamic characters in your war narrative, you create a multi-dimensional and emotionally resonant story. Readers will become invested in their journeys, experiencing the triumphs, losses, and personal transformations that unfold throughout the war.

Writing Action-Packed Battle Scenes

Action-packed battle scenes are the heart of war fiction, where the intensity and stakes are at their highest. These scenes immerse readers in the chaos, danger, and adrenaline of the conflict. To craft gripping battle scenes, consider the following techniques:

Structuring Battle Sequences for Maximum Impact:

Begin with a clear sense of purpose for the battle scene. What are the objectives? What is at stake? Establish the goals and set the stage for the conflict.

Build tension gradually, starting with smaller skirmishes or encounters that escalate toward the climactic moments. Consider pacing, alternating moments of heightened action with moments of respite for emotional impact.

Balancing Fast-Paced Action and Descriptive Details:

Use concise and vivid language to convey the fast-paced nature of battle. Focus on capturing the essence of the action, highlighting key movements, and sensory details that immerse readers in the experience.

Strike a balance between brevity and providing enough detail to engage the reader's imagination. Avoid overwhelming readers with excessive description, ensuring that every word serves a purpose and contributes to the overall impact.

Using Sensory Language to Immerse Readers:

Engage multiple senses to transport readers into the battle scene. Describe the sights, sounds, smells, and tactile sensations to evoke a visceral experience.

Leverage sensory details to enhance the emotional impact of the battle, capturing the fear, adrenaline, and urgency felt by characters and evoking a similar response in readers.

Good action-packed battle scenes bring the war to life on the page, immersing readers in the heart-pounding action. Remember to focus not only on the physical aspects of combat but also on the emotional and psychological experiences of your characters.

Conveying Emotional Resonance

In war fiction, it is crucial to convey the emotional impact of the conflict on both individual characters and the larger society. By tapping into the raw emotions experienced during times of war, you can create a profound connection with your readers. Here are key techniques for conveying emotional resonance in your war narrative:

Show the Human Cost of War:

Portray the personal sacrifices, losses, and tragedies that characters endure in the face of war. Highlight the emotional toll on their relationships, families, and communities.

Explore the range of emotions experienced by characters, such as fear, grief, anger, and resilience. Through their struggles, allow readers to empathize with the profound impact of war on the human psyche.

Engage the Senses to Evoke Emotion:

Utilize sensory language to evoke emotions within readers. Describe the sights, sounds, smells, and tactile sensations associated with war to create a vivid and immersive experience.

Connect specific sensory details to the emotions they evoke. For example, the acrid stench of smoke may elicit a sense of danger or the distant cries of anguish may stir feelings of sorrow.

Develop Authentic and Complex Relationships:

Showcase the bonds formed and tested amidst the chaos of war. Explore friendships, romances, and the camaraderie among soldiers to highlight the connections that sustain characters in the face of adversity.

Depict the conflicts and tensions that arise within relationships due to the strain of war. This adds layers of emotional complexity and authenticity to your narrative.

By effectively conveying emotional resonance, you invite readers to experience the human side of war. They will connect with the characters on a deeper level and become emotionally invested in their journeys.

Navigating Moral and Ethical Dilemmas

War is often accompanied by moral and ethical dilemmas that test the values and principles of individuals and societies. As a war fiction writer, it is important to explore these complexities and shed light on the difficult choices characters face. Here are key considerations for navigating moral and ethical dilemmas in your war narrative:

Present Conflicting Perspectives:

Introduce characters with differing moral viewpoints and beliefs. Show the diversity of perspectives within the war, whether it's among the protagonists, antagonists, or the larger society.

Challenge readers to contemplate the gray areas of morality and the complexities of right and wrong by presenting conflicting viewpoints and the reasons behind them.

Highlight the Consequences of Choices:

Illustrate the consequences of characters' actions and decisions. Showcase how their choices ripple through the narrative, affecting themselves and those around them.

Explore the moral dilemmas characters face, such as choosing between duty and personal convictions, sacrificing the few for the many, or grappling with the aftermath of their actions.

Offer Reflection and Discussion:

Provide opportunities for characters to reflect on their choices, engaging in internal dialogue or discussions with others. This allows readers to contemplate the moral implications alongside the characters.

Invite readers to reflect on their own moral compass and engage in discussions surrounding the ethical dimensions raised in your war narrative.

Navigating moral and ethical dilemmas makes your war fiction go beyond the surface-level action and delve into the deeper questions of humanity. It prompts readers to question their own values, moral boundaries, and the intricate web of choices that arise in times of conflict.

Research and Authenticity in War Fiction

For war fiction to have a lasting impact, it is crucial to conduct thorough research and strive for authenticity in your narrative. By grounding your story in accurate details and historical context, you enhance its credibility and immerse readers in the world of war. Here are key considerations for incorporating research and authenticity in your war fiction:

Study Historical Events and Settings:

Research the historical events, conflicts, and time periods that serve as the backdrop for your war narrative. Gain a comprehensive understanding of the context, including the political, social, and cultural factors that influenced the war.

Dive into the specifics of battle strategies, weaponry, and tactics employed during the time period. This knowledge will help you create authentic and realistic war scenes.

Explore Personal Accounts and Memoirs:

Read personal accounts, memoirs, and interviews of individuals who have experienced war firsthand. These sources provide invaluable insights into the emotions, challenges, and nuances of the human experience during wartime.

Pay attention to the details of daily life, the physical and psychological tolls, and the individual stories of courage, sacrifice, and resilience. Incorporate these elements into your narrative to add depth and authenticity.

Consult Experts and Military Advisers:

Seek guidance from military advisers, historians, or experts in the field to ensure accuracy in depicting military operations, protocols, and terminology.

Engage in conversations or interviews with individuals who have expertise in areas relevant to your story, such as veterans, soldiers, or scholars. Their perspectives can offer valuable insights and help you portray the realities of war with authenticity.

Strive for Emotional Truth:

While research and accuracy are crucial, remember that emotional truth is equally important. Balance historical accuracy with the emotional resonance of your characters and their experiences.

Capture the human aspects of war, such as the impact on relationships, the psychological trauma, and the bonds forged in the face of adversity. Connect readers to the emotional core of your story.

By incorporating thorough research and striving for authenticity, you create a rich and immersive war narrative that resonates with readers. The combination of accurate historical details, personal accounts, and emotional depth brings your story to life.

War fiction is a genre that holds immense power to captivate readers, evoke emotions, and shed light on the complexities of human nature during times of conflict. Through the techniques and considerations I have explored in this guide, you have the tools to craft compelling war narratives that resonate with authenticity and engage your readers on a profound level.

I hope this blog on forging epic battles will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.

Looking For More Writing Tips And Tricks?

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and marketing tools for authors every Monday and Thursday

582 notes · View notes

taytjiefourie · 1 year

Text

Show Don't Tell: Sadness

Hey there, fabulous folks! I'm thrilled to have you back for another exciting day of my 'Show Don't Tell' series! Today, we're delving into the complex emotion of sadness, and I can't wait to explore this topic with you all.

Let's start by recapping why 'Show Don't Tell' is crucial in creative writing. When we show instead of telling, we allow our readers to truly experience the story firsthand. It's like sharing a delicious slice of pizza with a friend instead of just describing how it tastes. By showing, we can immerse our readers in the story and create a more captivating experience that brings the narrative to life in their minds.

Now, what is sadness?

Sadness is a powerful emotion that we all experience at some point in our lives. It's a feeling of deep sorrow or unhappiness, often caused by loss, disappointment, or failure. Sadness is an essential emotion to portray in storytelling because it allows the reader to connect with the characters on a deeper level. When we see characters experiencing sadness, we can empathize with them and understand their struggles.

Dialogue

Today we're starting off with dialogue! and oh boy, can I tell you a thing or two about dialogue in creative writing! See, dialogue is more than just two characters talking to each other - it's a powerful tool to reveal the inner emotions of your characters without having to explicitly state them. That's right, you can show, not tell, how your character is feeling just by the words they speak and the way they say them.

