#where they make the central conflict the action to the point of neglecting

[yachl]

i really like when they adapt a series in a way that suits the new medium + provides alternate but harmonious development to the original series. adaptations don’t need to be 100% faithful to the original storyline as long as they remains faithful to the original themes and purposes

[writeleg1ant]

Secrets to a Killer Romance Novel Outline Revealed

Outline of the Article: Secrets to a Killer Romance Novel Outline Revealed

Welcome to the enchanting world of romance writing, where every love story begins with a carefully crafted outline. Whether you're a seasoned novelist or a budding writer, the secrets to a killer romance novel outline are the keys to unlocking a tale that lingers in the hearts of readers. Introduction - A warm welcome to the art of crafting a captivating romance novel outline. - The importance of a well-crafted outline for an engaging love story. How to Outline a Romance Novel Understanding the Romance Genre - Defining the unique elements that make a romance novel stand out. - Discussing reader expectations and genre conventions. Key Components of a Romance Novel Outline - Characters: Bringing protagonists and antagonists to life. - Plot Structure: Unveiling the three-act structure for a compelling narrative. - Setting: Creating a vivid backdrop that enhances the romance. Crafting Emotional Arcs - Developing the emotional journey of the central romance. - Balancing highs and lows to resonate with readers. The Role of Conflict and Tension - Introducing obstacles and challenges to intensify the love story. - Strategies for maintaining reader engagement through conflict. Tools for Effective Outlining - Mind Mapping: Visualizing connections between characters and plot points. - The Three-Act Structure: Mastering the art of storytelling. Common Pitfalls to Avoid - Lack of Conflict: Addressing the importance of dynamic storytelling. - Neglecting Subplots: Emphasizing the role of side narratives. - Rushing the Resolution: Crafting a satisfying and well-paced ending. Refining Your Outline: A Continuous Process - The dynamic nature of outlining and the importance of regular refinement. - Balancing structure and creative spontaneity in the outlining process. Putting Your Outline into Action: Writing the Novel - Transitioning from outline to actual writing with a comprehensive roadmap. - Balancing adherence to the outline with room for creative exploration. Fine-Tuning Your Story as You Go - Embracing the organic evolution of a romance novel. - Allowing deviations from the outline for the sake of storytelling. Conclusion - Summarizing the key secrets to a killer romance novel outline. - Encouraging writers to embark on their romance writing journey with confidence. FAQs

Secrets to a Killer Romance Novel Outline Revealed

How to Outline a Romance Novel

Embarking on the journey of writing a romance novel can be both thrilling and daunting, but a well-crafted outline serves as a roadmap to guide your narrative and ensure a compelling story. Here's a step-by-step guide on how to outline a romance novel effectively. 1. Define Your Characters: Start by creating well-rounded protagonists and antagonists. Understand their personalities, motivations, and conflicts. A deep connection between characters is the heartbeat of any romance novel. 2. Plot Structure: Embrace the three-act structure—beginning, middle, and end. Act One introduces characters and sets the stage. Act Two delves into conflicts and challenges, building tension. Act Three resolves the story, providing a satisfying conclusion. 3. Establish the Setting: Transport your readers to a vivid and immersive world where love can flourish. Whether it's a charming small town, a bustling city, or a historical era, the setting enhances the emotional resonance of your romance novel. 4. Develop Emotional Arcs: Craft a progression of emotional highs and lows in your central love story. From the initial sparks of attraction to the climactic moments, map out the emotional journey your characters will undertake. 5. Introduce Conflict and Tension: A romance novel thrives on conflict. Identify obstacles and challenges that will test your characters' love. The journey should be fraught with tension, making the resolution all the more satisfying. 6. Utilize Subplots: Elevate your narrative by incorporating subplots that complement and enhance the main love story. These side narratives add depth, complexity, and additional layers to your romance novel. 7. Mind Mapping: Visualize connections between characters and plot points using mind maps. This creative tool provides a holistic view of your romance novel, helping you explore ideas and relationships organically. 8. Fine-Tune Your Outline: Recognize that outlining is a dynamic process. Regularly revisit and refine your outline as your novel takes shape. Embrace new ideas and developments, ensuring your outline aligns seamlessly with the evolving narrative. 9. Write with Flexibility: While an outline provides structure, be open to creative exploration. Allow your characters to evolve and your plot to take unexpected turns. Flexibility ensures your novel remains dynamic and authentic. 10. Embrace the Organic Evolution: A romance novel is a living entity. Don't be afraid to deviate from your outline if the story demands it. Embrace the organic evolution, allowing room for spontaneity and unexpected treasures in your narrative. In essence, outlining a romance novel involves creating a roadmap that balances structure and creativity. By investing time in character development, plotting, and setting, you pave the way for a captivating love story that resonates with readers. Understanding the Romance Genre In the vast landscape of literary genres, romance stands out with its unique blend of passion, emotion, and connection. Before delving into the art of outlining, it's crucial to understand the distinct elements that make a romance novel memorable. Romance readers seek the promise of love, and genre conventions play a pivotal role in fulfilling those expectations. Key Components of a Romance Novel Outline Characters: Bringing Protagonists and Antagonists to Life At the heart of every romance novel are characters that resonate with readers. Protagonists should be relatable, their struggles and desires mirroring the human experience. Antagonists add complexity, providing the necessary obstacles for the protagonists to overcome. Plot Structure: Unveiling the Three-Act Structure Mastering the art of storytelling requires a solid grasp of the three-act structure. Act One sets the stage, introducing characters and the initial spark of romance. Act Two delves into the complexities, building tension and conflict. Act Three brings resolution, providing the satisfying conclusion readers crave. Setting: Creating a Vivid Backdrop The setting is the canvas upon which the romance unfolds. Whether it's the charm of a small town, the allure of a bustling city, or the mystique of a historical era, the setting enhances the emotional resonance of the love story. A well-defined setting becomes a silent character, influencing the mood and atmosphere of the novel. Crafting Emotional Arcs Developing the Emotional Journey The heart of a romance novel lies in its emotional arcs. From the initial sparks of attraction to the climactic moments of revelation, the emotional journey is the essence of the story. Each character, especially the protagonists, should undergo a transformative experience, ensuring a dynamic and engaging narrative. Balancing Highs and Lows A successful romance novel strikes a delicate balance between emotional highs and lows. Moments of joy and passion should be juxtaposed with challenges and heartbreak. This emotional ebb and flow keep readers invested, empathizing with the characters and their journey. The Role of Conflict and Tension Introducing Obstacles and Challenges What's a romance novel without a healthy dose of conflict? Conflict is the driving force that propels the characters forward, testing the strength of their love. Whether it's external forces threatening to tear them apart or internal struggles they must overcome, conflict adds depth and tension to the narrative. Strategies for Maintaining Reader Engagement To keep readers eagerly turning pages, strategic introduction and management of conflict are essential. The key is not only to present challenges but also to keep the resolution tantalizingly out of reach. Each obstacle should be a stepping stone, building anticipation for the ultimate union of the protagonists. Tools for Effective Outlining Mind Mapping: Visualizing Connections As the writer's mind weaves a complex web of characters and plot points, mind mapping becomes a valuable tool. Visualizing connections between elements offers a holistic view of the romance novel. Mind maps serve as creative playgrounds, allowing ideas to flow organically and connections to sparkle. The Three-Act Structure: A Narrative Scaffold Crafting a romance novel is akin to constructing a building; the three-act structure is the scaffolding that ensures structural integrity. Act One introduces the characters and their world. Act Two builds tension and conflict. Act Three delivers the emotional climax and resolution. Adhering to this structure provides a roadmap for a well-paced and engaging narrative. Common Pitfalls to Avoid Lack of Conflict: The Stagnation Trap A romance novel devoid of conflict is like a still pond—beautiful but lacking the ripples that captivate. Writers must avoid the stagnation trap by infusing the narrative with challenges. Conflict adds intrigue, keeps the story dynamic, and ensures that readers remain emotionally invested. Neglecting Subplots: Enriching the Narrative While the central romance is the heartbeat of the novel, neglecting subplots is akin to sidelining supporting characters in a play. Subplots add layers of complexity, providing depth and context to the story. Whether it's a secondary romance, a mystery to unravel, or personal growth arcs, subplots enrich the overall narrative. Rushing the Resolution: Diluting the Impact A rushed resolution can leave readers dissatisfied. The climax and resolution should unfold gradually, allowing emotions to simmer and intensify before reaching the boiling point. A well-crafted resolution provides the closure readers seek, leaving them with a sense of fulfillment and satisfaction. Refining Your Outline: A Continuous Process The Dynamic Nature of Outlining Outlining is not a one-time task but a dynamic, evolving process. As your romance novel takes shape, revisit and refine your outline regularly. Welcome new ideas and developments, ensuring that your outline aligns with the evolving narrative. This continuous refinement maintains the balance between structure and creative spontaneity. Putting Your Outline into Action: Writing the Novel Armed with a comprehensive outline, the daunting task of writing a novel becomes more manageable. Your roadmap is your constant companion, offering guidance through the labyrinth of words and emotions. While the outline provides direction, it also allows room for creative exploration, striking a balance between structure and flexibility. Fine-Tuning Your Story as You Go Embracing the Organic Evolution A romance novel is an organic entity, and sometimes, the story demands deviation from the original plan. Writers should embrace the organic evolution, allowing room for new characters, unexpected plot twists, and unexplored avenues. Deviating from the outline can lead to unexpected treasures in the narrative. Allowing Deviations for Storytelling While the outline serves as a roadmap, it's essential to allow deviations for the sake of storytelling. If a character takes an unexpected turn or a subplot demands exploration, don't be afraid to deviate from the plan. These deviations often lead to the most memorable and authentic elements of a romance novel. Conclusion Crafting a romance novel is not just a task; it's a passionate journey. The secrets to a killer romance novel outline are revealed in the careful balance of structure and creativity. By defining characters, embracing conflict, and utilizing effective outlining tools, writers can embark on an adventure that resonates in the hearts of readers. Whether you're a novice or seasoned writer, the key lies in unlocking your creativity while maintaining the structural integrity of your love story. FAQs - Can I deviate from my original outline during the writing process? - Absolutely! Your outline is a guide, not a strict rulebook. Feel free to embrace unexpected twists and turns in the storytelling process. - How important is conflict in a romance novel? - Conflict is vital. It adds depth, intrigue, and emotional resonance. A well-crafted conflict keeps readers engaged and invested in the love story. - Is the three-act structure essential for a romance novel? - While not mandatory, the three-act structure provides a proven framework for effective storytelling. It helps maintain a well-paced and engaging narrative. - Should I reveal my outline to beta readers for feedback? - Yes, sharing your outline with beta readers can provide valuable insights. They can offer feedback on plot points, character arcs, and overall engagement. - How often should I revisit and refine my outline during the writing process? - Regularly revisit your outline, especially when new ideas emerge or the story takes unexpected turns. Continuous refinement ensures alignment with the evolving narrative. - What story outline/template do you follow? - I believe in flexibility when it comes to story outlines. While some writers prefer detailed templates, I find a mix of structure and spontaneity works best. My approach involves a three-act structure, emphasizing character arcs and emotional beats. However, I leave room for organic developments, allowing the story to evolve naturally. - What are some tips for outlining and developing ideas for a romance novel? - Outlining a romance novel requires a delicate balance between structure and creative freedom. Start with well-defined characters, understanding their desires and conflicts. Use the three-act structure as a framework, ensuring a compelling beginning, middle, and resolution. Explore unique settings to enhance the love story's atmosphere. Additionally, embrace conflict, both internal and external, to maintain reader engagement. Subplots can add depth, so weave them seamlessly into the narrative. Regularly revisit and refine your outline as your ideas evolve. - What Is the best Detailed Romance Beat Sheet / Plot Structure Outline? - The best-detailed romance beat sheet integrates key elements to ensure a captivating narrative. Begin with an introduction that sets the stage for the romance. Act One introduces the characters and their initial connection. Act Two delves into the complexities and challenges, building tension. Act Three brings resolution and the satisfying conclusion. Within this structure, incorporate emotional beats like the "meet-cute," the "dark moment," and the "climax." Utilize tools like mind mapping and character sketches to enhance the depth of your beat sheet. Ultimately, the best outline is one that aligns with your storytelling style and allows for creative exploration. Read the full article

[thyandrawrites]

how would you write dabis ending if you could?

I feel like I have answered variations of this question at least half a dozen times this year, but the more the ending of the manga creeps closer... the more my reply gets simpler and simpler. If there was one (1) thing I could change, it would be the purpose of Dabi's character in the story. With increasingly less subtlety, Horikoshi has been treating Dabi as a narrative tool to make Endvr achieve his final, true atonement. So far, nothing of what Dabi has done to achieve justice — or even a bare acknowledgment of his suffering from his dad or his family — has stuck. Not only has Endvr failed to take accountability for it, but Dabi's still being scapegoated as a problem to solve, as a stubborn, reckless idiot that doesn't know when to "stop" and needs to be shaken out of his obsession with force.

I still hold out some hope that Shouto will address him in less dehumanizing terms at some point, but so far, nothing in the story gives me any hope that saving Touya is a choice motivated by the will to see Touya as a victim. Too much narrative focus was put on how Endvr can "correct" his past neglect by bringing Touya home for that to happen. One good "redemptive" action doesn't cancel out a lifetime of domestic abuse, it doesn't erase Dabi's scars, and it doesn't give him and Rei the years of their life that they've lost to mental illness. But it looks like Horikoshi is pushing for an ending where the heroes are ultimately framed as "good" and all the conflict and social inequality he spent so long presenting will never actually get solved (or even addressed as more than worldbuilding lore, tbh). Dabi will likely be brough back home, will make peace with his dad, the end.

