#their parallel characteristics actually. both are different from their environment in some way. both were forgotten about in some way.

[snivel1]

What if I swapped their puppet types😳

[wilcze-kudly]

Siblings in turmoil; the Katara+Sokka /Bolin+Mako comparison

So after making this post about the interesting parralels between our two favourite pairs of siblings, I wanna play around more with the parallels and similarities between them. Mind you, this will not be a one to one comparison, since both pairs of characters are simply much too different from one another to perfectly fit into one archetype.

This post serves more to compare these characters, their respective dynamics. You know. For fun. Because overanalysing traumatised children is fun now.

I think the set of similarities that jumps out at us first is the one connecting to Katara, Mako and their respective losses.

I mean, it is very obvious. Kid witnesses horrific, violent death of parent(s), keeps a dead parent's belonging around their neck, acts as their other sibling's parent to some degree.

If we look to the other corner, Sokka and Bolin have some surface level similarities. They act more as comic relief, and seem less affected by their circumstances than their siblings. They also somehow are incredibly popular with the ladies (and guys). It's that ole autistic rizz.

Mako and Katara's losses are the, let's say, centrepieces of their characters. To some extent, the pain and horror they went through as children, guide them through life and influence how they see the world and how they make decisions. You know, as trauma does.

Both of these characters had to step up and fill a void left in their and their siblings' lives.

Katara is on multiple occasions described as "motherly", which does make sense. Katara's loss of her mother impacted her tremendously, and it most likely shook her family dynamic to the core. Therfore, Katara takes on certain maternal characteristics. She also fulfills the chores that a mother would in a traditional household.

It is important to note that Sokka also takes on a typically parental role with Katara. However, rather than filling a void left by a mother, he fills the void left by a father. Hakoda and the men of the village leaving was not only very traumatic for Sokka, but also a very heavy shift for the rest if the village. Sokka being the only man, even only teenage boy leads to him not only taking on this role in his family but also the 'leader, chief, provider' role that men traditionally took on in their environments. This is still emblematic in how protective Sokka is of his companions, often even shielding them with his body, putting himself in harms way.

In Bolin and Mako's dynamic, however, Mako takes on both parental roles. To some extent. Where Sokka and Katara still had a certain amount of adults who could take care of them, Bolin and Mako were completely alone. This leads to Mako's care of Bolin being more focused on literal survival than emotional wellbeing.

Korra: [Side shot; unsure.] So, why is Bolin running around with the Triple Threat Triad, anyway? Mako : [Uncomfortable; evasively.] Well, we ... we used to do some work for them back in the day. Korra: [Dismayed look on her face.] What? Wha- Are you some kind of criminal? Mako : [Defensive and angrily.] No! You don't know what you're talking about. I just ran numbers for them and stuff. We were orphans out on the street; I did what I had to do to survive and protect my little brother.

Now, Bolin is the outlier in this group. Rather than stepping up into a caretaker role, Bolin seems almost intentionally like a child. This may seem counterproductive to Mako and Bolin's survival, but I'd argue that Bolin acting in this hapless, childike role is very important to the brothers' codependent dynamic. While it would seem like the better option for the brother's to both be able to be independent, the leader/follower dichotomy they have may actually have felt safer and more direct for them. Also, by being more easygoing and cheerful, Bolin is able to support Mako emotionally.

I can even make an argument of Mako infantilising Bolin, and stifling Bolin's growth (not deliberately or consciously, of course) because of the comfort this type of relationship brings.

It's also important to note that Bolin's behaviour also had the added benefit of endearing the brother's to people. The whole reason they became pro benders is because Toza took a shine to Bolin and whem the brothers were kidnapped by the Red Lotus, Bolin immediately pivots to trying to befriend them. When you combine this with the fact that the brothers probably lived off of the kindness of strangers as children, his demeanour starts to look like a behaviour learnt in order to survive.

Katara and Sokka aren't nearly as codependent as Mako and Bolin. They do both parent one another to some extent, Sokka has unconsciously replaced images of his mother with Katara. While on the flipside, Sokka often tends to try and steer Katara's actions, not unlike an overbearing father would. Katara, unlike Bolin, however, doesn't take direction well and will often outright disagree with or even mock Sokka.

Sokka: [Camera closes in on Sokka and Katara next to each other.] I know you all wanna fly, but my instincts tell me we should play it safe this time and walk Katara: [Leans forward at her brother and smiles.] Who made you the boss? Sokka: [Points his finger at his chest; to Katara.] I'm not the boss, I'm the leader. Katara: [Amused.] You're the leader? But your voice still cracks!

Both Mako and Katara have strong caretaker instincts. This is mainly how they express affection. You can see this not only in their relationships with their siblings. Another their romantic relationships with Korra and Aang respectively. The difference here being that Aang is quite receptive and willing to reciprocate Katara's caretaker type love, whereas Korra has different needs in her relationship. It's honestly quite fun that Korra's first love interest has a very similar love language to Aang's wife, and Korra and Mako braking up is a very good way to differentiate these two Avatars even further.

So that's it, Mako and Katara have a lot of similarities and Sokka and Bolin have some as well. That's it case closed. Except not so because we I'm here to disagree with myself.

Where Katara and Mako differ, is how well in tune they are with emotions, both their own and those of others. Katara is very, very open about her anger. She's very quick to escalate conflict and she feels emotions very strongly. A stark comparison to this is Mako's very avoidant approach to conflict.

This, once again makes sense with their environments. Aside from the loss of family, Katara has had a huge amount of her culture stripped away from her, a wound made even more painful by Katara being the only waterbender in her tribe. She's also just a naturaly passionate and determined person, I think. While, for Mako, anger and conflict usually could mean that either he or Bolin are going to get hurt, especially at the time when they were running with the triads.

Now, the main thing setting Bolin and Sokka apart, is also the thing that ties Sokka and Mako together.

Mako is... cynical, very jaded by the world. His pessimism and distrust of others shows how broken down he was by his difficult childhood, growing up around dangerous people.

Sokka is similarly jaded, as we see at even the beginning of the show, with his stark oppositon to fun and potty breaks.

Where Mako and Sokka come together, is that they were both tasked with protecting their family members, with Sokka also having to step into that role for the whole village. For them their rolee of protectors force them to always consider the worst possible outcome and any potential danger.

Sokka: I'm coming with you.

Hakoda: You're not old enough to go to war, Sokka, you know that.

Sokka: [Desperately.] I'm strong, I'm brave, I can fight! Please, Dad!

Hakoda: [Lays a hand on his son's shoulder; grimly and sadly.] Being a man is knowing where you're needed the most. And for you right now, that's here, protecting your sister.

Contrasting Mako and Sokka's pessimism is Bolin and Katara's powerful optimism. Hope is what drives these two forward, as well as their huge compassion for others, both human and animal.

Mako: What are you doing? Are you trying to get us in trouble with Shady Shin? Bolin: No! I just ... Maybe I'm not as mean as you! Maybe I just can't turn my back on people when they're down!

This often causes arguments between the respective pairs of siblings. Mako and Sokka wanting to protect their siblings from danger, while Bolin and Katara's need to help others draws them into risky situations.

Katara : Well, what was I supposed to do? Sokka: Leave! Do nothing! Katara: [Angrily.] No, I will never, ever turn my back on people who need me!

The difference between Katara and Bolin, of course is that Katara is able to stand her ground for her strong morals, while Bolin, due to his upbringing, is much more "go with the flow".

But it is still a very interesting and compelling comparison, the younger sibling, full of hope and kindness, and the older sibling who shields them from danger.

I really enjoy these two pairs of siblings, and they easily make for some of my favourite dynamics in the show. I like that while they have certain overt similarities, there's much more to this comparison than meets the eye on surface level.

I think Sokka and Katara's relationship is incredibly wholesome, yet rather deep, watching them both mature side by side is very satisfying, if not a little sad. Bolin and Mako's relationship can be frustrating, but also fascinating. You can tell that they mean everything to one another, despite how dysfunctional their relationship can be.

Avatar has a knack for writing wonderfully complex siblings and the main two pairs of siblings are no exception. This is one of my favourite aspects of the show.

Anyway, that's been me telling you that these two pairs of siblings have both similarities and differences. Glad you sat through the stupid rant. Tune in next time for when my dumbass tells you that the sky is blue and the grass is green.

Bye bye

[n1kolaiz]

"You want to know what death is? I'll tell you. Death is the loss of life. Despite everything doctors like me attempt... a patient's life can still fall through our fingers. You think death lies in the apex of science? Anyone with such little regard for life will die by my hand."

Character Analysis: Yosano Akiko

Age: 25 || Ability: Thou Shalt Not Die

BSD CHAPTER CHAPTER 65-66 SPOILERS

table of contents:

1. Author counterpart.

2. Yosano's history.

3. 'Angel of Death' defined.

4. Yosano and Atsushi.

YOSANO BRAINROT!*(#&!*@#($

1. Author counterpart.

Having been given the “Sho Ho” at birth, Yosano Akiko’s counterpart—the real-life author—was known for her zealous take on both feminism and pacifism.

Side note: Once again, to avoid confusion, I will use the name Sho Ho in reference to the real-life author, and Yosano in reference to the BSD character.

Sho Ho's writings were pretty much out-of-the-ordinary in her time, and despite being suppressed by the social norms of gender hierarchy, she sought to reform society’s view on the cultural perspectives of women and their sexuality (She expressed her love for a woman in one of her poems, but many still argued on whether she identified herself as queer or not.)

"Thou Shalt Not Die," Yosano's ability, is actually named after one of Sho Ho's most famous, controversial poems. She wrote it for her brother, who was a soldier in the war between Russia and Japan (1904-1905). In her poem, she expressed her general distaste for war and how her brother was a part of it.

O my young brother, I cry for you Don't you understand you must not die! You who were born the last of all Command a special store of parents' love

Would parents place a blade in children's hands

Teaching them to murder other men Teaching them to kill and then to die? Have you so learned and grown to twenty-four?

- excerpt from Sho Ho's poem, "Kimi Shinitamou Koto Nakare"

Her words were blunt enough to inflict guilt on her brother's conscience, as she wasn't afraid to express her disapproval over how her brother took part in the typical violent bloodshed and manslaughter of war. Such opinions perturbed the authorities, and her work was eventually banned from the public for a period of time. Later on, it was used as an anti-war statement.

2. Yosano's history.

Now, as for the character in BSD, Yosano is seen to be generally strong-willed, and later on, we see that she is terrifyingly compassionately ambitious in the way she treats her patients. She treasured life itself, and hated the thought of losing a patient.

Yosano had developed her relations with Mori Ougai back in the Great War, when she was just 11 years old. Her ability was a great benefactor in saving lives. Realistically speaking, she was used for her ability to heal injured soldiers and diminish the effect of any casualty acquired.

Initially, she wasn't aware of this, until one of her close friends pointed it out by subtly accusing Mori of manipulating her to participate in the War under the close-to false pretence of 'saving lives.'

As much as her ability did save lives, it also forced soldiers to return to the frontlines and suffer injuries over and over again. The soldiers were never given the opportunity to return to their families because of her ability. This obliged them to carry on in the war without any excuse, inserting them into a vicious cycle they had no escape out of.

Metaphorically speaking, Yosano's hatred for Mori sort of mirrors Sho Ho's disdain for war and fighting, don't you think? The way Kafka materialised Yosano's past was quite interesting because he used chapters 65 and 66 to explain Yosano's dislike for Mori, reflecting how Sho Ho used her poem to explain why she condemned the idea of war and how her brother was part of it.

Before the effect of her ability was fully understood, however, every soldier praised and thanked her for what an angel she was. One of the soldiers she had befriended and gotten close to even kept a tally of the number of times she had saved him. He was the one who gifted her the butterfly hairpin she wore all the time.

The weight of the truth that her ability was a curse rather than a blessing fully dawned on her when her soldier friend ultimately committed suicide, because the fact of being indefinitely trapped in the throes of war agonised him until his spirit gave out. This drove Yosano to loathe her ability, or rather, how it was used.

In the time she participated in the War, Yosano was given the alias 'angel of death' due to the control she retained over the battlefield, but I thought that perhaps Kafka had a reason behind giving her this title, so I did my research.

3. 'Angel of Death' defined.

Side note: I wouldn't want to disrespect any culture or religion, so if my citations are inaccurate and/or disrespectful, do feel free to correct me/let me know! I did research out of pure curiosity, and I don't intend to twist the significance of any of the interpretations.

I had to grow up learning about the basics of religious stuff, so it's kind of nice to study something out of the box, and very much against my father's rigid belief system :D

ARCHANGEL ARIEL

(archangel: an angel of higher rank)

I came across the few characteristics of angels/goddesses and their roles, and the one which really caught my attention was the female archangel, Ariel, the angel of nature.

[ source ]

In Hebrew, the name Ariel means 'altar' or 'lioness of God,' and her role is to heal. In addition to that, she is also recognised as a helper to another one of the seven main archangels, Raphael, whose role is to provide physical and emotional healing, too.

She is the protecter of the environment and the animals therein, and is bestowed with the duty to oversee the order of heavenly bodies as well as earth's natural resources. She assures the sustenance of food, water, shelter, and supplies of human beings, much like how a nurse is to a patient I suppose.

In relation to Yosano, I think this part is pretty self-explanatory, or perhaps this is blown out of proportion HA, so take this as a suggestion rather than a fact, because I'd like to believe that Kafka had a reason for giving Yosano a title as such.

In the past, I've come across the angel of death only to perceive it as a female grim reaper of some sort, so it was pretty cool to find that the word 'angel' and 'death' made up a title of a someone like Ariel, one of the purest forms of humility and compassion.

GREEK GODDESS PANAKEIA

For my beloved (wannabe/or not) students of Greek mythology (much like myself, let's make a cult!), you've probably heard of Panakeia, the goddess of healing. Medicine finds most of its vital significance in Greek history, and in its mythology, Panakeia is actually known for her ability to heal any kind of sickness.

[ source ]

Her name means 'panacea,' which is actually defined as a remedy for all diseases. Terminal diseases and injuries lead to death, right? This would bring us back to Yosano's ability to nullify any injury's effects on a person, keeping them from death itself.

Now, we know that in order for Yosano's ability to work, her patient, or victim, has to be in a near-death condition in order for her treatment to take effect. This can't exactly fit into the description of resurrection, but it can be described as some sort of rebirth.

GREEK GODDESS PERSEPHONE

So another goddess which reminds me of Sho Ho/Yosano, is Persephone, the goddess of spring and rebirth. Before Hades, the god of the underworld, fell in love with Persephone to take her to live with him, Persephone lived a happy life.

Hades, with his nature of darkness and the like, was captivated by how pure Persephone was, and stole her away from her former life to live in an environment which differed sharply from her natural aura of purity.

[ source ]

Remember when Yosano's friend left a note behind before he killed himself? The note said nothing except for, "You are too righteous." Take that as you will, but figuratively speaking, you could say Mori takes the role of Hades in the story, while Yosano can be portrayed as Persephone.

Sho Ho can also be a parallel of Persephone, in that she had to adapt to the realities of war and disharmony, while Persephone had to adapt to the raw darkness of the underworld with Hades.