By carefully crafting dialogue, you can hint at a character's inner thoughts and feelings without spelling them out. You can use word choice, tone, pacing, and other elements to convey emotions that your readers can pick up on, even if your characters don't outright state what they're feeling.

For example, if a character is feeling nervous or anxious, they might speak in short, clipped sentences or stutter when they talk. If they're feeling angry or frustrated, they might use sarcasm or speak in a raised, forceful tone. And if they're feeling sad or defeated, they might use a subdued tone, speak slowly, or trail off mid-sentence.

By showing these emotions through dialogue, you're allowing your readers to draw their own conclusions about how your characters are feeling, rather than simply telling them outright. So, the next time you're writing dialogue, remember that it's not just about what your characters are saying, but how they're saying it.

Here are some ways to show your character's sadness through dialogue:

Speaking softly or in a subdued tone

Using a slow, hesitant delivery

Repetitively apologizing or expressing guilt

Avoiding eye contact

Using self-deprecating humor or dialogue

Asking for reassurance or validation

Using a trembling or shaking voice

Asking rhetorical questions to express confusion or hopelessness

Talking about loss or past regrets

Expressing disappointment or disillusionment

Using passive language, such as "I guess" or "I don't know"

Reflecting on negative feelings, such as shame or worthlessness

Using a quivering or choked voice

Expressing helplessness or powerlessness

Using long pauses or trailing off mid-sentence

Using a resigned or defeated tone

Expressing feelings of isolation or loneliness

Using negative self-talk or dialogue

Avoiding conflict or difficult conversations

Using a monotone or flat voice to convey sadness.

Making self-pitying statements, such as "Why does this always happen to me?"

Using expressions of regret, such as "I wish I had done things differently"

Expressing a lack of motivation or energy, such as "I just can't seem to get out of bed in the morning"

Talking about feeling overwhelmed or burdened by responsibilities

Using hesitant language, such as "I'm not sure if I can handle this"

Talking about feeling lost or directionless in life

Using indirect statements to avoid confronting difficult emotions, such as "It's just been a tough day"

Expressing a sense of hopelessness or despair, such as "What's the point anymore?"

Using figurative language to convey sadness, such as "It feels like a weight on my chest"

Talking about past traumas or painful memories

Using vague or noncommittal language, such as "I don't know how I feel right now"

Talking about feeling disconnected or disengaged from the world around them

Using self-criticism or self-blame, such as "I should have seen this coming"

Expressing a sense of longing or nostalgia for happier times

Using metaphors or similes to convey sadness, such as "I feel like a balloon slowly deflating"

Talking about feeling rejected or unloved by others

Using evasive language to avoid talking about difficult emotions directly

Expressing a sense of frustration or resignation, such as "It is what it is"

Using repetition to emphasize feelings of sadness, such as repeating "I just can't do this" multiple times.

Setting/Scenery

Let's talk about how to use the environment to create and convey sadness in creative writing. One way to use the environment to create a sad mood is through the use of imagery. Imagine a scene where the character is walking down a street on a rainy day. The sound of the rain hitting the pavement, the gray sky overhead, and the slick roads all work together to create a sense of sadness and melancholy. By describing the environment in detail, we can show the reader that the character is feeling down without ever having to tell them directly.

Another way to use the environment to convey sadness is through the use of color. For example, if the scene is set in a funeral home, we might describe the walls as a dull gray or beige, the curtains as heavy and dark, and the lighting as dim and muted. These details can all work together to create a sense of heaviness and sadness.

Using the environment can also be an effective way to create contrast and highlight the sadness in a scene. For instance, describing a bright and sunny day while the character is feeling down can help to emphasize their emotional state.

I've got a fantastic list of ways to use scenery and setting to indirectly show sadness:

Describing the weather as gray, rainy, or gloomy

Using dark or muted colors in the description of the setting

Creating a sense of isolation or emptiness in the environment

Using silence or a lack of sound to create a sense of loneliness or sadness

Describing the setting as abandoned or neglected

Using a stark or barren landscape to create a feeling of despair

Using symbolism in the setting, such as wilted flowers or broken objects, to convey sadness

Setting the scene in a place that is traditionally associated with sadness, such as a graveyard or hospital

Creating a contrast between the beauty of the setting and the sadness of the character's emotions

Describing the setting as chaotic or disorganized to mirror the character's internal turmoil.

There's another way to show a character's sadness - by having them directly interact with the setting:

Tracing their fingers along the rough surface of a wall

Sitting slumped or huddled in a corner

Staring off into the distance with a blank expression

Running their hands through grass or foliage absentmindedly

Letting raindrops fall on their face without moving

Slowly dragging their feet as they walk through the environment

Clenching their fists or gripping objects tightly

Kicking or throwing objects in frustration or anger

Covering their face with their hands or hiding their eyes

Leaning their head against a window or wall with a defeated expression

Tightly hugging a pillow, stuffed animal, or other comfort item

Pulling their knees up to their chest while sitting on the ground

Tearing apart flowers or other delicate objects

Trashing their surroundings in a fit of rage or despair

Moving through the environment slowly or aimlessly with no clear destination in mind.

I've also got some awesome details that'll help you convey sadness through scenery alone:

Weather: A gloomy, overcast day with drizzling rain can create a melancholic atmosphere, reflecting the character's sadness.

Time of Day: A dreary morning or mid-afternoon slump can convey a sense of sadness and lethargy.

Location: Abandoned or empty places, such as an old churchyard or an abandoned building, can create a sense of loneliness and isolation.

Objects: Neglected, dusty, or unused objects can symbolize the character's neglect or emotional emptiness.

Colors: Dull, muted colors like gray, brown, or beige can create a sense of emptiness and sadness.

Noises: Soft, somber sounds like gentle rain or the sound of distant waves crashing can create a sense of tranquility and melancholy.

Crowds: A crowded, bustling place like a shopping mall or a subway station can highlight the character's sense of detachment and loneliness.

Architecture: Decaying, crumbling buildings or abandoned factories can symbolize the character's emotional decay and emptiness.

Nature: A desolate or barren landscape, such as a desert or a frozen tundra, can evoke a sense of desolation and despair.

Animals: Sad or pitiful animals, like a stray dog or a sickly bird, can evoke a sense of vulnerability and sadness.

Action

Now it's time to talk about how actions can convey a character's sadness in a fictional story. Instead of saying, "He was sad," show us his actions, and we'll figure it out on our own. It's like when your best friend tells you she's fine, but you can tell from the slump of her shoulders and the frown on her face that she's definitely not fine.

For example, let's say your character just lost a loved one. Instead of telling the reader outright that the character is sad, show it through their actions. Maybe they're:

Staring blankly at a picture of the person they lost.

Lying in bed all day, refusing to get up or talk to anyone.

Going through the motions of daily life but without any joy or enthusiasm.

Avoiding anything that reminds them of the person they lost.

Crying uncontrollably at unexpected moments.

Losing their appetite or neglecting personal hygiene.

Snapping at loved ones who try to comfort them.

See how much more powerful and engaging that is than simply stating, "He was sad"? It allows the reader to empathize with the character and experience their sadness alongside them.

Here are a few other examples:

Slumping or drooping posture

Avoiding eye contact or looking down

Crying or tearing up

Frowning or looking solemn

Loss of appetite or overeating

Inability to sleep or sleeping too much

Lack of interest in activities they normally enjoy

Neglecting personal hygiene or appearance

Withdrawing from social situations

Clenching fists or tensing muscles

Moving slowly or sluggishly

Hesitating or procrastinating

Avoiding conversations or communication

Self-harm or destructive behavior

Engaging in risky behavior

Substance abuse or excessive drinking

A lack of energy or motivation

Losing track of time or being forgetful

Becoming easily frustrated or irritable

Exhibiting a lack of enthusiasm or passion for life

Remember that if a character is feeling sad and depressed, they might stop taking care of themselves, neglect their hygiene, and lose interest in their hobbies. They may also isolate themselves from others, withdrawing from social situations and avoiding conversations.

