#this is just my mindset on it and why i do it

[pr-incey]

For a while—after being exposed to the antiship movement, because goodness knows I didn't care about this when I was younger—I wondered *why* fiction and reality were so different in my head. Why I could happily see things depicted in fiction that would make me sick to my stomach or upset me to tears just from thinking of it happening in real life. I couldn't come up with a reason for this for a while, which caused me distressed and made me worried that I might secretly be a terrible person after all.

But I've done some thinking and I've figured it out. Or, rather, I've returned to the mindset that came so easy to me in the past and probably did to a lot of people before the well was poisoned.

When I see a fictional character, I don't see a person. I don't see a person like *me*, anyway. I see a person within that piece of fiction's universe; a plane of existence that is wholly different from my own. Lines and colour, words on a page, virtual drawings being played sequentially at a speed that simulates movement. Sure, the written passage, 'He had eyes, ears and a mouth' is a representation of what *I* am, and what other people around me are, but it is fundamentally a plane of existence that is *alien* to me.

An alien is something that is decidedly not human. I feel empathy for other humans because I can relate to them. I have no desire to hurt them because I either know what it is like to be hurt in that way, or I can imagine what it would be like. I know the harm it would do to them, which illicits a reaction of disgust and apprehension in me. 'That's terrible,' I think, which simply kills any desire to cause any harm to a real person or do any disgusting actions.

This is why predators are such terrible people. They are fully aware of the harm their actions will cause and then go ahead with them anyway.

But with a fictional character, it's different in these ways:

1. First of all, we have to remember that they AREN'T human and so whatever I feel towards them cannot accurately mirror whatever I feel towards real flesh and blood individuals. They're projections of humanity from OTHER people in whatever medium they choose, but fictional characters are—and I cannot stress this enough—NOT HUMAN. If I pull off the head of a Barbie doll, does that mean I have the desire to behead someone in real life? Does it mean that I MUST have the urge to behead someone in real life, because a barbie doll is a 'representation' of a person? Your answer, I'm hoping, is no. Because Barbie is not human.

2. And because fictional characters are not human, I don't have empathy for them. Not REAL empathy, anyway, the type that stops the desire to cause harm. When I 'violate' a fictional character, it illicits at most only superficial disgust because I know that character will not live with the lasting consequences of my actions. They're a projection, a facsimile.

So that might bring you to another question, 'Even if they're not real, why would you WANT to do that to them, anyway?'

That I can't answer. The human brain is weird. Sometimes, people have dark urges. If a kid tosses their Barbie onto the ground and seems to take pleasure in it falling, can that accurately say they want to push a real person onto the ground? If someone seems to enjoy a violent video game like GTA where they can run people over and shoot them to their heart's content, is that a surefire way to know that they want to do those things to real people? I wouldn't say it is. Would you?

The final thing to remember is that it's not completely black and white. A serial killer might have been 'inspired' by a violent horror story, whereas the actual author of that story is a nice, well-adjusted individual. People with the desire to hurt actual humans might make do with projections, but it does not change the fact that they actually want to HARM people. The fiction didn't make them want to do that. They already did, and probably would have even if they didn't discover said fiction. And horrible people CAN make their own 'projections'.

Generally though I believe it is obvious when someone is just playing with dolls, and when someone is exhibiting an actual desire to hurt somebody.

[autisticshadowthehedgehog]

Knuckles Arc Anon here for the third and final time, there's a few lore decisions that I just remembered that confuse me.

1.Pachamac's character being completely different. I'm aware Sonic and friends are slightly different than their game versions but there's still the essence of them. Like Sonic still keeps his basic core concept of being a representation of the average teen/kid for example and extreme oversimplication. But Pachamac, I have no problems with Knuckles not being related to him or Pachamac not being from thousands of years in the past. My issue is him being a completely different character especially with the context of movie 2.

Like in the games Pachamac is a bloodthirsty asshole who's desire for power led to the destruction of his empire, unleashing an ancient god, and eventually the extinction of all Echidna. Which knowing the lore in movie 2 would be perfect and easy to adapt (u could ignore Chaos for now)

Why is he chill? It's not even hinted at that he died with regrets and wished he made the right decisions in life to explain this massive change in personality. Personally my theory was while watching is that Pachamac was slowly going to be revealed as being a terrible person who would try to force Knuckles to stick in his warrior mindset.

2. Knuckles who was probably a child or preteen being able to kill or seal Iblis... I'm sorry what? Unless Solaris being split apart just instantly lowered the power levels even more in the movieverse this completely fucks with the power scaling. And normally I don't care about this but this is beyond suspension of disbelief. Like yeah the Echidna tribe warred with the owls since they got the Master Emerald but Knuckles didn't even have the Emerald or all the necessary combat training at like 6? Also Knuckles didn't even use his fire powers in Movie 2 but I think we are left to assume it was part of his quest to get the Master Emerald but we are shown he didn't eve need it.

3. Knuckles was gone at minimum for a few days and Maddie calls him her kid. Why is she not blowing up Wade's phone looking for her kid? Set up suggests him being grounded would come back around but guess not?

i dont think i got ur second ask but yeah. I DO feel like SOMETHING's being set up with Pachacamac, considering they made him specifically the bitch who shot Longclaw in the 2020 movie. I don't think they completely forgot his personality but they were setting something off that either didn't get paid off or hasn't been paid off yet.