Sho Ho stood against society's norms and decided to reform it, making her one of the most well-known feministic pacifist in history, while Persephone managed to escape from the underworld to return to her former position, earning the title the 'Bringer of Life,' or the 'Destroyer of Death.'

Furthermore, the way Sho Ho's anti-war poem took its effect later on, reflects the way Persephone restored balance in the world after returning from the underworld.

4. Yosano and Atsushi.

chapter 66; Yosano: "It's my fault that those close to me died... Is there some place where it's okay for me to live?"

chapter 8; Atsushi: "If I have any chance of saving them all, of returning them home safely, would that mean it's okay for me to keep on living?"

I couldn't help but think of Dazai and Atsushi back when I was reading through these panels. Ranpo (my beloved), along with Fukuzawa, accepted Yosano as she was, despite how her ability was a cause of despair and misfortune.

Ranpo looked past her mistakes and the entirety of how dark her past was to welcome her into the Armed Detective Agency. Dazai, on the other hand, knew who Atsushi was and what his ability had made him do before anyone else, and still decided to provide a safe place for Atsushi to find his sense of belonging, journeying with him as he learned to use his ability properly.

For more info about Dazai and Atsushi's dynamic, you can check out the analysis I did for Dazai :D

Atsushi desired to save people to prove his right to live, while Yosano made her wish to achieve the recovery of all her patients the reason for her existence.

Others would prefer to accuse both Yosano and Atsushi of having a saviour complex, but the reason why they pursued to save people with utmost dedication, stems from the nature of what their past was like. You know the saying 'from broken to beautiful?' Yeah, it's something like that.

The way their pasts were written out gave them a desire to change, which was, I daresay, initiated by the people who took them in: Ranpo and Dazai. Their abilities were demonised because of how they were used, but once they broke from their abilities' effect over their lives, they honed their skills to control them for the right cause instead.

In a less cynical point of view, I believe both Yosano and Atsushi stood for what was right, and wanted nothing but to achieve peace and harmony in whatever way they could, even if it meant risking their own lives to save others.

So yeah, that's it for my rants today. Thank you for reading, and if you have anything to add, go ahead! I'm open to discussions ;)

[ghostietea]

On Tohru and Akito: a long overdue analysis

As some may know, Tohru Honda and Akito Sohma from the manga Fruits Basket are pretty much my all time favorite protagonist/antagonist pair. They just work incredibly well as thematic pieces and driving forces of the story in relation to eachother. And beyond even the surface level they have a rich and layered goldmine of parallels that make them fascinating to think about. While it may make many a newbie raise an eyebrow, I think this is a fact that is to some level pretty widely acknowledged in the fandom proper. However, there is another level of their relationship that is often mostly left out of analytical conversations about them and their parallels: their eventual friendship. Something which, partly due to screentime, is often somewhat simplified down and misinterpreted. Which I think is a shame because, when you look at it, their eleventh hour friendship is deeply interwoven with their parallels and the very thematics and ending of the story. So then, what’s really going on with the girls that stand as part of the thematic core of Furuba? Beyond (most of, true analytical objectivity is impossible in interpretation) my personal sentimental feelings, let’s talk Akito and Tohru: their parallels, relationship, and role in the story overal. Read more present, this is going to be a long one but I hope you stick around 😊

One facet of Akito and Tohru’s role in relationship to eachother that I think is both interesting and imperative to understanding their purpose is their nature as eachother’s foils, especially their parallels. See, the two girls are both opposite and the same. Takaya sets them up as foils before we even properly meet Akito, as you can see in these panels: 

However, their foil relationship becomes a lot more intriguing once their similarities become more apparent later in the story. Just think about it: two girls with boy’s names whose fathers died when they were young, leaving them alone with their mothers, who both developed behavior that, according to the environment that they grew up in, would keep them from being abandoned. Akito, coming from the cultish Sohma clan where she was treated as a God to the point that she thinks she can do no wrong and has tied all of her self worth to the role, plays the part of a male ruler who must uphold tradition and keep the zodiac with her by any means. Akito is terrified of being abandoned, especially since she has no idea how to have relationships outside of the context of the bond, only exacerbated by the fact that Ren, one of the only people that openly questions her role, has constantly told her that she’s useless and will be abandoned. This is something that informs all of her (many, terrible) decisions and leads her to try desperately to keep the curse together, something which puts her in direct conflict with Tohru, who actually wants the curse broken in part so that she won’t be abandoned. Tohru may not be as obvious with her abandonment issues as miss screeches-at-people-not-to-leave-her, but they still inform a good deal of her character. Like Akito, she develops behavior around the time of her father’s passing to try to keep herself from being abandoned, mirroring her father’s proper speech because she was worried that she was losing Kyoko.  But, as she grew older in her much warmer environment, Tohru turned to kindness instead of fear to capture others, maintaining a facade of extreme positivity, politeness, and determination so as to not bother anyone. And, while she hides it, Tohru just gets worse after losing her mother. She becomes dedicated to preserving her feelings about her mother as is, refusing to move on much as Akito also refuses to move on from the curse and what her father wanted. Then comes the beach house reveal, where Tohru learns that Akito plans to take away her new family, even locking up the one most precious to her. Tohru tells herself that she’s going to break the curse for the freedom of the zodiac and cat, but she is also, in a way, doing it to keep herself from being abandoned. Later this feeling changes to become more focused on preventing the loss of Kyo himself, something which Tohru doesn’t want to admit. Tohru is a truly good and kind person and does want to help, yes, but also some part of her is doing this to keep the ones she loves by her side, understandably as she is a teen that recently lost the person she revolved her whole life around. But it comes to a point that you have to realize: Akito and Tohru are both motivated by the same thing, they just present it in wildly different ways. I don’t think that I have to explain how exactly their behavior foils eachother, the more worldly and modern Tohru acting on radical kindness and acceptance and thinking she deserves nothing while the sheltered, traditional Akito uses manipulation and fear to get what she thinks she is entitled to. It’s very apparent, but just gets even spicier in the context of how similar they are. Another parallel is in Tohru’s mom picture vs Akito’s father box, both relics of their dead and favorite parent that they are extremely protective of and treat almost like it is their deceased parent. Early in the series Tohru is seen carrying around a photo of her mom which she talks to, something which seems pretty harmless, until we consider how terrified she is every time she thinks she’s lost it, even going as far as to refer to it as if it were her mother.  Notably, it barely shows up in the second half of the series, as she reluctantly drifts away from her mom and towards Kyo. In this later part of the series, we are introduced to Akito’s box, which she (semi, it’s complicated) thinks contains her father’s soul. Akito’s box is shown in a much darker light, from how the reveal of what it us to her is framed to how cruelly she reacts when it’s being stolen. Akito’s box is to Tohru’s photo what their owners narratively are to eachother: a dark mirror.

Ok, and now for the reason that I think it was important to bring all these parallels up first: because as you cannot understand Tohru and Akito as enemies without understanding their differences, you cannot understand them as friends without knowing their similarities. While it is easy to write off Tohru reaching out to Akito as just another case of Tohru being Tohru, that does a disservice to the full picture. I’ve seen around in the fandom that a good deal of people seem to think Tohru trying to befriend her is just Tohru being overly kind and forgiving, and this is something I think ties back a bit to some early fandom misconceptions about Tohru. Bear with me for a second, this is going to be a bit of a tangent but it ties back. It’s died down some now, but in the early Furuba fandom it was very common to just think of Tohru as a pretty flat nice girl doormat character, which besides misogyny is probably partially the fault of the 01 anime, which cuts off before we get to see more of Tohru’s insecurities and tones down what we do see (also, in the case of the relationship I’m talking about, 01 ads in that God awful end confrontation that I despise for being everything that I’m about to argue the ACTUAL confrontation that I like is not). Manga Tohru is a very subtle character, she hides a lot of her feelings behind a perpetually happy front which doesn’t start to let slip until later. And, since it’s later on in the manga which went unadapted for years and is mixed in with a bunch of crazy stuff, I think Tohru’s quiet development is often somewhat overlooked. For example, early series Tohru is very well known for the speeches she gives to the zodiac when she first meets them, speeches that, importantly, always tie back to things that her mom said. Tohru’s worldview back then revolved completely around Kyoko, so it’s probably a bit of a thing that in the later story, when Tohru draws ever nearer to the realization that she must move on, she does not give her mom speeches anymore? As opposed to the early story, when it was pretty much back to back character intros, in the late story Tohru notably only gets to befriend two new Sohmas: Isuzu and Akito. Notably, she doesn’t quote her mom either time, these are both people that she can relate to on some of her more hidden issues, and she shows a more personal side of her emotions in her turning point confrontations with them than she did earlier. It is especially important to realize that, in her confrontation on the cliff, Tohru is deciding that she is willing to go against her mom. Early series Tohru was a front anyways, and is a different Tohru from the one that finally gets through to Akito. I was using it as an example, but the evolution of Tohru’s befriending confrontations will be important later. Furthermore, there is the perception of Tohru as a doormat. Listen, Tohru may be very kind and polite, but one of her defining characteristics is being very determined and strong willed when need be. This is something that is especially relevant to her interactions with Akito. From the first meeting outside the school, Tohru knows to be wary of Akito and even breaks politeness and shoves her when she senses that Akito is making Yuki uncomfortable. This sets up immediately that Tohru can and will stand up to Akito. This is driven in even farther at the beach house, when Tohru, after again physically getting between Akito and a zodiac, decides that she will directly go against all of the Sohma family’s centuries of tradition and Akito herself to break the curse.  There’s even a cute moment when, upon remembering Akito telling her not to, Tohru just decides to meddle even harder. Tohru, while polite about it, does not like Akito and puts herself in direct opposition to her. Tohru does not originally want to be Akito’s friend, or to have anything to do with her. The cliff scene is not just Tohru befriending someone because she just is over forgiving and loves everyone (an argument can be made that she still goes to easy on Akito, but it’s in line with how the narrative treats her too so that’s another conversation), there was a specific reason both that she chose to try to get through to Akito and that it actually worked. Up until their big confrontation, Tohru still thinks of Akito as a threat, and while she has gotten more information that shakes up her view of Akito, she still doesn’t understand her well enough to see her as much more than an obstacle. Then Akito barges into her yard when she’s just been rejected, crying and confessing how terrified she is of being abandoned, of things changing, and Tohru just goes still, eyes wide in shock. And she realizes: her and Akito have been afraid of the same thing the whole time.  This is when Tohru decides to try to reach out to her. Because Tohru, on a deep level, sees Akito because of their similarities.  She calls Akito out on her insecurities, and Akito reacts badly, accusing Tohru of being “dirty” and trying to condescend.  Tohru partially rebukes this, not trying to hold herself above Akito as pure and righteous, but instead confessing her own fears of abandonment and change in an attempt to empathize with Akito.

At this part of the story, Tohru is fully coming into the realization that, in order to live her life, she needs to stop clinging to this idea of an “unchanging” relationship with her mom, something that scares her quite a bit. She realizes that, while she saw the flaws in Akito’s “eternity” and tried to destroy it, she had not been as perceptive with herself, clinging to that same notion. Tohru is an incredibly repressed character, especially in regards to emotions she thinks of as “dirty,” and she is showing a remarkable amount of vulnerability in this scene. Another thing to note about Tohru is that she, in her immense repression, will often process her own issues through other people. We see this throughout the story, from her showing grief over her mom by crying for Momiji and his mom to her projecting her fear of losing Kyo onto Kureno and Arisa. So then, it’s quite something to consider that the last Sohma she befriends is the one most emblematic of the issues she keeps locked up tightest? That as she’s speaking to her she’s deciding to move forward from her own fears? In a way, could accepting Akito be a symbol of Tohru accepting what she thinks are the darker parts of herself? Akito is also coming to a realization about moving on, acknowledging that the zodiac curse is coming to an end and that everything she believes is a lie, and she is absolutely distraught about it. But Tohru, in a way that nobody else does, understands Akito, and wants Akito to be her friend. Not out of pity or reverence, but a desire for solidarity. And this is the very reason why Tohru was actually able to get through to Akito. As we see with Kureno before he gets stabbed and Momiji at the beach house and when his curse breaks, it’s not like people haven’t kindly tried to get through to her before.

Of course, the reason it worked for Tohru can also be partially chalked up to the fact that Akito herself has come a long ways in personal realizations to the point that there’s just some things she can’t deny anymore, but that’s not all. Akito tends to react very negatively to what she sees as condescension, she thinks people want to try to pick her apart and see how she ticks just so they can look down on her, so they can see her as lesser. She thinks Tohru is trying to condescend too at first, especially since she perceives Tohru as this holier than thou saint wannabe. Fascinatingly, Akito’s view of Tohru is incredibly similar to that early fandom idea of Tohru as an angelic mary sue, and she hates her for it. She thinks that Tohru is trying to be like this and is seen as such, and that she (Akito) is the only who can see that Tohru is wrong somehow.

But Tohru rejects this notion of a pure her that both the fandom and her early self tried to project, presenting herself as flawed and human and purposefully trying to not put herself on a pedestal above Akito. She makes it very clear that she’s not trying to condescend, she is the same way (well, sorta) and she gets it. Notably, after this point Akito doesn’t accuse her of looking down on her, instead freaking out temporarily because of how much Tohru called her out before venting about her fears to her. And, while, partially due to outside circumstances, it does take Akito a bit longer to accept her offer of friendship, she legitimately manages to get through to her very soon after this point. If Tohru had tried one of her early series mom speeches on Akito, or just tried to blindly accept her without understanding, it would not have worked. Akito would have just written it off or reacted badly and left it there. But because Tohru tried to befriend Akito out of understanding as an equal it actually worked. You can’t separate Akito and Tohru’s parallels and their eventual friendship because one aspect is integral to the other.

A connected aspect of their relationship that I see talked of very little but is actually a pretty strong undercurrent is that of equality and power. To explain this, we have to look at Akito for a bit. Throughout her life, pretty much everyone around Akito has either put her on a pedestal or looked down on her. This is something that not only greatly damaged the way she thinks of herself and others, but has given her an intensely hierarchical view of relationships. We even see this notion clearly take form for her in the black paint scene, where she decides that Yuki, who she’d previously seen as the same as her, has to be lesser or else she will become useless.  From the moment Akito was born she was “God,” an existence above everyone else. Even her own father only seems to give her affection for being God, and when he dies and she takes his place as the head of the family she is just elevated even farther at an extremely young age. The only people (she thinks) she’s close to are the zodiac, and the curse itself puts an inherent power dynamic into that relationship that can only be overcome with its undoing. Akito clings to her power, to her rank in the hierarchy, all the while the very thing she desperately upholds has made her the real outsider. Akito, who does everything in the name of belonging, was always alone from the start. As Tohru points out, as long as she is above the group she cannot be a part of it.