Body Language

Body language is a huge part of showing emotions in creative writing, and sadness is no exception! The way a character holds themselves, their posture, and their movements, can all tell the reader a lot about how they're feeling.

For example, imagine a character who has just received some terrible news. They might slump their shoulders, avoid eye contact, and wring their hands. These actions convey their feelings of defeat, sadness, and worry without the writer having to tell the reader directly.

Body language can also be used to create tension and conflict between characters. If one character is sad and another is trying to comfort them, the way they position themselves in relation to each other, the way they touch each other or don't touch each other, can all convey different emotions and create a deeper sense of meaning in the scene.

Here! I'll provide you with a short list of ways body language can convey sadness:

Drooping or slumping shoulders

Hunching over or curling up into a ball

Clasping or wringing hands

Biting or licking lips

Rubbing or covering eyes

Frowning or furrowing eyebrows

Tilting the head downward

Avoiding eye contact or looking down

Crossing arms or legs

Gazing into the distance or staring off into space

Sighing heavily or audibly

Slow or shuffling movements

Trembling or shaking

Fidgeting or restlessness

Wrinkling or rubbing the forehead

Holding oneself or self-soothing gestures

Stiff or tense posture

Lack of facial expression or a neutral expression

Slow or lack of movement

Deep, heavy breathing

A weak or feeble voice

Avoiding physical touch or contact

Shrinking or pulling away from others

Failing to respond or acknowledge others

Refraining from smiling or laughing

Breaking eye contact quickly

Pacing or fidgeting

Yawning excessively

Looking tired or fatigued

Crying or tearing up

Point of view

Let me tell you about the power of using point of view in creative writing to show a character's sadness indirectly. Point of view is all about the perspective from which the story is told, and it allows us to see the world through our character's eyes. By exploring our character's inner thoughts, inner dialogue, and emotional state, we can beautifully convey their feelings of sadness.

A character's sadness can be conveyed through things like:

Negative self-talk, such as self-doubt or self-criticism

Focusing on negative aspects of the environment or situation

Recalling past negative experiences or memories

Expressing a lack of motivation or interest in their surroundings

Having a pessimistic or cynical outlook on the future

Feeling disconnected or detached from others

Feeling overwhelmed or burdened by their emotions

Seeing the world in black and white, without much color or vibrancy

Struggling to find joy or pleasure in activities they used to enjoy

Having difficulty concentrating or focusing on tasks

Feeling hopeless or helpless about their situation

Expressing a desire to isolate or withdraw from others

Being irritable or easily agitated with others

Struggling to communicate their feelings to others

Feeling like they are a burden to others

Expressing a sense of numbness or emptiness

Feeling like they are trapped or stuck in their situation

Being indecisive or hesitant in their actions or choices

Feeling like they don't belong or fit in with their surroundings

Expressing feelings of guilt or shame

Having difficulty sleeping or eating properly

Feeling like they are constantly on edge or anxious

Seeing themselves as an outsider or outcast

Struggling to make meaningful connections with others

Feeling like they are invisible or overlooked by others

Expressing a sense of longing or yearning for something they can't have

Feeling like they are drowning in their emotions

Struggling to find purpose or meaning in their life

Feeling like they are stuck in a rut or a cycle of negativity

Expressing a sense of regret or remorse for past actions or choices.

Sensory Detail

Sensory details can take your writing to the next level! By incorporating sensory details into your writing, you can transport your readers into the world you've created and make them feel like they're a part of the story. Whether you want to evoke sadness, joy, or fear, sensory details are an essential tool for creating an emotional response in your readers.

Specifically, when it comes to showing a character's sadness, sensory details can be particularly effective. By describing their environment using muted colors and soft sounds, for example, you can create a somber atmosphere that resonates with the character's emotions. Additionally, describing physical sensations like a heavy chest or lump in the throat can help the reader understand just how deeply the character is feeling their sadness.

Remember, sensory detail isn't limited to external sensations - sensory detail can also include how the inner turmoil of the character interacts with the outside world, such as associating certain smells with sad memories.

I'll give you guys a few techniques for using sensory detail to show sadness:

Describing the weight of a character's heart or chest

Mentioning the salty taste of tears on the character's lips

Describing the sound of the character's labored breathing or sobs

Noticing the way the character's eyes water or become red

Describing the feel of tears streaming down the character's face

Mentioning the chill or shivers that accompany sadness

Describing the dull ache or pain in the character's body

Noticing the way the character's voice cracks or shakes

Describing the character's inability to eat or taste food

Mentioning the heaviness or stiffness in the character's limbs

Describing the character's difficulty in sleeping or restlessness

Noticing the way the character's hands tremble or shake

Describing the character's detachment or numbness

Mentioning the lack of appetite or desire to eat

Describing the character's exhaustion or fatigue

Noticing the way the character's posture slumps or droops

Describing the character's sensitivity to light or sound

Mentioning the character's lack of interest or enthusiasm

Describing the character's reluctance to leave their bed or room

Noticing the way the character's movements become slower or more deliberate

Describing the way the character's world becomes smaller or more constricted

Mentioning the character's lack of motivation or energy

Describing the way the character's skin becomes pale or sallow

Noticing the character's tendency to withdraw from others or isolate themselves

Describing the character's lack of focus or concentration

Mentioning the character's difficulty in making decisions or taking action

Describing the character's hypersensitivity to smells or tastes

Noticing the character's tendency to cry easily or frequently

Describing the way the character's thoughts become more negative or self-critical

Mentioning the character's lack of interest or pleasure in their usual activities.

Metaphors and Analogies

Metaphors and analogies in creative writing! These tools are like superpowers that allow us to express complex emotions in fun and unique ways. When we use them effectively, we can paint a picture in our reader's mind, making them feel and understand the emotions we're expressing. It's like adding a sprinkle of magic to our writing!

Here's how to use metaphors and analogies to show sadness in our writing! It's like playing a game of compare and contrast, where we compare the emotion to something that's relatable and tangible. For instance, we can describe sadness as a heavy weight on the character's chest, or a dark cloud that hangs over their head. By using these comparisons, we can help our readers to visualize the emotion in a more concrete way, making it easier for them to connect with the character and empathize with their experience.

Let's keep the creative juices flowing and talk about another way to use metaphors and analogies to show sadness in our writing! Instead of just describing the emotion itself, we can also use them to describe the character's actions or behavior. It's like giving our readers a visual representation of how the character is struggling with sadness. For example, we can compare a character who's dealing with sadness to a ship lost in a stormy sea, or a bird with a broken wing. These comparisons not only help the reader to understand the character's emotional state, but also create a sense of sympathy and compassion for their struggle.

Here are some examples for you to look at:

"Her heart was a shattered vase, the pieces impossible to put back together."

"He was a lone tree in the midst of a barren desert, with no hope of ever finding water."

"She felt as if a heavy weight was crushing her chest, suffocating her with grief."

"The sadness she felt was an ocean, deep and vast, with waves crashing over her constantly."

"His sadness was a thick fog, enveloping him in a cloud of melancholy."

"She felt like a bird with broken wings, unable to fly and trapped on the ground."

"His sadness was a never-ending tunnel, with no light at the end and no way out."

"The emptiness inside her was a black hole, devouring everything in its path."

"He was a ship lost at sea, with no sense of direction and no hope of rescue."

"Her sadness was a wildfire, spreading quickly and consuming everything in its path."

It's time to wrap up this post, but don't fret, I'll be back with more writing tips and tricks soon! There are plenty of these post on my tumblr so check them out too! or you can find a more organized version of them all here!