Another thing I would have really liked from this series would've been more acknowledgement that Knuckles is a child. He's about 15 when this series takes place. He shouldn't be thinking like this, Sonic's right he should be playing video games and reading comic books. Once again I feel like the first ep was setting that shit up and then they just. Forgot.

but anyway that's enough negativity lmao i just woke up with some awful cramps so im gonna watch the second movie til i pass out

[vodkassassin]

I just read your "stop commenting like the author is dead post" and I completely agree with you. May I ask if there is anything one can say to an author (other than thanking them for their work and complimenting the fic) if they have suddenly stopped posting out of nowhere? There are some authors who posted regularly and just completely stopped and I'm tempted to add something like "I hope you are doing well and that everything is okay" but I don't want to make them feel bad or that they have to justify their decisions. How would you feel to get such a comment? My intention is not to guilt them into updating but good intentions can still make people feel bad

I have had comments where people say exactly that (the “hope you’re doing well and that everything is ok”) and I’ll say that this is the angelic other side of the coin of the “update now!” devil side.

Saying “i noticed you haven’t updated as you usually do, I hope everything is ok.” (Oftentimes this comment type continues on to specify that they are not asking after an update but instead are asking after the well-being of the author, such as “no pressure or anything! Just hope that you’re doing well”) this comment highlights the fact that the commentor is only asking because they noticed that the trends of the author’s posting have changed suddenly without warning and it’s made them concerned for the author. The commentor in this case is asking if the author is alright and letting them know that the commentor is hoping for their well-being. It’s coming from a kind place, a human place. It lets the author know that the commentor acknowledges that they are a person, too.

That’s completely different from comments that just say “noticed this hasn’t updated in a long time. Are you still working on this?/Why is it always the good stories that get abandoned?” Because THIS comment communicates to the author that the commentor does not care about the author themself, only the content that the author provides for them. Chapter updates are only a transaction in the eyes of the commentor, one that they feel entitled to despite not paying for them, and they’re annoyed that they have not received their product as per usual. They are commenting on the change in the quality of service and wish to voice their complaints to the provider for slacking. It lets the author know that the commentor does not see them as a person, but as a source of media.

So while the two comments above are similar aside from how they’re worded, they communicate two different mindsets. One is someone asking after another person’s wellbeing and wishing them well, and the second is someone annoyed that the content creator they feel entitled to the content of hasn’t been ‘doing their job’ despite not being paid for it at all.

Hopefully this helps clarify why we authors find it so offensive and insulting to receive the second type of comments.

But rest assured, we (or at least I personally) actually find the first type of comment as something nice to receive bc it means you care.

[anemoiashifts]

why everyone won’t shift.

⋅˚₊‧ ୨୧ ‧₊˚.

“do you think everyone will shift?”

no.

“but if they really want they’ll eventually—“

no.

before you pick up your pitchforks & form an angry mob in the comments, hear me out.

first & foremost. what is a want ? a want is something you desire. but not every want is desired. for example, ive been thinking of getting a cat once i move out of my parents house. i want the animal & have the funds for it. when i dig deeper in my desire, i see all the vet trips, the having to feed it & take care of it & i realized that i don’t actually want the cat at the moment. im not ready to make that drastic of a change in my life. on the surface, id like one but i don’t want to take on the responsibility for taking care of a pet at the moment.

i like the idea of getting a cat (shifting) — but when the actual time comes to get a cat (actually shift), i don’t actually want a new pet at the moment (to create that big of a change because i am comfortable with my situation & not mentally prepared / mature enough).

i made a post about comfort already. what previously spoke about can tie into this.

if you don’t actually want something & just like fantasizing about it, that’s okay. but fantasy & imagination needs to be backed by intention. you need intention & effort put into your shifting attempts. ive seen so so many people say “i tried to shift” & all they do is say “i said one affirmation & rolled over & went to sleep & hoped i would wake up in my dr.”

you could say a million affirmations & hope you will wake up in your dr & not shift. you know why ? hope. it’s not hoping you will shift — it’s that internal knowing. it’s letting go fully of the comfort & all you know of this life to go to another & a lot of people don’t want to do that even if they say they do. again, they like the idea of shifting, but aren’t stopping to consider that you’re actually living it.

this isn’t a bad thing. if you actually have come to the conclusion that you don’t want to shift & are in the community — that’s okay. if you’re just interested in the science or content for the subject & that’s why you’ve stumbled across this blog, i don’t have an issue with that.

when i say not everyone will shift, i mean that not everyone wants to shift in the first place despite what they may say. what they want is an escape. time & time again i see comments on tiktok say “i want to get out of this reality”. that statement has nothing to do with wanting to shift — it’s wanting to get out of the situation you are in. you do not have to shift to get out of your current situation. if you live with family or are younger, it’s different, i understand.

if you’re someone who thinks “when i shift, ill be happy.” no no no. happiness comes from within you. while the 3d can bring you momentarily happiness, that only lasts so long. if you don’t have internal happiness & self love those feelings won’t last. shifting — in my option — can sometimes be putting a bandaid on a bigger issue & that’s loneliness & a yearning for another life. you can solve both of those right here at anytime.

lastly, shifting takes effort despite what you may think. “but such and such shifted without trying”. cool, that’s them. but have you ? if you’re reading this im going so safely assume at least a handful of you are saying “no” internally. when you want something you have to work for it. weather that be manifestation or putting yourself first. if you wake up & think “i didn’t shift” or “i hate this world it’s sucks” guess what ?? you’re focusing on the negative. what you pay attention to & give your energy to expands because you’re shifting awareness to it. you make up your thoughts & control them, thus affecting the 3d.

im not saying you can’t shift with negative mindsets or anything. im saying confidence helps a ton. how are you going to believe other people can shift when you can’t even extend that belief to yourself ? you’re making it much, much harder for yourself. doing healing work, finding the root cause of why you want to shift (for love, sense or belonging, etc.) & finding that here first, may alleviate the desperation to shift. when you have a sense of knowing, there’s nothing to be desperate about because whatever happens, you know the outcome already.