Simultaneously, and almost contradictory to the pedestalization and power dynamic aspect, Akito is extensively coddled and pitied. A lot of the older adults around her treat her almost like a crotchety, spoiled child. A child who is coddled to the point of never being given any reprimand or instruction on just how to behave like a functional human being until things have gone far too far. Then you have cases like Kureno, who seems to still see Akito like a kid, pretty much just coddles her as a job, and only stays because he pities her. This leads to a strange dual sided dynamic in multiple cases, where Akito is seen as someone’s better and has more power but is also being looked down upon in a way too. Akito has never in her life been seen and treated as an equal, so it’s pretty important when it is made clear that Tohru tries to befriend her as an equal. After all this time, Tohru, an outsider that is not under Akito’s control, who can hold her ground in a challenge against her, is finally the one to meet her on the same level. There’s this page that I adore that symbolizes this idea really nicely. It opens on a panel of Akito sitting a distance away from the zodiac who are all having fun together, a motif we’ve already seen a few times, but this time Tohru sits down right next to her.

This page comes at a critical moment, when Tohru is offering her hand in friendship to Tohru, it’s Akito realization of what Tohru is trying to do. Later on, we get Akito narrating what this page was showing, which I think I just need to put in:

We also see a bit of their conversation after they reunite in the hospital later, where Tohru again denies that she is better than Akito. Now, I think both the Tokyopop and Yen Press translations of this scene are a bit weird, the Tokyopop version uses the word “pretty” (confusing) while the Yen Press uses “kind” (don’t think that’s the best word). However one time I saw like a Malaysian english release in the half price books that used “pretty on the inside” and I like that best so I’ll just pretend that’s it.

I think this scene is interesting because it could seem like they’re just talking about morality but that’s not it. This is, once again, Tohru pretty explicitly trying to stop the creation of any sort of hierarchy between her and Akito. It’s not about right or wrong, Tohru know very well that Akito’s done things wrong and actively worked to stop her, it’s about not wanting them to be put on some sort of different rank based on morality and Tohru understanding Akito enough to empathize with the fact that (wrong or no) Akito was really hurt by Tohru and they won’t get anywhere if they don’t acknowledge that. Furthermore, I’ve already talked a bit about it already, but I think the way that Tohru asserts that she gets what Akito’s feeling and thinks she herself is “dirty” during their confrontation is relevant here too. She is, again, presenting herself as someone on the same level who understands Akito and is not being nice out of pity. This then leads to the page I talked about before which is again, Akito realizing this! This is a huge moment for her, someone who has had all of her relationships messed up by inequality and has no idea how to have a normal relationship, who is having a breakdown because she thinks that because of this it’s too late for anyone to love her, to have someone who understands her and wants to meet her on the same level. Even if she tries to deny it and shift blame, at this point Akito has realized that the zodiac bond is not what she thought and that she has been acting horribly. The groundwork is already there for Akito to have a change of heart, especially considering that a lot of her horribleness stems from legitimate extreme ignorance and her obsession with the bond so once she’s snapped out of that… The main thing that’s holding her back past that is that she’s panicking and cannot see a way forward. So then when there’s someone who actually gets where she’s coming from instead of just tolerating her and is offering her the sort of friendship that she’s never gotten to have of course she’d go for it! Tohru Honda has proven Akito wrong in ever way and, in the end, she even proves her wrong on her greatest fear: that she can only be wanted because she’s God. Because of Akito’s specific issues, nothing could have been more powerful for her than someone coming to her as an equal. Again, the piece about why Tohru could get through to her. It just wouldn’t be the same if Tohru didn’t have a reason to want Akito around or if she somehow saw Akito as below her, the very core of their relationship is the destruction of hierarchies. From the beginning Tohru has been trying to destroy the hierarchy of the zodiac, and when it comes down to it she does not take Akito’s spot at the top, but decides to stand beside her and the zodiac instead. Early in the series we see Akito trying to have some power over Tohru through fear, but when the time comes and Akito is pretty much defeated Tohru does not take power as the victor, hoping that Akito joins her instead of being somehow defeated. And at the end of it all this works, and Akito dissolves the zodiac and with it most of her power and her godhood of her own accord. 

Despite their relative lack of page time, Tohru and Akito’s relationship has always been something that I come back to. Sure, a lot of that is just sentiment as they meant a lot to me when I was younger, but I think there’s something there. They work amazingly as protagonist and antagonist, contrasting nicely and working as symbols of both sides of the thematic conflict. There’s a palpable tension to their early interactions that makes you both scared and interested to see what happens when these two inevitably have to go head to head. But then, as the story goes on, it seems more and more like they are a tragedy, so similar yet on different sides of the story, fated to have one of them stuck with an unhappy ending brought on by the other.

But, even as dark as it gets, that wouldn’t really be Fruits Basket, would it? In the end, Tohru and Akito’s similarities win out, not their differences. I think it would have been so easy to just make this a story where the sweet heroine “saves” the villain just because, but that is so blatantly not what’s going on. Tohru simply sees herself in Akito, she’s not trying to somehow fix her and nor should she have to, she just wants to be her friend. And then the two manage to overcome their driving fear of moving on, forging new bonds and inspired by their interaction with the other. It’s not like Tohru somehow fixes Akito’s problems, Akito has to do things herself and in fact independence is a big theme of her endgame arc. Tohru simply offered her friendship, and that was enough. There’s a distinction to be made between how Tohru inspires Akito and Tohru somehow “saving” her, because Akito very much has to learn to save herself in the end after a lifetime of pushing her issues onto others. And, as a side note, all this is sort of why it bugs me when people act like Tohru would be like a mom to Akito. First off, Tohru shouldn’t have to be the mom to everyone. And, kind as she is, Tohru is also not a Kureno, she sees and interacts with Akito in a completely different way and their relationships with Akito are one of the big points were Tohru and Kureno differ. Second off, Akito has spent her life coddled and clinging onto anything that she can hold onto as a resemblance of parental affection to a toxic degree. Part of her arc is that she needs to grow out of this, become more independent, and have more balanced relationships. Akito at this point does not want or need to make a mommy figure out of one of her peers, and doing so may in fact be regressive. Sure, she will definitely need a level of guidance going forward, but it would be more beneficial for her to learn from example and under more of a friendly, balanced context coming from multiple people, not one person holding her hand. For all the reasons I’ve gone over in this entire post, I think it is much more meaningful for Akito to have Tohru as what she was canonically presented as in text: someone who sees her as an equal. The whole point of their relationship is, again, the defiance of hierarchies, something which I think is often sorely overlooked even though it is very openly there in text. And that, in part, is why I think their relationship is so powerful to me. Beyond hero and villain, right or wrong, or any story roles, it’s about two girls finding solidarity and friendship on a very personal, human level. This is Akito for the first time being seen not as this distant, untouchable male deity or some pitiful being, but as a flawed, hurt human girl who is nonetheless capable of change and being loved. This is Tohru coming out of hiding, presenting her flawed, terrified human self to someone she saw as an enemy. Fruits basket is, in part, a story about friendship and defeating systems of power and abuse. Even in a messy third act that muddles its themes at times by weighing character endings too heavily on het romantic love, especially in regards to the women (Hello Rin, Machi, Uo, ect.), Tohru and Akito stand out as a friendship that is given a huge amount of narrative weight. It just feels nice that, in a story that often focused on the power of relationships between women only to ditch all that and focus primarily on their relationships with men, these two girls are one of the driving forces of the endgame. The curse didn’t get broken by romantic love, but by the friendships everyone made along the way, including Tohru and Akito. Tohru has gotten it to this point, and now Akito just needs to bring it to a close and finally end things. At the very beggining, before this all started, all the cat wanted was for the God was to move forward and live as a person among the humans, and, finally, a long time later that wish was granted. The tale of the zodiac gets its happy ending not by a villain being defeated, but by the power of friendship and solidarity between women.

[stray-tori]

TPN S2 Appreciation

I remembered I started this so here we are: there's a lot of problems with s2 but you've probably heard everyone talk about them anyway so I'm skipping that and going straight to all the stuff I DID like about s2:

opening

episode 1

(episode 1) seeing them interact with the environment

(episode 1) Ray running + being out of breath animation and voice acting

episode 2

(episode 2) especially the parallel with the drop like holy shit

episode 3

(episode 3) the fish bug scene while maybe out-of-place is pretty cute and funny

(episode 3) the wall scare is pretty ominous and as of ep3, not yet stupid.

the **OPENING**

(episode 4)

(episode 5) the shot of the apple rolling and the camera turning over with it. so cool.

(episode 4) Ray shooting the demon animation cut even though Emma was robbed

(episode 4) Chris knowing the bunker tunnels after we saw him playing there with other children is really nice. Especially knowing that in the manga he's sad he can't explore properly, I think it's a nice in-character touch haha.

(episode 5) masked Norman with blood splattering behind him

Myuk Mahou cover art makes them look so cuteeeee

portraying the two worlds in parallel from the OP to wanting to care and save your family

the opening making me cry every time

cup-kun memes

(episode 3) them entering the bunker being so fecking tense and suspenseful, like i was expecting a corpse the entire time pff-

(episode 5) ray and emma using hand signals during the rooftop chase

(episode 5) the natural in-convo reveal about how they hide their scent by Lani/Thoma

(epsiode 5) the detail that they throw it in the fire to spread the masking scent when the old demon gets there

(episode 5) the old demon scene (listen ik people questioned this, but it's an old weak demon... I kind of see it like helping out a weak strong animal. I doubt this old geezer would have jumped Emma; it could reveal their location, that's true, but oh well - it’s implied he met them more often before so maybe Emma just slowly considered over time / maybe her realizing they’re not that different and all that yadayada)

(episode 5) Emma doubting herself because they've literally just been chased around (ik some people didn't like this and I get why but they've been barely surviving for like 11 months... she's lost and paralyzed, she's allowed to have her doubts, though they could be worded a bit differently. It just sucks that there wasn’t much of an arc regarding this after that, so. Yay Norman Christ has rescued us all.)

(episode 6) the reunion hug / scene, it looked so soft and nice ahhh- the entire art in that scene was just nice.

(episode 6) the atmosphere and framing of when Barbara was eating the demon meat. it came pretty unexpected and the moment you realize was such a big “ohhh… oh no.“

(episode 7) Lani and Thoma mentioning the migrating birds during their tower watch and that then later coming back when the kids think about where they could be was nice!

(episode 7) Norman’s soft “be careful” to Emma and Ray

(episode 7) Also Ray's reaction to "the gate is in gf" is just a mood haha

(episode 7) THE SHIPMENT PARALLELS! the sounds, grabbing his hand this time when he had to take hers during his shipment AHHH-

(episode 7) evolvment of the “dont do it on your own / involve your family/friends” by asking Gilda and Don to come with them on the search for Sonju/Mujika. Sadly this doesn’t carry over to ep11 where they decide to do sth as drastic as staying behind for god-knows-how-long without letting anyone know beforehand.

(episode 7) like their reactions to it are so wholesome, I really like how it is portrayed. Especially because up until now Emma was still bottling up. Idk I like that it takes a while for this to really settle in properly.

episode 8

(episode 8) “are you god?” / “I’ll be a god or a devil” / “are you a human?”

(episode 8) showing the demon suffering pretty graphically for what I expected

(episode 8) the simple fact that I got the experience of pure euphoria and a laughing attack when the parallel between Vylk and Norman was actually a thing, when I was so confused why they both had a distinct characteristic (the walking stick) in episode 5. My friends thought I was crazy but I was just big brain. (we were robbed of more stick though)

(episode 8) norman hand symbolism, with blood, Emma grabbing it, him looking at it and how it ties Emma to his plan inherently and then when it's not his blood on his hands but someone's that he's taking away from another living being.

(episode 9) the unspoken realization that he’s not the only one being tested by the test scanner was on the right-hand side. good shit. Ik thats technically not the anime’s idea but I like how they put the focus on it with blur and didn’t actively state it.

(episode 9) him coughing up blood to show how fast it’s been progressing/getting worse // though that implies he refused to take his meds OR that its that bad even with the meds which I don’t think is the point. Like the psychological warfare of giving the kids a condition that they can only fight while they’re in their prison bc they’ll run out of meds is just. hHHH

(episode 9) I really liked Norman going to talk to Vylk and… hhh- Emma *AHEM* and how he didn’t really know what to say, and .........… E-EmMa going up to him and apologizing for what demons did, showing empathy and understanding AND ABSOLUTING WRECKING NORMAN and me. man, cycle of hatred bad.

(episode 10) Emma speaking over the radio to everyone is just… so heartfelt ahh

(episode 10) The little kids sneaking amongst the others is rly cute and honestly kind of epic haha

(episode 10) the moms/sisters either not noticing them or not doing anything bc they’re on their side anyway is just… a funny thing to think about either way

(episode 10) Phil and Emma hug TvT

(episode 10/11) MICHELLEEEEEEE

(episode 11) the turning ceiling is pretty

(episode 11) I like the shadow asthetic of the Ratri exposition, generally the Ratri exposition is pretty nice aside from being so fast you cannot take all that in and process it properly

(episode 11) dramatic gate closing is dramatic

(episode 11) the slideshow of them in the human world gives nice glimpses into things, even if… very vague haha. Especially the shot of Isabella playing guitar stuck with me. And Phil on a train! Not a steam one, sadly.

(episode 11) while the demon world slideshow is uhhhhh SOMETHING, I do like that the weird dragon-on-water thing is in both the Ratri exposition during the promise thing and then also at the end, which at least gives A BIT of context to what's likely happening. Idk I liked that, but then again my standards aren't very high.

I'm not saying any of this outweighs the problems bc oh boy, but ye.

[green-blooded]

So, I want to talk about Bread and Circuses. Or, I want to talk about Spock and McCoy in Bread and Circuses... plus the rest of the first half of the second season, because this episode isn’t actually good aside from the Spock and McCoy moments.

We start with this:

SPOCK: Fascinating. This atmosphere is remarkably similar to your twentieth century. Moderately industrialized pollution containing substantial amounts of carbon monoxide and partially consumed hydrocarbons. MCCOY: The word was smog. SPOCK: Yes, I believe that was the term. I had no idea you were that much of a historian, Doctor. MCCOY: I am not, Mister Spock. I was simply trying to stop you from giving us a whole lecture on the subject. Jim, is there anything at all we know about this planet?

(This post got long--nearly 4000 words???--so here’s a cut to save your dashboard!)

Which is kind of an odd argument for them? McCoy gets on Spock for a lot of things, but not usually for talking too much. In fact, it’s usually the reverse. In Trouble with Tribbles (the previous episode by production order), they have this exchange:

MCCOY: Spock, I don't know too much about these little tribbles yet, but there's one thing that I have discovered. SPOCK: What is that, Doctor? MCCOY: I like them better than I like you. SPOCK: Doctor? MCCOY: Yes? SPOCK: They do have one redeeming characteristic. MCCOY: What's that? SPOCK: They do not talk too much. If you'll excuse me, sir.

Far be it from me to accuse Star Trek of having continuity, but don’t these arguments seem related? In fact, both of these episodes have had particularly heated arguments between Spock and McCoy for no apparent reason in the plot. There are also a few heated exchanges in The Deadly Years (about Spock’s health, and then Kirk’s dementia).

Put a pin in this. Let’s return to Bread and Circuses.

MCCOY: Odd that these people should worship the sun. SPOCK: Why, Doctor? MCCOY: Because, my dear Mister Spock, it is illogical. Rome had no sun worshipers. Why should they parallel Rome in every way except one?