708 notes · View notes

elizakai · 2 months

Text

you guys i can’t take this anymore i need to release steam from this pot of killer and dust thoughts that’s on the stove

listen. if you don’t know by now. one of my favorite things to do is bridge narratives between fanon ideas, and canon truths hehe

Killer and Dust. The accepted dynamic is basically killer being a pestering little shit and dust being over it.

THATS GREAT ON ITS OWN it’s funny etc

but think about their ACTUAL characters for a moment. they are two sides of the same coin.

⬇️

i don’t want to hear any of that old fandom “they are literally the same” shhhhh. nuh uh dear friend, they commuted the same (general) action💥

their motives and situations are very different however! which is important when it comes to understanding a character

They both played into an opposite role in their world if you ask me.

Killer partners with chara, filling the role of the player. he’s a lot like flowey actually.

(in killers world, while he is still a pawn of this sick game, he gets manipulated after all, he has taken on the ROLE of the player. everyone else are the pawns.)

dust is against the anomaly of dusttale, which is that worlds player.

dust is a pawn. a pawn that is defying the player of the game

(in the same way that killer is still pawned, dust still uses his fellow “pawns” as a means to “win” the game, meaning he’s also playing)

(but again, i’m speaking role wise)

Killer and Dust’s dynamic doesn’t have to just be haha funny, it has some actual merit and potential to their characters.

Killer is constantly looking for new forms of entertainment. something new. he’ll get bored, and if he’s bored he’ll have to look at himself. killer is very much a character representing disassociation avoidance and to an extent, escapism (huh. like someone playing a video game?)

Of COURSE he’s gonna poke at people. it’s INTERESTING. it gets a REACTION. he gets to have that small power trip of being in control, after feeling like he lost control this is something that’s probably addictive to killer.

meanwhile dust…well. killer acts like his own anomaly in a way. he prods at him, toys with him, he’s leering and he takes pleasure in any reaction dust gives. dust probably would resent this feeling without really knowing why. he feels like some toy, and he’d probably be inclined to even interpret a genuine interaction this way.

this honestly makes dusts inclination to shut off or dull down any emotion make more sense. be as unremarkable as possible, and you’ll be left alone, right?

isn’t that…kind of what sans does? he’ll repeat same lines of dialogue and such when he reallyyy doesn’t have to. he’s being uninteresting. (and no he doesn’t need to remember everything magically for that to be possible. in game he will poke fun at past conversations and dialogue so he’s clearly aware enough)

Killer wants a response, so dust doesn’t give one.

killer wants control and feels like this is a challenge, dust feels cornered and defensive

if they had existed in the same world, it would have been killer vs dust in the end either way.

it’s a big old game of cat and mouse until someone snaps. they need to be given the opportunity to understand their similarities

even in an interpretation where they are in a healthier relationship, in whatever capacity, i think these mindsets would be conflict they may have….

to killer , on one hand he may be OFFENDED by his lack of response. he may be EXCITED, it’s a CHALLENGE. he might take dusts resignation as a sign of submission, which would give killer a HIGE power trip.

he might. genuinely just be trying to have fun?

it could be ENTIRELY lighthearted, and it’s still…rather toxic, considering where that mindset branched from

and we know dust won’t be inclined to say anything. he probably doesn’t understand his own feelings to be frank💀 he just feels gross and intimidated and cornered so he shuts off and sees killer as oppressive , and grows resentful regardless of intent, as these feelings only feed into his crippling self hatred anyways

….thats all for tonight-

#utmv #ut au #undertale #sans aus #dust sans #murder sans #killer sans #bad sanses #THOUGHTS #PLEASE SHARE IM SISBDOD #this is unorganized and i don’t care hee hoo #headcanons #interpretations ig #dusttale #something new au #kist #if we want #😏#or not

110 notes · View notes

pomefioredove · 1 month

Note

Heyyy! Can u do Jamil, riddle & whoever else you choose X party girl!reader? Someone who loves music, dancing, clubs and stuff like that? They might still be a good student or it might affect their studies, you choose. Thank youuu (⁠~⁠‾⁠▿⁠‾⁠)⁠~

anyone else I choose you say?? ooh

summary: reacting to an extroverted party-prone reader type of post: headcanons characters: riddle, jamil, idia additional info: platonic or romantic, pretty short, reader is not specified to be yuu, reader is gender neutral (using "party girl" as a loose term)

Riddle Rosehearts

honestly?

doesn't matter if your grades are affected or not

he is NOT a fan

Riddle has spent his whole life devoting all of his free time to his studies

(whether he wanted to or not)

seeing you squander yours on things he finds useless and irritating is a little frustrating for him

what, are the unbirthday parties not good enough for you?

he would scoff at the very thought

a dark room full of sweaty strangers and deafening music is hardly a party to him

(it doesn't match the rulebook criteria, anyway)

it's a high point of conflict between the both of you for the longest time

but maybe... just maybe

if you're able to impress him with your grades

even with all the time you spend out

he'll come around to accepting the idea

don't try to take him out with you, though

he takes curfew very seriously

Jamil Viper

he's maybe

a little

tiny bit

jealous

not that he'd ever admit that...

even with all the parties Kalim both throws and attends

hearing you going out on your own and enjoying yourself with no sense of duty is frustrating, to say the least

why do you get to shirk all responsibility and run wild?

listening to you describe your escapades in clubbing and partying just makes him turn up his nose at you

at first he just says it's immature and irresponsible

think of your studies!

think of your grades!

think of all those who rely on you!

and then it just becomes overwhelmingly apparent that he wishes he had that same sense of freedom, too

(as good as he is at concealing his true motives, you can just tell)

if you catch on and ask him to go out with you, he'll say no

obviously. he has things to do.

but maybe... if you're able to steal him away for an evening and throw him a little event of his own

he'll relax a little

Idia Shroud

number one he's scared of you

number two he's scared of you

a super extroverted party person getting near him is like a boss battle

in the virtual world he could take it on no problem

but this is real life

so he just freezes up and tries to hide behind the nearest piece of furniture every time you're in the room

you'll never convince him to go out with you

that's just a given

but maybe once he gets a little less intimidated by you, he'll throw a party for you

in his own way

(he programs it)

in all honesty, it is pretty neat

even if you're technically the only people there and everyone else is just CGI rendering and it's on a computer screen

but, hey, he remembered all your favorite music!

congratulations on bringing him out of his shell

kinda

while this is a small victory for him, it's a victory nonetheless

#twisted wonderland x reader #twst x reader #riddle rosehearts x reader #jamil viper x reader #idia shroud x reader #queued

147 notes · View notes

aribluart · 1 month

Text

When I was a kid, my favorite characters in Naruto were Gaara, Sasori, and Naruto. Now, after having read, finally, all the manga at 28, that drastically changed. Now, without a doubt, my favorite characters are Obito and Kakashi, and the main reason is: they are human. I'm not saying that the other characters of the story are not human, but they all have that indistinguishable "fantasy" layers on them. But Obito and Kakashi? Their story, their motives, their emotions, their responses at the events of the main story, are so intrinsically human. Probably what I'm writing make no sense, but Ill' try my best to explain, even if I have difficulty to write this in english. This is my opinion, and naturally everyone has their take based on their own culture and their life. When I say they are " intrinsically human", I mean that if someone else was in their place, they would have made their same choices and actions. Because, their response to destabilizing and traumatic events (the third ninja war as child soldiers, Kannabi bridge, Rin's decision, and so on) it's different, but also understandable. Who could have act differently? No one can say with confidence and no hesitation how they would act in certain situations. I'm no therapist, but people have different reactions to traumatic events. We are not the same. So, seeing how Obito and Kakashi had so conflicting reactions to the same events, conflicting with their own childhood self even though you could see even then there was something, something that you could see and say "yes, this is only the tip of the iceberg," because we are not the same as our child selves, but our child selves had something that made who we are today, and the "we" of today have something that it's a reminder of our child selves. I, have so much more to add, but don't have the words in english to say it. I don't even know if what I wrote make any sense, it was something that I wanted to say because this two make me cry, and I hardly cry for fiction. But this two made my cry like I haven't cried for years, just because their story is so viscerally human and close to what I feel in general, that I don't even know anymore.