⋅˚₊‧ ୨୧ ‧₊˚.

[sillybayo]

Bayo's Black Rose Arc Analysis

Some notes before I begin:

-This ramble/essay contains heavy discussions of CSA, general sexual themes, and incest. Also, keep in mind that the characters discussed here are 12-17. While I will be looking into how sex affects them mentally and such, I will not tolerate child sexualization here. I will block anyone who makes a single weird comment or make me uncomfortable. We'll be talking about this from a pure psychological standpoint.

-This is a thought dump rather than anything formal, so I won't be dropping episode titles or numbers. I'm also going purely off of memory, and things I said in group chats. So if things lack clarity, this is why.

-I'm not saying I "cracked the black rose arc code" or anything, this is purely my interpretation that I wish to share, due to not seeing many black rose analysis', and being displeased with what some people have said and concluded. I just want to put what I think out there for others to enjoy :3.

-To avoid being repetitive and cluttered, I'll be generally referring to any character who pulls swords out as "wielders", and any character who has had a sword pulled out of them as "sheaths". Any scene where this transpires will be called a "sheathing scene."

-Once again, due to the material of this analysis, I will be blocking anyone who sexualizes the characters in notes, or anyone who I see as creepy.

With that out of the way, let us begin :3!

So I was watching rgu video essays one day, and I stumbled across one about Miki. About halfway or late into the video, they begin talking about how Miki and Kozue had sex in the black rose arc, due to the way she touched him before the sheathing scene, and the way he turned beet red when Nanami asked how it felt for the sword to be taken out. And I thought it made sense at the time, as I was still new to utena, and I only watched it once. And the allegory is clearly there in other black rose sheathing scenes (besides with utenanthy), right?

But then I thought about it more when I rewatched the juriori black rose episode a year or so later, and caught Juri blushing when Nanami asked her the same question. And...wait. Because doesn't all of the black rose sheathing scenes look..uncomfortable? The sheath cries in pain as the sword comes out of their chest, and Wakaba even forced it out of Saionji. And this weirded me out, because why would a show thats so clearly against rape of any kind go on to write something like this? Why did Miki and Juri blush about something that was so forceful? And even if they were under a mind controlled like state, why would they write the wielders to be rapists? With the way rgu writes sex and rape, it didn't seem right, y'know?

So a few months later, when I decided to continue my rewatch and reached the Wakaba black rose arc episode, thats when I truly started to think about it more. And thats when I reached a conclusion: Miki and Juri are more influenced by Touga and Saionji than they realize. And by extension, they're all influenced by Akio.

You see, Touga and Saionji clearly view Anthy as someone to be sexualized. Shes their wife, who would fulfill their every request. Even though they might not know Anthys and Akios relationship, and/or how the latter treats her, this is an undeniable shared mindset.

Even though the boys and Utena uses Anthy as a sheath in the exact same ways on the outside, you know that when its with Touga and Saionji, its sexualized. They own her. When Touga demands Anthy to kiss his sword, it feels so off that Utena couldn't bare to watch. You could argue that its because it would hurt Anthys lips, but in later episodes its clear that it isn't the issue, as Utena uses the same powerup but in a more supportive fashion rather than sexual. So whats up with that?

I say; in (most of) the wielders view, the sword is like a penis.

I know, a very silly thing to say. But I don't mean exactly. And I, of course, don't mean literally.

Do you know that scene from the scream movie, where the two guys are stabbing each other, begging for it and all? It definitely has sexual undertones, because of the mood set by the characters, and heres where I'm getting at; the idea of a long pointed object being thrusted in you.

What I think is that Anthy is so sexualized by the student council, that the idea of a simple sword being pulled out of her 14 year old south asian brown girl chest, is arousing.

So when each of the student council members become sheaths themselves, of course they think that its one of the most sexually intimate things to experience. And its so stupid, right? Its just a sword. a SWORD.

And I shouldn't be referring to the student council so generally, because Nanami is the only one who sees through this. As far as I remember, she wasn't weird in the slightest when she was Tsuwabukis sheath. And even in the apocalypse arc, shes uncomfortable when Touga kisses her, and disturbed when walking in on Akio and Anthy (but then again I haven't rewatched that episode yet, so I could be wrong). She purely meant to ask how the sword felt, with no sexual intent. Miki and Juri were just pure idiots on that part.

So then, wait, if the sword pulling in the black rose arc wasn't a metaphor for rape, then what is it?

Well, I argue that it black rose wielders follow the same mindset as some sexual assaulters when they're under the effects of Mikages reverse therapy, in a way. Its the strong feeling of thinking the sheath owes the wielder something, and that the wielder deserves it no matter what they say.

Another reference to a different piece of media, but remember when its revealed that Pearl continued to fuse with Garnet for her own personal wants, which crossed Garnets boundaries? People interpreted that scene as Pearl raping Garnet, when....no. What? Of course she isn't. Its just the general idea of your wishes being disrespected, and boundaries ignored. Do you see where I'm going with this?

The black rose wielders see something in the sheaths that they want for themselves, whether it be their love, their attention, or some secret third thing. So with nothing but entitlement and desperation in their heart, they force the sword out of their hearts, where their desires lie.

But, wait. How about other scenes with swords? Like when Anthy is Utenas sheath, and when Anthy has a thousand swords stabbed into her? Do swords still represent desire?

Well, yes! Very easily. Utena fights for the pure sake of love and friendship. She fights Saionji when hes cruel to Wakaba, and she swears to protect Anthy with all her heart. She duels with the strongest ounce of care in her soul. Thats the desire to keep her loved ones happy.