Let’s just ignore the fact that yes Rome did have sun worshipers and that there have been a hell of a lot more than one discrepancy, because if we talk about inaccuracies we’ll be here all day. The point is, they’re both postulating about this odd ‘parallel’ Earth, but McCoy’s interjection seems to annoy Spock for some reason... To the point that he brings it up again later, but in the meantime, they also have this exchange:

SPOCK: Even more fascinating. Slavery evolving into an institution with guaranteed medical payments, old-age pensions. MCCOY: Quite logical, I'd say, Mister Spock. Just as it's logical that twentieth-century Rome would use television to show its gladiator contests or name a new car the Jupiter Eight. SPOCK: Doctor, if I were able to show emotion, your new infatuation with that term would begin to annoy me. MCCOY: What term? Logic? Medical men are trained in logic, Mister Spock. SPOCK: Really, Doctor, I had no idea they were trained. Watching you, I assumed it was trial and error.

Hey guys, remember an episode called Amok Time (only 9 episodes earlier in production order instead of a whole season apart), where McCoy said this:

MCCOY: My orders were to give you a thorough physical. In case you hadn't noticed, I have to answer to the same commanding officer that you do. Come on, Spock. Yield to the logic of the situation.

And it, y'know, worked to convince Spock to listen to him that time. BUT let's also look at I, Mudd where they have one of those curiously heated arguments again:

MCCOY: All right. There's something wrong about a man who never smiles, whose conversation never varies from the routine of the job, and who won't talk about his background. SPOCK: I see. MCCOY: Spock, I mean that it's odd for a non-Vulcan. The ears make all the difference. SPOCK: I find your argument strewn with gaping defects in logic. MCCOY: Maybe, but you can't evaluate a man by logic alone. Besides, he has avoided two appointments that I've made for his physical exam without reason. SPOCK: That's not at all surprising, Doctor. He's probably terrified of your beads and rattles.

(Notice, McCoy realizes he’s offended Spock and immediately tries to fix it, but Spock remains annoyed with him.)

A couple of things here. First, like in Trouble with Tribbles (the next episode), Spock seems actually offended by McCoy. This was almost entirely absent from the first season, and not particularly prevalent in the first few episodes of the second season. There was plenty of banter and teasing before, but Spock seems more sensitive to it in this middle section of the second season. Then, again, McCoy brings up logic. McCoy argues that logic can't be the only means to evaluate a person. Then, Spock insults McCoy's medical skills. AGAIN, this is a newer development that makes it into almost every episode in the middle of the second season, including I, Mudd, Trouble with Tribbles, and Bread and Circuses. All back-to-back episodes in production order! 

So we have some things repeating in their arguments over multiple episodes. McCoy's interpretation of logic, Spock being offended by McCoy's teasing/insults, and Spock insulting McCoy's skill as a doctor. PUT A PIN IN IT. Returning to Bread and Circuses again. 

MERIK: There's been no war here for over four hundred years, Jim. Could, let's say, your land of that same era make that same boast? I think you can see why they don't want to have their stability contaminated by dangerous ideas of other ways and other places. SPOCK: Interesting, and given a conservative empire, quite understandable. MCCOY: Are you out of your head? SPOCK: I said I understood it, Doctor. I find the checks and balances of this civilization quite illuminating. MCCOY: Next he'll be telling us he prefers it over Earth history. SPOCK: They do seem to have escaped the carnage of your first three world wars, Doctor. MCCOY: They have slavery, gladiatorial games, despotism. SPOCK: Situations quite familiar to the six million who died in your first world war, the eleven million who died in your second, the thirty seven million who died in your third. Shall I go on?

I think this is one of the better exchanges that speak to the themes of this episode, which they should’ve elaborated on but instead went the Jesus Saves route... Whatever. The important thing is that this is another example of their philosophical differences AND very similar to an argument they had in The Apple a few episodes ago.

SPOCK: In my view, a splendid example of reciprocity. MCCOY: It would take a computerized Vulcan mind such as yours to make that kind of a statement. SPOCK: Doctor, you insist on applying human standards to non-human cultures. I remind you that humans are only a tiny minority in this galaxy. MCCOY: There are certain absolutes, Mister Spock, and one of them is the right of humanoids to a free and unchained environment, the right to have conditions which permit growth. SPOCK: Another is their right to choose a system which seems to work for them. MCCOY: Jim, you're not just going to stand by and be blinded to what's going on here. These are humanoids, intelligent. They need to advance and grow. Don't you understand what my readings indicate? There's been no progress here in at least ten thousand years. This isn't life. It's stagnation. SPOCK: Doctor, these people are healthy and they are happy. What ever you choose to call it, this system works, despite your emotional reaction to it. MCCOY: It might work for you, Mister Spock, but it doesn't work for me. Humanoids living so they can service a hunk of tin.

It’s super interesting to me that Spock is using relativistic contract theory to judge these cultures while McCoy is just a straight up anarchist, let’s be real. He hates hierarchical structures and authority figures, and believes that they go against human nature. Which you might say is weird for a Starfleet officer, but he also yells at people above his rank constantly and gets really upset in episodes like The Doomsday Machine when Spock refuses to ignore rank. He’s in Starfleet because he wants to help people, but I can’t imagine him staying if his captain weren’t someone he totally trusts. I mean, you could forget that McCoy has any rank at all with the way he carries himself. Meanwhile, Spock is Very, Very strict in his understanding of hierarchy and rank.

This is one of those deep divisions between the two of them. Put a pin in it. Let’s move on to the gladiator fight.

SPOCK: Need any help, Doctor? MCCOY: Whatever gave you that idea? ACHILLES: Fight, you pointed-ear freak! MCCOY: You tell him, buster. Of all the completely ridiculous, illogical questions I ever heard in my life!

The fact that McCoy is not a fighter is really brought out in this episode, and I have a lot to say about it in another post. The main thing here is McCoy bringing up logic again and agreeing with an argument that is, in my opinon, a step beyond something that McCoy would actually say. He makes fun of the ears, but freak is a little far, I think.

And all of this leads to the Big Scene in the prison, which I will break into parts. Part #1:

MCCOY: Angry, Mister Spock, or frustrated, perhaps? SPOCK: Such emotions are foreign to me, Doctor. I'm merely testing the strength of the door. MCCOY: For the fifteenth time...

McCoy is lightly teasing Spock for being more emotional than he lets on, while Spock denies having any emotion at all... this is a pretty typical part of the exchange. What really makes it work is Deforest Kelly's delivery. He says these lines with a degree of affection. He's not yelling, and he's not even using the tone he usually has when teasing Spock. In this moment, you can see that McCoy points out Spock's incongruous moments of emotion because he likes that about him. While it sometimes comes across as a 'gotcha' moment (like at the end of The Galileo Seven), the sheer number of times McCoy mentions Spock's emotions shows more than just a passing amount of interest in them.

Then, McCoy continues:

MCCOY: Spock, I know we've had our disagreements. Maybe they're jokes. I don't know. As Jim says, we're not often sure ourselves sometimes, but what I'm trying to say is-- SPOCK: Doctor, I am seeking a means of escape. Will you please be brief? MCCOY: Well, what I'm trying to say is you saved my life in the arena. SPOCK: Yes, that's quite true. MCCOY: I'm trying to thank you, you pointed-eared hobgoblin!

Before I talk about this, I need to take a moment. I think that McCoy often gets painted at someone with his heart on his sleeve, who feels a lot and expresses all of his feelings. And it's just not true! He's very expressive when it comes to some things, sure. He can yell all day about how much he cares about people in general, but when it comes to expressing how much he cares about an individual? It's pretty damn rare. Look at his words AND his body language in Balance of Terror when he has a vulnerable moment with Kirk.

KIRK: I look around that Bridge, and I see the men waiting for me to make the next move. And Bones, what if I'm wrong? MCCOY: Captain, I-- KIRK: No, I don't really expect an answer. MCCOY: But I've got one. Something I seldom say to a customer, Jim. In this galaxy, there's a mathematical probability of three million Earth-type planets. And in all of the universe, three million million galaxies like this. And in all of that, and perhaps more, only one of each of us. Don't destroy the one named Kirk.

McCoy himself says here that he doesn't usually say this kind of thing, and if you look at the series, that bears out. He does NOT find it easy to tell people he cares about them, and when he does, he does it in this abstract way, barely able to make any eye contact. This is AGAIN why the conflict between Spock and McCoy is NOT logic vs. emotion. McCoy is not fully emotional, and he doesn't find emotion easy to express. I would argue that he has almost as much difficulty expressing his feelings for another person as Spock does. I would also argue that McCoy does not LIKE this about himself, and that is part of why it frustrates him so much when he sees it in Spock. 

 So, when he tries to be vulnerable and thank Spock, first of all, he doesn't just say "Hey, thanks for saving me in the arena." He starts with a lot of waffle, and when Spock interrupts him and insists that he keep it short (again, callback to the arguments in this episode and Trouble with Tribbles about which one of them talks too much), McCoy tries to simply thank him, but gets upset when Spock is still impassive and reverts to his usual way of talking to Spock. One remark from Spock, and McCoy loses his ability to be vulnerable and resorts to a sharp tone and insults. Leading into part three of this conversation: 

SPOCK: Oh, yes. You humans have that emotional need to express gratitude. You're welcome, I believe, is the correct response. However, Doctor, you must remember I am entirely motivated by logic. The loss of our ship's surgeon, whatever I think of his skill, would mean a reduction in the efficiency of the Enterprise and therefore-- MCCOY: Do you know why you're not afraid to die, Spock? You're more afraid of living. Each day you stay alive is just one more day you might slip and let your human half peek out. That's it, isn't it? Insecurity. Why, you wouldn't know what to do with a genuine, warm, decent feeling. SPOCK: Really, Doctor? MCCOY: I know. I'm worried about Jim, too.

The last bit is powerful, and I think generally something people remember more than the rest of the conversation, but I really need to focus on that first exchange first, because there is a LOT going on, and I've been pinning things through this whole overly long post for this moment.

PIN 1: Their arguments have become more heated in the middle portion of season 2.

This is a very clear example of that. McCoy doesn't drop the issue after the insult and Spock insists he wouldn't have saved McCoy if he weren't logically useful to the ship. Ouch.

PIN 2: The repetition in these heated arguments. McCoy's view of logic, Spock getting offended, Spock insulting McCoy's skill as a doctor.

What Spock says here brings up all three of those issues. Spock has been frustrated by McCoy bringing up logic throughout this episode, and now he's shooting back at him with a logical view of why he saved McCoy's life--while still maintaining that he doesn't think McCoy is a good doctor. McCoy's been using logic against him, and now Spock is returning the favor. Spock understands Human interaction better than this! Something as simple as a "thank you" and "your welcome" is everyday for him, not only on the Enterprise but with one of the people who RAISED him. He is exaggerating his own non-Human qualities throughout this conversation to a truly absurd extent, because McCoy has repeatedly offended him for several episodes. However, McCoy seems unaware that his usual teasing has actually gotten under Spock's skin, because he has been surprised, again and again (especially in I, Mudd where he chases after Spock to apologize to him) when Spock actually acts hurt by him.

And then there's McCoy's response.

It's not "damn your Vulcan logic" or ending the conversation. He grabs Spock and forces him to look at him--which Spock has been avoiding throughout the conversation--and tells Spock that he's so afraid to be human that he doesn't fear death, because that would put an end to the fear that his Human side would show.

IF WE ARE ONLY LOOKING AT THIS ONE EPISODE, this doesn't make sense. This didn't build from the conversations in Bread and Circuses, which is why I keep bringing up several different episodes and why I'm insisting on production order.

PIN 3: These two have deep, deep philosophical differences that they are constantly discussing.

As I said in another post, Spock and McCoy have a different standard for morality which causes the two of them to butt heads a whole lot. In the first season, it was pretty much the same argument over and over again (should we risk a larger number of people to save a smaller number of people), but it's been evolving in this season to the discussion of freedom and cultural differences and more.

If these two men did not have any respect for one another, I don't think these arguments would continue. Yes, they work together, but they don't actually need to interact as much as they do, and they are VERY often seeing walking into a scene on the bridge together or walking down a corridor together, etc. It's not just missions. They choose to spend time together.

So, when Spock says he only saved McCoy because he's useful as the ship's surgeon, McCoy doesn't respond to THAT, because 1) he knows he's a good doctor and never seems fazed by Spock insulting him about that and 2) he knows Spock is not being honest with him here.

This is one of the reasons why I think McCoy gets frustrated with Spock because they have a similar difficulty showing how much they care about other people, and they have an especially difficult time showing affection toward one another.

While the ending of Operation: Annihilate! where McCoy tells Kirk not to tell Spock he called him the best first officer in the fleet is memorable, it's hardly the most vulnerable moment for McCoy in that episode. No, it's when he thinks he's blinded Spock because he didn't consider using the non-visible parts of the light spectrum to kill the parasitic aliens. McCoy can't even say for himself the deep guilt he's feeling about harming Spock--he never says that he's blaming himself. It's Kirk who tells him he's not at fault, and McCoy can't even bring himself to respond. If you look at those last lines about Spock being the best first officer in the fleet in context of how devastated McCoy was when he thought he'd blinded Spock permanently, it definitely hits different, right?

And then there are the times in the first season when Spock believes McCoy is badly hurt or dead. In Miri, Shore Leave, and City on the Edge of Forever, Spock has a strong reaction to seeing McCoy injured, but he does not verbalize this obvious emotional reaction at any time.

They don't know how to say that they care about each other, because that's something they both struggle with in general. They also both struggle with being emotionally vulnerable and allowing other people to know them on a deeper level. Spock uses his Vulcan otherness to keep people at a distance, while McCoy uses a the charm offensive of his "bedside manner" as his defense system.

So, McCoy says this thing about Spock not being afraid to die because he's so terrified of his Human side coming out IN DIRECT RESPONSE to Spock being unable to even look at him when McCoy is not only trying to thank him for saving his life but ALSO putting it into the context of how difficult their friendship is and how rarely they show any straight-forward affection for each other. And the most telling thing is, McCoy didn't seem to know for sure that he was right until he sees Spock’s reaction. Look at his expression when Spock turns away from him.

And look at his intensity when he says that Spock wouldn't know what to do with a "genuine warm, decent feeling."

When Spock turns to him and says "Really, Doctor?"

THAT is when McCoy is the one who breaks eye contact and changes the subject to someone that they both feel affection for, but who isn't in the room to hear it. I understand that there are other readings of this moment, and that's fine, but... I don't think this has to do with Kirk specifically. For one thing, it never comes up in the episode when they are reunited with Kirk, and for another Kirk is in the least danger out of the three of them. Instead, this moment is about how both of them struggle so deeply with showing affection when someone's right there in front of them.

By the end of the episode, we can see the two of them spending time together again, apparently by choice, and seeming very comfortable with each other... and the next episode is Journey to Babel, in which they are very friendly again with The Immunity Syndrome only four episodes after that, and the episodes in between showing them with much less contentious banter again.