If I was writing the story... Well, there's little that can be done to "fix" the inconsistencies and the retconning in the todofam plotline at this point... But I guess I would write an ending where the fam doesn't have to reconcile with Endvr at all, but in fact moves on from him, without him. Particularly Dabi.

Narratively speaking, Endvr's "bad" is not something fixable with character growth. Especially when he doesn't have much growth in the first place (the man is still running away from facing Touya, despite how that's literally been presented as his one obstacle for atonement. He has the chance to earn all he'd ever wanted at the ridiculously low price of swallowing his pride, and he can't even do that for his family).

One way for Endvr to stop dragging his family down would be death (and it could've been achieved easily during the war arc), but I feel like that would leave some loose ends that still need addressing. If I was writing this, I would have Endvr consciously deciding to step away from his family. Divorcing Rei, using his ranking for something actually useful like advocating for his son not to end up in jail for life, that sort of deal.

Thematically, Dabi's arc cannot be solved without Endvr. The question Dabi asks, the one still unanswered by Endvr's avoidance, is "What is my existence truly worth to you, father? Why did you bring me to life if you never wanted me?"

Which is where I think the whole Todofam plot starts suffering. Cause that question... is far too kind. Dabi's not asking "Why did you inflict all that suffering onto me, father? Why could you not love my flaws as much as my bright sides? Why was it so easy for you to forget about me and my pain when you got the heir you wanted, if you still insist that you loved me?"

The reason behind this is simple. As I explained above, Horikoshi's not setting out to write Touya/Dabi as a fully fledged character, but just as a narrative challenge for Endvr to overcome and "earn" his atonement. The question Dabi asks, then, is very obviously staged as an easy hurdle for Endvr to overcome. Horikoshi made it so that Dabi's arc cannot have a resolution so long as Endvr doesn't have a central role in it.

To explain what I mean by this: the reason why Touya couldn't make sense of his existence when Endvr tossed him away is because Endvr never conceptualized Touya's existence as Touya's. He always phrased it as if Touya was an extension of himself. That's why half of Touya's life consisted of making his father proud and the other half of spiting him. Touya cannot fully separate his sense of self from his father and from the need to be seen by him. Horikoshi set this up so that for the writing to make sense, Endvr needs to set him free from that suffocating expectation. He needs to let Touya start living for himself. The one way he can do it is by acknowledging his son as an individual, and seeing him as a person and not an abstract concept. Another way he can achieve this is by simply... caring for Touya now.

You see what I mean?

Dabi's arc is not written with the idea of giving Dabi justice or even a satisfying ending. It's written from the assumption that Dabi is Endvr's redemption tool.

There's little that can be done about this now, unfortunately. I don't really see a way for Horikoshi to make Dabi's saving something about Dabi instead of about Endvr's redemption... If I was writing a fix-it that gave Dabi more justice, that saw his reason to be angry and didn't brush it off... Basically, if I was writing an ending of Dabi's arc that had in mind Dabi's healing instead of the "fixing" of a dysfunctional family, I would definitely scrap the past few arcs and completely write them anew. Imho, the Todofam's plot started going sideways ever since pro hero arc, where Endvr became a main character with a pov, and the todofam was his collateral, instead of victims who need healing. It only got worse and worse since then, culminating in the war arc.

So... to answer your question... If I wanted to write an ending for Dabi... I would completely unearth this idea that Dabi's healing = Endvr's atonement. I would likely work on something more focused on Shouto and Dabi, or the Todosibs in general. I would make Dabi face the idea that his life always had meaning from the start, and he didn't need to prove his right to exist. I would have Shouto reach out to him emotionally because he's the only one who can understand the rage that's destroying Dabi from within. I would have the two of them be each other's support system, to counter how his father forcibly pried them apart and fueled their rivalry, depriving them of the one person who could've understood. I would have Endvr stop trying to be a father now, without even asking his children if they're okay with it. I would have Dabi consciously decide to never summon his flames again because he has worth without them. I would make him see that the Lov is more than just pawns and that they have his back. I would make him realize that his family always loved him. I would make him reach a point where he's fully comfortable in his skin, and stops trying to rip it from his bones to find a meaning in death that he couldn't find in life. I would make him live, and I would make him move on from all the toxicity his father planted in his head

Alas, bnha will never go that deep. I'll be surprised if the story doesn't end with some wishy-washy morale like "the heroes are cool because they could save even someone as insane as Dabi"

[theshackwnilak]

First of all, I have to give credit where it’s due. The CRYPTIC CRITIC on Blogspot.com   published a review of this graphic novel back in 2010.

Link to his review

I had never heard of this masterpiece until having read his review. When I became aware of its being nearly 60 PAGES LONG, I immediately scoured the internet to find a digital copy. Man, what an incredible experience it was!!!

SUMMARY:

It’s not entirely clear at what point this issue takes place in the timeline of the Amazing Spider-Man. However, judging by Mary Jane’s haircut, it’s probably safe to assume that it’s somewhere around Amazing #64 (roughly 25 issues since the Goblin’s last appearance).

Tensions are on the rise from the very first splash page of the issue. Norman Osborn has invited Peter and Harry to his “Executive Club,” in which Capt. George Stacy is conducting an in-depth presentation on various arch-enemies of Spider-Man. When the Green Goblin’s segment is underway, Norman appears increasingly unstable. Peter’s awareness of this instability only intensifies with time. Eventually, Norman collapses, and is transported to a hospital.

Much of the early portion of this comic is spent providing exposition. The reader is taken through brief flashbacks of the events of Amazing #39 and #40 in which the Goblin discovered Peter’s true identity. Once the exposition is through, the drama of this tale kicks off.

From Norman’s hospital bed, the tortured businessman finally pinpoints the source of his distress: he is the Goblin. The transformation is complete. With the awareness of his villainous alter-ego, Osborn ventures to exit the hospital and retreat to one of his many hidden Goblin lairs. Donning the costume, he sets out to put an end to Spider-Man once and for all. However, there’s a slight twist in this plan as we later discover.

The next segment of this issue reminded me of why I love Peter Parker so. Having been told about Norman’s mysterious departure from the hospital, Peter’s mind races. His greatest fear isn’t of the Goblin showing up and killing him. Rather, what he fears most is the Goblin revealing his true identity to Aunt May (thus, causing her grave emotional distress). I love it.

Frantic, Peter throws on his costume and combs through the city. He neglects to find the Goblin, so in slight relief, he returns home. The following evening, he gets a phone call from Harry Osborn, who claims Norman returned home and is throwing a party celebrating his returned wellness that night. Peter is invited.

Thus, the central drama of this issue sets off. Peter attends the Osborns’ party, anticipating the ulterior motives of Norman (the Goblin).

To my understanding, this portion of the story was loosely adapted into Spider-Man (2002). Peter, Gwen, MJ, Harry and Norman all share dinner over the Osborns’ table, and Norman is playfully attempting to get Peter’s secret identity out in the open. I LOVED this part of the story. It’s so intense, and it highlights one of Peter Parker’s greatest dilemmas: being a super hero whose identity is hidden in order to protect his loved ones.

After dinner, Peter comes up with a brilliant plan to divert the attention of the partygoers (and Norman). He makes a web-ball, and tosses it into the fireplace. As the smoke fills the living room, Peter’s friends quickly evade the house. Meanwhile, Norman tears through the room in search of his nemesis.

I love the duality of this portion of the tale. Both Peter and Norman don their respective costumes as they prepare for the impending conflict. Finally, after nearly 40 pages, we’re getting to the action!!! And boy, does it deliver.

John Romita Sr. and Jim Mooney are in their elements with this masterpiece. Every page is filled with large action-filled panels, vibrant colors and captivating imagery. They leave nothing to be desired, and right when you think it can’t get any better, it does.

The Goblin reveals a brand new weapon, a smoking pumpkin bomb. Is it an explosive? Well, yes and no. Spidey braces for the bomb to go off, but instead, a mysterious gas is emitted. It isn’t long before our hero discovers it to be a hallucinogenic.

The following page reveals an extraordinary splash page of Spider-Man struggling against the hallucinations of this gas. It’s such an amazing moment, and extremely unexpected. Initially, he sees the Goblin in a trippy LSD-esque caricature. The apparitions transition into various creatures, then the people closest to the hero, and eventually some of Spidey’s most notorious enemies (The Kingpin, Rhino, Doc Ock, etc.) Again, this comic is amazing!!!

The turning point of the conflict occurs at this point. Again, this epic story points out some of the greatest qualities of Spider-Man as a character. Instead of cowering in defeat over these drug-induced specters, our hero turns to his intellect. How can Spidey outsmart the Goblin with his own medicine (quite literally)?

Spider-Man returns to hand-to-hand combat with the Goblin, and eventually succeeds in taking him down and removing his mask. He then begins to execute his ingenious plan. Snatching another of the Goblin’s hallucinogenic bombs, Spidey traps the Goblin in a psychedelic nightmare of his own making. During the episode, our hero masterfully manages to convince Norman of the Goblin’s insanity, and conditions Osborn to fear the Goblin and Spider-Man. The plan works!

The issue ends much like many of the other Goblin stories do. Norman forgets everything, Peter brings him to the hospital, and everything seemingly goes back to normal. I love how the last panel of the comic shows Peter taking MJ and Gwen out. The most reluctant ladies’ man in history!

THOUGHTS:

Man, this comic is so well-written!! Seriously, there were so many points in which I verbally said, “Wow, that’s amazing!!!” Stan Lee just understood Peter Parker on such a deep level, and it really shows here.

Most of my other thoughts are all throughout my summary of this gem. John Romita Sr. is on his A-Game. Jim Mooney brings such vibrancy and life. Lee isn’t pulling his punches. It’s just a great testament to Marvel comics, and the overarching silver age of comics in general. What a moment!

If you haven’t read this issue before, it’s available on Kindle through Amazon for like $2 (yes, literally 2 dollars). It’s definitely worth the read. One of these days, I’m going to get a physical copy.

Like and Share if you want other comic reviews in the future!!!

[funkymbtifiction]

The 629/926 tritype and people-pleasing

I read your old post about the Enneagram & people-pleasing (https://funkymbtifiction.tumblr.com/post/184965682165/can-someone-with-primary-or-auxiliary-fi-be-a) and had to laugh at myself about how ALL the numbers in my 926 tritype are motivated to people-please. A triple-whammy of being uncomfortable with conflict, caring a bit too much sometimes about other people’s opinions, and struggling to express one’s own needs. Do you have any tips for dealing with the anxiety/stress this kind of combination can bring, as I remember you’ve mentioned you also share this tritype in a different order? Conversely, do you think there are any strengths/assets to having this tritype? (so I can console myself after all the anxiety 😂). Thank you so much for helping me find my tritype :)

Yeah, it is. I talk about it in depth here.

I think probably the biggest asset for me is – I don’t and never have struggled with holding grudges. I can just forgive people (once I understand what motivated it, per my 6) and move on without harboring any deep resentments. A lot of the people around me struggle to forgive and forget and my anger just kind of … dissipates and goes away, sometimes immediately and other times over a few days or weeks. And believe me, that is an incredible asset, since there’s nothing worse or harder than fighting against being angry or wanting revenge all the time. Cinderella has this tritype and it’s always a wonderful moment for me in the live action film where she forgives her stepmother as she’s going out the door, because – she’s going into a brighter future, why would she carry the burden of past grievances with her?

The negative flip side of this, of course, is that this tritype is self-berating a lot, because it has a continuous desire to be a better person. All the fixes want to be more selfless and generous and strive for something more for themselves, and be kinder to people out of a 2-6 notion of what true goodness is like (less so with an 8 fix on the 9, but if they are 9w1 in particular – there’s all that sense of “moral right” slipping in). All 269 combos can beat themselves up for their mistakes or failures or how they failed a relationship (and it’s their fault) and be wondering why it happened or what went wrong and how they could have fixed it… long after they have forgiven and forgotten the other person’s sins, because they assume relationships are theirs to preserve, treasure, and fix (2). I would say this is the hardest thing to overcome, no matter what the order of your fixes are – this “taking the world onto my shoulders and making it my problem” aspect of relational habits. 269s have to learn that relationships can just fail, it’s not their fault, they don’t have to fix every single one, they don’t need some people in their life, they need to realize and accept that some people are toxic or wrong for them or cannot be fixed or drain their energy, and it doesn’t make them a bad person to walk away from that guilt-free.

This usually is a good-natured tritype that wants to be happy – but unlike the 279 isn’t in denial about the bad things, just doesn’t want to over-think about them. 2 and 9 together are always wanting to see the beauty of life, and focus on pleasant things, but 6 is also cautious and fearful. Altogether, it makes for probably the most pleasant (for other people) tritype to be around, because of the universally forgiving, generous, and sweet disposition – but to put it bluntly, we can be too nice, too forgiving, and too willing to help. How you start to unpack your type is by starting with the fixes. For you, 6 and 2 are lower, which means you can learn to consider them “optional.” In other words, it’ll be easy for you to notice 6 projections and anxieties and talk yourself out of them. For 2, you can ask yourself whether it’s really your place or duty to “help” this person, or if they can do it for themselves. 2 fixers can learn to let people be independent and take care of themselves, rather than rushing to do it for them. You can also work through the uncomfortably self-exposing 2 questions of “am I doing this just so they will like me?” Or “Am I angry at them because they don’t ‘do unto me’ the way I do unto them? Because I expect some payback in kind for my efforts?” I realized I was 2 fixed the day I was mad at my best friend for not being supportive of me in the way I needed, but also realized I had never specifically told her what I wanted her to do, I had just been “doing” that for her, hoping she would pay me back in kind. And then I 2w1ishly beat myself up about it. (You shouldn’t WANT or NEED things from your friends! You SHOULD be selfless and loving with no return!) Meh.