What about when Anthy what continuously impaled? Well, that was the villages desire to get to the prince. And it was Akios desire to finally revolutionize the world after so long.

I may be missing a few scenes, but this is the general idea, and I hope I got the idea across. Thats the end of my little ramble :3. As an acespec hypersexual, I already spend a lot of time deconstructing the truth behind sexual things and feelings. So this was fun to think about. I hope y'all liked this, and understood it most importantly. Toodleeess

[cyanidas]

🃏 Kokichi Ouma Age-up Timeline 🍇

Here, I've used his initial designs as inspiration! I like looking back at older designs cause for a lot of them, it's like watching them grow up!

Headcanons under cut (HUUUGE SPOILER WARNING FOR DRV3)

(Content Warning for child abuse, mental illness and disorder, self harm, generally dark and unsettling topics ahead)

-=-

First off, I'm firm in my take that Tsumugi was lying about everyone being fictional. There's a lot that doesn't match up, and the local V3 fandom celebrity responsible for the Amalgamate fic has helped me tremendously in solidifying my stance. I think they absolutely do belong to the DR universe, but the memories they get that aren't part of their backstory are completely fabricated.

If there's any additional input on V3 in Raincode, don't let me know because I haven't played yet ;w;

That said, there's many things I, like Kokichi, will refuse to clarify or elaborate on. His character demands mystery, and it would be a trivialization of his writing to just. lay it all out there. I think approaching his writing with the mindset of knowing the whole truth would be to bastardize his integrity and simplify him in a distasteful way - so all my headcanons here will be written and are intended to be seen as broad strokes as opposed to finely tuned detail.

-=-

I like to think of his past as muddy and confusing, even to him. There's not a lot he can remember clearly, and constantly confuses different takes on his memories. To me, it's clear that lying is a huge trauma thing to him - I would assume multiple sources would be responsible, like authority, family, and peers.

He's been lying as a means of survival, with multiple layers of how he feels about it - despite what he says, there's not actually one truth. Multiple truths exist for one single thing, and I think that mindset is something that scares him tremendously - he'd probably say that reality is just a lie you tell yourself, in order to justify trivializing and minimizing both feelings/emotion and trauma.

In his head, there's so much wrong with him that he can't even begin to unravel himself and understand everything that's happened to him, why he does what he does, why he feels what he feels... so on. He feels multiple things that often contradict each other, and he doesn't know how to understand that, so he often switches his justifications to suit whatever narrative he needs to cope.

In general, however, he claims he's just lying. There are in fact, genuine times he does actually lie... but rather than being a true compulsive liar, he is actually a compulsive method actor. He's so empathetic to everything and everyone, that he can easily switch his masking techniques to suit whatever he or others need, and does so involuntarily most of the time, though he does know how to "switch it on" purposefully.

In his earlier ages, he may have suffered from a guardianship similar to what those who have DID had gone through (not me projecting lol /hj). He's been bred and born into tragedy, not unlike Komaeda but absolutely distinct from him in that I do not believe this boy has had any good luck with anything in his life - not family, not friends, not money, nothing. I might even go so far as to assume that, similar to Yasuhiro having an unnaturally high good luck, Kokichi is suffering from unnaturally high bad luck.

I noticed that, on a lot of his designs, he seems to have always had *something* covering at least one of his hands - and even on his final design, though it could just be a design fluke or something weird with perspective I misunderstood, you can see the smallest scrap of fabric underneath his right sleeve that could be seen as another hand/wrist covering. When lined up with the other designs, it could very easily be taken as a wrist bandage - at least by my eyes. So, I (and a lot of others it seems, especially those who identify with him) have taken this to mean he may in fact be self-harming, and has been for a long while. Anyone who hyperfixates on this guy wouldn't be surprised in the slightest if that turned out to be true.

I think that age 11 is probably what Kokichi himself would think of as his 'turning point', just going off of my little chart here; something tremendously awful happened to him, then. To fuel speculation and abide by his character rules, all I'm going to definitively say is... he likely wouldn't even trust doctors with a needle, let alone his life.

So, the hardest year of any modern kid's life... 12 years old. In my family especially, it's the worst year you'll ever face, and my god was that true for me. So I think this year fits him for gaining his... as the creators put it, 'otherworldly' expressive nature. This is the year he completely stops putting effort into trying to understand the truth, and fully embraces the chaos that is his reality. He's fine!!!!!! :)))))

He mellows out around 15, and I like to think of this year as his cringe-fail-iest year to date. This motherfucker would likely be seen in Hot Topic, jamming to MCR, glomping his friends, verbally roleplaying, so forth. His phone signature is a series of kaomojis. Idk if there's a similar equivalent of being a cringe baby weeb for Japanese who are my age, so I'm really just basing this on my own experience of being 15 in 2011. But whatever the equivalent is, he is absolutely it. 15 year old Kokichi is current Kokichi's most embarrassing time ever.

However, it's also likely the age he started his talent's namesake - of becoming the Ultimate Supreme Leader. Which, I choose to believe is, much like Kokichi in general, both true and false. Same for his actual group, DICE. Both is good ;o)

Following his talent, he has a natural command to his voice that feels as though you're forced to hear him speak. No one can really talk over him unless their ability to do so demands it - say for example, Sonia, the SHSL Princess. Due to the nature of their talents, I think Sonia's voice and ability to command would absolutely trump Kokichi's. However, due to the aforementioned bad luck, people are compelled to not trust him - even if what he's saying is true. (Kokichi voice: oh pythia we're really in it now)

Also, you can't really tell because of all the scarring, but 15 and 19 are the ages where he stopped going outside so he's paler and paler, lol

And my last one, I love to imagine that due to his talent, he's actually intensely adept at fighting, especially dodging. In fact, I think he's even way smarter than he'd like to believe!