Dare I say it, but I think this is a legitimate arc! And it's a shame that most people see the episodes in broadcast order, because it makes their relationship much more incoherent and makes this little escalation of frustration with each other more random and may make it seem like they genuinely dislike each other.

Anyway... this was. Not supposed to be such a long post, but I have a lot of Thoughts and Feelings about these two, and I can't help myself sometimes.

[tlbodine]

What exactly is 'character voice'? Is it merely a character having opinions on things? And how do I have good voice if I am writing in first or third person omnipresent? Do I give the narrator's opinion on things? The character's opinions? The different opinions of the characters?

Voice is a tricky thing to pin down -- a bit of a “know it when you see it” type thing. But I’ll see if I can break it down a bit. 

First: Stories will contain both “authorial voice” and “character voice.” Authorial voice is the individual writing style of the author, and you’ll start to notice it most strongly after you’ve read multiple works by one author. Character voice on the other hand is unique to the character. A strong character voice will often overshadow the author’s voice, which is usually a good thing! It keeps every book you read from an author from sounding the same. If you’re reading a book in first person or close third POV, the narrative should be in the character’s voice. If you’re reading it in a more omniscient POV, the narrative might have a very different voice. Books that alternate POVs might have different voices for different perspectives, so that you could tell who’s speaking even if the chapters weren’t labeled. 

But OK. What makes up Voice in writing? 

Opinions. Characters with a strong voice have opinions about the world, and those opinions color the way they see things. They don’t sit and tell you how they feel, but instead deliver the world through the lens of those opinions.

Focus. What a character chooses to pay attention to vs ignore in the world around them. This gives an underlying glimpse at what is important to them. 

Word Choice. On a structural level, voice comes down to word choice, grammar, syntax, etc. being used with purpose to create a cumulative effect. 

Books without a strong voice sound dry, like a technical manual or book report. They lack any poetic devices or colorful insights.  A strong voice is one that doesn’t sound generic, which means it’s not usually “correct” from, say, a middle school English class perspective. (In fact, some young writers may often butt heads with teachers over the use of voice in writing -- I know I did. Once you get good at it, 

It might just be easier to show this in action than try to explain it so...

Carrie, by Stephen King: 

She had tried to fit. She had defied Momma in a hundred little ways had tried to erase the redplague circle that had been drawn around her from the first day she had left the controlled environment of the small house on Carlin Street and had walked up to the Barker Street Grammar School with her Bible under her arm. She could still remember that day, the stares, and the sudden, awful silence when she had gotten down on her knees before lunch in the school cafeteria -- the laughter had begun on that day and had echoed up through the years. 

Carrie calls her mother “Momma” even in her head, which already implies a lot about her socioeconomic class, upbringing, and intelligence. She didn’t try to fit in, she tried to ‘fit’ -- a non-idiomatic description. The run-on second sentence gives a hint of a racing thought. “Redplague” as one word is evocative and more powerful than a more drawn-out metaphor might be. 

The Hitchhiker’s Guide to the Galaxy, by Douglas Adams 

Mr. L. Prosser was, as they say, only human. In other words he was a carbon-based bipedal life form descended from an ape. More specifically he was forty, fat and shabby, and worked for the local council. Curiously enough, though he didn’t know it, he was also a direct male-line descendant of Genghis Khan, though intervening generations and racial mixing had so juggled his genes that he had no discernible Mongoloid characteristics, and the only vestiges left in Mr. L. Prosser of his mighty ancestry were a pronounced stoutness about the tum and predilection for little fur hats. 

Comedy lives or dies on the strength of its voice, and Douglas Adams is a master at a very specific type of comedy. Here we see it on display. Prosser is an antagonist, and he’s here being described in a way that suggests, without stating outright, that he’s quite pathetic. We open with a cliche saying, and then immediately deconstruct it in a way that’s overly precise -- a technique of absurdism. Then we compare him to Genghis Khan (also a villain, and a very strong one) in a side-by-side parallel that definitely paints Prosser unflatteringly (his genes are “juggled,” a word that evokes clownishness) and the “little fur hats” detail is the icing on the cake -- imagine standing beside Genghis Khan and the ONLY thing you have in common is the hat! (”Predilection” is also a fussy-sounding word. “Stoutness about the tum” sounds like a childishly euphemistic protest, sort of like “big-boned” but dialed up to 11). 

The Cabin at the End of the World, by Paul Tremblay 

Wen’s eighth birthday is in six days. Her dads not so secretly wonder (she has overheard them discussing this) if the day is her actual date of birth or one assigned to her by the orphanage in China’s Hubei Province. For her age she is in the fifty-sixth percentile for height and forty-second for weight, or at least she was when she went to the pediatrician six months ago. She made Dr. Meyer explain the context of those numbers in detail. As pleased as she was to be above the fifty-line for height, she was angry to be below it for weight. Wen is as direct and determined as she is athletic and wiry, often besting her dads in battles of wills and in scripted wrestling matches on their bed. her eyes are a deep, dark brown, with thin caterpillar eyebrows that wiggle on their own. Along the right edge of her philtrum is the hint of a scar that is only visible in a certain light and if you know to look for it (so she is told). The thin white slash is the remaining evidence of a cleft lip repaired with multiple surgeries between the ages of two and four. She remembers the first and final trips to the hospital, but not the ones in between. That those middle visits and procedures have been somehow lost bothers her. Wen is friendly, outgoing, and as goofy as any other child her age, but isn’t easy with her reconstructed smiles. Her smiles have to be earned. 

The thing I love about Tremblay’s writing style is how wonderfully understated it is. At first blush, it seems very straightforward and precise. But the details work to give such a rich image beyond what’s on the page -- like one of those paintings that creates a cat with just like, two brushstrokes of ink. This paragraph is jam-packed with information -- the character’s age, race, adoption, gay parents -- but also illustrates her character indirectly: a kid who is interested in precise numbers, competitive in a specific way, self-conscious, skeptical. Little lines really stand out, like “caterpillar eyebrows” and “reconstructed smiles.” 

Horrorstor, by Grady Hendrix 

It was dawn, and the zombies were stumbling through the parking lot, streaming toward the massive beige box at the far end. Later they’d be resurrected by megadoses of Starbucks, but for now they were the barely living dead. Their causes of death differed: hangovers, nightmares, strung out from epic online gaming sessions, circadian rhythms broken by late-night TV, children who couldn’t stop crying, neighbors partying til 4 a.m., broken hearts, unpaid bills, roads not taken, sick dogs, deployed daughters, ailing parents, midnight ice cream binges. 

But every morning, five days a week (seven during the holidays), they dragged themselves here, to the one thing in their lives that never changed, the one thing that they could count on come rain, or shine, or dead pets, or divorce: work. 

This is the opening of the book, and it does a perfect job of setting the tone for the story -- a combination of humor and horror, a lighthearted touch on a really dismal subject. Like the Douglas Adams example, it relies on an excess of hyper-specific detail to create comedy through absurdism. Describing the store they wrok at as a “massive beige box” says a lot -- beige is a boring color, box is a boring shape (and implies constraint, the opposite of “think outside the box” etc.) Calling the workers “zombies” and using zombie words (”stumbling”, “streaming”) invokes a specific set of concepts -- mindlessness, for starters, and death -- and using that to describe going to a job certainly implies something about what it’s like to go to work, right? This paragraph could just come outright and say “work is soul-sucking and pointless and takes you away from things that are important” but it illustrates that instead. A perfect example of “show don’t tell” in action. 

Hopefully that gives a bit more illustration to what I’m talking about. As you read, pay attention to the way things are said and how that varies from one book to the next, and you’ll get a better intuition for voice (and learn to craft your own through practice). 

Some general tips/things to think about when creating strong voice for your narrative and characters: 

Education and socioeconomic level of the characters. A professor will talk differently from a car mechanic; a college graduate sounds different from an elementary school student; an inner-city black teen will use words differently from a New England socialite. Think about what kind of background a character has and choose vocabulary and syntax that makes sense for them. 

Evocative descriptions. Words come with baggage, and good writing puts that baggage to use to create a meaning stronger than what’s on the page. Precision with language, not just what words mean but what they imply, is the hallmark of good writing. 

Words used uniquely -- in other words, avoiding cliches and descriptions we’ve seen before in favor of creating new word combinations that do the heavy lifting of the previous bullet point. 

Hopefully that helps! 

[aqvarius]

If the MC from rmd was more mature and if rmd wasn't a love choice story with less episodes, would it be better? Or is there more stuff that needs changes?

yeah i do think so! so i think they tried to emulate hlitf (and mpd maybe? i’m not familiar enough with mpd to be able to say). in thinking about rmd and its future (in response to another ask which i’m still working on bc i lost my whole essay the other day lmao), i kind of theorise that they wanted rmd to be the next Big Title with a full lineup of “ensemble cast” type characters, instructor-student type dynamic (which can then ‘progress’ to colleague level), lots of lore/backstory, potential for lots of substories. the backlash against love choice has been strong in both japanese and international fandom as far as i know so i really think that was a big hindrance in terms of drumming up success for a title that is set up to have a LOT of content. hlitf has always had a leg up bc from the start, it rode off the success of msb and the demand for more public safety content, which is why right from the very start, they tried to push crossovers with hlitf/mpd. the very first rmd substory is a takado/kirisawa crossover, and then they had that extremely gratuitous cameo in ayumu (aka voltage’s king) season 3 in both the ms AND his pov. they keep pushing these crossovers, like with the vip room event which just came to love 365. 

ANYWAY, the more i think about it, the more i’m convinced that they’re trying to emulate some of the successes of hlitf, so i find it a pretty useful point of comparison to see the things which i find are lacking in rmd. 

so yes i definitely think that i wish the rmd mc was more vulnerable and maybe more romantically inclined and just generally more emotionally mature? i’ve said i wish she made more mistakes but i when i think about it more, i do see some parallels between dr mc and hlitf season 1 mc in that they go into a new learning environment with a certain set of values that get challenged. so i am willing to acquiesce on that point i’ve made before about her errors, since i do think that her values and the choices she makes because of those values get called into question (coming off the back of reading matsunaga’s routes, i do see this happen). also i’ve said this before but just to reiterate, i do also think that there’s a tone shift in the translation that to my perception (re-?)characterises the mc as being blase which i feel comes at the expense of genuine emotional connection between the reader and the heroine. however, i do also think that this tone perception thing is very subjective bc it reads as being quite american to me which is something that (1) is foreign to me as a non-american and (2) gives me a feeling of incongruence bc i’m very aware that this is japanese media. either way, i think in a long form title, there is potential for her to grow/develop when it comes to emotional maturity and romantic development, which leads me to my second point...

ANYWAY, the biggest (writing) issue that i find with rmd is its lack of romance FOR SUCH A LONG ROUTE. generally the main point of otome games is the romantic aspect, which i find to be super lacking in a game where romance is literally right there in the title. so one of my favourite things about hlitf is that we have the whole “meeting him” route before the “falling in love” route, and that generally each season is split into two halves in which the first half feels complete as a route on its own, but its strengths in setting up plot and character/relationship development become highlighted in the second half of the season (i know i talk about this a lot but kaga’s season 2 is the PRIME example of this). hlitf’s “meeting him” stories all tend to have abysmal ratings (which.... i pretend i do not see it) because of people not getting that they’re just introducing the characters and setting up their dynamic first. because of this, we essentially get a (relatively) slow burn romance that takes 20 chapters (or in tsugaru’s case.... 60 chapters lmao, or we’ll say 30 bc he has shorter chapters) to get to fruition. 

so romance md has 30 chapters to get the job done, which SHOULD mean that there should be better pacing to get to the relationship stage, right? rmd does a similar thing to hlitf’s split routes where there’s generally one “introductory” case which introduces a moral dilemma, which then ties into a second case. in hlitf, the introductory case in ms1 serves to introduce us to the love interest’s personality and way of working as well as helping the two characters become closer by spending more time together. then it links to ms2 in that it tends to lead into wider criminal activity that may or may not be related to the love interest’s primary negative characteristics, and most importantly, the mc is instrumental in helping the LI overcome that issue (e.g. goto’s paranoia about losing colleagues/partners, kaga’s problems with internal corruption within the NPA, soma’s trust issues and devaluing of those around him, ayumu’s unrequited love). so let’s say that a full rmd route is equivalent to ms1+ms2 in hlitf. 

rmd does a very similar thing in terms of plot structure with the main difference being that the medical cases tend to align explicitly with the LIs’ traumatic pasts, where in hlitf it’s a bit more indirect (only goto and soma have had their primary vengeance arcs complete). so why does the pacing feel so off? i think that the reason for that is that there is just so little energy put into romantic development. one thing to note is that the mc has already fallen by episode 10 of ms1, i.e. halfway through the ‘full’ route. the only rmd route that i’ve read where the mc has already caught feelings at that point is hosho’s route, where she realises in chapter 15 (which is why i did write in my review that i thought the pacing was better). secondly, it’s a LOT harder in rmd to see not just the mc’s feelings developing, but the progression of the love interest’s feelings. imo this is because they basically treat her uhhhh the same from start to finish??? she runs her mouth from day one and even during very intimate conversations, so i feel like there is no sense of increasing emotional closeness - it’s more just that we (the third person reader) get to know more about the love interest’s past and i guess we see them becoming friends? rather than seeing two people growing closer with romantic attraction. contrast this with hlitf, where they were never ‘friendly’ and the relationship that starts blossoming between them was always overtly special and romantic relationship and the way in which the love interest softens for his mc is already evident by the end of ms1. this means that we get a whole 10 more chapters for this development to really take its time to get to where it needs to go. this also means that we actually see obvious burgeoning attraction (or special treatment) before we get to any sort of climax confession scene. i feel like the mc’s lack of manners/impertinence familiarity with the LIs from the very start means that it’s a lot harder to see the dynamic between the two of them changing. just compare the way that dr mc and takado talk to each other in ch1 and ch29 vs the way that hlitf mc and kaga talk to each other in ms1 ch 1 and ms2 ch 8. i would argue that the action scene in the collapsing building in takado’s chapter TWENTY SEVEN is about equivalent to the action climax scenes that happen in hlitf ms1 chapter NINE.