Regarding people-pleasing, you should seize your autonomy and realize that for most things, it is optional and you can say no without causing too much strife. I still want to people-please some, but over time people start taking advantage of you and that causes resentment in being used, and at some point, you start getting sick of it and start laying down more boundaries. I had one friend who would always appeal to me to spend time with her, even though I was busy and had other projects going – and I would guilt-trip myself into saying yes out of a 2ish self-talk (she needs you, she’s lonely, she has no other friends who live here, you can take time off to be with her) … but I realized over time (and over the pandemic) that… she has actually managed to survive without me, she has gone weeks at a time without seeing me and not curled up and died of neglect, she can wait to see me until I am my best self, not a tired version of myself who has dragged myself to see her out of guilt rather than a desire to connect. Before I started telling this person, “I can’t, I’m busy this week” she knew she could lean on me, be a little whiny about feeling lonely, and I would squeeze her in – now she knows when I say I am busy, she has to wait. And that’s good for us both.

People deserve your best self, not your guilt-tripped self – and don’t let them whine or plead or infer or guilt-trip you into things you don’t want to do. Say no and mean it. That’s the best advice for this trype or any type with 9 as a central focus – stand firm, set out a boundary, and defend it. If you are busy, say you are busy. Don’t give excuses, or over-explain, just say you cannot do it. If people push you, reaffirm “I’m sorry, I know, but I can’t.” Sooner or later, they quit because they know they can’t bully you into doing something for them.

Whatever your core is, is going to be the hardest thing to get under control. If it is 2, it’s going to be image-seeking, attention-grabbing, and invasive ‘helping’ whether that is to do physical things for people or offer unsolicited advice to help them cure their life problems. If it is 9, it is going to be numbing yourself out to conflict, refusing to assert your own wants and needs, and letting things go when you should address them (getting in touch with your anger). If it’s 6, it’s going to be over-thinking, being fearful-avoidant of attachments and sending people mixed signals, and projecting (”I’m anxious about not being wanted, so I KNOW they are going to reject me and are sending me negative signals!”). I fight the latter all the time and it’s HARD, so I won’t pretend getting over your core is a picnic, and anyone who says they have “aced it” and are now “a healthy version of their type” is either mistyped or a liar. We’re all wallowing in ourselves.

It’s funny, I can sense when someone else or even a fictional character has this tritype, because I see a lot of myself in them – not in a Fi way, but in a tritype way. They say you understand best people who share your struggles and what you want to be per your tritype’s focus and needs and it’s true. I can sniff out a 269 anywhere.

[oviids]

New Lore in The Shadow of Kyoshi

Shadow of Kyoshi reveals a LOT of cool new Avatar lore, especially on the Fire Nation and Avatar’s Szeto, Yangchen and Kuruk. I’ve compiled some of the most important or interesting information below the cut, they don’t have much to do with the main plot of the book for the most part but I’ve marked some extremely significant ones with spoiler warnings just in case.

On the Fire Nation:

The country now called the Fire Nation is actually pretty recent, and was previously made up of multiple warring clans and factions controlling their own islands or small territories. 

Notorious warlords would periodically rise to power over different factions and fight against each other in devastating battles. One in particular is mentioned, Toz.

After unification, the clan leaders became the new nobility but retained enough independence and power to keep up their feuds and maintain political influence over the Fire Lord. This would nearly lead to the dissolution of the Fire Nation at least twice.

Many Fire Nation historians and courtiers believe that Avatar Szeto, Yangchen’s predecessor, was the main factor in holding the country together under Lord Yosor’s reign.

We already know that a Fire National’s topknot is a sign of honor and rank and that cutting it is the ultimate mark of dishono, but even touching the hair of someone you aren’t related to (in public at least) is extremely insulting.

The palace has a turtle duck pond at this point, and the description makes it seem likely that it is the same one Zuko and Ursa visit.

Some fire benders, or at least ones trained to be Fire Sages, can channel heat through a patients energy pathways and heal spiritual and possibly some physical injuries to a degree.

{SPOILERS for the end of the book} it is strongly hinted that the current Fire Lord will begin the process of breaking the clan’s traditional power and roles and centralizing it under himself, eventually enabling Sozin to begin his conquests and have complete control over the nation.

On Avatar Szeto:

Avatar Szeto was able to stabilize the Fire Nation in an unconventional manner: by working as a court bureaucrat and tying his achievements directly to the Fire Lord’s hold on the throne.

He insisted on being treated like a normal civil servant, and was able to rise to the position of Grand Advisor by the merit of his diplomatic and accounting skills. As Grand Advisor he was able to smooth over the greatest conflicts between rival clans and created a long lasting peace. 

A religious holiday was created to honor him, and much of the plot of the book takes place during it. 

On Avatar Yangchen

A lot was already revealed about Yangchen in both the comics and Rise of Kyoshi, like the fact that she was widely beloved and often considered to be the ‘ideal’ Avatar

However, in this book she confesses that she actually made some grave errors, continuing the cycle of new Avatars having to clean up messes caused by the previous Avatar’s actions. 

{SPOILERS for the end of the book} In Yangchen’s case, she focused far too much on the human world and neglected the spirit world. At the end of her life she realized her mistake but it was too late to fix the unbalance she had created.

Interestingly, Kyoshi thinks Yangchen looks a great deal like her mother, even beyond the tattoos and hair/clothing styles. Maybe they’re related in some way?

On Avatar Kuruk

Kuruk seemed to actually have been something of a bending savant. His experience as a waterbender influenced the way he saw the other forms of bending, letting him “flow” from one to the next without having to conform to a single style each time he wanted to bend a different element. He even invented at least one new technique, an airbending “cushion” that could move heavy objects with ease.

Jianzhu initially befriended Kuruk because he agreed with the the Avatar’s unconventional methods, despite being thought of as “prissy” initially.

Kuruk fell hard for Hei-Ran at first sight. She turned him down, but hinted that a romance might not be out of the question once she was off duty.

The island where Kuruk entered the Avatar State for the first time and subsequently submerged was actually a holy site, where Avatar Yangchen had waterbended for the very first time. 

{SPOILERS for the end of the book} As a fully realized Avatar, Kuruk began having dreams of enraged spirits attempting to break into the physical world through”cracks” between planes. These incursions were a result of Yangchen’s neglect, and the “cracks” were created by the spirit Father Glowworm from the first book.

 Kuruk began to travel into the spirit world in his corporeal form to hunt down and kill the spirits before they could harm any other humans. Each fight resulted in psychological, spiritual, and some physical damage. 

The drinking, philandering, and partying that he became notorious for were actually his attempts to cope with his trauma and hide it from his friends. The damage on his body and spirit is also what caused his death at only 33 years old.

[mikerickson]

They had, none of them, Harry suspected, asked to be there, grateful though they were. They were his human toys, taken from the dirty box on a whim, and could be thrust back into darkness and neglect just as casually if they somehow failed to interest or satisfy. It almost feels futile to attempt to write a review for this one, mostly because I already know I won't be able to completely convey just how deeply this book has affected me over the past few days. Yet I still feel compelled to at least try, to allow me to say 'goodbye' to these characters and move on if nothing else.

I came across this title on some recommendation list or another a while back, read the synopsis, took away "gay western romance" and said, "Sounds awesome, I'm in." But that's a gross oversimplification to the point of being misleading. I'd hesitate to call it a "western" because the first third of the book takes place in Edwardian London before jumping the pond and landing in the Saskatchewan frontier, and from that point on it's more focused on sustenance farming than anything with a 'cowboys and Indians' vibe. And "romance" doesn't feel like an apt descriptor either because the main love interest doesn't even appear until more than halfway through the book, and even then he's not given much 'screentime' for lack of a better word because the story isn't about him. Rather, it follows a central character and the key turning points of his life. The story begins with Harry, the protagonist, being transferred from a - frankly horrific - mental institution to a sort of experimental compound where other patients like him are free to roam without guards, circa 1919-ish. The altruistic psychologist who is running the place explains that he's trying a new approach to studying and helping those affected by mental illnesses, but everyone there is aware of the unspoken power dynamic. This doctor tries to help Harry overcome a mild bout of amnesia through hypnosis, and we as the reader learn his life's story that led up to that point, occasionally jumping back to the 'present' at the compound every few chapters or so. I loved Harry as a character, which is not something I would expect to say about someone who's introduced as effectively a spoiled trust fund baby who never had to work or make a hard decision in his life. But after an inciting incident forces him save face by going into the self-imposed exile of becoming a colonist in rural Canada, he bucks up and actually makes a go of it. He's horrible at it at first, of course, but I appreciated that the effort was made at all from someone you'd expect to give up at the first sign of struggle. It's been a long time since I've like a main character as much as this, and in fact, I liked every single named character in this book, even the obvious antagonist who periodically shows up like a hungry wolf, pacing and watching from just beyond the safety of the firelight. At no point was there a scene where a certain character appeared that had me enduring them and wanting to move on to the next; they all just worked for me. They're easily the reason why I got so invested and why their (sometimes tragic) fates keep resonating with me after putting the book down. This was a surprisingly atmospheric book. The isolation Harry experiences when he first arrives at his assigned plot of land in the middle of a cold prairie is palpable, and you feel just alone as he does when he realizes he's the only person around for miles. The constant descriptions of physical labor eventually become therapeutic (no doubt because I'm not the one doing it) and it's easy to forget that you've gone multiple pages without a single line of dialogue. But as Harry begins to venture beyond the limits of his property and meet his new neighbors, the locals are just as enamored with the newcomer with an English accent as he is with them and I quickly grew to enjoy them in kind. Ultimately when the romance proper begins, it was handled in such an unbelievably tender manner that it had me clutching my gay little heart multiple times. It wasn't graphic or salacious - what few sex scenes there were were sort of 'fast-forwarded' through, for which I'm strangely thankful - but rather it was a series of subtle actions that could be misconstrued as merely friendly if one didn't know how to read between the lines. A sort of relationship hiding in plain sight, in the face of a society that would neither accept nor understand it, carried out by characters who lacked the modern verbiage to accurately describe what they felt or why. This facet of the book was very humbling, and reminded me not to take for granted that not only am I able to live publicly with my own relationship, but that I possess the level of self-understanding to not feel conflicted about that aspect of myself. It could be argued that there was a happy ending, though it was ultimately a pyrrhic, costly victory to get to that point. I don't know that I'd consider the book as a whole to be particularly uplifting because there was a lot of hardship in the middle and end, but I absolutely don't regret giving this story my time. The very last scene of this book is one that I will remember for probably the rest of my life, and - acknowledging that it's still emotionally fresh for me - I don't know that I'll ever be able to recall it without choking up.        

[thevividgreenmoss]