[lazuliquetzal]

Whee Fight Scenes! (This Is A Seirei no Moribito Advertisement)

For the past couple of years I have been almost exclusively writing fanfiction for action-fantasy video games which has led to me developing opinions on writing fight scenes. I used to hate writing them because what even happen fight, really, like what the hell??? But now I’ve learned to tolerate them! Sometimes I even enjoy writing them! So now I will share my wisdom with you. 

(Disclaimer: This post was written so I could avoid writing a fight scene.)

My credentials: I occasionally write fight scenes in my action-fantasy video game fanfictions, and I have seen Seirei no Moribito the anime several times. I do not claim to be an expert on fight scenes, but I do claim to love Seirei no Moribito to bits.

Part 1. The Set Up

There’s this excellent anime about a mercenary on a life-long quest for redemption who ends up taking a cursed prince under her protection. It’s about unraveling propaganda and colonialism, and also about kicking ass. The first time I watched this anime, when I got to the episode 3 rice field fight, I thought, “holy shit, I see now that a good fight scene requires not only a kick-ass fight, but also narrative/emotional build up in order to give the scene weight and tension.”

Like, lots of anime have excellent and extremely iconic fights, but this was the show that really made the writing aspect of it stick in my brain. Seirei no Moribito is also an adaptation of a book, which might why this stood out to me: the way its fight scenes are constructed are not as reliant on the actual visuals so much as they are on everything else (the animation for the fight is gorgeous, too, like, just watch this show please it’s so good). That said, I haven’t actually read the book. But I have seen this show several times and the rice field fight gets me so hype.

(And also every other fight scene. I’m never over episode 13. If you have to watch only one (1) episode of Seirei no Moribito, watch episode 13. But also, don’t do that. Watch the entire thing you coward.)

Anyway. What’s going on in Seirei no Moribito episode 3?

Part 1a. The Narrative Stage

Ep3 is early on in the series. The rice field fight is not the first action scene, but it is the first fight scene. This is what we know going in:

Balsa, our main character, is a formidable mercenary with a practical mind and a strong sense of honor. She has sworn to protect Chagum, the prince of the Empire. Her goal is to keep Chagum alive at all costs, because saving his life is crucial to her personal goal of redemption.

The Emperor (Chagum’s father) has dispatched his elite warriors to kill the prince, as they believe that he is possessed by an evil water spirit. Their goal is to kill the prince because the evil water spirit is a bad omen for the empire, and they believe that killing the prince will save the kingdom.

Balsa’s spear is damaged, and she is outnumbered. She has the disadvantage.

We are, of course, rooting for Balsa and Chagum at this point in the story. Balsa’s our main character, she’s super cool, and child assassination is a bad look. We know that Balsa is strong: we’ve seen her do athletic stunts, and it’s been alluded to that she is extremely skilled with the spear. This fight is the first time we get to see her use it, so it’s very exciting to the viewer. We want to see her in action.

Part 1b. The Emotional Stage

Chagum doesn’t have much of a personality at this point: we know he’s a child prince, and we know his dad wants to kill him. So we don’t know him well, but he’s already sympathetic due to circumstance.

When Balsa and Chagum get to the rice fields, they are almost home-free. They’ve spent a lot of effort trying to redirect the emperor’s warriors and the plan almost worked. We are extremely close to safety, so the fact that this is when the emperor’s elite catch up is very tense and frustrating.

All this puts the audience in the mindset of: oh man, they’re so close, I really need Balsa to win! I don’t want the kid die! You can taste the safety, you are almost there—it’s the type of tension that gets you invested in the outcome of the fight.

Part 1c. The Physical Stage

The first half, and the faster-paced portion of the fight takes place in a rice field at night (a classic). Wide open, with water to splash in, and nowhere to hide. It’s right on the edge of the thick forest, which gives Balsa and Chagum an immediate goal: get to the denser terrain so that they might break line of sight of their pursuers.

The second half of the fight is less of a fight and more of a close-up, emotional moment of action. It takes place in a clearing by the edge of the forest.

The physical location of the fight ties in with the short-term goals of the characters: the open field forces Balsa into direct confrontation even though she wants to run, and the clearing by the edge of the forest gives Jin (one of the emperor’s warriors) the illusion of privacy when he tries to kill Chagum, and it gives Balsa cover to hide until she can intervene.

Part 1 – TL;DR

Even before you get to the actual fight, the setup of the fight has inherent tension and intrigue. One can reasonably assume that Balsa and Chagum will survive, because this is episode 3 of a 26 episode anime. But you don’t know if her damaged spear will hold out. You don’t know why the emperor wants Chagum dead. You don’t know if Balsa will kill the emperor’s guards, or if she’ll be able to make a clean getaway with the prince. All these uncertainties create mystery, which creates tension. And tension is what makes the fight fun.

Part 2. The Purpose

I mentioned earlier that this is the first actual fight in the show.

It’s the payoff for a bunch of little questions that have cropped up so far. How strong is Balsa? Is she good enough to win, even when outnumbered? What does her fighting style look like?

A lot of action stories have big fight early on, and that’s because a well-done fight scene squeezes in a massive amount of characterization. In this fight, we learn a lot about Balsa, and we learn a lot about the Emperor and the difference between the Emperor and the people who work for him.

Some questions that get explored: How do they think under pressure? What kind of fighting do they do? Are they strategic? Reactive? Brute force or trickster? How do they solve problems? How far are these people willing to go to achieve their goals?

There’s a moment in this fight when Balsa is wounded, and the emperor’s warriors retrieve Prince Chagum. Balsa ends up retreating into the forest. Jin says something along the lines of: she’s a mercenary, she works for money and she’s already been paid; she won’t risk her life to come back and get the prince.