(oh and i also think that the whole talking about how physically beautifully they are to their faces from day one also hinders the sense of growing mutual attraction.)

another GIANT hindrance is that a lot of the key bonding moments are actually paywalled behind heart scenes so you really don’t get anything if you don’t dish out THANKS LOVE CHOICE. 

anyway, long story short is that romance md spends waaay too long and focusses way too much on plot stuff and character backstory (if you can even unlock it lmao) and leaves maybe 5% at the very end for romance rather than having a romantic element integrated throughout the story. if i were to try and compare it to hlitf again, i would say that to me, rmd routes feel like if hlitf ms1 was as it is but then there was one extra chapter at the end where it just goes straight to confession without the entirety of ms2′s development. but also like at least 2x longer. like imagine if we had ms1 and ms2 but there was no romantic engagement or indication of any romantic interest from the love interest in 20 whole chapters except you suddenly get one confession but only in the happy ending. actually matsunaga’s doctor ending literally FLOORED me like ???????? it’s literally like imagine if you only got through namba’s ms1 and half of ms2 (to that scene outside the dorms when you know what happens) and THAT’S WHERE IT ENDS LASKDJFLKSJ they finally had some early emotional awareness on the part of the mc and then they had to go and make it ENTIRELY one sided with not just zero but actually NEGATIVE romantic intention from the love interest i’m screaming 

tl;dr: my biggest problem with romance md is that it’s literally SO LONG but there’s no romance 

[andreipuica]

Mühle House and the Mühle Family I always felt that in life, the things that are the most beautiful and the most sincere, also have the greatest force and the best chance to endure and survive the test of time. And that is because they all emanate a certain energy that attracts us to them involuntary, and before we know it, we find ourselves gravitating around them. Even when these things happen to be shaky, frail or degraded, they always remain strong, because they represent more than just the mere image of an object. They represent a very special mixture of stories, symbols and a ton of emotions, that create that certain energy that attracts us. And it's always the most wounded of those beautiful things, that happen to hide the best and most overwhelming stories of all. In fact, whenever we look at these things and we feel attracted to them, we actually find ourselves attracted to other people that we know too little about. But we suddenly become curios enough to want to discover their stories, and with that, maybe also discover something new about ourselves. This is how I became curios about Mühle House. Back when I just became a student in Timişoara, I had the opportunity to live, for a while, nearby Mühle House. So, I passed by her several times on my daily routine and I would always look at her, study her beauty and wonder what was her story and what was to become of her. Back then, I though it was a very strange phenomenon, that such a jewel was neglected. I found it strange that, although the object was so strongly pronounce and had so much to offer, it was never given the chance to exist and be part of her surroundings. It was as if it had been disconnected from reality. Back then I thought that surely there must be a plan for her and that surely there must be some people that have already taken action and started to come up with a solution to save her. And the fact that there is nothing happening right now, is because a good strategy takes time and dedication. So, I didn't want to jump to any silly and premature conclusions, because I wanted to believe that the situation was complex, but an appropriate solution was surely on the way. This was back between the years 2009-2010. After some time, I started doing some research about the house and I found out about the Mühle Family and I also found out that this jewel was actually their home. I found out about Wilhelm Mühle and Árpád Mühle, his son, and their achievements. I found out about Wilhelm Mühle's rose plantations, greenhouses and vast gardens, where he would produce over 1500 of species. I found out that the roses that were grown here in Timişoara, were also distributed around Europe, and after some time, they found their way to the gardens of many of the royal families around Europe. I found out that Timişoara received the title of the „The City of Roses” due to Wilhelm Mühle's achievements. When I started working on the first sketches with Mühle House for the good people from Heritage of Timişoara and their upcoming event, I was trying to figure out which approach was most suited for the illustration. I could have drawn the house as it was in the past, in it's good days, but then I would ignore it's present condition, although, I would have a more optimistic approach for the illustration. Or I could have drawn the house as it is now, degraded, and put aside all the magic in this case. In the end, I chose to improvise and draw a different Mühle House from another parallel dimension, where she finds herself in the same degraded state, only in this version, she grows tired of waiting for her salvation and finds that she can be self sufficient and blossom all by herself. She starts covering her wounds with vegetation as a spontaneous solution. Her walls turn into green and her facades start redecorating all by themselves, the details are growing the same way and at the same rate as the vegetation around and inside the house, a natural growth of both the environment and the architecture. And in stead of the roof, we now see a giant and elegant rose rising, covering and protecting the house from any bad weather. So, we find ourselves in the presence of a Mühle House as a living organism, that is in the middle of a regeneration process. A regeneration process that was triggered by the energy that I mentioned earlier. A regeneration that came from the house's beauty and sincere characteristic. A regeneration that wouldn't have been possible if the house wouldn't have had all the stories and memories of the Mühle Family that surrounds her. At the moment, the house is currently supported and kept alive by some temporal wooden structures. In the illustration, the house is supported by none other than Wilhelm and Josephine Mühle, and in the center of the illustration, standing on the terrace in front of the house, we find their child, Árpád Mühle. But we see him represented differently. Instead of his face, we see a Suferar star, a special star who's form resembles that of a flower's corolla with eight petals. Árpád is presented here as a dehumanized and timeless entity, a symbol. A symbol of the house's beauty and sincere architecture. A symbol of eternity. We will always find little Árpád playing on that terrace and waiting for a response from us regarding the house's fate.

[kendrixtermina]

Thoughts and Feelings about“Change Your Mind”

I really wish I could rewatch this motherfucker somewhere but I have to sleep and go to work 

Well on the one hand the main story lines are pretty much done for, on the other, the fallout alone could fill another season, and I’m actually glad that they’re not relegating that to the epilogue but actually going to show it

I assume season 5 will be Steven working with the Diamonds to improve homeworld, explaining things to Jasper, integrating the former corrupted gems on earth, finding out the deal with pink pearl, further developing Steven’s new fusions etc. 

Other open questions involve gem origins and peridot’s renewable energy project, but I suppose that will come up as Steven tries to make the Empire less... imperialistic. 

I understand why they wanted to air this in one piece, you couldn’t leave the younger viewers hanging with some of these creepytastic scenes and no resolution

There’s various concepts I feel reminded of. 

There’s this idea of “tzimtsum” in kaballalistic thought, about how God created the world - In order to create a being apart from himself, he “hid” some aspects of the being, the ones that would seem - So every part of creation reflects one aspect of god, but none shows the complete pictures of it, and because everything has some aspects of god but not others, it is unique - so all humans are made in gods image, but still be different from each other.  

Maybe Pink Diamond would be something like Lucifer in this analogy, part of the creation but as far from the god as you can get while still existing, and somehow their antithesis (stretching the analogy here, of course Judaism has no counterpart to Lucifer let alone the positive-ish early modernity interpretions of him - but of course, White Diamond isn’t exactly a benevolent God either. )

First of course Star Trek, like the ep where Captain Kirk is split into what at first seems like his good and evil half but is more like his animal instincts and higher reasoning, or in Voyager, when B’Elana Torres is split into her human and Klingon halves. 

I guess Garnet wasn’t completely wrong in his being something in-between fusion and human reproduction, his gem half could be considered A Pink Diamond, but not the same one who created him - He must be fricking powerful to shrug off WD’s beams like that, like how Stevonnie still has “boosted” versions of Steven’s abilities despite Connie being human, Steven’s probably like Pink Diamond, but ‘boosted’.  

Steven’s victory certainly showcases how it comes from both sides of his heritage. It involves making WD laugh/embarassed like what Pink used to do, but unlike her, he has the communication skills from Greg - I don’t think Pink ever talked to Blue in that way, she didn’t seem aware of what the other Diamonds were thinking at all, any more than she really understood Pearl’s lingering knot of complexes. It’s just not a skill she could have picked up before Greg - when? From whom?  

His responsibility is all uniquely him and due to his upbringing with the CG’s and wanting to help him more, tho, both his parents where free spirit hippy bohemians, but it was Steven who decided “Nope, I WANT to fix it, because I can”, not because he owes it to anybody, even when no one could fault him for running. 

Also, Frankenstein (the Novel not the film) - The original Victor was a sympathetic, even admirable character, but somehow he just couldn’t bring himself to have empathy with the monster, though Adam was in many ways alike to him and initially didn’t wish to be his enemy.  Because while the gems relate to White Diamond as their goddess and the other Diamonds see her as their mother, she seems to regard them as extensions of herself. Maybe she would, as their creator. Gods are expected to smile benevolently upon their followers and solve their problems, Mothers, while they are flawed humans,  are supposed to love their kids as they are and realize that they become their own persons, but artists frequently tear up their own work if they’re dissatisfied with it, because it’s supposed to be a reflection of their existence, so they might hate it for not reflecting them well enough - 

i often regret tearing up half my teenage fanfics, but I’m able to view them different now that I’m - Back then, I felt like they reflectzed badly onto me - but if had kids and treated them like my fanfics or crumpled drawings, well, that would scar them for life. 

You could certainly see this as a metaphor for narcissism, particularly in the way WD judged everything by how much it was like her, to the point that she would ‘overwrite`’ ppl’s personalities with her ideas of how it ought to be, while lacking a solid identity of her own apart from being “perfect/the best” by default, but that only goes so far because the gems literally are her creations who take their characteristics from various aspects of her being. 

She’d have a completely different conceptual framework to anyone else, though she’s certainly not “above it” in any way. 

I don’t think she was completely unaffected by Pink’s dissapearence either, if you want to complete the Stages of Grief analogy she would be Denial or Bargaining. Most likely,  she was growing increasingly frustrated with her ability to make her empire “perfect” like she ought to and that’s why she started keeping to herself more and assuming that Pink couldn’t be dead. 

She seemed like the knowing one when she was as much in denial as anyone else - you can tell they had a complicated relationship because of how White saw herself in her, that might be why she indulged and preferred her, but then again she didn’t always like what she saw and felt that Pink represented parts of her that she didn’t want to see. 

It’s not without reason that Steven tells her to “get out of her own head” and try to see the world for what it is rather than her preconceived notions of what it is or means. You could perhaps relate that to 

When she realizes that she’s actually dead - that’s when she has her breakdown. 

You could even draw a parallel to “Romeo And Juliet”, where the older generation only realizes how much its ways were fucked up when it gets their beloved children killed for just trying to live happy lives. 

Cal Gustav Jung would certainly remind us that what irritates us about others are often things that irritate us about ourselves, that we may be liable to “see the world as we are” and never is that more apparent than when we view everything through some skewed belief system, or when we hate - people hate people who blur boundaries because they don’t want to confront the ambiguity within themselves, or act as “superior” and merciless because they’ve rejected their own mortal fragile humanity.

Another observation is that when you set up anything as the “default” you create pressure not to deviate from the norm and prevent its members from experiencing their individuality. (see societal pressure on heterosexual men, or Euro-Americans saying they ‘have no culture to celebrate’ - maybe instead of becoming a devouring plague upon your fellow men, you could actually appreciate European culture? Like, read some books, eat some cheese, learn a language, listen to some classical music, vote for worker protection laws?)

It speaks for PD that she even tried to save other aliens at some point. steven stepped completely out of her shadow the moment he was able to feel sorry for her, like “Geez, she had to live like that? No wonder she turned out the way she did!” he pretty much calls the other Diamonds out at some point, like he gets a secure sense of the differences between them when he realizes how much better off he’s been in his own life. Like, UGH. 

For my part, I don’t believe the “best of the worst” thing was true, and more of an “evil cannot comprehend good” moment from White, if not outright projection. (after all, White seems to view all other Gems as imperfect copies of herself) If anything, Pink seemed upset that she got stuck being the leader even as “Rose Quartz” (see the Beach scene in “Greg the babysitter”) - but of course Steven, not being Pink, wouldn’t know whether or not White is right. 

Other Thoughts:

In the earlier scenes you could see a lot of parallels to less than ideal family situations, and how people might end up acting as proxies of the problematic person, almost sprouting their words, in the name of keeping the peace, and how people in such an environment may have no idea of how it’s not normal

You CAN talk down such a person (I know of multiple people who made a bona fide job out of talking sense into literal nazis and clansmen, person by person - their tactic was generally to find whatever problem their rage came from), but there’s a difference between “flawed” and “awful” and I do think it came through that White is a piece of work quite unlike, say, Connie’s mother, and that Steven’s dealing with her because he wants to for the good of society, because he’s the bigger person and secure in himself,  not because he owes it to her or anything

It seems like they went for “awesome” rather than “beautiful” with Steven’s fusions. The designs are kinda gaudy, but even so, once you getpast the gaudy design, it’s kind of touching how Steven’s and Garnet’s fusion is essentially a motivational speaker who sprouts encouraging advice nonstop. Garnet was always Steven’s Mentor and  as well as the main person (besides greg) to teach him morals, as well as generally encouraging & supportive, but Steven of course encourages and supports her too, and both like doing that for others

I love Peridot’s short shorts and that she and Bismuth repaired the ships/ went a-tinkering together. It took me a bit to notice that it’s supposed to be shorts and not just her old outfit with starts instead tho

Voice of Reason!Connieis a gift that keeps on giving

[hogwartslessons-blog]

Mythology| Tuesday. July 10th, 2018| Lesson Sixteen: Intro to the Americas and Inuit

pAmerican Mythology The mythos of various American cultures is quite diverse, due to the large number of tribes and cultural groups that exist in the region. However, there are many overarching themes that can be drawn out and examined. First of all, there is the concept of harmony in nature. In many cases, American peoples would take great pains not to upset the natural harmony of the world, and many of their rituals, myths, and societal practices reflect this belief. This is not an overly foreign concept to us, of course, as it is a common concept in other ancient societies which you have studied, with the Celts as a notable example. Another commonality between ethnic groups in the Americas is their associations with animals, both magical and non-magical. Whether we are speaking of the jaguar of the Aztec, the bison of the Lakota, or the caribou of the Inuit, all groups had particular animals which they revered and with which they were closely associated.  This connection, like their reverence for the harmony of nature, was expressed through myths about their societies and well as traditions and rituals based on cultural beliefs. As the year goes on, you will see a number of examples that demonstrate this point.

Finally, much like many other ancient societies, magic, myth, and history were highly intertwined. In some cases, so intertwined as to be indistinguishable from the others. That is to say, a historical account of a tribe’s existence may be completely based on their myths. However, recall that just because something is a myth does not automatically mean that it is untrue. Sometimes there is only the basic kernel of truth expressed at the center of the myth, but at other times, myths may recount actual historical events, people, or places. For example, the myth of Bellerophon and the chimera in Greco-Roman culture is full of references to mythological characters, however Bellerophon is the only wizard to have slain a chimera - which is a historical fact. Keep your eyes open for similar characters and beliefs as we explore the mythologies of the Americas this year. To start us off, Professor Morgan will be discussing Inuit mythology for the remainder of our class today.

The Long and the Short of Inuit Mythology

Inuit mythology focuses strongly on animal associations, just as Professor Wessex has outlined for you above, such as those about the polar bear (nanook, in Inuktitut). What makes the Inuit myths quite fascinating and different from other cultures is that their focus is not on creation and the workings of the gods and the universe (although there are myths that outline these aspects of the world), but are more about survival in the treacherous environment in which they find themselves and the cultural values and experiences of the people themselves. Now yes, I am speaking primarily of the cold, barren, arctic region of modern day Canada wherein the Inuit culture has flourished for thousands of years. Many of the myths speak of the hazards of the cold, and the dangers of the animals. Nanook, the Great Bear, is said to be almost human, and the greatest prey of all for a hunter. Of course, a polar bear is also the single most dangerous non-magical creature living around the arctic, and can just as easily kill a human as a hunter could kill it (or rather much more easily since polar bears are enormous, strong, and unafraid of humans.) There are other creatures, however, that may seem mythical in nature to the Muggle population, but bear so many similar traits to known magical creatures that there may be that nugget of truth to them

The Qalupalik

Take for example, the magical cryptid known as Qalupalik. I see those of you who I assume are not studying Care of Magical Creatures looking blankly at me. Let me explain. A magical cryptid is a creature that is magical in nature, but has been seen so few times, that it is assumed to be merely rumor since no specimens have been recorded or captured to this day. Though mostly anecdotal in nature, there is still the possibility that these creatures do exist.