The more I see from Mark Fisher the more fruitless his writing seems in terms of actual implications for theoretical/practical future movement of any anti-capitalist politics...like for all his talk of the impotent paralyzed state of a left unable to escape or meaningfully able to learn from its past, beset by circular patterns of discourse and movement it's tied itself up in as a result of cultural fixations/conflicts and stifling insular academic and/or online intellectual developments that are often completely detached from the actual political sphere, unable to formulate an actionable political programme that can genuinely confront power, have no relevance to the social base of a potential anti-capitalist movement, etc, like for all the talk of that shit his own critiques of those things tend to essentialize them as inextricable, even inevitable features of capitalism itself and as a result cultural or intellectual trends that are not intrinsic to but symptomatic of a system based on this particular mode of production, and that develop as a result of the interplay between societal elements existing within and formed by that system in a given time and place, are posited instead as defining features of that system (for example the insistence that regurgitation of past cultural forms must be seen as inevitable features or tendencies of capitalism - and that that alleged fact has some fundamental explanatory power - rather than being seen as trends that have come to prominence, and cyclically have become prominent before as well, due to the ebbs and flows of accumulation of intellectual property & consolidation of productive/investment capital etc and that at times have given way to or existed alongside dominant cultural/artistic movements outside of that retrofetishistic lane. Which like even when that was the case capitalism was still bad...like the problem is not encapsulated by the culture's perceived failure to find the next jungle music, nor would it be solved or meaningfully altered were the next jungle music to be found). And in that process you're bestowing an undue sense of significance upon and giving a completely misplaced centrality to things that you're purporting to be criticizing on the grounds that they distract from and are unproductive when it comes to dealing with the pressing core issues by which we're actually faced, while completely failing to incorporate the breadth of actual political & economic shifts, movements, conflicts, etc both against and in favor of the expansion of capital within your analysis in the same way that the individuals/organizations/institutions that you started out critiquing are guilty of. And that related failure to genuinely consider political reality as it exists outside of certain insular left spaces & discourses as well as the left spaces & discourses being used as the basis for the critique being advanced largely neglects anything that might be going on outside of metropolitan centers within advanced western states (and even then it seems mostly confined to the anglosphere) that might complicate or even outright contradict the narratives being advanced, which idk may also contribute to the tendency to grossly generalize and even essentialize specific aspects of society or culture that have taken shape in the first-world as being endemic to capitalism itself as it exists and must exist everywhere at all times...and even if that's being done based on the view one sometimes sees that as capitalism advances then the societal condition of the global south will come to resemble that of the current north then it's still bullshit because while of course that does and will still continue to happen in some respects, there's no broad convergence of that sort in sight at all and given increased pauperization already in motion as a result of ongoing economic trends and mass migrations as a result of accelerating climate change the future of LA or Berlin might look more like the present in Rio de Janeiro or Mumbai than vice versa...idk like there are genuinely interesting discussions of music and evocative (though by no means novel on the level or either tone or content) descriptions of a certain kind of prevalent malaise and ennui peppered throughout Fisher's work but his analyses of the way those things reflect and/or are produced by capitalism itself either fall off the mark or, again, aren't advancing any ideas that haven't long been circulating either in the marxist critical tradition or in any others that have in differing ways been in some form of dialogue with or have to some degree been influenced by it (even those that either explicitly/self-consciously or not find themselves in opposition to marxism, poststructuralism being probably the most obvious/notorious example) right down to the concept of capitalist realism itself, which as elaborated by Fisher offers nothing that isn't present in the diverse and even divergent analyses & conceptual frameworks surrounding ideology, consciousness, hegemony, the ~real~, etc that were already there in the work of everyone from Marx himself to Lukacs to Gramsci to Althusser, Baudrillard, Jameson, Eagleton or numerous other notable figures even just within the western intellectual realm. Like the only distinguishing feature of Fisher's capitalist realism is his contention that in the aftermath of the USSR's collapse, not only has the social reality generated by capital successfully naturalized itself in various pervasive ways as it has been doing for the past five hundred years, but now there's been a crucial turn in that since 1991 there's been an additionally ingrained negation of our ability to conceive of or pursue alternatives to neoliberal capitalism on a collective level, which allegedly wasn't there before...which like I'm sorry but that's a ridiculous fucking claim to make especially in light of the fact that shortly before his death Fisher said that the movements behind/supporting the rise of Jeremy Corbyn to labour party leadership & the 2016 Bernie Sanders campaign represented breaks in and the beginning of the end of the era of capitalist realism, which like. If that's the standard then how does the latin american pink tide of the late 90s-late 00s, which involved much larger popular movements that were much more firmly rooted in and directed by the working classes and peasantry and that pursued much more radical goals and even in the face of counter-revolutionary forces that have been ascendant in recent years still succeeded in attaining significant tangible gains for themselves, especially when compared to the negligible results that revived new deal democratic or midcentury labour agendas have had so far in the US & UK, like how did that shit not contradict capitalist realism well beforehand...or the fact that in Cuba the first post-Soviet decade entailed a renewal of genuine socialist energy & societal transformation of a kind not seen since the first 10-15 years immediately following the revolution, or on the other end of things, the clerical authoritarianism that existed in iran already at the time, or the terrifying rate at which the genuinely fascist RSS consolidated popular support and came to have an increasing hold over the various institutions governing Indian society, especially since the early 90s, until at this point there's no significant challenge to their power within the second most populous country in the world...like all those things seem to be much greater refutations from so-called capitalist realism to the point that the concept seems to have no meaning or utility at all...like whether intentionally or not,  Fisher's ~acid communism~ basically leads to the same endpoint, perhaps with different aesthetic trappings, as FALC bullshit, where residents of the first world are freed of the labor and alienation of the past by a super expanded version of the welfare states created by postwar european social democracies and can both go to raves and consume as often as we want. The problem wasn't the violent abstraction of commodified life, the value form, whatever it was that we couldn't pursue and indulge in the thrills and pleasures that per my mans Lyotard & Nick Land are undeniably present in capitalist consumer society except now we can, thanks to those beefed up fully automated welfare states, those indulgences are no longer simultaneously a source of malaise and depression as they previously were when the free market barred the masses from partaking of them with the freedom and reckless abandon that are necessary in order to give us that truly liberated libidinal fulfillment. What the effects of the magically automated extraction of the natural resources necessary to maintain that steady flow of goods and resources to the fully automated luxury acid communists might be on the environment, how that might impact the people that live in the places where extractive industries tend to be based, how they might fit into this acid FALC utopia, whether they'd be forced into ever more menial forms or labor building or providing upkeep for the robots that replaced their former fellow proletarians in the first world, whether their labor might itself be the supposedly 'automated' part of fully automated luxury communism, whether they might legally be recategorized as robots so as to prevent that seeming contradiction from shaking things up, no need to trouble ourselves with that

[alivingstillness]

Awareness and the thought-web analogy as a communicative foundation

An analytical view on communicatio through the lenses of Advaita philosophy.

1. INTRODUCTION

Throughout the life of a human being, there is a complex communicative process taking place within and without ourselves. When we view communication as a tool to meddle within perception, we are likely to think of one source exchanging information with another in the form of subject to subject. But if we are to imagine an internal conversation (monologue), we can think of the communicative process to be held within one subject.

To discern within the internal process of thinking, I will divide the subject into two parts: I (the thinker or perceiver) and thought (the perceived). Perception itself can in a sense be said to be two or-threefold, either in the form of perceiver-perceived or perceiver-perceiving-perceived, (the last part: perceived, can, for example, be an object and the perception (of) it may differ from perceiver to perceiver. A perception is a form of communication even if it is completely internal. But who or what is actually the communicator when we start to investigate our intimate process of thinking and is it possible to distinguish the meeting-points within perception by becoming aware of our conscious and subconscious mechanism of thinking?

Neuro-linguistic programming (NLP)

Is an approach to communication where the human psyche has a central focus. NLP deals with techniques and exercises in sort of reprogramming our mind, which works with our communicative language in such a way that negative experiences of behavioral patterns can give us insight into how to transform our responses to have a positive effect. NLP holds an extensive amount of theories relating our senses with mind, behavior, and thought patterns. I will not investigate all branches within NLP, but I will in this work focus on the parallels between its science and that of self-inquiry and meditation and how self-awareness relates to communicative conflicts.

For our heart to function properly there is constant communication taking place within our body and importantly in our brain that we don’t pay much attention to. I will present an investigation into our ability to become more aware of our internal language in the form of thinking, and how it could relate to emotional, cultural, and other forms of psychological factors.  

From an internal investigation into communication, I will further develop how this can function as a window of perception towards a better understanding of our communication with other people, and attempt to discern between conscious and subconscious reactions.  

I hope that this work can aid as a help to better understand conflict and the build-up of our persona through our multi-layered language.  

2. PERSPECTIVE

I have chosen to investigate communication through the lenses of self-inquiry and will use the example of becoming a witness to our internal thought-pattern. My field of interest in this communicative process comes from a non-dual yogic perspective (Advaita philosophy, Trika Tantra, Tao, or Zen Buddhism).

All paths regarded as non-dual in their teachings points towards the realization of an underlying cause or witness to the tendencies of the mind. I will in my investigation too, point towards the notion of this witnessing aspect beyond the individual psyche in the hope for the reader to expand their view upon their own communicative behavior.

This written work is solemnly analytical and theoretical, and shows my personal cognitive understanding towards the subject, through the lenses of my own thought-pattern formed by my yogic view.

3. ANALYSIS  

Awareness and the thinking of being

Within direct-realization non-dual teachings, the doing of meditation and distinction of spiritual practice becomes concepts from the perspective of the individual, who ultimately is considered to only exist as one window into Self-perception through the action of thinking. But who or what is really the doer, or the witness to thinking?

Our experience of duality is apparent in all its subtle and grosser layers. Non-dual teachings point towards the relationship between the unmanifest and manifest as simultaneously present within all beings and creation (Shiva-Shakti, Alpha-Omega). “Awareness” or “pure consciousness” are commonly used terms to describe the nature of the Self that is the core of non-dual teachings.

To easier understand how this applies to communication and language, it would mean that instead of there being subjects and objects/or matter, there would ultimately just exist one grand subject that is pure consciousness, and perception will in its truth not be divided into parts. This non-dual consciousness has, by its own will and movement, given birth manifest form, within and from its own being.

It is a complex philosophy that has been recorded in some of the oldest eastern scriptures and later given birth to many schools of philosophy, religion, and western free thinkers. In its teachings, the laws of the universe are highly dependent on vibration and energy, yet there is always an underlying cause that binds the sprouting of expansion together: The Self, that can be said to be awareness aware of itself, pure untainted consciousness, or even mind absent from thought-quality.

“If you want to find the secrets of the Universe, think in terms of energy, frequency, and vibration.” ― Nicola Tesla

The world as we perceive it is said to be largely stored in the collective and forgetful nature of Self-activity (shakti) because of the sprouting of creation. We can think of the terms “Awareness” vs. “Awareness of”, meaning, that as soon as we become aware of something, the “something” is externalized and divided from our being, making us see ourselves as separate from the perceived. Some yogic teachings provide us with techniques to help us reverse and zoom out to witness the play of perception taking place within ourselves, and to finally let awareness become aware of its own awareness.  Here a parallel to Jung’s collective unconscious and karmic patterns suits to be mentioned. 

“Until you make the unconscious conscious, it will direct your life and you will call it faith.” 

“So far as we have any information about man, we know that he has always and everywhere been under the influence of dominating ideas. Anyone who alleges that he is not can immediately be suspected of having exchanged a known form of belief for a variant which is less known both to himself and to others.” ― C.G. Jung, “The Archetypes and the Collective Unconscious”

If an individual uses practice to investigate Self-awareness by exponentially becoming more aware of what is perceived and perception itself, eventually the practice has the potential to dissolve by itself. I have developed an analogy for the purpose of self-inquiry that can be used as a technique to strengthen the conscious relationship with yourself as a witness of yourself. The idea behind the technique I shall present is largely inspired by Jnana yoga and the teachings of Ramana Maharshi, who encouraged the thinker to constantly question oneself by the words of: “To whom has this thought occurred?”

The thought-web analogy, (a practice in self-inquiry)

If I am immersed in a relaxed state of being and a thought pops up in my awareness, I can say “I am aware of this thought”. Now, if I were to follow this thought by asking: to whom does this thought appear?

I would find another thought “to me”, yet it is not enough to say that the one thought came into existence by one other. It is though more correct to say that the thought came into existence by a trillion or so other thoughts, creating the space-time constructed individual consciousness of myself.

If I was to picture this bundle of thoughts making me, me, I would picture something like an intricate bundle of complex patterns, sort of like a multidimensional web of thoughts as strings, being held together by each other.

Each string has itself a complex patterning of other types of subtle phenomena, relating cognition to aspects of emotions and memories, etc. So through these layers the pattern thought-connection makes can vary from one layer to another, making this web of thoughts a hell of a mess to un-tie.

So, since I started my investigation I have found that not only am I aware of these thoughts when they appear, but I have found myself to be aware of a hopeless thought-maze, and the finding of an exit within it seems like an impossible mission.

I can now see that my persona is not only related to this web, but that it is held within the substratum of it.

A new question then arises: Am I just what I think myself to be, and do I even have any control over it?

If it is so that the sum of my individuality is held by a belief system of what I think myself to be, am I not a mere puppet then, held together by invisible strings meticulously tied in ways too complex for my own understanding- which would also be the sum of the very same pattern.

At this point, I have not yet realized the potential of my awareness, for this is where I decide to bypass this bundle of what I think myself to be and decide to take a leap of neglect in the sense of a short-cut straight to the first connective thought-tissue that birthed the sense of “I am”.

Somehow a three-fold perception must have come into existence in the same bundle of primary individual thoughts of myself through perceiver-perception-perceived. This is when awareness becomes really interesting, for you see, as soon I have experienced this leap in my own awareness, awareness itself may become aware of itself and the three-fold perception will explode into new meaning.

But I will not develop this any further, yet I encourage you to play with the investigation mentioned. I will, though, sprout for the idea that the foundation demonstrated above can be seen as a microcosm to a macrocosm creating our collective consciousness, bound in the web of samsara until awareness prevails.

“I think 99 times and find nothing. I stop thinking, swim in silence, and the truth comes to me.”  ― Albert Einstein

Speech of silence

Words are problematic by nature, because language as a way of communication, description, and discernment can perpetuate our understanding of the known (perceiver, perceived, and perception itself), and let us deepen our conceptual understanding. Yet in reference to non-dual view, Self-realization does not come forth through word-language. It reaches us first in silence (which is incomplete in its statement because the word “silence” is referenced to from the concept of sound), before totally permeating even spoken language with its foundation as the absolute. 

Word-expression is potent and can point us inward because of the layers of cognition and emotion intertwined with content and meaning given to it, making our experience of a word or a piece of poetry very intimate. Even though there might be a common understanding of the language used, the layers of viewing differ from individual to individual. 

Words can act as powerful seeds when integrated and can point towards self-inquiry. In the same sense, they can wake feelings within, allowing us to follow towards the root of the perceived feeling. Japa mantra is a powerful tool to infuse our minds with the desired scent or meaning of the word. For example, if we often recite AUM 108 times internally or externally, we will eventually taint our being with our understanding of the meaning of AUM increasingly. Its vibration will affect us, and relations to our personal layers of the word AUM will steer our minds in the directions intertwined with it. Your mind is a magnet that attracts your reality. 

But as much as language is fantastic in its tremendous depth that goes beyond the examples just mentioned, there comes a point in journeying towards the end of spiritual searching, where words will take you no further. In the crown of your being, sounds emerge in absence of senses.

“It is only in alert silence, that truth can be”  

― Jiddu Krishnamurti 

NLP and Meditation

I have in my analysis, described a method for investigating one's thought pattern, and pointed towards how this web of thinking relates to cognitive and emotional layers within ourselves. 

When there is an expansion in our awareness and we are abiding in a state where we can calmly observe our internal language and reactions, it is called meditation. By realizing how thought-patterns build up and relate to our persona, we naturally have the opportunity to distance ourselves towards our perceived thoughts and emotions. This realization regarding our internal

language will permeate how we react when we communicate with others, and it will influence our understanding of others’ responses. In a sense, we can say that one naturally becomes more forgiving towards conflicts with others or even within ourselves. We might also develop the ability to recognize the build-up of a conflict in action, and then use language more consciously.

Because of an increased level of awareness and witnessing, of the many layers of individual persona, there is the opportunity for recognizing the immensity of influences that have played part in creating the individual consciousness at any given moment. Anything from social construct, environment, economy, politics, childhood trauma, relationships, ..well anything that has affected our persona has had some effect on us, and therefore, our internal and external communication. 