But she does. Even though she’s been wounded, and even though she had the perfect opportunity to walk away, she comes back and saves Prince Chagum at the expense of her own health. Balsa keeps her promises; Balsa’s personal quest for redemption is more important to her than her life. We know her, now!

Fight scenes are great for characterization because it’s a deviation from status quo. A person’s default state is not “battle,” and stories thrive on extraordinary circumstances. “How does this character change/act/perform under pressure?” is a really great characterization question, and a fight scene is the opportunity to show the answer rather than tell it.

Fight scenes are also great for thematic debate. You get the opportunity to literalize the conflict between different philosophies via characters fighting each other. EZ story moment. You know that one Howard Ashman quote about how, in musicals, the characters sing when they’re too emotional to speak? That’s what fight scenes are to me. The characters fight when they can’t talk to each other.

And then, of course, a fight scene is also moving the plot along. The conflict is happening, information is being exchanged/discovered/buried. Some characters life, some characters get hurt, some characters die. A fight scene is a way to physically bring characters to the state they need to be in for the story to progress (in the right emotional state, the right physical state, the right location, etc). Lots of things going on, which is good—you want all of your scenes to be purposeful.

Part 3. The Details

All of that had to do with the zoomed-out, overall story view of the fight (how the fight fits into the overall story). I am now going to continue to gush about the episode 3 rice field fight up close (how does the fight scene work in isolation). Because Seirei no Moribito rocks.

Part 3a. The Setting

I already mentioned the open rice field/dense forest dichotomy and how that affects the characters’ short-term goals. It’s also a great choice to establish Balsa’s superior technical ability with her spear. The rice field is wide open and relatively flat—no obstructions or distractions, with everyone on equal ground. There are no tricks to pull, no environmental quirks to exploit: this is a clean fight between Balsa and the emperor’s warriors. When she comes out on top, it’s because she’s better than them.

Depending on the character, it might be better to change the terrain. Have the stealthy warrior fight in a forest, where they can appear and reappear and use their sneakiness to their advantage. Put a trickster in a situation where they can improvise traps. There is an aspect of your character that you want to show off, so set the stage so that they can show off. It’ll be totally badass and fun.

Part 3b. The Short-Term Goals

When you read a story, you can reasonably assume that the protagonist will stay alive (especially if you are not near the end of the story). Knowing the outcome can make a story stale if you're not careful. You can lose tension if there’s no risk. Some stories try to create a world/tone/atmosphere so that anyone can die. A lot don’t because that’s a little depressing.

My friend @yellowocaballero has an excellent post on this regarding OP protagonists, but to summarize: if you know the protagonist is always going to win the physical fight, you have to make the win condition not about that. Balsa isn’t OP, but giving characters goals beyond “win the fight” can make a fight so much more interesting.

In the rice field fight, Balsa does not have to defeat the emperor's warriors: she has to get Chagum and herself away alive. Her goal is to make a clean getaway. When the warriors show up, she makes the decision to confront them, and her goal is not just to win, but to win so decisively that they won’t be able to follow her. When Chagum gets caught, she changes her goal to ‘keep him safe at all costs, no matter the harm done to myself’, and she gets seriously wounded. She can succeed in some goals, but fail in others, and the story reacts and keeps changing. It’s the same principle behind why rolling a nat 1 is so entertaining in D&D. The more you fail, the more creative you have to get. 

Part 3c. Monkey Brain

There is just something so cool and so satisfying and so fun about seeing a character kick ass. There is also something very cool and very satisfying about seeing a character get beat up. The rice field fight has it all: Balsa kicking ass, and also getting beat up. It’s fun! Fight scenes that know exactly why they are cool are just so good. Hell yeah, overindulge and use every single weapon despite how impractical they are. Yes please show someone pulling off an unrealistic move for the coolness factor. Absolutely include the explosion-that-would-definitely-kill-but-doesn’t. 

Part 3 — TL;DR 

If you want the fight to be cool, make it cool! Set it in a cool place! Give your characters opportunities to show off! Make it interesting by changing the win conditions! Conflicting goals forces characters to prioritize and it makes scenes fun!

Part 4. Words???

Unfortunately, as mentioned, Seirei no Moribito is an anime and I haven’t read the book so I cannot analyze and gush about its prose in this section. Otherwise, the advertisement would continue. You’re safe for the moment.

Re: prose, there’s probably a post out there that goes over the language of fight scenes better than I ever could. I write with the diction of a middle-grade author because I read PJatO too much as a child and it rewrote my DNA. This is not a bad thing, this is just a fact. So I’m just gonna fire off fight scene writing advice I heard from around:

Filter words — if you want a more immersive reading experience, you want to avoid filtering the action through the narration. So use sentences like: “Her arm hurt” as opposed to “she felt her arm hurt”. But if you’re trying to distance the reader, like recreating the feeling of shock/dissociation, then filter words would help achieve that effect.

Make the rhythm of your prose match the energy of the fight. Short and choppy feels fast in the brain. Long and wordy feels overwhelming. Fragmented sentences and run-ons are chaotic. Customize the vibes.

Establish the important details of the setting beforehand so that you don’t have to stop the action to describe the specific placement of a relevant tree stump. I think I heard this one from Brandon Sanderson on a podcast somewhere, but I think about it a lot when I write because blocking is hard enough and it's even harder when you have to stop and attempt to translate the movie in your head into words. I can’t tell you how to block a fight scene. We need to find someone else who is smarter that can tell us.