#naruto #obito uchiha #kakashi hatake #obikaka #obkk #kakaobi #kkob #aribluart's meta

85 notes · View notes

chordsykat · 1 month

Text

How I write action/fight scenes

From a prompt posted by a friend on Discord last night. :3 Just thought I would ramble a bit before getting to work, this morning. If you're a writer and want to know what goes through my head as I come up with combat scenes in my stories, then read on. In this way, I hope we both learn a lot. Because I honestly don't think I've ever laid out my "formula" before...

First, know who you're dealing with.

This tutorial is going to stick mostly to the actual writing aspects, but if you're going to do an action series, you should factor in the combat abilities of your characters as you develop them. This doesn't have to be anything fancy. Keep it to the natural human responses at least. In other words, during a conflict, how will your character react:

Fight: Push back

Flight: Run away

Freeze: Do nothing

Knowing just that will give you enough to start thinking these dances through. And indeed, that's what they are - a dance. If you know more, like, specifically what kind of fighting they do, what their strengths in combat are, etc -- all the better, but know that what I list below goes in order from most to least important, and that stuff won't be on the list until the end.

Second, (and always) make the audience care about the action.

This sounds dumb and counterintuitive but people won't find an action scene compelling just because it's an action scene. Not to knock it, because it was brilliant for a different reason and a lot of the writing staff's hands were tied... BUT... During my time as a fan of, all the way into my employment with, Archie-Sonic, I can't tell you how many action scenes happened just because some executive at Sega was like "I think X and Y need to fight." So they would, and for reasons that were muddy at best. I think at one point, we had Sonic and Knuckles literally exchanging this dialogue:

Sonic: Yo dude, be cool. Last time we met, we left on good terms! Knuckles: Maybe, but you're still an intruder and just because you did me that favor on the day my daughter was to be married does not mean I owe you anything in the way of kindness.

IDK, my memory may be foggy, but that was the gist of it. Point is, don't do that - and first make sure your audience understands the motives behind the action, the potential stakes, and why it's all taking place to begin with. Else, you can make it as cool as you want and people are going to walk away with a sense of "that was cool" instead of "holy shit I was freaking out through that whole scene." If there's any question as to what you should be striving for as a writer, it's the latter.

Third, plot it out like it's a mini-story.

To the point - figure out the end first, and work backwards, just like so many writing tutorials have said before. Again, keep it simple: Who wins? Does the conflict result in a casualty of some kind? Does a character learn something?

Before you show how it goes down, you need to establish what goes down as the action happens, and what happens afterwards. Keeping the ending in mind as yo write a scene is always a good way of making it feel tighter. And throwing littlte twists for interest (maybe a character has the upper-hand for all but the end of the fight - maybe a character is losing until a specific turning point, etc) is made much easier, too.

Fourth, mind the rhythm.

A little weird to explain this, but the back-and-forth nature of the scene needs to flow well. Generally, conflict follows a pattern of:

Character acts

Opposition reacts

Opposition acts

Character reacts

If this pattern looks familiar to you, it should. This is the basic pattern of human dialogue as seen in stories and, YES, real life. Consider your scene like a dialogue all its own (even if the characters are talking throughout). The twists and turns I spoke about in the last point should be "off beat" because there's an unexpected nature to them. When a twist happens, consider breaking the above pattern.

Fifth, showcase character traits and skills (again, always).

Some characters have a high sense of honor and would put down their weapons if their opponent was unarmed. Some of them would fight dirty and hit someone with a chair when their back was turned. Some characters are scrappy and will jump into a conflict even when they're sorely outmatched. Some are straight up cowards who might run away even when there's a good chance they could win. Some are smart enough to bow out and will not engage -- hiding at the first sign of trouble. Some will throw snowballs at the oppressor and be surprised when they pull aggro and the dude comes after them.

You get the idea -- fights, conflicts and action scenes are great ways to show your characters' strengths, weaknesses, traits, and personality. Times of struggle are going to lay emotional responses raw, and it's a great way of showing "who someone really is" as it were.

Sixth, showcase unique defensive behavior.

Some characters have specific training: military, martial arts, street-fighting, etc... which, if you're aware of those, should come out during combat or conflict. Some characters have access to weapons. Some characters' bodies are the weapon. Etc, etc etc...

Whatever you do, about the only time you're going to show off the fact that your character knows Muay Thai is during an action scene. If you yourself do not practice this martial art, then research what you need to incorporate to make it believable when you write. Watch videos and write down the ways you would describe the movement. If you're doing a comic, then sketch the movement. Use that in your story.

Last, create more interest by tying in and highlighting story themes or disparities between protagonist characters, antagonist characters, and/or the conflict as a whole.

A little trickier, but if your story has a central theme or moral, try showing pieces of it shining through the action. Just as one wild example, if you have a theme of "love conquers all" this might mean your fight will end with the two people falling in love, instead of fighting. Think like a dungeon master. If you rolled a natural 20 on "try to woo the orc" in a combat situation (remember that comic?) what do you think would happen?

Too, if your combatants have something in common, or especially something that they are diametrically opposed on, feel free to show that off in these scenes. It'll leave the audience knowing them better (and set them up for further head-butting... or romance(?) down the line. And that's always fun).

Anywho, that's just a few of my thoughts on action sequences in fiction. If this helped you, or you want me to talk about this even more -- send me a message or a note or something. Always up for discussing this kind of thing.

And your reward for reading this far is an invite to join my discord if you wanna hear me ramble on about this sort of thing, in perpetuity. :)

#creative writing #writing tips #tutorials #action scenes #writing action scenes #writing combat #character development #story development

75 notes · View notes

writingraven · 2 years

Text

Writing Tips

Scene Checklist

Does your scene include everything it should?

「 note: this is for the editing stage; remember, first draft is for the writer & editing is for the reader; get it down before worrying about these things unless it is just for practice 」

✧

ACTIONS

↦ are the actions necessary?

↦ are the verbs as descriptive as possible?

↦ do the actions match the character? why did the character take those actions?

↦ are the actions clear?

DIALOGUE

↦ what is the purpose for each statement?

↦ does each statement move the story forward?

↦ are the dialogue tags as descriptive as possible?

↦ does the dialogue match the character? why did the character say those things?

EMOTIONS

↦ are each character’s emotions clearly stated or implied?

↦ are the character’s emotions justifiable?

↦ how does the character’s emotions affect their actions?

LANGUAGE

↦ are you showing or telling?

↦ does the scene have clarity & coherence?

↦ does the scene have the desired tone, mood, & voice?

PURPOSE

↦ is this scene necessary? (if removed, would the story still make sense?)

↦ are there stakes at risk in this scene? is there tension?

↦ has something changed from the beginning to the end of the scene?

↦ possible purposes: advance the plot? reveal character goal? increase tension? develop character? reveal conflict? react to conflict? explain backstory? foreshadow? build world? reinforce theme, tone, or mood?

SETTING

↦ will your reader clearly know the setting throughout the scene?

↦ room? house? city? state? country? planet? galaxy?

↦ time of day? season of year? weather?

↦ chronologically within story?

STRUCTURE

↦ is there a distinct beginning, middle, and end?

↦ is the chronological order of events clear?

↦ does the scene smoothly transition from one to another?

✧

DWIGHT SWAIN’S SCENE VS SEQUEL

↦ Swain believed scenes should repeat these sequences in order to keep the interest of the reader piqued

↦ Swain says “a scene is a unit of conflict lived through by character and reader” & “a sequel is a unit of transition that links two scenes”

↦ scene: goal, conflict, disaster

⟿ goal: character’s decision to do something for a purpose

⟿ conflict: something opposing the character’s ability to achieve goal

⟿ disaster: a disruption or turning point to keep the readers hooked

↦ sequel: reaction, dilemma, decision

⟿ reaction: character’s emotional/analytical reaction to the disaster

⟿ dilemma: what should the character do now

⟿ decision: what does the character do now

↦ does your scene have one of these three-part patterns?