These layers or pattern-buildups must influence our being similar to how we influence that which is perceived to be outside of us. By practicing awareness and abiding in our inner stillness we can become less reactionary. In a way, we can see that much of our communication happens in effect to subconscious influence by our language towards, or within ourselves. Through this recognition, we have the opportunity to become more conscious of the way we communicate. It is a form of reprogramming our being to communicate more consciously by increasing our awareness of our subconscious or, more consciously using the potency of language. This is an effect of meditation or self-inquiry. 

Neuro-linguistic programming works similarly. But as meditation and self-inquiry naturally affect ourselves and others as an outcome of it, NLP actively intends to reprogram people’s behavioral patterns. The method of NLP deals with noticing the negative behavioral patterns of a person, and then, using the qualities of the behavior to become a beneficial aid for reprogramming. An example: someone who suffers from anxiety, and has a vivid way of experiencing it, usually has a strong relationship between memory and visual thinking. The Neuro-linguistic programmer could then decide to treat the patient using visual tools of reprogramming, because of the visual imprints already affecting the patient’s wellbeing. Visual NLP therapy could include the “movie theatre technique”, a technique that allows the patient to imagine watching their traumatic experience on a screen. The patient fasts forward, rewinds, and plays their experience several times to gradually disassociate themselves from the trauma. This disassociation happens on a subconscious level while the patient consciously revisits an experience. By using the movie theatre technique the NL-programmer can together with the patient tweak the negative thought patterns. This can be done by first becoming aware of thoughts, feelings, and behavior relating to a traumatic memory, and then imagine them to include a more positive experience. One can think of NLP in comparison to meditation/self-inquiry as a treatment to be considered doing vs. allowing effect. 

Both NLP and meditation regard our experience to be subjective, and should in that sense be treated by an investigation into the subject of experiencing. 

4. CONCLUSION

However we choose to view an individual's linguistic or communicative factors, it is obvious that there are grosser and more subtle forms, as well as there are conscious and subconscious. 

Since much of our communication and personal patterning happens at the subtle and subconscious levels of our being, our external communication is equally affected. 

The outstanding factor linking NLP and meditative practice is awareness. If a person increases their awareness of their behavior, the person gains insight into the mechanism of themselves and their communicative language. This increase of individual awareness allows for the individual to realize themselves apart from the behavioral patterns present, and therefore allowing for more conscious behavior, and dissociation from a negative experience. 

When we act from a more conscious mindset and abide in a meditative state, the reactionary web of our persona becomes slower and less potent in stirring our emotions. Meditation and Self-inquiry can both be helpful for the person who is hoping to become more conscious of his or her behavior or psyche, and for the seeker looking to go to the very depth of the immensity of their being. 

I acknowledge that NLP can help treat specific behavioral patterns. Yet I believe that the keys towards understanding and affecting the persona and its communicative patterns lays within awareness and consciousness itself. And to experience the fruits of action, one has to go within, where one can experience not only one's internal language but the absence of it. 

I would also like to point out that since experience is subjective, there exist numerous tools, techniques, or therapies besides NLP or meditative practice that lets us investigate into communication. This work only shows one window of perception among other possible viewpoints. 

Trace one thought and find another, dismiss them all and find yourself. 

/Alexandra 

[nobodyfamousposts]

You know I was watching a video by overly sarcastic productions and I’m pretty sure that from that definition Adrien is a Mary Sue. The episode was Trope Talks: Mary Sues.

Pretty much Adrien is this to a T.

I hear people throwing the term around a lot and complaining about the term being thrown around a lot but I think what ends up being missed is what actually constitutes a Mary Sue in the first place.

A Mary Sue is not a character who is overpowered or “too strong” like the complaints about Captain Marvel. If that was true, then literally every anime protagonist or super hero that exists is a Mary Sue by default. Every one. Ever.

Nor is it someone with a tragic backstory like Batman or any other long line of superheroes or anime protagonists. Whether it’s dead parents, a past trauma, abuse, bullying, or just a conga line of horrible circumstances, plenty of characters have had bad things happen to them. That’s kind of part of life and what makes them relatable and sympathetic.

It’s not even someone who is loved by many people. Or is a good judge of character. Or whom manages to talk someone into a heel-face turn. Regardless of what claims may come, these are not what make a character a Mary Sue.

What makes a Mary Sue—the central core aspect of what makes a character problematic all boils down to how the narrative itself treats the character.

The narrative is generally indicative of the author’s own preferences or leanings. We see it all the time with stories that create straw characters to symbolize people the author doesn’t like or things the author doesn’t agree with in order to belittle it. The opposite can just as easily occur where a character or position is hyped up to look better or promote what the author wants promoted.

Those previously mentioned tropes are a sign of that. For a Mary Sue, everything from powers to past traumas to relationships are all just “things“ for the character to have. Whether to emphasize their importance or to highlight their greatness. While they’re not necessarily what automatically makes a character a Mary Sue, they are often utilized as tools by the narrative for the sake of propping the character that is a Sue. That’s why they’re easy to pick out and attribute to a Mary Sue as well as used to claim characters are Sues. Because they are tools used to try to make people support a character instead of actually making a character people can like and WANT to support.

A Mary Sue is given powers for the sake of making the character awesome without the character actually doing anything to be awesome. A Mary Sue is is given a tragic backstory for the sake of making the character sympathetic without the character actually doing anything to warrant sympathy. A Mary Sue is given relationships for the sake of being the center of attention and adoration by other characters to shell how awesome they are without having to do anything to show how or why anyone would or should actually like them. Any relationships a Mary Sue has are NOT legitimate connections between two or more people, they’re just labels to slap on the Mary Sue to make the character seem more relevant and important.

Ultimately, a Mary Sue supplants the story for the sake of having this character BE the story, and it’s a major reason why they are despised in most fandoms. A reason that, sad to say, was actually deserved in the early days of fan works.

That said…

Adrien IS a prime example of a Mary Sue because of the way the narrative is going out of its way to portray him. Even the creator has come out and said he is “perfect” and that any flaw he could have isn’t actually on him so much as an indication of something being wrong with the world around him. Anything bad that happens, even as a direct result of that character’s own actions, is portrayed as being the fault of anyone and everyone else but that character, in this case Adrien. That, RIGHT THERE is pretty much the epitome of what a Mary Sue IS.

Some call it an ego trip. Some call it a power fantasy. Many consider it as a sort of reality warper. It’s ultimately the case when the story is being turned in on itself to make this character look good without the character actually DOING anything to BE good and even when the character is specifically doing things that AREN’T good.

This is why Bella Swan from Twilight is a certifiable Mary Sue.

This is why it can be argued that Rey from Star Wars is a Mary Sue.

This is why Anita Blake is definitely a Mary Sue.

And this is what separates Adrien from Marinette. And Adrien from pretty much everyone else in the series.

It’s not that he has superpowers—if anything, I think he got cheated in the powers department, all things considered. No, it’s the way he doesn’t seem to take those powers or the responsibilities that come with them seriously. Given that he has had THREE instances already in which he threw a major fit in the middle of an akuma battle because he wasn’t happy about something only for him to be shown as being RIGHT to do so even to the detriment of his partner, his Miraculous, and ultimately all of Paris.

It’s not that he has a missing mom and a neglectful dad, it’s how the narrative keeps emphasizing how sad Adrien is without actually DOING anything with it so they can milk the “Sadrien” angle. Because let’s face it, seeing Adrien looking sad sells.

It’s not that he has multiple girls who like him. I mean, he’s a model, and is rich and famous. I’d be surprised if he didn’t have multiple girls who were into him.

No, it’s in the over the top emphasis of his supposed greatness. It’s in this consistent impression the narrative is giving that the female lead we are supposed to be rooting for—whom we all KNOW has gone well out of her way to do things for him, try to make him happy even to her own detriment, and has struggled more than any rational person should be willing to just to try confessing to the guy is somehow the one side of the love square that “isn’t trying hard enough”.

It’s in the way he is always portrayed as being the “moral voice” and the one in the right in any situation regardless of how little he’s involved or even understands what’s going on. Whether it was lecturing people on how to deal with a bully or for being happy when their bully was leaving (when he was never actually a target of that bully). Or lecturing people on how to deal with a liar (when again, he wasn’t the one being played or threatened). Or threatening to quit when Paris was flooded by an akuma all because he wasn’t being told secrets that he wasn’t showing he was ready to know and that his tantrum CERTAINLY didn’t show he was ready or mature enough for.

It’s in the back and forth on whether he is supposed to be the epitome of “perfection” and the wise person everyone should listen to only to suddenly be made out as the innocent victim of everyone else when his less than noble or heroic behaviors are pointed out in order to excuse or justify his behaviors. (I call it the Standard Adrien Defense and it follows this trend each time.)

It’s in the clear and blatant double standard between what Adrien/Chat is allowed to do and get away with vs what is allowed from anyone else. It’s in the way that Adrien can do things that anyone can agree is wrong without getting so much as a lecture but anyone else in his place will—and have been raked over the coals by the same narrative that gives him the equivalent of a pat on the head and a cookie.

It’s in the way he’s just…there. He has the plot connections. He has the relevance. He has the position of being at the center of quite literally everything from the villain’s plans and motivations to the adoration of the female lead…and he does NOTHING with any of it.

And it’s in the way that no matter what he does or what side he takes, the narrative always ALWAYS frames him as being the one in the right when there’s a conflict, the one to sympathize with when he and another character are hurt, and the one we as the audience are supposed to agree with and support more in any situation.

And the truly sad thing is that Adrien as a character has potential. From a humorous character to a serious one, from the wise and introspective person to the wide-eyed innocent being thrown into the hero job, there was SO MUCH that could have been done with his character. Instead, Adrien is reactionary. Anything involving him is less a matter of what he personally is doing and more about what is being done to or for him. He has no dreams or aspirations other than being with the main female character, has no interests to speak of, and his other relationships actually seem pretty lacking—again, based less on what HE’S doing and more on what other people are doing to and/or for HIM. He somehow has a wide-ranging impact without actually taking action.

As it stands, Canon Adrien is about as real as the cardboard cutout or wax statue of him. To the point he might as well be either for all that he actually seems to accomplish. Because nothing annoys fans or creates salt quite like wasted potential, and that’s all canon Adrien is at this point.

That’s why Fandom Adrien is awesome, whether he’s portrayed as being dense as a brick, showing a polite exterior while internally screaming, acting like a massive dork, or just acting passive aggressive in how he deals with his father and people like Chloe or Lila. Because however way he’s being made to deal with the crazy situations the fans put him in, he’s at least doing SOMETHING besides standing there and looking pretty for people to fawn/fight over.

Strangely enough, this may be the first case I’ve seen where fans have taken a Mary Sue and made him a real character rather than the other way around.

[yurimother]

Visual Novel Review - National Park Girls - Episode 2: Happy Trails

After seven months, we finally have the second part of Studio Coattails’ episodic slice of life visual novel, National Park Girls: Episode 2 - Happy Trails. The game continues from where the first episode left off, following cynical park ranger Eve as she lives out her exiled with her new roommates, three magical and adorable girls that are embodiments of different American national parks. As this is the second episode in the game, a lot is the same as the first. The art is fantastic, the full English voice acting is nearly perfect, and it is all funny and cute as a button doing stand-up. If you want to learn more about the game, check out my review of Episode 1. Now to examine what Episode 2 has to offer.

Happy Trails starts with a stylized flashback of the incident that landed Eve on probation. This strong opening is one of the best scenes in the visual novel. The jagged black and white artwork, redesigned UI, and jarring sound effects are as disturbing as they are incredible. Not only is the direction excellent, but the story nicely feeds into Eve’s arc in the episode.

From this fantastic opening scene, we jump into the daily life of the cabin. Eve is grouchy, Yosemite is stuck in her research, and Zion is cute but otherwise uninteresting (I desperately hope that she gets more screen time and development in Episode 3). The plucky Yellowstone is bouncing around preparing breakfast and doing the housework. Throughout the morning, the women begin to bicker, causing Yellowstone storms off in a huff. While Eve is out working, she finds the volcano-headed girl, and the two take a quick magical excursion to Yellowstone National Park. There they hike around, talk, help some inexperienced campers, and solve each other’s emotional issues, thus wrapping the episode’s plot up nicely.

There are a lot of positive aspects to the story of this episode. Eve goes through some quality character development, realizing that she is often too harsh and unforgiving of others. The humor in the story is top quality, dare I say, “Dope AF” (a reference that every Twitter post, Steam review, and forum post about this game will include). It also contains some excellent environmentalism commentary about the ways humans treat nature and neglect to consider the long term impact of our actions. The dialogue is exceptionally well written, and the relationship between Eve and Yellowstone was believable, entertaining, and realistic. Lastly, props for the scene where Eve says she is not into stories, gossip, or boys (I know this is not a romance, but my Yuri radar is stuck in the “On and Desperate” position).

The central conflict and reason for Yellowstone’s tantrum is that she feels overlooks. Despite all she does to keep the “household” running, nobody every thanks her or offers to help. I take no issue with this storyline, but the execution is flawed. To establish this plot, Yosemite is made significantly meaner than she was in Episode 1. She was always harsh, sarcastic, and exasperated, but here she is downright cruel to Yellowstone, and that is not hippy skippy! Also, despite Yellowstone being the center of the story, she undergoes very little development. Instead, it is the others who grow as people… national parks… and become kinder and more appreciative. Again, this is not inherently a problem, but it could have been done better. If Yosemite and Zion were featured a bit more, their evolution would feel more natural and satisfying as a payoff.

While Yellowstone’s arc is my main qualm with Episode 2: Happy Trails, I did encounter some smaller issues. A few of these were technical, such as the wrong voice line playing, or the absence of audio altogether. Additional, during the first half of the game, Yosemite sounds ever so slightly muffled. Fortunately, Rachael Messer’s performance is so good I feel ashamed for even pointing it out. There is also one awkward scene early on where Yellowstone fears that forgetting to make coffee will result in abuse, but she quickly returns to her usual peppy self. However, these instances are noticeable and detract from the overall experience.