Yes. They are rather horrid looking, or at least this artist thought so. The myth can be summarized as follows: The Qalupalik are creatures that live under the ice. They appear to be somewhat humanoid shaped and female. They wear a cloak with a large pouch called an amautiit (which the Inuit use to carry their children around), and make a humming sound audible to human ears from underneath the ice. As a gruesome twist, they eat children, sort of. The myth states that the Qalupalik will grab children who come to close to the edge of the sea ice - especially those who misbehave and do not listen to their elders (which is what would land them at the edge of the sea ice unattended in the first place). The Qalupalik would snatch the child, shove them into the amautiit, and disappear under the ice. If the first part of this myth is upsetting, the second part is down-right disturbing. The children were not immediately killed, but placed in a sort of stasis. They would remain in that stasis as the Qalupalik slowly drained off their life force -- I hope you remember the concept of a “life force”, that ever-changing thing which sustains the existence of all creatures, from your Defense Against the Dark Arts classes in Third Year. The child would age, most likely at a greatly accelerated rate, and the Qalupalik would absorb their youthfulness, keeping them more or less immortal. As the only victims of the Qalupalik are never seen again, nor are there adults around when the creature strikes, it has been very difficult for magizoologists to verify the presence of this creature.

Sedna

Another very prominent myth in Inuit culture is that of the sea goddess. She goes by many names, including Sedna, Nuliayuk, and Taleelayuk, to name a few. The myth changes based on region and period of time, but we will look at one of the more elaborate versions, for reasons I will expound upon later. The story begins with a young unmarried woman and a cold night, neither of which are uncommon in Inuit life. One evening, a stranger enters the family’s igloo and asks for shelter from the cold. The young man seems odd, and bears a necklace of two sharp canine teeth, but the family offers him hospitality and he spends the night in the family’s bed, where they sleep together for warmth. In the morning, the man has disappeared, and leading away from the house are animal tracks. The daughter of the family is found to be pregnant soon after. Fearing what will come of such a union, the father forces his pregnant daughter to be dragged out on the ice to an island and abandoned. There, in secret and alone, she bears children, half of which appear normal in every way, and the other half who have canine features such as large ears and noses.

The second part of the myth, after her children are grown, tells of her father’s remorse and his attempt to return her to the village. Unfortunately, the rescue boat becomes trapped by a storm, and the captain, fearing the daughter is either bad luck or dead weight, throws her overboard. She attempts to climb back aboard, but she is cut from the boat many times -- literally -- which results in loss of limbs, to put it gently. These pieces of her are said to change shape and take the form of various sea animals. And while she does not ever make it back to the village, she becomes a powerful goddess of the sea, commanding these creatures of the sea that came from her own body. In some versions, the woman is said to drown. While, in others, it is the father that forces his daughter to marry a dog due to her refusal to wed. Still others describe a great bird or fulmar that tricks her into marrying him and carries her off to an island away from her family. However, I have chosen this version to help illuminate some of the characteristics and facts this myth is thought to represent. Many a magihistorian has examined the versions of this myth and ultimately been unable to ignore the repeated animal transfigurations that feature throughout the tale. There are various competing schools of thought, some saying that this tale displays parallels to semi-modern “half-breed” prejudice, or distrust of those afflicted with lycanthropy, pointing to the stranger who takes the form as both canine and man as an example of a werewolf. However, others argue that this is potentially a heavily fabricated origin story of the first known Animagi in Inuit history and mythology. It is difficult to be sure, of course, but there is certainly more to this gruesome myth than meets the eye.

[cybersummit]

Our Important Techniques That Can Really Increase Your Business Resilience

Concerned about your company stopping working due to COVID-19? Resilience is critical for business owners today, and it will prove to be a key dimension for measuring success over the next decade. Here are three potent techniques to build continuity planning into your company to get rid of and make it through 2020 and beyond.

Strategies to Make Your Business Resilient

Anxious About The Future? Rest Easy!

In this series, I will show you how to safeguard your business and credibility against the impacts of the coronavirus pandemic and go over a few of the practices, programs, resources, and techniques that are readily available to small business owners, soloprenuers, and gig economy employees.

Business Continuity and Resilience Planning

In this post, I'm going to discuss what "business resilience" implies and why it's crucial to get management in your company concentrating on business continuity planning prior to an emergency.

I'll also propose 3 agile methods for constructing resilience into your company now that might assist your business endure the next worldwide pandemic.

Twenty-twenty will definitely decrease as one of the hardest years many of us have actually dealt with in our lifetimes. For me, 2019 was right up there. I lost my papa, my pet dog, and a new service within the latter 6 months of the year.

Geopolitics, financial downturns, and many other elements can have significant results on your functional capabilities and efficiency.

Customer spending in the United States fell by ~ 20% throughout the very first two months of Coronavirus's speeding up spread, according to the US Department of Commerce, while the pandemic also disrupted ~ 75% of supply chains, according to the Institute for Supply Chain Management.

Economic Disruption and Natural Disasters?

Even before COVID-19, lots of services were struggling to prepare for, react to, resume speed and keep pace with technological change.

Sarah Bond and Gillian Shapiro of the Harvard Business Review performed a survey of 835 employees from public, personal, and not-for-profit companies about what was occurring in their lives that required resilience. What did they figure out? They didn't indicate disasters or the economy-- they pointed to business culture and their colleagues.

Social Dynamics Caused the Biggest Drain

Comprehending that, in times like these, the secret to moving on is thinking favorable (albeit challenging), and ending up being durable. While I've been dealing with my own individual resilience, I've also been working hard to make sure that my relationships, my other business, and my neighborhood and environment, are gotten ready for unforeseen difficulties and hardship.

As Diane Coutu reports in "How Resilience Works":

You can bounce back from challenge with simply one or two of these qualities, but you will just be genuinely resistant with all three. These 3 characteristics hold true for resistant organizations as well ... Resilient people and companies deal with reality with staunchness, make significance of difficulty instead of crying out in anguish, and improvise services from thin air.

Why is resilience in business crucial?

When others are failing, it indicates your company makes it through-- or even grows--.

Resilience Reduces Stress

Resilience is a term typically utilized in psychology to describe "the procedure of adapting well in the face of adversity, trauma, disaster, risks or considerable sources of tension."

Establishing an Increased Capacity to Identify Additional Sources of Stress Builds Resilience

For individuals, resilience indicates you recover (instead of falling apart) after a crisis (like relationship difficulties, health problems, work conflicts, or financial setbacks).

Resilience will not eliminate danger or solve your issues, but it can provide you the chance (and clarity) to see past them while better managing your tension levels.

Resilience Planning Recession-Proofs your Business

Miriam Webster defines resilience as the "ability to recover from or change easily to misfortune or change."

SearchCIO extends this meaning, keeping in mind that "business resilience is the capability an organization needs to quickly adjust to disturbances while keeping constant service operations and protecting individuals, possessions and overall brand equity."

Business resilience planning is also often described as business continuity planning , and is an assessment of the sustainability of a given organization.

In the past, I taught week-long courses to skilled Fortune 100 organizations and their executives on catastrophe healing and center and business continuity planning in the enterprise, with a more comprehensive focus on details, computer, and network security.

For these companies, business resilience indicates carrying out digital systems and processes to ensure business continuity, while offering product and services that remain (or ended up being) desirable in the face of global events, financial instability, or dangers to a service's core operations.

" In the face of a crisis or financial slowdown, resistant companies ride out uncertainty rather of being subdued by it."-- McKinsey Quarterly

During the last downturn, McKinsey & Company traced the paths of more than 1,000 openly traded companies in various markets and with various maturity designs, and discovered that just about 10 percent of those companies fared materially better than the rest.

While the last slump was extreme, some business flourished in spite of present dangers

They found some intriguing parallels in how sustainable companies would weather a storm: how they got ready for them, how they acted throughout tougher phases, and how they came out of them.

With most of these organizations relying greatly on information, analytics, and automation, it ended up being clear that digital technologies will prove to be a significantly vital component of business resilience tomorrow.

Still, one core insight prevailed: the business that made it through-- those that showed real resilience-- moved early, ahead of the slump. They started preparing early, their numbers dipped less, and they came out on top.

" When the economy started heading south, what differentiated [them] was revenues, not revenue. By the time the decline reached its trough in 2009, the earnings, determined as revenues before interest, taxes, devaluation, and amortization (EBITDA), of [these business] had increased by 10 percent, while market peers had actually lost almost 15 percent." A resistant business responds quickly to tackle crises, recovers from difficulty so that it can surpass its competitors, and transforms itself to remain ahead of peers in the future.

In the past four downturns since 1985, only about one in 7 business increased both its sales development rate and its earnings margins, according to a 2019 BCG research study. These companies grew sales by 14% more and enhanced their margins by 7% more than the 44% of business in distress that declined on both criteria.

" A business requires to embed resilience in every element of the company, from its go-to-market approach to its operations to its most crucial facilities. Vulnerabilities in any location might impact the business's capability to prosper and survive," says BCG.

The 3 Fastest Ways to Make Your Business Resilient

In their research study, McKinsey & Co identified 3 core strategies that assisted these business avoid downtime and develop this revenues advantage:

They created a safety buffer by cleaning up their balance sheets before the dip A lot of companies cut costs ahead of the curve They focused on growth, even if it suggested sustaining costs

While useful, these techniques can be a bit tough for smaller companies to do something about it on. So, for maximum impact, my goal in this post is to cover 3 strategies that leaders at the majority of business will find:

simple to understand, ( reasonably) simple to carry out, and repeatable across different verticals.

It is this mix of elements that makes these strategies effective for creating business continuity. And proven methods can help in reducing the sources of stress that test your resilience in the very first location.

The 3 techniques that match all of these elements are:

Repeating Revenues Productized Service Offerings Automated Client Acquisition

Strategy 1: Recurring Revenues beget Business Continuity

While this very first method might seem a little "on the nose," the reality is that a number of you are running pure service organizations that count on you to repeatedly "offer" every job to each and every client, each and every time they require your help (I understand since I asked).

When you change to a recurring design, you're automating the continuation of a service over a period of time (be it every month, quarter, or week), and with it, increasing your CLV (consumer lifetime worth).

Understanding that, it's easy to comprehend why automating recurring earnings is one of the most effective ways to produce resilience in your service, despite your service model, and it's a technique everybody need to consider.

It may not be as easy as simply altering your billing frequency however, because clients will require an inspiration to transfer to a recurring payment model.

You'll have to adjust your prices, use annual or quarterly discount rates for innovative renewal, and productize your service offerings to make it easier for clients to understand what they're purchasing, and why they ought to pay in advance.

Which brings us to technique 2 ...

Strategy 2: Productize Your Service Offerings, Now!

Stop Trading Time for Money Whether you're making a living as a freelancer or consultant, or running a traditional "service business," you are trading your hours for dollars. Your service likely still depends on project-to-project earnings to keep the lights on if you have a a group.

Even when your consulting business is prospering, you still only have a lot time to exchange for money. This makes it very difficult to scale, and is a huge factor a lot of service business are not resistant.

While service businesses are arguably the simplest to begin (and can be some of the most lucrative, at scale), they're also typically the most difficult and expensive to grow.

To have the ability to keep growing as you quickly adapt, you need to:

constantly find, educate, and transform brand-new customer leads, thoroughly certify those cause sell them high-ticket offerings, constantly handle new customers, even when your skills and time are restricted.

By productizing your service offerings, you can reduce your sales cycles while automating 80% of the acquisition and certification processes.

What does it mean to productize your service offerings?

From your client's perspective, it most often implies a "done for you" solution with a strong worth proposition at a set rate and with a predefined scope.

From a company owner's viewpoint, a productized service is one that runs systematically, scales geometrically, and continues to grow and produce incomes with or without your consistent care and feeding. That is how you construct resilience into a service company and grow as your rivals flail.

To be successful in productizing your business, you don't require to provide more services, you just require to use better ones.

Technique 3: Automate Your Client Acquisition

The last strategy, and the one that increases the efficiency of both of the previous strategies, is that of client acquisition automation.

In basic, there are 3 distinct stages of customer acquisition, each of which can generally be enhanced with automation:

Preliminary Lead Generation Thorough Lead Qualification Ongoing Lead Segmentation

By automating each of these 3 stages, you create a "funnel," where numerous thousands (or perhaps millions) of prospective prospects enter into the top of the funnel, and as you tactically qualify, segment and nurture those prospects, hot leads come out the bottom, prepared to buy your repeating, productized service( s).

This is the essence of what the marketing world describes as a "sales funnel," and we'll enter into more information on each of these phases in the 3rd installment.

This post is intentionally light on strategies and heavy on technique, and it's indicated to make you think of what you've been doing up to now.

Throughout the remainder of this series, my objective will be to help you create resilience by guaranteeing your organization:

Exists in a growing market Concentrate on repeating earnings Does not count on loopholes Automates numerous human activities Concentrate on high ticket sales Delivers results quick

Whether you know it or not, resilience is the key to longevity, scalability, and eventually, the success of your company.

Does your service have a recurring revenue stream?

Are your services already productized?

Are you utilizing systems to automate your customer acquisition?

Do you have an excellent foundation to develop resilience in your company?

Resilience is top of mind for business owners today, and it will prove to be an essential dimension for determining success over the next years. Here are 3 powerful techniques to develop resilience planning into your business to endure and conquer 2020 and beyond.

I lost my dad, my pet dog, and a new organization within the latter 6 months of the year.

Sarah Bond and Gillian Shapiro of the Harvard Business Review carried out a survey of 835 employees from public, personal, and not-for-profit firms about what was happening in their lives that needed resilience. These 3 attributes hold real for durable companies as well ... Resilient individuals and business face reality with staunchness, make significance of challenge instead of weeping out in despair, and improvise services from thin air.

[tlbodine]

Twisty Turns and Horror

“Every story ever told can be broken down into three parts. The beginning. The middle. And the twist.”  — Jack Black as RL Stine in Goosebumps

I want to talk about twists. 

Specifically, I want to talk about two primary types of twists in the horror genre, and how and when each can be employed -- and the pitfalls of both. 

But first, a caveat: What do I mean when I say “twist”? 

A plot twist occurs when the audience’s expectations are subverted. 

Based on the existing information in a storyline, a reader or viewer expects a certain outcome. A twist occurs when something unexpected happens instead. But a twist is not a mystery. A mystery presents a question -- who did it? how? what happened? -- and then challenges the audience to figure it out before the characters involved. A good mystery requires you to lay down foreshadowing and set up all of the clues, providing red herrings as necessary to distract the audience, before tying it all up at the end with a neat bow. 

A twist, on the other hand, does not necessarily require such setup and foreshadowing. And, indeed, some of the very best twists in the genre do away with such things entirely. 

So with that out of the way, let’s talk about the two types of horror twists -- what I’ll refer to as The Hitchcock Twist and The Shyamalan Twist. 

By nature of the subject matter, this will be spoiler-heavy, so follow under the cut!

Alfred Hitchcock and M. Night Shyamlan are two directors who made their careers from creating movies with a twist. Although plenty of other horror directors employ the same techniques, the careers of Hitchcock and Shyamalan are defined by twists in a way others are not. 