Part 5. The Point

Fight Scenes are Fun, actually. They can be really effective if you set them up properly! If you know what you want to do with them, you can arrange it to be as cool as possible! You don’t have to be in a visual medium to make fights fun. You just have to figure out how to translate the cool bits into prose, which I think is mostly done through giving your fight cool shit on both the macro story level scale and the micro scene level scale. 

Also, watch Seirei no Moribito.

[proshippers-against-censorship]

I’m in a very small fandom and struggling to find other proshippers. Now even interacting with the fandom is a pain in the ass because there’s been antis finding my other accounts, I even had to change my pfp because the artist didn’t support “freaks like me.” Do you have any advice for finding other proshippers/vibe-checking people to see if they’re okay with pro-fic stuff?

I'm sorry that I let this one stew for so long and I'd like to start this off by heavily encouraging others to weigh in.

Anon, first off, I'm so sorry about the way that folks have treated you, and that you can't connect with a media you love in the way that you deserve to. I highly recommend attempting to create your own space, filled with people who follow a similar mindset. Or even just find a friend who'll listen to you ramble and rant. Unfortunately, with some fandoms, that's all you really can do.

This is going to sound a bit silly, but the best way to find good people to be around, really, is to just gauge how 'chronically online' they seem to be. And then, sort of ease into asking them their stance on fiction. I roleplay a lot, so I'll typically ask for RP taboo lists, maybe make a side comment on how 'oh yeah, ugh. Idgaf about fiction and what others do, but yeah, X is def a nope for me in RP as well', and see their response to that. Find little things, and more importantly, find normal things. Sometimes you can even skip that second step. Most folks, if they're antis, you can tell in how they act. If something seems off about them...they likely aren't the best folks to stick around. Keeping away from the drama, period, also works. I try not to bring it up unless it's necessary...why give an argument or harassment a chance to grab a foothold if there's really no need in the first place?

But that's just how I do things, and while it's effective for me, it isn't effective for everyone. To a highly recommend getting as much input as possible to find a way that works for you.

[chloesimaginationthings]

IS THAT WHY HE NEVER TALKS???

THE M IN M.X.E.S STANDS FOR MEWING 😤

[pixelgrove]

I feel like no one talks about how when you’re doing personal gameplay you have to turn off simblr mode in your head and realize that you don’t need screenshots of every little thing or try to make it look pretty or aesthetically pleasing

[silo1013]

salvaged from the office fire in 1998

[al-the-remix]

Random fandom thoughts/feelings

The reblog button is turned off on this post but I think it's another incredibly important one to be thinking about. I enjoy their framing of how the profit economy of other social media sites has been bleeding into fandom spaces on both tumblr, and like this post focuses on, Ao3. It's something that I've been noticing more and more and it really rubs me the wrong way and I feel like OP's post words it perfectly in a way I've been struggling to express.

This sort of connects the previous post I reblogged on the topic talking about how fandom is not a good in road for becoming internet famous.

A facet of this that's really bamboozled me recently is that I feel like i've been seeing more and more of is the idea that a singular person has a right to call "dibs" on a specific piece of media. Which is honestly totally fucking wild to me and if I'm being totally frank kind of dumb.

Every single one of us who interacts with fandom and by extent and IP is flirting with copy right law, the consequences of which everyone should be extremely familiar with by now with the fall of LJ and various lawsuits by authors, dmca notices, etc.

We have all heard the adage "there's no such thing as an original idea"; the idea that everything we create is the amalgamation of all the things that influence us, good and bad.

This is totally normal and good, actually.

For example, if I and another person both watch a TV show, see a production photograph that we really like and decide to draw it and post them one after the other it would be considered extremely bad behaviour to then turn around and make a big stink about how someone else had the gall to turn around and draw the same thing that I did. We can all look at a picture, video, lyrics to a song, become inspired and create something wildly different based on our tastes and influences--but we also are equally, if not more so, likely to create something nearly identical to our peers, especially in a fandom space where ideas are concentrated and we are all consuming each other's thoughts, opinions, and creations. More than once I've come up with an idea for a fic or a drawing that someone else had had a nearly identical execution of without us communicating or viewing each other's work. That's just the way the human brain works, we're hard wired to make connections in a fairly similar way.

You do not have a right to call dibs on any one photograph, clip of video, song lyrics or any other bit of media you might consume.

This stands for artists, writers, gif makers, AMV creators, and any other way you choose to express your love of fandom creatively.

If you are really hard pressed to focus on the numbers and work at being ~influential~ the burden is on you to distinguish yourself creatively.

There's a reason why not being able to see follower counts is so important to the way fandom and tumblr functions. The concept of ~small creators~ and ~big creators~ or BNF or whatever are all burdens you place on yourselves. No one is taking anything away from you by engaging with the same bit of media you are in a similar way. We all have a right to express ourselves creatively and emotionally through any snippet of media that sparks our interest. You do not get to "own it" just because you happened to pump something out first. There are no creative "dibs". This isn't even some sort of "fandom" etiquette thing that has gone thus unspoken. It's a strange possessive thing that I've seen crop up more and more as the idea of being a capital "C" Creator brain rots people's minds and atrophies their ability to be creative.

Sort of on a tangent, but I have a bunch of other personal random thoughts about how this push to be prolific stagnates fandom, but these are more complicated for me and I'm not as clear on how I want to express them. On one had I am completely on board with the "there is no such thing as cringe" mindset and that everyone has a right to create whatever super indulgent thing they want to without having to suffer people being snobby about it. But, on the other hand I feel very strongly that the cycle of people seeing one trope or characterization being repeated repeated over and over and gaining popularity, reading only that--writing only that--leading others to also only consume that, really stymies creativity and makes it harder to grow the fandom if people that are trying to enter aren't into That One Thing, while also ostracizing people who are already in the fandom that aren't into That One Thing. I strongly believe that people's tastes are at least 70% just what they're exposed to, and obviously not everyone is going to be into whatever weird niche concept they're exposed to through fandom, but the more they are the more opportunity they have to expand that horizon. I don't know how many times I've gotten a version of the "I wasn't sure I would like this but I gave it a shot and it turns out I really love it!" and how good that feels and how much I wish other people were emboldened to do the same instead of being so wrapped up in how their work may or may not be received.