It feels like I railed against the game a while there, but I really did enjoy it. There is a lot to love here. The English voicing is phenomenal, Jill Harris once again steals the show as Yellowstone and has plenty of screen time to show off her talent. Satchely’s CG artwork is beautiful and clean, they are easily some of the best offerings in visual novels. I would buy this game for the images alone. Studio Coattails even improved many aspects of the game I criticized in my review of Episode 1. For example, the sprite animation, while still fluid and dynamic, is toned down and used with greater impact. Lastly, the backgrounds are a vast improvement. Yellowstone Park is nearly as beautiful as the real thing, and it clashes way less with the sprites. Thanks to the backgrounds, the already phenomenal artwork is lifted to the next level.

National Park Girls Episode 2: Happy Trails will easily please players with its plethora of adorable characters, funny dialogue, and astounding artwork. While it does take a few missteps with the story, it is still enjoyable, and I know that it can get even better in future episodes. I eagerly await Episode 3 and pray we will not have to wait too long for it.

Ratings: Story – 5 Characters – 6 Art – 9 Voice – 9 Music – 6 LGBTQ – 1 Lewdness – 0 Final – 6

The visual novel is available on Steam for Windows, Mac, and Linux.

Review copy provided by Studio Coattails

[scifigeneration]

Dystopian story ‘Ready Player One’ has tips for life after coronavirus

by Tom Ue

Wade Watts becomes a better global citizen when he reconnects to the real world in Ernest Cline’s novel ‘Ready Player One.’ Tye Sheridan stars as Watts in Steven Spielberg’s film adaptation. (2018 edition of 'Ready Player One'/Penguin Random House)

Dystopian fiction seems so alluring during the coronavirus pandemic. As we eagerly await a return to normalcy, many say we can aspire to do better — whether we are talking about wealth distribution or global warming. What dystopian fiction does especially well is to show how we can do more than simply repeat.

Steven Spielberg’s Ready Player One (2018), an adaptation of Ernest Cline’s bestselling novel of the same title (2011), is a case in point. Set in 2045 in the city of Columbus, Ohio, it speaks of a world that has weathered corn syrup droughts and bandit riots.

People have now resorted to outliving rather than fixing the world’s problems. Accordingly, a virtual reality game known as the OASIS has become a refuge for many, including the central protagonist Wade Watts (Tye Sheridan).

Small wonder that the OASIS is so appealing. Within its walls, Spielberg pays homage to many aspects of popular culture. The video game Minecraft (2009) is a possible setting, and throughout the film, viewers watch Chucky, the Iron Giant and Mechagodzilla in battle.

The Iron Giant goes to battle in ‘Ready Player One.’ (Warner Bros.)

Refuge of virtual reality

Entire plot sequences incorporate existing popular characters, music and stories. In a nod to Superman, Watts dons Clark Kent glasses to conceal his identity. And in a sequence worthy of the film’s 2019 Academy Award nomination for Achievement in Visual Effects, Watts and his romantic interest Samantha Cook (Olivia Cooke) dance to the Bee Gees’ “Stayin’ Alive” (1977).

The central conflict in Ready Player One arises when James Halliday (Mark Rylance), one of the OASIS’s creators, dies and leaves behind a seemingly impossible quest. The prize is his extensive fortune and total control over the OASIS. Watts’ competitors include the Innovative Online Industries (IOI), a loyalty centre that seeks to take over the OASIS.

The IOI is shown to be exploitative. Samantha’s father, we learn, borrowed gaming gear, built up debt and moved into the IOI in hopes to repay it, only to fall ill and die. Samantha stands to follow his example and her debt has already exceeded 23,000 credits.

Wade and Samantha dance to the Bee Gees’ ‘Stayin’ Alive’ in ‘Ready Player One.’

Inequalities

What distinguishes the film — and its source material — is its exploration of how we negotiate with a social order rife with inequalities. This theme is particularly timely: COVID-19 has made apparent, for instance, the links between inequality and public health.

In the novel, the IOI’s corporate police arrest Wade, and he is marshalled out of his apartment complex and into a transport truck. As the vehicle moves, he peers out of its window and absorbs the changes that have befallen the world:

“A thick film of neglect still covered everything in sight …. The number of homeless people seemed to have increased drastically. Tents and cardboard shelters lined the streets, and the public parks I saw seemed to have been converted into refugee camps.”

The key term here is neglect. Wade is not alone in having forsaken the world. The virtual universe of the OASIS may have provided a convenient refuge. But choosing to escape the world’s realities has contributed to a dramatic rise in social and economic inequalities.

Taking constructive steps

Both Cline’s novel and Spielberg’s film trace Watts’ growth into a better global citizen and his reconnection to the real world, so that his triumph can entail more than the regeneration of a flawed system. Spielberg expands on the novel by exploring what Watts does with his new-found wealth and power.

Watts shares his gains with his friends and together they take constructive steps towards improving both the OASIS and the wider world: they employ Halliday’s friend Ogden (Simon Pegg) as a non-exclusive consultant. They also ban loyalty centres from accessing the OASIS and switch off the virtual world on Tuesdays and Thursdays to encourage people to spend more time in the real world.

All of these actions seem commendable and they reveal how different Watts and his friends are to Halliday. Yet the film also exposes paradoxes inherent in fixing a broken system with its very tools.

In a recent article on the novel that I wrote with James Munday, a mathematics and statistics undergraduate student, we argue that any major change Wade makes to the OASIS, such as closing it for extended periods, demands that he and his fellow shareholders take on a substantial loss: their power is contingent upon the OASIS after all. But Wade seeks a more selfless and heroic win: creating a system that answers the needs of the many.

Steven Spielberg and Ernest Cline at the Warner Bros. ‘Ready Player One’ panel at Comic-Con International in July 2017, in San Diego, Calif. (Photo by Richard Shotwell/Invision/AP)

Imagining new worlds

What Spielberg does especially well is to show the importance of imagining the world in new ways — and the temptation and problems with rebuilding a broken one in its own image.

In this, Spielberg harks back to a long genealogy of dystopian fiction, a genre invested in world building. The problems that Watts faces are anticipated, for instance, in George Orwell’s Animal Farm (1945), where we find an exploitative social system replaced by one even more so because it is more efficient.

Recently, Gregory Claeys provided us with an interdisciplinary map of the genre in his illuminating study Dystopia: A Natural History. In a short essay, he draws connections between the fears that we feel in these times of uncertainty to the genre’s central concerns.

As we collectively meditate on the world’s problems, why not imagine better worlds?

About The Author:

Tom Ue is an Adjunct Professor in the Department of English at Dalhousie University

This article is republished from our content partners over at The Conversation under a Creative Commons license.

[shaonsim]

Thoughts on the writing of itv!!! What kinda show would you writeee

My friend. My hero. Thank you for sending this in. Thank you so much!! You gave me such a wonderful opportunity to blab about stuff.

THANK YOU ❤️❤️❤️❤️

The writing of ITV, you ask? Hang on my friend, this will be a WILD ride. A wild ride. This will be loong and wordy and a little incoherent, jumping from one point to another, but this will tell you a lot about how I feel about the writing of ITV.

And yes, this will read like a letter to the CVs because I am totally incapable of abiding the rules of grammar and I don't want to edit all this.

And I apologise for the out of context references that seeped in with time. Sorry, couldn't help it. I will gladly expand upon any of the references.

The main thing with writing (according to me, but I don't like repeating this disclaimer since by asking the question you already know that this will be my personal opinion, but still, for safety purposes)...The main thing with writing is that the core concept can be summed up in one single paragraph, and then you add words for emphasis.

You write in a thousand situations, in different styles, only for the message to hit home.

Look at our Epics.

Ramayana can be summed up as the Ram-Ravan conflict in a good Vs evil way. Lakshman is the devoted brother, Hanuman (ji) is an ardent devotee of Ram-Sita.

Mahabharata is basically another story of good Vs evil, where Duryodhan is the evil guy , Shakuni is an evil mastermind, 99 Kaurav brothers (+ Karna) the sidekicks, and the rest of the Kurus (+ Drona and Kripa ) as the silent voices of reason.

And almost every event emphasises these points. Because that's the story.

Look at Harry Potter. Three kids (young blood/new generation ) fighting against the big bad and pointing out and fixing the mistakes of the past along the way.

Look at Kalpurush (I read it during the quarantine and I am in love ❤ ) , where the main theme is that a mother worries whether the circumstances will lead to history repeating itself, whether a son will follow his father's footsteps, and whether she would be happy if he did turn out to be like that.

Technically, it is the same with shows.

Sasural Simar Ka began with the concept of the deep bond between the sisters, then moved on to supernatural forces interfering with the Bhardwaj family. The theme changed, but it didn't vanish.

Swaragini began as a show revolving around the sisters, and it stayed like that for forever, even when the plot went sideways and the sisters were pitted against each other.

Kumkum bhagya is a show where the leads battle kidnapping, murder attempts, misunderstandings etc and come out longing for each other and dreaming about happier times (the same was the theme of Pavitra Rishta too, if I remember correctly. But with less kidnapping.) And now the show has taken a leap with a love triangle between the kids (look, another similarity between kkb and pr. Go Ekta)!

KZK2 *cringe cringe* is all about AnuPre who love each other but don't end up with each other because of various reasons.

ITV has this thing down pat.

But it fails to come up with proper events to highlight their core concept and of course, they fail to choose an interesting theme for the show, but heyy, human mind and relationships is a gold mine for ideas. It is fascinating, and quite enjoyable, if it is done right. Am I biased because it is my favourite genre? Yes of course.

But the point stands.

Another important part of writing is that in order to come up with plot points that will reinforce your main idea, you need to come up with a cast of interesting characters, and develop their background to give you an ample opportunity to create the above mentioned plot points. The spectators, onlookers, the influencers need motivation - reasons for their actions.

Think about Karna. Think about Drupad-Drona. Think about Bhishma-Amba. Think about Jayadrath and his boon.

Sub-plots, side-plots. Parallel storylines.

For the most part, ITV fails in this department. The characters or stories they introduce are a) boring (either because we fail to understand their motivation or because they are diluted versions of the leads) or b) annoying because of their over enthusiastic and blind favouritism for the lead character they support.

^ Casting and acting also plays a major part in this (ugh Chandni ), but most of the time, it can be solved with focusing on the actor's strengths and weaknesses and changing the dialogues based on that. A writer can change things.

That's their job.

If your side characters are not interesting enough to deserve a story of their own, you aren't trying hard enough. That said, if you can't weave in their story in your main story, do not focus on the side plots. No one is interested in seeing your hodgepodge of TWO (or more) stories. It should all come together in the end, it should become one BIG story. Bring it all together!!

But do focus on the side plots, because there is only so much you can do with your leads, especially in the romance/family (whatever you call it) genre that occupies 90% of tellywood (and for good reason too!!)

A good plan is to create events with one of your main character and a group of characters (how small or big a group is for you to decide). If you force the audience to look at two/three supporting characters, no body will be happy.

Use your leads!!!!

Also, PLEASE use the show Vs tell method.

You want us to know that the male lead is adored by his sister? Show us. And by that, I meant scenes where we can see the bond they share, NOT dull monologues where the sister sings praises of her brother (a few monologues are fine though). You are an audio-visual medium.

ACT LIKE IT.

Monologues are for written things. Where we only have the words and our own imagination. Here, you have the tools to present us with the pictures, with the words they speak to each other.

Don't waste it.

In the same vein, do not repeat dialogues. Not word to word (don't repeat the same thing with different wording multiple times in a single episode or a week of episodes). Switch it up, and if you have to, have to repeat stuff, use an actor who has decent facial expressions and voice modulation. If the actor is stiff, robotic, then don't use that actor to parrot your lines. Seriously.

<< Not to hate on anyone in particular but Prerna's 'Anurag Anurag Anurag' is very annoying, for reasons that are better left unspoken >>

Hey, hey, you know what else is an integral part of writing? Research. Making a show on doctors? Police? Engineers? Lawyers? Chefs? Do your research. And if you want to take the short cut and go with the convenient business men/women trope, by all means, go for it. GO FOR IT. But show them working, and no, not because of tracks revolving around the business, but always. Running a business is a full time responsibility. Show that. I repeat, show that. Show that the character isn't home 24x7, show late night meetings, show files neatly stacked (or strewn about, your choice). Show the products or materials involved in the business. Show your characters being exhausted with the amount of work, show their involvement in their work. Or don't, if that suits the story and your character is neglectful, or if you have a proper reason to have them take some time off. Pay attention.

Time for a checklist.

Central theme? ✅

Side plots (+ characters)? ✅

Edit things because of the actors? ✅

Show Vs Tell? ✅

Research? ✅

How much DRAMA is too much drama? ❔❔

Now, this is a product of my curiosity (+ me posting the Fic Which Must Not Be Named), but I think this fits nicely with the rest of this answer. I wouldn't explain this in detail because the original post does a much better job (and I need validation, so go read that post) but to think, that ITV tells us stories of other people, and whether it is this very question, this doubt, that leads to the numerous kidnappings and accidents/fire/misunderstandings we see in 90% of the shows.

Okay, time to return to the checklist.

Oh. Oh! I forgot my favourite part.

The influences of the audience. Every writer has a story to tell. And while it is difficult to think that the ITV creatives know what they want to do with their story, I would give them the benefit of doubt. Besides, as a writer myself, I know that 80% of writing is having no clue as to where you want to take the story. ANYWAY, back to the topic at hand. I think, if everything was written and shot before telecast, we might get cohesive writing. As it is, the creatives put out some content, look at the reaction, and try to maintain the highs or fix the blunders, by hook or crook.

And the story suffers.