DWIGHT SWAIN’S MRU

↦ MRU: motivation-reaction units

↦ these are for alternating sentences or paragraphs

↦ motivation: objective thing your character externally senses (what happens?)

↦ reaction: subjective response your character internally has (how does your character react? feeling, reflex, action, dialogue?)

↦ this is very difficult to follow, especially without practice, but it is a way to guarantee your reader’s interest & attention

#writing #writing tips #story ideas #reference #fantasy #knowledge #writing reference #writing fiction #writing plot #scene #writing scenarios #dwight swain

3K notes · View notes

karmaspidr · 4 months

Text

Why the Player doesn't and SHOULDN'T exist in Undertale Yellow.

Figured that I should explain my take seeing as everyone who saw the meme (ON REDDIT) about it didn't like it. I'll be sharing my personal views about the 'Player', evidence for our existence within the game and why I don't buy it.

1. Neutral Flowey Dialogue: This is the only piece of evidence I've seen for 'Player's' existence in Undertale Yellow. If you battle Flowey 4+ times and have a FUN Value of 70+, he will talk about him and Clover being alone in his mind and a strange feeling he's been having since Clover showed up.

Focus on that last part. "Since Clover showed up." Clover first fell into the Underground hundreds of runs ago, runs that we don't get to play. If Flowey was talking about us, he would've said that he's been having this feeling since Clover fell into the Dark Ruins for the first time.

It's just as likely that the sight of another human dug up some remnants of Asriel from within Flowey but I don't have any evidence for that either. I honestly think this whole thing was just an Easter Egg of some kind. This alone isn't enough to prove to me that the Player is possessing Clover. Speaking of Clover.

2. Clover's Character: Unlike most of the human characters in this fandom, Clover has a clear personality throughout the game. He's kind, hates injustice, has a sense of humour, is honourable enough to spare Martlet TWICE in the Vengeance Route and is always ready to fight for what is right.

Any choices that the game gives us are all things Clover would reasonably do by himself. Half of the time we are given only one option.

3. The Narrative: Think back to the end of the True Pacifist Run. Clover spares Ceroba despite her pleas, then sacrifices himself for Monsterkind. Such a momentous moment that caused many of us to tear up.

Here's where the issue comes in. If the 'Player' exists, then Clover isn't some selfless hero who was able to befriend all these characters, peacefully resolve every conflict, and choose the needs of the many before himself. Some faceless entity using Clover as a meat suit did.

Same with Genocide. It's no longer a story of twisted Justice and the morality of Undertale. It's just us playing for another ending.

The same issues show up in the main game. The Player being canon strips our protagonists of any character, individuality and responsibility, the good and the bad.

At least in Deltarune, Kris' struggle for control is actually part of the story.

5. Player's Potential: The concept of the Player is interesting, don't get me wrong. But this fandom refuses to use it to its full potential. We've turned ourselves into another Chara. Some demonic entity with no real motivation forces our human characters to do bad things and bad things only.

Wouldn't be interesting if the Player was more like the Collector from The Owl House, or if the Player's relationship with the human characters.

In case you forgot, we didn't make Kris our vessel. We were forced to possess them after our perfectly good, empty vessel was thrown out.

#undertale #undertale yellow clover #undertale yellow #clover #undertale clover #uty clover #clover uty #clover undertale yellow #undertale player #deltarune player

75 notes · View notes

theerurishipper · 7 months

Text

Anyway, Gabriel's role as Monarch is directly tied to Adrien. It doesn't make sense in terms of the story to split his character into two parts to act as a villain for both Marinette and Adrien separately, because Monarch has specifically been set up to impact Adrien's character as both a civilian and a hero.

Aside from the obvious part where the terrorist Adrien has been battling for months on end is his own father, Monarch's main motivation is to bring back Adrien's mother. That itself directly connects Adrien to his father's supervillain alter ego. They have even come into conflict over this, like in Felix.

Adding onto that, Gabriel's abuse of his son is also tied to his supervillain shenanigans. Gabriel has, on numerous occasions, targeted several of Adrien's classmates using Adrien as a way to get to them. Like in Bubbler, where he used Nino's relationship with Adrien as a way to akumatize him, while also ensuring that Adrien would remain isolated. Or even like in Optigami, where he uses Adrien's relationship to his classmates in order to execute his plan. There are several such examples, but the fact is that Gabriel exploits his son's relationships as a civilian in order to pull of his schemes. He involves his son in this whether Adrien is aware of this or not.

Aside from that, we have examples like him using Adrien as a virtual avatar for the Alliance rings which he uses to transfer Miraculous powers and uses to "Miraculize" people in the finale, literally by exploiting people's nightmares about his son being kidnapped by Ladybug and Chat Noir, essentially using his son's image as a way to perpetuate his plan.

And he has also deliberately targeted his son. See Riposte, Gorizilla, Style Queen, Representation, etc. He at his worst, is not concerned whether or not his own son is targeted by someone who might want to slice him apart or let him crumble into dust, and at best, is worried but not enough to stop. And there are the cases where he exploits his own relationship with his son in order to akumatize him. See Chat Blanc and Ephemeral. None of these would have happened if Hawkmoth/Shadow Moth had been anyone but Gabriel Agreste. Him being Adrien's father matters here. See Transmission for a non-magically erased example, where he is able to give Adrien an Alliance ring under the guise of being a caring father so that he can akumatize him.

Aside from that, Gabriel uses his powers to enforce his control over his son. The most obvious example of this is the whole "Adrien is a Sentimonster" business, wherein Gabriel uses the rings with Adrien's Amok to mind-control him. This directly ties his abuse of Adrien to his magical shenanigans. Aside from this, there are subtler ways, such as him using his akumatization into The Collector to guilt-trip and gaslight Adrien in The Collector and Illusion. Or when he akumatizes Kagami in order to stop his son from going against his wishes in Protection. He specifically takes advantage of his supervillain powers to abuse and control his son.

And even forgetting all this, his supervillainy involves causing harm to Adrien's friends, whom he then has to fight and save. Imagine the pain he might feel when he realizes that his father is responsible for all that. That his father hurt his best friend to take advantage of that sadness. That his father went after his friends in their moment of vulnerability to turn them into his minions. All this under the notion of bringing his mother back, even as he hurt and neglected him.

And Adrien has been fighting this man on a regular basis. He's fought this man. He's accidentally mortally wounded this man. Gabriel is crumbling and dying under his cataclysm, and he doesn't know that he's essentially killed his father (he's not to blame, of course, but still). Imagine the horror that comes with knowing this, imagine the pain. Chat Noir and Monarch are not impersonal enemies, even if they don't know it yet. Chat Noir is Adrien and Monarch is Gabriel, and they are father and son. Gabriel's motivation is about Adrien and Adrien's mother. Adrien has been fighting the man who has been abusing him, in part using the magical items he possesses. Chat Noir, to Adrien, represents freedom from his life, and especially represents freedom from Gabriel.

You cannot separate Gabriel into Gabriel the abusive father and Monarch the supervillain. You cannot. Not in the way this story is written. It would be a better argument if Gabriel were a generic villain who just wanted world domination or something, but he isn't. His motivation is personal to both himself and Adrien. Marinette does not have the same stakes in this. She feels the responsibility to defeat him, sure, but when it comes down to it, it is Chat Noir who has the emotional brunt of this confrontation, even made physical by the deadly wound unwittingly caused by his power on his father. And it's not like Chat Noir doesn't feel the responsibility to take down Monarch either. Marinette may be the Guardian, but she is not at the center of this. By virtue of how the story is written, Adrien is the one who will be most affected by Monarch being Gabriel, he is directly linked by virtue of being the hero who is fighting his father, and the confrontation is and should be between them.