This is mostly a subjective thing though, so it's less cut and dry. Like for example, I really struggle with engaging with transgender fic despite being transgender myself because of the way most AFAB fic is written to the point where I avoid it now almost entirely. Which, frankly, really fucking sucks but also I will be the first person to fight for other's ability to write transgender characters wether they appeal my personal feelings and taste or not.

Anyway, this is one of the reasons I'm so protective of fandom community events, especially ones that employ aspects of the fandom gift economy such as exchanges. There are one of the few wholly un self-centred places left where the focus is on gifting someone something they will love and giving back to the fandom at large by flooding it with art and opportunities appreciation and engagement with each other. It is not supposed to be an opportunity for you to think about yourself and "getting something good" in return or using it a convenient deadline. It also offers you an opportunity to engage with fic tropes and genres that you've never considered writing or reading before.

TL;DR if you've found yourself recently squabbling over how many notes your gifs, art, writing, etc. has been getting compared to other people instead of focusing on forging community ties and your own creative expression, I'm sorry to say you're doing it wrong.

[voguewoozi]

can't believe people are still out here accusing real ass people of queerbaiting. at this point just admit you like forcing people to come out before they're ready because that's what the result of this continues to be. coming out to anyone isn't an obligation for any queer person and people shouldn't have to alter their behavior or personality or presentation just because you personally think they're cishet. that is literally your own personal problem to work on. keep it to yourself

[oceanwithouthermoon]

i think its weird that i have to make this disclaimer but the internet is crazy so wtvr,, anyway,,

if i say i dont like something, that doesnt mean "that thing is bad and nobody should post it.."

i swear literally every time i even mention that i dislike something, people will go "wow does that mean u fucking hate me cuz i post that thing? ur a fucking stupid bitch and all ur opinions r wrong" LIKE ?? er.. no. just because i say i dont like certain characterizations of certain characters (the saiki k fandom is CRAZY about this cuz i can state an opinion on literally any character and a group of people will still go 'well only we're allowed to post our opinions about them because we're always right!1!1!'), or certain ship tropes (mentioned my hatred of toxic yaoi maybe once or twice on here months ago and people STILL get mad at me as if i said toxic yaoi lovers r evil or something), or certain ships, or WHATEVER, does not mean that i HATE the people who are posting them or that i think they shouldnt post them at all, NO, im just posting about my personal tastes on my personal blog and it would be extremely weird and hypocritical if i decided that i was the ONLY person that was allowed to do that,,

i think the only reason people assume that is because there are a lot of other people on here who ARE like that, and a lot of people toe the line between posting that they dont like something and posting that they think everyone who likes that thing is stupid, annoying, and wrong,, so i guess all i can say is, sorry for whatever made you make these assumptions but they arent true about me so plz leave me alone ʘ‿ʘ ur doing the same thing to me that ur accusing me of but i didnt do it in the first place so ur just actively being a dick for no reason

[s0fter-sin]

thinking about the way ghost doesn't hesitate to start killing shadows when graves betrays them but soap only takes one hostage

you can almost hear the voice in his head telling him it doesn't have to be this way; they can still talk it out

"i'm calling shepherd"

his first instinct when confronted with betrayal is to play it by the books; to go up the chain and sort it out democratically. that goes against everything we've seen him do; he’s quick to drop his enemies and bucks authority at every chance except for the one time he's confronted with the barrels of his allies' guns

he wants a peaceful resolution; for the first time we've ever seen, he doesn't want violence to be the answer

there has to be another fix, a solution that doesn't end with him killing the same men he's been working with; his friends

nothing's happened yet

it doesn't have to go this way

but ghost has been betrayed before. he knows the way this ends; either with him six feet under or his enemy

he doesn't hesitate

it's only when they knock alejandro out that soap shoots; when they spill the first blood and cross a line they can never come back from

only when ghost orders him to run and he has to cover his retreat

and somewhere along the line, between civilians’ screams and taunting voices, between his shaking breath and ghost steady in his ear, that naivety is stripped away; his trust turned to teeth that he uses to sink into throats of men he'd have given his life for

"be careful who you trust, sergeant; people you know can hurt you the most"

he's learned the price of trust

just like ghost did

but unlike ghost, he has someone to guide him through the aftermath

"good advice, It"

[deoidesign]

I'm sorry if what I say is wrong in any way, I don't mean to offend you, it's just something I'm not completely sure about. Does Adam use he/they or they/them pronouns? I think I saw a post of yours where you said that Adam uses he/they, but it was a while ago and now I'm not completely sure (and I don't want to use the wrong pronouns)

I know you don't mean anything by it, but I am sad that so many of the asks I get start with people saying "I'm sorry, I don't want to offend you" or some variation thereof, followed by completely normal questions. I think I may have been responding too harshly to too many things and given the impression that I'll jump at people for being wrong...

But asking clarifying questions is always okay. I mean, it's also okay to be wrong and even offensive. What matters is if you learn from it when someone points out that it was wrong or offensive. I won't stop telling people they're saying something hurtful if they are, but I don't want that to lead people to be scared of me or something.

Correcting people is always just about correcting them, not hurting them. It's okay to need to be corrected, were all learning new things every day.

Anyways Adam uses he/they, you remembered correctly