Complete revamping of tracks, characters behaving worse than pendulums, repeat of romantic scenes, bringing in new characters out of the blue - I believe, most of these things occur in a rush to fetch (or maintain) ratings.

Now, let's talk about copy-pasting tracks without bothering to look at the bigger picture. What works for one show, works only because it goes with the past and future events of the show. You can't grab xyz from show1 and throw it into show2, because S2 does not have the background of S1. It wouldn't work, because the characters are different, their motivation is different, their past is different, everything is different.

Also, can we talk about how two people of opposite genders can be friendly and helpful to each other without secretly pining for the other person? It doesn't always have to be romance, although it can be perceived as that, if you want a jealousy track. Character A and B both know there is no romantic feelings, but Character C is seeing green because heyy, DRAMA!!

((This is one thing that disastrous Bajlo tomar alor benu did right, in respect to Minu and Rudra))

Another important thing - people can (and should, if you want it to be realistic) be morally grey. There is a phase between liking someone or hating them or wishing them to be dead or actually killing them. Also, not everyone has access to criminals and goons. I REPEAT, not everyone has a criminal connection, or the mental capacity to actually execute the plan to the T.

Thinking of murder, planning murder and straight up plunging a knife in someone's chest are different things. Remember the difference.

USE THE DIFFERENCE.

And while you are on it, learn the difference between attraction, appreciation and love.

We might be attracted to a particular quality - a physical attribute, a skill, a specific philosophy etc. We might appreciate that quality in a fellow human being. And we might be attracted to and appreciate the person with those qualities, but that doesn't mean that we would love them.

In the ocean of unnecessary romance angles and third wheels, this core difference is often brushed away in a bid to gain trps. Please don't do that.

Another checklist.

Ratings changing the story? ✅

Copy pasting tracks ✅

The world is grey ✅

Less criminal activity ✅

Not everything is love ✅

Would you look at that! I covered so many things. Fear not, I still have a lot to say. Mwahaha.

Not going to go into detail about my opinions on in-laws on ITV, because that is already covered here, but let's talk about the actual family.

The parents, siblings, cousins, relatives. Again, I am going to repeat myself and tell them to use the show Vs tell method. And actually focus on the dynamics because although the equations will change after marriage (for the male lead, the female lead will be cut off from her family 80% of the time), these relationships set the foundation for your character. Their personality. Motivation.

If you are going with a character who is distant, then by all means, do so, but do NOT ignore the family. Show that the character doesn't care.

Show it. Don't gloss over it.

That said, limit your exploration of characters and back stories. There is no hard or fast rule, but if it feels like too much focus, then it is too much focus. Go follow your basic INSTINCTS.

Okay, now is the time to come to the business side of writing for ITV. Bringing in popular characters, giving them smart dialogues and promoting them to the High Heavens. Wonderful trick. But do it in a subtle way. We will gladly let you play us, but only until we realise that we have been played. Subtly manipulate things. Subtly.

And, talking about that, let's also talk about how consistency is really important. Dumping black (or white) paint on characters would not wash away past grievances. It wouldn't remove the impression we already have. So if you want to portray someone in a positive light, work up to that point. Same with negative portrayals. Ease us into the change in perspective.

((Bajaj track in KZK2 is the perfect example of how the writers totally FAILED to follow this rule))

Also, if you are writing comedy, please hire good actors. Comedy is incredibly difficult, and if the performance isn't up to the mark, then it falls flat. And bad comedy is very annoying.

Another thing. If you have a social message, as in if the central theme is a social issue, do NOT forget your theme. And do not shove it down our throats. Don't make it preachy. Strive for balance.

And here, let me remind you that you do need a central theme, that's a very important part of your story. So pick a theme. And stick to it.

Think of your story like a human body.

Skeleton is the theme. The concept.

Blood is the undercurrents, the 'vibe'.

Organs are the characters.

Veins and arteries are the relationships.

Flesh is your plot.

Skin is the sub plots and side plots.

AND TOGETHER, THEY MAKE A STORY.

TOGETHER, THEY MAKE A STORY.

See how I repeated myself for emphasis? That's what you have to do, in a more subdued and complex way. I know you have it in you.

And because I wrote so much about adding sub plots and side characters, let's talk about what you shouldn't do, with me quoting myself:

Even CID, a show I loved to watch because it was a crime drama but less gruesome than what you would expect, could not escape tellywood’s clutches and turned into a chaotic mess with too many new characters and a massive shift in focus - in its last days, it was more of a romantic drama with the crime sprinkled in, and because there were so many new characters (who were boring 70% of time and annoying for the other 30%), I had ZERO interest in the series. The crimes have always been similar, what kept me hooked was the way they dealt with it and their group dynamics, which was ruined by bringing in a hoard of characters who contributed nothing to the story. And the Shreya-Daya track was a bad one from its conception, there was no need to drag it until my mild indifference turned into a major annoyance. And they could have avoided all of this. There was no need to ruin a perfectly good show with lazy, uncreative writing.

^ Bolded are the parts I consider important.

Also, let me take this opportunity to talk about shows similar to CID, in which every episode deals with a mini-plot and it is only the characters that remain the same. Crime dramas, medical dramas (although one the most popular ones on ITV - DMG was less about medicine and more about Jerk!Armaan and his jerk-ness and got rid of this problem in an innovative way that deserves an essay of its own, but I digress).

If the only thing remaining constant is your characters and their group dynamics, then do NOT throw in twenty new characters at once. Introduce them one at a time and limit the number of characters you will use. Keep the same cast for a decent chunk of time. Please. And do not add in multiple sub plots. The storyline is already a little blurry, jumping from case to case, so too much drama between the characters can be either too much to handle or just very, very boring. The focus is on the cases. Keep it there.

A show that did it quite well, was Goyenda Ginni, what with the overarching plot of a homemaker balancing housework and her passion for solving crimes. And because it was always about a family, with limited characters (bringing in spouses for the unmarried characters), it wasn't crowded.

Before I forget, here are some of my common issues with ITV and their writing department ⬇️

EK and her love for the child!track

Portrayal of marriage and relationship

^ And I must add that the Fic Which Must Not Be Named came into being because I couldn't accept the marriage trope for the two characters from the show that has become my latest obsession, even if the trope is shown in a negative light and the people in it are called out and they realise how wrong they are. #shaonHatesDealMarriages

The year 2020 and tellywood marriages

For the most part the last two links say the same things, but the wording and examples and the object of focus is different (this is how you hammer it home, CVs, write long posts on the same thing until the world learns about your hatred for said things. You're welcome 😎)

Also, something I remembered while writing the little note about forced marriages - acknowledge the wrongdoings of your characters, EVEN if they are the leads and you want people to love them. Glossing over the misdeeds wouldn't help, but accepting the truth, pointing out the flaws and then adding the reasoning behind the actions, and later on, writing in the realisation and apology for the act, is a much, much better idea. It is easier to forgive someone if their misdemeanor isn't shoved under the rug. But don't go overboard with the accusations. Repeating the truth multiple times only serves to annoy us.

Have I covered everything? I don't know. Feel free to ask me specific things in case you think I didn't comment on something. It is easy for me to forget about things while writing an answer as long as this. Not to mention, that I framed the first two-three paragraphs in my head while I stood under the shower, so in the rush to jot down everything I had thought of, I might have missed some stuff. Happens to the best of us, eh?

Coming to the second part of your question, I must admit, I am not the best at coming up with original premises. I like to dwell on the thoughts of the individual, delve deeper into their minds and do stuff - as evident in my love for the romance/drama genre, and why I love that ITV has so many shows in this genre. Why my writing (the drabbles I wrote last week), is more about the people than the plot. That's just who I am.

That said, I think I would do good with a team. Together, we can write a lot of things. ((Someone agree to do a collaborative fun writing project right now, I love those. We can make full use of all this free time and write a story of our own)).

No, seriously.

I love writing as a team.

[kob131]

Okay my thoughts on RWBY 9 is they bitchified (I'm not sure if this is the correct word for it) Willow Schnee (who just appeared in Episode 8 and is voiced by Caitlin Glass weirdly enough, I'll D.M you why later) on the level of Jacques Schnee and it's being used as further justification for Weiss's Actions in her previous Issue (the one with her "cheating" to get back at Cardin because his legs needed to be broken) and Weiss OOC disavowing her family name. Your thoughts?

Weiss doesn’t actually disavow her family’s name in the comic..,.

But once again, that is the LEAST of this comic’s problems.

Let’s talk about what I believe to be the essence of art.

The essence of art to me is the communication between the creator and the audience, the messages, themes and ideals the creator wants to express and tell to their audience without directly pointing to it. Instead, they guide the audience to that conclusion through the manipulation of the audience’s emotions and knowledge, transcending mere words and communicating something in a way beyond what we normally accomplish.

You can see this in the way people disparage and criticize art. Art with a simplistic message is looked down upon because we don’t like someone pointing out the obvious or being simplistic. Art that is erratic and confusing gets criticism because you cannot clearly make out what the message is. Art that has conflicting elements invoke anger because the communication is failing.’

Truly, communication is the essence of art.

I bring this up to teach the people who don’t like me criticizing the comics why I do not like them. This series of pages conflicts with what was communicated to us about Willow in Volume 7 Episode 8 (that she was someone who, while being neglectful, also loved and cared for her children but was wallowing in her own pain [another reason why Taiyang is the best parent in RWBY]) as well as what is happening (we are informed here that the person that was talking to Weiss was Willow before but we were never informed of that, Willow’s voice is heard off page in the first one but then it just cuts to her on the second while the third shows Weiss would have had to walk a ways to her which messes up the space of everything.)

Also, when has Willow ever been ‘hard’ on Weiss? And also, Willow wasn’t the one who wanted Weiss to go to Atlas, JACQUES was. Another lesson about communication, you should communicate more with the creators of the show you’re adapting.

? But Jacques doesn’t HAVE Winter anymore...and since when was Winter so important to him? Also, when has Jacques given a crap about Whitely AT ALL? And again, this is conflicting with what was communicated in V7 where Willow stands up for Whitely and yet Willow says she fought for Weiss (as if she didn’t to her other kids)?

... See why I don’t like these comics?

(P.S. Why is she using ‘menagrie’? Just call it a fucking Zoo...)

Where did Weiss ever indicate she cared about the approval of her parents? It just comes out of nowhere in the comic with this being the most dramatic example.

.... Why is she so emotional about capturing it? From what we saw before-

The animals looked fine. And it wouldn’t make sense to mistreat them or else they’d lose value. It’s really not that big a deal.

You were NOT kidding when you said they made her like Jacques, I just didn’t know they gave her his lines too. Seriously, this ‘how could I ever leave you alone, let alone abandon you?’ stuff sounds like something a scheming coneving asshole would say-

... Moving on.’

Okay where is this coming from? We went from Willow glory hogging to her drinking. Those do not seem connected at all. Willow drinks because Jacques is abusive and neglectful, not because she’s some drunk jackass. These comics are meant to act as an inbetween of Volumes 4 and 5 and yet they’re contradicting past and future Volumes.

Are we suppose to sympathize with Willow? I would say no but her previous characterizations make her out to be more sympathetic so...I dunno.

Also doesn’t this dialogue feel...disjointed? The head is actually hurting trying to process it.

Same pattern? You messed up a bully using legitimate means and your mother tried cheating you out of an accomplishment by taking credit. This is not the same behavior, at all.

Didn’t you do it to clear your family name from your dad’s muck?

So...is Willow mad or happy? I can’t tell, her face is blank and it doesn’t cut to her..

And much like with Yang, this shit came out of nowhere just to be resolved. So it was a complete waste of time while also messing up a central character in the airing Volume. Fantastic.

While not as bad as before, this comic is still bad and inferior to the show and I only think it was more tolerable because the story was slower. The comic continues to fuck up communication with it’s audience while the show still excels since the show did a brilliant job of communicating that Willow was a caring mother who was flawed but still trying her best while tying into what was shown before and the people connected to her. This version doesn’t do that and sends conflicting messages.

This is why media ends up being bad: because it fails at communication.

[wolfandwild]

( resending as I pasted the wrong one. Pls ignore the one with open question >.>) fanfic writer asks -- writing advice.

Hi! I wasn't sure where to start with this, because there's so much to be said when it comes to writing advice, and a lot of it covered by people far better than me! I finally decided to talk about a few of the most common issues I personally see with writers starting out. I don't want to call them 'mistakes' cause I think they're all part of the process, but they're definitely things I see people struggle with and I think are often some of the things that prevent people from being able to finish a project. (This advice was also written with novel-length/long fics and series in mind, but a lot of it can apply to drabbles and shorter works too).

1. Don't neglect your plot. I think a lot of people consider characters to be more important than plot, and to a certain extent I agree. Good characters are usually the major hook that gets people invested in your story, and strong characterisation can assist a weaker plot.

However... there is a however! I think a lot of people start by developing characters, or in the case of fanfiction, pick the canon characters they want to write about… and then get stuck when they try to put things on paper because they don't actually have anything for their characters to do. I'm certainly not knocking time spent on character development, but I would advise you to put at least some time into working out the basis of your full story rather than character moments and backstories alone.

What is the central conflict of your story? What is the catalyst for the action? What setbacks do your protagonists face? If you can't answer these kind of questions, your story is a bit like a car with no engine - it might look awesome and appealing from the outside, but it's never going to go anywhere.

Which brings me to my second point:

2. Outlines are your friend. Writers are often considered to fall into two archetypes - gardeners, who let the story grow as it rolls along, and architects, who plan out their story in detail before writing. I'm far more on the architect side of things, but even if you're a gardner, I think everyone can benefit from outlines.