I say this, of course, in the objective sense of how the story is written, not because I think Marinette shouldn't be the lead and Adrien should. As it stands, Adrien is the one with the emotional stakes in the matter, and he was cast aside. This isn't a matter of wanting my favourite character to have the spotlight, this is a simple matter of narrative payoff and thematic consistency. Plot points that are set up need to be resolved. If they set up Adrien and Gabriel as father and son, they need to deal with it. If they wanted Marinette to be the one to defeat Gabriel and be the only one who fights Monarch, then they shouldn't have given Adrien the arc of breaking free from his father by virtue of becoming a superhero. If they wanted the emotional core of the conflict against Monarch to lie with Marinette, they shouldn't have made him Adrien's father.

If Monarch was meant to be Marinette's villain, then what is the point of Chat Noir? Why was Adrien made into a superhero when he was never meant to fight his father? Why have him swear to be by Ladybug's side to defeat Monarch, why have him mortally wound him, why have him there at all, if none of it mattered? Why is it called The Tales of Ladybug and Chat Noir, if Chat Noir was never going to be relevant? Why write it like this if it was supposed to end with him being left out of the arc they seemingly set up for him?

As it is, Marinette doesn't even defeat Monarch by being a badass superhero. She talks him down using his relationship to Adrien. This is undeniable proof that Gabriel and Monarch are not separate. This was never Marinette's fight. In the end, it still comes down to Adrien. You cannot remove the fact that they are father and son from this, you cannot separate their identities. When it comes to defeating the big bad, the fact that he is Gabriel and Adrien is his son matters most by how the story is written. Throwing Marinette in there at the last minute and trying to give her the greatest stakes in the fight will never work, because the story is built around the Agrestes from the beginning.

If they wanted Marinette to have the boss battle to herself, they should not have made Monarch Adrien's dad. He should have been some rando. Then Marinette would have the most stakes in the fight and the Bug Noire thing wouldn't be as insulting. But they didn't, so she didn't. We were left with a finale which had cool fight scenes, but not emotional payoff. I personally did not feel a thing watching it. Because there's nothing to be emotional about. Adrien was left out, and Marinette got a cool fight scene with no character moments to show for it because the emotional core of the conflict was never about her.

When you set something up, you can't sweep it under the rug because you wanted something else later. You can't ignore what you wrote because you don't wanna write it anymore. If they set up Adrien and Gabriel's relationship this way, it has to be addressed. It has to be dealt with. If Adrien was supposed to confront his father and free himself from his control, then he should be allowed to face him, not have Marinette do it for him. And if Marinette was supposed to have a stake in her battle, she shouldn't have to play the supporting role in a conflict that isn't about her ultimately, and she shouldn't be shoehorned into the role another character should occupy without any of the narrative or emotional weight in the matter.

No one got a good conclusion here. Marinette was shoved into someone else's arc instead of having her own. Adrien was ejected from his arc. Both their characters suffered here. The narrative set-ups were demolished, and the themes were destroyed. Both Adrien and Marinette deserved better than this.

#MLB #Adrien Agreste #Marinette Dupain Cheng #Meta #My meta #S5 Finale #ML Salt #ML Writers Salt #ML Writing Salt #Gabriel Agreste #This is just my opinion #Feel free to disagree

133 notes · View notes

threetrenchcoatsinatrenchcoat · 7 months

Text

Late-Stage Capitalism Was Never An Option: The Politics, Economics, and Morality of Untitled Goose Game

Untitled Goose Game is a 2019 one-to-two player puzzle comedy video game developed by independent studio House House. It is known for its slapstick humor, soundtrack made of Debussy snippets, and simple abstract visual art style. These whimsical components belie the piece's robust canvas for critical discussion of the morality of western capitalism. Despite the richness of the source material, we couldn't find such an analysis existing already. Further scholarship is encouraged. In this essay we will examine Untitled Goose Game in the context of economic policy through such concepts as private ownership, the responsibilities of businesses, law enforcement, and alienation from the self. I'm not kidding.

The primary question to answer with regard to a player's experience is: What makes being a horrible goose so fun? The player character is not shown to have a long-term motive, nor any danger from which to escape. The goose in fact plays the part of the instigator in several of the hostile relationships formed with the world's humans throughout the game. It is satisfying to trick said humans in the way a successfully pulled prank may be satisfying, deserved or otherwise. But achieving tasks in Untitled Goose Game feels morally right in a small but consistent additional sense (source: I played it, and it felt real good). There is an undercurrent of retribution we will discuss, but to consider any angle of retribution, we must first analyze the goose's motives or lack thereof.

The goose may intend simply to steal a few objects initially, but may have been intending the entire arc of the game upon starting. It is tempting to assume the provided lists of tasks implies the latter interpretation, but we argue the opposite. The game finishes when the goose places a bell gathered from the end of the game into a pit near the game's start. For one last joke, the pit is seen to contain several other identical bells, indicating the whole story has happened many times over and will happen again. Because of this fact, as a literal understanding of the lists of tasks, we could say these lists started small but grew and were refined over several cycles. We shall instead say simply the tasks and the story of the game therefore exist effectively outside of time. The goose isn't rotely following the tasks, nor are the tasks simply notating the goose's whims as they appear. The tasks are themselves the goose's present and future aims. The goose will always enter the garden, the gardener will always chase it out, and the goose will always subsequently spray the gardener with the hose.

When looking at analogues of trickster gods, such as Coyote, Anansi, or Bugs Bunny, the ethical code leading up to a great trick tends toward a sense of comeuppance. The trickster god will never aim to cause a conflict, but can end one with aplomb. The potentiality of the goose’s designs are less clear than of the aforementioned examples. The clearest cases are with the first tasks provided in each of the game's five areas. Three of them are explicitly to enter: Enter the Garden, Enter the Pub, and Enter the Model Village. The goose must choose to take on these tasks, yet the crimes of trespassing are rather benign as initial infractions, especially to a presumably illiterate animal.

The other two starting tasks are even harder for which to fault the goose: Break the Broom and Make Someone Break the Fancy Vase. The broom in High Street can only be broken after the shopkeeper attempts to shoo the goose away, whose only crime at this point is again trespassing. And the vase in Back Gardens isn't even broken by the player character; the goose moves the vase to a different backyard, and the human's lack of regard for others' property and high regard for property ownership causes them to lob the vase back over the fence, resulting in anguish for both involved humans. These instances highlight a consistent story component: the goose doesn't initially want to cause damage, but simply doesn't care about imaginary lines of personal property ownership.

Placing the player in the role of a wild animal, with no assumed responsibility for understanding western economic rules is a powerfully subtle reframing of those economic rules. The humans of the world, with a few notable exceptions, believe unwaveringly that certain lines must not be crossed, especially in fields of private ownership. A view of the goose's precedental actions as agnostic to this human concept then criminates as the cause of the game's chaos a belief in private ownership itself. Untitled Goose Game invites the player to a context not only wherein property law visibly begets disaster, but direct criminal action in its opposition is made liberating and joyous.

About half of the tasks in the game are facilitated by a human’s effort to hamper the goose. For instance, when filling up the sink in the pub, the easiest way to keep the worker from finding the player and turning the water off is to first, intentionally be loud and visible at the other end of the pub. In several of these tasks, a human calmly allowing the goose to coexist in their space would make it impossible for the player to get away with their antics, let alone the possibility that a human decision to do so may entirely remove the desire for the goose to pursue such antics. In addition, even if the player fails to engage with the motivation of each of the goose's initial acts, the goose's intent and opportunity to escalate makes a clear statement on the enforcement of those initial laws.