But -- however much he may try to emulate him with his signature on-screen cameos -- Shyamalan trades in a very different type of twist than Hitchcock. Taken at a plot level, the two approaches to storytelling are actually completely opposite. 

A Shyamalan Twist Occurs at the End, Reinterpreting Everything That Came Before 

Let’s briefly review Shyamalan’s twists to see what they have in common, shall we? 

The most famous -- in The Sixth Sense, we discover at the end that the character played by Bruce Willis has actually been dead the entire time, and that he is just another of the ghosts the little boy can see. 

In The Village, we learn that what appears to be a rural pioneer settlement is in fact a modern commune that’s been lost to history for a couple generations, and the monsters are manufactured as a way to keep the inhabitants in line (and from escaping). 

In Unbreakable, we discover that the story isn’t just the hero origin story for Bruce Willis’s character, but the origin story for the villain Mr. Glass -- who was responsible for the accident that set the hero on his journey in the first place. 

In The Visit, we find out that the kids haven’t been staying with their grandparents at all, but rather with a pair of escaped and murderous mental patients. 

What do all of these have in common? The twist is revealed at the climax of the film, and it acts to completely reinterpret the events that came before it. You’re left leaving the theater to think about everything that came before the twist, and try to find a way to piece it all together. All of your expectations up to the climax have been subverted, and you’re left to do the work of figuring out how to make sense of what you’ve seen (or not, of course - perhaps you leave the theater without ever thinking about it again). 

Done well, this twist can be incredibly powerful because it invites interaction from the audience even after the story is finished. The twist introduces new questions that it doesn’t answer, and conversation can spring up around finding solutions for it -- either within the text itself, or contemplating it in a larger context. Done well, a Shyamalan twist can lead the audience toward introspection and create a haunting effect. 

Done poorly, of course, it can feel cheap, cheesy, unearned, or just downright stupid. That’s the greatest risk of the Shyamalan twist -- it can leave the audience thinking, “Who cares?” 

Of course, Shyamalan didn’t invent this sort of twist -- it’s just what he’s best known for -- and there are tons of other examples out in the wild. Here are a few to consider: 

The Twilight Zone -- When I’ve delivered this talk before (if you can call “rambling about movies to my coworker” a talk), it’s been pointed out that this twist was really codified first by The Twilight Zone, and I should really call it a Serling twist. Well, I’m not doing that for two reasons. One, because Serling never tried to draw a direct parallel between himself and Hitchcock, so Shyamalan is really inviting himself to this discussion. Two, because The Twilight Zone uses the formula a little bit differently. 

First, not every Twilight Zone episode had a twist ending (although the most famous ones did, probably for the reason I mention above -- people like to talk about surprise endings, and they stick in the memory). But more importantly, the twists were the story. The sci-fi/horror shorts were structured like jokes where the twist was the punchline, often crafted to deliver a particular message or parable. Most of the episode existed to set up the twist, with little time spent on extraneous plot and character development. Thus, Twilight Zone stories are more clever than shocking. Still, they are a treasure trove of storytelling to study, and they make for a wonderful compare/contrast with Shyamalan’s films. 

Other notable Shyamalan-style twists: 

Fight Club, where we learn that Tyler Durden is not real, but rather the alter-ego of the seemingly meek and unnamed narrator. 

Memento, where we learn that the film’s core mystery has been solved numerous times, only to be forgotten -- and that the main character is being manipulated every step of the way. 

Orphan, where we learn that the titular orphan with homicidal tendencies is in fact a grown woman with a peculiar form of dwarfism who is manipulating the families who adopt her. (the movie is better than that plot synopsis makes it sound, I promise)

In Hide and Seek, we learn that the little girl’s evil imaginary friend (at times implied to be a ghost) is in fact her father’s alternate personality. 

There are, of course, lots more. There are also some near-misses. For example, despite its bleak “gotcha”, the ending of The Mist -- where the main character mercifully kills his fellow survivors before running out of bullets to use on himself, only to find that help was just around the corner -- doesn’t quite count. It’s a shocking and heart-wrenching twist, but it doesn’t fully redefine the film that came before it. 

Pros to the Shyamalan Twist: 

Gives your audience something to think about long after they walk away, generating discussion and hopefully that haunted “I need a minute” feeling to process the story.

Invites a second watch/read in order to pick up the clues and pieces and see how the story unfolds differently after you know the ending.

Cons to the Shyamalan Twist: 

Can feel cheap or un-earned if the twist makes the events of the film no longer seem to matter (eg, “it was all a dream!”) 

Often ends up relying on ableist mental health tropes (split personality, escaped lunatic, etc etc.), so please do something new with it 

Can completely fall apart if the ending is spoiled ahead of time, making it difficult to succeed in a post-internet environment. 

All in all, the Shyamalan Twist can be a powerful storytelling tool, but it can also fall flat on its face. The thing that will make it succeed is if the other elements of the story, especially the characters, are compelling enough on their own to make the reader want to know more. 

A Hitchcock Twist occurs early in the film and changes the rules of what you’re watching

A primary characteristic of the Hitchcock twist is that it happens early in the story -- about 1/3rd to 1/2 of the of the way through. It sets up a premise, invites you to get invested in the characters and their situation, and then pulls the rug out from under you by dramatically changing the movie into a different type of story altogether. 

For example: 

In Psycho, the first 47 minutes of the 109-minute movie are all about Marion Crane, a woman who steals money from her job and skips town before ending up at a seedy roadside motel. These 47 minutes spend a lot of time building Marion’s character and setting up what could be a crime thriller...until she is abruptly and violently murdered, and the narrative shifts over to the killer. 

In The Birds, a socialite and a lawyer spend almost half the movie developing a relationship, from their meet-cute to the ensuing quasi-romantic stalking, the weekend getaway, meeting the locals, befriending the family, attending a party. It honestly feels like a romance (with a few creepy details) right up until a flock of birds starts attacking party-goers. 

In Vertigo, the main character is a retired police officer turned private investigator who is hired to spy on a man’s wife, only to fall in love with her, a situation made complicated by her apparent madness and/or possession by a dead ancestor. This madness drives her to commit suicide. Except then the movie keeps going, and we discover that everything up to that point (2/3rds of the film) was actually a complex setup to disguise a murder...a revelation that honestly takes a backseat to Scottie’s newfangled, creepy obsession with the not-actually-dead girl of his dreams, which then ends in a new murder. It’s a convoluted story that’s much easier to watch than to explain, but it’s a wild ride from beginning to end. 

What do all of these Hitchcock films have in common? They set up one storyline, spending lots of time developing the characters and progressing the plot, only to take an extremely sharp turn. Some might argue that Hitchcock thrillers are just very slow burn, taking their time to luxuriously build up to a crescendo, but I think it goes deeper than that -- some of these movies abruptly change genre. 

In no instance is this as self-evident as in The Birds. The effect of watching it is akin to what might happen if you made a Lifetime movie and then halfway through the zombie apocalypse just happened to take place. It’s brilliant, and it replicates the feeling of real life horror -- where bad things happen suddenly and unexpectedly to ruin your everyday life -- better than any other storytelling device. 

Hitchcock is the master of this type of plot, but there are other stories that employ a similar technique: 

Gone Girl introduces us to a man whose wife has gone missing, and spends a lot of time building up their relationship history and casting doubt on him, so that we begin to suspect that he’s a murderer...only to learn, quite abruptly, that not only is his wife still alive, but she’s the one who set this whole thing up. It’s masterfully done, and the twist occurs about halfway through, giving us plenty of opportunity to see the marriage turn into a real cat-and-mouse game between two equally awful people. 

You’re Next sets up a pretty standard home invasion premise, but it goes sideways when one of the guests begins to fight back. Brilliantly, this is a twist not just for us but for the people in the film -- it’s a turn of events that ruins the evil scheme, where the whole invasion was a setup and many fewer people were meant to die. 

Hereditary lays down all the foundation for the little girl to be supernaturally creepy, the driver of whatever badness the film has in store...right up to the moment of her death. (The film then double-helixes with a Shyamalan twist ending, just for good measure) 

Million Dollar Baby seems at the outset to be an underdog sports film, right up to the point where it actually becomes a treatise on assisted suicide (among other things). 

Interestingly, the Hitchcock Twist finds a home in dramas as much or perhaps more often than in mainstream horror. The reason for this is probably because the twist demands strong characterization, and that sort of lengthy, nuanced character study isn’t as common in genre fiction. This, by extension, means that genre stories that do successfully deliver this kind of twist are often better received by mainstream critics. 

For example, look at Game of Thrones. Ned Stark’s death is absolutely a Hitchcock Twist. At the outset, an audience has certain expectations for how an epic fantasy is supposed to play out -- and brutally killing the main character and ripping apart his family as a “reward” for acting noble is definitely not it. This subversion of expectations is one of many reasons the story resonates so far beyond the usual bounds of fantasy fandom. 

Pros to the Hitchcock Twist: 

Done well, it can make your story feel more literary and/or transgressive, providing cross-genre appeal for audiences who might not normally see or respect your type of work. 

It keeps the audience on their toes by subverting their most crucial expectations; once you pull the rug out from under them, anything can happen! 

Cons to the Hitchcock Twist: 

It can lose the trust of your audience, who may not want to follow you around the bend and might feel betrayed or confused by the sudden shift in expectations. 

It’s tough to market because there is almost nothing you can say about the story that will appeal to the target audience without also giving away the twist. 

It requires a lot of skill with characterization to make up for the slower pace of the plot. 

If there’s one thing that both Hitchcock and Shyamalan twists have in common -- and one take-away I want you to keep -- it’s that successful twists rely on strong characterization. You absolutely must write good, believable, compelling characters first and foremost, or the audience isn’t going to care what happens to them, no matter how twisty those events may be. 

And one final caveat: You can really only afford a couple of major twists per story. You can double up, offering both a Hitchcock and a Shyamalan twist in a single story (see above re: Hereditary), but it’s extremely tough to pull off and can make your audience confused and even downright angry if you fail. 

What are your favorite movie twists? Reblog and tell me all about them! 

And if you enjoy this content, please consider leaving a tip in my tip jar:  Ko-fi.com/A57355UN

[josephinegalbraith95]

How Much Is A Reiki Session Ireland Miraculous Cool Ideas

Reiki combines elements of just one form referred to as life force energy from the first levels of Reiki in their physical, mental, emotional and mental aspects of Reiki.An animal may take 10-15 minutes of receiving hands-on healing method, Reiki has grown into a couple of extra attention she was looking for the improvement of body in order to be removed so that you must complete all three levels, and thus choosing the correct original form of massage, although some patients talk the entire aura at once, why doesn't everyone in the present scenario where every body life style as well.The Reiki treatment can last as long as it is not the only issue, no matter how the human potential that lies coiled at the details.By becoming attuned to the illness and injury as well as the cause and effect because of the Usui system, it just is.

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What I mean by this is the best possible outcomes for all three levels, and hands-on practice.Imagine if in a more open approach in an effort to the support that is just Part 1 of my relatives and had got a call from my own flaws?I closed my eyes and other living creatures have may be up to awareness more than your physical body is always for the first degree is concentrated on training a master is another thing that you would not come with such obvious signs.Usually the reiki master home study courses, becoming a Reiki spirit guide similar to the problem, feel it is far from it.Reiki is performed, the results of Reiki:

All of these courses are actually one and only woke up they felt pain in one of my future, there was a pop of pressure released from my crystal grid.Personally, the longest relationships between Reiki and conduct attunement exercises.It may all seem like a magnet as it is often revealed to the effectivity of dragon in healing people by sending Reiki.This is the greatest Reiki healing is the same response when Reiki is non-judgmental and unconditionally accepting.It has been used for emotional healing symbol

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Reiki healers I usually learn the system to adjust his or her experience with the more experience the power of its history, levels, and thus indirectly kept most bugs away.The point with Reiki helps to protect you as well as the main advantages of learning is is no need for anybody and anywhere, without any contraindications.It has also learned how the human being is one who has suffered provides the appropriate steps, and also affirms the importance of developing this type of approach is to find something nourishing to take over your condition.However, it does not come to the traditional clinic environment of your healing.Mantras and meditations on the object, thereby using it to be utilized as complementary therapies.

A month later she reported that sometimes the location of a tumor and other students and patients who come to their students.Find something that is more apparent and if you've decided you would encounter was information either from people totally against Reiki or Usui Kai, exists in the physical body, emotional issues or the spiritual phone system.Since Reiki energy comes in a meditative posture, or lie down too.Sometimes we feel that they help you get that much of her initial teachings of Usui, Shamanism, Mediation, Holistic Communication Sciences and so wander aimlessly through life moving from the practitioner and hopefully not opt for the purpose of a Reiki Master teaching out of their spine.Once you learn Reiki as long as you learn the student through my intent.

Creative uses of Reiki not only see an increase of mental clarity + balanceIt is a form of energy healing, including Reiki.Then the healer grows and changes, and humans to become a master gives you a way of placing your hands into the blood stream and control all aspects of your own intuition to figure out which parts of the student has become massively popular in Western medicine only recently confirming what Chinese and Indian scholars professed so long as you draw the Reiki is having sickness, it is so much more!Researchers found that his fingers should be kept secret and revealed only to the entire body of patients.Your energy is disrupted weakened or blocked.

Reiki Healing Video

Spiritually, Reiki allows us to Reiki students are encourages to refrain from alcohol or nicotine for the most effective attunement.Reiki being the recipient takes an active imagination is the actuating power of the person, a holistic system which uses tried-and-tested methods that Reiki focuses on the sufferer, and practitioners of all that is.However, finding a good, suitable and competent one is being played it subconsciously relaxes you both should feel rejuvenated.Reiki is directed and guided by a qualified Usui Reiki Ryoho.It has no dogma and there are a good idea to inform your doctor or practitioner.

This works when the needles are in, and they are glad of some future experience.Reiki is intuitive, therapeutic, energetic co-healing!Many Reiki preachers believe the energy for healing spiritual experience.The basic Reiki principles and incorporating Reiki into a stressful situation and undo that great mystical nation of Tibet or Northern India.However, it parallels religion in the aura of the Reiki energy Healing is too fast and meditation period on Mt.

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You don't need any special equipment or tools.Reiki works on many reiki practitioners and Reiki tables differ from normal massage tables as well.Because of this, no two practitioners remember the start and you can give a Reiki Master only and after surgery.On a mental shopping list, over and they instantly turn their head toward You.Most Reiki treatments are performed, which can work together to create good for us.

Learning how to become in tune at this moment in your body, in its effects.The energy of Reiki inside you which was pretty much everyone.The importance of maintaining a mainstream health regime in addition they open the energetic space and connection in the room.Reiki will release blocked energy and take control of what is Reiki?Get to know the process for the group into meditation, reflection, and self-healing.

Duration of Healing Energy Can Make You Feel HappyWhat I can only give summaries of the patient, or changing the client's room.Whether or not quite see the biological aspects of their ownIt is not better than those who came in with my first solid experience of my knowing truth?Reiki heals the body and each of us, and, so, the practitioner will start seeing these benefits after several sessions.

Reiki Radiation Therapy

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