A lot of fanfiction readers (though obviously not all) won't read stories marked as WIP because so many writers start them, get four chapters in, and then stop. Obviously there are a few reasons why this happens, but I think one of the big ones is a lack of story planning. I'm not suggesting you need to go into great detail, especially if you're a gardener type, but even having a rough, barebones outline of: 'story starts here; this is the catalysing event; this is the plot twist; climax looks like this; this is how it resolves' can really help. Having clear story goals lets you develop your character arcs more effectively, and prevents you from ending up with plot holes or writing yourself into a corner.

3. Don't pay lip service to your character's personality traits. If I were to ask most writers reading this about their character's dominant personality traits, I'm sure you could easily rattle them off... but do they actually impact your story in any meaningful way? It's all well and good to say your character has the flaw of recklessness, but if they are never portrayed as doing reckless things, or worse, are portrayed as doing reckless things but never face any kind of consequences as a result of their recklessness… then it isn't really a flaw.

The same thing goes for positive traits. You can have every other character in the story constantly go on and on about how smart your main character is, but if you never actually show said character doing intelligent things, then it's always going to ring hollow. This is kind of a specific variation on 'show, don't tell', but one I think is very important. Having a laundry list of positive and negative traits for each character is meaningless unless it affects your story, character relationships and/or character development in some way.

On a related note:

4. Let your characters do bad/silly/human things! I think a lot of people get very attached to their characters, both canon and original, and as a result of this attachment are sometimes unwilling to let their characters do anything that could be perceived as 'bad' or unappealing. It's an instinct that makes perfect sense - you love your characters, and you want other people to love them, too! And you might be afraid that if you let them be petty, or jealous, or peevish, or anything like that, then your character will be less likeable.

Unfortunately, this tends to have the opposite effect. If you think about the people in your life you love best, even if they are the most wonderful, kind, and incredible people alive… they still have bad days. They get tired. They say things without thinking. They get irritated. They make mistakes. Writing fundamentally good characters is great - not everyone needs to be a deeply flawed edgelord (though they're fun too!) - but don't forget to let them have humanising moments. It will help your readers relate and attach more, not less.

5. Writing is a skill that takes time to develop. I think there's sometimes a tendency to assume that good writers just slap things down on paper and it's instantly awesome, and I've seen a lot of beginning writers get frustrated and put off when they make their first attempts at a story and it's not amazing right off the bat.

I get it - I'm a perfectionist. I have standards for myself that are probably not humanly possible without the intervention of robots or something - and it doesn't help. The truth is everyone drafts. Everyone edits. Everyone gets it wrong sometimes. The very first thing you write will probably not be the most amazing thing ever - and that's okay!

The fanfiction writers and published authors you most admire were not born writing. They practiced, they drafted, they made mistakes - and it is okay to let yourself do the same. This is especially true if you're writing fanfiction - for most of you, it's a hobby! It should be fun! Expecting instant perfection every time you sit down in front of a blank page is unfair and unsustainable, and is far more likely to result in no words, rather than perfect words.

6. Write. Seems obvious, but it's worth repeating. Words on paper is ultimately the most important goal. Even if it's just a handful words. Even if they're not perfect. Even if they'll need editing later - you can't build on something that doesn't exist. I try to make it a goal to write something every day, even if it's only a single sentence. It's still more than I had yesterday.

That's probably way more advice than you were looking for, but I hope you find it useful. I'm generally pretty busy, but if anyone reading this ever needs a quick hand with getting started or developing an outline or a character or something, my DMs are open.

Thanks for the ask!

[yeonchi]

Doctor Who Series 12 Review Part 3/10: Orphan 55

Air date: 12 January 2020

So, it’s been a couple of weeks since the last review. While I usually like to start writing the episode reviews right after I’ve watched them, circumstances have required me to mull on my thoughts for a little while. If current affairs and other fans’ reactions to this episode are any indication, this one’s going to be a doozy, so I’ll get right into it.

This episode’s spoiler-free thought: “I finally found one of the things I was looking for.”

Major spoilers continue after the break. I’ll be talking about the main topic of this week’s review after my thoughts and verdict for the episode.

The third episode paradigm

It’s looking like the third episodes of each series are dedicated to tackling issues in society and as such, they tend to have quite a few SJW red flags. Series 11′s Rosa tackled racism while this episode eventually turns out to be tackling climate change and global warming.

At the same time, it seems like the writing is too focused on the issues that it sometimes neglects to explain particular plot points. In Rosa, we hear that Krasko killed around 2000 people, but we never hear who the victims were or what Krasko’s motivations were (I would presume that it’s racism). As for this episode’s neglected plot point, that’s coming up next.

Ryan and the SJW tipping point

It’s already the third episode and Ryan is still getting some character development. I thought Yaz was supposed to be the focus of this series. Despite this, however, the unfortunate thing has happened - the SJW agenda has finally made a negative impact on the story for me.

After the Doctor helped Ryan get rid of the Hopper virus, he meets Bella, who had also been infected with said virus. It is revealed that Bella is seeking to destroy Tranquillity Spa, owned by her mother Kane (who she initially claimed to Ryan as being dead), because she left Bella and her father when she was little. Ryan connected with Bella on the topic of missing parents, but somehow the story fails to have Ryan relate to Bella with how his father abandoned him, but was able to reconcile with him in the end. However, I’ll give Ryan credit for making an attempt to act like the Doctor while dealing with Bella.

I don’t really mind the Ryan/Bella shipping in this episode, but the real downer of the episode’s conclusion is that the Doctor seemingly leaves Bella and Kane to deal with the Dregs because they had too many people on the teleport with a minute until a massive bomb goes off. Instead, we get a little lecture on how Orphan 55 doesn’t have to actually happen and how we (as humans) should “be the best of humanity”. I thought Ryan was gonna go all Donna Noble there (I think Tosin Cole could pull it off) and beg the Doctor to save Bella and Kane - for all we know, it’s not a fixed point in time or anything. The Doctor could just return them to where they came from relative to their time.

You know, for a series whose episodes are supposed to be 50 minutes long, this episode fell short by three minutes and a bit - this was also the case in The Witchfinders. If we used this scene from The Fires of Pompeii for comparison, then even with the rest of the episode as it is, you could still fit in a scene where the Doctor saves Bella and Kane and have them listen to the Doctor’s speech in the TARDIS. This is how you don’t let the SJW agenda get (too much) in the way of a good story.

Other general thoughts

Doctor Who has covered parallel universes on occasion along with alternate timelines, though they usually get cancelled out in the case of the latter. However, this is seemingly the first time that we see a possible future story. Assuming that alternate timelines are parallel universes themselves, I could write it off as the Time Lords facilitating simple travel between universes, except we just saw in the last episode that the Master killed all the Time Lords.

God, Vilma’s acting is so over the top, especially after Benni goes missing and all the chaos starts. I guess that’s what happens when you hire boomers and make their characters stereotypical. There are two things that Vilma’s acting reminds me of, namely Shakespeare’s plays and Greta Thunberg. You could leave Vilma and Benni out of this episode and nothing of value would be lost.

Speaking of those two, why does Vilma act so surprised when Kane tells her that she killed Benni? It was literally his final request. Then again, it’s like telling someone that they want to be euthanised minutes before they die without warning. Boomers should just all die lol.

They made catgirls/foxgirls an actual thing with Hyph3n. Oh wait, this isn’t anime, so they’re more animal than human.

Tokusatsu reference time. The Dregs seem to resemble the Sheerghosts of Kamen Rider Ryuki or the Orphnochs of Kamen Rider 555, but with a generic design that makes them look like footsoldiers. The latter would be more applicable because of their evolution.

Not many people seem to talk about annoying kids in tokusatsu, probably because most of them get forgotten over time. Sylas toes the line between being the common annoying (and dickish) kid in distress to being the rare kid that is actually useful. Him locking the linen cupboard with his father, Nevi, and everyone else inside confirms the former, while his superior knowledge of mechanics confirms the latter.

This episode has no cold opening. The writers must have forgotten again.

Summary and verdict (the tl;dr ending)

If this episode was about changing the Earth’s future outright so that humans don’t become the Dregs, then my thoughts would be very different. As it is now, I’m conflicted as to whether I should give a higher rating for the attempts to make this a good story, or a lower rating for this episode being too SJW that it forgets to be good.

A summary of the third episode comparison - Krasko got no (proper) backstory while Bella and Kane get no ideal resolution other than they’re going to die fighting off Dregs as a bomb is about to explode.

Ed Hime, who wrote this episode, also wrote It Takes You Away in Series 11. What happened here? That episode was way better than this one.

Rating: 5/10

Climate change - the big SJW red flag (and a side note on police brutality at protests)

It’s no secret that climate change is a problem and has been for decades. It seems that climate change is worsening the effects of disasters around the world. British charity Christian Aid published a report detailing 15 disasters in 2019 that caused at least a billion dollars of damage. Not detailed though is the Australian bushfires, which if I’m correct, are still burning right now. The first of those bushfires started in June which snowballed into the worldwide tragedy we have now. Dust storms, hail storms and even the Wuhan coronavirus (SARS 2.0) aren’t helping things at all, as heatwaves have been getting hotter and hotter every year.

The main reason why I’m calling climate change an SJW red flag is because in recent years, environmental activists such as Greta Thunberg and the Extinction Rebellion group started highlighting this issue more and more through protests, speeches and whatnot in the hope that governments can take immediate action (because evidently, international agreements such as the Paris Agreement and the actions that are being taken in accordance to them are too slow and not enough).

Greta and XR have received criticism for their words and actions. In the case of Greta Thunberg, she was criticised for being over-emotional, taking a gap year from school to focus on her activism (let’s face it, if the option were available, I think a lot of kids would take it even if it meant that they wouldn’t be with their cohort anymore), apparently being manipulated by her parents for political points or the fact that people are defending her because she has Asperger syndrome, OCD and selective mutism, on top of being ignorant about climate change (which is pretty much the general argument of her naysayers).

Extinction Rebellion protests have been criticised for their civil disruption; the ironic thing about it is that they have protested on public transport when it is actually something that helps their overarching cause. Who can remember when those protesters got dragged off the Tube train? And what about them gluing themselves onto roads? Compared to the former, it’s a step in the right direction for their message, but don’t say I didn’t warn you if someone gets called a terrorist just because they drove their vehicle into a pack of vegans.

I want to take a moment to go on a tangent here. Over the last year, there have been a lot of political protests around the world, so XR and all the other climate protesters should think about their place because if their country has really bad political problems (no, Trump and Brexit don’t count), they would probably have bigger things to worry about.

I’ve never really heard anyone compare XR or the climate protests to the protests going on about Hong Kong, particularly in regards to police brutality. I don’t really mind anyone else taking leaves from their books, but the one thing I which I find absolutely offensive and insulting is that protesters outside of Hong Kong are complaining about police brutality, like come the fuck on. I’ve been following Hong Kong news since before Occupy Central in 2014 and I’ve been following it through last year as the worsening police brutality reached depths you vegans aren’t even worried about yet. However, to play devil’s advocate, the protesters are just as worthy of criticism compared to the police and frankly, in Australia, both the protesters and police are getting off easy compared to in Hong Kong.

You’re worried about getting pepper sprayed, beaten up or discriminated because you’re disabled, LGBT, black, Muslim, whatever? Try getting randomly searched or arrested while going about your day (especially if you’re a high school/uni student), finding out the police are colluding with gangs, getting beaten or molested after being subdued, being arrested just for helping someone as a medic or most importantly, being fired to oblivion with live bullets, water cannons that dye your skin blue, pepper spray, bean bag rounds, rubber bullets or more importantly, carcinogenic Chinese tear gas. Until the climate protests get to the point where you need a centralised website to detail your protests, press conferences and police brutality to the world, keep crying in your echo chambers about ACAB or whatever while being ignorant to the fact that like there are starving people in war-torn countries, there are people in Hong Kong who are living under a bigger climate of fear than you are. Fuck you vegans. You make me sick.

Before I return to the main topic, let me leave you with a choice quote from a Spectator Australia article from November 2019 aptly named “Hong Kong is fighting for its very soul, Extinction Rebellion are throwing tantrums”:

It is beyond a joke to suggest that the publicity stunts of Extinction Rebellion are comparable to the protests in Hong Kong. Doing so is an insult to people who are truly fighting for their future. At best it reflects a lack of self-awareness by the climate activists, at worst it is an attempt by Extinction Rebellion to piggyback on the global sympathy that genuine protestors have stirred in Hong Kong and divert it towards themselves.

My opinion on Greta Thunberg? The tone of her voice has already committed the logical fallacy of appealing to emotion. She looks like one of those kids who do or say extraordinary stuff so they can get their 15 minutes of fame in the form of adults fawning over them, but she continues to do it and somehow, people don’t get bored of it. I respect her for having the courage to give the speeches (there were a lot more than what I originally thought, tbh), but it shouldn’t have to take an anxious and emotional girl with Aspergers for governments to do something about climate change if they think it’s so important. As a friend of mine said, however, “It'll take the end of the world to get them to stop taking money from oil and coal.”

Watch the above video from the 10 minute mark onwards, because I have similar feelings about this whole thing.

I remember watching the film 2012 in the first year after it was released and I started getting worried that the stuff that happened in the movie would actually happen on 21 December 2012. In May 2011, I remember going on a quick weekend holiday in the country and reading about Harold Camping’s prediction of the end times in the newspaper. It said that the rapture would take place a week after, on May 21, and that the end of the world would take place on 21 October. Talk about “fool me once, fool me twice”, huh?

I’m not a fan of the climate protests, XR or otherwise, but I’m not a climate change denier either. I care enough about the environment to do my bit when I get the opportunity and that is pretty much it. I have a lot of things on my mind already and having another thing to worry about is the last thing I need.

Damn, writing this review after my two week break really took more effort than I thought it would. Stay tuned for the middle of the week as I review the fourth episode, Nikola Tesla’s Night of Terror.