A dogged pursuit of a culprit and punishment-based justice occasionally inconvenience the goose, but always lead to harming the humans enacting such enforcement. The first three sections end with a task whose success depends on a human erecting an anti-geese sign. Whether by personal choice, or the perceived responsibility of a business, the humans behave with intolerance to their own detriment. This clarifies the morality with regard to trickster god logic: the initial stone cast is not the goose's if and only if the goose is considered outside of or even above private ownership. In fact almost all tasks in the game exist in one of the following categories: Problems caused or partially enabled by human hostility, Problems enabled by humans unable to recognize their possessions, and Frivolous recreations of human activity.

The first category is detailed by the last paragraph’s discussion, so we will continue with the second category. Problems enabled by humans unable to recognize their possessions consists of at most one task per area: Make the Groundskeeper Wear His Sun Hat, Make the Boy Wear the Wrong Glasses, Make Someone Buy Back Their Own Stuff, and Get Dressed Up With a Ribbon. The groundskeeper doesn't necessarily fail to recognize the difference between their hats, but we include it in this category due to their ambivalence after the switch. These tasks provide a strong representation of human self-alienation. While the humans consistently take assiduous care in protecting their property and seeking it out when missing,

in a few instances, they cannot even distinguish their items from improvised replacements. Griffin McElroy, I mean The Boy on High Street, will wear whatever glasses are presented to them, and if their vision is lacking upon the interchange, they don't show it. The Shopkeeper, when presented with the Boy's airplane toy will assume it is one of their own goods for sale. Despite the Boy's protests and having no direct analogue in the market with which to be confused, the Shopkeeper refuses to let the Boy recollect their toy without some payment. This confusion isn't even the Boy's fault, but the Boy plays the victim of this scheme, making it the prank that feels the worst to a player (source: I played it and felt kinda bad). As uncomfortable as the player may be, this task demonstrates how alienation from one's own lived experience can hurt others around one as well as oneself.

Interestingly, because of the modular nature of the game's design, this task can be repeated indefinitely, so even if unintentionally, the Shopkeeper is shown to be so disconnected from their work, they will mindlessly repeat an infinite cycle of reselling the same object to the same customer, acting as if this dehumanizing spiral is indistinguishable from the rest of their clocked hours. The Woman in Back Gardens will be incensed in dragging their goose statue back to its position, but when the statue is hidden, they will appear unable to tell it from a real goose even when tying on a ribbon. Each of these cases may be due to extreme unawareness as much as presumed societal pressure to perform normalcy, but in either case, the effect of alienation is clear: In their social and economic reality, humans must act like they deeply value their possessions while remaining removed from any tangible attachment thereof.

The third category of task drives home Untitled Goose Game's statement on capitalism: Frivolous recreations of human activity. There is one such task that consists of nested subtasks in four of the five areas. The other categories of task mentioned above present what is wrong, what is not identifiable with the world relative to the goose. This third category presents the clearest window into the goose's true beliefs, what is right, what is identifiable. The goose, and to an extent the player, does not look down on the actions of the in-game humans. The actions of preparing a picnic, going shopping, doing laundry, or setting a table, are all beautiful and fun. But only because the goose is free to choose their doing. These are the most laborious of all tasks in the game, and they are indeed rote chores to a human. It is the conditions of anti-authoritarianism and novelty that elevate the goose's perception of what could be tedium. The goose is not required externally to set a table and is certainly not required to set a table dozens of times an hour. The inescapability of the professional pressure is what removes the fun from an act that is presented to the player as a game to play. Here, Untitled Goose Game points at several cracks in the practice of western economics, and points just as precisely at a better way to live.

We previously stated these three categories comprise almost all tasks in the game. A few of the exceptions are simply flippant chaos as further, albeit indirect, just desserts to interactions humans started. But there is only one task in the game that cannot be categorized by flippant chaos, nor any of the previously listed: Be Awarded a Flower. Two patrons of the pub are notably unbothered by the goose's presence and go so far as deliberately playing with it. After the goose mimics a few behaviors for their delight, they will happily grant it a rose from their table. Everything about this interaction stands out from the rest of the game.

The patrons don't chase you, they don't snitch to someone who will, and they are themselves willing to break from rules of individual ownership: the rose appears as a table decoration, and yet they avail themselves to a handy gift for their new avian friend. It is striking that the brightest moment of community in the game is the exchanging of an object neither party legally owns. Both of these patrons are depicted with dark skin, one with a head scarf, common in Black hair maintenance and fashion. This choice of ally hints at an interpretation of the goose as a member of a marginalized community, perhaps itself an immigrant and/or person of color. We leave this topic open to further research and here make our own argument for what the goose represents: the eponymous untitled goose is change incarnate.

Keeping these foundations ahold, allow our perspective to take a step back. From here, we may observe each area is a close exploration of the themes’ elements. The first area is the Garden, wherein we explore the concept of the Individual in the context of western capitalism. In the Garden, we begin discovering a lone human’s reluctance to engage with a force of change interested in causing small disturbances. The Gardener is very protective of private property, especially with the boundaries of land, and their primary drive is toward a state of emotionlessness and order.

The second area is High Street, which centers on the concept of Commerce. Here we witness the detachment of the worker from both their work and their customer. The human drive for order and a status quo continue as we see the Shopkeeper attempt similarly to repel the harbinger of change away, but from the interests of a business rather than a citizen. Notably, the avatar for businessgoer is the young boy who is the only NPC in the piece to run away from the goose when confronted, instead of toward the goose with ill intent. Those unlucky humans dependent on interacting with capital from a position of less relative power are also driven toward a mistrust of change, but employ this mistrust without land to defend—disengagement is the only reaction left to the customer.

On Back Gardens, we explore the interactions of Society. The neighbors have a comically unmalleable sense of remove from each others’ beings. They may only listen at the hedge for gossip and communicate directly when grievances are to be had as society under an economy and culture of alienation sprouts rigidly divided compartmentalizations. The humans will angrily chase the goose when their own goods have been taken, but only up to the lines of legal property. Once that bound has been overstepped, the humans will entirely drop their anger and forget they had losses to cut. The lesson is that no matter what a citizen cares about, they value it far less than the potential pleasure of letting a force of change become someone else’s problem.

The Pub is where these pieces come together to be considered from an even greater distance: the old man acts as an Individual, the pub’s staff act as Commerce, and the dissociation between those two as well as the delivery workers and other patrons fill out our picture as Society, reprising the motions we’ve come to understand from the previous three sections. The primary task of the Model Village serves simply to reinforce how separate each of these elements must be: the citizens throughout the town will try to grab the bell from the goose as it runs back home, and yet will never go further than the bounds afforded them by their given cultural archetypes.

The goose exists as a wind of untamed progress into a town with an almost entirely wrought-iron viewpoint. The townspeople are resistant to the goose’s mere existence before any threat to their day is presented. They struggle in vain toward a veneer of order, often at a greater cost than of the order lost. Their stance against the goose forces them to expose the flaws in their rules and run up against their own self-imposed boundaries—occasionally literally as in High Gardens and with the bell after the Model Village. In most areas, the goose can’t move on until the humans put up a no-geese sign, as if this supernatural force will not leave them be until they have sufficiently reckoned with it.

The humans are not universally opposed to the goose, but the couple exceptions are not necessary for the goose to move on. Change comes, like it or not. Making this manifestation of change a cute animal is an efficient way to arouse empathy. A goose can’t be expected to know its actions are considered unlawful, but once the humans have clearly aimed their energies against it so, its persistence in its behavior and the players’ awareness of its criminality are, in effect, the same. Untitled Goose Game contrives its NPCs’ logic and behaviors just enough to make out-of-game economic realities appear as farcical as they already are flawed, then it gives the player the chance to undermine, challenge, and exploit what have become visibly unfair and immoral systems with an angle parallel to that required of critical political activism and reform. That’s why being a horrible goose is so fun.

We have no conflicts of interest to report, although House House if you wanna pay me for this hmu lol.

#why am i like this #having a normal saturday how bout you #untitled goose game #gaming #capitalism #analyzing the themes

47 notes · View notes